Logikbomb – The Heights (aka: Her Lips)
Suzanne Brindamour – The Arrival
Den-Mate – For Free
Lungfish – Constellations
Wye Oak – Dogs Eyes
Screen Vinyl Image – Edge of Forever
Jonny Grave – Afraid of the Dark
Brûlée – Driftin’
Fat Kneel – Solaris
Marvin Gaye – What’s Happening Brother
Oddisee – In Your Eyes
Sansyou – Best Ones Choose You
AXB – Flea Markets
The Sea Life – Prozac & Merlot
Lance Neptune – Umbrella Girl.
Beautiful Swimmers – The Zoo
G-Flux – Cumbia Cosmica
Bucky’s Fatal Mistake – Hello
Aaron Gage – Vinayaka
They’ll Have Dreams – Walk to Freedom

Abdu Ali at Clementine Cafe:

Den-Mate at Court Square Theater:

The Obsessives at Little Grill Collective:

Zomes at Court Square Theater:

Bless at Artful Dodger:

Dove Lady at Court Square Theater:

All photos by Cassandra Mullinix

“It was time for us to leave,” emails Peter Lillis, a Babe City resident who runs the label’s publicity. According to Lillis, Babe City met the same fate as dozens of D.C. house venues before it: The property at 22nd and N streets NW is being “gutted and flipped and sold for big money,” he writes.

Lillis says he and his roommates have moved to a house near Fort Totten Metro. (For privacy reasons, he asked Bandwidth not to publish the address.)

After Babe City began hosting basement shows last fall, the spot became one of D.C.’s most reliable hosts of underground, rock-skewing bands, putting on at least a few gigs a month. Raucous New Paltz punk duo Diet Cig played there twice this year; pop-rock Virginians RDGLDGRN packed the basement in July.

When Jon Weiss (of The Sea Life and Witch Coast) and Erik Strander launched Babe City Records, the house became its headquarters.

But the location — in one of D.C.’s most expensive neighborhoods — felt temporary from the beginning, Lillis points out. “As much as we love it, [Babe City] was never meant to be our permanent home,” he writes. “We quickly outgrew the space, with five people living in a three-bedroom house, and many bands operating out of our living room and basement.”

Moving elsewhere promises to be a money-saver. “We were happy to move to a more comfortable (and cheaper) home up in north D.C.,” Lillis writes.

The second incarnation of Babe City hosts a kickoff show Dec. 27 featuring Babe City act Den-Mate, San Francisco’s Sports and a solo version of Maryland’s Go Cozy. Donations will be taken at the door.

In true punk-rock fashion, the residents of Babe City exited Dupont with little pomp and circumstance, Lillis says. “We packed and moved in the middle of the night with a 24-foot U-Haul,” he writes. “It was an experience.” 

Babe City II hosts its first show Dec. 27. See Facebook for details.

The party decor doesn’t feel out of place. This is a celebration. It’s the first anniversary of Babe City Records, a D.C.-based record and cassette label that captures the new sound of the city’s indie-rock scene — and the show is nearly sold out.

Formerly associated with Chimes Records, Babe City was spearheaded by musicians and fans who wanted to carve out a place for themselves in independent music. Now the label is on a mission to help other local bands do the same.

The label’s Jon Weiss, 24, and Peter Lillis, 28, are also musicians: They both appeared onstage during the anniversary show, handling guitar in Jules Hale’s band Den-Mate. (Weiss also sings in Babe City group The Sea Life.) Weiss and Lillis play major roles behind the scenes, too: They quite literally live Babe City, which shares its name with their group house and DIY venue in D.C.’s Dupont Circle neighborhood. The guys moved into the house in August 2014 and started hosting shows the following month.

Co-founded by Erik Cativo (aka Erik Strander) and Weiss, Babe City is now operated by a small group of friends. Cativo and Weiss handle key roles behind the scenes, including production and booking, respectively. Lillis serves as the label’s publicity guru. More help comes from Kevin Sottek, a member of Babe City signees Witch Coast, who’s the label’s art director; Jen Pape, who recently joined as a project manager; and Michael Andrade — an occasional Bandwidth contributor — who’s Babe City’s official photographer.

“We’re all nerds about something,” Lillis says. “Everyone comes into it with their own background and passion and it fills out all the space in between.”

Babe City likes to be inclusive. For the 9:30 Club gig, the label roped in D.C. bands The Max Levine Ensemble and The El Mansouris, poppy rock ensembles with no official tie to the label. With the slogan “everyone’s a babe at Babe City,” the imprint doesn’t want to be thought of as male-oriented or sexist (though the anniversary gig’s lineup was heavily male).

Weiss says David Combs, the longtime leader of The Max Levine Ensemble (and also a Bandwidth contributor), was his first musical role model when he first started to probe the D.C. music scene at age 16. “Having him on this show was awesome,” says Weiss, a Rockville native who’s only eight years younger than Combs.

In an indie-rock scene as transient as D.C.’s, it doesn’t take long for scenesters to become elder statesmen. Weiss has been involved with The Sea Life for eight years, and he thought his experience could be helpful to rising bands like Young Rapids. The musician says his desire to support other local groups was a major impetus behind Babe City’s creation.

“When you have this album that you’re proud of and you can’t put it out, or you don’t know how to put it out, or you don’t have direction for it,” Weiss says, “it’s very defeating.”

Lillis agrees. He says Babe City is here to help.

“Bands can get bogged down in the non-music stuff from recording, to booking shows, even finding a place to practice,” Lillis says. “There are so many logistics that can be a detriment to bands. We want to let them be the musicians, and we’ll get the rest of it done for them.”

Now Babe City wants to take its mission a step further. They want to work on getting their music licensed for media, sign more out-of-state bands and grow into a national — as well as local — label. And they’d like to expand into vinyl.

“[Vinyl] is our favorite format,” Weiss says. “We don’t want to be just a cassette label. Most of the labels we look up to are primarily vinyl. To be viewed by them as peers would be an awesome goal for us.”

But while the 9:30 Club gig felt like a party, both Weiss and Lillis say the work has just begun.

“We’re happy and excited, but we’re not patting ourselves on the back,” Weiss says. “We’re not ready to do that yet. We want to just use it as motivation and validation to work harder.”

Second photo: The Sea Life at 9:30 Club, by Michael Andrade

The original version of this post contained errors and imprecise language. Due to a reporting error, it incorrectly identified Peter Lillis, who works on the label, as a co-founder. (Jon Weiss and Erik Cativo are co-founders.) Second, due to an editing error, we described Babe City as a cassette label, but that’s not entirely accurate: It has released music both on vinyl and cassette. Third, Babe City is better described as an affiliate — not a direct descendant — of Chimes Records. Finally, we first referred to Young Rapids as “younger” than The Sea Life, but that wasn’t the best word choice. We meant the band has existed for less time. The language has been corrected.