Daily: Progression at Multiple Exposures Gallery

It’s a project with a design so convoluted that few would dare attempt it twice within nine months. But the photographers of Multiple Exposures Gallery are game for another Progressions exhibit, in which 15 members contribute 45 images in sequence, thematically playing off the previous image with either a photograph they’ve already taken or with a new one. The new image may mirror the previous one’s subject matter, composition, or color, but there needs to be some visual or thematic linkage. As with last year’s version of Progressions, windows and chairs are a bit overused as transitional elements (this time around, I’d add clouds to the overused list, despite their loving portrayals throughout the exhibit). The intended connections usually become clear; only a couple of times was the link so obscure that I missed it. But the real test of images in the exhibit isn’t their connection to the preceding and following photographs, but whether they stand out in isolation. Fortunately, many in Progressions do. Notable images include Irina Lawton’s spindly playground structures set against a fire-red sky; Stacy Smith Evans’ gaggle of teenagers on a European street corner; Sandy LeBrun–Evans’ bracingly rough-hewn image of a cafe patron and a figure walking through a passageway in the background; Soomin Ham’s barely visible insect on a striated, translucent surface; Van Pulley’s portrayal of a sand dune that ranges in tone from sepia to inky black; and Alan Sislen’s image of a man alongside a rural road marked by zebra-like shadows, thanks to trees lining the roadway. With Progressions, come for the brainteaser, but prepare for some wide-eyed stops along the way. Progressions runs through July 28 at Multiple Exposures Gallery at the Torpedo Factory Art Center, 105 N. Union St., Alexandria. Daily, 11 a.m. to 5 p.m. multipleexposuresgallery.com. Free. —Louis Jacobson

Saturday: The Last Podcast on the Left at Warner Theatre

Is this what theaters like the Warner were built for? Obviously, the architect of this gorgeous building didn’t foresee podcasting when it was constructed in 1929—the space originally screened silent movies. But watching three dudes chat about topics formerly reserved for dark bars and currently explored in dark corners of the internet actually works on a big stage surrounded by hundreds of like-minded individuals. Unlike some of the other podcasts acts able to sell a thousand tickets in most major markets, the fellas of The Last Podcast on the Left are not brought to you by National Public Radio or DraftKings. They’re also not trying to solve a murder or save democracy or threaten democracy by being bad li’l boys. The LPOTL dudes, comics Marcus Parks, Henry Zebrowski, and newest host Ed Larson, are kind of a podcast throwback, funny people exploring a topic—in this case “all things horror” (hence the name playing off Wes Craven’s 1972 directorial debut)—for 90 to 120 minutes. There are jokes, there are fun facts, there is frivolity. Close your eyes and get transported to when podcasts were better, before Spotify and your favorite public radio station helped make the art form a lot more boring. The Last Podcast on the Left starts talking at 8 p.m. on July 13 at Warner Theatre, 513 13th St. NW. livenation.com $49.25. —Brandon Wetherbee

Sunday: Folger Library Pop-Up Book Fair

If you loved the Scholastic Book Fair as a child, fell in love with William Shakespeare’s work in school, and have been meaning to check out the recently reopened Folger Shakespeare Library—or you’re just a well-rounded reader or thespian, this event is for you. This Sunday, the Folger invites D.C. residents into their renovated facilities for a free Pop-Up Book Fair showcasing literary work from the Folger’s 2024–25 season. The upcoming season, titled “Whose Democracy?”, will feature a production of Shakespeare’s Romeo and Juliet, directed by Raymond O. Caldwell, and Twelfth Night, as well as Lauren Gunderson’s A Room in the Castle, which reimagines Hamlet from the women’s narratives. In addition to selling books, the Fair will feature a family story time, poetry reading, and literary giveaways from the Folger and local independent bookstores. Last year, while the Folger building was still undergoing massive renovations, the book fair was hosted at Capitol Hill’s East City Bookshop. This year’s event hopes to welcome the D.C. community back into the reimagined space and show that the research library meets theater has something for everyone. While you’re there, check out the Rita Dove poem carved into the west garden’s marble edge. The book fair starts at 11 a.m. on July 14 at Folger Shakespeare Library, 201 E. Capitol St. SE. folger.edu. Free. —Serena Zets 

Wednesday: Pebble to Pearl at the Wharf

The Wharf is one of D.C.’s gems—the sunsets, ambience, and liveliness accompanied by seagulls, waterfront breezes, and the smell of Old Bay from the fish market make it the perfect place to spend the summer. Its free (yes free) summer concert series Rock the Dock adds to the cacophonous sounds of the season. Presented by Pacifico, the concerts take place every Wednesday evening through Aug. 28 and offer a cool reprieve of the heat. Genres range from R&B, jazz, reggae, and go-go to country and pop covers. This week’s act is Pebble to Pearl. The local six-piece are known for playing funky, contagious dance tunes that blend R&B, blues, and soul. Lead vocalist Dari J has been praised for her powerhouse vocals and pianist Araya has been celebrated for his virtuosity. They’re sure to have you shimmying with your Dark and Stormies in hand. (Cantina Bambina is mixing some delicious drinks to make the evening that much sweeter.) Pebble to Pearl play Rock the Dock at 7 p.m. on July 17 at Transit Pier, 970 Wharf St. SW. wharfdc.com. Free. —Simone Goldstone 

Ongoing: Capital Brutalism at the National Building Museum 

The National Building Museum’s Capital Brutalism presents itself almost apologetically: The opening wall statement acknowledges that D.C.’s concrete behemoths are the city’s “most polarizing architectural landmarks,” and at one point the exhibit quotes former Housing and Urban Development Secretary Jack Kemp unflatteringly calling his own agency’s headquarters “10 floors of basement.” In fact, when the exhibit focuses on such buildings as the HUD headquarters, the J. Edgar Hoover FBI building, Georgetown University’s Lauinger Library, and the Energy Department’s James V. Forrestal Building, it spends almost as much effort discussing innovative proposals to revitalize these alienating edifices as it does on the buildings’ historical context and their current uses. Capital Brutalism presents its topic fairly, noting that in the 1960s and early ’70s, when most of these structures were built, the architectural establishment greeted them with applause. In one clipping shown, Benjamin Forgey, Washington’s leading architecture critic from 1964 to 2006, wrote in 1975, when the headquarters of what is now the Department of Health and Human Services opened, that the building was “several notches better than anything … the federal government has constructed in Washington in recent years.” (Today, this sounds like damning with faint praise, but it didn’t at the time.) Notably, the exhibit spotlights a few praiseworthy examples of the style, each of which, a close reading will indicate, are signaled by the lack of an appended how-do-we-fix-this? proposal. They include the Hirshhorn Museum and Sculpture Garden, with its smooth, circular exterior and rounded interior galleries; Dupont Circle’s wedge-shaped Euram Building, which, to be fair, benefits from its largely non-concrete exterior; and the semicircular concrete vaults of the Washington Metro, which, for all of Metro’s service shortcomings, still looks more attractive than New York’s subway system any day. Perhaps the thread that connects these successes is curves; the lesson for architects is, if you must go brutalist, please junk the concrete box. Capital Brutalism runs through Feb. 17, 2025, at the National Building Museum, 401 F St. NW. Thursday through Monday, 10 a.m. to 4 p.m. nbm.org. $7–$10. —Louis Jacobson

Thursday: Bratty at Songbyrd

On the opening track of TRES, the third album by 23-year-old Culiacán, Mexico, native Jennifer Abigail Juárez, the singer-songwriter confesses over a gentle acoustic guitar that she wants to “Write a new album/ One that’s really worth it.” That sort of frankness and insecurity, narrated in Juárez’s sweet soprano voice, has distinguished Bratty, her musical project, since its inception in 2018. Bratty came on to the scene with Todo Está Cambiando, a self-produced shoegazey EP that made waves in Northern Mexico’s indie scene and kicked off a successful musical career full of noteworthy collaborations (Cuco, Metronomy) and performances (Coachella 2023). Throughout TRES, Juárez openly wrestles with the moderate fame she has accrued over the past six years. “I get depressed when I turn on the radio,” she sings on “Radio,” a pop-rock indictment of the music industry and an admission of self-sabotaging tendencies. Depression is a recurring theme on TRES: It’s seasonal on “Agosto,” it keeps Juárez in bed on “Estos Días,” and it teams up with her anxiety on “¿Que Será De Mi?,” a beautiful duet with Mexican indie-pop artist Ivana. Bratty’s confessional, melancholy lyrics pose a sharp contrast to her danceable indie-rock arrangements, the product of a 20-something who grew up listening to Mexican genres like norteño and corrido, then logged on and discovered artists such as Snail Mail and Best Coast (Juárez named herself Bratty after Best Coast’s “Bratty B”). Listening to TRES, with all its insecurity and self-doubt, you get the sense that Bratty isn’t really the type to sing her own praises. So take it from us: TRES is definitely an album que vale la pena. Tickets to see Bratty bring her spectacular songwriting to Songbyrd this Thursday are worth it, too. Bratty plays at 8 p.m. on Feb. 29 at Songbyrd Music House, 540 Penn St. NE. songbyrddc.com. $18–$22. —Ella Feldman

Thursday: A Night of Women in Americana at Pearl Street Warehouse

Sometimes magic begins with a hashtag. D.C.-based singer-songwriter Jane O’Neill searched for the hashtag #queeramericana on Instagram, seeking other queer country, folk, and American roots musicians: The first artist she found was Philadelphia-based Brittany Ann Tranbaugh. “Historically, country and folk music has a lot of heterosexual narratives, and it’s cool that we can tell our stories,” O’Neill says. “We can tell love stories and paint these pictures. Besides a few artists, like Brandi Carlile, we don’t hear as many stories, especially the experiences of queer women in these genres.” O’Neill and Tranbaugh “became fast friends on social media,” O’Neill says, and after meeting in person when Tranbaugh played the Pocket last fall, the two artists started planning a show together. The resulting concert at Pearl Street Warehouse brings together O’Neill and Tranbaugh as co-headliners, each with a full band, and Nashville-based Mary Moore opening the show. Moore is a folk-pop dreamer with soaring vocals and beautiful melodies. Tranbaugh won the 2021 John Lennon Songwriting Contest for her song “Kiss You”—she is a powerful storyteller in her evocative, heartfelt songs with a rich, bountiful voice. And O’Neill, a Midwest transplant who lives in Dupont Circle and works full time in marketing and event planning, has really been ramping up her burgeoning musical career during the past year, playing at Songbyrd, Big Bear, and various Sofar Sounds Shows around the District. Earlier this month, O’Neill released her self-titled EP, a confident work devoted to different kinds of love—former flames, toxic exes, long-standing friendships, and self-love—told in intimate, vulnerable lyrics performed in different styles of Americana. “It’s gonna be a really magical night,” O’Neill promises. “It’s Leap Day, there are three women onstage, and there’s a lot of power in that.” Jane O’Neill, Brittany Tranbaugh, and Mary Moore play at 8 p.m. on Feb. 29 at Pearl Street Warehouse, 33 Pearl St. SW. pearlstreetwarehouse.com. $14. —Colleen Kennedy

