Trevor Paglen

Name: Free Weekly Bingo w/ Union Market
Start: 2018-11-15T19-19-00-00
End: 2018-11-15T21-21-00-00
Location: Union Market

Photos: Unseensters After Hours @ SAAM

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We were watching you....

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Updated: SAAM & BYT Present UNSEENSTERS After Hours

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BYT invites you to: Smithsonian American Art Museum after hours featuring the new exhibition Trevor Paglen: Sites Unseen...

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"The whole idea is that it's a piece of engineering done for engineering's sake, the same way we make art for art's sake."...

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Giveaway: Unseensters After Hours @ Smithsonian American Art Museum

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JOHNNY 5 IS ALIVE!...

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15nov7:00 pm9:00 pmFree Weekly Bingo w/ Union Market7:00 pm - 9:00 pm Union Market

15nov7:00 pmLouis The Childw/ NoMBe, R.LUM.R7:00 pm 9:30 Club

15nov7:00 pmDerez De’Shon7:00 pm U Street Music Hall

15nov8:00 pmGil Shaham, violinPresented by Washington Performing Arts8:00 pm The Music Center at Strathmore

15nov8:00 pmAlan DoyleWhitney Rose8:00 pm Wolf Trap

16nov6:00 pmThe Dollop6:00 pm Lincoln Theatre

16nov6:00 pmRandy Rogers Bandw/ Parker McCollum6:00 pm 9:30 Club

Event Details

Authenticity isn’t something that can be manufactured in a studio. It’s not a craft that can be learned or artfully practiced. It comes from living life. It’s the byproduct of blood, sweat and tears and as the foundation for music, it elevates mere entertainment to compelling art. Every note, every word on the Randy Rogers Band’s new album Nothing Shines Like Neon rings with authenticity that makes each song linger with the listener long after the music fades.
“You’ve just got to be true to yourself and you can’t fool anybody,” Rogers states matter of factly of the band’s philosophy. “As a whole, our body of work is pretty consistent to our live show and the band that plays on the record is the band that you go see.”
The same line up has been performing together since 2002 and the music has evolved as they’ve soaked up life experience. “As men we’ve all matured and lived a lot of life together,” Rogers says. “We’ve had a few breakups happen to us. We’ve had babies. We’ve had life changes. We’ve been on the road 200 shows a year. I’ve been in this band 15 years so a lot has changed. I still listen to Merle Haggard every night. I mean that hasn’t changed, but a lot has changed for us musically and privately. We all are in a good spot and we all are just as good friends as when we started.”
Camaraderie and creativity have made Rogers and bandmates Geoffrey Hill (guitar), Johnny “Chops” Richardson (bass guitar), Brady Black (fiddle), Les Lawless (drums) and Todd Stewart (utility player) one of the top bands on the competitive Texas music scene. Nothing Shines Like Neon continues the momentum established by the band’s four previous albums—Randy Rogers Band, Burning the Day, Trouble and Homemade Tamales, each of which went to No. 1 on iTunes. Earlier in 2015, Rogers joined friend Wade Bowen to record the critically acclaimed album Hold My Beer Vol. 1.
Produced by Nashville legend Buddy Cannon (Willie/Merle) at Cedar Creek in Austin, RRB’s news album Nothing Shines Like Neon showcases the band’s taut musicianship as well as Rogers’ earnest vocals and insightful songwriting on such instant classics as the groove laden “Rain and the Radio,” the heartbreak anthem “Neon Blues” and the playful “Actin’ Crazy,” a duet with Jamey Johnson. “Jamey and I wrote that song together,” Rogers notes. “I met a movie star a few days before Jamey and I were going to write. I was in LA playing at the House of Blues and he came out to the show. I was thinking about him …and thinking about being a struggling actor living in LA and having to put up with all the bullshit that LA is. I just wrote that song about him.”
The album opens with the fiddle driven shuffle “San Antone”. “That is a Keith Gattis song. He wrote by himself. Being from Texas and living so close to San Antonio, I don’t think that song is going to hurt me at all,” Rogers laughs. “It’s one of those songs when I heard it I was like, ‘Oh hell! Why didn’t I write this song?’”
“Takin’ It As It Comes” features Lone Star legend Jerry Jeff Walker. “I’ve been a big fan of Jerry Jeff’s all my life,” Rogers says. “He came in the studio with us, got in there with the band, jumped around and played guitar and sang. We had a great time.”
