Crystal Ballroom

Tour entrance is at the Box Office on SW 14th and entry may not be guaranteed after 10am.

Join us as we explore the rich history of the Crystal Ballroom, including police raids, visits by silent screen idols and Beat poets, psychedelic light shows, R&B and rock legends, dancing throughout the decades and narrow escapes from ruin.

This tour may require standing for long periods of time and is mostly accessible via elevator. One stop on the tour, the balcony, can be seen but not accessed, except by stairs.

Passport holders: This tour is eligible for the Crystal Ballroom and Lola’s Room location stamps and the Attend a History Sponsored Event experience stamp.

For private group tours, contact [email protected]

It’s Been Awful marks the moment Isaiah Rashad fully becomes his own genre. The Top Dawg Entertainment visionary returns with his third studio album on May 1, expanding his sonic world beyond hip-hop into cosmic jazz, psychedelic guitar rock, Soulquarian neo-soul, and flashes of genre-blurring experimentation. After five transformative years, Rashad delivers his most vulnerable and fully-realized work yet – an unfiltered reflection on addiction, growth, self-confrontation, and redemption. It’s soul music in its most metaphysical form, anchored by the same lyrical precision and emotional depth that have defined his artistry from the beginning.

Since emerging from Chattanooga, TN in 2012, Rashad has built one of the most impactful and emotionally resonant catalogs in modern rap. His debut Cilvia Demo immediately established him as a critical force, followed by The Sun’s Tirade, which debuted in the Top 20 of the Billboard 200 and earned Gold certification. His 2021 album The House Is Burning further solidified his cultural imprint, amassing nearly one billion global streams and widespread acclaim for its introspective storytelling and sonic evolution. Across his career, Rashad has achieved multiple Gold and Platinum certifications, with standout records including “Wat’s Wrong” (feat. Kendrick Lamar & Zacari) and “Pretty Little Birds” (feat. SZA), while maintaining a loyal, cult-like fanbase drawn to his honesty and depth.

Rashad has consistently pushed beyond trends to create timeless, deeply personal work. Now, with It’s Been Awful, he enters a new chapter defined by clarity, confrontation, and creative rebirth – reaffirming his place not just in rap, but at the forefront of music’s most compelling storytellers.

Join Urban Art Network for a special holiday edition of First Thursday inside Portland’s iconic McMenamins Crystal Ballroom! For two festive nights, we’re bringing together an incredible lineup of local artists, makers, and small businesses for a one-of-a-kind indoor holiday market.

Shop handmade goods and unique gifts, grab a cocktail, and spend the evening supporting Portland’s creative community, all while exploring one of the city’s most iconic venues.

Whether you’re getting a head start on holiday shopping, looking for something uniquely Portland, or just want a fun night out, Crafts & Cocktails is the perfect way to kick off the holiday season!

Join Urban Art Network for a special holiday edition of First Thursday inside Portland’s iconic McMenamins Crystal Ballroom! For two festive nights, we’re bringing together an incredible lineup of local artists, makers, and small businesses for a one-of-a-kind indoor holiday market.

Shop handmade goods and unique gifts, grab a cocktail, and spend the evening supporting Portland’s creative community, all while exploring one of the city’s most iconic venues.

Whether you’re getting a head start on holiday shopping, looking for something uniquely Portland, or just want a fun night out, Crafts & Cocktails is the perfect way to kick off the holiday season!

London-born singer and songwriter SIENNA SPIRO announces the “My House” tour, including an extensive North American fall run followed by dates in Asia, Australia, New Zealand, UK and Europe.

Just last week, SIENNA released the official music video for her enthralling single “The Visitor.” Written and produced by SIENNA with Omer Fedi (SZA, Lil Nas X) and Michael Pollack (Justin Bieber, Miley Cyrus), the song draws its power from a spellbinding vocal recorded in one take, lyrics that cut to the bone, and a 20-piece string orchestra led and arranged by Academy Award-winner Peter Rotter (Oppenheimer, The Last Repair Shop). While SIENNA’s poetry and the video nod to matters of the heart, by the song’s end, we sense that she’s singing about something more: a strong awareness of impermanence — of things ending and people leaving — that can quickly turn into paralyzing fear. That sentiment is the driving force behind the concept that powers Visitor, the album.

Of course, SIENNA is very much here to stay. Her music has amassed over 1.2 billion global streams so far and, in late March, she had a trio of singles climbing the Hot 100 all at once: “The Visitor” (which so far peaked at #43), heartwrenching UK Platinum smash “Die On This Hill” (#19), and the enduring “You Stole The Show” (#55). All three are set to appear on Visitor, which was executive produced by Fedi with additional production from an elite crew including Blake Slatkin, Yakob, and Pollack, plus composers like Larry Gold (Al Green, Silk Sonic) and Rotter. SIENNA and her hand-picked collaborators brought her vision to life in an array of legendary spaces like Electric Lady Studios in New York, Abbey Road Studios in London, and Valentine Recording Studios in Los Angeles.

Tour entrance is at the Box Office on SW 14th and entry may not be guaranteed after 10am.

Join us as we explore the rich history of the Crystal Ballroom, including police raids, visits by silent screen idols and Beat poets, psychedelic light shows, R&B and rock legends, dancing throughout the decades and narrow escapes from ruin.

This tour may require standing for long periods of time and is mostly accessible via elevator. One stop on the tour, the balcony, can be seen but not accessed, except by stairs.

Passport holders: This tour is eligible for the Crystal Ballroom and Lola’s Room location stamps and the Attend a History Sponsored Event experience stamp.

For private group tours, contact [email protected]

Tuesday, November 10th at Crystal Ballroom in Portland, OR

Tour entrance is at the Box Office on SW 14th and entry may not be guaranteed after 10am.

Join us as we explore the rich history of the Crystal Ballroom, including police raids, visits by silent screen idols and Beat poets, psychedelic light shows, R&B and rock legends, dancing throughout the decades and narrow escapes from ruin.

This tour may require standing for long periods of time and is mostly accessible via elevator. One stop on the tour, the balcony, can be seen but not accessed, except by stairs.

Passport holders: This tour is eligible for the Crystal Ballroom and Lola’s Room location stamps and the Attend a History Sponsored Event experience stamp.

For private group tours, contact [email protected]

Allison Russell has partnered with PLUS1 so that $1 from every ticket sold goes to ACLU and their work to protect the civil rights and civil liberties of all people in the United States.

