Shows

Tuesday, November 28th, 2023
Doors 7PM
9:30 Club (815 V St NW, WDC)

NOTE: $1 from every ticket sold on Shallou’s tour will be donated to Clean Air Task Force. They are an incredible organization dedicated to supporting clean energy. You can read more about their mission here: https://ww.catf.us

Shallou makes music for summer sunsets, winter wonderlands, and other contexts where sharpened senses meet heightened emotions in the glow of a profound, often wistful calm.

Born Joe Boston in Washington D.C., Shallou grew up in Rockville, Maryland, studied in New Orleans, and moved to Chicago to focus on music before eventually resettling in LA. He released his EP, Souls, in 2018, with lullaby-grade chimes and breathy falsetto melodies. Shallou’s sound is characterized by gorgeous production that wraps the listener in a warm blanket, while other times evoking strong emotions or an urge to dance. He is one of the few electronic artists at his level to push the limits of a live show – touring with a live drummer and guitarist.

Though his live shows have taken on several iterations throughout his career, his own abilities shine through, including live vocals, keys and DJing. Shallou has played major music festivals like Coachella atthe Sahara Tent and sold out some of the US’ most iconic venues. His debut album Magical Thinking saw him bring his collaborations to a new level, pairing with expert songwriters like Ashe and iconic pop voices like Daya. The same year, he teamed up with chill contemporary Petit Biscuit for their single “I Leave Again,” moving the chill genre even further into the limelight.

Once the pandemic began to subside, Shallou emerged with his follow up EP, ‘The Long Way Home,’ in 2021. Handling all vocals himself, this was a turning point in Shallou’s career for establishing an artistic identity. The EP features emotive dance tracks (“Heartaches,””Here”) as well as cinematic indie songs (“Corners,” “Pacifica”) with writing assists from the likes of Panama and Elderbrook. In 2023, Shallou has taken on the ubiquitous house music genre, determined to leave his own distinctive stamp on it.

Friday, December 1st, 2023
Doors 9PM
9:30 Club (815 V St NW, WDC)

Gasolina Party is a community for Reggaeton & Latin music fans that are pushing the culture forward. Gasolina has grown to be the largest reggaeton party in the United States, bringing our party into iconic venues across the country.

Friday December 1st, 2023
Doors 7PM
The Recher (512 York Rd, Towson, MD 21204)

Taylor’s Version is the party of your wildest dreams. We celebrate Miss Americana every day by bringing her magic to life at our amazing DJ-dance parties. Could you ask for anything better? Grab a fellow Swiftie, grab a ticket, and literally have the best night ever.

Wednesday, December 13th, 2023
Doors 6:30PM
The Atlantis (2047 9th St NW, WDC 20001)

William Basinski is a classically trained musician and composer who has been working in experimental media for over 30 years in NYC and most recently, California. Employing obsolete technology and analogue tape loops, his haunting and melancholy soundscapes explore the temporal nature of life and resound with the reverberations of memory and the mystery of time. His epic 4-disc masterwork, The Disintegration Loops received international critical acclaim and was chosen as one of the top 50 albums of 2004 by Pitchfork Media. The Temporary Residence deluxe LP box-set reissue from 2012 was awarded best re-issue of the year and a score of 10 on Pitchfork. Installations and films made in collaboration with artist-filmmaker, James Elaine have been presented in festivals and museums internationally, and his concerts are presented to sold out crowds around the world. Basinski was chosen by Music Director, Antony Hegarty to create music for the Robert Wilson opera, The Life and Death of Marina Abramovic which had its world premiere at the Manchester International Festival in July 2011 and toured Europe in 2012 and North America in 2013. Orchestral transcriptions of The Disintegration Loops by Maxim Moston have been performed at The Metropolitan Museum of Art, Queen Elizabeth Hall and La Batie Festival in Geneva, Switzerland, Dark Mofo Festival in Hobart Tasmania and most recently Pitchfork Midwinter Festival with the Chicago Philharmonic. Basinski is currently touring the world in support of his latest work, “On Time Out of Time” which was released on March 8th, 2019 on Temporary Residence/2062/USA.

