School’s nearly out for summer—and even if you haven’t set foot in a classroom since Alice Cooper was a credible sex symbol, the rising humidity and lingering daylight should still be enough to awaken the same restless anticipation that made the last few weeks of the school year all but insufferable as a kid. There may not be a three-month break to count down to anymore, but the season simmers with possibility. Hibernators who were booed up all winter, cuddling by the fireplace, are newly single and wearing tank tops again. Roof decks are opening; gardens are greening. If it’s not summer vacation, it’s still, at the very least, summer vacay—a state of mind that needs no paid time off.
The arbiters of our roadmap for the season have a plan for grown-up kids of all persuasions: Music is the overachiever here, because summer, but there’s also a soccer (I’m sorry, futbol) championship, more than a few notable art openings, a restaging of last year’s most buzzed-about play, and a science festival for futurists that will leave no mind unblown. Adulthood isn’t an immunization against the carefree joys of the warmer months—file this summer under self-care and treat yourself to more concerts, more trips to air-conditioned galleries, more hours spent laying on a picnic blanket with a crossword and an Arnold Palmer. So what if the show runs till 2 a.m. and you’ve got an early meeting? Who cares if your cross-quadrant bike ride ends in a sweat-stained sundress? The grown-up’s summer vacay may have its advantages (alcoholic ice pops, no curfew), but it still ends in September. Lap it up before it melts away.
If Animal Collective truly is the 21st century’s answer to the Beach Boys, then Noah Lennox, aka Panda Bear, is Brian Wilson: pensive, sensitive, in love with the sonic possibilities of pop music. And if you filtered Summer Days (And Summer Nights!!!) through a Salvador Dalí painting, you might get Lennox’s gorgeous psychedelic masterpiece Person Pitch. Though known mostly for penning harmony-laden love songs, Wilson’s approach to sound shifted over time: His early Surfer Girl days eventually yielded to the full-bodied baroqueness of Pet Sounds, which led to the pastoral, symphonic SMiLE and the slippery, synth-heavy Love You. Panda Bear’s solo discography has been nearly as diverse. Following 2011’s organic, guitar-driven Tomboy, Lennox’s upcoming album is supposedly inspired by hip-hop and will be based largely around samples. But change is the status quo for Panda Bear—and, as with Wilson, we’ll follow him anywhere. Panda Bear performs with the Regal Degal and Geologist (DJ set) May 16 at 8 p.m. at 9:30 Club, 815 V St. NW. $25. (202) 265-0930. 930.com. —Dean Essner
Ex-Cult comes from the same Memphis DIY scene that begat hypersonic, elemental bands like the Oblivians and the Reatards; its 2012 debut was produced by Ty Segall, the San Fran scene’s standard-bearer; and their acid seems to be even browner than whatever Thee Oh Sees are taking these days. Midnight Passenger, Ex-Cult’s latest, is severe, menacing, heavy—and, sometimes despite itself, pretty fun. The roaring title track is a monster-movie barnburner, with frontman Chris Shaw announcing, “I’m the voice of the sewer, I’m your suicide cruiser.” Elsewhere, the band finds common ground between Stax vamps and Cramps riffs, with an occasional dash of something more damaged. Like a lot of recent music from Memphis, this is soul-charged garage rock recorded to transport you back to the live show; when Ex-Cult’s guitars pivot from bright to eerie, though, it’s clear that’s not the only place they want to take you. Ex-Cult performs with the Dead Women May 18 at 8 p.m. at DC9, 1940 9th St. NW. $8. (202) 483-5000. dcnine.com. —Jonathan L. Fischer
If you know Daniel Avery’s music, you know that euphoric moment when, in each of his songs, his tightly wound coil of blips and beeps eventually unspools, and the full shape of the song reveals itself. Think of it as a mantra made clearer every time you hear it, a mantra made for dancing. Long a resident DJ at London’s legendary nightclub Fabric, Avery finally struck out on his own with a debut album last year, Drone Logic, maintaining a pace in the studio that showcased his intimate knowledge of the dance floor. At U Street Music Hall, D.C. gets a chance to hear the Brit actually play his own stuff, and he’ll be joined by Jackmaster, a like-minded performer who shares Avery’s fondness for a relentless house beat. Both men earned their stripes playing live in London and Glasgow, so the show’s bound to be full of those moments that make Avery a cross-the-pond crowdpleaser. Daniel Avery and Jackmaster perform with Pentamon May 23 at 10 p.m. at U Street Music Hall, 1115 U St. NW. $10. (202) 588-1889. ustreetmusichall.com. —Colin Dwyer
Cass McCombs is a nomad. For years, he’s traveled the nation dispensing lyrical wisdom and folky indie rock. This summer, his trek brings him to the Black Cat, where he’ll prescribe a hefty dose of songs from his 2013 album Big Wheel And Others. Though his music has been lauded by the likes of Pitchfork, Spin, and Rolling Stone, his melodies—replete with sensual vocals, quiet guitars, and soft snares—remain grounded and humble. Sure, the Black Cat has a pretty punk reputation, but McCombs is nothing but a soft crooner, able to cool even the hottest summer nights with his voice alone. Cass McCombs performs with Jana Hunter May 25 at 8 p.m. at the Black Cat, 1811 14th St. NW. $15. (202) 667-4490. blackcatdc.com. —Tim Regan
For 10 years now, Jamaican singer Tarrus Riley has demonstrated that romantic, well-crooned reggae songs will never go out of style. The son of island vocalist Jimmy Riley, Tarrus has endeared himself to old-school reggae fans by working with a band led by veteran saxophonist Dean Fraser, and he’s reached younger folks by recording tracks with guest dancehall rappers. On his latest effort, Love Situation, he modernizes the post-ska, pre-reggae beats of rocksteady while collaborating with both well-known toaster Big Youth and youngblood Konshens. With his trademark tight melodies and head-nodding rhythms, Riley’s voice remains as sweet as ever. Tarrus Riley performs May 31 at 11:30 p.m. at Howard Theatre, 620 T St. NW. $22.50–$27.50. (202) 803-2899. thehowardtheatre.com. —Steve Kiviat
In a time when D.C. music seems to exist in a bubble far removed from the scope of mainstream tastemaking publications like Pitchfork, it’s an impressive feat that Priests managed to find their way out of Washington. Some may credit lead singer Katie Alice Greer’s stint in the Ian Svenonius–fronted Chain and the Gang, a band with a relatively widespread fanbase. But I’d link Priests’ recent jolt in popularity to their infectious punk rock sound and the palpable, relatable fury that oozes out of Greer’s lyrics. “Can’t turn off these TV screens/There is no button, no ‘up to me,’” she cries on “Radiation.” Here, Greer feels powerless and docile; she can’t shut down the screen. Whatever mode she’s in, I’m glad her shouts of frustration have spread past the District Line. Priests perform with the Shondes and Pink Wash June 2 at 8 p.m. backstage at the Black Cat, 1811 14th St. NW. $10. (202) 667-4490. blackcatdc.com. —Dean Essner