Houndmouth is an American rock band from New Albany, In 2026, the band returns with Lordy, a stripped-back, emotionally direct record that marks a new chapter for frontman Matt Myers. After a period of creative stagnation shaped by major life changes, Myers reconnected with his songwriting through raw, unfiltered expression, largely writing alone for the first time. The result is an intimate, roots-driven album focused on rebuilding, acceptance, and forward motion. Supported by producer Brad Cook and a close-knit group of collaborators, the band continues its evolution while retaining the melodic instincts and Americana foundation that first defined its sound.

Houndmouth is an American rock band from New Albany, In 2026, the band returns with Lordy, a stripped-back, emotionally direct record that marks a new chapter for frontman Matt Myers. After a period of creative stagnation shaped by major life changes, Myers reconnected with his songwriting through raw, unfiltered expression, largely writing alone for the first time. The result is an intimate, roots-driven album focused on rebuilding, acceptance, and forward motion. Supported by producer Brad Cook and a close-knit group of collaborators, the band continues its evolution while retaining the melodic instincts and Americana foundation that first defined its sound.

Halfway through the four-year touring cycle for their eighth full-length record Gnosis, Chicago-based instrumental trio Russian Circles hit the two-decade anniversary of their formation. One might expect a band to capitalize on such a major milestone. Instead, guitarist Mike Sullivan, drummer Dave Turncrantz, and bassist/keyboardist Brian Cook spent 2024 unceremoniously touring in support of their most recent album across Australia, South America, Europe, and North America. After all, this is the work ethic that built Russian Circles into one of the biggest heavy instrumental rock bands in the world. This is a band with no hit songs. No fan consensus on their best album. Just a reputation for consistency and quality.

Not that things haven't changed in the last 22 years. The band is now spread out between Chicago, Los Angeles, and a rural island off the coast of Seattle. While the trio insists their music is a confluence of broad-ranging influences-the formidable Touch & Go artists of the Midwest, the prog giants of late '60s and early '70s England, the hypnotic motorik and kosmische grooves of West Germany, the international underground's most caustic strains of metal-it is fair to say Russian Circles' adventurous diversity has evolved into its own distinct sound. As one of the notoriously press-shy members anonymously mentioned, 'the music we make is a collective process of reconciliation, navigation, and reflection upon aging both as individuals and as a creative entity. Life has created very real distances between us, but the band continues to be at the center, and this creative collaboration is a way of charting the passage of time while also giving us a reason to look to the future.' On their latest album, Nine, the band triangulates their relative positions into singular seismic long-form album-oriented soundtracks to the trials and tragedies of life in the modern age.

For Nine, Russian Circles adhered to their strategy from Blood Year (2019) and Gnosis (2022) by teaming up with engineer Kurt Ballou (Converge, Mastodon, High on Fire). Basic tracking took place at Electrical Audio in Chicago while the finishing touches occurred at Ballou's GodCity Studio in Salem, Massachusetts. Recording at Electrical Audio allowed the band to retain a thread to their earliest endeavors, with the band having recorded at Steve Albini's exalted studio as far back as their debut album Enter (2006). The relationship with Ballou is a more recent development stemming back to the band's sixth album Guidance (2016), owing to his ability to highlight the weight and entropy of metal and hardcore bands in their natural environment while enhancing the clarity and articulation often lost in walls of distortion.

Nine continues Russian Circles' unhurried evolution and disciplined refinement, leaning into their strengths while pushing at the boundaries of their sound. Album opener 'Borehole' offers what might be the band's closest approximation of a traditional rock song schematic, with a structure of repeating parts that takes the listener on a journey promising hope only to bring them full circle to the dark, desolate, and dystopian futility of the song's namesake: Russia's abandoned Kola Superdeep Borehole. From there, the band launches into a ferociously concise overview of metal battle tactics with 'Empath'-where a Godflesh-style bass crunch and tornado siren drone ushers in thrash-inspired guitars, venomous black metal attacks, d-beat forays, a deliciously knuckleheaded hardcore breakdown, and a final scorched earth war metal riff, all in just under five minutes. Side A closes with Nine's grand centerpiece-the patiently cataclysmic 'Eluvial.' Centered around the kind of ping-ponging delayed guitar patterns that Brian Eno and The Edge developed for The Joshua Tree, guitarist Mike Sullivan slowly unfurls a winding, linear melody against the backdrop of drummer Dave Turncrantz's Latin-rhythm-inspired groove and Brian Cook's pairing of grinding bass and stuttering electronics. 'Eluvial' slowly builds to an apex, leaving only the vaguest breadcrumb trail of obscured percussive and melodic motifs to the song's final cleansing tempest.

The latter half of Nine builds on Russian Circles' aural expansion. Side B opens with bottom-end synth pulses, dubby bass lines, serpentine finger-tapped guitar patterns, and nimble rhythmic shifts on 'E2.' On 'Meridian,' the band once again employs the slow-build strategies of their post-rock inclinations, with Turncrantz's propulsive drums and Sullivan's Steve Reich-esque arpeggios giving the song a sense of constant forward momentum, perfectly suited for gliding along the expressways of towering metropolises on neon nights. The album ends with the light and dark contrast of 'Arletta' and 'Seventh Seal.' Much like Cliff Burton-era Metallica's penchant of pairing melancholic classical guitar passages with the blunt force trauma of their heaviest tracks, so does the stark beauty of Sullivan's nylon string solo composition usher in the band's most unapologetically straightforward metallic assault.

The album art for Nine consists of photographs of Snowpile for Chicago, a sculpture by Tony Tasset that's been on display in the windows of Chicago Public Library's West Town Branch since 2004-the year Russian Circles formed. Constructed out of cast bronze, brass, fiberglass, resin, and oil paint, Snowpile for Chicago is a convincing recreation of the mounds of dirty snow that occupy city streets throughout Midwest winters. The inclusion of this image is partially a nod to the band's hometown, but more importantly serves as an analogy for Russian Circles' music. It's a meticulously crafted piece that documents a cold, harsh, and ugly reality. Even though this artifact captures something that is unpleasant, its rendering by human hands gives it a quality of striking beauty. There is a larger conversation to be had about transgressive art, ephemera, the devaluing of art in a cultural landscape that craves constant content, the advent of AI in creative realms, and the general sense of futility that looms over musicians in the modern age, but as an instrumental band, Russian Circles opt to plant these notions in the listeners' heads through the image of a haunting sculpture in a stark interior space rather than through crafting online manifestos, social media rants, or topical lyrics.

