Nightlife

In fall 2020, Prescott’s Superstition Meadery opened a downtown Phoenix epicenter, bringing some of the world’s most lauded and creative meads within easy reach. Co-owners Jeff and Jen Herbert pour their creations from 24 taps, some of which flow with Superstition’s own ciders and orange wines. In the craft beverage world, the Herberts are known for their outlandishly creative libations: spiced meads aged in old whiskey barrels, sultry $80 bottles made with berries and white chocolate (Berry White). All said, they’ve brewed hundreds of meads — and folks sip great flights of them downtown in what feels like a luxe Viking hall.

We’re not sure exactly what to call the neighborhood where McKenzie’s is located, on a busy stretch of Seventh Street between Indian School and Camelback roads. In some ways, it’s not much of a neighborhood. Which makes it all the more impressive that the proprietors of the place have cultivated a homey vibe more reminiscent of a corner bar in Milwaukee than a McBar in central Phoenix. You’ll notice McKenzie’s from the street by the thousands of colorful lights dangling down off the gutters. It has some dive-like qualities — street signs, license plates, and yet more Christmas lights provide a good chunk of the decoration — but it’s neither filthy nor too-cool-for-school. They serve cheese curds and there’s a dartboard. You’ll usually see the same bartenders, and eventually, they’ll remember your name. It’s located just off the Grand Canal, making it a good place to stop for a cold beer while out on a bike ride. The kitchen is open late, till 12:30 a.m. every night. McKenzie’s is just a solid, reliable, well-run place where you can come as you are — really, all we ask of a neighborhood bar.

The Platform 18 experience at Century Grand is so aggressively new that stepping onto the train car is like slipping through a wormhole into a new dimension. The interior is designed to look like a presidential train car from the 1920s. Every design element fits this theme: bartender garb, stools, tables, “windows” that are actually TVs showing a “passing landscape.” A deep book of cocktails ranges from riffs on centuries-old classics to absolutely batshit, excellent concoctions like a libation that mimics peanut butter and jelly, with a sleeve of Campari cotton candy on the side for good measure. Drinks contain kumquat marmalade, guinea pepper, and sparkling green coffee tea, often in a single drink. The amazing thing is that just about all of them are bangers.

The west Valley isn’t exactly known for being a blues hotbed. A few scattered places in the area have hosted jam sessions or occasional one-offs by musicians, sure. But a venue dedicated to showcasing the genre and its artists on that side of town hadn’t been tried until Cindi Jackson and Paul Vincent Perez opened Westside Blues & Jazz at the Glendale Market Square shopping center in April. The retired couple, both longtime worshippers of the blues, built the club as a temple to the art form, with great acoustics, plush seating, and speakeasy decor. Their faith in the project, which cost an estimated $500,000 to create, was shaken when COVID-19 delayed its debut for an entire year. Once opened, though, it became a hit. Local blues/R&B greats like Lucius Parr, Francine Reed, and Big Pete Pearson have frequented the stage, as have such jazz scene mainstays as Delphine Cortez, Sandra Bassett, and We3. It’s even gotten a thumbs-up from local blues guru and Rhythm Room owner Bob Corritore. High praise indeed.

It’s just our opinion, but we like to listen to heavy metal in a spacious atmosphere, one where the raucous drum solos and guitar shredding can echo off the rafters. Marquee Theatre’s high ceilings and concrete floors make for an almost industrial atmosphere, one that pairs perfectly with the intensity and savagery of metal. English band Cradle of Filth plays here, as does Great White and Steel Panther. Marquee is also a frequent host of metal tribute bands such as Noise Pollution: The AC/DC Experience and The Iron Maidens. We recommend you get to Marquee early to carve out your own little space to head-bang at our local Metaldome.

