Ha Ha Tonka at DC9
Named after a state park in their home state of Missouri, Ha Ha Tonka is a four-piece rock outfit with a little bluegrass twang that reflects their Midwest roots. Their unpretentious lyrics and middle America sound make them instantly likeable. Catch them at intimate DC9 before they head out to play South By Southwest. Show at 9 p.m. Tickets are $8. – ND
DC9: 1940 9th St. NW, DC; 202-483-0666; www.dcnine.com

THURS., MAR. 4

Jack’s Mannequin w/fun., Vedera, Sunday’s Roulette at 9:30 Club
When Jack’s Mannequin first announced their March 3 show at the 9:30 Club, tickets were instantly gone. However, you’re not down for the count yet. They’ve added a second night so fans that missed out hopefully won’t anymore. Come check out the artist responsible for hits like “Holiday From Real” and “Diane, the Skyscraper.” Tickets are $29.50 and doors open at 6 p.m. –AE
9:30 Club: 815 V St. NW, DC; 202-265-0930; www.930.com

THURS., MAR. 4

Hoots and Hellmouth at IOTA
Hoots and Hellmouth will headline IOTA with Stripmall Ballads opening for the Philadelphia-based band. H&H plays music that is representative of American roots yet with a soulful touch. They’re sure to play hits from their most recent album, “The Holy Open Secret,” among others. The trio goes on at 8:30 p.m. and tickets are $12. –AE
IOTA Club & Café: 2832 Wilson Blvd., Arlington, VA; 703-522-8340; www.iotaclubandcafe.com

WED. & THURS., MAR. 3 & 4

Gaelic Storm at The Birchmere
It’s hard to believe it’s been a decade since Gaelic Storm’s appearance in Titanic, but this popular group is coming to Alexandria’s Birchmere for two performances on March 3 and 4. The March 4 show is sold out, but tickets are $35 and still remain for Wednesday the 3rd. Showtime is 7:30 p.m. Be sure to get tickets before they sell out and see this Celtic melody meets worldly sounded band.
The Birchmere: 3701 Mt. Vernon Ave., Alexandria, VA; 703-549-7500; www.birchmere.com

FRI., MAR. 5

Photo courtesy of Rounder Records

Sondre Lerche at The Rock and Roll Hotel
Musical polymath Sondre Lerche may be nearing national treasure status in his native Norway, but remains largely unknown stateside. That could be because his half-dozen albums have treaded every genre from jazz to power pop, but his latest, “Heartbeat Radio,” brings them all together, making for his most accessible record to date. New York singer-songwriter JBM (aka Jesse Merchant) opens. The show begins at 10 p.m. Tickets are $20. – HG
The Rock and Roll Hotel: 1353 H St. NE, DC; 202-388-7625; www.rockandrollhoteldc.com

FRI., MAR. 5

The Vita Ruins CD Release w/Ra Ra Rasputin & Cobra Collective
Mainstage beginning at 9 p.m., The Vita Ruins will host their CD Release amongst some other notable acts in our area. The Vita Ruins’ long awaited release entitled “A Day Without A Name” will be the first full-length album for the DC-based band. This indie band is one worth checking out. Tickets are $10 in advance and $12 at the door. –AE
Black Cat DC: 1811 14th St. NW, DC; 202-667-4490; www.blackcatdc.com

SAT., MAR. 6

Pat Green w/Wade Bowen at 9:30 Club
Country artist extraordinaire Pat Green is returning to the 9:30 Club for an early show with Wade Bowen. Doors open at 7 p.m. and tickets are $35. Take your chances at winning a pair of tickets from On Tap! Visit our contest page at www.ontaponline.com/pages/contests.php to enter. –AE
9:30 Club: 815 V St. NW, DC; 202-265-0930; www.930.com

SAT., MAR. 6

The New Retro at Velvet LoungeWearing suits and having fun: it’s a rare conception to think of but The New Retro pulls it off naturally. The band is the lovechild of a Marvin Gaye-Red Hot Chili Peppers one night stand that yielded a blessing.  Their high-energy performances as well as their dark-driven blues numbers warrant praise and acts as a reminder that life is for living and having fun.  ‘The Defenders of the Funk” carry on their legacy in support of the “Grayscale” record release party put on by Navi, an up-and-coming hip-hop artist out of College Park, MD, with infinite flow, hellacious beats, and most dangerous of all: a conscientiousness mind. $10. 10 p.m.
The Velvet Lounge: 915 U St. NW, DC; 202-462-3213; www.velvetloungedc.com

MON., MAR. 8

Jenny Owen Youngs at IOTA
There is something shocking about hearing Jenny Owen Youngs for the first time. It’s not her sweet voice or simple songs. It’s the disconnect between her innocent schoolgirl looks and her foul mouth. Expect to be entertained by this hardworking singer-songwriter. Show at 8:30 p.m. Tickets are $12. – ND
IOTA Club and Café: 2832 Wilson Blvd., Arlington, VA; 703-522-8340; www.iotaclubandcafe.com

MAR. 9-10

Photo courtesy of Henry Rollins

Henry Rollins at The Birchmere Spoken Word, The Frequent Flyer Tour
Henry Rollins, the former Black Flag frontman, punk icon and DC native, can’t seem to slow down. Although his music career may be on stand-by, his spoken word career is hotter than ever. His three month North American Tour finds him at the Birchmere for a night that promises to be full of thought provoking, amusing reflections on life. Don’t miss this smart, intuitive show that will make you go hmm. Show starts at 7:30 p.m. and tickets are $25. – CP
The Birchmere: 3701 Mt. Vernon Ave., Alexandria, VA; 703-549-7500; www.birchmere.com

THURS., MAR. 11

The Low Anthem at 9:30 Club
South by Southwest. Bonnaroo. Lollapalooza. The Low Anthem have been playing all the trend-setting festivals in the last year and gaining major momentum. This talented band switches from mesmerizing harmony drenched lullabies to raspy foot-stomping jams while switching between dozens of instruments. Show at 10 p.m. Tickets are $15. – ND
9:30 Club: 815 V St. NW, DC; 202-265-0930; www.930.com

MON., MAR. 15

Sherwood at Jammin Java
Straight up pop-rock by a group of fun-loving Californians who have been spending the past few years crafting radio friendly tunes. Heavy touring to promote their latest album, Qu, brings them back to DC to headline Jammin Java only a few months after playing 9:30 Club. Drummer Joe Greenetz was called “The Animal” in college. Come to the show to see why. Show at 7 p.m. Tickets are $10 in advance, $13 day of show. – ND
Jammin Java: 227 Maple Ave., Vienna, VA; 703-255-1566; www.jamminjava.com

MAR. 15 & 16

John Hiatt & The Combo with Holly Williams at The Birchmere
John Hiatt’s career has spanned more than 30 years. His collection of songs have been covered by everyone from Bob Dylan, Eric Clapton and BB King , Three Dog Night and The Neville Brothers. Don’t miss Slow Turning, Master of Disaster, The Tiki Bar is Open, Have a Little Faith in Me, Angles Eyes and many more of his classics in an intimate setting. Show starts at 7:30 p.m. and tickets are $49.50. – CP
The Birchmere: 3701 Mt Vernon Ave., Alexandria, VA; 703-549-7500; www.birchmere.com

