Often, Gray’s destination is a punk show. The 34-year-old has been infatuated with hardcore and punk rock since his teenage days in Ellicott City. But after years of traveling to shows, only to be impeded by a staircase or an inaccessible bathroom once he arrived, Gray resolved to do something about it.

In 2014, Gray started a website called Is This Venue Accessible? that provides detailed accessibility information for venues around Baltimore and D.C. Since then, the site has expanded to 26 cities, including Glasgow, Scotland, and Osaka, Japan. Now Gray is taking his project to the next level, launching an app that will serve the same purpose. He expects to debut the app later this year.

Gray’s efforts have sparked a larger conversation about accessibility as a social-justice issue, particularly in regional punk scenes. I recently chatted with Gray about the broader impact of inaccessibility and how his app aims to take the stress out of concertgoing for people with disabilities.

This interview has been edited for length and clarity.

On the true purpose of “Is This Venue Accessible?”:

Sean Gray: I would love to see all venues be accessible, but [Is This Venue Accessible?] is not about changing venues. It’s about providing information that there’s a lack of. If there’s no accessibility information, I have to automatically default to “it’s probably not accessible.”

I took a cab to [D.C. venue] DC9, and it’s my first time going there, and when I saw those steps I just hailed a cab and went back home. The retort for some people would be, “Well, you could just ask someone to help you.” But that’s not as easy as it sounds. For some people they’re comfortable doing that and others aren’t. It shouldn’t be that way. I shouldn’t have to ask for help to go see art. Art and music and culture should be accessible to everybody.

On what accessibility means to him:

When I was a younger teen and in my early 20s, I didn’t really know what a disability was, and I didn’t know how to own that and how that affected me and how the world — the physical world — affects me. I just took the blame myself. ITVA provides information to give you a better guide to go out and actually experience music and art and culture. To me, accessibility isn’t about physical spaces. Full accessibility is about having access to culture and aspects of life that go far beyond getting into a physical building. And I think when you cut that off from a segment of people, it’s hurtful and bad for society.

When I’m not able to get to a show, I don’t just take it as being inaccessible. What that promoter, building or band is saying to me is, “You’re just not allowed to go to this show.” It sounds harsh, but that’s the reality that I and many other people with disabilities live with every single day.

“I’ve been lucky enough to see shows that have changed my life, but I also wonder how many shows I’ve had to miss that could have changed my life.”

On the lack of awareness around young people with disabilities:

Accessibility isn’t really a sexy concept. We’re going through a political election, and I assure you, you will not hear any politician on any side talk about accessibility and disability in young people. You’ve got young people and babies used as inspiration porn, and then you’ve got older people who are disabled, and there’s this gap in between. So there’s this blank space of representation for people with disabilities, and that’s why it’s very rare to see people with disabilities going to shows.

I’ve had promoters or bar owners say that they just don’t see people with disabilities there, and my response has been that you would see people with disabilities at these venues if you actually provided them with the information necessary to come.

On how inaccessibility hampers personal enrichment:

I did a talk at SXSW… and I asked the crowd, “How many of you here can say that you’ve gone to a show that’s changed your life?” Everybody raised their hand. Then I said, “Imagine if the show that changed your life, you weren’t allowed to go to. Not because your parents said you couldn’t go, and not because you had to work, but because you just couldn’t get in. That happens all the time to people with disabilities.” I’ve been lucky enough to see shows that have changed my life, but I also wonder how many shows I’ve had to miss that could have changed my life.

On accessibility as an overlooked social-justice issue:

We live in an age where there are a lot of bands, for good reason, talking about inclusion and oppression, and that’s great. But the thing that always seems to be lacking is accessibility. I saw a drawing once, and it was like a DIY house, and on the front it said, “We do not tolerate homophobia, sexism, racism, ageism,” and everything else, and the way to get into the house were these broken, rickety steps.

