Reed Doherty, Dylan Fitchett, and Sean Hopkins perform. Credit: Victor Cruz

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At Boundary Stone, Reed Doherty started behind the bar and ended up inside the jukebox. His EP, Reed Appleseed (2017), was at the front of the deck, alongside selections from the Chuck Brown Band and Pavement. On Thanksgiving this week, the Bloomingdale-based bar will close until further notice after nine years in the neighborhood. Over the years, Boundary Stone’s been many things, but night in and night out, it was a place where people could gather around music—whether at open mic night on Mondays or shows throughout the week. Doherty was the charismatic showman who led open mics and managed bookings for the live shows. He introduced the bands, did the sound, and would sometimes join them on guitar or vocals at the end of a show. In an uncanny and quiet moment, you could see him singing one song across the bar, then hear his voice softly coming out of the jukebox, singing the same song. His own songwriting is folk-oriented and skews psychedelic in his most recent project, Half Bath, but he found space for himself regardless of who was playing. The barriers between crowd and performer broke down, and musicians rotated until something clicked. Next to seeing your friends and enjoying the food, it was the kind of moment you held out for; it was the kind of moment that Doherty cultivated, which feels so distant now. But while live shows are out the window, you can listen to Reed Appleseed and Half Bath to try and recapture those moments from your own house. The albums are available on iTunes, Spotify, and Bandcamp. Prices vary.