Nightlife

Rapper Teek Hall turned 33 in January, so he threw a big party at The Rebel Lounge to celebrate. But it was those in attendance who received the real present. The Detroit native shared his latest album, The Living Daylights, which was produced by Charlie Mumbles, one of Arizona’s hottest producers, and features collaborations with Open Mike Eagle and Mega Ran, Hall’s co-host for their wrestling podcast, Mat Mania. Hall’s latest effort is chock-full of clever pop-culture references, personal lyrics, and sharp rhymes that skewer his contemporaries. The Valley’s hip-hop scene already has the talent, but The Living Daylights is sure to bring it the recognition it so richly deserves.

Is it a saloon? An Irish pub? A dive bar? All of the above? This bar on Camelback Road has a front porch that would fit in during the days of the Old West, a name that suggests Irish heritage, and an interior that could only be described as dive-y. Still, in an era when brand is everything and most restaurants and bars rely on gimmicks to get customers in the door, you have to respect H.B. Hanratty’s amazing generalness. There’s alcohol. There are darts. There’s billiards. There are even pinball machines and the classic arcade hunting game Big Buck Hunter. If you want more in a bar, go somewhere else.

Let’s face it, sports bars can be a dime a dozen. When it really boils down to it, they’re all pretty much the same, offering the standard mix of bar food, televised action, and brews aplenty. Frankly, it takes something special to stand out from the lineup of other jock joints in town, which Santisi Brothers does with ease. Its enormous selection of 130 television screens (a.k.a. the “Wide Wall of Sports”) trumps any other sports bar in town by itself. There are also plenty of activities taking place nightly at this north Phoenix hangout, ranging from karaoke and poker to fantasy sports sessions. Add in its similarly staggering selection of food and drink options (which include a wealth of hand-tossed pizzas, delicious wings, and a variety of Italian favorites), and Santisi Brothers stands tall over its competition. 

There are many, many dive bars gracing the neighborhoods of our vast metropolis, but Hambone Sports Bar sets itself apart with a couple of distinct attributes. First, the Mesa strip mall bar has been The Hambone since 1958, or whatever year it opened — no one really knows for sure. It’s first and foremost a pool bar, meaning six or so billiards tables dominate the room. The best part? You can smoke inside as there technically aren’t windows, just screens. Yes, it’s also a little warm, so good thing there’s a bar and experienced bartenders to go with it. And here are some more fun facts: There used to be a menu, but now it’s just drinks and snacks, so it dropped the “and grill” from the name. It opens at 6 a.m. Monday through Friday — a classic dive bar move — and at 10 a.m. Saturday and Sunday. It does accept credit cards, it does have an internet jukebox, and yes, it does have a claw machine packed with stuffed and adult toys.

When you think about it, Casey Moore’s Oyster House — a freaking mainstay of the Tempe bar scene — is a big place. First, you have to make a decision on where you’d like to drink — options being the inside bar, a couple of side rooms, the spacious front patio, and the back-bar area shrouded in canopies that make you feel like you’re shopping in some Moroccan market. If you’re arriving during the day — and we suggest you do, as the patio is dog-friendly till 5 p.m. — make your decision and order a drink, because it’s about to get fun. Spot old friends, out-of-towners, obvious regulars, and students just realizing they maybe shouldn’t have brought their parents here for lunch. What’s more, you can couple this quality people-watching with the lengthy and well-executed food menu. Order some fried clam strips, Oysters Rockefeller, Casey’s Famous Reuben, or on chillier days, a cup of Casey’s homemade soup. And for every other day, there are cold drinks.

Most DJs wait forever for their big break. Chris Villa got his at age 13. In 2001, he was spotted doing turntable trickery at a local Guitar Center by a personality from Power 92.3 (now Power 98.3/96.1). It led to an appearance on the hip-hop station, and later, a full-time job after graduating high school. And Villa’s gotten exponentially better since then, developing into a rock-solid selector who can effortlessly spin mixes on the fly, dominate in DJ battles, and rock a crowd. Having just turned 30, he’s only hitting his stride. Good thing, too, since Villa’s constantly in demand. He plays at clubs five nights a week, posts hit-getting performance videos to industry website DJcity.com, holds it down weekdays on LIVE 101.5, and works as an official Arizona Diamondbacks DJ during baseball season. He also occasionally jets off to NYC for sets on SiriusXM’s Shade 45 channel or Serrato’s social media platforms. And somewhere in there, he finds time to dote on his two sons, ages 6 months and 3 years. Basically, it’s “can’t stop, won’t stop” for Villa, who wouldn’t have it any other way.

