Zap Outdoorz Live Stage feat.

Ami Dang

Cold Court

Color Rot

Dan Deacon

Discovery Zone

Feeble Little Horse

Fib

Jivebomb

Music Mouse

Red Eye

& more

Zap Outdoorz is a festival that bings together top electronic and punk acts from the DMV plus out-of-region favorites for a weekend campout in Appalachia. Our mission is to bridge worlds and move bodies, embrace our raw edges as humans, and ignite our collective energy. Organic by nature and intimate by design, we are at once a reverie and a homecoming, an annual celebration of what has been, what is, and what ought to be.

Dummy

with Flowers for the Dead & Tarotplane

7pm/ all ages

Dummy — the Los Angeles band comprised of Alex Ewell, Emma Maatman, Nathan O’Dell, and Joe Trainor — announces its new album, Free Energy, out September 6th on Trouble In Mind Records, and shares the lead single/video, “Nullspace.” Pop has always been a big part of Dummy’s sound, but it manifests differently on Free Energy. Sometimes it’s quite literal (and funny), such as the bubbly synth sequence made with a Korg EM1 popping all over lead single “Nullspace,” which features a melody written by O’Dell and is the song the band calls the record’s “sonic mission statement and really influenced by Mark Van Hoen, especially the cut-up dreamy dance-pop he was making on the Locust record Morning Light.”

Dummy’s debut full-length Mandatory Enjoyment arrived in late 2021 and quickly became one of the year’s sleeper hits. Pitchfork, Bandcamp Daily, Stereogum, Aquarium Drunkard, and other publications praised Dummy’s mix of ambient and twinkly guitar pop, their deep musical references, and the intentionality with which they patchworked it all together. Fans bought copies of Mandatory so quickly that Trouble in Mind couldn’t keep it in stock. Sub Pop Records also invited the band to contribute to their legendary Singles Club series. Bands loved Dummy, too, and the group were asked to open for Horsegirl, Botch, Black Country, New Road, Luna, Spirit of the Beehive, Dehd, Snooper, Sweeping Promises, Snail Mail, and more.

Where Mandatory Enjoyment was cerebral and lo-fi, the product of a lot of time inside, Free Energy is all movement, presence, and physicality. A creatively restless band, Dummy felt like they had done the best version of motorik pop that they could do, and wanted to get harder, dancier, a little more psychedelic. Ewell and Trainor began experimenting with home recording, using DAW as kind of an instrument for composition rather than simply a tool. O’Dell dug deeper into instrumental/sample composition, in addition to contributing more guitar leads. Maatman also steps into the spotlight in a big way, her vocals noticeably foregrounded and confident, adding to the live performance feel that forms the foundation of Free Energy. The result is a record that celebrates music’s ability to move the body, whether that be through a teeth-rattling wall of MBV-esque noise, a sticky pop chorus, or a joyous drum machine—or, if you’re Dummy, maybe all of them in the same song.

Additionally, Free Energy features guest appearances by friends Dummy has played with on tour, including Oakland-based saxophonist and electroacoustic artist Cole Pulice and Jen Powers of Powers / Rolin Duo, along with a series of field recordings the band made while on tour: the rushing of water, the rumbling of the van, indistinct voices, chirping birds; the sounds of mundanity rising to cacophony before petering out, treated no differently than the ecstatic rhythms, explosive hooks, and blissful ambient stretches that came before. If there is any key to understanding what makes Dummy such a compelling band, perhaps it is this: it’s all music to them.

Mary Lattimore

with Elias Rønnenfelt

Through evocative, emotionally resonant music, Goodbye, Hotel Arkada, the new LP from American harpist and composer Mary Lattimore, speaks not just for its beloved namesake — a hotel in Croatia facing renovation — but for a universal loss that is shared. Six sprawling pieces shaped by change; nothing will ever be the same, and here, the artist, evolving in synthesis, celebrates and mourns the tragedy and beauty of the ephemeral, all that is lived and lost to time. Documented and edited in uncharacteristically measured sessions over the course of two years, the material remains rooted in improvisation while glistening as the most refined and robust in Lattimore’s decade-long catalog. It finds her communing with friends, contemporaries, and longtime influences, in full stride yet slowing down to nurture songs in new ways. The cast includes Lol Tolhurst (The Cure), Meg Baird, Rachel Goswell (Slowdive), Roy Montgomery, Samara Lubelski, and Walt McClements.

“When I think of these songs, I think about fading flowers in vases, melted candles, getting older, being on tour and having things change while you’re away, not realizing how ephemeral experiences are until they don’t happen anymore, fear for a planet we’re losing because of greed, an ode to art and music that’s really shaped your life that can transport you back in time, longing to maintain sensitivity and to not sink into hollow despondency.”

