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City Cast DC

Emma Uber

Locals have refused to call the iconic D.C. performing arts venue the “Trump Kennedy Center,” even after the board voted to add Trump’s name in December and changed the signs. Now, a judge says the renaming was against the law.

A federal judge on Friday ordered the removal of President Donald Trump’s name from the John F. Kennedy Center for the Performing Arts building and all official branding, ruling that the board acted unlawfully by renaming the institution without an act of Congress. In a 94-page opinion, U.S. District Judge Christopher Cooper also temporarily blocked the institution from closing for two years of renovations.

"The Kennedy Center's organic statute makes crystal clear that the Center is to be named for President Kennedy, and it cannot bear any other formal name or public memorial based on the Board's unilateral say-so,” wrote Cooper. “Congress gave the Kennedy Center its name, and only Congress can change it.”

As part of his ruling, Cooper ordered that all signage and online materials referring to the "Donald J. Trump and John F. Kennedy Memorial Center for the Performing Arts," the "Trump Kennedy Center," or anything similar must be removed within 14 days.

Cooper also found that the institution’s board had been “derelict” in failing to consider the consequences to programming when shutting down the center and called the renovation plans “murky,” writing that none of the board members had enough information to decide whether the closure was necessary. Most performances have already been canceled in anticipation of the closure that was set to begin in July — plus, the center has struggled to 

 talent since Trump installed himself as chair of the board last year.

The ruling does not prevent the Kennedy Center's board from a future closure, but the judge said that it should only do so after the board has "sufficient information to make a considered, independent decision, taking account of its obligation to both maintain and operate a premiere arts venue and its solemn duty to memorialize a fallen President."

Roma Daravi, a spokesperson for the center, said it would appeal the decision. In a statement Friday, she said that the Trump administration remains committed to giving the center “an urgent and significant restoration.”

“We are confident that on appeal the court will uphold the Board’s will to recognize President Trump’s historic contributions to our nation’s cultural center,” she said. “With $257 million secured by President Trump and approved by Congress, the resources are in place and we remain committed to pursuing every lawful avenue to ensure the Trump Kennedy Center is restored as a national cultural landmark for all Americans to enjoy.”

In an email sent after the ruling, Daravi referred to herself as the “Trump Kennedy Center Vice President of Public Relations.”

In response to a request for comment, the White House referred to Trump's lengthy 

 Friday evening, in which he railed against Cooper and decried the center as in need of renovation. He also wrote he is going to be 'working with Congress to transfer this failing Institution back to them,' though Congress already possesses legal control of the center.

"Unless I am free to do what I do better than anyone else, bring this Institution back, physically, financially, and artistically, I have no interest in continuing what could only be a hopeless journey into “NEVER NEVER LAND.”"

The rulings mark a win for Rep. Joyce Beatty, a Democratic congresswoman and board member who in December sued her fellow trustees after they voted to rename the institution after Trump. She later broadened her lawsuit to contest the closure of the center altogether.

"Today's ruling rightly affirms that this administration's efforts to rename and close the Center have no basis in law," Beatty said in a statement. "The Kennedy Center is an institution that belongs to the American people, not to Donald Trump. He has desecrated this sacred memorial for his own vanity."

In a separate decision Friday, Cooper denied a similar challenge to the renovations brought by preservationist groups.

A lawsuit filed in March by a coalition of architectural and historic preservation organizations, including the DC Preservation League, argues the Trump administration has already caused historic harm to the building and must go through a federal review process before any more work can be done. The group alleges that the administration appears intent on “major aesthetic transformation” or maybe even total demolition of the arts center.

The government countered by saying the Kennedy Center is not a federal agency subject to those review requirements, and that the construction plans do not indicate an intention to demolish the arts center.

Cooper sided with the government, but said his position could change based on the scale of the renovations.

“If the work is, say, more transformative than present testimony suggests or requires permits that the center has yet to acknowledge or secure, the court’s legal analysis might look substantially different,” the judge wrote.

U.S. District Judge Christopher Cooper said the Kennedy Center’s board acted unlawfully by renaming the center without congressional approval. 


