Fiesta

No station is dedicated more passionately to the breaking of new music than KWSS. Tune in on any given afternoon, and you might hear classic alternative tunes from the Dandy Warhols or Blur, but you'll quickly hear it followed up by younger bands carrying on those traditions, groups like the electronically tinged Ghostland Observatory or English rockers Bastille. The playlist is vast and varied; unlike so many rock stations, it's not just the same 30 songs on an infinite loop.

It's inevitable. When you roll up to Cake on a weekend night, there's going to be a line, and probably a long one at that. It's understandable, given the club's 350-person capacity and hotspot status. But before you start plotting a Plan B, cool your Prada heels for a bit and wait patiently. Gaining a golden ticket inside is worth the hassle, considering all the high-style digs and lowbrow thrills that await you. Gleaming with style and panache, Cake embraces Scottsdale's penchant for hedonism and excess with gusto. Boasting the vibe of a French chateau circa 1700 with its leatherette booths, gilded fixtures, and crystal chandeliers hanging from the ceiling, the club is filled with a libertine atmosphere where drinking and decadence is the order of the day. There's also dancing, which is aided by the beats coming from the top-shelf Funktion-One sound system, widely considered one of the best in the world. The high-definition screens that adorn the walls and play videos of scantily clad ladies grinding on each other help drive home Cake's sultry verve even further, and make one want to return for another night out. 

It's simple. If you want to see and be seen after dark in Scottsdale, you typically head to Maya Day & Nightclub, one of the entertainment district's more prominent and well-trafficked spots. And when you want to be seen inside Maya, you head for its expansive dance floor. After all, it's the centerpiece of the entire club, and all eyes are on you. Surrounded by tiers of VIP seating and situated in front of the DJ booth, everyone's gaze, including the evening's guest DJ, tends to drift toward the activity unfolding on the dance floor, one of the largest in Scottsdale. Glowing LED rings and banks of colored spotlights flash overhead, dancing light across all the bodies in motion as Maya's largely female clientele (and the dudes who admire 'em) get down, get their mojo working, or engage in other nighttime social rites.

The Crescent Ballroom proved to all that Charlie Levy knew what he was doing when it comes to the whole "running a kick-ass venue" thing, but his follow-up joint, the subterranean Valley Bar, might be an even better example of his vibe. It's not just cool because it's literally underground; Valley Bar books artists like Thundercat and Foy Vance — not household names, but hot acts among those in the know. And the speakeasy-vibe has inspired some of Phoenix's finest cultural explorations, hosting comedian Anwar Newton's Literally the Worst Show Ever showcase, New Wave dance night The Factory, and our favorite, New Times' Bar Flies (you know it). Valley Bar's a stalwart example that Phoenicians are an experimental and excitable bunch. If you build it, they will come.

Clad in Union Jack flags and welcoming bikers, punks, and various other counterculture-leaning drinkers, TT Roadhouse on 68th Street is about as unpretentious as it gets. Boasting cheap beers, craft brews, and signature Blue Ribbon medchiladas (with a jalapeño floating atop the beer and tomato juice) the joint wears its British pub roots proudly, and embraces the U.K. side of punk with a jukebox stocked with punk and ska. Wood-paneled and dark, TT Roadhouse certainly isn't the most high-energy place in Scottsdale, but who would prefer that to a cool, chill punk bar where the bartenders seem to be having as much fun as you and one of the tables reads "Reserved — go fuck yourself"? 

Covered in stickers and a thin layer of grime, the Palo Verde Lounge isn't a nice bar pretending to be a dive; it's a legitimate, bona fide dingy watering hole. And if you've got no qualms with that, you're in for a good time. Local thrash and metal types like to frequent the place, but so do old-school Tempe lifers, the kind of guys who could tell you a story or two about the way the dusty town used to be. Sometimes bands host shows there, though there's no stage and they end taking up most of the real estate that isn't occupied by pool tables, but that's all part of the fun. You get in, belly up, and go for whatever ride the "Dirty Verde" is going to offer.

The Bikini Lounge on Grand Avenue isn't just the oldest tiki bar in Phoenix — having first opened its doors in 1947, it's one of the oldest bars in town, period. The key to its longevity is its strict adherence to core values: cheap beer, good tunes, and low lighting. There's nothing too fancy at work there (and there's weird, obscene stuff available in the bathrooms) but that's precisely the appeal of a bar like the Bikini. DJ nights are the closest concession to hip culture, but even then, DJs like DJentrification, with his long-running 602sday nights, defy trends and offer up an entirely unique experience via unclassifiable genre-hopping selections. With all the changes going on along Grand Avenue, we hope the Bikini remains the anchor of unpretentiousness we love. 

Get your ducktail game on point; we're heading for Last Exit Live. Found in the historic warehouse district just south of downtown Phoenix, Last Exit Live has been around since 2013 (though it originated in 2003 as the Last Exit Bar & Grill in Tempe). This 21-and-over venue features a full-service bar and a large outdoor patio area —with the whole operation available for rent to accommodate private events. Last Exit Live also features a sizable stage in its 200-plus capacity venue for the local and national musicians on the bill, and has welcomed touring acts like the Koffin Kats, and Phoenix-based pompadour and pinup-style bands like The Limit Club, Whiskey Kiss, and Manual Sex Drive. Last Exit Live welcomes patrons to the bar as early as 7 p.m. before the show, and keeps serving drinks till 1 a.m. on weeknights and 2 a.m. on Fridays and Saturdays.