Opens Saturday: Through the Sunken Lands at the Kennedy Center

Follow Artemis Through the Sunken Lands at the Kennedy Center this spring as she fights to save her town after a consuming flood. Artemis’ story, told in a musical, begins at the library, where she finds herself trapped and separated from her family. The library becomes her sanctuary—and a tool for finding out what’s in store for her town. As Artemis crafts an escape to her Aunt Maggie’s house, she learns of a local committee plotting to take over the town during its demise. Artemis enlists Maggie and a talking heron to resist the committee and take back control. The challenge takes Artemis on a journey of growth and enlightenment. Artemis, a wheelchair user, faces her disabilities and harnesses their power to rebuild after the flood. She finds strength in her character to persevere and save her town, Arcady. Through the Sunken Lands is adapted from Tim J. Lord’s radio play, which was commissioned in 2021 by the Kennedy Center to engage young audiences during the pandemic. Lord is part of the creative team behind the musical. “Disability isn’t a challenge that needs to be overcome—it’s something to celebrate as yet another thing that makes each of us unique and interesting humans,” Lord says in the Kennedy Center’s press release. On March 2, the artists and creative team behind the musical will share stories and answer questions after the performance. On March 9, the musical will be a sensory-free performance. Through the Sunken Lands opens March 2 and runs through March 17 at the Kennedy Center, 2700 F St. NW. kennedy-center.org. $20. —Anupma Sahay

Ends Sunday: Soomin Ham at Multiple Exposures Gallery

In her photography, Soomin Ham returns often to deeply personal imagery. In Recollections, her most recent solo exhibition at Multiple Exposures Gallery, Ham does so again, including repurposing works from a previous exhibit, Sound of Butterfly, in which she photographed her late mother’s possessions using stunningly creative techniques such as encasing the images in ice or leaving them out to be covered by falling snow. Recollections doesn’t have the same intense focus on grief; it’s more about her journey through “fragments and layers that shape a landscape of dreams, losses, and memories.” A major recurring theme in her current show is the contrast between light and dark; “Lights for the Fallen” pairs a washed-out portrayal of tombstones with an inky sky filled with twinkling stars, while the vertical diptych “East” and “West” twins portrayals of upside-down and right-side-up branches. Ham includes five images from her “Windows” series, notably a soft-toned stack of clouds hovering over a thin strip of land and a peaceful, pictorialist depiction of a family of ducks on the surface of a lake. Ham’s most enigmatic image may be “Once Upon a Time,” in which a series of footprint-like impressions recedes into the distance in the sand—or are they actually ascending into the sky? With Ham at her moodiest, it’s hard to be sure. Recollections runs through March 10 at Multiple Exposures Gallery at the Torpedo Factory Art Center, 105 N. Union St., Alexandria. Daily, 11 a.m. to 5 p.m. multipleexposuresgallery.com. Free. —Louis Jacobson

Next Thursday: The Mother Hips at the Hamilton

California soul is a little upbeat, a little retro—a wonderful collision of surf and groove. This catchy, feel-good vibe, exploding with depth and texture, is delivered impeccably by the Mother Hips. Their genius is hard to pin into one category or another, but the band’s 30-year career can only be classified as great. Having caught the attention of super producer Rick Rubin, the Mother Hips released a new album last year called When We Disappear. It’s a perfect mix of bluesy rock and psychedelia, think juke joints along the Pacific Coast Highway, cowboy boots in the sand, next to surfboards and seagulls, reminiscent of when the Band moved to Malibu in the 1970s. This successful mixing of genres is why the Mother Hips have such a cult following. Highlights of When We Disappear include the title track, which offers an electric sound that’s also reminiscent of Bob Dylan and the Band’s The Basement Tapes, while “Spirit of ’98” carries the dissociative floating sense of Dark Side of the Moon paired with imagery of the wild west. And “Leaving the Valley” has all the smooth R&B makings to get you feeling a little groovy in your bell-bottoms, which you should wear when the Mother Hips bring their unique collision of psychedelic Americana music to the Capitol on March 7. The Mother Hips play at 9 p.m. on March 7 at the Hamilton Live, 600 14th St. NW. live.thehamiltondc.com. $20–$30. —Simone Goldstone

Tonight: RENAIDDANCE: Beyoncé Celebration at Union Stage

Even after two nights of FedExField shows in August that drew A-list attendees like Vice President Kamala Harris, or the recent Renaissance Tour movie that sold out theaters across the District and broke box office records, the DMV (and the world, if we’re being honest) still can’t get enough of Beyoncé. Whether you were at the concert or not, you can dance like you’re in Club Renaissance on Dec. 21 when Union Stage hosts the event of the holiday season for the most devoted members of the BeyHive: RENAIDDANCE: Beyoncé Celebration, a dance party dedicated to the already iconic album. The event’s DJs tell partygoers to expect to hear every song on the album, artful transitions and all, making for a perfect pre-Christmas break dance party. Put on your shiniest glitter that will make even your worst enemy say “it should cost a billion to look that good,” and grab your friends, co-workers, roommates, partners, and crushes to dance the night away before much of the city scatters for holiday travel. As queen Béy says, “Move out the way, I’m with my girls and we all need space.” See you on the dance floor. The party starts at 9 p.m. on Dec. 21 at Union Stage, 740 Water St. SW. unionstage.com. $25.  —Serena Zets 

Saturday: What Goes On: Teen-Beat Edition at the Black Cat

Justin Gellerson (aka DJ Just–in–Time) hosts a rock music dance party at the Black Cat called What Goes On that sometimes showcases D.C. sounds. This month’s “Teenbeat Edition,” named after the seminal indie label Teen-Beat, will feature the label’s head, Mark Robinson, and Gellerson spinning tunes from Robinson’s once locally based company. The now Massachusetts-based Robinson, best known as the singer and guitarist of Unrest, has released often artsy, sometimes straight-ahead pop and punk music by a range of acts including D.C.-area outfits Tuscadero, Eggs, and Robinson’s own bands. Before COVID, Robinson used to regularly host an annual Teen-Beat holiday gig in the D.C. area. The event will also screen Robinson’s 2019 film, Amateur on Plastic, a story on eccentric outsider rock musician Butch Willis. The film includes 1980s through 2010s footage of the mullet-haired Maryland singer in archival public-access show footage (some from Jeff Krulik, director of Heavy Metal Parking Lot, who managed Willis for a time), home video, and real and fake interviews. Willis, who was fond of wearing fluorescent blue spandex pants and cowboy boots, notes in the documentary his earlier fondness for doing drugs, and that he was once kicked in the head by a horse. Onstage, he applies his scratchy but tuneful vocals to songs with his band the Rocks, which included both folks on standard rock band instruments as well as throat guitarist Al Breon, who made unusual sounds while chopping the front of his neck with his hand. While the performances vary from rocking to funny, the Willis interviews often have a bittersweet aspect, especially one from an older, gray-haired Willis proclaiming his disinterest in talking about his earlier rock music life. What Goes On: Teen-Beat Edition starts at 7 p.m. on Dec. 23 in the Black Cat’s Red Room, 1811 14th St. NW. blackcatdc.com. $10–$15. —Steve Kiviat

Friday, Dec. 29: Disco Biblioteca at People’s Book

Earlier this year, City Paper highlighted some of the region’s most unique book clubs and the strong communities they’ve formed here. Since we dug into those book clubs, the locally owned independent People’s Book opened in Takoma Park. Already, in its first six months of operation, People’s Book has become a community hub by hosting monthly clubs, multiple author talks, and a poetry reading series spearheaded by Elizabeth Bryant and Takoma Park’s Poet Laureate Taylor Johnson. A strong addition to the area’s diverse book club offerings, People’s Book’s Disco Biblioteca hosts its next gathering on Dec. 29. The club is facilitated by Takoma Radio’s own Night Nurse and is soundtracked by a playlist curated to match the topic and vibe of each month’s read. This round is digging into Gayle Wald’s 2007 book, Shout, Sister, Shout!: The Untold Story of Rock-and-Roll Trailblazer Sister Rosetta Tharpe, about the “godmother of rock and roll” Sister Rosetta Tharpe. Ring in the new year with some rock ’n’ roll and new book club friends! Make sure to check out People’s Book’s unrivaled zine and graphic novel collection too. Disco Biblioteca starts at 7 p.m. on Dec. 29 at People’s Book, 7014-A Westmoreland Ave., Takoma Park. peoplesbooktakoma.com. Free. —Serena Zets

Friday, Saturday, and New Year’s Eve, Dec. 29, 30, 31: Adam Conover at Arlington Drafthouse

Stand-up comics don’t need to be preachers or “truth tellers.” Some of the best are, but it’s not a prerequisite. Personal anecdotes and well-written jokes are more important than hot takes. This is true even in the case of Adam Conover. The stand-up comic, made famous by the excellent Adam Ruins Everything on TruTV and The G Word with Adam Conover on Netflix, is mostly known for being the worst guest ever on The Joe Rogan Experience. But first and foremost, he’s a stand-up. Like Greg Proops and Marc Maron, Conover is a left-leaning, highly educated performer also known for his podcasts and television shows. But his stand-up isn’t like his podcast, shows, or YouTube channel. It’s full of personal anecdotes and well-written jokes about his ADD, email inbox maintenance, and vaccines. While Conover’s YouTube channel is full of Adams Ruins Everything type truths, the stand-up has more levity—ideal for New Year’s Eve. (The late show on NYE includes a champagne toast with ball drop broadcast on the big screen.) Adam Conover performs  at 7:30 p.m on Dec. 29; 7 and 9:30 p.m. on Dec. 30; and 7 and 10 p.m. on Dec. 31 at Arlington Drafthouse, 2903 Columbia Pike, Arlington. arlingtondrafthouse.com. $28—$38. —Brandon Wetherbee

Saturday, Dec. 30: Diva at the National Gallery of Art

Who would have thought that one of the films that pioneered an influx of punk-inflected French film in the ’80s would center around an aria from a 19th-century opera? That’s what happened with director Jean–Jacques Beineix’s stylish 1981 thriller Diva, which operated at the crossroads of high culture and evil, bald Frenchmen with sunglasses (Dominique Pinon, whose comic-book mug was the epitome of cool then and now). Frédéric Andréi stars as Jules, a Paris postman obsessed with Cynthia Hawkins (Wilhelmenia Fernandez), a soprano who forbids recordings of her performances, feeling that no reproduction could do justice to the acoustics of a real opera house. But Jules sneaks a portable recorder into a recital. When she bursts into the aria from “La Wally,” it’s pure excitement—at the beauty of such music, and at the marvels of cinema, taking such a timeworn art form and, with the utmost reverence, making it new. Based on a novel by Daniel Odier, the film traffics in the staccato conventions of crime drama, but for his remarkable first feature, Beineix approaches the subgenre with the youthful vigor of someone discovering the excitement of a chase scene for the very first time. On its initial commercial run, Diva played the infamously tiny screens of Connecticut Avenue’s KB Janus Theater. But more than 40 years later, showcasing a new 35mm print, you can watch it on the East Wing’s generous screen, several times larger than the postage-stamp presentation in that long-defunct Dupont Circle theater. Diva screens at 2 p.m. on Dec. 30 at the National Gallery of Art, 6th Street and Constitution Avenue NW. nga.gov. Free. —Pat Padua