Trump’s Name Must be Removed from Kennedy Center, Judge Orders

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D.C. Local News

Kaela Cote-Stemmermann

When Ken Brobeck entered the DMV club scene in 1995, there was no such thing as Partiful or Shotgun or Resident Advisor. If you wanted to go to a rave, you had to be personally shown one of the few joints in town. Brobeck would dance with thousands of others until 9 a.m. with no clue where the DJ booth was and with nothing but a disposable camera to prove it.

D.C. has always had a strong underground music scene, but for years, it was seen as a secondary market for electronic music. Now, industry veterans like Brobeck say the city is entering a new EDM era, with the ability to draw in bigger name acts. New venues like Transmission and Berhta are attracting a wider variety of genres, DJs have fewer barriers to entry, and social media is bringing out bigger audiences than ever before. Over one weekend this April, EDM venues hosted three events that collectively drew more than 20,000 people.

While D.C. will never be able to compete with major cities like New York or Los Angeles, it is “facing the next phase in its evolution,” said Brobeck, a general manager at 

, which opened in the old Rock and Roll Hotel space on H St. NE last year. “ It comes from people believing in this community and believing in the music, and wanting to provide a place where the music can live.”

Want more reporting like this? Sign up for Kaela's culture newsletter "Obsessed."

This summer is definitely shaping up to be a big one for EDM fans: On May 23, the 

 is coming to Alethia Tanner Park with DJs like Duane Powell and The Illustrious Blacks. From May 30-31, the 

 will bring global names to RFK Stadium. With more than 40,000 tickets already sold for each day, this year will be the event's largest yet and the largest in the mid-Atlantic, according to Heather Church, the festival’s vice president.

 on June 20 with The Dare, Yaeji, and the home-grown Rico Nasty. All of this is on top of regular shows at clubs like Echostage (recently ranked by fans as the #6 club in the world by 

) and Flash, which have served the EDM scene in D.C. for over a decade.

“The biggest difference between now and five years ago is abundance,” said Kabir Khanna, the director of Transmission. “Over the summer, it’s just going to get crazier.”

Dance Will Never Die: EDM’s Post-Covid Evolution

D.C.’s EDM rebirth came in the depths of the covid pandemic. After months inside, Washingtonians were itching to party.

“Dance music was in a place where it was like a frenzy,” Khanna said about D.C. in 2022. “People had been sequestered in their rooms, becoming terminally online for a very long time, and a lot of them picked up on DJ culture…People were itching to get involved.”

Post-pandemic, D.C.’s big dance venues like Echostage and Flash found their footing while new ones like Culture popped up, along with underground techno collectives like Lollipop. In the last couple of years, the city has booked huge global names like Mau P, FISHER, Kaytranada, and Zeds Dead.

“Before, a lot of agents would come to us saying they were skipping D.C.,” said Church. “Now, in 2026, it’s what I would call a primary market.”

Social media made it far easier to find out about raves and sets going on all over the city. From my perspective, the rush to the club was undeniable. Suddenly my weekends and social feeds were flooded with random parking lot parties, masked silent raves, and sexy new alt-DJ collectives. And while it’s tempting to lament the scene becoming so mainstream, everyone I talked to seemed to see it as a positive, bringing in more people, more sounds, and more diversity.

“For a long time it was two worlds in D.C. — you either lived in the Capitol Hill World or you were in the alternative scene,” said Amal Handley, a D.C.-based DJ, and one third of the group Black Rave Culture. “Now we're starting to see those two scenes of nightlife join together and those lines start to blur because there's a lot more visibility on dance music.” 

Amal said it’s also easier for new DJs to enter the scene. Just five years ago, even finding clubs or shows to perform was tricky as they were often kept under the radar. “ You had to be in a certain scene and if you weren't in that scene, you didn't even know what's going on,” he said. “Now it's way more inclusive and there's a lot more representation from all different shades of the spectrum.”

Dance music in D.C. has been popular from the beginning. From parties like Buzz at Capital Ballroom (Nation) and Nectar nights at The Edge in the late 90s all the way to the underground raves like Rise in Baltimore, there has been a longstanding history of dance music in the DMV that stems from its counterculture roots.

D.C. was the birthplace of go-go, home to the second wave of punk music, and played a huge role in developing a new DIY ethos. Influential bands like Bad Brains, Fugazi, and Minor Threat came out of the city.

