The Washington Post - USA (2022-03-06)

E4 EZ EE THE WASHINGTON POST.SUNDAY, MARCH 6 , 2022

spring arts preview | pop music

BY CHRIS RICHARDS

If it isn’t obvious by now, there will be no

post-pandemic restart on the American con-

cert circuit. Instead, our nightlife will (hope-

fully) continue to flicker back in fits and

starts while audiences (hopefully) continue

to respect one another by wearing masks

inside the listening rooms where they con-

vene. Maybe it’s been a while, but if you’re

finally heading back into clubland this

spring, remember that it’s not just to hear big

sounds in dark spaces. You’re going out there

to share the communal joy of music with

other people. Honor them, honor the musi-

cians, honor the venue staff, honor yourself.

Mask up.

Jazmine Sullivan

It’s been 14 months and change since this

Philadelphia-raised R&B singer dramatically

expanded her music’s truth-telling capabili-

ties with her fourth album “Heaux Tales,” a

collection of heart-bruised songs rendered

with exhilarating candor and a heightened

attention to detail. The only way for Sullivan’s

music to feel more real is to hear it sung in

3D.

Jazmine Sullivan March 20 at the Anthem.

theanthemdc.com.

Sons of Kemet

This propulsive British group — an unor-

thodox quartet with two drummers and two

SEE POP MUSIC ON E6

A new chance for

D.C. nightlife with

upcoming concerts

SONNY ROSS/ILLUSTRATION FOR THE WASHINGTON POST

Now open at the National Mall

Follow Raven on a multisensory journey from

darkness into light. Preston Singletary (Tlingit

American) tells this Northwest Coast origin story in

stunning new glass works.

Organized by the artist and Museum of Glass,

Tacoma, Washington. Guest curated by

Miranda Belarde-Lewis (Zuni/Tlingit), PhD,

and the multisensory visitor experience was

designed by zoe | juniper.

Generous support for the exhibition at the

National Museum of the American Indian

provided in part by Dr. Quincalee Brown and

Dr. James. P. Simsarian, Uschi and

William Butler, and Mary W. Hopkins.

americanindian.si.edu

The story climaxes with Raven releasing the sun. His human grandfather, fed up with his tricks, holds him over

a smoke hole, turning him black. Gagaan Awutáawu Yéil (Raven Steals the Sun), 2008; blown,

hot-sculpted and sand-carved glass. Collection of Museum of Glass (VA.2009.28). Photo by Russell Johnson,

Courtesy of Museum of Glass

Preston Singletary:

Raven and the Box of Daylight