Event type: Party or Social Gathering
Events
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string(19) "2026-04-03 15:19:41"
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string(454) "Over Easy is back with our signature Sunday afternoon party to kick off Pride month!
Soundtracked by DJs Mothershiester, Tropigal, and Clamazon, we invite you to join us on the dance floor, or meet us on the open-air patio, for a cute, queer celebration. And stay a little later this year—we’re keeping the party going from 2 to 7 p.m. As always, Over Easy remains a trans-positive, all-gender-inclusive, anti-racist, pro-consensual-makeout space."
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string(29) "OVER EASY - QUEER DANCE PARTY"
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Ticket: paid
object(WP_Post)#4871 (24) {
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string(19) "2026-04-01 17:57:03"
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string(19) "2026-04-01 17:57:03"
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string(1202) "Aftering focusing on artists, producers and songwriters, albums, cities, and banner years in R&B history, we've decided to take something technical and make it fun. Grab a little bit of songwriting and producing, mix it in with singing ability, and you have our next topic: the best bridges and choruses.
Sometimes it's the relationship between the bridge and the chorus, which function like a one-two punch. Sometimes a chorus is so sharply written—for example, Mariah Carey's "Breakdown"—that you read the lyrics to yourself over and over in awe. In other cases, it's a combination of vocal talent and layering, like SWV's "You're Always On My Mind." The best case scenario is when you get everything in one song.
It's simple, but it's key to song structure and quality. Plus, these are the highlights that stay with you, for one reason or another. Come prepared to discuss your favorites.
Tickets are $15 in advance and $20 at the door.
***
The R&B Club is a cultural gathering founded in 2018 that discusses the influence of R&B music. In other words, think of it as a musical book club-style meetup. Follow us on social media at @therandbclubdc for more information."
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string(58) "THE R&B CLUB DISCUSSES THE BEST BRIDGES & CHORUSES"
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Ticket: paid
object(WP_Post)#4901 (24) {
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string(19) "2026-02-23 22:29:17"
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string(1175) "
The R&B Club wants you to come ready to debate the albums. To sing the hooks. To argue over which song really ran ”Summer ‘16.”
But stay for something deeper — for the version of you that 2016 was shaping in real time. The dreams you had. The fears you didn’t name yet — and those we all saw coming. The love, the loss, the becoming. The music didn’t just play in the background. It documented us.
On Sunday, March 8 at Songbyrd, we’re pressing rewind — not just to hear who Beyoncé, Solange, Rihanna, Frank Ocean and Drake were in that moment, but to remember who we were, too.
Because 2016 didn’t just change music. It changed us.
As always, tickets are $15 online and $20 at the door. We expect to see you there. Pull up. Not for us, but for you.
***
The R&B Club is a cultural gathering founded in 2018 that discusses the influence of R&B music. In other words, think of it as a musical book club-style meetup. Follow us on social media at @therandbclubdc for more information.
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string(52) "THE R&B CLUB DISCUSSES THE YEAR IN R&B: 2016"
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Ticket: paid
object(WP_Post)#4904 (24) {
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string(19) "2026-01-29 15:10:04"
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string(2064) "Throughout our journey, we've focused on artists who we believe are influential—including those who fly under the radar. For February, we're simultaneously keeping consistent with our history while trying something slightly different. J Dilla is mostly remembered for his work in hip-hop, but, as we celebrate our eighth anniversary, we're exploring his legacy as an R&B producer.
Whether he was solo or working with Q-Tip and Ali Shaheed Muhammad as part of the Ummah, Dilla's style was unmistakable. In the process of bending the rules, he developed his own sense of rhythm: an off-kilter style which impacted how other producers approached the craft and how musicians played their instruments.
Though Dilla the R&B producer is best known for his work with Erykah Badu, D'Angelo, Bilal, and a host of remixes, his parting gift to the world was the instrumental album Donuts, released in February 2006 just before his death. While Dilla has found acclaim in the 20 years since his passing, there will always be time to wax eloquent about how he affected his peers, many artists who have followed, and music overall.
Meet us at Songbyrd on February 15 from 12-2pm. Tickets are $15 in advance and $20 at the door. In the meantime, let us all remember that although music can help artists live forever in a sense, we should do our best to appreciate them while they're still with us.
\*\*\*
The R&B Club is a cultural gathering founded in 2018 that discusses the influence of R&B music. In other words, think of it as a musical book club-style meetup. Follow us on social media at @therandbclubdc for more information."
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Ticket: paid
object(WP_Post)#5134 (24) {
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Join us Saturday 11/22 at 4:30 pm to celebrate The Replacements "Let It Be" Deluxe Edition release, including a conversation with liner notes writer Elizabeth Nelson (of Paranoid Style) and Jim Spellman (of Velocity Girl)! We'll listen to and discuss the album and the deluxe release, plus we'll have exclusive swag and prizes!
***
Let It Be by The Replacements—Paul Westerberg, Bob Stinson, Tommy Stinson, and Chris Mars—originally released by highly revered indie label Twin/Tone Records, is widely hailed as one of the greatest albums of the 1980s and a cornerstone of indie rock. Now, the landmark 1984 album returns in a newly remastered and expanded edition from Rhino.
The set gathers a wide range of unreleased material from the Let It Be sessions, including alternate versions of “Gary’s Got A Boner” and “Favorite Thing,” as well as previously unreleased outtakes “Who’s Gonna Take Us Alive” and “Street Girl.” The alternate version of “Androgynous” out today features a different vocal take and the full piano intro, restored for the first time. All five bonus tracks from 2008’s Let It Be (Expanded Edition) are included here, newly remastered for this set.
The collection also includes Goodnight! Go Home!, an unreleased 28-song performance recorded in August 1984 at the Cubby Bear in Chicago. Sourced from an audience tape and newly remastered, it finds the Minneapolis quartet charging through material from the not-yet-released album (“I Will Dare” and “Unsatisfied”), early favorites (“Color Me Impressed” and “Takin’ A Ride”), and characteristically offbeat covers “Help Me Rhonda/Little G.T.O.” (originally done by The Beach Boys/Ronny & The Daytonas) and “Can’t Get Enough” (Bad Company).
By the time Let It Be was recorded, The Replacements had nearly outgrown their rough-edged hardcore beginnings. In their place were songs about longing, identity, and the uneasy shift from youth to adulthood. Tracks like “Unsatisfied” and “Answering Machine” embody that evolution, while “Seen Your Video” preserved their instinct for irreverence. The response was immediate, earning a rare A+ from Robert Christgau in The Village Voice and four stars from Rolling Stone. Its critical reputation only snowballed from there, eventually landing it on countless lists of the greatest albums ever made.
As a music journalist and singer and songwriter from the critically acclaimed DC-based pub-rock band the Paranoid Style, Elizabeth Nelson writes in the liner notes, “In form and function, The Replacements were the ultimate rebuke to masculine punk, and Let It Be, at its core, is a record for girls.” It’s also a record for the terminally shy, and for anyone who ever felt like a freak in their own skin. It is, in short, the blueprint for what so many of us wanted and needed rock and roll to be: a refuge, a provocation, and in the end, a way out.
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Ticket: free