Now, the music has become more palatable for larger groups of people and the venues have become more welcoming community spaces for both alt and “normie” listeners.

“I think now more than ever people are looking to get disconnected and live in the moment,” said Brad Do, the buyer at Berhta who books the DJs and leads marketing efforts.

D.C.’s evolving EDM scene will be on full display this summer as festival season begins, and more and more Washingtonians look for a place to escape the politics and the heat.

Project GLOW will kick everything off next weekend, bringing legends like Chaseonaux, Allycvt, Dimension, and Disco Lines to the RFK Stadium Campus. And if you miss out this summer, organizers say they’re already planning another event on Pennsylvania Ave. for October.

Fueled by new venues and social media, EDM is having a resurgence in D.C. 

The Summer of EDM is About To Hit Washington, DC

The Summer of EDM is About To Hit D.C.

What Washingtonians have been wondering. We break down why things in DC are the way they are and how they work.

DC, Explained

,” director Eli Bauman stood before the audience and instructed them to pretend they had never heard of the Strait of Hormuz. Instead, he asked them to go back to 2008, when HOT 99.5 was pumping out Katy Perry and D.C. felt on the brink of political change.

”The truth of the matter is this show, which happens to be about politics, actually feels like an escape, " says Bauman.

“44” tells the story of the Obama presidency from the perspective of a go-lucky Biden, wistfully observing the trials of Barack (played by T.J. Wilkins) and Michelle (played by Shanice Wilson-Knox) as they navigate their life in the White House

 Written and directed by Bauman, a TV writer and former Obama campaign organizer, it’s a “Hamilton-esq” wet liberal fantasy that had the entire crowd singing “He’s motherfucking Obama” while they fondly reminisced about a bygone era.

Since premiering in L.A. in 2022, the show has been bouncing from city to city in a four-year quest to make itself Broadway-ready. Now, it’s playing at the Shakespeare Theater in D.C. until May 24.

Bauman said that D.C. has been their favorite crowd so far and the shows have consistently been sold out on Fridays and Saturdays.

“There's just a certain level of knowledge [in D.C.] that makes everything land,” said Bauman, “I feel like they've picked up the most on the nuance-y stuff, and also I feel like they could really use a laugh.”

I can’t imagine a more fitting or enthusiastic crowd than the one that filled the Shakespeare Theater last Thursday night. The show’s two hours were packed with Motown grooves, Sarah Palin scream-singing “drill me baby!” in her bra, and jokes that only the most entrenched 2008 hill staffers could decipher. I must admit, even I had a hard time keeping it together when Hilary Clinton whipped off her pantsuit to reveal…another pantsuit.

The audience's frenzy reached its peak when Biden started dancing awkwardly to gogo — a song added specifically for the show’s D.C. run. It was almost as painful as watching Justin Timberlake's 

. (Though, some semblance of self-awareness made it more endearing.)

It was an unabashed love-letter to the Obamas. Though, unfortunately, despite the actors’ great performances, the ungainly reverence given to the first couple makes their scenes some of the most boring in the whole show. Especially when compared to the outrageous but poignant satirical treatment given to Hillary Clinton, Mitch McConnell, and the show's other front-runners.

Bauman first had the idea to write “44” the day after Donald Trump was first elected president. Like many people, he found himself grappling with the question of “what the hell happened?”

”This felt like my attempt at reconciling that question,“ he explained.

It wasn’t until Covid that Bauman said the changes started to become relevant to him personally, pushing him to put pen to paper.

”During COVID it felt more and more relevant to me. And I just had time all of a sudden to do something that, quite frankly, would make no money.”

He never expected it to take off, but said that luck and a few key early decisions set the show up for success.

“There's no Trump in it, and our Biden is 45 years old and has a six pack,” explained Bauman. “Those two decisions made the show somewhat Teflon to the chaos going around.”

According to Bauman, only one character from the show has ever contacted him; Sarah Palin. Apparently, she absolutely 

 the clips she has seen of herself in the show. Which is somewhat surprising as she spends much of it shirtless grinding up against an American flag pole.