Future struck gold out of nowhere in the summer of 2011 with the infectious “Tony Montana.” Since then, the Atlanta rapper has been responsible for a stream of magic, either working with the high-octane likes of Drake and Rick Ross or enhancing their music with his vocal theatrics. His second album, Honest, was released in April, showing off Future’s knack for pairing off-kilter hooks with straightforward production. Future’s strength lies in his versatility: He can make hits out of enchanting hunts for love in the club (“Turn on the Lights”) and rowdy anthems (“Shit”) alike. In early June, his Honest tour will visit the Fillmore Silver Spring. If you’re there, too, give yourself at least two feet of space—the addictive “Move That Dope” will give the crowd a unified conniption. Future performs with Rico Love, Que, and Bando Jonez June 8 at 8 p.m. at Fillmore Silver Spring, 8656 Colesville Road, Silver Spring. $27.50. (301) 960-9999. fillmoresilverspring.com. —Julian Kimble
In 2009, Ethiopian Jew Gili Yalo, who had moved to Israel as a child, joined the Tel Aviv–based reggae group Zvuloon Dub System as their singer and helped transform the band’s sound. A group that had been playing ’70s-style roots reggae since its 2006 founding suddenly began to add the jazzy riffs of classic ’60s and ’70s Ethiopian pop. On its upcoming effort, Anbessa Dub, Zvuloon includes the echoed rhythms that define dub, but also features a cut in Amharic sung by Ethiopian legend Mahmoud Ahmed. That number and several others showcase both the Ethiopian horn sound that brings together Asian, Arabian, and East African influences and, symbolically, the affinity for the Lion of Judah shared by Israelis, Ethiopians, and Jamaicans alike. Zvuloon Dub System performs June 13 at 8 p.m. at Tropicalia, 2001 14th St. NW. $20. (202) 629-4535. tropicaliadc.com. —Steve Kiviat
There may be chefs and vendors on hand at the Union BBQ, but U Street Music Hall has more in mind for Union Market’s Dock 5 than just food. From noon to midnight on a mid-June Saturday, two stages will host an impressive lineup of musical talent. U Hall’s enduring Moombahton Massive crew will be there, of course, but some other notables are grabbing the early attention. Kaytranada, a slicer and dicer of soul standards, and Viceroy, a maker of sun-soaked disco fit for the poolside, will prepare the way for headlining act Jamie xx. When he’s not serving as the electronic spine for glum-rock superstars the xx, Jamie’s solo sound is more difficult to categorize, slipping with ease from the beach to bedroom, with a few detours through the dance floor. Add to these acts the D.C.-based Dutch dubman Martyn and a DJ set from a pair of Animal Collective veterans—as well as a strong stable of local DJs—and the District has found itself a lovely addition to its festival schedule. At just $40, the inaugural Union BBQ slips another feather in the cap of D.C.’s vastly underrated electronic music scene. The Union BBQ begins June 14 at noon at Union Market, 1309 5th St. NE. $40. (800) 680-9095. unionbbqdc.com. —Colin Dwyer
Merrill Garbus’ music is the stuff of fever dreams—benign at its core, but overlaid with a jittery, absurdist veneer. As Tune-Yards, Garbus packs her songs with surprises that enter from all angles, her hare-brained (but always enchanting) ideas bursting the seams of what might have otherwise been dancey, user-friendly pop tracks. Melody lines that would make no sense on paper sound perfectly intuitive when filtered through her brash vocals, which are double- (or triple-, or quadruple-) tracked over lip-smacking, syncopated beats and a patchwork pattern of riffs and mini-jingles. The latest Tune-Yards release, Nikki Nack, which dropped earlier this month, marks Garbus’ entry into new territory still: She tries on girl-group harmonies, soft R&B synths, and folksy fiddles, claiming each with confidence and purpose. Much of Tune-Yards’ music is soaked in post-production special sauce, but she tours with a full band to bring her mad-scientist visions to life. After the June 13 Tune-Yards concert sold out, 9:30 Club added this second show—take that as your cue to grab these tickets before they’re gone. Your soon-to-be manic dreams will thank you. Tune-Yards performs with Sylvan Esso at 6 p.m. on June 14 at 9:30 Club, 815 V St. NW. $26. (202) 265-0930. 930.com. —Christina Cauterucci
The bossy dairy queen is back with a brand new sound. Though she’s primarily known for a club hit about milkshakes (infer euphemisms at your own risk), her new tunes are lower and slower, but just as sensual. In “Rumble,” a single from her brand-new album Food, Kelis plays the part of a raspy R&B songstress and tells the tale of her ill-fated marriage to rapper Nas against a backdrop of trumpets, jazz beats, and a soulful piano. Earlier this year, at SXSW, she roamed Austin in a food truck and passed out heaping helpings from a menu named entirely after songs from the new record. This time around, expect Kelis to dish out jams your ears can feast on. Kelis performs June 15 at 7 p.m. at 9:30 Club, 815 V St. NW. $25. (202) 265-0930. 930.com. —Tim Regan
When Scarface took the stage during an impromptu Mellon Auditorium performance in 2012, you would’ve sworn it was in Houston’s Fifth Ward. One of the most respected rappers in the game, the H-town native has maintained a devoted fanbase in the District since leaving the Geto Boys to launch a solo career in the early ’90s. From the harrowing “I Seen a Man Die” to the 2Pac-assisted “Smile,” few rappers handle somber material better than Scarface. When he teamed up with fellow icons Nas and DJ Premier for DJ Khaled’s “Hip-Hop” in 2012, the man born Brad Jordan emptied his soul, rapping the only way he knows how: as if his next breath depends on it. Just before the solstice, he’ll share the Howard Theatre stage with Ohio rapper Stalley, whose mellow everyman style complemented Scarface’s wisdom on his Mint Condition–influenced car-lover’s anthem, “Swangin.” Scarface performs with Stalley June 19 at 9 p.m. at Howard Theatre, 620 T St. NW. $20–$25. (202) 803-2899.thehowardtheatre.com. —Julian Kimble
