By Álvaro Ramal
Starting out in 2017, Belarusian post-punk band, Молчат Дома (Molchat Doma), immediately brought something new to the table. Although heavily inspired by acts like The Cure, Siouxsie and the Banshees, Joy Division, and Soviet-era band Kino, they marked a new era in modern post-punk as a whole. The lead singer’s deep monotone voice, the heavy bass, 80s sounding synths, and already signature drum machine have created an easily-recognizable “Molchat Doma” sound. This is all evident in their massive hit, “Судно (Борис Рыжий)” from their 2018 sophomore album, Etazhi, that exploded their sound into international acclaim. Currently on the North American leg of their ongoing world tour, the trio made a stop in D.C. on a snowy Tuesday, February 11th for a highly anticipated show at The Anthem.
It was the first of two snow days that GW had given in the face of a winter storm that clothed most of the Northeast. I exited L’Enfant Station and was met with a 6-inch layer of fresh snow. I was alone, with a sweater, a puffer jacket, and my face covered up in a makeshift babushka, trying not to freeze my ass off. I’d memorized the 12 minute Google Maps walking route from the station to the venue to not waste my last 25% of battery, which I later did by taking photos of both the snow and the concert. Silly me.
After a trek more apt for an Everest climber than a lost Puerto Rican, I arrived at The Anthem and made my way inside, heading directly to the huge coat-check line while the opening band, Sextile, started their 40-minute set of punk electronica.
As I was dropping off my puffer and scarf, a nuclear thought dropped in my head. I’d forgotten to finish my Excel assignment, due at midnight.
Shit.
Immediately I ran to the bathroom, locked myself in a stall and sped-ran the assignment. I probably did it wrong, but I couldn’t care less. Sextile’s bumping music was penetrating the bathroom walls and all I could think about now was the fact that I should’ve brought ear plugs. Well, bought. I don’t even own any, but I’m in dire need. Phone already at 18%, I unhelpfully fed my hypochondria by googling what can happen to my frail little ears if I keep attending so many loud concerts.
Just like that, as Sextile were finishing up their electric set, I exited the bathroom with two wet pieces of paper towels plugged into my ears. I was ready to roll.
As the minutes passed and the venue filled up, the anticipation kept growing. The average age at The Anthem was around 27-35. A myriad of makeupped goths and five bearded men with Russian fur hats overtook most of my peripheral vision, while the rest filled with people drinking overpriced IPA’s, holding newly bought merch or their partner’s hands. One couple in particular was definitely off their rocker, under the effects of some type of drug; maybe love, maybe shrooms, definitely out of it. Locking eyes and contorting their bodies in all directions while the venue’s speakers played three songs from David Bowie’s last album, Blackstar (released four days before his death) setting the tone for the show that was about to ensue.
All of a sudden, the room went black until the lights came back on a deep, dark red complemented by a heavy smoke machine. The only things visible were the silhouettes of the middle microphone, the guitar and drum machine on the left of the stage, and the huge bass and synths to the right. The Anthem erupted while an epic extended intro of “Kolesom” started playing, welcoming the audience into Molchat Doma’s gloomy world of post-punk and new wave. Bassist Pavel Koslov, was the first to come out and immediately went crazy on the synths, while Roman Komogortsev stationed himself on the drum machine. For a minute and a half, the two set the manic mood that would continue throughout the show before welcoming the singer, Egor Shkutko, in all his balding glory.
Out came the deepest, Russian voice in modern rock & roll. They started with three songs from their last album, Belaya Polosa, that would fit perfectly into a John Wick movie set in 1980s Moscow. Depeche Mode-like synths and deeeeep drum crashes could be heard from a mile away. These sounds complemented Egor’s broody vocals and worm-like dance moves that made him look like a tube man at a car dealership. But like a Belarusian tube man with stringy hair and a sweaty wife beater under a black suit. A badass image, nonetheless.
After finishing the four song intro, it became clear that one of the night’s MVPs was going to be the light technician. I can’t stress enough how insane the whole show looked, mainly because of the multi-colored beams that shot out from the stage onto the ground floor and beyond.
Gearing up for the rest of the night, Shkutko took to the mic and screamed; “VASHINGTOOOOOOOON, SPASIBOOOO!!” A Russian “thank you.” The phrase would be uttered at least 30 times by both the band and the crowd.
Things kicked up a notch around the middle part of the setlist, when the band turned to their more upbeat songs from Belaya Polosa. Then, the trio went back in their discography and played a couple tracks from their debut, С крыш наших домов, as well as some songs from their 2020 record, Monument. Curiously, they left out their most well-known tracks from their sophomore album, Etazhi. This didn’t seem to matter to the audience though, as in a span of minutes, they’d formed two mosh pits and a human chain—which I had no other choice than to join after checking my notifications and seeing my friends celebrating another upcoming snow day.
By this point, my makeshift ear plugs had fallen out and I’d succumbed to the madness. The Anthem felt as if it was transported five decades back. The energy all around the venue was electric. The audience clapped, jumped around, and danced in unison to the synths’ grooves, deep basslines, the infectious vocals, and even some fantasy movie-esque thunder sounds in the background. Elements that made the concert a real immersive experience.
As Molchat Doma ended their hour and a half set and left the stage, it was clear that the night hadn’t ended just yet. A broody instrumental maintained control over the audience who were anxiously awaiting the band’s return. About two minutes later, their wish was granted as the trio took their positions, showing gratitude to the D.C. crowd for their constant energy throughout the show. The band then played three of their most well known songs from Etazhi, “На дне,” “Клетка,” and “Тоска.” Safe to say that everyone in the room bumped it up to 11.
After Tocka’s infectious guitar outro, Egor Shkutko, with a grin on his face, ordered silence in The Anthem.
“ARE YOU READYYYYY!!!,” he screamed in his deep Minsk accent. “ARE YOU READY D.C.!”
Then the drum machine kicked in. It was finally time for “Судно (Борис Рижий),” the song that propelled the band to international acclaim.
Komogortsev stretched out the drum intro as the crowd came to their senses again. The mosh pits returned, couples embraced, drinks were launched into the air as Egor came in droning and Poslov placed the cherry on top with his hypnotic guitar licks. If there was any doubt left as to why it’s their biggest hit, this performance would blow that into the stratosphere. Doubling the song’s length, it was the best way to finish such a great performance. As each member left their positions, one final “SPASIBOOOOO” was interchanged between crowd and band. Having transported the capitol to their dark-wave dystopia with more energy and melancholy than ever, for the third time in their careers, Molchat Doma bid farewell to a snow-buried Washington D.C.