Memories, scenes, and split-second impressions have long filled Lattimore’s musical universe. As one of today’s preeminent instrumental storytellers, she has “the uncanny ability to pluck a string in a way that will instantly make someone remember the taste of their fifth birthday cake,” writes Pitchfork’s Jemima Skala. Lattimore’s impulse to record life as it happens matches her drive to travel and perform, as profiled by Grayson Haver Currin for The New York Times: “Lattimore recognized that being in motion shook loose strands of inspiration, moods she wanted to express with melody. She needed, then, to remain on the go.” That sense of fluidity has also made her a prolific collaborator outside of solo work. 2020’s Silver Ladders, recorded with Slowdive’s Neil Halstead, opened the door for Lattimore to widen the vision of her primary project as well, and its proper follow-up is the natural next scale. “All of these people I asked to contribute have deeply affected and inspired my life.”

For the title and inspiration, Lattimore’s mind returns to the island of Hvar in Croatia, where she first saw those silver ladders at the water’s edge. “There’s a big old hotel there called the Hotel Arkada, and you could tell it had been hosting holiday-goers for decades in a great way. I walked around the lobby and the empty ballrooms and it looked like a well-worn, well-loved place. My friend Stacey who lives there told me to ‘say goodbye to Hotel Arkada, it might not be here when you get back’ and I heard soon after that it was actually going to be renovated in a very crisp, modern way.” Lattimore became fixated on the ingredients that make a place special — for Hotel Arkada, the patinaed chandeliers, the patternedbedspreads, the echoes of its intangible charm — and how when those leave this world, as they inevitably always will, it feels important to memorialize them, “to bottle it for a brief second.”

Momma 'Welcome To My Blue Sky Tour'

with villagerrr

Momma is the musical project of Allegra Weingarten and Etta Friedman. After moving to New York from Los Angeles, the two brought on bassist and producer Aron Kobayashi Ritch, and drummer Preston Fulks, to flesh out their sound. Produced by Kobayashi Ritch, Momma's new album, Welcome to My Blue Sky, lays bare all of the precious and all of the ugly experiences of falling in and out of love, and the art of keeping secrets. Welcome to My Blue Sky comes out April 4th, 2025. 

Momma ‘Welcome To My Blue Sky Tour’

with villagerrr

NIGHT 2!

Momma is the musical project of Allegra Weingarten and Etta Friedman. After moving to New York from Los Angeles, the two brought on bassist and producer Aron Kobayashi Ritch, and drummer Preston Fulks, to flesh out their sound. Produced by Kobayashi Ritch, Momma’s new album, Welcome to My Blue Sky, lays bare all of the precious and all of the ugly experiences of falling in and out of love, and the art of keeping secrets. Welcome to My Blue Sky comes out April 4th, 2025. 

The Tubs

with guests TBA

The Tubs’ second album, Cotton Crown, sees the Celtic Jangle boyband venture into darker, more personal territory while continuing to hone their highly addictive brand of songcraft. It’s a true level up album which sees the band expand their sonic palette to take in a kaleidoscopic range of influences: everything from soulful pub rock (Chain Reaction) to Husker Du aggression (One More Day) to melancholy sophisto-pop (Narcissist) gets a look in. As Pitchfork noted, The Tubs see jangle as a ‘vast world of moods and muses’ and Cotton Crown sees them continuing to explore this world and creating a distinctly Tub-ular sound in the process.

Beach Fossils

with Being Dead

Doors at 7pm, all ages

Throughout the last fifteen years, Beach Fossils have steadily earned their stature as one of the most definitive and enduring bands of the 2010s New York underground, consistently reaching new listeners as their sound has grown from the DIY solo project of Dustin Payseur to an influential four-piece dream pop band, self-produced and self-released.

Bunny (2023) continues the stunning evolution of Beach Fossils’ sound, pulling elements from the jangly melancholy of the self-titled debut Beach Fossils (2010) and What a Pleasure (2011), the gritty, post-punk inspired tracks from Clash the Truth (2013), and the lush arrangements of Somersault (2017). Throughout, Payseur is joined by core band members Tommy Davidson (guitar), Jack Doyle Smith (bass), and Anton Hochheim (drums).

Through tone and mood, Beach Fossils communicate a coming-of-age narrative of self-discovery. Payseur’s slice-of-life lyrics reflect on depression, love, adventure, loss, mistakes, New York City, friendships coming and going — a mélange of granular pieces in the process of continuing to find yourself.

shame

with tbd

$22 adv./ $25 dos

all ages

“Cutthroat is a joyride.
It’s for the inexperienced driver. The one who wants to go fast for no reason other than it’s fun.

It’s driven by hunger. Hunger for something better. For something you’ve been told you don’t deserve.

It’s primal. It’s raw. It’s unapologetic. It’s the person who turns up to the party uninvited.

’Cause when you’ve been pushed down, there’s nowhere to go but up. When you ain’t got nothing, you ain’t got nothing to lose.” - shame