New Year’s Eve: When Harry Met Sally… at Alamo Drafthouse

“I’ll have what she’s having” is what you’ll say when you see a girl next to you chowing down on the Blueberry Donut French Toast Bake served at the Alamo’s brunch showing of When Harry Met Sally…. What better way to keep warm in the District’s December chill than bundled up in a cozy movie theater, dining al-screeno from a brunch menu, with a classic film guaranteed to warm your heart? With this New Year’s Eve day showing, go ahead and manifest a meet-cute with the partner of your dreams for the new year. Enemies to lovers? Coffee shop romance? Whichever trope you chose, this rom-com holiday classic starring Meg Ryan and Billy Crystal is archived in the Library of Congress for a reason. Will love always find a way? Is our soulmate destined by a string of fated encounters or simply designed by our own innocuous choices? Most of all, When Harry Met Sally… asks the age-old question: Can men and women ever just be friends? Take your gal or guy or nonbinary pal to the screening and put this query to the test. While you can’t watch Dick Clark’s New Year’s Rockin’ Eve like Harry, you can watch this classic tension-filled will-they-won’t-they story at this screening full of fate, festivities, fervid romance, fantastic food, and a fortuitous film to bring in the New Year. When Harry Met Sally… screens at 11 a.m. on Dec. 31 at Alamo Drafthouse, 630 Rhode Island Ave. NE. drafthouse.com. $11. —Simone Goldstone 

New Year’s Eve: Oh He Dead at Union Stage

There are rites of passage that all baby bands go through as they climb the ladder of success. One very important rung that D.C. act Oh He Dead reached in 2023 is upgrading to a sprinter van for their first West Coast tour. “It’s fantastic,” gushes guitarist Andy Valenti, speaking to City Paper from the fourth row of the van on their way to a gig in Seattle. “We were very, very, very excited to all pile in this van. Usually we split up between our own personal cars and this is the first time we’re all together in a big van and there’s enough space for all of us! No one’s cramped!” Reaching sprinter van-level success is one of the many highlights the band experienced during 2023 and something they will celebrate at their Union Stage show on Dec. 31. Another massive milestone that took place was performing at Wolf Trap’s Out & About Festival in June, which culminated with a performance on the main stage with headliner Brandi Carlile. “She invited us on stage during the last song so we literally were arm in arm with all these artists that we look up to,” says Valenti. “Just to play Wolf Trap as a D.C. band was a bucket list let alone doing it with Brandi Carlile, one of the greatest living songwriters … we’ve had a really great year.” Oh He Dead play at 9 p.m. on Dec. 31 at Union Stage, 740 Water St. SW. unionstage.com $35–$60. —Christina Smart

New Year’s Eve: A Gothic Prom at Songbyrd

Do you have a perfect black lace bustier corset bell-sleeve gauzy dress just hanging in your closet and waiting to be worn? Good news! You can rock it while paying homage to D.C.’s iconic dark subculture history at Sling and Arrow’s Gothic Prom. A tradition of old D.C.’s blooming—er, darkly wilting—goth scene, Sling and Arrow has brought the morose ball back to life for New Year’s Eve. Celebrate the joy of the new year—or the melancholic loss of the past year—with vibrantly dark spins from DJ Vampyre Noire, DJ Vlad, and DJ Rinesin. In addition, the local goth scene’s best and newest designers will showcase their looks on a literal runway, so wear your gloomiest, deadliest, maudlin-edgiest pieces for the chance to be crowned goth fashion darkling of the night. Celebrate the counterculture and be part of the ethereal explosion of punk and glam that is D.C. goth at the best prom night around. Be a creature of the night when you put 2023 to rest. Gothic Prom starts at 9 p.m. on Dec. 31 at Songbyrd, 540 Penn St. NE. songbyrddc.com. $10–$20. —Simone Goldstone 

Ongoing: Etched by Light: Photogravures from the Collection at NGA

The National Gallery of Art is exhibiting a small collection of photogravures—versions of photographs that can be mechanically reproduced—that span a century, from 1840 to 1940. Unexpectedly, the most compelling are the oldest and most technologically primitive. One image from 1852, by British photographic pioneer William Henry Fox Talbot, features a delicate rendering of a fern frond. Another is an image of Paris’ city hall by Hippolyte Fizeau—the first-ever reproduction of a photograph in a book, created by a complicated process of tracing, etching, and printing. Yet another is Charles Nègre’s 1854 image of the cathedral at Chartres, France, with its depiction of both the edifice’s breathtakingly detailed medieval facade and the proto-modernist straight lines of its steps. By the 1880s, the technique morphed into a tool for pictorialists such as P.H. Emerson, Gertrude Käsebier, and Clarence White, who were more interested in its ability to communicate imaginative blurriness than its precision. In the first few decades of the 20th century, top-tier art photographers created photogravures, including Alfred Stieglitz, Alvin Langdon Coburn, Paul Strand, and Man Ray. But their images possess neither the bold new technological look of the exhibit’s earliest examples, nor the pictorialist approach that leaned into the medium’s gauziness. Ultimately, by 1940, the photogravure was phased out by other halftone processes. The one late example in the exhibit that manages to push the technology’s frontiers in an interesting direction is a 1931 bound volume of 20 scientific micrographs by Laure Albin Guillot that are notable for their abstract patterns, including a stunning arrangement of crimson- and copper-colored shapes on metal. Etched by Light runs through Feb. 4 at the National Gallery of Art, 6th Street and Constitution Avenue NW. Daily 10 a.m. to 5 p.m. nga.gov. Free. —Louis Jacobson

Friday: Ninth Realm Record Release at the Runaway

Death by metal awaits you this Friday the 13th. Looking to let out appropriate amounts of aggression masquerading in a cacophony of dark sounds and reverberating bass lines? Then make your way to the record release show for Ninth Realm. The Maryland band take death metal to a whole new level, eager to douse you in sounds so smolderingly dark you’ll send your Black Sabbath-loving uncle running. Ninth Realm’s release show also features D.C. grindcore group Deliriant Nerve. Grindcore is described as an extreme fusion genre of heavy metal and hardcore punk. But these all encapsulate the subgenres of thrashcore, crust punk, and extreme industrial. Grindcore, however, is differentiated by a more noise-filled style, featuring the likes of distortion-driven guitars and growling. What you need to know is that it’s punk and metal, and maybe someday we’ll stop splitting music genres into micro-groups and labeling minute differences. Don’t feel overwhelmed by the label, this is heavy music. Crash and mosh and launch yourself against others wearing combat boots and you’ll have a great time, which is what Ninth Realm’s record release party is for. We can’t forget other bands on the roster, such as Cavern Womb, who describe themselves as “Philly Esoteric Death.” Death isn’t really esoteric, as it happens to us all eventually, but perhaps this music is, though I’m inclined to think they have more fans than the select few that esoteric proposes. Likely lovers of their gelatinous, interdimensional slime sound and twisting labyrinths of riffs. Finally, Maryland’s Morbideity (clever name) end the night. So if you’re looking to get beamed up to heaven or straight down to hell in the clutches of dark fiery metal that will provoke the senses, ensnare the need for sanity, and make you swell with primal fear driven by an arcane menace hidden deep in musical mysteries, this is the show for you! Ninth Realm’s record release show starts at 8:30 p.m. on Jan. 13 at the Runaway, 3523 12th St. NE. therunawaydc.com. $15–$20. —Simone Goldstone 

Saturday: Larry & Joe at Joe’s Movement Emporium

So a Venezuelan guy named Larry, carrying a harp, walks into a North Carolina bar. He meets a banjo player named Joe. No, this is not the beginning of a dad joke, but instead the origin story of the formation of musical duo Larry & Joe. North Carolina musician Joe Troop, who moved to Argentina in 2010 where he founded Grammy nominated Latingrass group Che Apalache, was left stranded in his hometown during the pandemic. In December 2021, Troop was hosting a weekly residency series where he showcased local musicians. A friend told Troop about Larry Bellorín, a Raleigh construction worker and acclaimed musician in his native Venezuela for playing the country’s llanera folk music and other traditional styles. Troop called Bellorín, a multi-instrumentalist, and invited him to come play. Bellorin came to the U.S. years earlier to seek asylum after he, his family, and his music school had been threatened with political persecution. Now Larry and Joe are touring together as Larry & Joe and are set to release their first album of bilingual, Venezuelan meets Appalachian folk music this spring. On songs currently available via YouTube and other streaming platforms, the two play some instrumental cuts that show off Bellorin’s shimmering harp notes and Troop’s speedy, high-pitched banjo twanging. They have others designed for dancing that also add passionate, multi-octave vocals. The duo have some folk ballads, covers by the late Venezuelan folk music legend Simon Diaz, and add Latino percussion to bluegrass standards. Bellorín, who once entertained customers as a 6-year-old singing shoe shiner, imbues his vocals with a particular emotional intensity that should impress live no matter your familiarity with the genres employed. Larry & Joe play at 8 p.m. on Jan. 14 at Joe’s Movement Emporium, 3309 Bunker Hill Rd., Mount Rainier. educarteinc.org. $25. —Steve Kiviat

Sunday: La La Land Brunch at the Alamo Drafthouse

Writer-director Damien Chazelle’s critically divisive opus Babylon has struggled to find an audience this season, but his 2016 musical fantasy La La Land was a crowd-pleasing hit that became briefly mired in unnecessary controversy when presenter Faye Dunaway mistakenly named it Best Picture at the Academy Awards. In fact, Barry Jenkins’ astonishing coming-of-age drama Moonlight had taken the top prize. It fell to Chazelle himself, incredibly, to issue the correction from the podium. Both Chazelle and Jenkins handled the moment with grace, which somehow didn’t prevent others from trying to generate a sense of adversarial tension between their two films. And while the Academy was correct to award Moonlight Best Picture, La La Land is a superb cinematic achievement, as well. Those who dismissed it as a White Guy Teaches Jazz farce missed the point entirely: Chazelle shows us at every turn that Ryan Gosling’s Well, Actually-ing piano player character is thoroughly mediocre, a fact only somewhat obscured by the palpable chemistry he and Emma Stone generate in their third, and best, onscreen pairing. Stone’s character, an aspiring actor, has more talent and humility than Gosling’s does, but the ultimate failure of their romance is no less tragic for that. Another crowd that missed the point were those who moaned that Gosling and Stone’s roles would have been better filled by Broadway performers more practiced in the singing and dancing at which our two movie stars are more game than great. Objection overruled! This is a movie about yearning for greatness, in love and in art, and falling short. Show me a pair of Tony winners who could sell that as winningly as Gosling and Stone do and your mimosas and Eggs Benedict at the Alamo Drafthouse’s La La Land Brunch are on me. The brunch screening starts at 11 a.m. on Jan. 15 at Alamo Drafthouse, 630 Rhode Island Ave. NE. (Also at the Crystal City location). drafthouse.com. $11, food and drink not included. — Chris Klimek

Tuesday: A Clockwork Orange at E Street Cinema

Go backward—or forward—in time to a dystopian future brought to film in 1971 by director Stanley Kubrick. The infamous classic is so fearsomely strange, so metamorphic, so mind-blowingly ludicrous, it feels meant for movie theater viewing and, as luck would have it, Landmark’s E Street Cinema is showing this hauntingly iconic film. A Clockwork Orange follows a gang of teenage thugs on a horrific crime spree, only to be stopped by a controlling government and subjected to experimental psychological conditioning. Narrated by the British iconoclast and subjective antihero Alex DeLarge (Malcolm McDowell), the visual style, set design, and costumes create a world that is sordidly caustic, full of soft-core nudity, innocence lost, and Beethoven melodies. Alex’s redemption is in his love for life. His twisted joie de vivre and subsequent forced (and unorthodox) rehabilitation speaks volumes on society’s ideas of right and wrong. An expose of the seldom surfaced underbelly of human nature, the film sits in the Library of Congress, selected for preservation by the National Film Registry. It’s a time capsule of dystopian crime, disturbing violence, and a fallacy of censorship that is perhaps saved to see if the future does amount to the Orwellian outrage of Kubrick’s scandalous adaptation of Anthony Burgess’ novel. When it was released, A Clockwork Orange swept away the notions of the swinging peace and love ’60s and cloaked the zeitgeist with degradation, dreariness, anger, and paranoid ideology. Few films evoke such visceral reactions. It’s a masterpiece of cinema, and a cult film so tantalizingly obscene that once you watch it, you’re forever changed. A Clockwork Orange plays at 4 p.m. and 7 p.m. on Jan. 17 at E Street Cinema, 555 11th St. NW. landmarktheatres.com. $7. —Simone Goldstone