Generations from now, young garage rockers will still be covering Wreckless Eric’s ’77 single “(I’d Go the) Whole Wide World,” an anthem that proved early and persuasively that punk could be charming. Reissued this month, Eric’s 1989 album Le Beat Group Electrique has one song that’s nearly as worthy of singalong status: “Sarah,” the kind of ecstatic, acoustic-guitar mash note you’d imagine emerging late at night at a Buddy Holly campfire concert. Or, hopefully, at the Black Cat this summer. The English singer is still touring and recording, often with his wife Amy Rigby. He was, and remains, the pub-rock Jonathan Richman, a wry, occasionally louche troubadour whose romantic streak can feel like a rejection of punk’s chief concerns, but a cheeky twist on them, too. When “Whole Wide World” erupts into that soaring chorus, one fist goes in the air, while the other beats against your heart. Wreckless Eric performs June 23 at 8 p.m. at the Black Cat, 1811 14th St. NW. $12. (202) 667-4490. blackcatdc.com. —Jonathan L. Fischer
Lindsey Stirling is defining herself for herself, and the result has been—to use Stirling’s self-description—“eclectic.” In 2010, her hip-hop violinist act garnered mass public attention on America’s Got Talent. Without a clearly defined path for a classical violinist-cum-amateur electro dancer, Stirling took her career into her own hands, independently creating and promoting YouTube videos of her choreographed violin performances that became some of the most-watched clips on the Internet. Her dance moves are improvised, rudimentary, and heartfelt, with a free-spirited flow that calls up images of a blonde, Utah-bred Björk. Stirling signed on with Lady Gaga’s manager last year, and Shatter Me, her dark and stormy second album, was released in April. Like her first record, Shatter Me is, at its core, a string of dramatic violin solos over dancey dubstep beats. But while Stirling’s last album was instrumental, the most prominent songs on her second album feature guest vocalists. Though the title track’s singer, Lzzy Hale, recalls Evanescence (and not in a good way, if there is a good way), the added vocals provide a welcome narrative and structure. Still, half the fun of listening to Stirling has nothing to do with listening at all, and everything to do with her impressive feat of dancing with a violin, so this Echostage show already has a leg up on the album. Lindsey Stirling performs June 24 at 7 p.m. at Echostage, 2135 Queens Chapel Road NE. $43.45. (202) 503-2330. echostage.com. —Natalie Murchison
This year’s is a slimline edition of the DC Jazz Festival: six days, June 24 to 29. But it’s packing as much in those six days as possible. The festival’s Riverfront showcase is expanding from one night to three, and from one act to five (capped off with Gregory Porter, the current it vocalist on the national jazz scene). Elsewhere, you’ll find goodies at the festival’s productions with fellow presenters CapitalBop, Atlas Performing Arts Center, East River Jazz—and Bohemian Caverns, featuring among others the forward-thinking, jazz- and hip-hop–fusing pianist Andy Milne and his Dapp Theory ensemble. And of course, there’s the flagship nightly performances at the Hamilton, featuring Snarky Puppy, Helen Sung, Etienne Charles, and others. For the DCJF, it’s less about how many days they have, and more about making each of those days count. The D.C. Jazz Festival runs June 24 to 29 at various venues. $20–$80. (202) 457-7628. dcjazzfest.org. —Michael J. West
For a jazz lover in D.C., the nights of June 24-29 might be the busiest of the year. When you’re not at one of the D.C. Jazz Festival’s events, you can scoot on over to U Street’s Twins Jazz (or, on the 25th, to the Swedish Embassy in Georgetown) for the Nordic Jazz Fest. It’s the eighth year that the District’s five Nordic embassies have teamed up to sponsor performances by some of their countries’ finest jazz musicians, and this year, there’s some new blood. Fest regular Sunna Gunlaugs (a pianist from Iceland) and her trio are joined by five other artists, notably Finnish pianist Kari Ikonen, the atmospheric Danish trio Spacelab, and the Deciders, a very weird, tongue-in-cheek Norwegian quintet. If there’s a throughline in Nordic jazz, it’s the combination of pristine, glacial ambiance and jagged avant-garde sensibility—making this festival a feast for the ears and brain alike. The Nordic Jazz Fest runs June 24 to 29 at various locations. $12–$16. usa.um.dk/nordicjazz2014. —Michael J. West
D.C.-based, Kenya-born Anna Mwalagho and her multiethnic band Afro Floetry perform music known as Taraab, which is Swahili for “to be moved,” which is drawn from the Arabic word meaning “having joy with music.” Mwalagho, a brash, boisterous singer/comedienne/poet, certainly does that: Her bouncy, fast-tempoed music is rooted in Swahili’s Indian Ocean-fronting mix of cultures (East African, Middle Eastern, South Asian). As part of the Museum of African Art’s “Connecting the Gems: From Oman to East Africa Project,” Mwalagho, her dancers, and big band will offer “Swahili Traditions,” a program that will have its educational aspects but should be far from dull. Anna Mwalagho and Afro Floetry perform June 25 and 26 and July 2 at 2 p.m. at the National Museum of African Art Pavilion on the National Mall. (202) 633-6440. festival.si.edu. —Steve Kiviat
Though the annual Smithsonian Folklife Festival dates back to 1967, it’s still celebrated the same way nearly 50 years later. The premise is simple: Gather musicians, artists, performers, cooks, and craftspeople at the National Mall for two weeks to demonstrate the creative vitality of their cultural traditions. Visitors can immerse themselves however they’d like, but I recommend singing, dancing, and, of course, eating your way through the different represented communities. This year’s cultural programs include operatic performers from China and meet-and-greets with Kenyan Olympians, and attendees should leave with enough cultural experience to equal a thousand half-assed embassy parties. The Smithsonian Folklife Festival runs June 25 to 29 and July 2 to 6 on the National Mall. Free. (202) 633-6440. festival.si.edu. —Tim Regan
The DIY acronym signifies artistic freedom and self-sufficiency, yes, but it also smacks of egotism. That’s why the Lab All Ages’ Fest Too, a three-day DIY music and art event in Alexandria, also refers to itself as a DIT (Do It Together) festival—it’s a celebration of the DMV’s growing creative community, not an exercise in exclusivity. Fest Too may not boast big-name acts, but its lineup, made completely of self-submitted band entries, is a testament to this democratic ethos. There’s no discrepancy in font size on the gig poster based on popularity, either. Chances are, you don’t know too many of the 44 acts that are playing, but that means plenty of chances to discover something new. And, of course, eat free food. Fest Too runs June 26 and 27 4 p.m.-10:30 p.m. and June 28 12:30 p.m. to 10 p.m. at the Lab All Ages, 1819 N Quaker Lane, Alexandria. $10-$30. (703) 998-6260. festtoo.tumblr.com. —Dean Essner