The fliers made by Djentrification are as unique as one of his mixes. That is to say, they’re a blend of funky, quirky, and worldly vibes, coupled with a little bit of odd and a whole lotta cool. For years, the artist and DJ has created fliers for events he’s involved in (like the weekly 602’sDays party at Bikini Lounge). Each one is crafted by hand using a number of methods — including stenciling, drawing, and silk-screening — and always feature his distinctive styles of lettering that are almost graf-like in appearance. He also occasionally incorporates desert or indigenous influences, whether it’s a serpentine creature winding around the letters or fashioning words in the shape of a roadrunner. Djentrification’s art deserves its own exhibition, which it got earlier this year … sorta. During AJJ’s Desert Trash party at The Van Buren back in February, a collection of his fliers, prints, and other works were put on display, including the amazing poster he created for the event (natch).

The members of Gestalt Theory get hearts pounding, fists pumping, and bodies moving at many of the bigger DJ nights and dance music festivals around town. And they do it without dropping a single beat. As VJs, or video jockeys, they control the rapid-fire streams of graphics, animation, and video being broadcast over the array of LED screens onstage or projected onto walls, matching the sounds being blasted almost beat by beat. It complements and accentuates the music, amps up the energy level, and involves just as much mixing wizardry as any DJ. Watch any of Gestalt Theory’s seven VJs at work, and you’ll witness hands flying between laptop keyboards and control decks while unleashing visual concoctions of trippy imagery hewn from hundreds of clips. They’ve been dishing out this addicting eye candy at local EDM events since 2014, when local video artist and graphic designer Thomy Hoefer launched the collective after working dance parties at Bar Smith and elsewhere. Since then, Gestalt Theory’s jocks have worked at Shady Park in Tempe and Monarch Theatre, as well as festivals like BOO! Arizona and Bassrush Massive. Meanwhile, Hoefer has crossed the globe with superstar DJ/producer Marshmello as his touring VJ, while other Gestalt Theory members tour with EDM artists like Ghastly, Ookay, and Slushii, helping spread Gestalt Theory’s influence worldwide.

DJ Javin has only been in the scene for a handful of years, but she already has made her mark and become the best turntablist in town. Every weeknight, you can catch her scratching, selecting, and cutting with skill and style on hip-hop station Power 98.3/96.1. And every weekend, she’s usually busy dominating the decks at hot spots like The District and the W Hotel in Scottsdale. In between all her gigs, Javin (pronounced “Jay-vin”) can usually be found sharpening her DJ skills at home, laying down tracks for a weekly show on Pitbull’s SiriusXM Globalization channel, or gearing up to open for hip-hop stars like Snow Tha Product when they roll through town. This fall, she’ll head to Philadelphia to compete in the U.S. national finals of Red Bull Music 3Style DJ battle along with the Valley’s Chris Villa in an attempt to become the best in the country. Her competition better be prepared, since Javin’s got talent to spare.

No Volcano almost threw in the towel and didn’t release their third album this year. They lost their original bassist, leaving guitarist Jim Andreas wondering if the project was destined to not happen. Nevertheless, they persisted. Andreas, guitarist Jeremy Randall, and multi-instrumentalist Chris Kennedy recruited James Karnes to take over on the four-string. Even if the quartet hadn’t released Envy in the Valley, they likely still would have won the title of best band in Phoenix. The music veterans release evocative music videos, and make every live show an event by mixing onstage visual elements with their well-crafted rock songs.

If you’ve heard local blues artist Hans Olson playing on your favorite network-television procedural drama, or the catchy guitar rhythms of CooBee Coo over a swanky men’s clothing commercial, that’s the work of the licensing gurus at Fervor Records. When the Sunnyslope-based label isn’t putting Arizona music in your ears as you binge the most recent season of your favorite Netflix show, it’s releasing new music from The Pistoleros and Fayuca, or compiling our state’s musical history into one of its collections. One of its latest offerings, Mid-Century Sounds: Deep Cuts From the Desert, celebrates the work of Phoenix studio owner Floyd Ramsey, who recorded Waylon Jennings and legendary guitarist Duane Eddy.