Now Open: The Virtual American Girl Doll Museum

What if your childhood dollhouse doubled as a museum? That’s what American Girl is hoping to achieve with its new virtual museum experience, launched alongside its 2023 Girl of the Year doll Kavi Sharma. The museum includes a bookshop complete with e-books to read, a “lounge” with games and trivia questions, and a gift shop with—you’ll never guess—American Girl products perfect for upcoming wish lists. Most relevant for Washingtonians is the museum’s walkthrough of each doll’s bedroom, as well as a virtual experience for American Girl’s World by Us dolls. The company introduced three characters, Makena Williams, Evette Peeters, and Maritza Ochoa, in 2021, creating a backstory for the trio of 13-year-olds that includes a shared D.C. middle school and interests in racial equality, immigration, and environmentalism. For example, Evette’s passion lies in protecting the Anacostia River for generations to come. Virtual fans can dive into the trio’s lives through the museum experience, visiting a community center where Makena, Evette, and Maritza hang out. There you can get to know about each of the dolls—and the main World by Us mission. Then you can go to the bookshop to check out books like Lead With Your Heart by Angela Cervantes, a story that follows soccer-loving Maritza. Whether you’re an American Girl super fan or simply looking to indulge in nostalgia, take some time to escape the cold and dive into this 21st-century dollhouse. Explore the virtual museum anytime. museum.americangirl.com. Free. —Sarah Smith

Saturday: Friends of the National Arboretum’s Winter Festival at the Arboretum

Jump into the holiday season with the Friends of the National Arboretum’s Winter Festival. For an afternoon, you and your family can cozy up with hot drinks from Zeke’s Coffee and delicious bites from PhoWheels, purchase a Christmas tree and greenery, and stock up on all of your last-minute gifts from local vendors. Keep an eye out for local mask maker Bianca & Jean, cocktail bases from Pratt Standard, and honey and candles from Washington’s own bees, courtesy of Second Story Honey. Other products available will include pottery, crocheted accessories, handbags, and natural skincare and soaps. Aimed at providing fun for all ages—and canines—DC Child Care Connections will be hosting family-oriented activities throughout the day. Attendees will also be able to visit the National Arboretum’s open gardens including the Gotelli Conifer Collection, the Camellia Collection, and the National Bonsai & Penjing Museum. Whether you’re a year-round lover of the National Arboretum or looking to support local businesses this gift-giving season, FONA’s Winter Festival checks all of the gift-wrapped boxes. The festival runs from 10 a.m. to 4 p.m. at the National Arboretum’s New York Ave. parking lot, 3501 New York Ave. NE. fona.org. Free. —Sarah Smith

Saturday: Pierre Kwenders at Quarry House Tavern

In 2001, Pierre Kwenders immigrated from the Democratic Republic of the Congo to Canada; this year he won Canada’s Polaris Prize for best album by a Canadian citizen with his José Louis and The Paradox of Love. The album’s title incorporates Kwender’s birth name and the songs showcase him singing and rapping in Lingala, French, English, Tshiluba, and Kikongo over skittering programmed beats complemented at times by jazzy sax, rumba guitar, plucked mbira, and guest vocalists and producers from around the world. The 37-year-old’s approach is rooted in African electronic dance club rhythms, but he is also enamored with catchy Pan-African vocal melodies—some pop, some choral, some wistfully folk. On Dec. 10, Kwenders will do vocals accompanied by Montreal guitarist/keyboardist/DJ Jalouse. Kwenders, who has toured as a DJ himself, nods to some of his musical inspirations on his latest album via the titles: “Papa Wemba” is named after a Congolese star who passed in 2016, and “Coupe” is named after the Ivory Coast genre “coupe-decale.” Some of the songs go in more complicated lyrical directions. Kwenders told Rolling Stone that “Religion Desir” is about a choir kid who is gay, but can’t be himself in his place of worship. Yet Kwenders believes in spirituality and belonging and recognizes that by including the Chorale Afrika Intshiyetu on the beautiful album closer “Church (Likambo).” Kwenders won’t have the choir with him live, but with his own voice and backing musician should be able to convey his feelings. Pierre Kwenders performs at 9:30 p.m. on Dec. 10 at Quarry House Tavern, 8401 Georgia Ave., Silver Spring. quarryhousetavern.com. $19.84. —Steve Kiviat

Sunday: Churuli at the National Museum of Asian Art

The National Museum of Asian Art’s Head Trips and Road Trips in India series lives up to its title in entirely unexpected ways. Set in the remote tropical forests of the Indian state of Kerala, Churuli is a very different kind of buddy movie, perhaps the cinematic opposite of the sensational Telugu epic RRR. Director Lijo Jose Pellissery weaves a mystery about two undercover policemen headed to the rural village of Churuli in search of a wanted criminal. The motives are unclear; the bickering pair vaguely recalls the duo of dependable Danny Glover and volatile Mel Gibson in Lethal Weapon, but the lush foliage suggests Werner Herzog, and the languorous pacing is in the glacial vein of Apichatpong Weerasethakul. Still, Pellissery’s idiosyncratic voice is his own, blending natural light with fantastic imagery, chaos with unpredictable turns that pivot on an extremely oily medicine woman. While the film drags as the shaggy cops run afoul of skeptical villagers, it almost imperceptibly shifts from somnambulant road movie to some indefinable science-fiction/metaphysical hybrid, and the final half hour is mesmerizing. Churuli means “spiral,” which aptly describes the movie’s elliptical journey. Even if much of the plot seems shapeless, there’s an undeniable magic in the sight of CGI fireflies circling in the forest’s winding paths to nowhere. Churuli screens at 2 p.m. on Dec. 11 at the Meyer Auditorium in the Freer Gallery of Art, 1050 Independence Ave. SW. asia.si.edu. Free. —Pat Padua

Saturday and Sunday: Two Classical Christmas Concerts at Washington National Cathedral and Music Center at Strathmore

Bells ring overhead, lofty voices carol together, horns blast triumphantly: These are the glorious musical sounds of the season. Enjoy two classical concerts this weekend celebrating some of the most beautiful Christmas compositions. At the Washington National Cathedral, the Cathedral Choral Society presents three performances of their resplendent concert Joy of Christmas. Cathedral Carillonneur Edward M. Nassor and Seraph Brass will begin with carillon and brass preludes. Conducted by Steven Fox and featuring one of the DMV’s best choirs accompanied by Joy Schreier on piano and Thomas Sheehan on organ, and featuring the School Without Walls Senior High School Concert Choir, Joy of Christmas is one of Washington’s most loved musical traditions for the holidays. Selections will include Margaret Bonds’ “Ballad of the Brown King,” with poetry by Langston Hughes and Christmas works by Ralph Vaughan Williams, Johann Sebastian Bach, and John Tavener. Works from other cultures and languages, such as Ukrainian Carol of the Bells, “Shchedryk,” and the Hanukkah prayer “Ma’oz Tzur.” Fox, the Music Director of Cathedral Choral Society, shares that the composer of “Sweet Little Jesus Boy,” Stanley Thurston, will be at piano for the first performance of the song, and “it would not be the Joy of Christmas concerts without our traditional Carol Sings, during which we invite the whole audience to join us in singing beloved carols.” At the Music Center at Strathmore, the Washington Bach Consort engages in another of the region’s favorite holiday classics: Bach’s Christmas Oratorio. The German composer’s joyful telling of the Nativity features a quartet of star vocalists Elijah McCormack (soprano), Kristen Dubenion-Smith (alto), Jacob Perry Jr. (tenor), and Enrico Lagasca (bass) singing glorious hymns. Dr. Dana T. Marsh, the Artistic Director of the Consort, says “we look forward to this special tradition every year. The Christmas Story comes to life through the music of J.S. Bach’s Christmas Oratorio in a way that can’t be matched in any other holiday concert offering.” Joy of Christmas starts at 2 p.m. and 6 p.m. on Dec. 10, and 4 p.m. on Dec. 11,  at Washington National Cathedral, 3101 Wisconsin Ave. NW. cathedralchoralsociety.org. $25–$118. | The Christmas Story (Bach’s Christmas Oratorio) starts at 7 p.m. on Dec. 10 at the Music Center at Strathmore, 5301 Tuckerman Ln., North Bethesda. bachconsort.org. $25–$89. —Colleen Kennedy

Monday and Tuesday: Surf Curse at Black Cat 

If you’ve been on TikTok, it’s likely you’ve heard Los Angeles-based group Surf Curse and their ultra-viral song “Freaks.” Written nearly a decade earlier, the song has garnered significant attention for the band’s coming of age, lo-fi, post-punk sound that has taken over the internet. The DIY feel of buzzing youth reverberates throughout all their music, especially the aforementioned hit—“Don’t cry/ I am just a freak” makes for a teenage anthem all of us can connect to. And it speaks to those of us in the District who wore Doc Martens with our prep school uniforms, or hung out at venues instead of sports practice. Or maybe, it’s the kind of music you play at house parties after winning the homecoming game. Either way, Surf Curse create jams that frame those immortal moments of being young, testing out different sides of yourself, and enjoying crashing symbols and lively riffs of indie music from the 2010s. Relive your Tumblr era or live it now if you missed it. Not to mention, Momma, our arts editor’s favorite band of 2022, return to D.C. to open both shows. Surf Curse play at 7:30 p.m. on Dec. 12 and 13 at Black Cat, 1811 14th St. NW. blackcatdc.com. $25–$30. —Simone Goldstone

Tuesday: Batman Returns 30th Anniversary at E Street Cinema

On a cold winter night, a very special baby was born. Thirty-three years later, he grows up to have very devoted followers, some major enemies, and ultimately meets his untimely demise trying to change the lives of everyone around him. This, of course, is the character arc of the Penguin in Tim Burton’s Batman Returns (1992), heading to Landmark’s E Street Cinema for its 30th anniversary. As played by Danny DeVito in an unforgettable performance—with a prosthetic nose leaking black mucus, webbed gloves, and a stained onesie—the once dapper villain of the comics and television series is reimagined as a grotesque monster and yet is able to secure his party’s vote to become Gotham’s next mayor. Before we look ahead to the 2024 election cycle, let’s revisit what may be the gothest of the Batman films, shot primarily in black, white, and punctuated by the occasional, festive, red. Because, like Die Hard and Gremlins, Batman Returns is in that rarefied pantheon of great anti-Christmas movies. Focused on the darkness and depravity of humanity, we see the slaughter of the innocent Ice Princess as demented circus clowns wreak havoc during holiday shopping sprees and town tree lightings, and we learn that while mistletoe can be deadly if eaten, a kiss can be even deadlier if you mean it. Every character hides behind a mask, from DeVito’s Penguin, who tries and fails the normalcy test, Christopher Walken as wealthy philanthropist and not-so-secret evil mastermind Max Schreck (eating up every scene with his extended pauses and twitches), Michael Keaton as the tormented caped crusader, and especially Michelle Pfeiffer as Catwoman. Pfeiffer meowed, clawed, and high-kicked her way into superhero stardom playing both meek secretary Selena Kyle and her latex-wearing, whip-thrashing sexy cat burglar alter ego. Meow. If you prefer Halloween to Christmas, this film is for you—dark, grotesque, sexy, and campy. Batman Returns plays at 7 p.m. on Dec. 13 at E Street Cinema, 555 11th St. NW.  landmarktheatres.com. $7. —Colleen Kennedy