FRI., MAR. 19

Photo courtesy of Erin Lassahn

Tom McBride and the Whig Party at IOTA
It’s hard to believe that Tom McBride and the Whig Party is still an unsigned band, but hopefully not for much longer for this talented local act. Tom McBride and his whole crew will be at IOTA on March 19, sure to play hits from last year’s release, Like a Lion, among others. They have a strong stage presence that instantly brings in any crowd, all night long. Their clean sound is supported by Tom’s strong vocals and a talented group of musicians. Tickets for this show are just $10 and the show begins at 9 p.m.
IOTA Club & Café: 2832 Wilson Blvd., Arlington, VA; 703-522-8340; www.iotaclubandcafe.com

FRI., MAR. 19

Liberation Dance Party at DC9
Put your dancing shoes on because DC9 is bringing you new music and music videos beginning at 9 p.m. If you need a little incentive to bust a move, they also have an open bar from 9 to 10:30 p.m. for rail cocktails only. For $7 you can’t beat this. Grab your friends and enjoy.
DC9: 1940 9th St. NW, DC; 202-483-5000; www.dcnine.com

FRI., MAR. 19

Photo courtesy of Kix

Kix, ZO2 and Baby Jayne at Zaxx
For those of us with rocking memories of crazy big hair filled with Steve Whiteman gyrating on all over the stage in the 80’s, and have The Itch to get your fill of Body Talk, Cold Shower and Sex, then get your advance tickets today to a show promising to bring back those crazy days. But Don’t Close Your Eyes…or you just might miss it! 21+. Show starts at 8:30 p.m. Tickets $27 in advance and $30 day of show.Jaxx Nightclub: 6355 Rolling Rd., Springfield, VA; 703-569-5940; www.jaxxroxx.com

FRI., MAR. 19

Kingsley Flood, Threadbare Orchestra and Tall Tall Trees at Velvet Lounge
The Velvet Lounge will be thrice as nice on Saturday, March 20 with this trio of talent. Doors open at 9 p.m. and the music begins at 10 p.m. at this 21 and older show. And as a bonus, downstairs, DJ Pas and DJ Busca will also be spinning. $8.
Velvet Lounge: 915 U St. NW, DC; 202-462-3213; www.velvetloungedc.com

TUES., MAR. 23

Thee Vicars at the Quarry House Tavern
An English four-piece from a town called (cough) Bury, Thee Vicars channel the 4/4 fury of American garage rock icons The Sonics with an extra added dash of Anglicisms by way of Billy Childish and early Kinks singles. (As if the matching suits weren’t a dead giveaway.) Norway’s Pirate Love — fresh off a stint at SXSW — open. The show begins at 8 pm. – HG
Quarry House Tavern: 8401 Georgia Ave., Silver Spring, MD; 301-587-8350; www.quarryhousetavern.com

WED., MAR. 24

SevenMaryThree
With hits like “Cumbersome” and “Water’s Edge” in the mid 90’s, 7M3 is touring once again, supporting their live acoustic record, Backbooth. Although released in 2008, the record reminds us of how great they are live with Jason Ross’s powerful and distinctive voice, strong songwriting and a catalog of songs from their 15 year career. If we’re lucky, maybe they will perform their amazing rendition of Otis Redding’s “That’s How Strong My Love Is.” All ages show. Tickets are $20-$23. Doors at 7 p.m. – CP
Jaxx Nightclub: 6355 Rolling Rd., Springfield, VA; 703-569-5940; www.jaxxroxx.com

THURS., MAR. 25

2U at The State Theatre
Sorry, it’s not U2 but close…it’s the world’s best U2 tribute band, 2U! Check out all your favorites like “All Because of You” and “Sweetest Thing” at this show when doors open at 6 p.m. The show starts at 7:30 and tickets are $12 in advance and $14 at the door.
The State Theatre: 220 N. Washington St., Falls Church, VA; 703-237-5717; www.thestatetheatre.com

THURS., MAR. 25

Jukebox The Ghost, Tally Hall and Skybox at Black Cat
Jukebox The Ghost, an On Tap featured band, will headline the Black Cat March 25 alongside Tally Hall and Skybox beginning at 8 p.m. on the mainstage. Jukebox The Ghost hails from DC and combines pop sounds with rock influences that come off in a quirky and unique way. Upbeat and catchy, this show is a guaranteed hit. $13. –AE
Black Cat: 1811 14th St. NW, DC; 202-667-4490; www.blackcatdc.com

THURS., MAR. 25

PopGun Showcase w/ Deleted Scenes at The Velvet Lounge
Brooklyn’s PopGun booking agency is giving Washington a taste of their current roster with this one-off showcase/party. DC’s own indie darlings, Deleted Scenes, headline, while three neighbors from up north — Savoir Adore, Grandchildren and Mon Khmer — round out the bill. The show begins at 9 p.m. Tickets are $8. – HG
The Velvet Lounge: 915 U St. NW, DC; 202-463-3213; www.velvetloungedc.com

FRI., MAR. 26

Imperial China, Cephalopod, Miracles and Busses at Velvet Lounge
Four bands will begin rocking the Velvet Lounge beginning at 10 p.m. on March 26. Imperial China, a band hailing from DC –and one of On Tap’s bands to watch –headlines this show with their indie sound and incredible stage presence. Fill this Friday night with tons of music while downstairs features Will Alberque and Jennder. Tickets are just $8 for this popular U Street destination. –AE
Velvet Lounge: 915 U St. NW, DC; 202-462-3213; www.velvetloungedc.com

SUN., MAR. 28

Army of Me (Acoustic) w/Colleen McCarron at Jammin Java
DC based band Army of Me is slowly becoming a household name around here. Their latest release, Make Yourself Naked” is an EP with five tracks that are mature and infectious. Vince Scheuerman provides vocals that fit in nicely with their group’s indie pop sound. Hear them in person when they headline Jammin Java in an acoustic show with Colleen McCarron on March 28. Tickets are just $10 in advance and $13 at the door. 7:30 p.m. –AE
Jammin Java: 227 Maple Ave. E Vienna, VA; 703-255-1566; www.jamminjava.com

MON., MAR. 29

Japandroids, Love Is All and Tennis System at Rock N Roll Hotel
Japandroids is making DC just one of the many stops on their worldwide tour, as the headline this popular DC music venue. The garage-rock band that hails from Canada has recruited Love Is All and local act Tennis System to kick things off. Doors open at 8 p.m. for this show that brings out a slew of rockers. $13 in advance and $15 at the door. –AE
Rock N Roll Hotel: 1353 H St. NE, DC; 202-388-7625; www.rockandrollhoteldc.com

TUES., MAR. 30

Photo courtesy of Matthew Good

Matthew Good at IOTA
Hailing from British Columbia, Matthew Good was the lead singer in one of Canada’s most successful alternative rock bands in the 1990’s – The Matthew Good Band – with hits like Everything Is Automatic, Indestructible and Apparitions. Good’s life experiences, emotional turmoil and temperament lends itself well to his body of music which is wrought with moving vocals, aggressive arrangements and well-constructed straight forward songwriting. This musician, author and activist fights the good fight in both his personal and professional life and his music shines through. – CP
IOTA Club & Café: 2832 Wilson Blvd., Arlington, VA; 703-522-8340; www.iotaclubandcafe.com