Raquel Willand was born to sing. If her participation at this year’s Phoenix Rock Lottery wasn’t proof enough of her talents, do a Google search, and chances are you’ll come across her old SoundCloud page. Even on those old tracks, she showed tremendous promise as a vocalist. Fast-forward to 2015, when Willand answered Jared Wood’s Craigslist ad looking for bandmates. Since then, the Phoenix quartet went through several name and stylistic changes before settling on the bluesy rock elegance of Panic Baby. The single “Don’t (Lie to Me)” brings out the passion of Willand’s vocals, which will serve the band well as they prepare to release more music this year.

Technology and credit cards have made cash practically obsolete, but the jukebox at Gracie’s Tax Bar is the perfect reason to bring some crisp green bills for a night chugging down some libations. Smooth out some Washingtons and Lincolns against the edge of the multidisc machine, and you can craft an eclectic soundtrack for your drunken evening. Filled with music selected by local businesswoman and musician Grace Perry, the jukebox allows you to dance to some Otis Redding, rock out to The Clash, or put on some Johnny Cash and cry in your beer. (Note: We never recommend crying in your beer. Ever.)

The Doyenne is a certifiable legend. A songwriter, producer, electronic musician, rapper, alt-R&B sensation, and dance-music machine, Syeed DiJon Poole has been freaking out the squares and wrecking house shows for years as The Doyenne. The Doyenne had been a fixture at shows at the old Trunk Space and Funny World, often playing alongside musical polar opposites like Dinosaur Love, Space Alien Donald, and Sugar Skull Explosion. What The Doyenne shares with those bands is a love for dressing up, a willingness to be abrasive and confrontational with the audience, and a contempt for milquetoast indie-rock culture. Shows should be parties, and few people know how to start one better than he does. What also made The Doyenne stand out when he got started (and what continues to make him a relevant and exciting presence in the Valley) is his openness about his sexuality and identity. The Doyenne doesn’t give a fuck if he makes you uncomfortable, and his frankness onstage and off served as an inspiration for people to let their guards down and not be afraid to express their own sexualities.

Choreographed dance numbers, edgy animation, and breathtaking cinematography are the stuff that great music videos are made of, but not necessarily the ones produced by local bands. Well, unless the band is Captain Squeegee, whose gleefully excessive music videos utilize these elements to create unforgettable viewing experiences. The indie rock/jazz fusion act have released a series of uniquely over-the-top short films set to their singles. Each was helmed by a different local filmmaker, featured high production values, and was filled with visually dynamic flourishes that were equally brilliant, beautiful, or just plain bonkers. The first several videos featured songs from the band’s 2013 album To the Bardos!, starting with a colorful Claymation romp through human history (“Inevitable”). Then came “The Factory,” where frontman Danny Torgeson pranced around as the ringmaster of a psychedelic circus. Captain Squeegee later topped themselves in size and spectacle with “Dually Noted,” which involved the vocalist attending an audition for an America’s Got Talent-esque reality show but somehow winding up in hell fighting Baphomet. Their most recent video, “Our Children,” was even more bizarre, with robotic go-go girls, a Delorean, and Torgeson submerged in a life-size lava lamp. Because that’s just how Captain Squeegee rolls.

If it’s Wednesday and you’ve got a craving for a mojito, a panini, and some brain-busting trivia, there’s no better place to get your fix than at Carly’s Bistro. Each week, the trivia fans at Carly’s tackle a different theme. Some nights it’s general trivia; other times, the entire evening is devoted to The Office, Parks & Recreation, Jurassic Park, DC comic books, and all sorts of other pop-culture mainstays. Teams are encouraged to dress up in theme-appropriate gear; while attending a Sex and the City trivia night at Carly’s a few months ago, we were wowed by teams showing up in their favorite Carrie Bradshaw ensembles. And the quizmaster is no slouch: She dug in deep, asking questions that threw even obsessive SATC fans for a loop. The great food and drinks at Carly’s are just an added bonus to an evening of stimulating and competitive trivia.

We’re not always fans of fake news, but when it comes to our favorite local comedy show, we’re more than willing to make an exception. Hosted by a brilliant duo of Valley comedians, Anwar Newton and Michael Turner, This Week Sucks, Tonight! turns the lounge of Crescent Ballroom into a revolving showcase of local stand-up talent, with guest comedians joining the powerhouse hosts to tease out sometimes dark and always hilarious truths about current events in politics, entertainment, music, and more. Sure, you can also catch Newton and Turner at Valley Bar’s monthly comedy event Literally The Worst Show Ever, but with this free spectacle every Thursday night, why wait?