Individually, they’re known as Cam’ron, Jim Jones, Juelz Santana, and Freekey Zekey. When they unite (which isn’t often these days), they become Dipset, or the Diplomats, hip-hop’s brazen collection of comedians. No joke—or target—is off limits. By mixing their Harlem-bred overconfidence with irresistible, relatable humor, Dipset’s members managed to remain relevant over the past decade off the fumes of their collaborative debut, Diplomatic Immunity, and individual releases. Cam’ron, their unfiltered leader, is enjoying the second phase of his career thanks to his hilarious Vine mini-movies, Mark McNairy–facilitated collection of custom capes, and upcoming Federal Reserve EP with DJ A-Trak. Don’t doubt his influence—Cam once compelled a legion of otherwise sartorially indifferent men to don entire outfits of pink. The Diplomats have had their differences in recent years, but when they perform “Dipset Anthem” at Echostage, we’ll forget (and we hope they’ll forgive) all that tension. Dipset performs June 27 at 9 p.m. at Echostage, 2135 Queens Chapel Road NE. $34.80. (202) 503-2330. echostage.com. —Julian Kimble
The best place to end a tour is in a familiar place, and the Fillmore Silver Spring is nothing if not familiar territory to Montgomery County rapper Logic. After kicking off his While You Wait tour in Atlanta next week, the Gaithersburg native will bring it to a close at home in July. Since gracing XXL magazine’s “Freshman Class of 2013” cover and signing to Def Jam last year, Logic has been hard at work on his much-anticipated debut album. Last month, he teased his While You Wait EP with a trio of songs that both lambasted his fairweather fans and praised his devoted ones. It was just a sampler to hold his following over until the album drops, and though we don’t know when that’ll be, a homecoming show is the perfect moment for an early taste. Logic performs July 1 at 8 p.m. at Fillmore Silver Spring, 8656 Colesville Road, Silver Spring. $20. (301) 960-9999. fillmoresilverspring.com. —Julian Kimble
Whoa. In 2014, there aren’t too many bands more terrifying than the Body, an arty, occasionally experimental doom outfit from Portland, Oregon, and New Orleans sludge unit Thou, which is why their recent collaborative EP was such a welcome and logical pairing. On the pummeling and cathartic Released From Love, they don’t leave much unscreamed or unstrummed, even during a surprising, blow-it-all-to-hell cover of Vic Chesnutt’s “Coward.” If they put as much into their joint live act as they did into that joint EP, I hope they survive this show, which follows a matinee they’re playing earlier in the day in Richmond. Audience members might want to double up on ear plugs, especially during sets by Vilkacis (a black metal group from New York) and jagged D.C. noise punks Jail Solidarity. Sterling, Va.’s Pygmy Lush should provide a necessary breather: The group, featuring members of Pg. 99, has roots in screamo, but its recent releases have tilted toward swampy, gothic folk rock. They still do heavy, just not so heavy. Thou and the Body perform with Pygmy Lush, Vilkacis , and Jail Solidarity at 8 p.m. on July 3 at the Pinch, 3548 14th St. NW. $8. (202) 722-4440. thepinchdc.com. —Jonathan L. Fischer
Mac DeMarco may be the most successful artist ever to be referenced as both a singer-songwriter and a man-child. But with his recent growth in popularity and the release of this year’s Salad Days, he’s begun the process of shedding the latter part. Sort of. “You’re no better off/Living your life/And dreaming at night/That much is true,” he sings on the hazy, AM Gold-leaning “Brother,” like a self-help guru who has suddenly discovered how perceptive he can be if he stops cracking wise. Only time will tell if this newfound sense of maturity pervails in his usually prank-heavy live show. Mooning the audience can be funny, especially in a small, intimate setting. But on the 9:30 Club stage, at $15 a ticket, with Bob Boilen filming somewhere in the rafters, the man might have to suppress the child. MacDeMarco performs with the Calvin Love and Delicate Steve July 19 at 8 p.m. at 9:30 Club, 815 V St. NW. $15. (202) 265-0930. 930.com. —Dean Essner
You’d be forgiven for not feeling the ripples when Flume’s self-titled debut dropped in 2012. After all, the man’s from Sydney, and though he’s topped Australia’s charts, half the globe can be an awfully long distance for fanfare to travel. But recently, the electronic producer is finally getting the stateside appreciation he deserves, setting foot on U.S. soil for a slew of shows this year—including a highly anticipated stop in the District. Expect Flume to wear his influences on his sleeve: He cherrypicks sounds from British beatmakers like SBTRKT and Jamie xx, chopping and layering an R&B base with a hefty gloss of pop. The result can be both earnest and epic, something at once complex and danceable. And with all the attention Flume’s been getting in our hemisphere lately, this may well be your last chance to see him without forking over a lot more cash. Flume performs July 24 at 9 p.m. at 9:30 Club, 815 V St. NW. Sold out. (202) 265-0930. 930.com. —Colin Dwyer
For 35 years, pianist and arranger Cesar “Pupy” Pedroso was in Cuba’s Los Van Van, the country’s leading dance band from the 1970s into this century. In 2001, though, Pedroso left to form his own group, Los Que Son Son. With Los Van Van, Pedroso played songo and timba, two styles that took traditional Cuban “son” dance music and blended it with salsa, Western pop, and funk. In his own band, he sticks mostly to fast-tempoed timba. Live and recorded, Pedroso collaborates with a combo that includes vocalists who alternate between melodic choruses and call-and-response chants, booming horns, and a strong bottom courtesy of keys, bass, and lots of percussion. Forget Saturday Night Live cowbell satire; you’ve never heard that instrument until you’ve felt it in service of the timba beat. Pupy y Los Que Son Son perform July 25 at 9 p.m. at the Howard Theatre, 620 T St. NW. $20–$25. (202) 803-2899. thehowardtheatre.com. —Steve Kiviat