Every honky-tonk around these parts has tallboys, twangy tunes, and rustic kitsch, but nothing as truly cowboy or cowgirl as Buffalo Chip’s outdoor rodeo arena where amateur and pro riders can attempt on Wednesdays and Fridays to hang on for eight seconds. That’s one way this joint rises above the rest of the herd. Here are a few more: The sheer amount of features and distractions it boasts, some of which aren’t found elsewhere. The Chip’s sprawling compound has fire pits, lawn games, and an outside stage area with live bands on weekends. Inside, you can hop atop the bar to dance (there’s an overhead rail to prevent accidental faceplants) or ride in a swing hanging from the ceiling. There’s a large dance floor if you’d rather stay closer to the ground when two-stepping, though. The menu has unrivaled barbecue and the bar has one of the biggest selections of beers and booze in Cave Creek. A small church is located on the premises with services every Sunday, should you need to atone for your indulgent acts earlier in the weekend, pardner.

There’s a lot to see at Chopper John’s, from the lineup of hogs outside (it is, of course, a biker bar at heart) to the dollar bills stapled all over the ceiling and the band memorabilia on the walls. But the main attraction is whoever’s on stage, which is often one of Phoenix’s beloved punk bands. We’ve caught The Posters here, along with JJCnV, Some Jaywalkers, and plenty of others. Other genres are often on display here, too — most notably rockabilly, trash-a-billy, and the like. If you’re looking for cheap drinks and a lively crowd while listening to loud, fast, angry music, Chopper John’s is your spot.

Like other local music scenes, live hip-hop in the Valley took a hit last year when the pandemic forced gigs to go virtual or evaporate altogether. Once crowds could attend shows again, hip-hop promoters, artists, and fans flocked to Aura in Tempe. The 9,500-square-foot Mill Avenue club has become a go-to spot for the genre. Why? Its amenities are conducive to the needs of the scene: The large main room can host superstars like Wifisfuneral one night or work in tandem with a side stage in Aura’s lounge for local mini-festivals the next. Its bookers work with promoters both small and large (Justus Samuel of Respect the Underground swears by the place). The top-notch sound system means you can hear every bar being uttered, even if it’s a mumbling SoundCloud rapper on the mic. And, unlike other local venues looking to maximize liquor sales, Aura will sometimes run all-ages shows. Younger fans can get a taste of the fun while teenage performers get the opportunity to shine, like when 17-year-old Phoenix rapper Xander (a.k.a. XaniMonsta) brought the place down in August.

Why does Q & Brew keep racking up awards from us as the Valley’s best billiards joint? Chalk it up to the place’s straightforward focus on pool, drinking, and not much else (save for a few pinball machines by the front door). The rates are cheap ($5 per hour on the regulation-sized Brunswick Gold Crown tables, with free games from 3 to 6 p.m. on the 8-footers), the staff behind the tuck-and-roll leatherette bar aren’t stingy with pours, the cues and other equipment are well-maintained, and caricatures of billiards legends like Ralph Greenleaf and Willie Mosconi adorn the walls. Speaking of history, Q & Brew has been in business since 1968, and given its popularity, will keep hustling for years to come.

Picking the best jukebox in town is no easy feat. Options are pretty limited, as old-school, non-internet machines are a dying breed. Those still left around town are all great in their own right, but no matter which one you chose, someone’s going to disagree. Shady’s jukebox outshines its CD-slinging brethren and earns our nod because of its sound quality (crystal-clear jams come from the well-maintained machine) and the depth of its curated and rotating selections. Flipping through the pages of the juke is like digging through the crates at a choice used record store as you encounter disc after disc of diverse options, rarities, and obscure gems. Art punk and psychedelic space-surf. Japanese ska and Chicano rock. French New Wave and weirdo soul. And in between, there’s R&B from Etta and Aretha, hard-to-find albums from local indie and soul artists, and “grab bag” compilations occasionally included by the staff. We’re sure hipsters, music fanatics, and culture junkies will all agree with our pick. Anyone who doesn’t can find us feeding bills into the box down at Shady’s if they’d like to debate.