On the ambitious goals of the “Is This Venue Accessible?” app:

I’m trying to give the user the total experience of going to a show and planning that out. I want to build an app that I want to use, so anywhere in the world it’s connected to Google Maps, it knows where I am, which venues are around me, which venues have accessibility information, what information I need to make my choice to go to that show. I could have put together an app that just reflects the website, but that’s not the goal. It’s not just about changing attitudes about going to shows for people with disabilities, but making it an experience that is less stressful and less worrisome.

On how punk drove him to make a difference:

Punk has taught me that if nobody is going to do it for you, you do it yourself. ITVA was born out of my frustration of not being able to experience what I love the most — being told that I couldn’t be a part of it. I just wouldn’t settle for that.

When you have a disability, you’re sort of thought of to not be angry, to not be emotional, to not be sexual. There are things that you’re just not allowed to have, and you’re socialized to enjoy the fact that you can just get out of the house — or that you’re alive. In anything that I’ve done, [I’ve been determined] not to settle. It’s OK to be disabled and angry, or to want to see a band and not have to feel like this is a privilege that somebody’s helping you.

I want this site and this app to make people think differently. I think things are changing, and it’ll be a good wake-up call for bands and venues that haven’t thought of this or taken it seriously.

Listen: Sean Gray discusses accessibility on WAMU’s Kojo Nnamdi Show

“Today, I must tell you with a heavy heart that Empire will be closing it’s [sic] doors May 5th. I have been a promoter in DC/MD/VA for close to 10 years and have had the privilege of owning a successful all ages music venue that has allowed me to work with amazing artists, meet genuine people from all over the world and provide a place where anyone with a passion for underground music could attend and be welcomed with open arms,” Malhoyt wrote in a status update.

Malhoyt and partner Jeff Cohen of promotions group Outerloop took over Jaxx in early 2012 and changed its name to Empire. Under previous owner Jay Nedry, the strip-mall venue was known as one of the region’s most reliable houses for metal. When Malhoyt and Cohen took the reins, they brought in more metalcore, a cousin of metal that traditionalists would hesitate to call “real” metal. The changeover stoked anxiety in the metal scene at the time, as Bandwidth contributor Catherine Lewis reported for TBD.com in 2011.

“The main bummer about Jaxx switching management is that the NoVa heavy metal bands and fans could be losing a major venue for their music scene,” musician and promoter Simon Cohen told Lewis.

Metal fans expressed a similar anxiety on message boards. “I’ll do everything in my power to keep that place alive,” wrote a fan on ultimatemetal.com. “I REFUSE to believe the best place to catch metal in NoVA is f*****g JAMMIN’ JAVA.”

But over the last few years, the new owners managed to retain Jaxx’s legacy as a safe space for “real” metal while also booking metalcore, hip-hop, electronic music and rock.

Reached via email, Malhoyt said he’s selling Empire “to be able to invest my time in other things I have going on in the music business.”

Starting May 5, all shows at Empire will be moved to Canal Club in Richmond, according to Malhoyt’s Facebook post, and tickets will be honored there. But it already looks like some bands are scrambling to find closer alternate venues: Northern Virginia’s King Giant had an album-release show booked at Empire for May 30, and the metal band posted on Facebook about their struggle to relocate the gig.

“Yes, we know about Empire closing. We’ve been trying to rebook the show for the past 48 hours, but it’s not looking good. We are as bummed as you,” King Giant posted. “We will update you all via our FB page once we secure a new date.”

If ticketholders can’t make it down to shows moved to Richmond, refunds will be available via Ticketfly, according to Malhoyt’s Facebook post.

Flickr photo by Bob Mical used under a Creative Commons license.

Now, Gray’s website has expanded to include venues in nearly 20 cities around the world, and he’s looking for more submissions to flesh out his database.

On Kojo today, Gray spoke candidly about his own disability — Gray has cerebral palsy and uses a walker — and how he came to understand how it affected his life.

“When I was younger… I didn’t think of my disability. It wasn’t until I was in my mid-20s… that I really started to realize that disability is an oppression and accessibility issues do exist,” Gray said. “I used to kind of feel like my disability was just something that I had to — not necessarily get over, but just deal with. And I never really questioned the accessibility of a venue or why can’t I go to this show.”