Since reuniting earlier this year, bluegrass pop trio Nickel Creek has sold out some of music’s most storied venues. But though they’ve filled the Ryman Auditorium, Beacon Theatre, and 9:30 Club, frontman Chris Thile’s mandolin solos sound so much better outside a sweaty, windowless club. Wolf Trap’s Filene Center, then, is the perfect place for the group to bring its music back to its folksy, down-home roots, and the stage’s acoustics project the intricate sounds of quieter acts better than some indoor venues. Josh Ritter, the guitarist who sells out nearly every local venue he plays, joins Nickel Creek on this leg of the tour, fulfilling the dreams of folk fans who enjoy elaborate story-songs and precise string arrangements as much as they love foot-stomping banjo-and-mandolin jams. After releasing somber ruminations on lost love in the past, both acts have taken an optimistic turn on their new albums. It’s the perfect soundtrack for a night at northern Virginia’s rockingest national park. Nickel Creek and Josh Ritter perform August 13 at 7:30 p.m. at the Filene Center at Wolf Trap,1645 Trap Road, Vienna. $35–$50. (703) 255-1900. wolftrap.org. —Caroline Jones
As festival season begins, Trillectro is on a mission to make its third installment the best yet. The head-on collision of hip-hop and EDM grew in size and scope last year: It drew a larger crowd, netted high-end sponsors, and featured bigger acts. The best moments of the festival were big, too—the united pandemonium of A$AP Ferg’s set was a prelude to Wale’s special appearance, where he praised the entire local hip-hop scene. But Trillectro’s success led to capacity issues, and some ticketholders were turned away per the fire marshal’s orders. This year, the festival’s organizers hope to accommodate the expanding crowd by moving Trillectro to the festival grounds at RFK Stadium. Here’s hoping its streak continues: What makes Trillectro such a treat is its ability to lure fans from opposite ends of the music spectrum, creating an inimitable blend of people and cultures. It would be a shame if any of them got turned away. The Trillectro Festival takes place on Aug. 23 at RFK Stadium, 2400 East Capitol St. NE. $39-$100. trillectro.com. —Julian Kimble
Art showcases curated around an identity (women painters, Latino poets, queer singer-songwriters) can, ironically, run the risk of further marginalizing their featured demographics. By grouping together a bunch of otherwise dissimilar pieces, they imply that all artists of a certain gender or race have something similar to say, making each individual’s work seem less able to stand on its own merits. Vivid Solutions Gallery’s “If We Came from Nowhere Here, Why Can’t We Go Somewhere There?” skirts that booby trap by narrowing its focus: Yes, all the artists represented are self-identified black women (including photographers Janna Ireland, Dhool Hassan, and Sienna Pinderhughes), but they’re tied together by a common theme, too. Named for a line in the song “Imagination” by jazz composer Sun Ra, the exhibit filters narratives of history and self-directed futures through the intersecting identities of modern black women. This first gallery exhibit from Mambu Badu, a photography collective that highlights the work of emerging female artists of African descent, makes the case for identity-based exhibits that use their artists’ similarities to contextualize, rather than trivialize. The exhibition is on view to June 27 at Vivid Solutions, 1231 Good Hope Road SE. Free. (202) 365-8392. vividsolutionsgallery.com —Christina Cauterucci
As much as we’d like to think we’ve insulated ourselves from the whims of Mother Nature with snow tires and double-paned windows, when real disaster strikes, we’re not much better off than a little pig in a house made of straw. And with climate change wreaking ever-fiercer havoc on our weather systems, our planet is due for a steady increase in the frequency and severity of hurricanes, floods, and wildfires. If that prospect makes you want to Google “seismic retrofitting” rather than lock yourself in a closet to cry until the apocalypse arrives, you’re in for a treat at the National Building Museum’s “Designing for Disaster.” The exhibit includes a demo of a FEMA-approved safe room, an interactive wind vs. roof test, and examples of new structures built to resist tornadoes, earthquakes, and—according to the NBM’s website—“seal level rise.” I’m assuming that last one’s a typo, but it’s an adorable thought. The exhibition is on view to August 2, 2015, Mondays through Saturdays 10 a.m. to 5 p.m. and Sundays 11 a.m. to 5 p.m., at the National Building Museum, 401 F St. NW. $5–$8. (202) 272-2448. nbm.org. —Christina Cauterucci
Neither Sarah Knobel nor Amy Boone-McCreesh is concerned with elegance. In a series of photos and videos, Knobel’s glommed together a junk drawer’s worth of manufactured bric-a-brac—netting, balloons, doll hair, plastic shards, a Slinky—and suspended it in ice or water, weightless media that give the clumps of familiar matter an aura of mystery and import. Boone-McCreesh’s installations play with the gaudy and the garish, too; they cluster in corners and hang from ceilings, dripping with ribbons and fringe, ruffles and beads. The two artists will show their works alongside one another at Hamiltonian in a surreal, otherworldly exhibit of colorful common materials made freaky and new. The exhibition is on view May 17 to June 21, Tuesdays through Saturdays noon to 6 p.m. at Hamiltonian Gallery, 1353 U St. NW. (202) 332-1116. hamiltoniangallery.com. —Christina Cauterucci
The Yugoslav-born photographer Vesna Pavlović doesn’t just produce art; she seems to enjoy producing art that documents artworks within their natural habitat. More than a decade ago, Pavlović photographed the kitschy architectural and sculptural decorations of guest-worker communities in eastern Serbia. A few years later, she produced “Collection/Kolekcija,” which paired photographs of artworks hung within two 1960s buildings—one in capitalist New York (the Chase Manhattan Bank building) and one in communist Belgrade (the presidential palace). Given this track record, Pavlović seems like a natural pick to helm the Phillips Collection exhibition “Intersections,” which addresses the historical context of artistic displays—specifically, its own. Pavlović’s stairwell installation will use the museum’s archives to explore its history of exhibitions, including “a 20-foot transparent curtain of digitally manipulated images.” The exhibition is on view May 22 to Sept. 28, Tuesdays, Wednesdays, Fridays, and Saturdays 10 a.m. to 5 p.m., Thursdays 10 a.m. to 8:30 p.m., and Sundays 11 a.m. to 6 p.m. at the Phillips Collection, 1600 21st St. NW. $10–$12. (202) 387-2151. phillipscollection.org. —Louis Jacobson