The thing about karaoke is that just because you like to sing, it doesn’t mean you actually can sing. None of that matters, though, 414 Pub & Pizza, where karaoke happens every night and the crowd cheers you on no matter what you sound like. There are hundreds, if not thousands of songs to choose from, and in the COVID-19 era, the staff members hand out cute little microphone covers to keep you safe while you sing. And if you’re just there to watch, you’re still going to have a good time due to 414’s full bar and well-executed menu of pizza, salads, and appetizers (we love the Pizza Styx, kind of a stuffed breadstick/elongated calzone thing). You can catch us there on a Tuesday or Thursday for the $4 drink specials, getting a little liquid courage in us before we belt out a tune.

Cruisin’ 7th Show Bar & Lounge owners Lynn and Mike McGarry took advantage of the pandemic to do some renovations and redesigns. We’re talking floors, walls, ceilings, and a majorly upgraded showroom with a raised stage and fresh neon throughout. But the vibe, and the regulars, are still the same. Cruisin’ 7th Show Bar & Lounge dates back to 1977, when it was located just north of Roosevelt Street and Central Avenue and called (appropriately enough) Cruisin’ Central. The bar changed its name upon its 2003 move to its current location, where its calling card is painted across the standalone building: “The Best Drag Shows in Town” (the bright sign sits atop a rainbow-colored pole). More cool features? Cruisin’ opens at 6 a.m., offers daily drink specials ($3 bloody marys till noon, $5 cocktails all day), and really does host killer drag shows. But most importantly, the McGarrys have built at Cruisin’ 7th a second home to many, but especially members of Phoenix’s gay and trans communities.

Located in the Melrose District among antique shops and other LGBTQ clubs, Boycott Bar gives lesbians a safe and cool place to hang. Boycott’s team of DJs spins the latest pop and dance hits, and bartenders pour cocktails as strong as the women that pack the dance floor on weekends. The clientele represents a diverse array of females, from androgynous types to bois and lipstick lesbians, and everyone is made to feel welcome. And of course, there are karaoke nights, for those who consider themselves dancers and singers (or who just want to bust a tune out on the mic). There aren’t many pure lesbian bars left in the country. We’re glad to have this one in our own backyard.

So here’s what we love about Yucca, a fixture of the Tempe music scene since the ’70s: The bar draws local and national acts in all genres — in the space of a week, you could catch a touring punk band, nervous locals at an open mic, a metal showcase, and some Tempe desert rock. Show up a couple of times, and you’ll get to know the staff and the regulars, ensuring that there’ll be a friendly face or two any time you go. Drinks are cheap and strong and the bartenders keep them flowing. And when you need a break from the musical onslaught, you can step over to the lounge side of Yucca, where you can take a breather and grab a bite to eat (we like the gold wings and the bulgogi bao).

We like to think about the days when The Van Buren was a car dealership. Could the owners of the Phoenix Motor Company ever have imagined that many decades later, their building would be one of the best music venues in the bustling metropolis of Phoenix? There’s no trace of The Van Buren’s former life when you walk into the building for a show, just chandeliers, desert murals on the walls, and space for about 1,800 concertgoers to rock out to local acts like Playboy Manbaby and Phoenix Afrobeat Orchestra as well as national ones like Gogol Bordello, Lord Huron, and Cold War Kids. We like the sense of space at The Van Buren; both the outdoor patio and the indoor area near the bar are roomy and open, perfect places to see and be seen. In 2021, car dealerships are a dime a dozen. We’re glad The Van Buren got the concert venue upgrade.

It can be a challenge to keep up with the stadium’s name changes, but whether it’s called America West Arena, US Airways Center, Talking Stick Resort Arena, Phoenix Suns Arena, or now, Footprint Center, there’s no place we’d rather see a big show. This year, downtown Phoenix’s biggest indoor sports and concert event center finally got a makeover to match its many moniker changes; the $230 million renovation completed in early 2021 includes new suite levels, more comfortable and sleek black pleather seats, a family-friendly food hall on the upper concourse, a state-of-the-art sound system, and new video screens. With a capacity of more than 18,000, it’s the best place to see the biggest national and international touring acts, from The Eagles and Guns N’ Roses to Twenty One Pilots and The Weeknd.