“ I think actual Sarah Palin was like, Ooh! I look hot. And was very interested in coming to witness that for herself,” explained Bauman. So, maybe not so surprising after all.

At the end of the show, I was left wanting more and was distraught when Bauman told me they had to cut a whole 90s boy-band-style number called “Gay for the NRA” about Republicans being in love with their guns.

“It was a pure banger. I stand by that, but the audiences…it was just too much for them to handle,” said Bauman. I assured him D.C. audiences would have absolutely raged to it.

Instead, a projection of the Obama family holding hands during inauguration gave a heavy handed-end to our quick but hopeful trip down memory lane. After the show, the harsh comedown to reality was only somewhat comforted by free slices from Gordon Ramsey’s pizza joint and riding a CaBi home in the (finally) warm spring night.

This raunchy love letter to 2008 D.C. by a former Obama campaign staffer left us weeping with laughter and nostalgia. 

'44: The Musical' returns Washingtonians to an old, hopeful DC

The Obama musical returns Washingtonians to an old, hopeful DC

Ashe Durban

Mosh Madness, D.C.’s premier music festival slash basketball tournament is back for its second iteration this spring. On April 11 in the Takoma Park Presbyterian Church’s gym, the DMV’s best and brightest bands will rock out — while teams, made up of D.C. musicians, showdown in a 3v3 basketball tournament below for the title of 

“The Best Band in the DMV (Who Decided to Sign Up For This Particular Basketball Tournament).”

And D.C.’s music scene is behind Mosh’s out of bounds concert: last year it was a smash hit. This year promises to be even bigger, doubling capacity and pulling sponsorships from 9:30 Club, Chuck Levin’s, and more.

On the surface, the festival breaks age-old jock-artist rivalry stereotypes. But according to organizers — Reid Williams and Ian Donaldson, both of the band 

 — the inspiration for the festival was way more utilitarian.

“We’re working musicians who play basketball a lot during the weekdays. And the only people we know that are also available are other musicians, basically. So we have a whole ‘musicians who ball’ community. And the soundtrack is often just our friends' music,” says Donaldson. 

It wasn’t just a love of music and basketball that spawned Mosh Madness. It was a desire to move past the scenes and social groups segmenting D.C.’s music scene.

“I love the fucking diversity here. But with genre, it’s easy for people to silo themselves,” Williams said. The Mosh Madness lineup this year reflects that diversity. In contrast to last year's festival, which leaned heavily on the city’s indie rock scene, this year features a tasting menu of D.C.’s musical palate. D.C. indie’s finest 

, an award winning Jazz-Go-Go band, rapper-sculptor 

But is it a basketball tournament? Or a music festival?

“It’s performance art, it's a bit campy. I would urge people to come for high quality music, not high quality basketball.” said Donaldson. Williams describes it as an IRL version of those brainrot videos where audio content is paired with subway surfer compilations, for the severely attention-impaired.

In that way, it’s an occasion born from the Gen-Z zeitgeist. But in other ways, it fits neatly into D.C.’s music history. All the proceeds will be donated to the 

, placing Mosh Madness in the long line of D.C.’s benefit festivals dating 

back to the 80s with music collectives like Positive Force

. They’re also not the first Washingtonians to use a basketball tournament as a vessel for change. Metroball famously promoted youth mentorship and community intervention in their annual 

At the heart of it, Williams and Donaldson just want to bring different parts of D.C. together for a good cause. “ I hope that they come away with the more philosophical take of ‘We're not so different you or I, music and basketball, they're all just fun things people like to do.’”

Mosh Madness tips off at 2:30 p.m. on Saturday, April 11 at Takoma Park Presbyterian Church. 

 (but add a donation on top!) and moving fast.

 | April 11 | $20 | Takoma Park Presbyterian Church

 (Techno) | April 17 | $9-25 | Transmission

Consumer Culture, XK Scenario, Miracle Blood

 and local underground legend Oddisee on this bright new single from their upcoming collab project “From Takoma With Love” out April 29.

, featuring the Mosh Madness lineup and other picks.

Let's Rock

Mosh Madness, D.C.’s premier music festival slash basketball tournament is back for its second iteration this spring. On April 11 the DMV’s best and brightest bands will rock out — while teams showdown in a 3v3 basketball tournament below.