TUES., MAR. 30

Photo courtesy of Alternative Tenticles

Jello Biafra & The Guantanamo School of Medicine at The Black Cat
In the years since the Dead Kennedys split, their always acerbic frontman Jello Biafra has had innumerable one-off side projects, but has tended to stay focused on his spoken word work. Now he’s getting back to what he does best — political critique that dost rock — with a new backing band and their first full-length, “The Audacity of Hype.” Doors open at 8 pm. Tickets are $12. – HG
The Black Cat: 1811 14th St. NW, DC; 202-667-4490; www.blackcatdc.com

TUES., MAR. 30

Wordsmith album release party at the Eye Bar
Praised by national magazines like Hip Hop Weekly and considered one of the most influential hip hop artists in the DMV, Wordsmith continues to make his mark well beyond the borders of the mid-Atlantic region. After teaming up with hip hop legend Chubb Rock last year on a collaboration album entitled “Bridging the Gap,” Wordsmith is releasing his first solo album entitled “Vintage Experience.” Couple this with a barrage of strategic mix tape releases equaling hundreds of thousands of downloads, his own record label, as well as songs licensed to Sega and Puma Fragrances, this hip hop artist is priming himself for commercial success. Already a mainstay on college radio, his first single “Hook Up Hotline” off his new album has received airplay on over a dozen urban radio markets and climbed as high as number 15 on the Indie charts. As a theater-trained performer, Wordsmith is noted for his energetic stage show and has shared the spotlight with numerous A-list hip hop artists including Wu Tang Clan, Poor Righteous Teachers, Boot Camp Clik, and Wale. Despite the irony of his unsigned status, Wordsmith’s music has been played on world-class venues including MTV’s Mixtape Monday’s, XM Radio, and ABC. All of this has grown his reputation as an unsigned emcee who works like a signed one. The album release party is open to the public and Wordsmith will be performing the evening of the release. 9 p.m. – TP
Eye Bar: 1716 I St. NW, DC; 202-785-0270; www.eyebardc.com

Courtlyn Carr

Courtlyn Carr

Web: www.courtlyncarr.com
Album: Turn Blue
Show: March 19 at The Whiskey: 1803 West St., Annapolis, MD; 410-626-6022; www.thewhiskeyannapolis.com  
March 28 at Frederick Coffee House: 100 N. East St., Frederick, MD; 301-698-0039; www.fredcoffeeco.com

Track: Turn Blue

Courtlyn Carr’s stunning good looks could obscure her talent as a mainstream country musician; that is, if she didn’t actually have talent. The Annapolis-based musician, who moonlights as a model, demonstrates some credible mainstream country music chops on “Turn Blue,” her second full-length CD. Carr’s vocal power isn’t in the same league as say, Martina McBride, whom she calls an influence. But it’s a warm, inviting and crystaline voice nonetheless, and would fit right in with the current the current crop of country radio songstresses. A soft acoustic guitar and lilting fiddle imbue the title track — a simply arranged weeper — with a reassuring measure of traditionalism, while Carr’s vocal phrasing convinces us of her heartache. The sassy “Tennessee Nights” is supposed to be a rocker, and Carr tries to toughen it up, but her delivery here only hints at the grit of say, Miranda Lambert. Better is “What Turns You On,” a sultry come-on that has the listener closely pondering Carr’s words. Whew. Courtlyn Carr certainly has the sex appeal — and possibly even the voice —  of a Nashville star. Off-the-shelf musical arrangements bog this country disc down at times, but Carr lifts most tunes above the fray. We look for good things from this emerging musical talent. —MC

Patty Reese

Patty Reese

Web: www.myspace.com/musicianpattyreese
Album: Strong Medicine
Show: March 5 at Kramerbooks & Afterwords Café: 1517 Connecticut Ave. NW, DC; 202-387-1462; www.kramers.com

Track: Strong Medicine

The term “blues-rock” is too often a synonym for loud, bombastic tunes played by musicians who think they are the second coming of Stevie Ray Vaughan or Janis Joplin. Washington-based Patty Reese is a blues rocker, but she is definitely an exception to the tired stereotype. The six-time Washington Area Music Award winner’s new record, “Strong Medicine,” showcases a mature, supremely talented artist who has the pipes to belt songs out in full-on Janis Joplin-esque style, and the good sense not to do it on every track. On the record’s title track, Reese’s smoky, sensuous vocals wrap themselves around a slow groove, while “Who’s Got Your Back” is a rocking jam with hints of surf-style guitar. Reese is not only a powerhouse vocalist, but a strong songwriter who uses words as well as vocal acrobatics to convey timeless stories of love and lust, triumph and heartbreak. There are very few weak points on this disc. If we had to cite one it might be that Reese’s vocal stylings are sometimes too reminiscent of her heroes (think Bonnie Raitt or Melissa Etheridge,) but that’s not exactly criticism, is it? “Strong Medicine” is bound to make any fan of real blues-rock feel better about the state of the genre. —MC

GroundScore

GroundScore

Web: www.myspace.com/dcgroundscore
Album: Healthy Children
Show: March 23 at Asylum: 2471 18^th St. NW, DC; 202-319-9353; www.asylumdc.com 

Track: You Deserve It

Although GroundScore has only officially been around since late 2008, they’ve already got a polished and diverse sound that is spreading throughout the East Coast. Their latest CD, “Healthy Children,” is 12 tracks of something that sounds like Sublime meets 311. This punk rock trio’s album flows nicely and keeps an upbeat tempo throughout. Reminiscent of several genres of music, they identify mostly with a rock/reggae sound while exerting their individuality by mixing in punk-influenced songs. For a band with such a great sound, they’re not as well-known as one would think, despite the local upcoming shows they have at places like Asylum, O’Shaughnessy’s and My Brother’s Place. With raw talent like theirs, it’s only a matter of time before they’re a common name around here. —AE

Alex Gordon Hi-Fi

Alex Gordon

Web: www.whoisalexgordon.com
Album: Stock Footage
Show: March 13 at the National Colonial Farm’s Homegrown Series: Accokeek, MD; www.accokeek.org

Track: Constellations

Alex Gordon Hi-Fi’s mellow sound has taken his band throughout the country making appearances at coffee shops and festivals. The stay-at-home Dad’s most recent release, “Stock Footage,” is definitely an album you can throw in the CD player and let play. The 11-track release is full of smooth sounds and mature lyrics to help you chill out. While not exactly fitting a genre, his music is uplifting yet calm. What is very evident throughout the album is Gordon’s impressive strumming. He opts for a finger style method of playing which leaves you with an updated and impressed outlook on acoustic guitarists. —AE

Irish singer Imelda May achieved stateside recognition with her stand-out performance at this year’s Grammy Awards.

Break out the pomade and get your cat clothes on because one of Ireland’s best-kept secrets is heading stateside…and her name is Imelda May. Up until last year, the 35-year-old, Dublin-born chanteuse spent most of her time wowing crowds in the UK and Irish undergrounds with her firebrand blend of soulful vocals and American rockabilly swagger. And while the sound has remained the same, her music scene stature surely has not.