Though mainstream art history accounts tilt in favor of Nam June Paik as the progenitor of video art, women were equally crucial to the medium’s advancement in the 1960s and ’70s. The National Museum of Women in the Arts draws attention to that faulty perception by showcasing the work of these female video artists—including early American practitioner Dara Birnbaum and contemporary Japanese artist Mariko Mori—in its summer exhibition, “Total Art.” The title references the multifaceted nature of video art: In addition to recording and editing the final product, the creators are in charge of the set design, animation, and location-scouting of each project. Curators highlight early video works, often critiques of mainstream media, but the exhibit also includes current artists like Alex Prager, whose solo show of large-scale staged images and lushly lit film (pictured) impressed local crowds with at the Corcoran in late 2013. For visitors who need a beginner’s primer on video art or experts looking to see the best of the best, “Total Art” is a good place to start. The exhibition is on view June 6 to Oct. 12, Mondays through Saturdays 10 a.m. to 5 p.m. and Sundays noon to 5 p.m., at the National Museum of Women in the Arts, 1250 New York Ave. NW. $8–$10. (202) 783-5000. nmwa.org. —Caroline Jones
Salvatore Scarpitta is one of the lesser-known names of Pop Art. And of Arte Povera. And of Leo Castelli’s stable of gallery artists. And of racecar driving. The guy was even a monuments man, helping to rescue stolen art during World War II. It’s a wonder more of us don’t know about him. To celebrate its 40th anniversary, the Hirshhorn Museum is beginning a series of exhibitions that focus on individual artists whose works the museum has collected in depth, starting with Scarpitta. With a specific bent toward the themes of travel and transportation, the exhibition features recent acquisitions “Cot and Lock Step n. 2 Cargo” (1989–2000), one of Scarpitta’s sleds, handmade from found materials, and “Trevis Race Car (Sal Gambler Special),” a functioning winged sprint car that the artist appointed with a Pop-style paint job. That’s right: The Hirshhorn has a frickin’ racecar in its collection. The exhibition is on view July 17 to January 15, 10 a.m. to 5:30 p.m. daily at the Hirshhorn Museum and Sculpture Garden, 7th Street and Independence Avenue SW. Free. (202) 633-4674. hirshhorn.si.edu. —John Anderson
There’s been no shortage of top-flight aerial landscape photography on display in D.C. in recent years, from the ultralight-borne images of Maxwell MacKenzie and George Steinmetz to the Google Earth–derived perspectives of Christoph Engel and Gerco de Ruijter. The path from old-school lenswork to satellite-downloaded source material—to some, an ambivalent transition if there ever was one—goes a step further with the Corcoran Gallery of Art exhibit “Mark Tribe: Plein Air,” which bases its aerial landscapes on computer simulations. The gallery bills the exhibit as including “pictures of a computer-generated world in which land appears distant, almost foreign.” Tribe has long dwelled on the technological edge, from first-generation virtual reality and interactive Internet art more than a decade ago to more recent green-screening and online video chats. “Plein Air” even promises to touch upon the artistic potential of drones, a technology of the moment if there ever was one. The exhibition is on view July 19 to Oct. 19, Wednesdays 10 a.m. to 9 p.m. and Thursdays through Sundays 10 a.m. to 5 p.m. at the Corcoran Gallery of Art, 500 17th St. NW. $8–$10. (202) 639-1700. corcoran.org. —Louis Jacobson
Could there be anything cooler than debating with Star Trek’s Patrick Stewart and George Takei about the impending doom (or glorious rise) of humankind? I can only think of one thing, and that’s hearing actual astronauts, cosmologists, and astrophysicists weigh in on the same topics in the same three days. Nerd out with the whole crew at Smithsonian Magazine’s “The Future Is Here” Festival, a weekend-long series of talks produced in tandem with its May issue of the same name. Entry doesn’t come cheap, but neither does well-researched wisdom—and there’ll be plenty of that, courtesy of NASA engineers, science fiction writers, National Geographic explorers, Google experts, and other big brains on the docket. The festival runs May 16 to 18 at various locations. $250. smithsonianmag.com/innovation. —Sarah Zlotnick
For 10 years, the Ivy-educated, culture-critiquing dudes at n+1 have published their triannual literary journal, perhaps the most widely known new lit journal around. The most recent issue’s cover story, “MFA vs NYC,” implied that MFA creative writing programs and the New York publishing industry are the two hegemonic sculptors of fiction, that they are somehow at odds with each other, and that—for better or worse—they are forever changing the course of American literature. The essay prompted a public debate on the whiteness of MFA programs via a Junot Diaz New Yorker article titled “MFA vs. POC.” It’s a rare literary journal that can be this relevant and provocative, which is why this panel of editors and founders should be far more topical than the average lit mag discussion. The reading begins 7 p.m. May 22 at Politics & Prose, 5015 Connecticut Ave. NW. Free. (202) 364-1919. politics-prose.com. —Natalie Murchison
David Sedaris, America’s favorite megaphone for all that is absurd about our society, will kick off summer paperback season by reading from his latest book, Let’s Explore Diabetes with Owls. Sedaris regularly sells out venues, and this show is free, so head over to Politics & Prose early for a fighting chance at a seat. And as if you needed another reason to lust after a reading with this guy, Sedaris has earned a reputation for chatting up fans and scrawling absurdist, individualized doodles at book signings. Totally worth a little standing in line. David Sedaris reads June 9 at 7 p.m. at Politics & Prose, 5015 Connecticut Ave. NW. Free. (202) 364-1919. politics-prose.com. —Natalie Murchison
As the National Book Festival shifts from two days to one, from the National Mall to the Washington Convention Center, from daytime-only to night owl–inclusive with a new slate of evening events, it would be easy to go overboard. I’m talking, of course, about the puns. The festival is turning a page, I could say, or embarking on a new chapter—but, then, I’d be missing the point. This year’s lineup is stacked with big names: Paul Auster, Alice McDermott, Billy Collins, and Kate DiCamillo are just a few of the literary stars scheduled to sign books, give readings, or host Q&As. But to focus on names alone would also miss the point. The joy of this year’s festival, as in years past, rests not in the headliners but in the simple fact of being surrounded by books, by those who wrote them and those who love them as much as you. Few events can match the excitement and serendipity of leaving a poetry reading and walking through a signing for a sci-fi classic in order to get to a one-on-one conversation with the novelist you actually came to see in the first place. And with about 10 stages to choose from, the festival’s new edition (sorry) should still brim with the same charms. The National Book Festival begins August 30 at 10 a.m. at the Walter E. Washington Convention Center, 801 Mount Vernon Place NW. Free. (888) 714-4696. loc.gov/bookfest. —Colin Dwyer