Matmos (DJ set)
Based in Baltimore, Matmos is Drew Daniel and M.C. Schmidt. The two have been making music as Matmos since 1997, first in San Francisco, and then relocating to Baltimore in 2007 when Daniel began to teach at Johns Hopkins University. They are respected, innovative auteurs in the world of electronic music and sampling culture whose very first album was hailed as “entering electronics Valhalla” by the WIRE magazine for sampling highly unusual sound sources such as the amplified nerve tissue of crayfish. Ever since, they have made music out a wildly heterogeneous set of objects and sources, including the sound of the pages of bibles turning, water hitting copper plates, liposuction surgery, cameras and VCRs, chin implant surgery, contact microphones on human hair, rat cages, tanks of helium, a cow uterus, human skulls, snails, cigarettes, cards shuffling, laser eye surgery, whoopee cushions, balloons, latex fetish clothing, rhinestones, Polish trains, insects, life support systems, inflatable blankets, rock salt, solid gold coins, the sound of a frozen stream thawing in the sun, a five gallon bucket of oatmeal, snails interrupting the path of a laser and altering the pitch of a light sensitive theremin, a PVC police riot shield, silicon breast implants, and their own washing machine. These raw materials are manipulated into surprisingly accessible forms, and often supplemented by traditional musical instruments played by internationally celebrated guest musicians from their circle of friends and collaborators. The result is a model of electronic composition as a relational network that connects sources and outcomes together; information about the process of creation activates the listening experience, providing the listener with entry points into sometimes densely allusive, baroque recordings that have the direct sensory immediacy of pop music.

Matmos have collaborated with a wide array of artists across media and distinct disciplines. A partial list of musical collaborators includes: Bjork, The Kronos Quartet, Terry Riley, Marshall Allan (Sun Ra Arkestra), So Percussion, Anohni, Yo La Tengo, The Rachel’s, Oneohtrix Point Never, Jefferson Friedman, Zeena Parkins, J.G. Thirlwell, Jeff Carey, Wobbly, David Tibet, and Mouse On Mars. The diversity of this list, comprising internationally celebrated pop stars, minimalist composers, giants of jazz and indie rock and innovative improvisers and electronic musicians, indicates the range across genres and musical scenes that has been the hallmark of Matmos’ varied and mercurial career. Matmos have made musical soundtracks to films by acclaimed filmmakers such as Daria Martin and John Cameron Mitchell (on “How to Talk to Girls at Parties”, written by Neil Gaiman and starring Nicole Kidman and Elle Fanning). Matmos has collaborated with theatrical directors such as Young Jean Lee (on “The Appeal” and “We’re All Gonna Die”) and Robert Wilson (on “The Life and Death of Marina Abramovic”, starring Willem Dafoe, Anohni, and Marina Abramovic). The band has released over twelve albums, and numerous EPs for the labels Matador and Thrill Jockey. Matmos have been
electronic music tutors at the distinguished and highly selective Darmstadt Ferienkurse, guest artists at the Ruskin School of Art at Oxford University, visiting faculty at Harvard University in the “Learning from Performers” series and presented our work at music departments such as Princeton, U.C. Berkeley, UVA, SciArc, Indiana University, and the San Francisco Art Institute. Matmos have performed all over the world, including key performances at Carnegie Hall, Zankel Hall, Walt Disney Hall, Orchard Hall in Tokyo, Santa Cecilia in Rome, MUTEK in Mexico City, Radio City Music Hall, the Sydney Festival in Sydney, Australia, and the Centres Georges Pompidou in Paris, and have had residencies at the INA/GRM in Paris, and at the Civitella Ranieri Foundation in Tuscany. Their most recent albums include “Regards / Uklony dla Boguslaw Schaeffer” (Thrill Jockey, 2022), a manipulation of the Polish electroacoustic composer’s works, and “Return to Archive”, a transformation of the nature, science and field recordings in the back catalog of the Folkways label (Smithsonian Folkways, 2023).

Saturday, December 23rd, 2023
Doors 9PM
9:30 Club (815 V St NW, WDC)
Welcome to Emo Night Brooklyn, a late night DJ based dance party blasting the best emo and pop punk jams. We may even invite some of your favorite artists and bands to surprise you and join the party. Get ready to scream your lungs out, mosh, and dance to all your favorite songs with all of your favorite people and experience the awesomeness that is Emo Night Brooklyn.

Friday, January 12th, 2024
Doors 9PM
The Atlantis (2047 9th St NW, WDC 20001)

Calling all Musical Theatre nerds, drama geeks, actors, actresses, theatre lovers, and more! Welcome to Broadway Rave, a Broadway Dance Party celebrating the best in show tunes and musical theatre. Come sing along to all of your favorite broadway hits while dressed up as your favorite character. We’ll have surprise guests from some of your favorite Broadway stars! Live out your Broadway fantasies at Broadway Rave — the most POPULAR Broadway Dance party around.

Saturday, January 13th, 2024
Doors 9PM
9:30 Club (815 V St NW, WDC)
Dance Yourself Clean – An Indie Electronic dance party playing music by: Odesza, Tame Impala, Rüfüs Du Sol, The Knocks, Tove Lo, Oliver Tree, SG Lewis, and more.

Friday, January 19th, 2024
Doors 9PM
The Atlantis (2047 9th St NW, WDC 20001)

Get ready to immerse yourself in the music of Disclosure and Fred Again.. This one-of-a-kind tribute night pays homage to two modern day pioneers of electronic music. Expect a seamless fusion of Disclosure’s infectious house anthems and Fred Again’s genre-defying experimentalism, as DJs skillfully weave together the most iconic hits like “Latch,” “Turn On The Lights,” “White Noise” and “Rumble”, alongside deeper cuts.