Gray said when he started checking out punk shows in the D.C. area, part of the scene’s appeal was its inclusiveness. But accessibility didn’t get equal billing alongside other social-justice issues.

“There’s a lot of bands in D.C. right now that talk about inclusion, and this isn’t me dissing them in any way, but I never hear any of them speak about accessibility,” Gray said. “I’ve never once heard a band on stage say, ‘By the way, this venue had two dozen stairs, and this isn’t right.’ That’s never happened.”

Stream the entire segment — called “The Local Music Scene and Disability Rights” — on kojoshow.org. It’s well worth an attentive listen.

Also read: Is D.C.’s Music Scene Shutting Out Disabled Music Fans?

Live music begins at the 250-seat venue on March 8, 2015, with a performance by blues/folk artist Toshi Reagon, jazz drummer Allison Miller and D.C.-based “queer pop and soul” artist Be Steadwell. The 26 shows announced Thursday run through June 2015, and include a variety of jazz players, singer/songwriters, folkies and roots artists — not too different from the music Strathmore usually books in its Mansion venue.

Strathmore also just launched a new website for AMP — AmpByStrathmore.com — that includes the entire slate of shows. (More are coming, according to a press release.) Tickets to the concerts announced so far cost $40 or less, and they go on sale Friday, Dec. 12, at noon.

AMP is located in Pike & Rose, a mixed-use development located near the intersection of Rockville Pike and Montrose Parkway. The venue’s mission, as Strathmore puts it, is to “bring new energy beyond the Beltway.” As I’ve pointed out before, that aligns nicely with County Executive Ike Leggett’s goal to boost nightlife in affluent Montgomery County.

The venue is available now for rentals, but formally opens to the public in March when concerts begin.

Some operators of these small venues don’t realize they’re subject to the guidelines established by the Americans With Disabilities Act. (For more on this, check out Kerr’s piece.) On top of that, many of them don’t publicize whether or not they’re accessible.

Showgoer and record label owner Sean Gray has a partial solution to that problem: Make a list of D.C.’s accessible venues. He’s started a new Tumblr called “Is This Venue Accessible?”

“I have a disability and going to shows (DIY or otherwise) has been something I’ve been doing for half of my life now,” Gray writes on the blog. “But because of the lack of accessibility in some of these venues and/or the lack of information, I have been unable to experience many shows as well.” In an email, he points to two recent shows—last night’s Select DC-booked gig at Back Alley Theater and tonight’s Coke Bust show at The Pinch—as prime examples.

“Maybe if there’s actual data, people will care,” Gray writes.

Gray is asking the public to send information about venue accessibility to Contact.ITVA@gmail.com. Got a favorite venue you know is accessible? One that isn’t? Let him know.

Here’s the beginning of Gray’s D.C. venue list, including detailed information on accessibility for ground floors, upper floors and bathrooms. The nascent list includes big clubs like Rock & Roll Hotel and 9:30 Club. Gray hopes to eventually add information about underground music spaces, too, particularly because those are the ones most likely to be inaccessible.

Photo by Flickr user danielderrick used under a Creative Commons license.

For Gray, who has cerebral palsy and uses a walker, it was yet another show he missed because a venue was inaccessible.

“The steps were so wide and so rickety and the ceiling was so low and steep, that my friend couldn’t even help me down the stairs,” he says.

Stairs, narrow doorways, cramped corridors: They’re barriers to mobility-impaired people in any building, but they pose a particularly large problem in the underground music scene—even in D.C., a government hub that’s otherwise pretty accessible.

Bands all over the country get their start playing unconventional spaces like houses and dive bars—and for a few reasons, those spaces aren’t always subject to the regulations established by the Americans With Disabilities Act, the pivotal civil rights legislation that celebrated its 24th anniversary last month.