After a chance encounter with British pianist and chat show host Jools Holland in 2008, her second self-released album, “Love Tattoo,” got picked up by prestigious label, Verve Records — only to promptly shoot to number one on the Irish charts and earn May supporting slots alongside the likes of Van Morrison, Chuck Berry and The Pogues’ Shane MacGowan.

Fresh off a knockout tribute to late guitar virtuoso Les Paul with Jeff Beck at the 52nd Annual Grammy Awards, May and her four-piece backing band will undertake their first cross-country US tour this March as they open for multiplatinum jazz-pop pianist, Jamie Cullum.

Now in the midst of recording her follow-up to “Love Tattoo,” May spoke to On Tap the night before reteaming with Beck (and some other guy named Eric Clapton) for a sold-out show at London’s O2 Arena to talk about her uncompromising path to success and the raw, primal power of old fashioned rock ‘n roll.

On Tap: Your first major introduction to the American public was your performance with Jeff Beck at this year’s Grammy Awards — an auspicious debut to say the least. What was that experience like behind the scenes?
Imelda May: It was crazy, absolutely crazy. I really enjoyed myself, but it was definitely an experience. The performance was all of two and a half minutes, but the whole day was built around that…rehearsal with Jeff, then dress rehearsals and then they tell you you’ve got two minutes to get ready. I managed to swing my hair up and throw my make-up on as soon as I could. It was a mad, crazy day, but the actual highlight for me was performing because obviously that’s what I love doing most — but because it was so short, I was just getting into it when I had to leave.

OT: Playing the Grammys is a major achievement for any act, but you’ve had quite a few major achievements over the past year or so — signing with a major label, playing your first arena shows and winning a slew of awards along the way. Has your life changed dramatically in the last 12 months and how so?
IM: It has changed a lot, actually, in that I’m always out and about. It’s just gone crazy with gigs and I’m very, very busy. But this last year has been very exciting and I wouldn’t have it any other way. I’ve played all kinds of gigs and got to travel more, but I’ve also been trying to record my next album as well in the middle of all that. Still, it’s fantastic. I’ve gotten to open for Chuck Berry in New York and play with Jeff at the Royal Albert Hall and then the Grammys. It’s just been wild.

May recently performed at a sold-out show at London’s O2 Arena featuring Jeff Beck and Eric Clapton.

OT: You’ve talked about rockabilly, jazz and the blues being fixtures of your household growing up, but when did you first decide to start singing and playing out?

IM: I started very young…[but] it was my brother-in-law that got me singing. I’d been singing for a long time with local kids and drama groups in The Liberties [area of Dublin], but he got me to sing a blues song he’d written for an Irish singer named Mary Stokes. He seemed to love what I’d done, so he took me into an underground blues club when I was about 17. The guitarist called me up to sing and I never really left after that.

I went down regularly to these clubs and the owners would kind of turn a blind eye to let me in. I’d be singing with all these old blues guys and playing all night long. I learned a lot from some fantastic, fantastic musicians…One night, Ronnie Wood [of the Faces and Rolling Stones] jumped up on stage while we were playing and I got a great kick out of that. And [former Smiths’ guitarist] Johnny Marr too, who’s a brilliant blues harmonica player…I learned from some great musicians at a very early age. It was the best introduction to music that I ever could have gotten.

OT: “Love Tattoo” is a true rarity — a self-recorded, self-produced record that’s now managed to go double platinum in your native country. Were your expectations that lofty when you first put it out?
IM: I didn’t have expectations for at it all, by which I mean I wasn’t making it to get a record deal. I already talked to a couple of record companies before…and was turned down by them all. It didn’t bother me too much because I’d been in the music business for a long time without any backers, so it was nothing new for me. I just carried on and did what I’d always done.

The only thing was I didn’t have any money to make “Love Tattoo,” but I had been recording with other people for a long time…and was really itching to get my own stuff out. Around that time, Darrel [Higham, Imelda’s husband, bandmate and a prolific rockabilly artist in his own right] and his friend had built a studio, literally with their own hands. I was delighted to have a studio at hand and just got in there. I couldn’t afford a sound engineer, so we did it ourselves. I begged and borrowed a lot of money to be able to pay the musicians, so it was that kind of album…and basically just sold it at gigs.

On the back of that, I got some support gigs and more people heard it. Then, I was asked to support Jools Holland — a fantastic musician over here in England and a very knowledgeable man about music who, of course, also has his own TV show. Once we opened for him, he invited us onto his show…and we’d never had that kind of support from someone with so much clout. The record companies came back, asked us if we wanted to sign…and it just took off from there. “Love Tattoo” kind of started all this off in its own small way…[although the record label] thought it might be a better to sell it in shops rather out of a suitcase. [Laughs]

OT: Even with the endorsement of British media icons, like Holland, and later Beck, was there ever any skepticism from corporate that a rockabilly and vocal jazz-based record could move units?
IM: When I first talked to record companies, they told me you can’t mix music like this. You have to pick one or the other. I was also told by many people to get rid of the rockabilly because it was the kiss of death. I’m really, really glad that I’m stubborn and ignored everybody and carried on. It meant that I got to write and perform music that I loved…on my own terms. If I had changed, I might have done well but I would be bloody miserable. I’m glad that I stuck to my guns.

I don’t think they ever expected [“Love Tattoo”] to do as well as it did because, obviously, we’d just recorded it in a converted shed and I’d produced it myself…It’s a given a lot of hope to normal bands that are just gigging away and recording their own stuff.

OT: While your music is certainly rockabilly derived, it doesn’t rely on the genre’s usual tropes. How’d you manage to cultivate a sound that honors that tradition without sounding dated?
IM: I absolutely love rockabilly and it is a predominantly male-oriented type of music. I suppose I love the aggressiveness of it, the excitement of it. It was the punk rock of its day. When you listen to Gene Vincent & The Blue Caps, you can hear The Blue Caps screaming in the background. When I first heard that as a kid, I found that hugely exciting.

But, since I was born in the mid-’70s, I’m going to have all sorts of other influences as well. My parents would play Elvis and Dean Martin…but then I’d hear The Clash, The Pretenders, Blondie and all those really cool bands I listened to growing up. Funny enough, most of the ones I was drawn to – like The Cramps and The Ramones – were influenced by the music of the 1950s anyway…It’s almost as if it gets mixed into your blood and has to come out of you somewhere. That might have given me a different slant and a contemporary twist, I suppose, because I’m living in 2010.

OT: That being said, there’s still a real cross-generational appeal to your music. What do the crowds that turn up to see you look like these days?
IM: We get such a wide mixture of people and I can’t tell you how much I love that. We’ve often commented about it backstage after gigs, especially in the early days. Now it’s more normal — I had one guy in Ireland come up and say it was the first time he’d gone to a gig with his mother. She’s was jumping around, screaming and remembering the old rock and roll days, while he was just getting introduced to it. It was great that they both got the same energy from it…To me, music is music. Whether you’re 18 or 78-years-old, you either like it or you don’t.

Imelda May performs in advance of Jamie Cullum on Sun. March 7 at The 9:30 Club. Tickets are $35. Doors at 8 p.m. WIN TICKETS at ontaponline.com/pages/contest.

The 9:30 Club: 815 V St. NW, DC; 202-265-0930; www.930.com

Drop in 9:30 Club to see the Dropkick Murphys this month.