Live music during a film screening used to be commonplace. You’d roll into a nickelodeon to watch the latest Melies or Murnau joint and there’d be an organist in the room, hammering away at the keys to soundtrack the action on-screen. There are still groups today that are keeping the silent film score tradition alive, and one of the more active groups is right here in Phoenix. The experimental music collective of Pete Petrisko, Jocelyn Ruiz, Jim Dustan, Eric Hunter, and Vic VOID hold one-night-only screenings at FilmBar, where they perform original scores to film classics like Alice in Wonderland, The Cabinet of Dr. Caligari, and The Penalty. Combining old-timey instrumentation with radio sounds, haunting samples, and modern noise, RPM creates compelling and timeless soundscapes. They also put out albums of original music, create bold music videos, and do live concerts that integrate typewriters, Butoh dancing, and butterflies trapped in envelopes as part of the action.

The Alwun House is approaching its 40th season, and yet it still feels like a well-kept secret. An oasis of freaky performances and fine art in the middle of the Garfield neighborhood, owner/curators Kim Moody and Dana Johnson have kept Alwun House going strong. Some of its events, like the annual Exotic Art Show, have become must-attend happenings in town. But the Alwun House is more than a place to see erotic paintings: — it’s also the best outdoor theatrical venue in town. Putting on burlesque shows, flesh suspensions, steampunk cabarets, stilt-walking expos, variety shows, and an “erotic poetry festivus,” the Alwun House is a premier destination for seeing some skin in a classy way and being wowed by sword-swallowers, fire-spinners, and people contorting their bodies into shapes that would make a pretzel wince. The tasteful rock formations and gardens in the back help lend an intimate and natural air to the decadent proceedings. They’re also one of the reasons why the Alwun House, when it’s not a sideshow zone, is a popular venue for Phoenix artists who want to get married in the backyard.

Being a live artist at a nightlife and music event can sometimes be a tough gig. You’ve got to transform a canvas into a masterpiece in only a few hours, all while dealing with gawkers, constant interruptions, and inebriated patrons armed with reduced inhibitions and the most insipid of questions (“Hey, whaddya painting?”). Local artist Kelley Boesel, better known as Haboobs, manages to excel at the task and has done so at a variety of local parties, shows, and DJ nights. Back when Motown on Mondays was a regular thing, Boesel busted out with evocative portraits of the same R&B, funk, and soul legends being bumped on the sound system, legends like Michael Jackson, Stevie Wonder, and Rick James. She did the same at last summer’s tribute party for the late Sharon Jones at Crescent Ballroom, painting a stunning rendition of the dearly departed singer. Boesel’s work also can be spotted at certain Tempe Art A Gogh-Gogh or Blunt Club sessions at Yucca Tap Room, or even adorning the house of homegrown hip-hop superstar Futuristic, who tapped her and other local artists to decorate the exterior of his crib. We’re pretty sure that was an easy gig.

Picture this: A throng gathers for a monthly celebration in downtown Phoenix that’s a free-for-all of cutting-edge art, burgeoning musicians, underground sounds, interactive installations, and rampant creativity. First Friday, right? Nope. Instead, all this action is unfolding at the Full Moon Festival, a multigenre mix of music, art, and culture that coincides with the monthly celestial event and is a bit more free-spirited than any local art walk. According to co-founder Jonathan Luther, the festival is aimed at fostering and showcasing budding creatives looking for exposure. “Our goal is to make it the No. 1 platform for local Phoenix artists to get their name out there,” he told Phoenix New Times earlier this year. And it’s doing so by offering multiple stages at each edition for up-and-coming bands, performers, and DJs, as well as ample space for newbie painters to create live art or sell their works. It’s also one helluva party, filled with art cars, a silent disco, and other illuminating fun.

The life of a concert poster is ultimately short and tortuous. As a piece of ephemera, its brief existence is spent stapled to walls or lashed to utility poles before being torn down and tossed away once its usefulness has ended. The exquisite concert posters made by Hamster Labs, however, don’t deserve this cruel fate, and are worth saving long after their particular event is over. Designed by local graphic artist Quinn Murphy, these pulchritudinous prints are true works of art, capturing a particular band’s sound and verve through eye-catching imagery, illustrations, or iconography. Rich in textures and awash in vibrant colors, Murphy’s creations utilize a variety of artistic styles, ranging from fanciful realism to stark minimalism, to grab your attention. His poster for metal act The Sword’s show at The Rebel Lounge in March, for instance, featured a badass portrait of a screaming Medusa head teeming with slithering snakes. Other efforts are silly (like the playful placard for the Flying Burrito Festival) or downright strange (a Banana Gun show poster starring a mushroom-riding cowpoke), but are nonetheless memorable. And if anyone has an extra copy of Hamster Labs’ Phoenix Rock Lottery 2018 poster, which depicted the event’s 24-musician lineup as a stack of cassettes, we’ll totally buy it off you. Seriously. We’ve already got wall space picked out.