If you’ve never been to the Upright Citizens Brigade theaters in New York or L.A., this is your chance to see the country’s most notorious comedy troupe in action. You’ll laugh at a UCB show, of course, but you’re also practically guaranteed to see someone who will later write or act in a TV show you hold dear. Alumni from the greater UCB circle include Aziz Ansari, Ilana Glazer, Abbi Jacobson, and writers from 30 Rock, Parks and Recreation, New Girl, and The Daily Show. Tickets for the Sixth & I show are reasonably priced for the quality of UCB’s talent, so treat a first date, a friend date, or a family member visiting from out of town—this kind of improv is an equal-opportunity crowdpleaser. Upright Citizens Brigade performs June 1 at 7 p.m. and 9:30 p.m. at Sixth & I Historic Synagogue, 600 I St. NW. $20–$50. (202) 408-3100. sixthandi.org. —Natalie Murchison
Will the nation’s capital ever become a fashion capital? The debate gains and loses momentum as interested parties move in and out of the District, but D.C.’s significant style upgrade over the past few years makes this a perfect time to pose the question. Get caught up to speed on the topic from the people that know it best at the premiere of The Politics of Fashion: D.C. Unboxed, a new documentary from Elaine Mensah. In the film, the movers and shakers of D.C.’s fashion scene (including local bloggers, designers, and boutique owners) make the case for the style-conscious side of the District and shine a light down established paths for achieving creative success in a city run by sometimes-suffocating rules and regulations. I’m going for the interviews with people like Washingtonian fashion editor Kate Bennett, who has lived and breathed the local fashion scene for years, but Pulitzer Prize-winning fashion critic Robin Givhan and Miss J Alexander of America’s Next Top Model are the big-name draws who’ll impress any audience. The film shows June 3 at 6 p.m. at AMC Mazza Gallerie, 5300 Wisconsin Ave. NW. $20–$50. (202) 368-5448. thepoliticsoffashion.com. —Sarah Zlotnick
If you already miss the probably-deceased Filmfest DC, don’t fret—AFI DOCS is here to pick up the pieces. Over the course of five days in June, the documentary festival hijacks venues across the city to screen films by acclaimed local, national, and international filmmakers in one of the most politically important cities in the world. The goal of the festival is to, well, screen a ton of documentaries, introducing emerging and established filmmakers to the important (rich) people that influence our national dialogue. Though AFI DOCS focuses on quality, not quantity, the festival brings dozens of films to the D.C. area each year. And if you’ve always wanted to schmooze with Supreme Court justices, CEOs, and Washington Post reporters, this is your chance: They’ve been known to rub elbows with common folk during screenings. Who knows who you might see? AFI Docs runs June 18 to 22 at various venues. Price information to come. (301) 495-6720. afidocs.com. —Tim Regan
For those who’d like to feel outdoorsy without straying too far from carryouts and Capital Bikeshare stations, several venues in and around D.C. will double as open-air movie theaters this summer. Revisit films like Willy Wonka & the Chocolate Factory, Goldfinger, and The Devil Wears Prada for nothing or next to nothing—weather permitting, of course.
When customers enter Bardo Brewpub, they’re greeted by the most adorable host in the city, an easygoing Australian cattle dog named Bardawg. After a brief introduction, patrons find the holy trinity of summer recreation scattered about the grassy lot: beer taps, cornhole boards, and a 20-foot movie screen mounted to a pair of old boxcars, sparingly reserved for balmy nights.
The National Harbor, Prince George’s County’s snazzy multiuse waterfront development, will be showing free PG-rated films every Sunday shortly after sunset, from May 25 through September 28. Seating will not be provided by the facility, so moviegoers are encouraged to bring their own lawn chairs.
Arlington’s premier outdoor film festival is slated to return to Gateway Park on May 30 and continue every Friday through August 22. This year’s lineup—bookended by Office Space and Anchorman—features a dozen lighthearted pictures that capture the perils of employment. Films will begin at dusk circa 8 p.m.
Even Death of a Salesman had to start somewhere. These days, there’s no better starting point than a theater festival dedicated to supporting new shows—especially if you’re a broke playwright convinced you’ve struck literary gold (or, you know, a broke DMV resident who’d like to get her culture on every now and again). Luckily for both parties, 18 10-minute plays will make their debut alongside three full-length plays during Source Festival, the Source theater’s annual celebration of new work. Chosen from hundreds of submissions from across the country, this year’s performances are centered on the themes of revenge, quests, and mortality. The full-length shows portray a life without death in A Bid to Save the World, a young man setting sail in search of a lost ancestor in Dontrell, Who Kissed the Sea, and a mysterious visitor upending the life of an isolated mother and son in The Thrush & The Woodpecker. For the emerging playwrights, it’s a valuable career boost, and for the broke and culture-starved among us, it costs less than the price of a Sweetgreen dinner for two to get in. The festival runs June 6 to 29 at Source, 1835 14th St. NW. $10–$100. (202) 315-1305. sourcefestival.org. —Sarah Zlotnick
This visiting solo production from London’s Gate Theatre tells the story of “The Pilot” (Lucy Ellinson), a fighter ace who finds herself reassigned to flying drones over Afghanistan by remote control once she becomes pregnant. Playwright George Brant’s gripping drama explores the ethical murk of killing from a console. The show runs June 10 to 29 at Studio Theatre, 1501 14th Street NW. $20–$39. (202)332-3300. studiotheatre.org. —Chris Klimek
It can’t be easy to play one half of a set of conjoined twins, mimicking a continuous physical connection to another actor without a break. Singing and dancing while attached seems like an even bigger challenge, which will make the Kennedy Center’s new production of Side Showa compelling watch. Based on the lives of Violet and Daisy Hilton, British twins who toured the U.S. as “freak-show” entertainment and vaudeville performers during the Depression, the musical chronicles their face-off with an oppressive manager and romantic relationships with a vocal coach and a press agent. Of course, the women’s unbreakable physical bond adds a wrinkle to the traditional “boy meets girl, then loses girl, then wins girl back” plot, so the dance sequences will far outshine traditional Broadway waltzes. For this revival developed with California’s La Jolla Playhouse, composers have added new songs and characters, creating a grander, even more fantastical world of weirdos and wonder. The play runs June 14 to July 13 at the Kennedy Center Eisenhower Theater, 2700 F St. NW. $45–$130. (202) 467-4600. kennedy-center.org. —Caroline Jones