Winding their way back home to Boston for their annual week of St. Patty’s Day shows, the Dropkick Murphys will be warming up on the road with a string of dates that includes the 9:30 Club on March 9. This is the tenth year the Murphys have put on their hometown holiday throw down and in celebration of the milestone, they have released a new live DVD/CD from last year’s blast, aptly titled “Live on Lansdowne.” Vocalist Al Barr took a minute to talk with On Tap about the coming tour.

On Tap: Tell me about gearing up for all these shows that you have coming up.
Al Barr: It’s kind of like the rehearsal before the performance. We used to, in the beginning when we started doing the multiple nights, we would kind of screw ourselves and just not do any playing, aside from practicing … and by the third or fourth night we were ready to call it … to kill ourselves. We find that when we tour into the shows, we’re all kind of machines, oiled up and ready to go, so once we get to the Boston shows, we’re home. It’s just like it’s the home stretch and we’re a well-tuned machine by the time we get there. It’s going to be a good time. We’re doing seven [shows] in six days again this year and it’s going to be, y’know, residency at the House of Blues (laughs) so it’s going to be a good time.

OT: So, you head out and then you kind of wind your way back home. That’s perfect.
AB: Yeah, I know. It is. It’s worked out the last few years that we decided to do it. I want to say we were in Europe or something and we came back and we had the St. Paddy’s Day shows in Boston and we were like “WHOAH…is it me or was that just so much easier than it’s been in the past?”

OT: You’ve got [opening band] Larry and His Flask…I’m not really sure I know who they are, so uh…
AB: Yeah, I don’t either (laughs). No, just kidding. I want to say they played on one or two of the shows we did on a past tour and everybody seemed to like them. They’re very likable guys and they’re a good band so it’s all about giving the newer bands a shot anyways. That’s how we got to where we are, y’know. Bands like the [Mighty Mighty] Bosstones said “Let’s give this band a shot.” Those are the kinds of things that I think go a long way with the band. If you’re going to be in there for the long haul, you don’t know unless you try it, but you’ve got to start somewhere.

March 9 at 7 p.m. with opening bands Strung Out and Larry and His Flask.

9:30 Club: 815 V St., NW, DC; 202-265-0930; www.930.com.

Come see DJ Stylus Chris in action, and experience what makes him a DC legend.

Few people can claim as many contributions to local DJ culture as DC legend Chris Stiles, aka DJ Stylus Chris, though he’s modest about tooting his own horn.

Fellow legend Chuck Koch, aka DJ Dirty Hands, however, is quick to say, “Chris’s importance to this city would take two articles. As a deejay, his knowledge of music is crazy. As a store owner, he helped preserve the art of the deejay. As a promoter, we had one of the hottest DC parties ever, called Soul Camp.”

Born and raised in Northern Virginia, Stiles discovered hip-hop in the early ‘80s while roller skating with an uncle. At the rinks, Stiles says, “You’d hear Hall & Oates, Pink Floyd, then the Sugarhill Gang.”

In the mid-‘80s, “when b-boying exploded,” Stiles started buying hip-hop records. “Herbie Hancock’s ‘Rockit’ changed it all,” he says. “The video was the first time I was really exposed to scratching — the most amazing thing I’d ever seen.” Stiles busted several of his parents’ turntables trying it at home. “I didn’t understand it was a different kind of turntable,” he laughs.

B-boys “wanted to write graffiti, dance, rhyme, DJ — do it all,” Stiles explains. “You always were trying to express yourself through all the elements of hip-hop.” He played basketball as a Herndon High School freshman, then at Chancellor, but lost interest “when I started going to DC clubs on the weekends.”

After graduating in 1992, Stiles moved to Baltimore and threw club and warehouse parties. “Scott Henry (renowned Buzz and Fever promoter) gave me one of my first jobs in promotion” arranging bus trips to out-of-town raves on weekends.

One night at a New York club called Caffeine, “I was dancing and Lady Miss Kier and Dmitry from Deee-Lite approached and said, ‘Hey, we like how you dance.’” In 1993 they moved Stiles to New York, had him choreograph songs for their “Dewdrops in the Garden” album, nicknamed him “Noodles,” and hired him as a dancer for their world tour.

Stiles returned to DC in 1996, and with partners threw legendary underground parties including Pollen and Nectar, the hip-hop Soul Camp, and one-offs like Bionic Buddha, which booked a 16-year-old unknown named Craze, whose turntablism skills were dropping jaws in Miami.

Last year, while Stiles and Craze were deejaying together in Las Vegas, the now three-time DMC World Champion told him, “I’ll never forget you were the first to give me a gig outside of Miami.”

In 1997 Chris became hip-hop buyer for 12 Inch Records. DMC got wind of Stiles’ events and recruited him to throw the annual DMC DC regionalx, which led to hosting the 2003 U.S. Finals. In 2002, when 12 Inch’s lease was up, the owner retired and Chris and some partners opened DJ Hut.

During its heyday, the now closed DJ Hut was more than a record store. “For so many deejays, two hours at the store picking out records was the highlight of their week,” Stiles recalls. “I really enjoyed providing a service and seeing how much it meant.” Grandmaster Flash, Grand Wizard Theodore, Biz Markie, Common, Dilated Peoples, Doc Martin and Eric Hilton were among the luminaries who came through.

Stiles also made his mark as half of rap duo Defined Print, whose 2001 single “My Library” was played on ESPN’s X Games; as a resident DJ at Las Vegas’ Eyecandy at Mandalay Bay Hotel; and as the Washington Nationals DJ. “It’s really fun seeing people come into the stadium and start dancing. Little kids love watching the turntables and mixer. You see on their faces, they’re like ‘I want to do this, too.’”

Now DC’s go-to guy for event and club consulting, Stiles is excited to be developing a DJ program with turntablist Geometrix for the Bach to Rock music school chain, set to launch at the Bethesda campus in April. “We’re really amped up to get it going and hopefully create the next superstar deejays.”

The stylin’ DJ known for sharp kicks and hats celebrates nine years at his Friday night residency at Modern come July. “Modern is a diverse crowd that keeps me on my toes,” he says. His Saturday nights at Current are “a bit more hands in the air, energetic start to end,” and sometimes include saxophonist Natty Rico or percussionist Names jamming along.

Once a month, Stiles plays trendy Metro! in Roanoke, Va., where Owner/Chef Andy Schlosser says, “Chris is the quintessential party DJ. His rapid-fire style pours it on. Chris has made a huge impact on Roanoke nightlife.”

Which affirms Dirty Hands’ props for Stylus Chris: “This city wouldn’t be the same without him.”

For more information on DJ Stylus Chris, visit www.myspace.com/styluschris.

Gaelic Storm: coming this month to The Birchmere.

Gaelic Storm, an Irish folk rock band, has been the source of rumpus in Celtic music circles since shortly after it stormed Hollywood with an appearance in the film “Titanic.” In the twelve years following their big-screen debut, the band hasn’t looked back, continuing to create a stir with seven successful albums, and now nearing the release of an eighth.

The once part-time pub band catapulted from the bar to the Billboards, returning to the top of music charts with each new album release. Gaelic Storm has had 20 different members since their musical journey began, but one thing remains constant: their drive to keep the band’s essence the same. The group maintains its ability to infect listeners with laughter, ambition to move, the desire to sing and be jolly — the desire to have fun.