You really can’t miss this west Valley honky-tonk. Marked by farm equipment, a giant chicken, and other sun-bleached kitsch, Roman’s Oasis has been in place since 1998, when the Alabama-born owner — Roman, obviously — could count just a few houses within sight of the country bar. Now, 30 years later (and one nearby spinoff — Roman’s County Line), Roman’s Oasis is still packed with a boot-scooting, table-slapping crowd. There are several rooms, meaning several bars and dance floors, and the calendar lists karaoke and dance lessons, as well as tournaments for cards, darts, and shuffleboard. There’s also a full kitchen, good people, and lots of what matters: cold beer.

Until a few years ago, the Valley didn’t have a signature electronic dance music festival to call its own. We’ve had tons of great dance clubs, of course, not to mention scores of parties, raves, and the occasional touring festival rolling through town. But, yeah, no unique big-ticket event exclusive to metro Phoenix that does for us what Ultra does for Miami or Electric Zoo does for NYC. In 2015, local promoter Relentless Beats changed all that when they brought the first-ever Phoenix Lights in for a landing. A mix of ETs and EDM, the event’s alien invasion motif is not only unique to the dance music world but also uniquely Phoenix, as it was inspired by the triangle-shaped UFO that famously buzzed Arizona in 1997. Over the past four years, Phoenix Lights has become the biggest EDM extravaganza of the Valley’s spring festival season. Every April, it offers carbon-based lifeforms two days of close encounters with dance music overlords like Hardwell, DJ Snake, Excision, and Diplo, as well as an otherworldly scene featuring crashed spaceships, alien artwork, and strange beings. Maybe it’s the mind implants talking, but we want to believe it might help raise Phoenix’s standing as a DJ destination. May it live long and prosper.

Nope, your eyes aren’t playing tricks on you. That clock in the corner of Hatter & Hare is actually running backward. No fooling. And, yes, a table topped with a tea set is indeed hanging upside-down from the ceiling, as is an entire deck of oversize playing cards. So, um, are they completely crazytown at this place? Nah, just a little mad. (It even says as much above the front door.) As you might’ve guessed from all these clues, this newly opened cocktail lounge in the Seventh Street restaurant district takes more than a few pages from Alice’s Adventures in Wonderland. As such, Carrollian whimsy abounds inside Hatter & Hare, from murals depicting the Cheshire Cat and other characters to kookily off-kilter furnishings and signs declaring “Eat Me” and “Drink Me.” Should you heed those commands, the similarly fanciful menu offers sandwiches shaped like hearts, and themed drinks like the White Queen, Jabberwocky, and Tweedledee. They even serve cocktails in a teacup the size of a punch bowl. Be forewarned: If you choose to polish off one of ’em by yourself, you might wind up feeling like you’ve tumbled down a rabbit hole for realsies.

F. Scott Fitzgerald can take that “There are no second acts in American life” malarkey and stuff it. When the venerable, long-running all-ages DIY institution The Trunk Space closed its doors on Grand Avenue in 2016, it didn’t stay dead for long. After a few months of pop-up shows put on by the venue’s dedicated team of volunteers, The Trunk Space found a second life as part of Grace Lutheran Church on Third Street. The gumball machine and photobooth are gone, but The Trunk Space’s spirit of booking iconoclastic acts and being a place for young bands to find their voices remains. Since reopening at Grace Lutheran, Trunk Space has hosted underground legends like Lydia Lunch, packed anniversary shows by hometown heroes AJJ, film noir musicals, and marathon show events like Endless Bummer and the Indie 500 (where the space hosts back-to-back performances until 500 songs are played). And while some things change, other things remain the same: The discount comic boxes may be gone, but Luster Kaboom’s iconic monster nerd mural followed owner Steph Carrico and her merry band of supporters to their new home.

If you want to hear what’s going on in local or national underground music, then you go underground — literally. Jaunt through the alley west of Central Avenue and down a flight of stairs to join 250 of your closest friends inside Valley Bar’s music hall. Once there, you can catch an album release party by a local band, indie musicians on the verge of stardom, or intimate shows by legendary artists such as Sonic Youth’s Thurston Moore. If your claustrophobia starts acting up, you can listen to the show while playing Skee-Ball in the game area or grabbing a flatbread pizza in the Rose Room.