Reinvention is unnecessary when the path forward has always been an open horizon. When it comes to Russian Circles, you can go back through their catalog and find a vast array of moods, stylistic shifts, and timbral experiments across any given album, yet there has been a noticeable progression in the overall experience of taking in any one of their albums as a whole. Whereas earlier albums were almost playful in their traversing of territories, Nine is a document of a band that knows the lay of the land and is fortifying their dominion over the varied terrain.

Halfway through the four-year touring cycle for their eighth full-length record Gnosis, Chicago-based instrumental trio Russian Circles hit the two-decade anniversary of their formation. One might expect a band to capitalize on such a major milestone. Instead, guitarist Mike Sullivan, drummer Dave Turncrantz, and bassist/keyboardist Brian Cook spent 2024 unceremoniously touring in support of their most recent album across Australia, South America, Europe, and North America. After all, this is the work ethic that built Russian Circles into one of the biggest heavy instrumental rock bands in the world. This is a band with no hit songs. No fan consensus on their best album. Just a reputation for consistency and quality.

Not that things haven’t changed in the last 22 years. The band is now spread out between Chicago, Los Angeles, and a rural island off the coast of Seattle. While the trio insists their music is a confluence of broad-ranging influences-the formidable Touch & Go artists of the Midwest, the prog giants of late ’60s and early ’70s England, the hypnotic motorik and kosmische grooves of West Germany, the international underground’s most caustic strains of metal-it is fair to say Russian Circles’ adventurous diversity has evolved into its own distinct sound. As one of the notoriously press-shy members anonymously mentioned, “the music we make is a collective process of reconciliation, navigation, and reflection upon aging both as individuals and as a creative entity. Life has created very real distances between us, but the band continues to be at the center, and this creative collaboration is a way of charting the passage of time while also giving us a reason to look to the future.” On their latest album, Nine, the band triangulates their relative positions into singular seismic long-form album-oriented soundtracks to the trials and tragedies of life in the modern age.

For Nine, Russian Circles adhered to their strategy from Blood Year (2019) and Gnosis (2022) by teaming up with engineer Kurt Ballou (Converge, Mastodon, High on Fire). Basic tracking took place at Electrical Audio in Chicago while the finishing touches occurred at Ballou’s GodCity Studio in Salem, Massachusetts. Recording at Electrical Audio allowed the band to retain a thread to their earliest endeavors, with the band having recorded at Steve Albini’s exalted studio as far back as their debut album Enter (2006). The relationship with Ballou is a more recent development stemming back to the band’s sixth album Guidance (2016), owing to his ability to highlight the weight and entropy of metal and hardcore bands in their natural environment while enhancing the clarity and articulation often lost in walls of distortion.

Nine continues Russian Circles’ unhurried evolution and disciplined refinement, leaning into their strengths while pushing at the boundaries of their sound. Album opener “Borehole” offers what might be the band’s closest approximation of a traditional rock song schematic, with a structure of repeating parts that takes the listener on a journey promising hope only to bring them full circle to the dark, desolate, and dystopian futility of the song’s namesake: Russia’s abandoned Kola Superdeep Borehole. From there, the band launches into a ferociously concise overview of metal battle tactics with “Empath”-where a Godflesh-style bass crunch and tornado siren drone ushers in thrash-inspired guitars, venomous black metal attacks, d-beat forays, a deliciously knuckleheaded hardcore breakdown, and a final scorched earth war metal riff, all in just under five minutes. Side A closes with Nine‘s grand centerpiece-the patiently cataclysmic “Eluvial.” Centered around the kind of ping-ponging delayed guitar patterns that Brian Eno and The Edge developed for The Joshua Tree, guitarist Mike Sullivan slowly unfurls a winding, linear melody against the backdrop of drummer Dave Turncrantz’s Latin-rhythm-inspired groove and Brian Cook’s pairing of grinding bass and stuttering electronics. “Eluvial” slowly builds to an apex, leaving only the vaguest breadcrumb trail of obscured percussive and melodic motifs to the song’s final cleansing tempest.

The latter half of Nine builds on Russian Circles’ aural expansion. Side B opens with bottom-end synth pulses, dubby bass lines, serpentine finger-tapped guitar patterns, and nimble rhythmic shifts on “E2.” On “Meridian,” the band once again employs the slow-build strategies of their post-rock inclinations, with Turncrantz’s propulsive drums and Sullivan’s Steve Reich-esque arpeggios giving the song a sense of constant forward momentum, perfectly suited for gliding along the expressways of towering metropolises on neon nights. The album ends with the light and dark contrast of “Arletta” and “Seventh Seal.” Much like Cliff Burton-era Metallica’s penchant of pairing melancholic classical guitar passages with the blunt force trauma of their heaviest tracks, so does the stark beauty of Sullivan’s nylon string solo composition usher in the band’s most unapologetically straightforward metallic assault.

The album art for Nine consists of photographs of Snowpile for Chicago, a sculpture by Tony Tasset that’s been on display in the windows of Chicago Public Library’s West Town Branch since 2004-the year Russian Circles formed. Constructed out of cast bronze, brass, fiberglass, resin, and oil paint, Snowpile for Chicago is a convincing recreation of the mounds of dirty snow that occupy city streets throughout Midwest winters. The inclusion of this image is partially a nod to the band’s hometown, but more importantly serves as an analogy for Russian Circles’ music. It’s a meticulously crafted piece that documents a cold, harsh, and ugly reality. Even though this artifact captures something that is unpleasant, its rendering by human hands gives it a quality of striking beauty. There is a larger conversation to be had about transgressive art, ephemera, the devaluing of art in a cultural landscape that craves constant content, the advent of AI in creative realms, and the general sense of futility that looms over musicians in the modern age, but as an instrumental band, Russian Circles opt to plant these notions in the listeners’ heads through the image of a haunting sculpture in a stark interior space rather than through crafting online manifestos, social media rants, or topical lyrics.

Reinvention is unnecessary when the path forward has always been an open horizon. When it comes to Russian Circles, you can go back through their catalog and find a vast array of moods, stylistic shifts, and timbral experiments across any given album, yet there has been a noticeable progression in the overall experience of taking in any one of their albums as a whole. Whereas earlier albums were almost playful in their traversing of territories, Nine is a document of a band that knows the lay of the land and is fortifying their dominion over the varied terrain.

Dance to all your favorite music videos from the 2000s! Featuring music by OutKast, Beyoncé, Nelly, Lil Jon, Lady Gaga, The Killers, 50 Cent, Justin Timberlake, Jay Z, Usher, Rihanna and so many more!