Consequently, even while D.C.’s DIY scene experiences a small-scale renaissance, a segment of the music community is effectively barred from participating—often by factors as common as a flight of stairs.

But with such glaring obstacles preventing mobility-impaired people from going to shows, activity around the issue seems minimal in D.C.’s music scene. Why don’t more people talk about accessibility? And how can venues and show-bookers do better by disabled music fans?

Understanding Accessibility

The good news is that many of D.C.’s big commercial venues comply with ADA, which affords basic rights to people with physical or mental impairments and establishes accessibility requirements for new buildings. It also makes sure that buildings that predate the legislation meet certain accessibility standards when possible.

The bad news is that many other D.C. venues don’t comply with ADA’s standards—and they don’t always have to.

If you use a mobility aid like a wheelchair or walker, you’ll do fine at numerous D.C. spots including the Howard Theatre, The Hamilton, Sixth & I Historic Synagogue, U Street Music Hall and Gypsy Sally’s. They make it easy with elevators that open their levels to all patrons. Black Cat gets high marks not only for its wide front doors and accessible backstage concert space, but also for the freight elevator to its main concert room upstairs.

Some DIY spots do accessibility well, too: Columbia Heights church St. Stephen’s is equipped with ramps, and Comet Ping Pong and Takoma Park’s Electric Maid are easy to enter.

Some major music venues in town are only partially accessible. Disabled patrons can easily navigate the 9:30 Club—unless they want to visit the balcony, which requires a hike up a set of stairs. Everyone can access Rock & Roll Hotel‘s first floor, too, but not the second-floor dance hall or rooftop bar.

The concert rooms at DC9 and Velvet Lounge can only be accessed via a flight of stairs, making shows at those venues inaccessible to customers who use mobility aids. (Though DC9 booker Steve Lambert says club staff is happy to help showgoers up the stairs.) Critically, plenty of house venues are inaccessible, too—they’re often old rowhouses with staircases to the front door and stairs to the basement. Unfortunately, places like these are not required to go accessible, assuming they meet certain criteria established by ADA legislation.

Marian Vessels, director of the Mid-Atlantic ADA Center, says that since so many D.C. buildings were built before the ADA’s construction requirements took effect in 1992, they were built without accessibility in mind. But she says if an accommodation is cheap and easy, businesses must make it. That means if the only thing preventing your venue from compliance is, say, an easily widened doorway, you must modify it. But for many businesses, constructing a ramp or adding an elevator would be either physically or financially impracticable.

If it’s structurally and financially feasible for a house venue to be made accessible, the property owner has to do it—because when that house hosts shows, it’s considered a public gathering place.

Private residences normally don’t have to comply with the ADA. But the rules change for houses that host public events. If it’s structurally and financially feasible for a house venue to be made accessible, the property owner has to do it—because when that house hosts shows, it’s considered a public gathering place.

“If you put flyers out that say something like, ‘Free movie night! Come as you are! We’ll have a good time!’ now you’ve become a place of public accommodation,” says Jim Pecht, an accessibility specialist at the United States Access Board.

Erik Butler, who runs D.C. house venue The Rough House, says that his space has a makeshift ramp. If other houses did the same, they could open doors they might not have realized were closed.

Going accessible offers a longer-term gain, too. Residences serve as seedbeds for the local music scene, particularly in D.C., where house shows have been happening for decades (and not just in the punk community). If a disabled music fan can’t get into a basement show, it means one less person is supporting local music—and that’s no good for a DIY scene like D.C.’s, which normally prides itself on its inclusiveness.

“Just Treat Everyone Like A Person”

You couldn’t accuse D.C.’s punk scene of broad insensitivity; it’s a community that tends to be clued into social-justice issues, and promoters, venues and musicians regularly support progressive or otherwise worthy causes.

Take D.C. punk activist group Positive Force, which has hosted numerous benefit concerts over its nearly 30 years of existence, and the national happening Punk Rock Karaoke, whose local iterations have benefited an assortment of D.C.-area organizations like Girls Rock! D.C., D.C. Books to Prisons and Helping Individual Prostitutes Survive.

