The Totally Tubular Festival brings a parade of 80s synth pop and new wave to Warner Theatre, with Thomas Dolby & The Lost Toy People, A Flock of Seagulls, The Producers, Animotion, The Escape Club, Tommy Tutone, and Men Without Hats. It is a night of hooks and drum machines, from She Blinded Me with Science to I Ran and The Safety Dance, plus Obsession and 867-5309. The show starts early at 7 pm, so the hits will be flying right out of the gate.

Warner Theatre is downtown’s ornate, seated showpiece, a roughly 1,800 seat room known for crystal clear sound and stress free sightlines. Set on Pennsylvania Avenue near Metro Center, it hosts legacy pop, comedy, and R&B with the kind of polish that flatters classic material. Bars are tucked off the aisles and the ushers keep things moving, so these multi-artist nights run smoothly.

Alex Isley brings her velvet toned R&B to The Theater at MGM National Harbor for the When The City Sleeps tour. The Los Angeles singer and producer, daughter of Ernie Isley, has carved a lane with elegant, whisper close vocals and patient arrangements alongside Jack Dine. Her catalog moves from jazz brushed neo soul to airy slow jams, with collaborations that include Masego and 9th Wonder. An 8 pm start suits her late night glow.

The Theater at MGM National Harbor is a modern, plush amphitheater inside the casino complex at National Harbor. The room seats a few thousand with a broad stage, deep bass, and immaculate sightlines from the rake. Parking is easy in the garage and lobby bars keep things flowing between sets. It is a comfortable spot for polished R&B and big pop productions.

Loe Shimmy heads to The Fillmore Silver Spring on Sunday at 8 pm with the Pretty Girls Run the World Tour. The Broward County rapper moves between melodic confessionals and steely, street level snapshots, riding moody 808s and piano loops with an unhurried drawl. His catalog has been steadily widening, folding in hooks that stick without sanding off the grit. Expect a set that treats intimacy and energy as the same thing.

The Fillmore Silver Spring is the big GA room just off Colesville Road, a 2,000 cap space with a wide floor and a balcony of reserved seats. The sound has weight without mud, and the sightlines from the back rail are better than most rooms this size. It is metro friendly, the bars are quick, and hip hop and pop tours use its production muscle well.

SUNNY RAVE brings dj pressed’s irreverent party to Howard Theatre for a late 10 pm start, mixing house, techno, and bass with tongue in cheek visuals and a loose costume vibe. The set leans high energy and theatrical, with quick cuts, big builds, and crowd call backs that keep the floor moving. It is a fan made theme night delivered by working club DJs, more about release than canon.

Howard Theatre is the restored jewel of Shaw, a flexible room that toggles between seated shows and standing dance nights. The floor is open, the balcony wraps the room, and the in house lighting rigs give DJs a lot to play with. Staff keeps lines short and sound is punchy up front. The calendar runs from go go and R&B to comedy and branded club concepts like this.

Seven Lions returns with his widescreen blend of melodic bass, trance, and dubstep, bringing Ophelia Records energy to Echostage on Saturday night. Jeff Montalvo’s sets stitch soaring vocal anthems to neck snap drops and psy flourishes, pushing between euphoria and catharsis without losing flow. A 10 pm start at an 18+ room suits the production heavy ride he favors in DC.

Echostage is DC’s warehouse scale dance cathedral, a few thousand strong with a colossal LED wall, relentless lasers, and subs that rearrange your ribs. It is all GA, with raised platforms and a long bar line along the wall, and the crew dials in EDM with precision. Cashless operations and tight security keep turnover fast so the focus stays on the stage.

Noname brings her bookish, razor sharp Chicago rap to Howard Theatre on Sunday at 7 pm. Across Telefone, Room 25, and 2023’s Sundial, she has built a catalog that balances diaristic detail with dense political critique, delivered in a conversational flow that curls around live arrangements. Her shows read intimate even in a full room, with the band leaving space for every line.

Howard Theatre’s acoustics suit lyric heavy sets, with a tight PA that carries nuance and a balcony that offers a clean mix. The historic space sits on T Street NW in Shaw and pulls a respectful crowd for hip hop that values words. Bars are efficient, security is present but low key, and the stage sightlines are forgiving from most angles.

The Click Five bring their crisp 2000s power pop back to Union Stage at 7 pm, a rare chance to hear those airtight harmonies and punchy choruses in an intimate room. The Boston bred band broke nationally with Just The Girl and built a catalog of bright, radio ready hooks that still hit live. Clean guitars, stacked vocals, and a tight backbeat are the whole point.

Union Stage anchors The Wharf’s club corridor, a low ceiling, 450 cap space with a clean PA and a friendly staff that turns sets fast. The stage sits low and the mix is usually dialed for vocals, which flatters pop and singer songwriter shows. Drinks are easy at the back bars, and the waterfront outside makes arrivals painless.

2charm brings a club forward electronic set to The Atlantis on Friday at 7 pm, leaning into sleek house rhythms and big room melodies trimmed for a close quarters floor. The project is built for movement, riding crisp percussion and rubbery basslines with just enough vocal color to lift a drop. It is the kind of set that makes the new room feel like an underground.

The Atlantis is IMP’s 450 cap love letter to the original 9:30, a compact, wood trimmed box with a punchy system and a balcony that hugs the stage. It books left of center rock, DJs, and developing acts, and the staff knows how to keep a night flowing. The room is across from 9:30 Club, so the neighborhood already runs on showtime energy.

Take Me Home brings Jim Curry’s long running tribute to John Denver to the Birchmere at 7:30 pm. Curry’s tenor carries the warmth and clarity Denver wrote for, and his band treats the arrangements with acoustic care. Expect Country Roads, Annie’s Song, Rocky Mountain High, and the deeper cuts that reward a listening room with quiet harmonies and fingerpicked detail.

The Birchmere in Alexandria is the region’s classic seated listening room, a supper club layout with clear sightlines and attentive sound. It holds around 500 and runs on efficiency, with table service that never overwhelms the music. The calendar leans Americana, bluegrass, and legacy songwriters, and the staff treats both artists and audiences with care.

Chance Peña takes the 9:30 Club stage Friday at 8 pm with his dusky indie folk and a voice that lands somewhere between confession and command. The Texas raised songwriter has been touring hard behind a run of viral singles and EPs, pairing fingerpicked patterns with subtle electronics and a band that lets the dynamics breathe. It is intimate music scaled up without losing detail.

9:30 Club remains DC’s gold standard, a 1,200 cap black box with a tuned PA, generous sightlines, and bars on both levels. The room moves from punk to pop with the same competence, and staff knows how to keep sets on schedule. The balcony rail sounds especially focused, and the floor never feels cramped if you post up off center.