Whether you’re a seasoned dance music enthusiast or a newcomer to the scene, this tribute dance party will have you dancing all night long!

Good vibes only!
Song requests are welcome on Instagram 🎶🎶
From the creators of Club Blush 🙌 @clubblush.party

*This is a tribute dance night. Neither Disclosure or Fred Again.. will be appearing at this event, nor are they affiliated with the event.

Saturday, January 20th, 2024
Doors 9PM
The Atlantis (2047 9th St NW, WDC 20001)

Welcome to Take on Me: the ultimate 80’s party of your dreams celebrating the greatest era of music. Moonwalk into something flashy with us and bust a move all night long. Sweat it out to all of your favorite artists, including A-Ha, Madonna, Whitney Houston, Queen, Prince, Duran Duran, Bon Jovi, and many more…

Friday, January 26th, 2024
Doors 8PM
The Recher (512 York Rd, Towson, MD 21204)

Welcome to Emo Night Brooklyn, a late night DJ based dance party blasting all your favorite emo and pop punk jams. Get ready to scream your lungs out, mosh, and dance to all your favorite songs with all your favorite people and experience the awesomeness that is Emo Night Brooklyn.

Thursday, February 15th, 2024
Doors 10PM
The Atlantis (2047 9th St NW, WDC 20001)

Golden Features has turned out to be an apt name for the artist born Tom Stell. It’s a nod to the gold mask he wears while performing, but the Australian electronic producer has had a literally golden run since bursting onto the scene in 2014, with two platinum and six gold ARIA certifications for his tracks, 275+ million global streams for his music, an acclaimed and beloved debut album in 2018’s SECT (#1 ARIA Dance Albums Chart, #1 iTunes, Triple J’s Feature Album), accompanying tours that included two sold out Sydney Opera House shows, a closing set at Falls Festival, slots at major US festivals including Ultra Music Festival and Coachella, and forming the BRONSON project and self-titled album with stadium-conquering US electronic duo ODESZA.

It’s little wonder that after all of this, Stell felt creatively spent and needed time to recoup. He wouldn’t be the first electronic musician to find inspiration in Berlin, but it’s not known as the clubbing mecca of the world for nothing. There, he lost himself in the city’s renowned techno bunkers and hedonistic clubs, dancing with strangers, stripped of phones (no photos/videos, just sweaty bodies surrendering to the music) and returning to the apartment in the early hours to hunt for the tracks he’d heard the night before. Four nights a week spent raving only came to an end when COVID closed the clubs down. But Stell returned to Australia revitalised and most importantly, inspired. He’d reconnected with what he loved about music in the first place and couldn’t wait to pour this inspiration into new music of his own.

Stell’s music career began in 2014 with his self-titled debut EP featuring the massive “Tell Me” with Nicole Millar. The track quickly received widespread radio airplay and festival drops and was chased by the XXIV EP the following year, featuring even bigger guests in the form of American rapper K.Flay and Australian singer Thelma Plum, who appeared on the sultry “No One.” Always building on his prior successes, in 2016 Stell released his biggest tune to date, “Wolfie,” featuring Julia Stone and showcasing a poppier, brighter sound (although the B-side, “Funeral” returned to his trademark murky, bassy beats).

SECT landed in 2018 to cement Stell’s status as a bona fide star, selling 15,000 tickets across six Australian shows, securing festival appearances everywhere from Falls Festival to Holy Ship!, Hard Summer and CRSSD Festival in the US, and scoring rave reviews from the likes of GQ, Sputnik Music and Dancing Astronaut.

Pop star Katy Perry had Stell co-produce the track “Déjà Vu” on her 2017 album Witness, then in 2019, Australian dance music royalty The Presets came knocking to collaborate on the Raka EP, with Julian Hamilton’s unmistakable vocals paired with Stell’s subterranean textures, most memorably on “Paradise.”

A year later, locked down fans were treated to the sounds of their future rave dreams when Stell and ODESZA dropped BRONSON mid-pandemic. Their self-titled collab, borne out of a years-long friendship that started between Stell and ODESZA in Australia in 2014, is the best of both their worlds, infusing Odesza’s cinematic, expansive synth layers with Stell’s stormy, brooding low end. With over 2.5 billion streams across platforms, features from Totally Enormous Extinct Dinosaurs (TEED) and lau.ra (on “Heart Attack,” with 44 million streams on Spotify alone), a mix for the fabled BBC 1 Essential Mix series, and support from world-leading music publications and DJs, BRONSON was one of the biggest electronic records of the year and further evidence of the breadth of Stell’s talents.

And so it is no surprise, Stell has become one of Australia’s most sought after and celebrated electronic musicians.