Early on, the band decided that they had enough of the serious aspects of the industry and wanted to keep their music lighthearted and interesting. “We’re gonna have a few beers and a few laughs and enjoy ourselves,” said founding member Steve Twigger on keeping the band culture relaxed. “The day it stops being fun we won’t do it anymore.” And the band celebrates its cheery chemistry on and off stage by maintaining strong friendships outside of performing.

Their most recent album, “What’s The Rumpus,” was released July 2008 and peaked at the number one spot on the Billboard World Music Charts. Current band members include Steve Twigger on vocals, mandolin, bouzouki, and guitar; Patrick Murphy on vocals, harmonica, spoons, and accordion; Ryan Lacey on drums; Pete Purvis playing the bagpipes; and Jessie Burns playing the fiddle.

Gaelic Storm is Irish folk music at its best.

The band has its own St. Patrick’s Day Hallmark musical greeting card featuring their hit “Kiss Me I’m Irish,” and has also been featured in two EA Games Sims video games, even recording a translated version of their song “Scalliwag” into Simlish, the official Sims video game language. Currently, the band is working on finishing the last of the mixes for their upcoming album, entitled “Cabbage,” which is expected to debut by the end of July. The album follows the band’s standard recipe of mesmerizingly merry music infused with tradition and thrilling tales of characters the band has met on the road.

“Raised on Black and Tans,” a single from the new album, is already becoming a must-hear song for fans. According to Twigger, the song exemplifies pride in Irish heritage and their connection to Ireland. It explores the strength of Irish culture and its influence in the lives of people — even those who have never traveled to Ireland. “What’s The Rumpus?” and “Me and the Moon” are also crowd favorites the band usually invites the audience to sing-along to.

While on the road, the band has had its share of adventures. According to Twigger, touring is a tiring life, so the sadness of missing home and the joys of returning are themes that will always be revisited in their music.

Most of the band’s lyrics are based on true stories, but they aren’t afraid of embellishing things for the sake of the song, admitted Twigger. “You got to know how to pick the facts from fiction,” he said. “The crazier moments are the true moments — we don’t make that stuff up.”

“The Night I Punched Russell Crowe,” is a popular reality-based song that recalls one of the crazier moments in band lore — a bar altercation involving band member Patrick Murphy and the famous actor Russell Crowe. “A few beers and a few hours into the evening and things happen,” Twigger said. “Patrick’s been telling that story for 10 years now — I had to put it down on paper.”

A lot of band members have moved on over the course of the years, but for Twigger, change is an opportunity and chance to look at things in a fresh way. “Each player has enhanced the band and made it what it is today,” he said. “The show must go on.”

For Gaelic Storm, music is about helping listeners along in their journey on Earth. “I hope it takes them away from their worries — there’s plenty to worry about today,” Twigger said, adding that for the band, it’s a privilege to perform and have everybody walk out with a smile on their face.

The band will be offering a free download on their website beginning in March and graces the stage at the Birchmere in Virginia for back-to-back shows March 3rd and 4th.

For more information about Gaelic Storm, visit www.gaelicstorm.musiccitynetworks.com.

 The Birchmere: 3701 Mt. Vernon Ave, Alexandria, VA; 703-549-7500; www.birchmere.com.

The developers of the Fillmore music hall project released a draft of new information at a community meeting late last month. It looks like Live Nation’s new venue, across from the AFI Silver Theatre in downtown Silver Spring, may start hosting major shows in 18 months.

Bruce Lee, president of landowner Lee Development, led the presentation of never-before-seen floor plans and a 3-D flyby to about 50 local residents and landowners. He praised the vibrant Silver Spring “arts and entertainment” neighborhood as attracting Live Nation, as well as the proximity of AFI, which is also a neighbor to the Fillmore in Los Angeles.

Lee cited a “very creative and complicated relationship” between his company, Live Nation, and Montgomery County, including donation of 10,000 square feet of land that makes the Fillmore count as the required “public amenity space” for a three-building complex. The county has issued initial approval for the project, including a 14-story hotel and office building, green roofs, and multiple parking levels. Those buildings might not go up for years, depending on the economy.

The Fillmore would come much sooner, preserving and expanding the former J.C. Penney storefront, currently just a shallow facade. Three levels of plans showed a good-sized music hall, sporting a main level with standing room for up to 1,200 fans, plus balcony risers accommodating 800 to 950 more. Two bars flank the main floor, with one upstairs for the balconies and a lounge-like space in the basement.

Overall, the Fillmore plan clearly resembles the layout of the 1,200-capacity 9:30 Club, whose owners have loudly voiced their opinions and opposition about government aid for construction of such nearby competition. The 9:30 is nationally known and a favorite of touring bands, frequently rated Nightclub of the Year and the country’s largest ticket seller by concert site Pollstar. It remains to be seen how much the two clubs will have different styles and draws.

Of course, music venues, like rock shows, are very complex things and seldom start on time, but Lee described a “very aggressive” schedule. If Lee Development, Live Nation, architects Hickok Cole, and Montgomery County pull it off, they could break ground in October and hold the grand opening as soon as September 2011. In that happy event, a Live Nation rep proposes a month-long gala with a different type of music every night.

See more about the Fillmore project at www.livemusicss.com

DC’s DJ Enferno hit the big time as tour DJ for Madonna’s 2008-2009 Sticky & Sweet Tour. Now he’s making news again mixing Ultra Records’ new double-CD, Ultra Dance 11. The result is “a mainstream dance mix” he said, equally suited to “pop in your CD player, car or house party.”

Adding Enferno’s ear for what moves us to club bangers by Mariah Carey, Lady Gaga, Rihanna, Sean Kingston, P!nk, the Black Eyed Peas, Kelly Clarkson and Britney Spears on the first mix, and lesser known tracks from Madonna, Jordin Sparks, Honorebel ft. Pitbull & Jump Smokers, David Guetta, and Tiesto ft. Tegan & Sara, on the second, does indeed make for perfect party tracks.

Enferno, aka Eric Jao, called On Tap from the road recently as he was en route to Club Silk at Pechanga Resort near San Diego. He was headed there to present a Rane Sixty-Eight mixer demo at the 2010 NAMM Show, a prestigious music-industry-and-invited-guests-only affair. He discussed his musical background, influences and his latest effort.

Raised in Northern Virginia, Jao, whose Filipino parents met in the States, remembers his mom playing the Carpenters and dad listening to Al Jarreau and jazz, but “one thing they had in common that I really liked was a lot of ‘80s R&B, Michael Jackson especially.”

He took piano lessons for eight years starting when he was seven, and later studied jazz piano. In middle school, he made mixtapes of “mainly pop and hip-hop” on his boombox. “I’d take snippets of songs and rearrange them into how I thought they should sound.” He listened to the radio “all the time — WKYS, WPGC, WAVA.”

Jao got his first DJ set-up at 16. “My parents bought the equipment under the condition that I’d pay them back. Playing DJ gigs at high school dances and parties…within two and a half years, everything was paid off.”

A “vinyl guy” until the digital age arrived, the Thomas Jefferson High School student played “a mix of hip-hop and dance, whatever was out on the radio and some up-tempo high NRG.” His first club gig was at Asylum in DC.

