Lookout is a Maryland fivesome with songs about white youth reality feelings. They were not ponderous but uptempo, conjuring up Britpop of prior decades. If you like The Delgados, The Sundays or the Go-Betweens, Lookout is for you.
Singer Kate features a mezzo soprano with some of the gravelly bottom of a Janis Joplin. Guitarist Jack favors a dry sound, ala Johnny Marr or Max Eider. They got the best mix I have ever heard in the Quarry House in Silver Spring, Md., on Tuesday, Oct. 28 Afterwards, the sound guy running the board with eight inputs told me that Lookout was exceptionally dialed in through their own amps, which is generally not the case, anywhere.
They have a few songs on Spotify. Check out “Pretty Names” and “Aw Shucks.” Bassist Beck told me that playing in Lookout is a “deep financial endeavor.” Good luck to them.
Hana Eid popped up in my Spotify feed a while back. Her first album “Trains Running Backward” is about to drop, but she shows the skills of a veteran. She played her first four songs on electric guitar, solo, and then several on acoustic. The songs are the age- appropriate introspection/confessionals of 20-something women that I have been reviewing on this blog, with a lot of bite. Her voice reminds you of Katy Kirby, but Eid can push up to a falsetto.
There’s a lot going on in her head, in her dreams and on the edge of her bed. I’m partial to Eid since she is from nearby Fairfax, Va., and she’s the real deal. The authentic delivery made me feel like I was 23 again, and I am way past that. Check out a few of her songs, like “Weird,” “Dancing to the Smiths,” “Avoid the News” and “Austin Song.”
Her guitar chops filled the basement. Pretty Jane joined her for her last songs, but she could have done without them. PJ featured arpeggiated steel guitar and keyboard sounds with sustain that overwhelmed her vocal feed.
I could tell headliners Pretty Jane was going to be loud, and the tire pressure readings in the car were acting up and had to be dealt with, so I left.