Queen Creek saloon/steakhouse San Tan Flat promises "all the fun of camping ... without having to sleep on the ground" on its website, but we'd argue it's actually got more going for it than that. When was the last time you dragged a real-life country band like Band Wagon out camping or packed up a deep fryer to make fried pickles in the back country? This year, management opened a Tempe location, San Tan Flat at Minder Binder, and while we like it a bunch, too, it doesn't quite have the frontier vibe of the original location out on Hunt Highway, with its open fire pits and unobstructed views of Arizona sunsets. Come to think of it, we guess it is a lot like camping, only with draft beer.

Look, getting a sports bar right isn't exactly rocket science. So can you please explain to us why so many places seem to mess it up? For clarity and ease of execution, look to local chain Zipps Sport Grill, which does it right at all 12 locations. There's nothing fussy about Zipps, no complicated menu system, concepts, or experimental "takes" on classics, just the basics done well: cold beer, burgers, wings, fried snacks, and games on HD flat screens positioned all throughout their dining rooms on exposed brick walls, at the bar, and outside on patios. The extra touches, like shuffleboard, pool tables, and darts, are nice accents, but the core of the place is as unpretentious and uncluttered as every sports bar ought to be.

In 2016, the Rhythm Room celebrates its 25th anniversary, a milestone few Valley venues enjoy. Founded in 1991 by harmonica man and blues DJ Bob Corritore, host of KJZZ's long-running blues showcase Those Lowdown Blues, the Rhythm Room has welcomed blues legends like Robert Lockwood Jr., R.L. Burnside, and Jimmy Smith, remaining Phoenix's No. 1 spot for blues, Americana, and jazz. This year, the club's roped in talent like jazz fusion guitarist Matt Schofield and Grammy-nominated singer/songwriter Steve Forbert, and continues to serve as home base for local roots groups like the Sugar Thieves, Dave Riley, and Bob Corritore's own Rhythm Room All Stars.

Neighboring the Coronado Historic District, Karamba Nightclub is a boisterous Latin nightclub and gay bar — though they welcome all kinds. Featuring two large indoor areas and an expansive patio area, you can easily spread out on the dance floor or find a place to post up and drink. High-energy DJs like Jesus Vega and Stixx are there to entertain while you work it out, or you can come for karaoke, drag shows with your favorite local queens, and more risqué performances always on the calendar. There's something going on every night of the week at this festive danceteria, including Cumbia Tuesdays and Tejano Thursdays. Karamba Nightclub liquors up the public daily (and most holidays) from 9 p.m. to 2 a.m. — and you're encouraged to stay and dance after the taps are turned off for the dry hours till 4 a.m. on Friday and Saturday nights.

 With a giant dance floor, full bar, plenty of space to mingle, and killer happy hour discounts, there's a reason the Cash Nightclub & Lounge is a favorite hangout spot for the local gay and lesbian community. The vibe is laid-back, the decor is cowboy-western, and the staff and customers are friendly and welcoming. On top of that, there's something fun to do there each night of the week. From free line-dancing classes, to karaoke, dance parties with local DJs, and even the occasional painting class (with drinks, of course), the Cash Nightclub & Lounge is the perfect place to go out dancing with a group of friends or to head out on a solo adventure to meet new people.

An Arizona drag icon, Barbra Seville has been around for a while — but we won't say how long. She's hosted a number of shows in town, mainly in The Rock's showroom in central Phoenix. The weekly Girlie Show — Fridays at 10 p.m. — is a treasure among them, as Seville will cap off your week with raucous lip-sync performances, fantastic comedic timing, and of course, some light-to-hysterical ribbing of the audience. She's got the range, and it goes from impersonating Sue Sylvester from Glee to Gwen Stefani to Julie Brown — singer of that dark 1980s jam, "Homecoming Queen's Got A Gun." Each Girlie Show features a few guests, including other Phoenix drag stars like Tyga Tonic and Kayla Krawford, and if you miss the Friday night show, Seville also hosts The Barbra Seville Show at The Rock on Saturdays at 10 p.m. Reservations for bachelorette parties, special events, and groups of five or more are recommended.

Part of the same empire that includes the storied Tempe Improv across town, Stand Up Live is located in the CityScape complex in downtown Phoenix, and the club brings in a roster cool enough to justify that whole drink-minimum thing. Featuring acts like Bill Bellamy, the Dan Band, JB Smoove, and podcasting titan (and Barack Obama interviewer) Marc Maron, Stand Up Live is comfortable hosting alternative comedy types and big names alike, and it's not all touring comics: Local up-and-comers also take the stage to work out new bits, refine their craft, and see what jokes fly and which ones sink. 

Part old-school lounge, part sports bar, part patio hangout, and part outdoor music venue, Shady Park has become a go-to spot for Tempe locals and those seeking some fun on Mill Avenue toward the end of the week. Shady Park's dog-friendly, tree-laden back patio includes a full bar, plenty of seating, a weatherproof sound system, and a small stage backed with a large projector screen. Scott Price, also the owner of C.A.S.A. SunBa a little farther north on Mill, and the Shady Park crew have hosted live bands, DJs, pizza parties, the monthly Shady AF Comedy Night, and, we're sure, more to come.