Tour entrance is at the Box Office on SW 14th and entry may not be guaranteed after 10am.

Join us as we explore the rich history of the Crystal Ballroom, including police raids, visits by silent screen idols and Beat poets, psychedelic light shows, R&B and rock legends, dancing throughout the decades and narrow escapes from ruin.

This tour may require standing for long periods of time and is mostly accessible via elevator. One stop on the tour, the balcony, can be seen but not accessed, except by stairs.

Passport holders: This tour is eligible for the Crystal Ballroom and Lola’s Room location stamps and the Attend a History Sponsored Event experience stamp.

For private group tours, contact [email protected]

Grammy-winning Mexican guitar duo Rodrigo y Gabriela return with OurHome, a bold new album and global tour that invites audiences into a dreamlike universe of rogue monsters, celestial birds, stardust, savage landscapes, and the search for inner peace. Self-produced in Tokyo, OurHome is both a love letter to Japan and a meditation on what it means to find home within yourself, delivered through the wildly expressive instrumental guitar music that has made Rodrigo Sánchez and Gabriela Quintero one of the most electrifying live acts in the world. For more than two decades, Rodrigo y Gabriela have pushed acoustic guitar into new territory, blending classical, rock, metal, cinematic atmosphere, and spiritual exploration into a sound entirely their own. From their early days busking on Dublin’s Grafton Street, they have gone on to win a GRAMMY Award for Mettavolution, headline Glastonbury, and sell out iconic stages including the Hollywood Bowl, Red Rocks Amphitheatre, Royal Albert Hall, Radio City Music Hall, and the Sydney Opera House. On OurHome, the duo returns to the textural beauty of acoustic instrumentation while expanding their world with guests including Marty Friedman and Hiromi. Live, Rodrigo’s lightning-fast lead lines and Gabriela’s hypnotic, hard-hitting rhythms become a pulse-raising journey of stillness, intensity, and unstoppable momentum. For longtime fans and first-timers alike, this is a rare chance to experience two master musicians at their most adventurous, intimate, and powerful.

Wednesday, November 18th at Crystal Ballroom in Portland, OR

Tour entrance is at the Box Office on SW 14th and entry may not be guaranteed after 10am.

Join us as we explore the rich history of the Crystal Ballroom, including police raids, visits by silent screen idols and Beat poets, psychedelic light shows, R&B and rock legends, dancing throughout the decades and narrow escapes from ruin.

This tour may require standing for long periods of time and is mostly accessible via elevator. One stop on the tour, the balcony, can be seen but not accessed, except by stairs.

Passport holders: This tour is eligible for the Crystal Ballroom and Lola’s Room location stamps and the Attend a History Sponsored Event experience stamp.

For private group tours, contact [email protected]

In recent years Thundercat, aka Stephen Bruner, has completed his transition from virtuoso bassist to bonafide star and cemented his reputation as a wholly unique voice, transcending genre. He has become a cornerstone of the Brainfeeder label having released 'The Golden Age of Apocalypse' (2011), 'Apocalypse' (2013), 'Drunk' (2017), and his 2020 album 'It Is What It Is' won Best Progressive R&B Album at the 63rd GRAMMY Awards, featuring Ty Dolla $ign, Childish Gambino, Lil B, Kamasi Washington, Steve Lacy, Steve Arrington, BADBADNOTGOOD, Louis Cole, Pedro Martins and Zack Fox. The record was produced by Thundercat and his longtime partner Flying Lotus who was GRAMMY-nominated in 'Producer of the Year, Non-Classical' for his work on the album.

2023 kicked off with a bang, with Thundercat joining Steve Lacy live onstage at the 65th Annual GRAMMY Awards to perform the hit single 'Bad Habit.' He also released his latest single 'No More Lies' with Tame Impala, and announced a slew of tour dates spanning 5 continents.

2022 was a banner year, with highlights including his vocals and bass heavily featuring on Gorillaz single and title track 'Cracker Island' which hit #1 on the Alternative radio charts. He also starred in the official music video and performed onstage with Gorillaz at Coachella and the MTV European Music Awards ceremony. He also joined Red Hot Chilli Peppers as support on their North American and EU stadium tour.

Thundercat made his acting debut in 2022 with a recurring role in Star Wars' 'The Book of Boba Fett' on Disney+. He also covered 'Fly Like An Eagle' for the 'Minions: The Rise of Gru' OST executive produced by Jack Antonooff. Other film and TV work has included collaborating with Flying Lotus on the original score for 'Yasuke' on Netflix, as well as an episode of Emmy & Golden Globe winning series 'Atlanta' created by Donald Glover.

Live highlights include duetting with Ariana Grande at Adult Swim Festival 2020, a US tour alongside his friend Anderson .Paak (2019), an appearance at the Nile Rodgers curated Meltdown Festival held at the Southbank Centre, London (2019); and previous festival highlights for Thundercat include Glastonbury, Coachella, Sónar, Fuji Rock, Newport Jazz Festival, Primavera Sound and Governors Ball. In 2019 Thundercat was invited by legendary jazz institution Blue Note in New York to play a 14 show residency over the space of 6 days. Special guests for the residency included Reggie Watts, Zack Fox and Hannibal Buress. One memorable sold out show at New York's Irving Plaza in 2017 featured Dave Chappelle making an impromptu appearance as his hype man.

In 2015 he was 'at the creative epicenter' of the 21st century's most influential hip-hop album Kendrick Lamar's 'To Pimp A Butterfly', and he won a GRAMMY for his collaboration on the track ‘These Walls'.

Much celebrated for his inimitable style, Thundercat has appeared as the face of recent fashion/brand campaigns for Kerwin Frost and Kenny Beats, as well as attending Paris Fashion Week as a guest of Spanish luxury designer LOEWE.

Bruner found his instrument at the age of 4. That made him a late-bloomer in the house of Ronald Bruner, Sr., who drummed with the Temptations among others. His first bass was a black Harmony, and he practiced to the Ninja Turtles soundtrack until pops played him Jaco Pastorius. He joined thrash legends Suicidal Tendencies as a teenager, and has spent road and studio time with everyone from Stanley Clarke and Herbie Hancock to Leon Ware, N.E.R.D., Travis Scott, HAIM, Silk Sonic (Bruno Mars & Anderson .Paak), Kaytranada, Stevie Wonder and Erykah Badu.