We really are #blessed to have so many places in the Valley to get out and see live music, but one of our favorites is a bar that just doesn’t get enough love (in our opinion). Old Town Tavern is tucked away in central Scottsdale, and on most nights of the week, you can walk in and catch an intimate set by some of the city’s best musicians. Pistoleros alum Mark Zubia and Gin Blossoms guitarist Jesse Valenzuela are regular performers, as are Corey Gloden of Wyves and local music legend Shawn Johnson. Old Town Tavern’s small interior puts you up close and personal with the musicians, and the bar has a tight-knit community of patrons that will make you feel like one of the gang.

It’s difficult to say that any one band is a city’s greatest musical asset — metro Phoenix teems with excellent, multi-genre artists. But Paper Foxes represent a choice that also feels properly aligned with Phoenix as a rich and vibrant city. Their infectious blend of New Wave and disco not only packs shows Valley-wide but exemplifies the lively and joyous aspects of the local music scene. Sounding a bit like Duran Duran and a bit like The Killers, Paper Foxes don’t trade substance for style; rather, the slick synths and angular guitars draw you in so you can get hit with the lyrics, which are often about heartbreak, political turmoil, and the like. The band is the best example of the “’80s but make it modern” vibe that a lot of local acts put out these days, and although we’re still waiting for a follow-up to their 2019 album, Popular Confessions, we can sustain ourselves by seeing them at venues like The Rebel Lounge and listening to songs like the quasi-title track “Pop Confessions.” Back when the album came out, synth player Patro Gaston told us the song is about “how it feels like the world is nearly going to end, but it’s okay to let go and enjoy life anyway.” Sounds like the perfect music for 2021.

Phoenix has no singular defining musical style or sound; you’re just as likely to hear great rock as hip-hop, punk, folk, and electronic music. Violet Choir, which is composed of Mickey and Jesse Pangburn of local bands MRCH and The Prowling Kind, fully encapsulates that tradition just a year into its latest configuration. The band expertly marries bits of synth-pop, indie rock, punk, and pop into something that’s both dense emotionally and yet hugely playful. Their February 2021 self-titled EP is sleek and moody, and we’ve listened to it plenty over the past several months when we’re looking for music to accompany a chill evening. It’s their gusto and commitment that has Violet Choir already among the other great bands that have called Phoenix their home. And they formed during a pandemic — imagine what they’ll conceivably accomplish when the world’s not on fire.

ROAR frontman Owen Evans is somewhat soft-spoken in person, but don’t mistake that for a lack of ambition or artistic confidence. The excellent Diamond Destroyer of Death, which New Times deemed a standout in the first half of 2021, is a totally sweeping pop record. What makes this 10-track LP so magical isn’t just the gimmicks, like “songs within songs” or some kind of nebulous story or concept. It’s how Evans and his collaborators spin in strands of psychedelic, baroque, and ’60s pop to make something far more groovy than the sum of its catchy parts. It’s as if Evans himself is captaining an interdimensional tandem bike to take us through the pop sphere, pulling at bits of melody and romantic energies to delight and amuse along the way. The album itself doesn’t just celebrate the great music of yesteryear, but tweaks and evolves it in real time to present something that’s otherworldly and beguiling without losing any relatability or playfulness. This is pop music for a new, more strange world, and we should all be thankful for Evans’ guiding presence in it.