If you'd like to spend time soaking up Scottsdale's nightlife scene, but don't really go for the DJ-spun atmosphere of dance clubs or the intimidating check at the finish of a high-end meal, then Pattie's First Avenue Lounge is for you — you know, the place with all the dollar bills stuck to the wall. This establishment is a dive to some and a gem to others, but there's one thing everyone can agree on: It has a killer ping-pong table. Paddles and balls are provided, and the bartender is all of 10 feet away. The ping-pong table at Pattie's is set up in the covered patio area, so though you feel like you're indoors, smoking is allowed, and so are dogs. So light up, grab a sweaty cocktail, and get ready to serve.

Were one inspired, it would be perfectly easy to spend an entire evening just hanging around the Danelle Plaza on the corner of Southern and Mill avenues. Start off the night browsing records at the Double Nickels collective, grab a coffee at 51 West, take down a couple of craft whiskeys at Yucca Tap Room, and then cross the parking lot over to Q & Brew, the pool hall that has proudly stood for 27 years. There are snacks and pinball, but the main draw is the plentiful pool tables and a (usually packed) smoking table. You might see pool leagues competing or ASU students on a first date, all soundtracked by the familiar crack of the cue against balls and curses over missed shots.

You're out for karaoke, it's finally your turn, and you're not sure whether you should stay seated when handed the microphone or stand awkwardly next to your table and friends — you know, for your diaphragm's sake. Not the case at Monkey Pants Bar & Grill, found in the Huntington Square Shopping Center at Southern and Mill avenues in Tempe. They have a stage — complete with a cozy living room backdrop and two microphones with stands — and you're to get up there when your name is called. Feel the hot lights like a real star during karaoke on Wednesday, Saturday, and Sunday nights from 8 p.m. to close — which includes the infamous One O'Clock Shirtless Shot. And while you wait, there's booze, food, and plenty of regulars belting out everything from Cyndi Lauper to Notorious B.I.G. to Rocky Horror Picture Show classics and, of course, "Love Shack."

We're sure you could find someone out there who might wish the Shady's staff would toss some hit makers into the mix — maybe that Timberlake song from Trolls, or something from twenty one pilots, or whatever. But here's the thing: You can hear those songs anywhere, from the grocery store to your local bar. The mix at Shady's, featuring weirdo blues, pub rock, two-tone ska, and off-kilter indie rock, is one-of-a-kind, a selection curated especially by the staff, and the CDs stocked there (that's right, it's a real jukebox, not one of those digital ones) reflects uniquely on the place. It's singular, and in a day and age where you're likely to hear the same songs overhead most everywhere (and for real, we like "One Dance" a lot, too!) the dedication represented by the Shady's jukebox is a thing of stubborn, loving glory.

Next time you're at the Tempe location of Cornish Pasty on Hardy and University drives, look — or listen — for the glowing red room emitting sinister-sounding music, and sometimes, characters. That would be the Beast, and in there you'll find a full bar, pool tables, dartboards, band-sticker-laden booths and high tops, the occasional dance party, and one fantastic jukebox. Slide off your bar stool for a quick trip to that radiant piece of machinery over by the pool tables, and you'll find a contraption teeming with speed metal, thrash, some hardcore punk, and some dark classics. A taste of what you'll find in the Beast's jukebox? Dio, Megadeth, early Metallica, Venom, and more.  

What separates a good DJ from a great DJ? Possessing some actual talent helps, as does a tireless work ethic, single-minded focus, and the wherewithal to diligently pursue your goals; in short, the same personality traits that have helped Benjamin Cutswell succeed. Over the last 18 years, DJing has pretty much been his sole purpose in life. As a matter of fact, it's akin to an obsession. "My whole life is about DJing, everything I do," he says. "I'm completely consumed." Since getting his hands on some secondhand turntables at age 14, it's been a nonstop grind of constant practicing, finding music, creating mixes, networking, and, of course, performing. And there aren't many joints in the Valley where Cutswell, who spins an open format during his sets, hasn't gigged. All this dedication has paid off considerably, as he's in demand at hotspots like Cake in Scottsdale, as well as both locations of El Hefe. Red Bull also taps him to DJ their sporting events, while the jocks at Adidas fly him out to the NBA All-Star Game's host city each year to work after-parties. In the words of Drake, he started from the bottom, now he's here.

Tommy Laurie enjoys the sort of career that any local DJ would envy. A onetime protege of Z-Trip, the performer known as Tricky T honed his considerable skills during Phoenix's DJ heyday of the late '90s, battling local legends like M2 and Pickster One, melting wax at influential venues like the old Nita's Hideaway, and opening for the Roots and Outkast. Needless to say, Laurie knows his way around a pair of Technics. He's able to drop hip-hop and party-rock sets with aplomb, he can beat-juggle and trick-mix with the best of 'em, and his remixes and mashups are both innovative and creative. He's also got the scratching thing on lock. Over the decades, he's had a hand in promoting some of the Valley's more notable club nights, ranging from Funky Cornbread in the early aughts to The Blunt Club. (The Rhythm, The Rebel, his newest affair, has been bringing people into The Rebel Lounge monthly since launching in July.) In essence, Laurie's proclamation of being "your favorite DJ's favorite DJ" isn't just boasting. Like they say, it's not bragging if it's true. 