The name Thundercat is a reference to the cartoon he's loved since childhood and an extension of his wide-eyed, vibrant, often superhuman approach to his craft. In 2020 things came full circle when Bruner voiced a character (and penned a song) named 'Grune the Destroyer' in Cartoon Network's Thundercats Roar animated series

In recent years Thundercat, aka Stephen Bruner, has completed his transition from virtuoso bassist to bonafide star and cemented his reputation as a wholly unique voice, transcending genre. He has become a cornerstone of the Brainfeeder label having released “The Golden Age of Apocalypse” (2011), “Apocalypse” (2013), “Drunk” (2017), and his 2020 album “It Is What It Is” won Best Progressive R&B Album at the 63rd GRAMMY Awards, featuring Ty Dolla $ign, Childish Gambino, Lil B, Kamasi Washington, Steve Lacy, Steve Arrington, BADBADNOTGOOD, Louis Cole, Pedro Martins and Zack Fox. The record was produced by Thundercat and his longtime partner Flying Lotus who was GRAMMY-nominated in “Producer of the Year, Non-Classical” for his work on the album.

2023 kicked off with a bang, with Thundercat joining Steve Lacy live onstage at the 65th Annual GRAMMY Awards to perform the hit single “Bad Habit.” He also released his latest single “No More Lies” with Tame Impala, and announced a slew of tour dates spanning 5 continents.

2022 was a banner year, with highlights including his vocals and bass heavily featuring on Gorillaz single and title track “Cracker Island” which hit #1 on the Alternative radio charts. He also starred in the official music video and performed onstage with Gorillaz at Coachella and the MTV European Music Awards ceremony. He also joined Red Hot Chilli Peppers as support on their North American and EU stadium tour.

Thundercat made his acting debut in 2022 with a recurring role in Star Wars’ “The Book of Boba Fett” on Disney+. He also covered “Fly Like An Eagle” for the “Minions: The Rise of Gru” OST executive produced by Jack Antonooff. Other film and TV work has included collaborating with Flying Lotus on the original score for “Yasuke” on Netflix, as well as an episode of Emmy & Golden Globe winning series “Atlanta” created by Donald Glover.

Live highlights include duetting with Ariana Grande at Adult Swim Festival 2020, a US tour alongside his friend Anderson .Paak (2019), an appearance at the Nile Rodgers curated Meltdown Festival held at the Southbank Centre, London (2019); and previous festival highlights for Thundercat include Glastonbury, Coachella, Sónar, Fuji Rock, Newport Jazz Festival, Primavera Sound and Governors Ball. In 2019 Thundercat was invited by legendary jazz institution Blue Note in New York to play a 14 show residency over the space of 6 days. Special guests for the residency included Reggie Watts, Zack Fox and Hannibal Buress. One memorable sold out show at New York’s Irving Plaza in 2017 featured Dave Chappelle making an impromptu appearance as his hype man.

In 2015 he was “at the creative epicenter” of the 21st century’s most influential hip-hop album Kendrick Lamar’s “To Pimp A Butterfly”, and he won a GRAMMY for his collaboration on the track ‘These Walls’.

Much celebrated for his inimitable style, Thundercat has appeared as the face of recent fashion/brand campaigns for Kerwin Frost and Kenny Beats, as well as attending Paris Fashion Week as a guest of Spanish luxury designer LOEWE.

Bruner found his instrument at the age of 4. That made him a late-bloomer in the house of Ronald Bruner, Sr., who drummed with the Temptations among others. His first bass was a black Harmony, and he practiced to the Ninja Turtles soundtrack until pops played him Jaco Pastorius. He joined thrash legends Suicidal Tendencies as a teenager, and has spent road and studio time with everyone from Stanley Clarke and Herbie Hancock to Leon Ware, N.E.R.D., Travis Scott, HAIM, Silk Sonic (Bruno Mars & Anderson .Paak), Kaytranada, Stevie Wonder and Erykah Badu.

The name Thundercat is a reference to the cartoon he’s loved since childhood and an extension of his wide-eyed, vibrant, often superhuman approach to his craft. In 2020 things came full circle when Bruner voiced a character (and penned a song) named “Grune the Destroyer” in Cartoon Network’s Thundercats Roar animated series

Haley Johnsen is a Portland-based Americana artist blending alt-pop edge with powerhouse vocals and emotionally charged songwriting. Often compared to Brandi Carlile and Bonnie Raitt, she delivers heart-forward storytelling wrapped in bold, anthemic hooks and an electrifying live presence. Haley has toured with and opened for artists including Allen Stone, KT Tunstall, Joseph, The Talbott Brothers, and Liam St. John, and performed at the nation's largest festival. Summerfest, last year in Milwaukie, WI. Her 2026 NPR Tiny Desk Contest submission featuring her single 'Lyin' Man' marks a bold new chapter of new music dropping May 2026. With millions of streams worldwide via the Virgin Music Group, sponsorships with Fender and Breedlove, and a headline slot at Seattle's Fremont Fair Festival this summer, Haley Johnsen is bringing the Pacific Northwest's freshest sound to the world, one unforgettable performance at a time.

Haley Johnsen is a Portland-based Americana artist blending alt-pop edge with powerhouse vocals and emotionally charged songwriting. Often compared to Brandi Carlile and Bonnie Raitt, she delivers heart-forward storytelling wrapped in bold, anthemic hooks and an electrifying live presence. Haley has toured with and opened for artists including Allen Stone, KT Tunstall, Joseph, The Talbott Brothers, and Liam St. John, and performed at the nation’s largest festival. Summerfest, last year in Milwaukie, WI. Her 2026 NPR Tiny Desk Contest submission featuring her single “Lyin’ Man” marks a bold new chapter of new music dropping May 2026. With millions of streams worldwide via the Virgin Music Group, sponsorships with Fender and Breedlove, and a headline slot at Seattle’s Fremont Fair Festival this summer, Haley Johnsen is bringing the Pacific Northwest’s freshest sound to the world, one unforgettable performance at a time.

Ticket allows entry to the '90s Dance Flashback party in Crystal Ballroom AND the 2010s Dance Flashback party in Lola's Room

Dance to all your favorite music videos from the 2010s on our giant screen!

Featuring music by….

Taylor Swift, Drake, Harry Styles, The Weeknd, Dua Lipa, Rihanna, Daft Punk, Post Malone, Lizzo, Bad Bunny, One Direction, Doja Cat, Kendrick Lamar, Beyoncé, Calvin Harris, Miley Cyrus, Cardi B, Nicki Minaj, Rosalia, Frank Ocean, Bruno Mars, Major Lazer and more.

