In the late aughts, the D.C. dance revolution was in full swing with a handful of monthly parties, each with its own gimmick. While Nouveau Riche did neon electro-house and Kids stuck to malt-liquor-fueled ’90s hip-hop, the funk-soul brothers of Fatback focused on the groove: disco, boogie, house, R&B — anything along the Kool & the Gang-Kraftwerk continuum. The formula (if you could call it one) worked, as Fatback electrified dance floors all along the U Street corridor before hanging up their turntables in 2013. But like everything in the era of reunions and reboots, Fatback is back to celebrate its 10th anniversary. April 7 at 9 p.m. at Ten Tigers. $5.
When he was 19, Colter Wall established his outlaw-country bona fides with “Sleeping on the Blacktop,” a bluesy country stomper that came alive with lyrics like, “High heel lady spitting at the Nickajack / Business man with a needle and a spoon / Coyote chewing on a cigarette / Pack o’ young boys going howlin’ at the moon.” Two years later, on his self-titled debut album, his voice had aged a lifetime, into a rich baritone reminiscent of Johnny Cash and more befitting his world-weary songs. Produced by Nashville super producer Dave Cobb, the album is as somber as Wall himself, who sings, “My whole damn life’s just a codeine dream.” April 7 at 7 p.m. at U Street Music Hall. Sold out.
While most of his Southern rap contemporaries are using their voices like percussion and synthesizers, Houston’s Maxo Kream uses his to continue hip-hop’s storytelling tradition — specifically, the one started by gangsta rappers like hometown hero Scarface. Kream’s rapid-fire lyrics are littered with guns and drugs, but there are people, too — family, friends and neighbors portrayed in vivid, true-to-life detail that is richer than stereotypes about “hookers, strippers, crackheads, robbers, trappers, all in public housing,” as he raps on “Grannies.” On his new album, “Punken,” Kream is at his best when he trains his sight on himself, taking “write what you know” advice to heart. April 11 at 8 p.m. at Songbyrd Music Hall. $18-$20.
In 1995, D.C. rapper Nonchalant scored a Billboard hit with “5 O’Clock,” a song about the ills of life on the corner on which she rapped about being “a black woman trying to get through to the few, so you can lead the next crew.” Although that socially conscious attitude illuminated “Until The Day,” beyond “5 O’Clock,” the album didn’t make much of a splash. But after getting into DJing several years ago, Nonchalant is picking up the microphone again, and for a good cause: raising funds for charity on “The NonProphet Tour,” for which he has teamed with D.C. hip-hop veteran Enoch 7th Prophet. April 12 at 8 p.m. at Songbyrd Music Hall. $15.