Yet for all its idealism, D.C.’s DIY music scene doesn’t seem as attuned to accessibility as a social-justice issue. Evidence exists in the number of shows hosted at inaccessible venues, particularly houses.

Then again, it’s difficult to gauge the size of the accessibility issue in the D.C. music scene, because it’s tough to count the number of disabled people who aren’t coming to shows. But ask people who work at venues, and they’ll tell you they hear from people about accessibility on a fairly regular basis.

Black Cat booker Candice Jones says the 14th Street NW club gets phone calls about accessibility up to several times a month, and Rock & Roll Hotel Marketing Manager Molly Majorack says the venue fields calls about it once every two months. (Majorack also says security staff at the H Street NE club take a course and receive a certificate through the city to train on hospitality for people with disabilities.)

Natalie Illum (shown above), a disability activist, performer and poet, says that she moved to D.C. in 1999 specifically because of its accessibility to people like herself, who identify as having a physical disability. “It’s by default one of the most [ADA] compliant cities in the United States,” she says. “It’s why I live here.”

But Illum became frustrated by local spaces and stages that didn’t accommodate performers with disabilities. “Stages are not necessarily built with people who have mobility issues in mind,” she says. Her idea for a barrier-free performance series inspired a campaign that aimed to raise funds for a venue, ASL services, an accessibility ramp and other costs. She hasn’t met her goal yet, but the campaign is ongoing.

“Eight or nine times out of 10, there’s some drunk guy at the end of the show who tries to clear a path for me, showing the world, ‘We got a disabled guy coming through! Move out of the way!’ and then there’s this spotlight put on me. Is that person trying to help me or are they trying to make himself feel better?” —Sean Gray

Sight-impaired scenester and photographer Ahmad Zaghal goes to a lot of shows—by his count, four or five per week—and he says that for the most part, venue staff is great about helping him out. But he adds that accessibility doesn’t usually occur to able-bodied people until they are confronted with it. “It’s mostly an awareness issue,” he says. “It doesn’t really register until you’ve encountered it in some way.”

Because Zaghal turns up at so many local concerts, he says, many of his fellow showgoers are already aware of his disability, so he doesn’t endure a lot of blatant ignorance or harassment. But Sean Gray—who co-hosts a WMUC radio show with Zaghal—says he’s been confronted with a certain kind of unpleasant helpfulness.

“Eight or nine times out of 10, there’s some drunk guy at the end of the show who tries to clear a path for me, showing the world, ‘We got a disabled guy coming through! Move out of the way!’ and then there’s this spotlight put on me,” Gray says. “Is that person trying to help me or are they trying to make himself feel better?”

Gray compares that scenario to one that has dogged women at shows for years. “It’s the same thing if you said, ‘There’s a woman at this hardcore show, so we better make sure nobody [messes] with her.’ Putting that spotlight on you highlights that you’re The Other and you’re the oppressed group.”

Memphis-based guitarist Will McElroy, who has cerebral palsy, has toured with indie bands Magic Kids and Toxie (shown below). He reports few problems with the venues he’s played over the years. But still, he says, “More awareness could never hurt.”

McElroy says interactions between disabled and able-bodied showgoers should follow a simple but powerful rule: “Just treat everyone like a person.”

What Can Be Done?

Venues don’t have the option of a silver-bullet solution to their accessibility problems because disabilities exist on a spectrum. In other words, a ramp isn’t especially helpful for someone who is hearing-impaired, and ASL translation is useless for a someone who needs to circumvent a flight of stairs.

“There isn’t a one-size-fits-all answer,” Gray says. “It would be ignorant of us to say ‘This is what the venue or the staff or the public needs to do to make things better.'”

But all venues can take steps to do better by disabled showgoers. Independent promoter Sasha Lord, who books Comet Ping Pong, says getting the word out about local venues’ accessibility—or inaccessibility—is key. “Be proactive,” she says. “Every venue should assess their accessibility. Knowing your limitations should be the first thing.”