Friday: Beau Young Prince at Songbyrd

Beau Young Prince, one of D.C.’s brightest young hip-hop stars, headlines a show on Dec. 2, accompanied by a squad of talented local musicians and DJs. The Songbyrd event will be hosted by radio personality and music executive P Stew and feature opening performances by Lord Francis, Look Damien, Danjale, and Beti. Momooshiro will also take the stage to perform her spicy debut single, “Lately.” Elite DJs Mickey Rockz, Bast, and Nah FR will take turns kicking out the vibes. But Prince—he’s coming back home. BYP has racked up an impressive list of accomplishments. He burst on the national scene in 2018 with a hit single “Kill Moe,” and signed a recording contract with Def Jam. He also received a coveted Grammy nomination for his song “Let Go,” which was featured on the Spider-Man: Into the Spider-Verse soundtrack. “I wrote ‘Let Go’ to honor my late cousin and uncle,” BYP tells City Paper. “The soundtrack was certified double platinum [it sold two million units] and it continues to go crazy on streaming platforms. I’m grateful to everyone for supporting the record.” BYP recently released another red-hot single, “Oops,” as a homage to superstar rapper and producer Missy Elliott. The track features BYP spitting fiery bars over an interpolated sample of the classic Tweet hit “Oops (Oh My).” BYP is looking forward to performing his new material in front of a hometown audience. He’s currently recording under his own imprint, Half & Half Records, and he wants to end 2022 on a high note. “I’m really excited for this one. It’s been a while since the city and I had a talk,” says BYP. “The show lineup is crazy! Some old faces and some new. I’ve really been connecting the dots. You’re likely to see one of your favorite artists or discover a new one.” Beau Young Prince plays at 7 p.m. on Dec. 2 at Songbyrd, 540 Penn St. NE. songbyrddc.com. $19.32. — Sidney Thomas

Friday: Dolly Disco at 9:30 Club

Whether you’re tired from working 9 to 5 (what a way to make a living!) or trying to keep your man out of Jolene’s clutches, it’s time for a good old-fashioned country music dance party. Head to 9:30 Club for the Dolly Disco: The Dolly Parton Inspired Country Dance Party. There will be toe-tapping classics by Dolly Parton, Reba McEntire, the Chicks, Shania Twain, Kacey Musgraves, and other classic women country superstars. Iconic women and queer powerhouse vocalists and artists, such as Cher, Madonna, Whitney Houston, Tina Turner, Sheryl Crow, and Orville Peck, will be at the party, too. D.C.-based DJ Rodeo Starr shares, “The goal of the event was to create a fun and inclusive dance party that celebrates some of country music’s badass women, while also blending in high energy retro pop and dance hits. My favorite thing about the Dolly Dance Party is how much energy everyone brings to the events. There are blonde wigs, bell bottoms, rhinestones, and fringe everywhere! It really is an honor to be able to see the outfits everyone wears to the shows.” Dust off those boots, don your favorite cowgirl hat, throw on that vintage denim jacket, and wear all the rhinestones. Let’s go, girls. Dolly Disco starts at 8 p.m. on Dec. 2 at 9:30 Club, 815 V St. NW. 930.com. $20. —Colleen Kennedy

Saturday: Arts, Beats, and Eats Festival at miXt Food Hall

The Arts, Beats, and Eats Festival returns to the miXt Food Hall on Dec. 3. Join more than 20 local artists, live musicians, and restaurants for a day of art, fun, food, and libations. The festival is part of the Winter Open Studio Tour and a great opportunity to explore Maryland’s vibrant Gateway Arts District. It’s a chance to take a sneak peek inside the work spaces at Studio 3807 and Artisan 4100. Visitors can stroll through the studios, ask questions, and experience the lively atmosphere of the district. Participating artists include Imani Russell, Kea Dupree, Tom Hill, John Paradiso, Ellen Cornet, Christina Osheim, and other fine art and craft-oriented creators. Just in time for the holidays, much of the work on display will be available for sale as unique, one-of-a-kind gifts. Featured musicians from Just Rock, an innovative music school, studio, and rehearsal space—including Freddy Lawson, Sadia Bangura, Devin Robinson, Sam Hudson, and Kaleb Davis—will perform live throughout the event. miXt Food Hall will have pop-up food and craft vendors in addition to their regular in-house stalls Relish Market, Spice Kitchen, Mush, Simple Pleasures, and La Michoacana. To make it special, miXt Brew/Drink, a coffee and cocktail bar, will offer happy hour pricing all day. The festival venues include Portico Gallery, Studio 3807, Art Annex Studios, Just Rock, and miXt Food Hall all of which are in one very walkable block from one another. In partnership with the festival, neighboring studios 39th Street Art Center and the Brentwood Arts Exchange will open their doors as well. Arts, Beats, and Eats Festival runs from noon to 5 p.m., with a holiday after party at miXt Drink runs 5 to 8 p.m. 3807 to 4100 Rhode Island Ave., Brentwood. artsbeatseatsdmv.com. Free. —Sidney Thomas

Monday: A Bohemian Christmas at Atlas Performing Arts Center

Swing to a bohemian Christmas for a night of holiday classics and contemporary seasonal songs with the Bohemian Caverns Jazz Orchestra. Back in the day, U Street NW’s Bohemian Caverns was a basement jazz club famous for hosting the likes of Duke Ellington and Cab Calloway. Throughout its years, musicians such as Miles Davis, John Coltrane, Nina Simone, and Charles Mingus took to the stage and the small club became D.C.’s premier jazz venue until it closed in 2016. But six years before that happened, the Bohemian Caverns Jazz Orchestra formed and took over a Monday night residency at the historic club every week. Now, the orchestra brings the ghost of the venue’s past to life. This evening will be directed by Brad Linde and Joe Herrera, and the orchestra will play cool classics by an array of famous jazz musicians, many of them listed above, in addition to their own arrangements. Let the big band put you in the holiday spirit. Dressing like a beatnik is not required. The show starts at 8 p.m. on Dec. 5 at Atlas Performing Arts Center, 1333 H St. NE. atlasarts.org. $15–25. —Simone Goldstone 

Wednesday: Celebrating the 50th Anniversary of Big Star’s #1 Record at Union Stage 

“I never travel too far without/ A little Big Star.” The often skimmed over ’70s power pop band Big Star weren’t iconized until the Replacements brought their legacy to the forefront with the song “Alex Chilton.” But music aficionados know the underrated Memphis band left a burning brand on music history, influencing alternative rock of the ’80s and ’90s with their distinct style. Big Star were a cult band whose original lineup you’ll never get to see, but drummer Jody Stephens, the only surviving member, is bringing the closest thing to life by celebrating the 50th anniversary of Big Star’s #1 Record with a supergroup tour. Frontman Alex Chilton passed away from heart troubles in 2010 and bassist Andy Hummel died a few months later. Stephens sought to carry on the torch with a roster of Chris Stamey from the dB’s, Mike Mills from R.E.M., Jon Auer from the Posies, and Wilco’s Pat Sansone. In addition to performing a full run-through of Big Star’s debut record, the group will sing favorites from the rest of the band’s catalogue. If you’ve never listened to Big Star before, be prepared to fall in love while swaying to the out-of-obscurity forefathers of alternative music. If you’re already a fan, get ready to hear classics such as “Thirteen,” “The Ballad of El Goodo,” and “Don’t Lie To Me” as you’ve never heard them before. Life is short, but music is forever. The celebration starts at 8 p.m. on Dec. 7 at Union Stage, 740 Water St. SW. unionstage.com. $22. —Simone Goldstone

Thursday through Saturday: In the Cut at City-State Brewing and Right Proper Brewing

Jason Bowers wants art to be as accessible as possible, and he wants to promote local businesses. These intertwined missions have fueled a series of pop-up shows through his curation platform, JAB Arts. Now, Bowers is exploring accessibility through a new lens of location. In the Cut will feature a gallery-style display at City-State Brewing and tables for artists to sell prints and other merchandise at Right Proper Brewing. Both businesses are close to the Metropolitan Branch Trail, and City-State is connected to the Rhode Island Avenue Metro station through a new walking path. Previously, these locations were what Bowers refers to as “in the cut”—hard to get to and not frequently visited. Now, with easier access, Bowers says, business is booming. Add in work from “cutting-edge” artists like Kelly Towles, Birdsong, and Clarence James, and In the Cut should be a recipe for success. Furthering the idea of accessibility, the joint pop-ups will feature artwork spanning a wide range of mediums and price points, with original work selling for $200–$800 and prints selling for $25–$100. Available for sale will be painted canvases, engraved tiles, collage work, and “hard copies” of artwork that is behind non-fungible tokens. Through vendor-style tables, attendees will also be able to purchase lower-priced merchandise like stickers. Starting on Nov. 10, enjoy the fall weather with a walk to the breweries, grab a beer, and connect with these local artists who won’t be “in the cut” after this weekend. In the Cut opens 5 p.m. on Nov. 10 at City-State Brewing, 705 Edgewood St. NE, and Right Proper Brewing, 920 Girard St. NE, and runs through Nov. 12. instagram.com/jab.arts. Free. —Sarah Smith

Saturday: The War and Treaty at Sixth and I

It’s been quite a year for D.C. duo the War and Treaty. Not only did they sign with Universal Music Group Nashville and win the Americana Award for Best Duo/Group, but they’ve also announced a forthcoming movie based on their story. All this while touring extensively, playing more shows than they were before the pandemic, including performances with the Dave Matthews Band over Labor Day weekend. (Matthews took to social media raving about the pair, calling their music “dirty.”) The feeling is mutual for War and Treaty singer Michael Trotter Jr. “That was an experience where we learned so much,” Trotter Jr. tells City Paper. “Dave Matthews is the first artist we’ve seen where we understand who we are even more now because he has no genre. He defies all genres.” The War and Treaty will bring their genre-defying music to Sixth & I with a headlining performance on Nov. 12. The pair released two new songs earlier this year, “That’s How Love Is Made” and “Lover’s Game” for their forthcoming, yet-to-be-titled album that will be released some time next year. For anyone who may have seen the duo perform in the past, don’t expect the same show. “Michael does the set list,” says singer and Trotter Jr.’s wife, Tanya Trotter. “Every venue we go to, he goes into the venue, he’ll feel the place out, the show starts and then if he wants to change the set, there are like 60 songs in our repertoire. So we all think, like, where are we gonna go next? I think that’s the excitement about being on the road is not knowing what each venue is going to say and the energy that the audience is going to give you. Sometimes it makes you turn and totally abandon your set list.” The War and Treaty play at 8 p.m. on Nov. 12 at Sixth and I, 600 I St. NW. sixthandi.org. $26–$29. —Christina Smart