“Rain and the Radio” is Rogers’ homage to Ronnie Milsap. “I wrote that with Sean McConnell. He and I have written a lot of songs through the years. I’ve always been a huge Ronnie Milsap fan and to me that song has a little Milsap feel to it, kind of a bluesy country thing, which we haven’t done before. Any artist that I look up to always tries to create something different and pushes the envelope a little bit. I think we do with that song in particular. It’s very country. It’s just very different. As a band, we’re trying to broaden our horizons and I don’t think that’s a bad thing. If we were all just stuck doing the same old thing, we would all be bored. We probably wouldn’t still be here. It’s just a matter of spreading your wings a little bit.”
“Look Out Yonder” is a poignant tune Rogers recorded in honor of his mentor, the late Kent Finlay. “Kent gave me my start in the music business. Up until the day that he died, we talked about songs and about music,” Rogers says. “We actually named the record, Nothing Shines Like Neon after a lyric in one of his songs as a tribute to him. Alison Krauss and Dan Tyminski are singing on ‘Look Out Yonder’, which was written by Earl Bud Lee, who is most famous for writing ‘Friends In Low Places’. He and I have been friends for 10 years and he has always wanted me to cut that song. I’ve never had a record where it fit and just thinking about losing Kent and Kent going to heaven and joining his mom, ‘Look out yonder coming down the road’ it just fit. I haven’t performed that song yet live, but I know I’m going to have a hard time getting through it. The day we started our record, I got a call that Kent passed away so this record is definitely dedicated to Kent. That song makes me think about all of us musicians and how we are crazy as hell and lead the most unorthodox lives. Most of us return back to our roots, so hopefully this is an album that glorifies Kent’s life and is also a nod to the traditional sounds that we all grew up loving.”
A native of Cleburne, Texas, Rogers grew up addicted to traditional country music. “I wanted to be George Strait when I was in the sixth grade,” he says with a smile. “And I grew up listening to Willie Nelson and Merle Haggard, I’ve listened to them more than anybody else, my whole life. I always liked songs. I always wanted to find out who wrote the songs and what the songs were about. I always liked the art and the craft of being a songwriter. My dad’s Beatles records got played a lot and Michael Martin Murphy is another one I listened to a lot as a kid. My dad was a huge fan.”
Like many artists, Rogers got his start performing in church and then expanded to local venues. “I could write a song when I was pretty little, 11, 12 or 13,” he says. “It’s like a kid who could do calculus or something. It was just something that clicked in my brain for me. I went and finished college and got a degree in public relations and then started a band.”
Since then the Randy Rogers Band has steadily built a following that has spilled beyond their native Texas. For the past 10 years they’ve recorded for Universal Music Group, but on Nothing Shines Like Neon, Rogers again takes the reins, releasing the album on his own Tommy Jackson Records, named after a song he wrote for their very first album. “It’s a very obscure Randy Rogers Band song and to this day there is always this one drunk kid at a show that says, ‘Play “Tommy Jackson!” Play “Tommy Jackson!”’ It’s kind of a running joke within our band. It’s like, ‘How in the hell did this kid in Iowa City, Iowa remember that stupid song “Tommy Jackson?”’ It’s about a guy who is on the run from the cops, wanted for murder. It’s a story song and we just felt like it was a unique way to name a record label.”
Nothing Shines Like Neon is a stellar collection in an already impressive body of recorded material that owes a lot to the band’s potent live show. “You come to a show, you know what you’re going to get,” Rogers says. “We’ve worked hard at making ourselves better on stage and we care about our live show. It’s a way to come out and unwind, and we’ve stuck to writing songs that are about real life, about breakups or divorces, falling in love or babies being born, and in the case of this record even death, the ups and downs of life. People can relate. That’s what country music is supposed to be. Our band has been around for a long time because there’s no bullshit to us. We’re not in it to be rich and famous. We’re in it to make a living, provide for our families and do something that we all love. You can’t fool people and we haven’t ever tried. I think that’s the key.”