It’s inevitable. At some point, you’re going to see a show at The Van Buren. Guaranteed. And it’s due in large part to the sheer number of “can’t miss” concerts at the 1,800-person downtown Phoenix music venue co-owned by Live Nation and Charlie Levy of Stateside Presents. Since opening in August 2017, The Van Buren has hosted gigs in a wide variety of genres — from hip-hop and heavy metal to reggae, regional Mexican, and (of course) rock ‘n’ roll — within a stylish milieu that features gorgeous digs, primo acoustics, and excellent sightlines. There’s also a gorgeous lobby and ample patio, each with its own bar. Just like Levy’s other downtown spots (the equally popular Crescent Ballroom and Valley Bar), there are more than just concerts happening here, as dance parties, beer festivals, comedy nights, and live podcasts have taken place. We can’t wait to see what’s in store for The Van Buren’s second year.

Seeing a show at Ak-Chin Pavilion is something of a rite of passage for Valley residents. Concertgoers have made the trek to this 20,000-person outdoor venue in the West Valley for decades now, dating back to the ’90s, when it was known as Blockbuster Desert Sky Pavilion. Any number of recording stars and legendary bands from a wide variety of genres have performed here over the past three decades, including such notable artists as The Moody Blues, Nine Inch Nails, Blake Shelton, Rob Zombie, and KISS. Its ample open-air pavilion roof provides shade to those fortunate enough to possess reserved seating tickets, while general-admission types can kick back on the hilltop lawn area with blankets and still have a great view.

Phoenix has a storied history of DIY venues that rose and fell: Iron Lady, The Manor, Wall Street, ICYC, and many, many more. Sometimes they go into hibernation, throwing open their doors every once in a while for a special show. Most of them just disappear; part of the whole point of having a temporary autonomous zone is that they’re, well, temporary. Rarest of all is the DIY spot that goes legit. The Lunchbox (LBX) started as one of those well-kept secrets — the kind of place where you needed to know somebody who knew the address to find it. Fast-forward a few years later, and now it has shows every week, a website, even an active social-media presence. What hasn’t changed about LBX, though, is its knack for booking obscure, edgy, and interesting acts. Whether it’s the avant-classical metal of Wrekmeister Harmonies, or weird singer-songwriters like Circuit des Yeux, LBX hosts some of the most forward-thinking and uncompromising artists working in the underground.

At Yucca Tap Room, you make a decision the moment you arrive — left door or right door. The left door leads to the Whiskey Lounge, where you’ve got a pool table, some booths, a bar separating patrons from selections of craft beer, and maybe a DJ. But the right door takes you to the original Yucca Tap Room, the well-worn music venue around since the early ’70s that has seen many famous local and touring acts in its four decades of operation. And thanks to its short, approachable stage, decent sound, and somewhat of a floor area, some great punk shows have gone down. Agent Orange normally make a stop here, as well as comp punk darlings like Mustard Plug, Guttermouth, No Use for a Name, and Pulley. BroLoaf put on one hell of a show here, too. Heck, the Whiskey Lounge even aired that Fat Wreck Chords documentary that one time.

If the walls of Pub Rock Live could speak, they’d probably offer up many twisted tales of rock ‘n’ roll exploits that’ve gone down at this Scottsdale spot during its many iterations over the decades. For a good chunk of the ’90s, it was a hard-rock sanctum called The Atomic Cafe. Then, it transformed into Chasers, a dive-y haven for both heavy metal and punk effin’ rock. In 2012, it became Pub Rock Live, but has continued its predecessors’ predilection for rock and its many different flavors. During any given month, the club’s 20-by-26-foot stage hosts all manner of touring acts, particularly those specializing in metal, pop-punk, garage rock, and hardcore. Locals love the place, too, including bands like Doll Skin, Fourbanger, The Beast of Bailey Downs, and Ebinezer. Plus, there’s always tons of free parking and the bartending staff is friendly as hell. Rock on.

