Really enjoyed listening to this, in particular Interlude 5, which starts with someone calling out "James Brown, James Brown". What follows seems to be a jam built around a bass line from Escape-ism by James Brown. Escape-ism can be found on Hot Pants 1971 and also Revolution Of The Mind, Live at the Apollo 1971.
Ian says "we're trying to do Escape-ism and we're trying to figure out how it goes into it, I'll never get the beginning part and I really don't know how to play guitar, but..." Despite these misgivings what comes next is funky and worth a listen!

What I like about these early recordings are the intimate settings and the dynamics that usually result from that. Only about 50 people attended this particular concert and it seems that plenty of friends came down from DC to take part in the events (note that this is only the second Fugazi gig that is played outside of DC; the recording of the previous show in Chapel Hill, NC unfortunately is not available at this time).
An early And The Same improvisation serves as a sound check and gets things going. Song #1 follows suit and features Guy on backing vocals for the very first time! (Guy actually also pitches in vocally during Waiting Room, Merchandise and The Word, and basically seems to be gearing up to become a definite band member at this point)
A tremendous rendition of Furniture is up next, and although Brendan seems to miss a beat here and there, he really makes this one count with a couple of finger licking subtle drum fills. In Defense of Humans is a treat, providing ample opportunity for Ian’s signature guitar bursts. Turn Off Your Guns gets another solid play as well, and is introduced as “a popular little ditty-di-di-di-di-di-di-di-ditty about suicide”.
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The band then adds another song to the set list as an early, unfinished version of Keep Your Eyes Open (featured on the 1991 album Steady Diet of Nothing) is premièred and this one really lights the recording up for me personally. The band actually drops the ball about half-way through the song, after which Ian pleads to try over; inviting people to shout “Fuck Brendan” should they mess up again. Some attendees seem to pick up on this, which in turn sets off a spark, causing Brendan to make up his own chorus. The result is hilarious, with Ian singing the chorus “We must, we must, we must” and Brendan interpolating “Fuck Eli” (probably Eli Janney, a DC affiliate).
Joe then leads us skillfully into Waiting Room, while Ian takes his time to explain it is a song about “waiting until you get with the right motherfucking people and making it work” and that “it’s worth the wait ‘cause the energy level will definitely be much much higher”, arguable relating the origin of the song to the cumbersome formation of the band itself.
Interlude 5 basically includes a little jam session, providing people with an opportunity “to see exactly what it is like in the very practice space at Dischord House”. Ian and Joe add some authenticity by getting some people to bark to get a feel of the dogs upstairs, and even try to get someone to mimic Jeff (Nelson).
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A great version of Merchandise is up next, during which Ian finds yet another opportunity to elaborate on the meaning of the song. By now, the mood is very casual and everyone seems to feel very much at home, which results in an engaging version of the Joe #1 instrumental during which Ian repeatedly, yet unsuccessfully opens the floor (and mic) for anyone willing to get something off his or her chest or to even recite some poetry.
As would often be the case during Fugazi gigs from here on out, Ian fully praises a local food joint, in this case Grace Place, what seems to have been one of the first vegetarian restaurants in the state of Virginia, maybe even the first in Richmond (it seems to have closed its doors in the 1990s). An incredibly fun and downright sizzling version of The Word concludes the set and evening, eliciting shouts and hoots from band and audience members alike.
Listening to this recording, you can easily pick up on the jovial mood of those present, everyone having a great time. It is quite infectious and I very much enjoyed listening to it, actually wishing I could have been there.
Overall, I think the drums, bass and guitars sound very well in the mix; the vocals come across rather shrill though, and are a bit sharp on my ears.
To conclude on a side-note, I would like to point out that some of the information related to the show details might be incorrect, since Ian repeatedly mentions and thanks the bands Oi Polloi and Killjoy.

I really like these old recordings of the early days ("sooner or later we will be like playing for an hour and a half"), with a pre-version of KYEO that rocks your socks off...