When Jao as a University of Virginia freshman, he got booked for a Heaven and Hell-themed party. He went by the moniker Enferno “based on the fact that I was playing the Hell floor and that my first name starts with an ‘e’.”  While at UVA, where he earned a B.S. in Commerce, Jao deejayed a Charlottesville party called Divine, drawing a thousand people or so to every show.

In ’98, Jao saw videos of the 1997 DMC World DJ and ITF competitions which “inspired me to look at the turntable more as an instrument. I thought I was pretty good, but I realized I wasn’t as good as others out there so I started really working hard at that.”

In 2002, Jao became the first DC DJ to place in a national competition. In 2003, at Nation in D.C., he won the title of DMC/Technics U.S. Champion, which launched his full-time globetrotting DJ career. Three years later, he walked into the Paris Virgin megastore and saw a musician creating music on keyboards and samplers, then improvising over it, inspiring Jao to rethink his approach to DJing. “Then seeing deejays like Qbert and Z-Trip doing cool turntable performance acts started me thinking I could take it one step further. I know technology, so I had to invent a rig that could do what I heard in my head.” By the end of the year, his Live Remix Project was born.

To a basic DJ set-up of turntables and a mixer, Jao adds a production rig including keyboards, laptop, effects processor, synth and drum pads, and plug-ins, enabling him to make samples, loop them and add them to tracks he’s playing, or create new music live. “It’s performing electronic music and showing it in an entertaining way,” he explains. On Youtube.com one can see Jao create a live remix of Missy Elliot’s Work It. “I incorporate different elements of Daft Punk’s Harder Better Faster Stronger, add keyboards and sample everything live to make a new song” — complete with live scratching.

A new movement? “People track me down and say ‘You’ve really inspired me’ and send me videos of their own live remixing. Pretty cool.”

On his Ultra tour Jao will return to Orlando’s Blue Martini Club, where his Live Remix Project first caught the attention of Kevin Antunes, Madonna’s music director, which led to Enferno deejaying for the pop icon.
“Traveling the world and getting in front of 75,000 people at a time was a dream come true,” Jao said. “But you learn a lot about detail, passion and perfection because that’s how everybody else on the tour works around you, including her.

“The interaction with the crowd,” he added, was “one of the coolest things about being a DJ. The ultimate reward is being able to make a living and support my family doing what I love.”

For Jao’s Ultra Dance 11 Tour dates and to check out his Live Remix Project, go to www.djenferno.com and www.liveremixproject.com

The Shields Brothers Band at Jammin Java

It’s a family-filled night at Jammin Java with The Shields Brothers Band, Ivy Rose and MadBrenda, beginning at 8 p.m. The Shields Brothers take the stage first; expect the trio to perform hits like “Shark Attack,” “Be My Girlfriend” and “The Walk.” Then MadBrenda, a father-daughters band, will take the stage, followed by Ivy Rose. 8 p.m. $10. — AE

Jammin Java: 227 Maple Ave. East, Vienna, VA; 703-255-1566; www.jamminjava.com

THURS., FEB. 4

Retribution Gospel Choir featuring Alan Sparhawk of Low at Rock N Roll Hotel

Alan Sparhawk scraps his penchant for low-key pop and comes up making glorious noise with Retribution Gospel Choir. Heavy and harmonic, RGCs full-length debut conjures the ghosts of Neil Young and Crazy Horse. Come be transfixed when this talented trio takes the stage at the Rock N Roll Hotel. Tickets are $10. Doors open at 8 p.m. — MC

Rock N Roll Hotel: 1353 H St. NE, DC; 202-388-7625; www.rockandrollhoteldc.com

SAT., FEB. 6

Galactic featuring Cyril Neville at 9:30 Club

New Orleans favorite funksters promise to take it up a notch with the addition of Dumpstaphunk founder (and member of the Crescent City’s royal musical family) Cyril Neville to the bill. Galactic’s psychedelic jam sessions are legendary, but drummer Stanton Moore always manages to keep it locked in the pocket. Tickets are $25. Doors open at 8 p.m. — MC

9:30 Club: 815 V St. NW, D.C.; 202.265.0930; www.930.com

THURS., FEB.11

Wanda Jackson at The Black Cat

Sixty albums on, the First Lady of Rockabilly (and former Elvis arm charm), Wanda Jackson is still belting out her firebrand rock and roll classics like “Riot in Cell Block #9” and “Fujiyama Mama” — though she does temper her set list with the occasional gospel number these days. Greasers in arms, The Lustre Kings, open. Tickets are $20. Doors are at 9 p.m. — HG

The Black Cat: 1811 14th St. NW, D.C.; 202-667-4490; www.blackcatdc.com

SAT., FEB. 13

Punch Drunk Poets and Brainfang at Jammin Java

On Tap featured artist, Punch Drunk Poets, will return to Jammin Java to headline this gig mid February. After a year-long creative hiatus from performing, this quartet is back and better than ever, having revamped their sound and spending time in the studio with music vet Jim Ebert. Their psychedelic rock sound is distinctive in the local music scene. With a solid group of musicians, including talented guitarist Kajun Kelley, there’s nothing holding PDP back. They always perform a high-energy live show; keep your ears open for “Lunatixx,” a personal live favorite. 10 p.m. $10.  — AE

Jammin Java: 227 Maple Ave. E. Vienna, VA; 703-255-1566; www.jamminjava.com

WED., FEB. 17

The Growlers w/ John Bustine and The Vermillions at The Black Cat (Backstage)

Stitching together a lo-fi mélange of surf guitar, garage rock and voodoo rhythm, The Growlers start out like the soundtrack to a beach house haunting before tripping out on tangents of Beefheart-ian proportions. (They are from Southern California after all.) Locals John Bustine and The Vermillions open. Tickets are $10. Doors are at 9 p.m. — HG

The Black Cat: 1811 14th St. NW, D.C.; 202-667-4490; www.blackcatdc.com

THURS., FEB. 18

Dave Alvin & A Couple Guilty Women at The Birchmere

As a Grammy Award-winning solo artist and former member of The Blasters and X, Dave Alvin casts equally large shadows in roots rock and punk circles. For his latest record, “Dave Alvin and The Guilty Women,” he recruited an all-female group of accompanists from both worlds — “a couple” of whom will be in tow for this Virginia show. Tickets are $27.50. Doors open at 7:30. — HG

The Birchmere: 3701 Mt Vernon Ave., Alexandria, VA; 703-549-7500; www.birchmere.com

Los Amigos Invisibles at the Black Cat

If you like to get your dance on, you won’t want to miss Los Amigos Invisibles’ February show at the Black Cat. The Venezuela-born, New York-based party band’s propulsive brand of Latin disco music is guaranteed to keep the crowd jumping from start to finish. Trippy yet accessible, Los Amigos Invisibles move seamlessly from electro-pop to house to bossa nova to salsa to lounge to …whatever. A cool, retro sheen shimmers over the band’s eclectic sound, but the feel is always forward-looking, never nostalgic. At the Austin City Limits music festival last September, Los Amigos Invisibles turned a small side tent into an afternoon dance party that had attendees talking for days. Expect the same when they heat up a cold February night at the Black Cat. Show at 9 p.m. $25 — MC