DC’s Next Big Music Festival Is Also a Basketball Tournament

Mosh Madness: DC’s Next Big Music Festival Is Also a Basketball Tournament

Wrapping up the past year of music in D.C. in a bow is damn near impossible. A lot changed. 

 continued to grow, and local YouTube music series 

 rivalled NPR’s Tiny Desk for the biggest live concert series in town. And the more I learn about D.C.’s music scene, the more there is to discover.

In fact, keeping up with all the music in the DMV is like that 

: Just when you think you’re hip, a couple of 20-something zine-makers put you on to the most amazing local band you’ve never heard of. (This

So what did we miss? A lot, according to Jordan and Audrey from 

, the DMV’s wackiest zine with their finger on the pulse of D.C. 's flourishing DIY music scene. I called Haus up to chat about their favorite music from 2025 and who we should be listening to.

 rightfully grabbed a lot of headlines for reviving the Rock and Roll Hotel, Haus also had their eye on venue 

, which held some of the year’s biggest shows on a geriatric horse farm in Boyds, Maryland.

Unorthodox venues were a fixture this year, and local artists trekked to the sticks to push the geographical boundaries of the scene. For this, look no further than 

January’s music festival/fundraiser/basketball tournament held in a church gym, of course. “Mosh Madness was a great way to start the year,” says Jordan. Similarly, indie venue 

 brought some of D.C.’s best all the way to skateparks and garages in Carroll County.

Here are some of Haus Magazine's favorite local songs and projects from 2025:

A Scoria is a dark volcanic rock filled with bubbles, and “In My Skin” somehow delivers on both darkness and bubbliness with its ominously catchy hook.

Riot grrrl punk is alive with Cherub Tree. This single is the only song they released this year but it’s enough to keep us hooked until their debut album drops in the near future.

WormWagon have coined their sound “wormcore.” And you know what? There is a grimey-wriggliness to their distorted rock sound.

Italian synth-pop out of D.C.? C’mon. This one earns its spot on the list for ingenuity alone, but the infinitely danceable, 80’s synth vibes certainly help.

FOAM put together five versions of the beautifully-ethereal track “Porcelain,” plus ender “Suffocated.” My fave is 

There’s a familiar yet fresh grunginess on this EP from the cutting intro “

“We’re Only Getting Older” - Mancala

Mancala’s debut album scratches a lot of Indie-Rock itches. Try out “

“Alaska’s Angels” - Alaska’s Angels

Alaska’s Angels came together as a band all the way out in Boyds, Maryland, but this nostalgic indie record shows why they made a splash in the DMV in 2025.

Benefit for Free DC - Birthday Girl, Mabel June

Glitterer, Aunt Katrina, B. Reichhardt/Tan White, Guttered

 (Punk) | Jan. 17 | $20 | St. Stephen’s Church

Big Xan is back with “Only Way Out,” a new 18-track album full of undeniable melodies over his trademark out-of-pocket lyrics. “Never Missing” is the peak of both.

, featuring Haus Magazine’s picks for 2025.

Listen Now

Everything you missed in the DMV music scene in 2025. 

Music That Defined the DMV in 2025 According to Haus Magazine

April + VISTA are not your usual D.C. band. Most local music fans can hear 

 and immediately identify the DMV flow, and every self-respecting Washingtonian should be able to clock Go-Go from a muffled subwoofer three blocks away. April + VISTA may be D.C. through and through, and proud of it, but to hear it, you’ve gotta dive deeper into the extended DMV musical universe.

April George and Matt Thompson went to Hampton University together, but met via Soundcloud DMs post-graduation in 2014. Thompson, like so many millennial-aged locals, grew up in the burgeoning early-’10s Maryland burbs rap scene. “I started making beats with my friend Sir EU. I could talk for days about running around the city and catching shows.” George’s story is very D.C. in its own right, moving here from Virginia post-grad and turning to music to offset the soul-suckery of 9 - 5 life.

A decade later, April + VISTA have turned these experiences into a sound completely their own. 2018’s 

 is equal parts scientifically-engineered and soulful, 2021’s 

-esque, and 2023’s collaboration with Little Dragon 

 showed they could hang with the big dawgs.