Tour entrance is at the Box Office on SW 14th and entry may not be guaranteed after 10am.

Join us as we explore the rich history of the Crystal Ballroom, including police raids, visits by silent screen idols and Beat poets, psychedelic light shows, R&B and rock legends, dancing throughout the decades and narrow escapes from ruin.

This tour may require standing for long periods of time and is mostly accessible via elevator. One stop on the tour, the balcony, can be seen but not accessed, except by stairs.

Passport holders: This tour is eligible for the Crystal Ballroom and Lola’s Room location stamps and the Attend a History Sponsored Event experience stamp.

For private group tours, contact [email protected]

Senses Fail have been called any number of things across their near 25 years as a band - emo, screamo, post-hardcore, metalcore, pop punk. It's testament to the band's perpetual evolution as much as it is their steely endurance - a quality which frontman Buddy Nielsen has required bottomless reserves of along the ride. It's through the songs of Senses Failthat Nielsen has forever made sense of and peace with life's highs and lows; a journey that began in the leafy suburbs of Ridgewood, New Jersey with the iconic Gold-selling debut album Let It Enfold You, and which has since seen Senses Fail become one of rock music's most cherished, celebrated names.

Senses Fail have been called any number of things across their near 25 years as a band – emo, screamo, post-hardcore, metalcore, pop punk. It’s testament to the band’s perpetual evolution as much as it is their steely endurance – a quality which frontman Buddy Nielsen has required bottomless reserves of along the ride. It’s through the songs of Senses Failthat Nielsen has forever made sense of and peace with life’s highs and lows; a journey that began in the leafy suburbs of Ridgewood, New Jersey with the iconic Gold-selling debut album Let It Enfold You, and which has since seen Senses Fail become one of rock music’s most cherished, celebrated names.

Tour entrance is at the Box Office on SW 14th and entry may not be guaranteed after 10am.

Join us as we explore the rich history of the Crystal Ballroom, including police raids, visits by silent screen idols and Beat poets, psychedelic light shows, R&B and rock legends, dancing throughout the decades and narrow escapes from ruin.

This tour may require standing for long periods of time and is mostly accessible via elevator. One stop on the tour, the balcony, can be seen but not accessed, except by stairs.

Passport holders: This tour is eligible for the Crystal Ballroom and Lola’s Room location stamps and the Attend a History Sponsored Event experience stamp.

For private group tours, contact [email protected]

Get ready for a fun night of dancing to all your favorite hits and requests from the 1980s!

D80s is Portland’s longest-running 80s night, celebrating 21 consecutive years of weekly events.

Fans of 80s alternative music will feel right at home-D80s takes requests seriously while keeping each set fresh and dynamic week after week.

Stop by and discover why D80s is Portland’s go-to 80s club dance night.

With four floors packed with festive fun, this holly, jolly brewfest might just be your new favorite holiday tradition! Put on your best (or worst!) ugly holiday sweater and join us for plenty of beer, cider, cocktails and other delicious beverages to taste, plus local artisan vendors for your holiday shopping needs, pics with Santa, reindeer games and so much more.

Brewfest fun
Tasting stations & vendors across the property * Ballroom, Mezzanine, Lola's Room and Ringler's Pub
40+ beverages, including 25 taps of beer & cider, plus wine, spirits, cocktails, THC & CBD seltzers and non-alcoholic
40+ local artisan vendors
Photos with Santa
Live music in the Ballroom

Tour entrance is at the Box Office on SW 14th and entry may not be guaranteed after 10am.

Join us as we explore the rich history of the Crystal Ballroom, including police raids, visits by silent screen idols and Beat poets, psychedelic light shows, R&B and rock legends, dancing throughout the decades and narrow escapes from ruin.

This tour may require standing for long periods of time and is mostly accessible via elevator. One stop on the tour, the balcony, can be seen but not accessed, except by stairs.

Passport holders: This tour is eligible for the Crystal Ballroom and Lola’s Room location stamps and the Attend a History Sponsored Event experience stamp.

For private group tours, contact [email protected]

For the full "December to Remember" concert schedule, visit the 94/7fm website.

Dirty Heads is SOLD OUT, be sure to get your tickets to the other December To Remember shows in advance!

KEXP is taking Yule Benefit on the road, with three shows in three cities, headlined by Kamasi Washington with support from Bartees Strange. December 3rd at Showbox Seattle, December 4th at the Crystal Ballroom in Portland, and December 5th at the UC Theatre in Berkeley. Local openers join the show at each stop, with mega cat in Seattle, Stas THEE Boss in Portland, and Hannah Lew in Berkeley.

Sunday, December 6th at Crystal Ballroom in Portland, OR

For the full "December to Remember" concert schedule, visit the 94/7fm website.

Los Angeles-based trio Cannons, comprises Michelle Joy (vocals), Ryan Clapham (lead guitar), and Paul Davis (drums, keys), have established themselves as one of electro-pop’s most compelling modern acts. Through their seamless blend of hypnotic synth-craft, atmospheric production, and evocative lyricism, the group has amassed over 1.4 billion global streams, a performance on Jimmy Kimmel Live!, major festival slots, and sold-out headline shows under their belt. With all this success it would be reasonable to take their foot off the gas but Cannons is ready to take the next step in their musical journey with their entrancing fifth album, Everything Glows. Everything Glows radiates a strong senseof camaraderie between the band, who bear witness to one another through travails and triumphs and highs and lows of the past few years. The record’s 11 songs navigate heartbreak and codependence, brokenness and, ultimately, liberation, spotlighting a group that found new ways to move forward and absolute excitement in both the process and its results. Everything Glows is Cannons, cutting itself free.

If you ever feel as if music has lost its capacity for surprise, the beguiling wonder and infinite creativity of Yaelokre will respark your belief. The Filipino-Icelandic artist – real name Keath Ósk (they/it) – fuses three imaginative strands to their visionary expression: intimate, innocent folk infused with leftfield surrealism and instant pop accessibility; artwork which is intricately detailed and beautifully alluring; and storytelling which brings personal experience and poetry into rich, fable-like narratives. What’s more, all three of these elements are crafted by this one visionary artist.

The scale of the fantastical world they have created is vast, both in terms of narrative and lore. But its essence is relatively simple. The songs are set in the fictional world of Meadowlark and chart the adventures of four masked children who comprise a musical ensemble known at The Lark: Cole Seymour, Clémente Dearworth, Peregrine August, and Kingsley. They perform as representatives of The Harkers, mythical beings who express the fundamental principles of nature, wonder and chaos. What’s more, Yaelokre voices all of the different characters within their universe.