Home to reliable morning programming like The Breakfast Club (billed as "the most dangerous morning show in the world," but don't worry, it's actually pretty tame) and Nina Cruz's The Gello Show, 101.1 The Beat leans heavily on '90s West Coast — big on Biggie, Snoop, and Tupac — but there's a good chance you'll hear a great jam you've forgotten all about, like Diddy and Usher's "I Need a Girl" or Ja Rule and Ashanti's fantastic and sweet "Mesmerize." The vibe's always optimized for backyard barbecues, especially on themed long weekends, like the I Love the '90s Memorial Day programming; it's consistently smooth, and will transport you directly back to the Clinton era. 

We'll freely admit that some of the attraction to KCDX is the mystery. Broadcast from the desert, there are no DJs, only a long, endless stream of free-form music. You might hear prog rock crashing into country rock, or gentle folk rock colliding with chiming power pop, but you'll rarely hear the same song more than once for weeks. Big stations aren't playing the Jayhawks or the Smithereens like KCDX is, but you don't necessarily tune in to hear anything specific. You let the mysterious "Guru" who's running the show simply surprise you with a song you haven't heard in years, or even better, have never heard played on the radio. 

We were pretty nervous when "AZ Gold" KAZG relaunched early in 2016 as Oldies 92.7, but luckily for us, there's still plenty to love. The new station, which still simulcasts on the AM frequency we know and love, leans much heavier on the '70s than before, but the tunes are guaranteed winners, like Carole King's gently funky "I Feel the Earth Move" and Gilbert O'Sullivan's "Alone Again (Naturally)"; plus, the new format still allows for slips back to the '60s with songs like Gene Chandler's classic "Duke of Earl." The adjusted format and name change comes with increased access, too. The station maintains an interactive Facebook page and offers streaming online. 

No offense to the fine rock stations of Phoenix, but if you really wanna hear music about partying — stuff in the tradition of Bon Jovi and Motley Crue — you should turn your dial to KNIX. Modern country has its detractors, but it's hard to deny the cold-beer, boot-stomping swagger of KNIX's playlist, stacked with the likes of Jason Aldean, Keith Urban, Blake Shelton, and Uncle Kracker — country artists unafraid of a little hip-hop inspired low end or arena-rock crunch. Sure, they might deviate from the sonic touchstones of classic country, but the attitude and ethos are "outlaw" in their own right.

Walking the tight rope between old-school soul, funk, and the Quiet Storm program with selections from contemporary artists, Mega 104.3 is the kind of station that knows how to draw the connecting line between Justin Timberlake's "Suit & Tie" to Earth Wind and Fire's "Shining Star." Things stay consistently funky, whether said funk's coming from the Bee Gees or Parliament-Funkadelic or Janet Jackson, and like its sister station 101.1 The Beat, the grooves here seem custom-engineered for smooth, languid listening. The station is often a lifesaver on backed-up Phoenix freeways: a soft, pillowy balm for road rage. 

An all-volunteer, community-centered station, Radio Phoenix features a diverse blend of talk, politics, and entertainment. There's music, and lots of it, from soul to blues and rock, but also a wide-ranging selection of political and social programs, like Soul Star Live, which examines culture and current events from a black viewpoint and the Budcoach Radio Show, a podcast focused on cannabis and weed culture. In addition to local perspectives, Radio Phoenix features programs from throughout the world, like the internationally syndicated Putumayo World Music Hour and Native America Calling from Albuquerque, focused on Native arts and history. 

Playboy Manbaby is one of the most popular bands in Phoenix for good reason. The group makes punk rock with a trumpet, but don't call it ska. The horn is just icing on the cake that is the manic energy of Playboy Manbaby. Onstage, frontman Robbie Pfeffer transforms into a screaming, flailing madman, shouting songs about selling out and giving your boss the middle finger. His onstage persona channels rock stars and Pentecostal preachers equally, and not many bands get roomfuls of people as engaged in punk rock call-and-response like PBMB. The result is often the most entertaining show in town.

You know when you hear a song and you can't help but react? The bass syncs up with your hips, and the drums seem to tell your feet exactly when to move. Pretty much every single one of the songs by Phoenix Afrobeat Orchestra (charmingly known as PAO by fans) holds this power to make you move. And we mean move. We dare you to sit still while this 15-piece orchestra does its jazzy thing, and singer Camille Sledge demonstrates the actual definition of funk. Sledge's energy alone is contagious enough to get your out of your chair and onto the dance floor. Just give in, and let PAO's rhythm move you. 

Led by guitarist Joel Robinson, Sunn Trio isn't really a trio (the band's roster fluctuates, but there are usually more than three players at any given time) but that "sunn" part tracks: There's a woozy, heatstroke feel to the band's innovative blend of surf rock, free jazz, mystical drone, and world music. Consistently recording and releasing material via self-distributed cassettes, the Trio's sound mutates in concert, with fantastic flurries of distorted guitars butting up against mantric psychedelic saxophone runs and looping bass. In Sunn Trio's capable hands, genre isn't something to adhere to, but rather a set of templates to be torn up and reassembled, and the band's creative destruction is something to behold. 

In 1977, punk rock wasn't necessarily exploding in Phoenix, but it was happening. There were the Consumers, the Liars, and the Exterminators at the forefront of the local movement which was in its infancy in the desert, like the first bulb on a saguaro cactus getting ready to bloom. At the helm of the mighty Exterminators were the Clark brothers — Dan on vocals and Doug on guitar — who would later help bring bands like the Feederz, the Brainz, Mighty Sphincter, and Victory Acres to life; one Don Bolles (aka Jimmy Giorsetti) on drums who would go on to play in the Germs, 45 Grave, and Fancy Space People; and bass player Rob Graves (Ritter), who also played in 45 Grave, Gun Club, and the Bags. The band would only survive until 1978, when many of the early Phoenix punks made the pilgrimage to Los Angeles, but early in 2016, Slope Records brought the Clarks and Bolles back together, with Cris Kirkwood of the Meat Puppets taking over on bass for the deceased Graves. The result has been extraordinary as the band released a seven-inch and a full-length LP on Slope in September. Viva weirdo Phoenix punk rock. There's nothing better.