Why do we keep coming back to The Rhythm Room as our pick for the best blues destination in town? Probably for the same reasons that local blues hounds keep coming back, year after year, to indulge their taste for toe-tappin’ and rump-shakin’ tunes at this central Phoenix blues institution. The many shades of the genre — from Delta and Chicago to 12-bar and boogie-woogie — are showcased several times a week at this no-frills joint equipped with just a stage, seating area, and bar. There’s always room to dance, though, which patrons do with gusto when things get jumping. The Rhythm Room is a longtime favorite of local artists and touring legends alike, and has been since owner Bob Corritore, a veteran harmonica man and longtime host of KJZZ’s Those Lowdown Blues, helped open the spot 27 years ago. We sincerely hope The Rhythm Room doesn’t stop boppin’ for another three decades or more. And that ain’t no jive.

Phoenix has turned into a bit of a festival hub. We’ve got enough weekend-long extravaganzas to keep any music fan broke and busy for most of the year. The only problem with so many of these festivals, from McDowell Mountain to Innings to Pot of Gold, is how similar they all are. From the ubiquitous Tito’s Vodka stands to their simpatico booking philosophies (some token dad bands for the oldies, some indie chart-toppers for hipsters, and a shit-ton of electronica for the cash-flashing EDM set), it starts to feel like you’re going to the same event, only in a different month. That’s why FORM Arcosanti is a breath of fresh air. FORM uses the natural beauty of its surroundings to create a truly memorable festival experience. An added benefit of going to FORM: It puts caps on attendance, so it doesn’t feel too claustrophobic. And the programming is the most adventurous of all the big Arizona festivals: From metal heroes like Deafheaven to R&B stars Solange to avant-garde sound artists like Grouper and Kaitlyn Aurelia Smith, FORM bills are a diverse cross-section of scenes and styles.

Elbow your way past the college crowds on Mill Avenue, make it past the bouncer, and descend a flight of stairs to enter Low Key Piano Bar. Once inside, you can watch two dueling pianists perform high-octane renditions of pop hits new and old. A rotating crew of genuinely talented musicians go for broke onstage in front of a sea of low tables. Be prepared for the inevitable patron who has one too many syringe Jell-O shots or fishbowls of alcohol, and then jumps onstage to hog the microphone. You can also expect the singers to get more raucous (and sweatier), and the crowd more hyped up, the closer it gets to last call. Low Key stands out among the other varieties of nightlife on Mill Avenue, and is the perfect place to end your evening on a high note.

Opening a dance joint is a risky venture, even in a nightlife-friendly party zone like Mill Avenue. Clubgoers are fickle, tastes and trends are constantly changing, and the competition is always out to eat you alive. Despite these odds, Aura Nightclub has managed to thrive, probably because it’s got a lot going for it. The 9,500-square-foot spot, which opened in April, has an excellent pedigree, as owner Narender Raju also runs popular local venue The Pressroom. And just like he transformed a shady downtown Phoenix warehouse venue into the aforementioned concert spot, he renovated and revamped the decrepit two-story space on Mill that formerly housed School of Rock into a high-tech nightlife playground. The main room boasts a 5,000-square-foot dance floor, 14 VIP tables, several 4K high-def screens, intelligent lighting, and a state-of-the-art sound system. There’s also a huge stage that hosts DJs and bands brought in by general manager and talent booker Cahleb Branch, a veteran of the local hip-hop scene. An adjacent lounge area contains even more seating, a chill vibe, and enormous windows overlooking the hustle and bustle of Mill that allow you to kick back and check out the line of folks clamoring to get in.

First, the good news: You don’t have to beg or even invoke the eponymous phrase of this Scottsdale hotspot to gain entry. Just be willing to wait in line, dress to impress, and make nice with security (pro tip: a strategically timed 20-spot sometimes helps). Once inside, stroll past the foyer’s electric pink “Oh-la-la!!” neon sign and a golden perch-like swing (a popular backdrop for Insta photos) and enter an opulently decorated den of decadence offering an enticing mix of hot sounds and even hotter bodies. A seductively playful verve permeates the 350-person nightclub, from its sultry red lighting and sexy beats to its lingerie-clad female waitstaff. There are even a few booths equipped with stripper poles, should patrons, inebriated or otherwise, desire to make a spectacle of themselves. And if you really want to be the center of attention, Pretty Please’s two hydraulic-equipped VIP booths in the center of the room can elevate you and your squad above the crowd while lasers and smoke effects shoot out from underneath. Sure, it might seem a bit ostentatious at other local nightspots, but in image-obsessed and spectacle-driven Old Town Scottsdale, it’s right at home.