This immersive, escapist story is largely inspired by Yaelokre’s own life. The four Larks represent different stages of their childhood, and writing their songs felt cathartic for their creator. As Yaelokre explains, “Their stories are way for me to cut myself up into pieces, so I can tackle the smaller issues easily rather than going full-on into the big problems straight-up. This project revolves around lessons that I’ve learned from life, and each song has a lesson.”

Spike And The Gimme Gimmes “Merry Sh*tmas” Tour!

Spike And The Gimme Gimmes are spreading holiday cheer along the West Coast in true Gimmes fashion! The band is hitting the road this winter to celebrate the release of their brand-new album, “Spike And The Gimme Gimmes Sh*t the Bed,” released on Fat Wreck Chords. Merry Christmas to you because this year’s Holiday tour lineup is nothing but a gift from Ol’ St. Nick himself!

Front and center is Spike Slawson on lead vocals, the heart and soul of The Gimmes. No surprise here, but you know this dancing force of nature will keep the party rolling wherever he goes.

Holding down the low end is CJ Ramone on bass and backing vocals. A graduate with honors from Rock and Roll High School, CJ brings the perfect balance of power and precision. With decades of punk pedigree, he’s a living masterclass in low-end theory and punk pocket groove.

On guitar is Dez Cadena, the legendary guitarist from bands like Black Flag and Misfits. A mad scientist of riffs, sure to bring a fiery edge and unstoppable energy to the holiday mix.

Behind the kit sits David Hidalgo Jr, best known for his percussional talents with Social Distortion. After wrapping on a global tour with Social D, he is ready to come back to his west coast roots and keep fans in the ho-ho-ho spirit.

Completing the lineup is Jake Kiley of Strung Out fame. Beneath his charming smile lies a wild jungle cat of a guitarist, ready to pounce with ferocious intensity when armed with his weapon of choice: a hot pink Jackson. RRRAWRRR!

This powerhouse lineup has been the Gimmes’ consistent supergroup formation for the past four years, bringing together some of punk’s most celebrated players into one unstoppable force of fun, fury, and melody.

So grab your Santa hat and join Spike And The Gimme Gimmes as they make this winter a season to remember, loud, proud, and full of punk rock cheer.

Disciples of planet Earth's rock deities, space-time voyagers Klek and Khn de Poitrine gaze in wonder at hot dogs, pyramids, and rock music in all its glorious excess.

Asymmetrical and dissonant, Angine de Poitrine's music makes hearts race and bodies move with ecstatic abandon. Through tight, pulsing drum grooves and intricate tangles of double-neck microtonal guitar, the band summons swirling vortices of hypnotic sound and vision.

Since the release of Vol. 1 in 2024, Angine de Poitrine are in the eye of an ever-growing storm of enthusiasm from audiences, critics, and music industry's main actors. After delivering electrifying performances at Quebec's major festivals, including the Festival International de Jazz de Montréal, Angine de Poitrine now sets their sights on the prestigious Trans Musicales in Rennes.
All these facts are strictly reserved to the humanoids: Angine de Poitrine are simply thrilled to play rock 'n' roll.

ABOUT Vol. 2
Repetition. Isn't that the very essence of loop-based music? Hell no!
A brisk, high-voltage album, Vol. 2 stretches the boundaries of the genre with even bolder, more dynamic structures. Its humor lies in the details, waiting to be decoded! Once again, three essential forces fuel the inspiration of the duo: acid techno, disco, and rock.

ABOUT Mata Zyklek
Driven by the rumble of the fifth and a breakneck tempo that exudes urgency, Mata Zyklek delivers a wild ride full of twists and turns. It unfolds like the parody of a low-budget Hollywood action scene, where the hero escapes the villains on a dirtbike.

Disciples of planet Earth’s rock deities, space-time voyagers Klek and Khn de Poitrine gaze in wonder at hot dogs, pyramids, and rock music in all its glorious excess.

Asymmetrical and dissonant, Angine de Poitrine’s music makes hearts race and bodies move with ecstatic abandon. Through tight, pulsing drum grooves and intricate tangles of double-neck microtonal guitar, the band summons swirling vortices of hypnotic sound and vision.

Since the release of Vol. 1 in 2024, Angine de Poitrine are in the eye of an ever-growing storm of enthusiasm from audiences, critics, and music industry’s main actors. After delivering electrifying performances at Quebec’s major festivals, including the Festival International de Jazz de Montréal, Angine de Poitrine now sets their sights on the prestigious Trans Musicales in Rennes.
All these facts are strictly reserved to the humanoids: Angine de Poitrine are simply thrilled to play rock ‘n’ roll.

ABOUT Vol. 2
Repetition. Isn’t that the very essence of loop-based music? Hell no!
A brisk, high-voltage album, Vol. 2 stretches the boundaries of the genre with even bolder, more dynamic structures. Its humor lies in the details, waiting to be decoded! Once again, three essential forces fuel the inspiration of the duo: acid techno, disco, and rock.

ABOUT Mata Zyklek
Driven by the rumble of the fifth and a breakneck tempo that exudes urgency, Mata Zyklek delivers a wild ride full of twists and turns. It unfolds like the parody of a low-budget Hollywood action scene, where the hero escapes the villains on a dirtbike.

Disciples of planet Earth's rock deities, space-time voyagers Klek and Khn de Poitrine gaze in wonder at hot dogs, pyramids, and rock music in all its glorious excess.

Asymmetrical and dissonant, Angine de Poitrine's music makes hearts race and bodies move with ecstatic abandon. Through tight, pulsing drum grooves and intricate tangles of double-neck microtonal guitar, the band summons swirling vortices of hypnotic sound and vision.

Since the release of Vol. 1 in 2024, Angine de Poitrine are in the eye of an ever-growing storm of enthusiasm from audiences, critics, and music industry's main actors. After delivering electrifying performances at Quebec's major festivals, including the Festival International de Jazz de Montréal, Angine de Poitrine now sets their sights on the prestigious Trans Musicales in Rennes.
All these facts are strictly reserved to the humanoids: Angine de Poitrine are simply thrilled to play rock 'n' roll.