Rock 'n' roll is best at its most dangerous, and L. Hotshot of Phoenix garage rockers Scorpion vs. Tarantula is undoubtedly the most dangerous vocalist around. Screaming over the band's turbo-charged riffs — which owe as much to classic rock as they do the punk underground — Hotshot is as physically imposing as she is sonically, her face painted, her hair wild, and her towering stature clad entirely in leather. On SVT's latest, a six-song, vinyl-only self-titled EP, she dominates songs like "Molly O" and "You're All Talk," and makes songs like "Showstopper" sound like an entirely appropriate theme song for her stage-commanding vibe. 

Wyves was a breath of fresh air in the music scene when they started gigging in 2015, and the group released its debut album, Spoils of War, in 2016. In addition to cementing guitarist Nick Sterling as one of the top shredders in Phoenix, the album really showed that the proper place for Corey Gloden is in front of a microphone. Gloden's voice sounds older and more soulful than you'd imagine. There's definitely some classic rock influence in Gloden's vocals, and he possesses chops powerful enough to make a room stand still when he desires. There's grit and pain in his voice as well, making his vocal cords some of the most interesting in Phoenix. 

Nerd rap may be a subset within the larger subset of indie rap, but Raheem "Mega Ran" Jarbo's lyrical chops are stellar without any extra qualifiers. He's not good for a nerd rapper — he's simply a good rapper. That said, he brings the geek cred, too. Working with a modified 8-bit gaming system, his beats bloop like classic Nintendo soundtracks, and his deft, positive lyricism is peppered with references to classic games, pro wrestling, and cartoons. He's been embraced by outlets like the Nerdist, who've proclaimed his "ferocious flow," but you don't have to be a gamer to dig what he does — it helps, but it's not required — because Jarbo creates a world within his records that's open to all. 

Allow us to modify Supreme Court Justice Potter Stewart's comments about pornography from 1964 to fit the definition of "real country": We're not sure exactly what it is, but we know it when we hear it. And that's the vibe you get watching Phoenix country band Junction 10 play at local bars like the Yucca Tap Room. Inspired chiefly by the late Merle Haggard, Junction 10 plays Bakersfield-style country (to quote Dwight Yoakam's quoting of Waylon Jennings, Phoenix is just "Bakersfield East," anyhow): twangy, hard-edged, and soulful. Vocalist/guitarist Robert Perez, a big man with a big voice and a big heart, leads the band with ambling charm, and his band always matches him with worn intensity.

Guitarist Tommy Connell doesn't need much to make his Sunday night performances on the Cibo pizzeria patio special — just his small amp, his tasteful effects pedal, and his big Gretsch guitar, which he utilizes to weave a stream of classic jazz, quiet lounge melodies, and rustic Americana. Known for his work with pedal steel player Jon Rauhouse (who plays for Neko Case, Billy Bob Thornton, and more), Connell knows how to find the sweet spot between Western swing — hillbilly jazz! — and evocative, twangy atmosphere, adding a lilting, understated ambience to Cibo's already cozy evening vibe.

Established in 2013, Phoenix-based label Moone Records has quickly solidified itself as the premier representation of Phoenix's indie pop underground. Cassette, vinyl, CD, and digital releases by country-rock super group Little Bobby Jr. and the Horsey House Band & Friends (featuring members of ROAR and Cherie Cherie)  and indie R&B-inspired outfit Pro Teens demonstrate the label's design aesthetic — clean, minimalist packaging — and speak to the genre-bending approach which seems to guide each entry in its catalog. The label wears its Phoenix pride on its sleeve, hosting shows around town and shining a light on little-seen corners of the art scene here, as well as committing to community-based activism (see the trenchant HB 2440 commentary offered on the label's Facebook page). 

Mill Avenue jangle pop wasn't the only guitar music coming out of the Phoenix metro area in the 1990s. Bubbling in the Tempe underground was the "Beautiful Noise" scene, encompassing bands like Halfstring and Alison's Halo which were more akin to guitar-pedal-obsessed British psychedelic groups like the Jesus and Mary Chain, Cocteau Twins, the Boo Radleys, and Spacemen 3, all of whom are featured, alongside Alison's Halo, on Still in a Dream: Story of Shoegaze 1988-1995. In recent years, bands like Deerhunter and M83 have adopted shoegaze styles and become huge smashes, so it's exciting to see one of Tempe's finest represented alongside genre titans, a concrete representation of the desert's contribution to the woozy, distortion-drenched genre. 

Music festivals are all about lineup and vibe, and McDowell Mountain Music Festival checks both those boxes and then some. The nonprofit event brings major headliners to downtown Phoenix (for example, Avett Brothers, Beck, and Widespread Panic), all while being an exemplary model of how music festivals should treat their guests. Beer and cocktails are high quality and reasonably priced. Ticket packages go on sale early. There are no intrusive security pat-downs, no obscenely priced bottles of water. McDowell Mountain Music Festival is everything a great festival should be, providing the best fan experience in Phoenix and, above all, great music.