Charlie’s is a clear staple of the local queer community because it’s always been one of the best places to dance, grab a drink, or watch a drag show. RuPaul’s Drag Race cast members and alumni often tear the house down, and Charlie’s doesn’t charge a cover for these Thursday night shows. But the best part of Charlie’s is what separates it from everyone else. The delicious Taqueria Los Yaquis provides the perfect drunk munchies Thursday through Sunday, offering tacos, quesadillas, and other snacks for a few dollars via a taco truck window. On the weekends, the huge indoor dance floor opens up and the resident DJs play the best in pop music, never forgetting the gay favorites (read: Madonna, Lady Gaga, etc.).

Located in the heart of Phoenix’s very own “gayborhood,” Stacy’s @ Melrose is reliable for a good time and fantastic drink specials. Despite the discreet exterior, the bar/nightclub is full of ambiance, from high ceilings to dim lights and gothic-inspired decor. The staff ensures that there’s always something to do at Stacy’s, which makes for fun programming like weekly bingo, karaoke, and DJ nights. On Tuesdays, Stacy’s hosts The Queer Agenda, an alternative and inclusive drag show that’s enlisted some of Phoenix’s hippest queens. Stacy’s also features the coolest all-gender restrooms in the Valley, which continue the gothic aesthetic found throughout the building. Established in 2013, it’s a newer venue, but there’s nothing else like it in metro Phoenix.

Who doesn’t love an all-day happy hour? (Answer: no one.) The Cash Nightclub and Lounge offers one daily from 4 to 8 p.m. that features $3 domestic beers and well drinks, among other discounts. On Wednesdays and Thursdays, it hosts karaoke and bingo, respectively, but it’s the Tuesday night two-step and line-dance lessons that make this country-themed, lesbian-slanted bar the Phoenix staple it is. But The Cash — as it lovingly has been known since it originally was named Cash Inn Country — is inclusive in more ways than one. Although the crowd is often cut from the lesbian cloth, there’s always a variety of patrons who fit under the other letters of the LGBTQ+ abbreviation, and everyone is welcome. And fortunately for those who can only handle so much Americana twang, The Cash plays music that crosses genre lines, including Top 40, pop, and hip-hop.

Club VOLT’s 4Some Revue recently has undergone changes, altering the original cast that has been performing at the relatively new venue for over a year. Toothpick and Joey Jay have been added to the show, joining original cast members Luna Love St. James and Gia DeMilo to bring the roof down every Friday starting at 10:30 p.m. The weekly cast is talented, bringing their own brands of fashion, comedy, and lip-syncs time and time again. But it’s the rotating special guest spots (filled with some of the Valley’s most interesting performers, veterans and newbies alike) that make the show truly pop. Be sure to try one of the special 4Some cocktails, which have to be the booziest $4 drinks offered in metro Phoenix.

At most local bars, karaoke seems like an afterthought or off-night lark aimed at bringing in bodies when it’s ordinarily dead, dead, deadski. Not so at The Grapevine in Old Town Scottsdale, where the spot’s nightly singing sessions in the downstairs bar are its most popular attraction. Grapevine’s proprietors fully embrace its rock-star status as a karaoke destination and offer a fun, come-as-you-are atmosphere, where a diverse crowd croons an equally diverse variety of tunes. KJs (or “karaoke jockeys” for you rookies) James, Monica, DJ Rey, and Frank are your affable hosts and can suggest something from the 400-page songbook if you can’t decide. They might even join you on vocals, as will the bartenders, waitstaff, and other patrons, particularly if it’s a crowd-pleaser like “Don’t Stop Believin'” or “Bohemian Rhapsody.” If you’re eager to grab the mic and step into the spotlight, things get going at 5 p.m. Monday through Friday and at 3 p.m. on Saturday and Sunday. Talent is, of course, optional, but enthusiasm is always appreciated.

Game bar Bonus Round is total geek heaven. Besides the fact that it’s literally next door to a comic-book shop, the bar features signature drinks inspired by Star Wars and other nerdy subject matter (we like the fruity, potent Plasma Grenade), weekly bar trivia sessions, movie screenings, and tons of fan art dotting its walls. Oh, and Bonus Round has games. Lots of games. Like, an insane amount of games. Beyond its selection of 18 arcade titles (including the popular multiplayer title Killer Queen), there’s a living room-like area outfitted with a big-screen TV equipped with a number of emulated old-school consoles. Nearby, you’ll find shelves overflowing with games of the board, card, tabletop, and party variety, ranging from old favorites like Risk and Clue to more modern examples like Settlers of Catan. They don’t stay shelved for too long, and frequently can be found being played at tables by groups of friends eager to pwn one another for fun. Game on!