Monday: Claudio Simonetti’s Goblin Perform Suspiria at Howard Theatre

If you’ve seen any movies by Italian director Dario Argento, known for gory operatic spectacles like Deep Red and Phenomena, you’re familiar with one of his recurring cinematic nightmares. It’s the one where a beautiful woman hails a cab on a dark and stormy night, the car’s windows drenched in a torrent that turns the outside world into a Technicolor blur. A bombastic score heightens the intensity with an electric, heart-pounding heaviness, more often than not provided by Italian prog-rockers Goblin. At press time, nobody’s planning to produce The Immersive Argento Experience (what might that entail?!), but on Nov. 14 at the Howard Theatre, you can experience the next best thing. Goblin keyboardist Claudio Simonetti, who composed music for 11 of Argento’s gory operatic spectacles, leads the current lineup of his band in live accompaniment to the 1977 classic Suspiria. Jessica Harper stars as an American student who finds strange things going on at a German dance academy. The film was remade in 2018 with a script that reportedly tried to explain the more enigmatic aspects of the impressionistic plot. Nevertheless, one learns that, with Argento, it may be best to go along for the visual ride. And what better way to get lost in cinema than to watch Harper get in that cab on that dark and stormy night and hear the music wash over you like a living dream? Suspiria screens with live accompaniment at 8 p.m. on Nov. 14 at the Howard Theatre, 620 T St. NW. thehowardtheatre.com. $40-125. —Pat Padua 

Monday: Melissa Villaseñor at Miracle Theatre

Saturday Night Live alumna Melissa Villaseñor, who broke barriers as the first Latina cast member on the long-running late-night sketch show, lands in D.C. on Nov. 14 for a one-night-only live performance. Joining the cast in 2016 for Season 42, Villaseñor quickly developed a cult following among SNL fans and beyond thanks to her trademark offbeat, absurdist approach to comedy. (She’s especially beloved for her celebrity impressions including Lady Gaga, Dolly Parton, Sarah Silverman, Alexandria Ocasio-Cortez, and Owen Wilson—think “wow, wow, wow!”) Since getting her start as a semifinalist on America’s Got Talent, Villaseñor’s resume has popped in recent years: She has been a voice actor on Family Guy, Toy Story 4, and Adventure Time, while her live-action appearances include Barry, Comedians in Cars Getting Coffee, and Pete Holmes’ Crashing. Her upcoming performance at Miracle Theatre—part of her Whoops… Tour—comes shortly after the announcement that Villaseñor is among the numerous cast members, including Kate McKinnon, Aidy Bryant, and Pete Davidson, who would not return to the show for its 48th season. On Sept. 4, in a cheeky response to a user who asked if she’d been fired, Villaseñor tweeted: “I felt this was my soul telling me it’s time to spread my wings. Lots more for me to dig in and discover. What an honor to experience my kid dream, what an honor. Forever grateful.” For fans, the tour not only offers a much-needed refill of  Villaseñor’s core ethos of effusive, wacky optimism, but also a hard sell for her new activity book, Whoops… I’m Awesome, a “self-help workbook to help you embrace the silliness inside of you, for anyone who appreciates honest and irreverent self-help,” which was released on Oct. 25. Irreverent, joyous honesty is the name of Villaseñor’s game and her characteristically, unabashedly silly, optimism-driven comedic MO will make this a needed night of laughs for D.C. Melissa Villaseñor performs at 7 p.m. on Nov. 14 at Miracle Theatre, 535 8th St. SE. themiracletheatre.com. $35. —Alexandra Bowman 

Wednesday and Thursday: Alex G at 9:30 Club

The music on Alex G’s newest album, God Save the Animals, is raw and beautifully vulnerable. The downbeats and poetic lyrics express thoughts we’re not so ready for with a punch in the gut, such as the folk crescendo into a guttural cry of “Yes, I’ve done a couple bad things” in “Runner.” At our core, we, as humans, are animals and the beautiful symmetry to Alex G’s music, stripped down and honest, allows listeners to reflect on ourselves with a detached camera obscura. The rootsy undertones of the album make for a perfect barrage of scaled-back songs to be our lampposts as the season descends into the darker months. A cozy flood of songs perfect for fireplace-lit living rooms or curled up in throw blankets on your bed, the record is one of his best yet. While rife with biblical images, religion isn’t to be held as a defining factor. The Jewish songwriter Leonard Cohen wove biblical tales into tunes to make melodies that enchant us with otherworldly promises and misgiving; Alex G does the same. Just look at the lyrics in “S.D.O.S.”: “God is my designer/ Jesus is my lawyer/ Curled up in the shower/ High above the tower.” “Jesus is my lawyer”—he, supposedly, died for our sins, which should free someone of sin so long as they ask for forgiveness. “Curled up in the shower”—depression we can relate to, but also, cleansed of sins, baptized. The metaphors go on. The distorted voices only serve to make the song more haunting. Warped with Pro Tools beats and Daft Punk-esque robotic voices make for a collision of modern searching for something meaningful among the technology that removes us from so much peace. But this isn’t a religious album—lyrics mention cocaine and headlights—this is still indie rock. Just like Cohen isn’t worship music. The metaphors are simply another poetic license rightly earned. But in the song “Miracles,” Alex G sings, “We’ve got better pills than ecstasy” followed by “Baby, I pray for the children, and sinners, and animals too/ And I/ I pray for you,” which raises the questions: Perhaps we aren’t animals, perhaps, out of all of those, animals are the only ones worth being saved. They might be the only innocents and the only ones deserving an unconditional paradise. How deep can an indie rock album be? Alex G takes us there. Alex G performs at 7 p.m. on Nov. 16 and 17 at 9:30 Club, 815 V St. NW. 930.com. Both shows are sold out, but resale tickets are available. $21–$111. —Simone Goldstone

Through Nov. 19: Themes and Variations at Studio Gallery

Once again, Studio Gallery has pulled off an annual group photography show that is consistently inspired. Langley Spurlock documents architectural tiles from the island of Ischia off Naples; he crops his in situ subjects so closely that the works appear, on first glance, to be not photographs at all, but rather unrefined sketches in primary colors. Jo Levine offers finely detailed close-ups of bark, twigs, and leaves rendered in understated earth tones, while Gary Anthes pairs divergent images of people and cats tied together by one simple theme: They’re all stretching. Steven Marks provides a triptych of three figures in urban settings who are distracted from themselves, and from everyone else. Bob Burgess produces atmospheric landscapes, including one image of pink fog permeating a forest and another of farmland in a yellow haze. Beverly Logan offers a matrix of images that smartly blend the urban documentary work of Camilo José Vergara with the structure of Paul Fusco’s “RFK Funeral Train.” Logan took photographs out the window of a D.C.-to-New York train ride, recording the decaying structures that line the path between the nation’s two power centers. If Logan’s work is the exhibit’s most thematically compelling, the images with the most visual intrigue are the small, square, aerial photographs by Lynda Andrews-Barry. Her images of tract housing and other terrestrial surfaces come in shades of yellow, blue, and pink and are printed on aluminum, producing a shimmering three-dimensionality. Fittingly, Andrews-Barry’s works mirror those shown by Yve Assad in the Studio Gallery photography group show a dozen years ago. Themes and Variations runs through Nov. 19 at Studio Gallery, 2108 R St. NW. Wednesday through Friday, 1 to 6 p.m., Saturday 11 a.m. to 6 p.m. studiogallerydc.com. Free. — Louis Jacobson

Editor’s Note: Regina Spektor’s show at the Warner Theatre has been postponed after the singer contracted COVID-19. We’ll share information about the rescheduled show when it’s available.

Thursday through Sunday: Double Exposure Film Festival 2022

On Aug. 20, 2020, Russian anti-corruption activist and former presidential candidate Alexei Navalny was poisoned on his way to Siberia. The attempt on his life made headlines at the time, but what happened next? That’s what young Canadian filmmaker Daniel Roher set out to capture in Navalny, a new documentary cataloging the activist’s investigation into his own poisoning. Navalny is one of the headliners of Double Exposure Film Festival, a first-of-its-kind film showcase devoted to investigative documentaries. The festival will feature new, hard-hitting works such as The Grab, a global thriller about an eight-year investigation that found governments, private investors, and mercenaries have worked together to hoard food and water resources. American Pain profiles the twin masterminds behind the largest oxycodone trafficking network in U.S. history. And Retrograde chronicles how the Green Berets navigated Afghanistan as it increasingly fell under Taliban rule. The festival will also host panels by industry professionals on intellectual property law, grant-writing, and pitching to demystify documentary filmmaking for newcomers and seasoned vets alike. The event is being thrown by 100Reporters, an investigative news organization founded by Diana Jean Schemo and Philip Shenon, two former New York Times reporters. Schemo founded Double Exposure in 2015 with former AFI Documentary Festival director Sky Sitney. Double Exposure Film Festival runs Oct. 13 through 16 at several locations in NW. dxfest.com. $15-$275. —Kaila Philo

Thursday: The Man in Black at the Birchmere

If you’re haunted by the rambling, whistling, ghost of Johnny Cash’s music and legend, the Man in Black will be reincarnated just outside D.C. courtesy of Shawn Barker, who has dubbed his work the “Number 1 Johnny Cash Tribute Show.” While most tribute bands sound like the icons they’re impersonating, Baker leaves audiences hard-pressed to tell the difference visually as well. Considered the “preeminent Johnny Cash tribute artist” by both the public and critics, Barker’s nuances, speech pattern, voice, and movements spell-bindingly recreate the “Folsom Prison” singer. His show at the Birchmere promises a fun night of theater, and will allow novice fans to expand their repertoire beyond “Walk the Line.” Of course, Cash has deep ties to the DMV—in 1968 he famously married June Carter of Virginia’s Carter Family. Barker’s show features hits made famous with Carter, along with Cash’s list of hits and deep cuts that fans adore. Though Barker started as a choir gospel boy from Missouri, his crooning covers from a cast of country legends led him to be cast as Cash in the Broadway production of Million Dollar Quartet. Barker’s recreation of the Americana icon is accurate and energetic, and will keep the torch lit to ensure Cash’s tortured genius never burns out. The Man in Black: A Tribute to Johnny Cash starts at 7:30 p.m. on Oct. 13 at the Birchmere, 3701 Mount Vernon Ave., Alexandria. birchmere.com. $29.50 —Simone Goldstone

Friday: Jonathan Richman With Tommy Larkins at Lincoln Theatre

Right before the world started locking down at the end of March 2020, I caught Jonathan Richman and Bonnie “Prince” Billy performing at the Lincoln Theatre. (It was the last concert I saw until Thievery Corporation’s reunion at St. Elizabeths East Entertainment and Sports Arena in July 2021.) Bonnie “Prince” Billy (Will Oldham), with his soaring voice and Appalachian gothic lyrics, is a musical giant, haunting and glorious. But it was Richman’s joie de vivre, his unending curiosity, his exploration of both the quotidian and the exotic, his utter exuberance that stayed with me for many months. Even in the following weeks, I found myself humming his irreverent tunes and finding a little peace. From his early years in the proto-punk band the Modern Lovers—with such classics as “Roadrunner,” “Pablo Picasso,” “Astral Plane,” and “I’m Straight”—Richman’s unenthused nasally voice has always belied the whimsy and wonder in his lyrics. In the 1990s, his appearances in several Farrelly Brothers’ gross-out comedies—including as the guitar-strumming, tree-sitting musical narrator of There’s Something About Mary—to his many standout performances on Conan O’Brien’s talk show, including his LGBTQ laissez-faire ally ode “Dancing in the Lesbian Bar,” rightfully earned Richman a Gen-X cult following. Richman has spent decades living and performing as a sweet weirdo who never really fits in. As he has grown wiser, he has only become more endearing and avuncular, telling humorous anecdotes, singing in a variety of Romance languages, and quoting from the 13th-century Persian poet Rumi. For more than 25 years, Richman has been partnering with drummer Tommy Larkins for his concerts and recording, who will join him again on this tour. To enjoy Richman’s charms, leave your cynicism at home and prepare for an evening of childlike joy. Jonathan Richman featuring Tommy Larkins play at 8 p.m. on Oct. 14 at the Lincoln Theatre, 1215 U St. NW. thelincolndc.com. $35. —Colleen Kennedy