Have you been to a music festival recently? Stifling crowds, terrible sight lines, muffled outdoor sound? Unless you're willing to get there early and forgo bathroom breaks and proper hydration, it's almost impossible to get a good view. Once you pass into your third decade of existence, the prospect becomes mighty unappetizing.

Enter Viva PHX, Stateside Presents' nontraditional take on a music festival. (Full disclosure: New Times is a sponsor.) Modeled around South by Southwest, the 2016 version brought more than 70 bands to 17 venues downtown. The sheer number and density of the music festival participants is impressive in itself, but what's more notable is the transformative effect the festival has on downtown. Streets that are normally quiet on a Saturday night overflow with people making their way from venue to venue. For one night, downtown Phoenix turns into a pedestrian-friendly musical mecca, and the energy is contagious and undeniable.

Is there a more enjoyable live music experience than the Crescent Ballroom? Located at the site of a former auto mechanic garage, the venue is a model of good business practice for the rest of the city, offering not just a live music hall but a great restaurant as well. The ballroom itself is a sight to behold, with perfect sight lines, crystal-clear sound, reasonably priced beers, and attentive service. There's also a fantastic Mexican restaurant, Cocina 10, for music lovers and diners alike. Crescent Ballroom has it all for music lovers. There's a reason it's the hippest venue in town.

In all of the Valley of the Sun, there's no place quite like the Orpheum Theater. Majestic columns, a fantastic chandelier, and Spanish baroque-style murals, all underneath a ceiling of painted clouds against a blue sky, combine to make the Orpheum a fairly spectacular place to see a concert. Erected in 1929, the building has undergone a number of lifecycles and renovations, and now the building has a place on the National Register of Historic Places.

A great live music performance comes from the energy flowing between the band and the crowd. Small venues foster this connection in the best ways. There is often no space between the musicians and the spectators, and the intimacy of the space often leads to the most memorable shows. Yucca Tap Room is the longest-running rock bar in Tempe for a reason. It's a comfortable yet badass place to see a show. Feel like getting close and dancing? There's plenty of room up front. Feel like grabbing a stool, nursing a beer, and enjoying from a distance? You can do that, too. No matter where you take it in, the sound's incredible, and it's no surprise that many a scenester's favorite moments in live music happened at Yucca.

There might be only a few places to catch arena headliners like Aerosmith, Madonna, and Justin Bieber in Phoenix, but if we had our choice, they'd all come through Gila River Arena, the most music-friendly extra-large venue in town. Chase Field is far too boomy; Talking Stick Resort too impersonal; University of Phoenix Stadium way too big; Ak-chin Pavilion too spread out. But Gila River Arena is Goldilocks' third bowl of porridge; it's just right. Somehow, the sound manages to reach all corners of Gila River, and the structure of the seats around the arena means that the stage is always easy to see. And leaving the concert is great as well — concertgoers are greeted by a fantastic fountain that makes the shops and restaurants of Westgate Entertainment District an enticing sight.

Back in the early-to-mid '70s, New Jersey songwriter Bruce Springsteen couldn't muster up national traction. His records had garnered some critical support, but rock 'n' roll stardom eluded the scrappy guitarist/singer. Except in Phoenix. The Boss was a big deal here in Arizona before most anyone outside of his Jersey/NYC stronghold got hip. The love here has always stuck with Springsteen, who brought his The River tour to Talking Stick Arena this spring. Celebrating the release of that classic double album, Springsteen brought a boatload of warm feelings for his Phoenician crowd, digging into a marathon set (more than three hours) and offering up the entirety of The River, along with some of his biggest hits. The highlights were many, but it was hard to beat Arizona-based guitarist Nils Lofgren's fiery solo on "Because the Night," or when the E-Street band eulogized the departed saxophonist Clarence Clemons on "Tenth Avenue Freeze-Out." It was one for the history books, and made it clear that the Boss loves Phoenix, and Phoenix loves the Boss.

Found along the Arizona Canal, the SRP Arizona Falls is set in the Arcadia neighborhood at 56th and 58th streets and Indian School Road. The falls are a 20-foot drop created by the canal at that spot, and Salt River Project and the Phoenix Arts Commission have turned it into quite the romantic destination thanks to a few features — including three waterfalls, a viewing room, a pedestrian bridge, and 24-hour access. So whether you're walking or biking along the canal path on date night or just driving around with your new sweetheart, the Arizona Falls may be a good place to stop if you're trying to get to first base. Two aqueducts surround the viewing room, making it feel like you're actually inside the waterfall, which most importantly means all the make-out sounds will be drowned out. Just don't go spoiling the mood by spewing factoids like how the plant was originally built in 1902, and it now generates 750 kilowatts of electricity, which is enough to power 150 homes.

It's close to 300 miles between Phoenix and the glitzy lights and ringing slot machines of the Las Vegas strip. Sure, some people might think it's worth the drive to be in the heart of Sin City. But we know that you can find plenty of sin, fun, and relaxation by driving across town (if that) to Talking Stick Resort and Casino in Scottsdale. With an award-winning restaurant, Vegas-quality performances in the TSR Showroom, and raging pool parties during the summer, TSR is a top spot for staycationers. But the fact that TSR features one of the largest casinos in Arizona elevates this place beyond the other resorts in town. So grab your chips and poker face, and get ready to hold 'em.

