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Jonathan Richman in Washington DC

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Jonathan Richman
9:30 CLUB — Washington, DC

Jonathan Richman emerged from Boston in the early 1970s as a founding member of The Modern Lovers, a band that made lo-fi urgency before lo-fi was a genre. His songs sound like they're being explained to you by someone genuinely excited about small things — a car driving fast, a painting, everyday people. 'Roadrunner' became an indie rock touchstone, all nervous energy and repetition. Solo, he's recorded constantly across decades, often with minimal production, sometimes with ukulele, sometimes with full band. He's recorded children's songs, film scores, and novelty records with the same earnest intensity he brings to heartbreak songs. Richman doesn't perform for effect. He plays what he means, even when what he means is deliberately silly. His influence far outweighs his mainstream recognition — he's the missing link between 1960s pop sensibility and punk's anything-goes ethos, filtered through an art student's brain.

Richman performs like he's thinking through the song in real time. The crowd quiets down to listen. He might joke between numbers or explain a song's premise in unnecessary detail. No grandstanding. Just a guy with a guitar or ukulele, occasionally joined by a band, genuinely present.

Known for Roadrunner, Pablo Picasso, I'm Straight, Government Center, It's You

Jonathan Richman played Lincoln Theatre in October 2022, bringing his particular brand of deadpan earnestness to a Washington DC crowd. The setlist was characteristically idiosyncratic—he opened with "We'll Be the Noise, We'll Be the Scandal" and spent the evening ping-ponging between languages and moods. "I Was Dancing in the Lesbian Bar" and "Old World" sat comfortably next to French-sung passages and a song literally titled "¿A qué venimos sinó a caer?" He closed with "I Had to See the Harm I'd Done Before I Could Change," which feels exactly like the kind of unvarnished statement Richman would choose for a finale. The whole thing was quietly strange and genuinely moving in that way only Richman manages.

DC has always had room for the weird and unmarketable. The city's DIY ethos—rooted in decades of punk and indie rock—naturally extends to artists like Richman who refuse to fit neatly into genre boxes. He's never been about flash or accessibility in the conventional sense, which means DC audiences, accustomed to artists who prioritize sincerity over polish, tend to get what he's doing.

Stay in Georgetown or Capitol Hill, both walkable neighborhoods with excellent restaurants and bars. Book a table at Kinfolk in Capitol Hill for refined New American cooking, or head to Pineapple and Pearls for something more elaborate if you want to splurge. During the day, the Hirshhorn Museum and Sculpture Garden offers world-class contemporary art without the crowds of the main Smithsonians. Walk the C&O Canal towpath if the weather cooperates. Hit up one of the city's serious record shops like Smash! Records before the show.

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