TUESDAY, APRIL 16

On their latest album And Nothing Hurt, Spiritualized—the cool older brother to Arcade Fire—grapples with aging. It makes sense: The band’s spacey rock sound is nearly 30 years old. Pay tribute at The Lincoln Theatre. 6:30 p.m. doors, 8 p.m. show, $35. All ages, accessible venue.

If First Aid Kit were 100 percent less Swedish and 100 percent more into electric guitar, they might sound like The Wild Reeds. Both acts share vocals that are hypnotic and siren-like, with a twang if you listen hard enough. Catch the Los Angeles-based Wild Reeds—fresh off the release of their latest album Cheers—at U Street Music Hall. 7 p.m., $15. All ages, accessible venue.

After nearly two decades as a band, the Black Lips introduced some new members to their lineup in 2017: drummer Oakley Munson, saxophonist Zumi Rosow, and one Yoko Ono, who appeared on the band’s album Satan’s Graffiti or God’s Art? Don’t get your hopes up that the artist-musician will appear at the punk band’s Black Cat show. 7:30 p.m. doors, $18-$20. All ages, accessible venue.

WEDNESDAY, APRIL 17

Did you know that Beethoven’s Fifth Symphony (alternate title: the dun dun dun DUUUUUUUUUN one) changed the course of music history long before it was reworked into a disco track for Saturday Night Fever or the Judge Judy intro? That’s according to the National Symphony Orchestra and their Music Director Gianandrea Noseda, who will present the piece at The Anthem. Though the disco version likely isn’t on tap, no one can stop you from boogeying to Beethoven. National Symphony Orchestra. 6:30 p.m. doors, 8 p.m. show, $15-$30. All ages, accessible venue.

THURSDAY, APRIL 18

Kenny Chesney’s biggest hits include “No Shoes, No Shirt, No Problems,” “Beer in Mexico,” and “Summertime,” so yes, April does seem a little early in the season for him to be performing. But his latest album, last year’s Songs for the Saints, is far more muted than his typical boombox-ready anthems—even if one of those songs is called “Trying to Reason With Hurricane Season” (he couldn’t let one album get out without a beach joke). The Anthem, 5:30 p.m. doors, 7 p.m. show, $125-$499, also Friday night. All ages, accessible venue.

Theater geek royalty comes to town when Jason Robert Brown—the composer-playwright behind Parade, The Bridges of Madison County, and The Last Five Years—and Lindsay Mendez—who won a Tony Award last year for her performance in Carousel—descend on the Kennedy Center, for a night of songs from Brown’s songbook. 8 p.m., $20-$55. All ages, accessible venue.

FRIDAY, APRIL 19

In late 2016, Natalie Prass was ready to release the highly anticipated follow-up to her acclaimed debut. Then, according to her label, the 2016 election happened, and Prass decided to start over. The result is The Future and the Past, released last year. The singer-songwriter packed the LP with tracks about intersectional feminism, abortion rights, and the power of protest—plus plenty of 90s-inspired synths. She plays Rock and Roll Hotel this week. 7 p.m. doors, 8 p.m. show, $15-$17. All ages, accessible venue.

Billy Currington graduated from the Kenny Chesney school of bro country (though while Chesney’s beach is squarely in the Florida panhandle, Currington’s is somewhere in Southern California). He’s had a string of successful bro-country hits, though all pale in comparison to his 2004 collaboration with Shania Twain (and its extremely mid-2000s music video), “Party for Two.” Fingers crossed he breaks it out at The Fillmore. 7 p.m. doors, 8 p.m. show, $37.50. All ages, accessible venue.

SATURDAY, APRIL 20

For its second year, the Womxn Fuck Shit Up Festival (tagline “Dismantling the patriarchy one festival at a time) has graduated from Songbyrd to Union Stage, and is bringing along more than two dozen bands for an afternoon of music and social justice. Participating acts include Black Folks Don’t Swim?, The OSYX, and plenty more. Union Stage. 4 p.m. doors, 5 p.m. show, $15-$25. All ages, accessible venue.

Despite what the title of their brand-new album, Don’t Feed the Pop Monster, might lead you to believe about Broods, the New Zealand-based duo shows a lot of affection for the genre, drawing from the bouncy, syncopated sound of their contemporaries Betty Who and Troye Sivan. Hear it for yourself at The Fillmore. 7 p.m. doors, 8 p.m. show, $25. All ages, accessible venue.

SUNDAY, APRIL 21

Did you dig Frank Ocean’s dreamy cover of “Moon River”? Queue up Sam Houston’s “Watchu Waiting For,” a similarly gentle, yearning bedroom track. And while Houston clearly draws sonic inspiration from Ocean, he’s got a few original tricks up his sleeve, infusing his songs with organic sounds like trumpet and acoustic guitar. Hear for yourself at Songbyrd. 8:30 p.m. doors, 9 p.m. show, $5 suggested donation. All ages, accessible space.

MONDAY, APRIL 22

The hip-hop collective Dungeon Family is known for launching the careers of Outkast, Big Rube, and other southern rappers. Some of the family’s most prolific members—including Big Boi, Goodie Mob, and Organized Noize—are headed out on a spring tour, stopping at The Howard Theatre this week. 7 p.m. doors, 9 p.m. show, $39.99-$75. All ages, accessible venue.