Some people see Thanksgiving as a wonderful opportunity to gather together with cherished relatives; others are just thankful that this day of familial torture only comes once a year.

Both types will enjoy pre-gaming Turkey Day at El Chorro in Paradise Valley. The night before Thanksgiving, the bar/restaurant is packed to the rafters with an upscale 30s to 50s crowd. Food is available, but most people are there to imbibe. Revelers can explore the nooks and crannies of the historic building (El Chorro was built in 1934 as the Judson School for Girls) or enjoy the mild weather and lovely mountain views of the expansive patio area. If you're driving, get there early — parking fills up fast. But since the Paradise Valley Police Department camps out at the entrance to make sure everyone gets home safely, we recommend an Uber. Whether you'll be toasting to the joy of the holiday, or just girding your loins before mandatory family togetherness, there's a spot for you at the bar.

No offense to the many great acts, bands, and DJs whose names are listed on the Rips Ales and Cocktails marquee, but that's not what you notice driving by. Nope, it's that angular sign that grabs your attention, all jagged arrows and bright red contrasted against pale blue. Maybe there's a little sun bleaching at work, but no matter: There's a Space Age elegance to the Rips sign, conjuring up surf-rock guitars, standup bass, and thumping drums. It's arresting, and that big arrow practically invites you in. Turns out, the whole place is just as sharp as the sign.

Look, there's no sugar coating it. The closure of the Trunk Space earlier this year was a major bummer for the Phoenix arts community. There are plenty of places to see shows in town — great places, in fact — but the Trunk Space was a special case, a place for sometimes unrefined creativity, open to all ages, and catering to the far out, weird, and earnest. While there's hope that the venue will relocate from its Grand Avenue digs, in the meantime the Trunk Space staff has dedicatedly hosted pop-up shows at places like 51 West, the Newton, and the Coronado. The roving shows have helped keep the spirit of the Trunk Space alive, but luckily its legacy extends beyond even those gigs, apparent in the vibrant work of bands like iji, Dogbreth, and AJJ, all of which got their start at the Trunk Space, where they developed, grew, and learned lessons which are now registering on a national stage.

They've never topped the charts like the Supremes or the Spice Girls, and they're definitely not going to play Jimmy Buffet's Margaritaville — no matter how much you beg after tossing back too many tequila shots. But Mariachi Pasion, a 13-member girl band that mixes strength with femininity, is a local legend. With hot pink sashes, bow ties, and flowers in their hair, these musicians and vocalists are energetic evangelists for traditional mariachi music played with guitar-like stringed instruments, violins, trumpets, and a flute. Founded by Betty Duarte in 2002 during her days as a student at Arizona State, Mariachi Pasion has played gigs from museums to backyards, and even performed during a posthumous quinceañera — all the while infusing their music with the powerful emotionality at the heart of this Mexican art form.

Priscilla Rodriguez is a Nogales-born bilingual rapper, currently living in Mesa and performing as independent hip-hop artist Nefftys. She is a deft lyricist who grew up very much on both sides of the Arizona and Mexico borders. Nefftys' artistic expression manifested over rhythms and rhyme patterns at a young age, and she has recently started making a more concerted effort to incorporate a mix of English lyrics and songs in her work. She is fresh off of a seven-song release called The Natural Series, Vol.1. Her beats are decidedly hip-hop, but she flexes a more melodic tone in tracks like "Writer's Block" and "Truly Live." Like a lot of Latinos in Arizona, she moves seamlessly between English and Spanish without missing a beat.

Danny Torgersen is the quirky frontman of local psychedelic rockers Captain Squeegee, but he has been touring a lot lately with the Phoenix-based reggae/Latin rock outfit Fayuca. Torgersen's a crazy character who has been lending his trumpeting talents to the band on their album recordings and on tour. He may speak the universal language of music, but his pasty skin and red hair make it impossible to not notice that he is a very white dude, performing with a bunch of brown bros. That hasn't stopped him from mingling at shows across the border and during the band's Spanish-language television spots. He has since rightfully earned the new nickname "El Capitan," and his honorary "Latino Card." Bienvenido, compadre.

Stretching across the seven weeks of Lent leading to Easter Sunday, the Yaqui Easter festival in Guadalupe offers a unique chance to watch centuries-old religious ceremonies up close and in person. In the 17th century, when Jesuit priests introduced Catholicism to the Yaqui, tribal members incorporated Christianity into cultural traditions and tribal customs, resulting in the unique ceremonies and dances celebrated today in Guadalupe.

Public ceremonies feature a procession through the 14 Stations of the Cross. Visitors can also see the emergence of Chapayekas and Fariseos advancing toward Our Lady of Guadalupe church, only to be stopped by Matachin dancers, Deer Dancers, and Pascolas. Hear the sound of rattles made from dried gourds, witness streamers of flowers, and watch the movements of the Deer Dancers, who are chosen for their skill and grace.

Don't forget to observe good etiquette. While visitors are welcome to observe the religious ceremonies, no audio or video recording of any kind is permitted, and no alcohol is allowed. Ceremonies takes place at dusk on Friday through dusk on Sunday each week during Lent.