ABOUT Vol. 2
Repetition. Isn't that the very essence of loop-based music? Hell no!
A brisk, high-voltage album, Vol. 2 stretches the boundaries of the genre with even bolder, more dynamic structures. Its humor lies in the details, waiting to be decoded! Once again, three essential forces fuel the inspiration of the duo: acid techno, disco, and rock.

ABOUT Mata Zyklek
Driven by the rumble of the fifth and a breakneck tempo that exudes urgency, Mata Zyklek delivers a wild ride full of twists and turns. It unfolds like the parody of a low-budget Hollywood action scene, where the hero escapes the villains on a dirtbike.

Disciples of planet Earth’s rock deities, space-time voyagers Klek and Khn de Poitrine gaze in wonder at hot dogs, pyramids, and rock music in all its glorious excess.

Asymmetrical and dissonant, Angine de Poitrine’s music makes hearts race and bodies move with ecstatic abandon. Through tight, pulsing drum grooves and intricate tangles of double-neck microtonal guitar, the band summons swirling vortices of hypnotic sound and vision.

Since the release of Vol. 1 in 2024, Angine de Poitrine are in the eye of an ever-growing storm of enthusiasm from audiences, critics, and music industry’s main actors. After delivering electrifying performances at Quebec’s major festivals, including the Festival International de Jazz de Montréal, Angine de Poitrine now sets their sights on the prestigious Trans Musicales in Rennes.
All these facts are strictly reserved to the humanoids: Angine de Poitrine are simply thrilled to play rock ‘n’ roll.

ABOUT Vol. 2
Repetition. Isn’t that the very essence of loop-based music? Hell no!
A brisk, high-voltage album, Vol. 2 stretches the boundaries of the genre with even bolder, more dynamic structures. Its humor lies in the details, waiting to be decoded! Once again, three essential forces fuel the inspiration of the duo: acid techno, disco, and rock.

ABOUT Mata Zyklek
Driven by the rumble of the fifth and a breakneck tempo that exudes urgency, Mata Zyklek delivers a wild ride full of twists and turns. It unfolds like the parody of a low-budget Hollywood action scene, where the hero escapes the villains on a dirtbike.

Dance to all your favorite music videos from the 2000s! Featuring music by OutKast, Beyoncé, Nelly, Lil Jon, Lady Gaga, The Killers, 50 Cent, Justin Timberlake, Jay Z, Usher, Rihanna and so many more!

Young the Giant’s Victory Garden is an ode to radical empathy.

Over the past fifteen years, the multi-platinum Southern California band has flourished through distinct sonic eras, progressively solidifying itself as one of the most consistent and influential rock bands of the 21st century. On their sixth full-length album and Fearless Records debut, Victory Garden, Young the Giant reconnects with the core experience of 100% band collaboration, writing and recording together as a unit in one room. Written largely during writing retreats in Idyllwild and Joshua Tree and produced by Brendan O’Brien (Springsteen, Pearl Jam, Soundgarden) at Henson Studios in Hollywood, Victory Garden is a cohesive album experience that both inspires and enthralls. Lyrically, the album is rooted in radical empathy, showcasing the band’s songwriting instincts at its most immediate and heartfelt. Musically, Victory Garden showcases the seasoned artist’s collective performances at their intuitive height. The result is a prolific record that beckons a new season of creative fertility for the band and presents Young the Giant as confident, refined, and fully inhabiting its voice.

For the full "December to Remember" concert schedule, visit the 94/7fm website.

almost monday is the definition of a California state of mind. For the band, it all started in a San Diego surf shop, where three friends-Dawson Daugherty (vocals), Cole Clisby (guitar) and Luke Fabry (bass)-began shaping a sound that feels coastal without feeling cliché. Their early breakout “broken people” quietly snowballed into wider attention, earning a Sofi Tukker remix and setting the stage for a run of alternative radio momentum with the release of “sun keeps on shining” and culminating in a Billboard Alternative Airplay #1 with “can’t slow down.”

As the band’s cultural footprint continues to grow, their music has become a fixture across lifestyle and sports, racking up 50+ syncs spanning everything from ESPN and MLB broadcasts to March Madness, and the Vans US Open.

The band kicked off the year with “leaving is easy,”an emotionally resonant track reflecting their continued growth as songwriters, followed by “no more regrets,” an upbeat track built for connection and movement and most recently “skinny dip,” which captures fleeting, youthful connection with a subtle emotional edge. The momentum continued with a 2026 iHeart Music Awards nomination for Best New Alternative Artist. The band recently performed at BottleRock in May and are currently on tour with Young the Giant and Cold War Kids, with the run wrapping June 27 in Nashville.

Onstage, almost monday have built a reputation for high-voltage performances and a kinetic, sun-soaked energy. The band has appeared at major festivals including Lollapalooza, BottleRock, Life is Beautiful, as well as iHeartRadio’s 98.7 ALTer EGO. They’ve opened arenas for AJR, toured globally with The Driver Era and The Band CAMINO, sold-out their own headline tour across the U.S., UK, and Europe. In 2024, they released their debut album DIVE, a kaleidoscopic coming‑of‑age record blending hooks, radiance, and sun‑drenched world‑building, brought to life visually by artist Dave Bowers.

With over 1.5 billion streams, a late-night TV debut on Jimmy Kimmel Live!, collaborations including Jordana on “jupiter,” and work with producers behind OneRepublic and The Killers, the band continues to blur the lines between alt-pop immediacy and indie-rock intent-music that feels effortless, kinetic, and built for motion.

From surf shops to global stages, almost monday is defining their era with style and swagger. Their music doesn’t just soundtrack a summer – it creates one: sun‑soaked, uplifting, and impossible not to dance to.

Line Dance Night with The PNW Stompeders is coming to Lola's Room on December 17th!

Join The PNW Stompeders for a fun night of line dance lessons, beginner-friendly guided dancing, and plenty of social dancing!

Never line danced before? No problem! Our lessons and guided dancing are designed to get absolute beginners out on the dance floor and keep them dancing throughout the night. No experience necessary!

Already know your way around the dance floor? We've got you covered too! Our QR code request system lets you submit your favorite dances throughout the evening, helping Nicki create a great mix of popular line dances and social dancing for all levels.

Whether it's your first time stepping onto the dance floor or you're a seasoned dancer, there's something for everyone!

Come dance with us on December 17th at Lola's Room!

Dearly Beloved, join us in Lola's Room on Friday, December 18th to celebrate the music of Prince Rogers Nelson! Dance to Prince and a mix of 80's R&B music videos all night long on the giant screens! Dress up in your purple finest and come party like it's 1999!