Venues could also include accessibility information on their websites, social-media accounts and flyers. Numerous local venues’ websites tell people to call with questions about ADA compliance. But why should anyone have to make a phone call?

“If I have that information in front of me, it will make the whole interaction, going to that venue, a whole lot easier,” says Gray. “Be public about what is accessible or not.”

Marian Vessels says that to eliminate barriers, venues of all kinds need to think creatively. She suggests that show spaces install inexpensive portable ramps where they can, and those that cannot could consider installing speakers or monitors to broadcast the performance into an accessible space in the venue or offsite. “It’s not ideal,” she says, noting the social aspect of live music. But it’s better.

“If the artist says, ‘I won’t play a venue that’s inaccessible or isn’t a safe space,’ then it puts the venue’s back against the wall. … No band is too small to put their foot down.” —Sean Gray

Independent promoters can opt to host shows in more accessible venues, too. Instead of booking bands at houses with no viable entry for disabled people, look elsewhere.

Gray suggests that performers take up the torch, too, in order to raise the issue with venues. “If the artist says, ‘I won’t play a venue that’s inaccessible or isn’t a safe space,’ then it puts the venue’s back against the wall,” he says. “If enough artists do that, a venue will lose money and start to pay attention. No band is too small to put their foot down.”

Vessels agrees. If a space is inaccessible, “tell the venue why you’re not going in,” she says. That way, venue owners may see how becoming more ADA-compliant could benefit not just people’s lives and the scene, but—in the case of commercial venues—their bottom line. If spaces are still not barrier-free when they could be, maybe they’re just unaware of the problem.

“We don’t expect them to know the answers,” Vessels says. “But they have to know enough to ask.”

The Mid-Atlantic ADA Center’s website provides an easy-to-use guide to tax credits and deductions that are available for businesses to make their space more accessible. Also, the annual Leadership Exchange in Arts and Disability Conference provides valuable information about accessibility in the arts.

Photos, from top: Images by Flickr user Marlon Dias, Stewart Chambers and Alex Barth used under a Creative Commons license; images of Toxie and Natalie Illum courtesy of the artists.

Correction: The original version of this blog post said buildings that predate ADA legislation are “grandfathered out” of its regulations. No older buildings are grandfathered out—all must comply to the extent they can be made accessible—but they were less likely to be built with accessibility in mind. The post has been corrected.

Last year, Strathmore Hall Foundation, Inc., and developer Federal Reality Investment Trust announced they were opening a new venue in an in-progress mixed-use development in North Bethesda. Strathmore—the cultural center that encompasses the Music Center at Strathmore and the Mansion at Strathmore—said it would book the venue Thursdays and weekends and rent it out for events.

“AMP was chosen to reflect the ‘amplification’ of cultural, educational and musical programming that will be infused into the North Bethesda and Montgomery County community to complement the overall mission of Strathmore and further position Pike & Rose as the center of nighttime activity in the region,” says a Strathmore press release sent this morning. Pike & Rose, which is still under construction, is located at the busy intersection of Rockville Pike and Montrose Parkway.

Residents of that well-off section of Montgomery County aren’t completely underserved by live music: Strathmore itself occupies a big stretch of land near Grosvenor Metro, and downtown Bethesda is the site of Bethesda Blues and Jazz Supper Club, as well as smaller venues like Flanagan’s Harp and Fiddle. Gallery and event space FNDTN is also located in nearby Kensington. But Montgomery County Executive Ike Leggett says the county needs to do more to boost nightlife and the revenue that comes with it. Last year, he appointed a Nighttime Economy Task Force to address what’s considered a lack of nightlife options for county residents, many of whom take their dancing shoes (and wallets) to D.C. and Arlington after sundown.

Coupled with its in-house catering from Neighborhood Restaurant Group—not to mention that company’s beer garden opening at Pike & Rose—AMP could be one step toward keeping Bethesda and Rockville 20-somethings inside county lines at night.