James "The Manic Hispanic" Rivas has a golden voice — just a little scratchy, but warm and mellow — the kind of voice that makes you feel like you're listening to a buddy. But his pipes aren't the key to the success of his program, Cruising With the Manic Hispanic, which remains our favorite oldies show in Phoenix. It's his song selections, from Latin rockers like Santana, smooth soulsters Earth, Wind, and Fire, and lowrider oldies from the likes of Brenton Wood. Rivas' stated goal is creating a relaxing set of tunes each time he goes on the air, and when he plays songs like Switch's "I Call Your Name," with its smooth glide and easygoing vibe, it's clear he knows exactly what he's doing. But like all good oldies DJs, Rivas' line is always open for requests and, more importantly, dedications from his listeners.

Quartzsite, you say? That depressing-looking RV parking lot off the I-10 on the way to Los Angeles? What of interest could possibly be out there? Well, in 2016, seemingly out of nowhere, there came Rock Fiesta, a tour de force of rock en español. Caifanes, Molotov, El Tri — the lineup was practically a history lesson in Latin rock. It's unsure at this point whether the festival will return to Arizona; festival organizers have stated they found a new location for 2017, but as of press time haven't yet announced it. Regardless, Rock Fiesta took a promising first step last year, hopefully one that's indicative of the coming mainstream acceptance of rock en español.

Mariachi de Grand Ave only has been around for about a year, but these centrally located folks do it right. Led by David Marquez (of the renowned Phoenix Afrobeat Orchestra), the traditional mariachi band regularly performs at ThirdSpace on Grand Avenue (at the junction of Grand and 11th avenues) as well as other venues around the city. In the past year, they have shared the stage with bands as diverse as Valley metal masters Sacred Reich (for a Bernie Sanders fundraiser) and touring band Metalachi, who plays classic heavy metal covers mariachi style, as well as sharing their killer sounds with art events and local favorites like Fayuca. Marquez is often joined by a stellar cast of players, including regulars Adrian Fontes, Yoli Bejarano, Gabi Velez, and brother Simon Marquez. Known for their exquisite harmonies and ridiculously tight and authentic musicianship, Mariachi de Grand Ave have made quite an impact on mariachi music in Phoenix, and their future is incredibly bright.

Phoenix rapper Dave Miranda has cemented himself in the local hip-hop scene as one of Arizona's premier emcees. Rocking the mic as Mr. Miranda, he has a smooth, laid-back delivery and an excellent ear for slick productions when it comes to his collaborations. Miranda is a reflection of so many Latino millennials in Arizona; Latin music is as familiar to him as Aretha Franklin and Chaka Khan, and the influence of American pop culture is inescapably noticeable in his music. Over the years, he has commemorated everyone from Ritchie Valens and Rick James to WWF wrestler the Ultimate Warrior and Mr. Rogers — he released a mixtape earlier this year called Mister Miranda's Neighborhood. Besides his musical reach, his great-uncle is infamous civil-rights plaintiff and Miranda rights subject Ernesto Miranda.

The after-school music academy Rosie's House offers free music classes and instruments to low-income youth. They are also training the next generation of mariachi musicians.

Combining a lively mix of violin, trumpet, guitar, and vocals, the young performers in the three mariachi ensembles from Rosie's House produce a full, passionate sound whether they're playing heartfelt corrido or a fast-paced polka. Students range in age from 5 to 18 at the academy, which offers classes in brass, woodwind, and string instruments, as well as choir. The academy also offers mariachi ensemble opportunities for beginning, intermediate, and advanced students. It's an impressive bunch: The Advanced Mariachi Ensemble performed recently at both the Tucson International Mariachi Conference and the Governor's Arts Awards.

The Zubia Brothers truly are legends in the Valley music scene. Lawrence and Mark Zubia ooze rock 'n' roll panache and have for a long time. Fixtures in the fabled Tempe scene of the 1990s, the Zubias and their band the Chimeras, or the Pistoleros, could have easily been the most internationally popular of all the local desert rock notables — but fate was not on their side in the early days of their career as it was for peers like the Gin Blossoms or the Refreshments. Regardless of national or international fame, Lawrence and Mark Zubia continue to crank out exceptional rock 'n' roll music, as well as what they describe as "traditional Chicano wedding band" music with their Zubia Brothers combo, which never strays far from the strong musical roots planted by their father, Raul, a longtime Valley mariachi musician.

Clandestino was founded by Nicolas Paredes as a monthly alternative Latino dance night at Crescent Ballroom, but Paredes and crew quickly realized that switching locations and schedules up made more sense than hosting a monthly event. Now, Clandestino acts as a pop-up night, stopping at venues like the Rhythm Room and the Heard Museum. Best of all, the Clandestino team helped coordinate a Latin stage at the Viva PHX festival, which took over a massive chunk of downtown Phoenix in March, hosting groups like LA's Buyepongo and Thee Commons at the Goldwater Room and the Renaissance Hotel.

Since launching in February, Antro Nightclub has remained true to its promise of bringing the pachanga to the people. Whether they're spinning hip-hop, Top 40, EDM, or Latino music, it's always a puro pinche pari at the west-side dance venue. Their Latin nights feature the sultry rhythms of bachata, cumbia, reggaeton, and salsa, as well as provocative dancers decked out in outrageous LED suits or skimpy lingerie. Because Latinos love to get down, Antro's biggest commodity is its vast dance floor, but clubgoers can always opt to take in the super-bueno atmosphere from a number of VIP booths. Libations are readily available at the bar or at tabletops where bottle service is always on tap, and you can always count on the chavos looking slick in button-down shirts and the chicas keeping it sexy in body-hugging dresses and miniskirts.