Washington Post humor blogger Alexandra Petri’s comedy about the sexual education of a college freshman by an older recent grad went over like gangbusters in its staged reading at last year’s Page-to-Stage Festival at the Kennedy Center. In its first full production, courtesy of the Washington Rogues, the reliably hilarious actor and writer Rachel Manteuffel (a close pal of mine, full disclosure) plays the 20-something “older” woman who deflowers the eager young man but then remembers her responsibility to leave him better off than she found him (hence the Dan Savage-coined concept that titles the piece). The play runs July 23 to Aug. 16 at Anacostia Playhouse, 2020 Shannon Place SE. $20. (202) 290-2328. anacostiaplayhouse.com. —Chris Klimek
Aaron Posner is better known as a director than as a playwright, but his remix of/rebuttal to Anton Chekhov’s The Seagull was the best production of any play, old or new, on a D.C. stage in 2013. (Woolly co-founder Howard Shalwitz directed.) That it’s returning this summer with the entire original cast intact—Rich Foucheux, Kimberly Gilbert, Brad Koed, Cody Nickell, Kate Eastwood Norris, Kate DeBuys, and Darius Pierce—is cause for celebration. As the esteemed and handsome Washington City Paper theater critic Chris Klimek wrote in his review last summer, everyone in Posner’s irreverent version is more forthcoming than their counterparts in Chekhov’s 1895 original, “going so far as to sit in a row of folding chairs and tell us their desires instead of giving them away through subtext. That’s actually the most heretical thing Posner does. Sometimes rejection is the sincerest form of flattery.” And sometimes a remount is the sincerest form of…repetition. Which is why I’m looking forward to seeing this show a third time. The show runs July 28 to Aug. 17 at Woolly Mammoth Theater, 641 D St. NW. $50–$68. (202) 393-3939. woollymammoth.net. —Chris Klimek
When the United States beat Mexico in the knockout round of the World Cup in 2002, I was watching at The Diner in Adams Morgan, mostly because the game (broadcast live from South Korea) was on at 2:30 a.m. on a Monday morning here and I didn’t trust myself to stay awake without a boisterous crowd. There weren’t many other places that stayed open all night to show the games, and the celebration after the victory was confined to the restaurant, which was probably understandable given the hour. In the ensuing 12 years, the District’s outlets for those of us who are rightly obsessed with the planet’s biggest sporting event have exploded—and now that soccer is ever more popular, don’t expect people to mute their joy if the U.S. does well again this year. If backing Uncle Sam isn’t your speed, you can probably find a group to cheer on any of the 32 teams in the tournament with: In 2010, I watched the Netherlands beat Denmark at the Dutch embassy, a Spain-Switzerland draw at Jaleo, an Argentina win over South Korea at Rockville’s El Patio Café, a German victory over Australia at the Goethe-Institut, and a Brazil-North Korea match at a bar near the Capitol where the free caipirinhas came courtesy of the Brazilian sugar cane ethanol industry. (Conveniently, I managed to schedule some time off between jobs to coincide with the first two weeks of the World Cup.) You’ve got a month-long excuse to slough off work early every day during some of the best weather we’ll have all year, or at least take a long lunch during the 12 p.m. games and go watch soccer under the guise of cultural outreach. Even if you’re not that into the sport, you’ll be helping D.C. get in line with the rest of the world: Virtually every other city in the countries whose teams are playing (and many in countries whose aren’t) will come to a standstill during the matches. Why shouldn’t ours? —Mike Madden
Enjoy a chili half smoke and a cold drink while watching some of the world’s best soccer players face off. Ben’s Next Door. 1211 U St. NW. Free. June 12–July 13. (202) 667- 8880. bensnextdoor.com.
Enjoy South American drink specials at while watching matches at this Peruvian-inspired restaurant. Ceiba. 701 14th St. NW. Free. June 12–July 13. (202) 393-3983. ceibarestaurant.com.
Support South American teams and enjoy traditional snacks while watching games at this downtown restaurant. Del Campo. 777 I St. NW. Free. June 12–July 13. (202) 289-7377. delcampodc.com.
Support the U.S., England, Germany, Colombia, and Spain while watching all the matches at this soccer mad English pub. Elephant and Castle 19th Street. 900 19th St. NW. Elephant and Castle Pennsylvania Ave. 1201 Pennsylvania Ave. NW. Free. June 12–July 13. (202) 296-2575. elephantcastle.com.
Cheer on teams from around the globe at Fado, which will feature specials during the Cup’s opening weekend. Fado Irish Pub. 808 7th St. NW. Free. June 12–July 13. (202) 789-0066. fadoirishpub.com.
Stop by this downtown bar to cheer for the USA and partake in a variety of World Cup-themed events. Irish Whiskey Public House. 1207 19th St. NW. Free. June 12–July 13. (202) 463-3010. irishwhiskeydc.com.
RiRa partners with D.C. United to celebrate the World Cup. The bar will show all matches and welcome all supporters. RiRa Irish Pub. 2915 Wilson Blvd., Arlington. Free. June 12–July 13. (703) 248-9888. rira.com.
Support the U.S. soccer team and enjoy happy hour specials, including $4 pints, during the Drafting Table’s World Cup view- ing party. Drafting Table. 1529 14th St. NW. Free. June 12–July 13. (202) 621-7475. draftingtabledc.com.
Cheer on the U.S. and watch every match with the friendly crowds at this H Street NE bar. The Pug. 1234 H St. NE. Free. June 12–July 13. (202) 555-1212. thepugdc.com.
Enjoy food and drink specials while cheering on the U.S. and England at this British-style pub. The Queen Vic. 1206 H St. NE. Free. June 12–July 13. (202) 396-2001. thequeenvicdc.com.
Celebrate the World Cup and enjoy Budweiser and food specials inside and on the patios of both locations. Tonic Foggy Bottom. 2036 G St. NW. Tonic Mount Pleasant. 3155 Mount Pleasant St. NW. Free. June 12–July 13. (202) 296-0211. tonicrestaurant.com.
Support the USA at Ventnor, which will air all games and open early for lunch during the tournament. Ventnor Sports Cafe. 2411 18th St. NW. Free. June 12–July 13. (202) 234- 3070. ventnorsportscafe.com.