Sunday: DC Record Fair at the Eaton Hotel

Ready to discover some new music or get your hands on a long-coveted vinyl? If so, you’re in luck. The annual DC Record Fair is back at the Eaton Hotel. The one-day event is the ultimate opportunity for vinyl lovers to shop until they drop. From up and down the East Coast, more than 35 vendors will be making the trek to the Eaton to buy and sell records. Attendees will also have the opportunity to socialize with fellow music lovers and experience a unique lineup of DJs including RWeOnTheAir, John Murph, Pharoah Haqq, DJ Test Patterns, Brandon Grover, and Cinema Hearts (yes, the band are doing a special DJ set). The live music promises to offer something for everyone. Cinema Hearts are the indie rock project of former Miss America contestant Caroline Weinroth. Grover, of “We Fought the Big One,” is a DJ associated with a “highly unwieldy, Belgian beer-fueled music blog” that covers “left-of-center music for left-of-center people.” If that’s not enough, the DC Record Fair also promises to provide an on-site preview of the Capital Audiofest, which will take place Nov. 11-13. Make all your vinyl fantasies come true—you just may discover your new favorite song! The DC Record Fair runs 11 a.m. to 5 p.m. at the Eaton Hotel, 1201 K St. NW. eatonworkshop.com. Free. —Sarah Smith

Sunday: Regina Spektor at Warner Theatre

Regina Spektor is not the kind of singer/songwriter who takes things literally. When asked the innocuous question, “Where are you right now?” Spektor’s response was, “What do you mean? Like, in life?” Case in point: the song “One Man’s Prayer” from Spektor’s latest album Home, before and after; the lyrics deal with isolation and loneliness, but the genesis of the song, along with others on the album, started long before the pandemic. “There are songs on this record that got finished during the pandemic and then there are songs on this record that are like 18 years old,” Spektor tells City Paper. Calling those songs “the elders,” Spektor will showcase these new-yet-somehow-old songs when she performs at the Warner Theatre on Oct. 16. Over the course of her more than 20-year career, Spektor, a native Russian who immigrated to New York City in 1989, has toured with The Strokes and Kings of Leon, performed at the White House in 2010, duetted with Ben Folds, and had a residency on Broadway at the Lunt-Fontanne Theatre in 2019. It was during this time that Spektor received a surprising honor from then-Mayor Bill de Blasio, who proclaimed June 11, 2019, Regina Spektor Day. For Spektor, the honor of the day carried extra meaning. “I think for immigrants…it hits this American Dream spot,” says Spektor. “You never really allow yourself to feel like you’re going to be that inside a culture because you’re so used to being an outsider… It all goes into that kind of magical ‘Do you believe this?!’” Regina Spektor performs at 7:30 p.m. on Oct. 16 at Warner Theatre, 513 13th St. NW. livenation.com. Verified resale tickets $70-$390. —Christina Smart

Opening Oct. 20: My Body, No Choice at Arena Stage

Arena Stage Artistic Director Molly Smith recalls a formative pre-Roe v. Wade memory. It the early 1970s, she tells City Paper, she and her sister Bridget attended a weekly women’s consciousness-raising session in a friend’s living room near Catholic U. “We talked about our bodies and read eye-opening books like Our Bodies, Ourselves as most of us already subscribed to Ms. Magazine and many read Betty Friedan’s game-changing book,” Smith says. “Mostly we talked and laughed and cried and learned and listened to our individual and collective stories about being a woman and feminists. Those sessions forever changed my life. I was in that circle of women who got to know each other over a single year, and we had this place to reveal our deepest secrets.” In her last directorial venture for Arena, Smith takes on My Body, No Choice, a series of monologues about reproductive freedom and bodily autonomy in a post-Roe America. Written by renowned women playwrights such as Lee Cataluna (Home of the Brave), Lisa Loomer (Roe), Dael Orlandersmith (Stoop Stories), Sarah Ruhl (In the Next Room, or the vibrator play), Mary Hall Surface (Perseus Bayou), and V (The Vagina Monologues), the works are personal, profound, audacious, and utterly fearless. Joining the ranks of these established feminist playwrights is Fatima Dyfan, an up-and-coming writer and Woolly Mammoth Theatre New Work Fellow, whose monologue covers taking a pregnancy test. “As a younger Black woman, there were a lot of other things that I already had to deal with with my body,” Dyfan recalls. “While I may not have had an abortion, at the end of the day, I am fertile. And that possibility for me exists. I reflected on how limited and scared I felt, how I didn’t know about resources available for me, how unsure I felt in my own body.” In addition, Arena Stage is inviting women, trans men, and non-binary individuals to share stories about their bodies and freedom that will air on the monitors throughout the theatre during the run of the play. My Body, No Choice runs Oct. 20 through Nov. 6 at Arena Stage, 1101 6th St. SW. arenastage.org. $18. —Colleen Kennedy

Thursday: The Garden at Howard Theatre

Looking for a high-energy, intense live show where you can live out your crowd-surfing, stage-diving dreams? Look no further. Twin brothers Wyatt and Fletcher Shears make up the Garden, known for their vaudeville-esque jesters-in-leather-jackets aesthetic that revived originality in Orange County. While their music is classified as punk in the traditional fast-and-loud sense, the band doesn’t want you to get hung up on genre pigeonholes. The brothers define punk as being your authentic self, and not giving a shit about what other people think. For their “don’t care” attitude, the twins are surprisingly sensitive with their messages of self-acceptance, self-improvement, and positivity. These tender ideas can clash with traditional punk, which is why the band has been given so much credit for redefining the genre. On the surface, they’re just two brothers who play drums and bass to backing tracks, making fun music to blow off steam. But their deeper lyrics and hidden meanings give the band dimension that keeps them alluring and makes them a curious paradox of vulnerable punk music. Their self-created world of Vada Vada that promotes unconditional authenticity sets them apart from other bands and makes their shows more of an experience rather than a simple concert. Their new record, Horseshit on Route 66 is perfectly self-described in their song “What Else Could I Be But a Jester?” with the lyrics, “In a make-out session with aggression.” The album is full of self-aware lines that range from “Mental inspection/ Always searching for perfection” to lighthearted rhymes like “Jester mindset clear as Jell-O/ Born a wild card/ Now just a fellow.” Don’t miss the Garden turn the Howard into their own little universe, where you can do whatever the fuck you want—as long as you’re kind to each other. The Garden play at 8 p.m. on Oct. 6 at Howard Theatre, 620 T St. NW. thehowardtheatre.com. $25–$50. —Simone Goldstone

Friday and Saturday: Sounds of Hazel at Sidney Harman Hall

Washington Performing Arts opens its new season with a world-premiere ballet Sounds of Hazel by the Dance Theatre of Harlem, celebrating the life and legacy of Hazel Scott (1920-1981), a Trinidadian American jazz and classical singer, pianist, bandleader, stage and screen actress, and activist. A piano prodigy accepted into Juilliard as a child, Scott’s exemplary career crossed musical genres and she was deemed the “Queen of Cafe Society.” With her variety television program, the self-titled Hazel Scott Show, she became TV’s first Black host. But as a civil rights activist she also garnered scrutiny and her U.S. career stalled after she was blacklisted during a McCarthy-era hearing. As an expat living and working in Paris, she continued to be a popular draw at nightclubs. She protested alongside James Baldwin in anticipation of the March on Washington. Fittingly, Sounds of Hazel not only tells her remarkable story through dance but has been envisioned and devised by a dream team of contemporary Black women artists: choreographer Tiffany Rea-Fisher, composer Erica Lewis-Blunt, and Dance Theatre of Harlem’s outgoing artistic director Virginia Johnson. The program also features incoming artistic director, choreographer Robert Garland’s Higher Ground (set to the music of Stevie Wonder), which will open the show. Washington Performing Arts’ celebration of Hazel Scott continues on Nov. 11 with a 101st Birthday Celebration at the Bethesda Blues & Jazz Supper Club. A Night at Cafe Society is inspired by the 1940s nightclub known as the first racially integrated nightclub in America, which Scott frequented. These events are part of WPA’s  two-season tribute to Scott. To WPA, Rea-Fisher described Scott as “not afraid to be raw and rough while also being glamorous. Her erasure from history was intentional because she was so audacious. People actively tried to erase her…so to be able to not only not erase her but celebrate her for all that she is and was is really super-super exciting.” Sounds of Hazel runs Oct. 7 at 8 p.m., and Oct. 8 at 2 and 8 p.m. at Sidney Harman Hall, 610 F St. NW. washingtonperformingarts.org. $30–$80. —Colleen Kennedy

Sunday: Capital Jewish Food Festival on F Street NW

This Sunday, the Capital Jewish Museum will host the first-ever Capital Jewish Food Festival. Although the museum has yet to open to the public—it’s preparing for a spring 2023 opening—the festival is an outgrowth of the museum’s values, mission, and commitment to chronicling Jewish identity in the nation’s capital. Using food as a medium to understand intersecting identities and cross-culturalism, the event will feature food—and complimentary samples—from 20 local restaurants, including Baked by Yael, Call Your Mother, and Sababa. Renowned chefs Susan Barocas and Vered Guttman will put on cooking demonstrations, Joan Nathan, “the matriarch of Jewish cooking,” will give a few remarks, and local culinary historian Michael Twitty will have a conversation with Nycci Nellis. There will also be discussions on sustainability and food insecurity, and all food will be composted or collected by Food Rescue DC. “We wanted to make sure we weren’t just preaching sustainability practices, but that the festival itself was really living those values,” museum curator Lisa Del Sesto says. In addition to addressing food sustainability, Del Sesto hopes the festival will give attendees a much deeper understanding of what Jewish food means to individuals in different cultures. “We hope people come together and learn something because, at heart, we’re a museum and we want people to learn in a way that’s really accessible to them,” she tells City Paper. After all, as Del Sesto put it, food gets people to the table. “It’s a shared language even when it’s a very personal and unique expression.” The Capital Jewish Food Festival starts at 11 a.m. on F Street, between 2nd and 3rd Streets NW. capitaljewishmuseum.org. $15–$50. —Hannah Docter-Loeb

Ongoing: Mary Kelly: To Witness the Future at Maria & Alberto de la Cruz Art Gallery

For another month or so, you can see Mary Kelly’s projected installation, “WLM Remix,” in the National Gallery of Art’s exhibition, The Double, which explores a wide range of artworks defined by the concept of doubling. In a happy coincidence, Kelly’s projection, which features overlapping photographs of a 1970s feminist march and a recreation of it years later, is also doubled, as it were, by appearing crosstown in a small retrospective of her work at Georgetown University’s Maria & Alberto de la Cruz Art Gallery. The overarching theme of Kelly’s art is to blend examples of feminist activism across the generations. One series of works from the 2010s reimagines magazine covers documenting early 1970s social protests; what’s notable is that the works are constructed from dryer lint. Lint is not only an intriguing visual medium but also thematically appropriate, chosen by Kelly because it embodies a traditional women’s household role. Another series recapitulates a 1962 women’s strike through large lightbox photographs of the artist in a Coachella desert setting, holding umbrellas with activist slogans. The most striking work is “Flashing Nipple Remix,” a series of images of three women with flashing lights strategically placed over the breasts and groin of each, mimicking the look of early 1970s protesters at a Miss World contest in London. Kelly’s brilliant decision was to take a pair of long-exposure photographs of the women moving around, transforming their lights into an abstract, firefly-like blur. Mary Kelly: To Witness the Future runs through Dec. 11 at Georgetown University’s Maria & Alberto de la Cruz Art Gallery, 3535 Prospect St. NW. Wednesday through Saturday 10 a.m. to 6 p.m. and Sunday 1 to 5 p.m. delacruzgallery.georgetown.domains. Free. —Louis Jacobson