Throughout it all, their work strikes the rare balance every artist strives for: Unique and undeniably listenable, avant-garde but accessible, and pleasing to both the music snob and the casual listener. “At its root our music is still hip-hop but when we were growing up we listened to so much alt-rock, gospel, soul music, hardcore music, and screamo music. When we came together we realized we listened to the same kind of weird stuff,” says George. 

April + VISTA don’t fall into the trap of transgression for transgression's sake, rather a transgression inspired by their pursuit of synthesizing the array of musical influences they were exposed to in the DMV.

Thompson added, “We draw so much inspiration from our peers locally. Our biggest influences are our friends here.” One of those friends, Tony Kill, a comparably dissonant PG County prodigy, is featured on April + VISTA’s new single 

A stank face-inducing bass line leads “Bless My Heart,” as it often does in an April + VISTA concoction. But this time it’s dirtier, punkier, and complimented primarily by a drum kit. George’s verses bring a familiar haunting beauty, while Kill’s autotuned hook is simultaneously confounding and catchy. It reflects a fresh direction for April + VISTA’s debut full length, slated for early 2026. “We get bored really quickly with our sounds. We're always trying to challenge ourselves in different ways.”

When reflecting on April + VISTA’s journey thus far, Thompson said their success has been due in large part to their DMV upbringing, “The decisions to take risks and our absolute DIY-to-a-fault spirit comes from the scene we were born out of.”

It’s a distinctly D.C. story: If there’s not a venue, we’ll build it, if there’s not a scene, we’ll nurture it, and if there’s not a sound, we’ll find it.

 (Bluegrass) | Dec. 4 | Free | Quarry House

Girls on Toast, Ammonite, Hotel Sewing Kit

Genocide Pact w/ Deliriant Nerve, Backlash, and Seclusion

Hast de Feur Presents: THE RETURN ft. Underground Resistance and Hesh 

Boxer, Scenic Overlook, Dorinda, Jem Wilde

Max Levine Ensemble: 25th Anniversary Show

“Supa Cousteau” El Cousteau feat. A$AP Rocky

 — I’m late, but D.C. native El Cousteau’s new album is full of DMV shouts and easter eggs. This rock ‘n’ roll Rocky feature is just the icing on the cake.

 featuring April + VISTA plus their local picks and inspirations.

How April + Vista Made Their Own Washington, DC Sound

Approachable and Avant-Garde: How April + Vista Made Their Own DC Sound

City Cast DC podcast host and documentary lover Bridget Todd here 👋 The 

Double Exposure Investigative Film Festival

 returns to D.C. this weekend from Oct. 30 through Nov. 2, bringing four days of films to the District.

This year’s lineup is stacked: From one of my favorite filmmakers, Laura Poitras’s new film “CoverUp,” which dives into the career of Pulitzer Prize winning journalist Seymour Hersh (known for exposing U.S. military abuses in Iraq), to “Canceled: The Paula Deen Story,” directed by Billy Corben, whose project “God Forbid: The Sex Scandal That Brought Down A Dynasty” became Hulu’s most-streamed documentary ever.

But for D.C. audiences, some films hit especially close to home. Here are three I am particularly excited for that speak directly to the city’s political pulse and social fabric.

‘Thank You for Allowing Me to Speak with You Today’

Let’s be honest, the only person D.C. might collectively despise more than Dan Snyder is Elon Musk. This film takes that shared frustration and gives it an imaginative twist.

After Musk took over at DOGE and thousands of D.C. residents lost their federal jobs, agencies quietly began scrubbing “forbidden” words from public websites and official documents. Director Kate Stonehill uses that moment of bureaucratic erasure to ask: “What happens when language itself is censored?”

Her answer is as provocative as it is uncanny. She feeds the banned words into ChatGPT, which then writes a speech performed by a deepfake Musk.

The Double Exposure Investigative Film Festival returns to D.C. this weekend from Oct. 30 through Nov. 2, bringing four days of films to the District.

arts & entertainment

Trump’s Name Must be Removed from Kennedy Center, Judge Orders

The Summer of EDM is About To Hit D.C.

The Obama musical returns Washingtonians to an old, hopeful DC

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