Parker McCollum comes from a no-nonsense, hard-working family. His was the sort of upbringing where “if you’re going to do something and you’re not going to do it one-hundred percent; you shouldn’t do it all.” It’s why this 25-year-old treats each song he writes with a painstaking level of dedication, reverence, and — as he readily admits — even a bit of obsession.

Parker says when a particular melody, lyric or emotion tugs at him he might stay in his room for days working on it. He can’t help himself.

That’s because, for the Austin-based singer, songwriter, and multi-instrumentalist, the result is worth the painstaking process. Parker — who broke out with the revealing and critically adored 2013 debut The Limestone Kid and returned with the acclaimed, Probably Wrong — says, “its like the songwriting muse takes over. I don’t choose when it hits me, but when it does, I pay attention — and it’s always worth the focus it asks of me.“

Probably Wrong (Nov. 10, 2017), pulls back the curtain to reveal Parker’s depth of artistry. The 10-track LP, written after the dissolution of a long-term relationship, is equal parts self-flagellating and transcendent. It is also the most honest he has ever been in song. There’s an inherent pain that bleeds through in the raw transparency of stunning songs including “I Can’t Breathe” and “Hell of a Year.” For Parker, putting his most intimate thoughts and feelings to song is more of a welcome relief than an act of bloodletting. “I don’t talk about my feelings very often,” he notes. “I keep a lot of things in most of the time, and I don’t want anybody else to have to deal with my stuff. So, I write songs instead.”

Time

(Friday) 6:00 pm

Location

9:30 Club

815 V ST NW, Washington, DC 20001

Cost

$35

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16nov6:30 pmYoung the Giantw/ Lights6:30 pm The Anthem

Event Details

Los Angeles quintet Young the Giant expertly juxtapose their adventurous spirit with fearless grace on their new single “Simplify,” the first release since 2016’s critically acclaimed album Home Of The Strange .
“Simplify,” produced by Alex Salibian (Harry Styles), comes at a time when we are engulfed in points of conflict and scrutiny, yet with this song Young the Giant have found some space to breathe. Expressed through genuine and poignant lyrics, focusing on the unequivocal peace of mind that accompanies true love.
Lead singer Sameer Gadhia explains “Everything in modern life is complicated. Each decision divides into possible alternatives, reflections multiplying within themselves endlessly, like a room of a thousand mirrors. We construct images of how life should be lived: how to act, dress, tweet, and vote, and often times it is easy to lose your true self to the images we create for all to see.
But love is simple, and to love someone is to love all of humanity. It is the closest thing to truth, and even though love can be compromising, painful, and exhausting, we can only see our truest selves in the eyes of another. This is the essence of “Simplify.”
Young the Giant first broke through with their 2010 self-titled debut album, which featured the RIAA-gold certified hits, “My Body” and “Cough Syrup.” This was followed by the release of 2014’s Mind Over Matter, which was both a commercial and critical success and prompted The New York Times to call [Lead singer Sameer Gadhia] “one of the great contemporary rock voices.” Young the Giant continued to brave new themes and sonic landscapes with their wildly adventurous third album, Home of the Strange, anchored by the perspective of the modern American immigrant as most members of the quintet are immigrants or first-generation Americans. Gadhia had an in-depth conversation with NPR’s Ailsa Chang on the topic (see here ). The album features hits “Amerika,” “Something to Believe In,” and “Silvertongue.”
Young the Giant is composed of Sameer Gadhia (vocals), Jacob Tilley (guitar), Eric Cannata (guitar/vocals), Payam Doostzadeh (bass), and Francois Comtois (drums/vocals). They’ve sold out performances at historic venues such as Radio City Music Hall, The Greek Theatre in Los Angeles, The Aragon Ballroom in Chicago, Red Rocks Amphitheater in Morrison, and more.
They have become a festival mainstay at high profile outings such as Bonnaroo, Austin City Limits, Lollapalooza, Outside Lands, and Governor’s Ball among others. Over the course of their career, Young The Giant has charted 5 singles on the Billboard Alternative Top 10.
For more information and artist updates, visit youngthegiant.com.

Time

(Friday) 6:30 pm

Location

The Anthem

901 Wharf St SW Washington, DC, 20024

Cost

$40 – $139

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16nov6:45 pmBelgian Beer: History, Trips, and Sips6:45 pm S. Dillon Ripley Center