Wednesday: Tina Karol at Howard Theatre

Tina Karol broke onto the world stage in 2006 when she represented Ukraine on Eurovision with her hit song “Show Me Your Love.” Since then, the contest alum has earned multiple other opportunities to represent Ukraine musically. She served as a mentor on The Voice of Ukraine, helped pick new national artists for Eurovision, and in 2017, won the People’s Artist of Ukraine Award from former President Petro Poroshenko. Her music has evolved, more recently focusing on pop collaborations with younger Ukrainian artists, and she has introduced more of an electronic sound alongside her distinct voice. Speaking with the BBC earlier this year, Karol said that “since the [Russia-Ukraine] war has started everyone is even more proud to be Ukrainian, and they are only using Ukrainian language and folk melodies. It’s becoming more modern, new and popular. We want to show how beautiful our voices and melodies are.” With this in mind, Karol is now leading a multi-city tour throughout the U.S. in partnership with Resilience Entertainment Group, a promotion and production agency that focuses on artists from Eastern and Central Europe. Karol will bring her art to the stage, but she’ll also be raising funds for Polyus Tyazhinnia, which supports children’s cancer hospitals in Ukraine. Whether you’re a diehard Eurovision fan or looking to support a good cause, Karol promises to be singing “for a peaceful future.” The show starts at 8 p.m. at the Howard Theatre, 620 T St. NW. thehowardtheatre.com. $85–$115. —Sarah Smith

Thursday: AMARU at Pie Shop

Uber talented vocalist and songwriter AMARU will perform at Pie Shop tonight. The event, titled The Warm Up, is a pop-up concert and open mic series featuring the local songwriter and friends. Born and raised in D.C., AMARU attended the SEED Public Charter High School, where he performed in musical theater shows and flexed his poetry writing skills. After graduation he moved to Atlanta, where he earned a degree in music performance from Morehouse College, but his poetry evolved into song: According to 202 Creates, he self-released his debut album, Childish Things, in 2018. Now back in D.C.—when he isn’t traveling the world as a teaching artist—AMARU continues to write, compose, and produce his own music that explores and expands on numerous genres from jazz to musical theater. His success is the result of skills and hard work—not gimmicks. Released this spring, his latest single, “Let You Go,” is a soul-stirring breakup anthem and his much-anticipated upcoming project, #WFR4 (What Friends Are For), is currently in the works. Also performing will be AMARU’s equally gifted “friends.” Chris Allen, a dynamic lyricist, was a member of Mayor Muriel Bowser’s 202 Creates Residency Program along with AMARU. KWAY is a charismatic rapper who recently dropped a new single, “Up and Away.” And RVOL (aka Reggie Volume), a sensational DJ and producer, will provide the soundscape. In addition to the great music, The Warm Up will also have vendors, raffle prizes, and special guest performances. AMARU and Friends play at 8 p.m. on Sept. 29 at Pie Shop, 1339 H St. NE. pieshopdc.com. $15–$40. —Sidney Thomas

Saturday: Divino Niño at Comet Ping Pong

Divino Niño frontman Camilo Medina performs with his entire body, thrashing into the microphone as he spits reggaeton-infused strings of indie melodies. And on Oct. 1, Washingtonians can see the bleached, mulleted, Chicago-based Colombian indie rocker and his delightfully over-the-top band in action—the group will co-headline a show at Comet Ping Pong with fellow Latin indie rockers Little Jesus. Divino Niño’s set will heavily feature tracks from their most recent album, Last Spa on Earth, released on Sept. 23. The LP ranges from soft and mournful to silly and explosive, often within individual tracks. The majority of lyrics are in Spanish, an homage to the group’s Latin roots. Unlike Divino Niño’s previous projects, Last Spa on Earth is more conducive to dancing, an intentional shift. “When you’re in front of big audiences, you see what works and what hits people rhythmically,” drummer Pierce Codina told Chromatic PR. “We started pushing the tempo live, having more energy, and getting into a more dancey arena . . . We became a little bit bored with playing mid-tempo indie songs.” The new ethos is sure to translate into Divino Niño’s Comet debut. “It is undeniable that [D.C.] has an energy about it that is lively and intense,” the band tells City Paper. “When we hop onstage at Comet Ping Pong, we’ll be fixing to match that spirit and amplify it.” Divino Niño and Little Jesus play at 10 p.m. on Oct. 1 at Comet Ping Pong, 5037 Connecticut Ave. NW. cometpingpong.com. $25. —Dora Segall

Now Open: Legacy: Fifty Years of Dance on the Edge at Corcoran School of the Arts and Design

Over the past 50 years, George Washington University professor Maida Withers has left her mark on dance. The visionary choreographer has won various awards and performed on stages around the world, including in China, Venezuela, Croatia, Germany, and Ukraine. She has taught at GW, Purdue, and Howard universities, and in 1974, she founded the Maida Withers Dance Construction Company. Through this company, Withers has defined her own style within postmodernism, blending her choreography with technology such as loudspeakers, video installations, cyber worlds, and original music to produce roughly 100 projects. Now, her life’s work will be recognized through Legacy: Fifty Years of Dance on the Edge, a visual installation within the Corcoran School of the Arts and Design at George Washington University. Legacy will also feature the work of political projectionist Robin Bell and sound artist Steve Hilmy, creating an “immersive” experience that blends Withers’ dance films with archival recordings. Other participating artists from across the world include Tania Fraga, Anton Ovchinnikov, and musicians John Driscoll and Yoko Sen. This collaboration is testament to Withers’ global body of work and the way she has blended performance to tell stories—and ask big questions—throughout her career. “Since 1974, Professor Maida Withers has redefined modern dance as a vessel for technological experimentation,” Corcoran School Director Lauren Onkey says in the exhibit’s press release. “This show continues her boundary-breaking work by bringing dance into the visual exhibition sphere.” Viewers will get to travel on stage and back in time as Legacy questions just what has happened in the past five decades of dance in D.C., using Withers as a guide. Legacy runs through ​​Dec 10 at the Corcoran School of the Arts and Design, 500 17th St. NW. Open Wednesday through Saturday, 1 p.m. to 5 p.m. gwu.edu. Free. —Sarah Smith

Closes Sunday: Recto/Verso at Multiple Exposures Gallery

Matt Leedham, a D.C.-area resident working in the tech sector, is a relative newcomer to photography, picking it up in 2016, and even more of a newcomer to bookbinding, which he started pursuing last year during the pandemic. Quickly, the two interests collided, producing an exhibit, Recto/Verso, A Pandemic in Codex, at Multiple Exposures Gallery that features his photographs printed on books that Leedham has made himself. “A colleague of mine mentioned making a photo book to me, and I assumed he meant he had ordered one from an online manufacturer,” Leedham says. “He explained that he had made one himself, which led me to YouTube a few hours later and started an obsession.” Since then, Leedham has crafted blank journals in styles ranging from German and British to Coptic and Japanese; in one particularly meta example, he made a book about an 1875 cast-iron book press that he had recently purchased on eBay. The works in the Multiple Exposures Gallery exhibit pair twinned images by Leedham, usually travel-related, on the “recto” (or front, and in the exhibit, right) page of a book and the “verso” (back, or left) page of the same book. The books not only range in their materials—artisanal paper from Korea, India, and Nepal—but also in their format, with styles ranging from scrolls to accordion-fold and 3-D “tunnel” books. These are not the only formats Leedham plans to pursue, he says. “I’m definitely not done” exploring the intersection of photography and bookbinding, he says. “There are so many ways to communicate in book form.” Recto/Verso runs through Oct. 2 at Multiple Exposures Gallery at the Torpedo Factory Art Center, 105 N. Union St., Alexandria. Open daily, 11 a.m. to 5 p.m. multipleexposuresgallery.com. Free. —Louis Jacobson

Through Oct. 18: Box! Classic Hip-Hop Portraits at Art Whino

Andy Katz, an accomplished artist and music culture aficionado, has unveiled his new exhibition, Box! Classic Hip-Hop Portraits, at Arlington’s Whino art gallery. The solo show of Katz’s portrait boxes—each one dedicated to an iconic hip-hop musician or group—will be on display through late October. “A few years ago, I realized a manifestation of the overlap of music, art, and lyricism,” says Katz. “These compositions are my tribute to the light, the shadows, the photography, the artists, the sounds, the beats, the clever poems.” The exhibition showcases portraits depicting LL Cool J, De La Soul, Ice Cube, Public Enemy, KRS-One, Beastie Boys, Notorious B.I.G., and other acclaimed rappers. Katz created the pieces using mixed media techniques and vintage potentiometers. Fine art paintings and prints by Katz are also on display. Most of the pieces are available for purchase. “The portraits boxes are new interpretations of the musical artists, their lyrics, and the classic nature of their place in the genre of hip-hop,” Katz passionately tells City Paper. “I’m extraordinarily happy to share these experiences.” Box! Classic Hip-Hop Portraits is on display through Oct. 18 at Whino, 4238 Wilson Blvd., Arlington. whinova.com. Free. —Sidney Thomas 

Oct. 6: The Garden at Howard Theatre

Looking for a high-energy, intense live show where you can live out your crowd-surfing, stage-diving dreams? Look no further. Twin brothers Wyatt and Fletcher Shears make up the Garden, known for their vaudeville-esque jesters-in-leather-jackets aesthetic that revived originality in Orange County, California. While their music is classified as punk in the traditional fast-and-loud sense, the band doesn’t want you to get hung-up on genre pigeonholes. The brothers define punk as being your authentic self, and not giving a shit about what other people think. Despite their ‘don’t care’ attitude, the twins are surprisingly sensitive with their messages of self-acceptance, self-improvement, and positivity. These tender ideas can clash with traditional punk, which is why the band has been given so much credit for redefining the genre. On the surface, they’re just two brothers who play drums and bass to backing tracks, making fun music to blow off steam. Though their deeper lyrics and hidden meanings give the band dimension that keeps them alluring and makes them a curious paradox of vulnerable punk music. Their self-created world of Vada Vada that promotes unconditional authenticity sets them apart from other bands and makes their shows more of an experience rather than a simple concert. Their new record, Horseshit on Route 66, is perfectly self-described in their song “What Else Could I Be But a Jester” with the lyrics, “In a make-out session with aggression.” The album is full of self-aware lines that range from “mental inspection/ always searching for perfection” to lighthearted rhymes like “Jester mindset clear as Jell-O/ born a wild card/ now just a fellow.” Don’t miss the Garden turn the Howard into their own little universe, where you can do whatever the f*ck you want—as long as you’re kind to one another while doing it. The Garden play at 8 p.m. on Oct. 6 at Howard Theatre, 620 T St. NW. thehowardtheatre.com. $25–$50. —Simone Goldstone