The Black Cat: 18811 14^th St. NW, DC; 202-667-4490; www.blackcatdc.com

SAT., FEB. 20

John Mayer with Michael Franti and Spearhead

Once the writer of ballads like “Your Body is a Wonderland” and “Daughters,” a more mature (well, musically mature) John Mayer returns to the Verizon Center with another album, full of tracks that prove he’s one hell of a musician. Mayer, who released “Battle Studies” in November, will likely feature new songs, but expect plenty of his hits mixed in. He always dishes out guitar solos that make the best of musicians envious, and anthems that demonstrate how he is reinventing the blues for a more modern generation. 8 p.m. Tickets priced from $42.50.  — AE

Verizon Center: 601 F St. NW, DC; 202-661-5000; www.verizoncenter.com

Nouvelle Vague at 9:30 Club

Known for their cabaret pop covers of punk and new wave classics, France’s Nouvelle Vague may have expanded their ’60s exotica sound to include reggae and (gasp) country, but the formula remains the same. Their latest, “3,” mines hits from college radio staples past, including The Specials and Depeche Mode.  Clare and the Reasons open. Tickets are $20.  Doors are 8 p.m. — HG

9:30 Club: 815 V St NW, D.C.; 202-265-0930; www.930.com

TUES., FEB. 23

Howie Day w/Serena Ryder at Rams Head Tavern

The singer of hit songs like “Collide” and “She Says” will be in Annapolis performing at Rams Head On Stage beginning at 8 p.m. With a sound that’s similar to Matt Nathanson, Day is sure to wow the crowd with his catchy acoustic sound. $20. — AE
Rams Head Tavern: 33 West St. Annapolis, MD; 410-268-4545; www.ramsheadtavern.com

SAT., FEB. 27

Honor By August at IOTA

This On Tap featured band, who just headlined the 9:30 Club, will hit the stage at IOTA at 9 p.m. They’re talented, dynamic, engaging and worth the visit to this Clarendon hot spot. Be sure to listen for “Found,” which could prove to be a hit for this hometown band. $12. —AE
IOTA Club & Café: 2832 Wilson Blvd. Arlington, VA; 703-522-8340; www.iotaclubandcafe.com

SUN., FEB. 28

The Queers w/ Off With Their Heads and The Scare at The Black Cat (Backstage)

Joe Queer has been doing what he does best — two-minute bursts of hook-laden punk rock — since 1982, but may finally be maturing…a bit. He’s sworn off his circle pit standards for this year’s tour and plans to play only his band’s occasional, one-off pop tunes. Off With Their Heads and The Scare open.  Tickets are $10 in advance and $12 the day of.  Doors open at 8:30 p.m. — HG

The Black Cat: 1811 14th St. NW, D.C.; 202-667-4490; www.blackcatdc.com

MON., MAR. 1

Rodrigo y Gabriela at 9:30 Club

When Rodrigo y Gabriela took the stage at the Virgin Fest in 2008, the crowd was mesmerized by their fast, rhythmic acoustic guitars — and I mean heavy metal thrash fast and with as much precision. They are currently touring on the heels of their recent release, “11:11,” consisting of 11 original songs that are a “personal gracias” to the first 11 bands that influenced them, including Pink Floyd, Carlos Santana and Jimi Hendrix. Alex Skolnick (Testament) guests on the album, as do widely respected acoustic veterans Strunz & Farah. The first show sold out quickly so get your tickets today as this may be the last time you will catch them in such an intimate setting. 7 p.m. $35 — CP

9:30 Club: 815 V St NW, D.C.; 202-265-0930; www.930.com

Tegan and Sara reflect on music, fans, and spending 90% of the time with your sister.

Don’t call them a family band — unless you plan on incorporating their fans into the equation, that is. Alternately reflective and raucous, sweet and sardonic, Calgary-born twin sisters, Tegan and Sara Quin — better to known to rockdom at large as Tegan and Sara — have spent the past decade cultivating an outrageously dedicated following that knows every lyric the duo has ever penned, blogs about their stage banter and even reads up on their dream diaries.  But to hear Tegan tell it, it’s all been one big happy accident.

“I know fans want to know about all bands, but it’s in a more intense way [for us] than anything I’ve ever seen,” said Tegan from the road, headed for a sold-out show in Edmonton.  “We’ve been out with bands ten times the size of us and they’re just like, ‘Your fans are crazy…They have this intense bond with you, like they know you.’”

Which is not to say that they haven’t had plenty to study up on.  After recording a string of demos and winning a local battle of the bands at the age of 17, the sisters were signed to a major label fresh out of high school and, since 1999, have released six full-length LPs — each more successful than the last.  Their latest, Sainthood, may signal the end of their first decade of as indie rock tastemakers, but has also spurred them to reinvent the way they write and record.

Though the sisters say the spend 90 percent of their time together, they’ve always written songs independently. For Sainthood, however, they not only co-wrote all of the tracks, but also brought along their live band to add some extra vigor to their latest collection of New Wave-inflected power pop.

“With each record, we map out exactly what we’re trying to do…and we wanted to have [an album] that reflected a little bit more of what we do live. We wanted to record as a live band, set up with all five of us and play together to get the most real feeling backing up the beats. We wanted the bass and drums to be seamless — no overdubs, no punching in, no punching out,” said Tegan.

Lending a hand towards that stripped down approach was one half of fellow indie crossover act Death Cab for Cutie, whose guitarist, Chris Walla, once again returned to produce and play as he had for 2007’s The Con, along with drummer Jason McGerr. Additionally, Tegan and Sara received outside input from Hunter Burgan — bassist for the markedly different goth punk band AFI — who helped pen three of Sainthood’s standout tracks, including its first single, “Hell.”

Come experience the music of Tegan and Sara this month at the Warner Theatre in DC.

“Hunter is funny because he e-mailed us and told us we were his favorite band. He said, you know, ‘I’m in a band. You probably don’t know about us, but if you do, let me know. It would be cool to hang out, I’m really into you guys,’” said Tegan.

“[We’ve] been writing together now for a couple years. A lot of the songs that we wrote…were very emotionally powerful and mature. I just really loved the vibe of them and thought it was so neat to collaborate with someone else.”

With both sisters set to turn thirty in the coming year, the band remains genuinely surprised at the inroads they’ve made with both fans and fellow musicians.  Reflecting on where she thought she’d find herself a decade ago, Tegan says she never expected to Tegan and Sara to become critical darlings, let alone a Billboard charting band that would wind up being covered by The White Stripes or touring with the likes of Neil Young, The Pretenders and The Killers.

“I think on some level I wanted that, but I never actually sat down and said, ‘Here is what I want and I’m going to be a musician. I’ve never been into that,” she said.

“We’ve always had a very open, easy going attitude and I think it was in the past couple years that I realized this is what I really want to do. We’ve had this incredible success and achieved all these amazing milestones and had all these great experiences. I would be extremely devastated if it was over tomorrow. As a teenager, I never would have fathomed this.”

Tegan and Sara will perform at the  Warner Theatre on Wednesday, Feb. 17 at 8 p.m.  Steel Train and Holly Miranda open. Tickets are $35 in advance and $38 at the door.  For more information, visit www.teganandsara.com.

Warner Theatre: 513 13th St NW, Washington, DC; (202) 783-4000; www.warnertheatre.com