Local rapper Jacob Railford fights for social justice and civil rights in the streets and behind the mic. As an activist and community organizer, he’s wielded a megaphone while participating in dozens of protests since the murder of George Floyd in 2020 and is a founding member of anti-police-brutality organization W.E. Rising Project. As rapper Roqy Tyraid, he dexterously spits lyrically complex flows in weekly Twitter videos calling out local cops for brutal tactics and politicians for misrepresenting his group and Black Lives Matter protesters as criminal gangs. (Sample cut: “Most BLM protests were people / Predatorily arrested / Felonies for yelling in the street / Instead of misdemeanors.”) Railford, who’s been performing since 2005, told the Arizona Republic in July his rap career helped him segue into being an activist, and both pursuits ultimately have the same goal: working to inform others about social ills like police brutality and systemic racism. For Railford, there’s more work to be done and he’ll continue spreading the word with both microphone and megaphone.

Phoenix’s rave scene has been a breeding ground for dynamic DJs for decades. One of its more recent standouts is Srija Serineni, who has worked her magic on the mixers as FAIRYDVST at desert parties, warehouse ragers, and forest campouts since debuting in 2016. What separates Serineni from other local DJs, other than being a south Asian woman performing in a scene largely white and male, are her forward-thinking mixes that weave new music from undiscovered bass house, U.K. garage, and future house artists with darker and weirder grooves. She was dropping producers like Qlank, Nostalgix, and Moksi on underground crowds well before they became staples of EDM playlists. Serineni still gigs at raves, including her own, but has crossed over to more mainstream events, bringing her outsider mentality and early adopter savvy to clubs and festivals. Local EDM promoter Relentless Beats began tapping her for events after she placed highly in a 2019 DJ battle. She’s also lit up house music nights at Bar Smith, Hi Score Club, and Zuma Grill, putting clubgoers on the dance floor at each spot under her sonic spell.

Renowned Phoenix concert promoter Danny Zelisko has done and seen it all — and he’s the first to tell you about it. In his 2020 memoir, All Exce$$: Occupation: Concert Promoter, he spins unforgettable (and often wild) yarns from 45-plus years of producing more than 10,000 gigs since the mid-’70s for a who’s-who of music legends in the Valley and elsewhere. Like helping Pink Floyd sell out back-to-back nights at Phoenix Municipal Stadium in 1988. Or booking Paul McCartney at Sun Devil Stadium in 1990, or smoking weed with Perry Farrell when the now-defunct Compton Terrace hosted the first Lollapalooza show in 1991. As enthralling as this behind-the-scenes glimpse was to read, it told us what we already knew: Zelisko has profoundly shaped and influenced the local concert scene for decades, from mentoring Crescent Ballroom/Valley Bar co-owner Charlie Levy early in his career to advising the current proprietors of Celebrity Theatre after longtime owner Rich Hazelwood died in March. And he keeps bringing icons like Styx, Cheap Trick, and George Thorogood to town for fans of a certain age to enjoy and younger fans to discover. Keep going, Danny — we aren’t ready for you to hang up that backstage pass yet.

It never fails. Every weekend night, a crush of clubgoers invade Scottsdale’s bar-heavy entertainment district by the thousands to drink, dance, and debauch. Typically, the destination for this roving horde of 21-to-35 party monsters is the intersection of Saddlebag Trail and Indian Plaza. This T-shaped crossroads is a nightlife epicenter of the Valley: There are a dozen hotspots within stumbling distance of each other, each with its own vibe, DJ selection, and amenities. Along Indian Plaza, there’s a posh nightclub (Pretty Please) next to a beer garden (Bottled Blonde) next to a tequila-and-tacos joint (Casa Amigos) topped with a boutique bowling alley (Skylanes) across from a pool party haven (Maya). Over on Saddlebag Trail, hip-hop hub INTL, country bar Dierks Bentley’s Whiskey Row, and open-air dance club Hi-Fi compete for attention spans. The scene is chaotic, bordering on shitshow territory, and Scottsdale Police usually block off both streets to traffic, so forget about rolling up in your ride. Stick with those speedy golf carts instead to get you to and from the madness.

A great place to day-drink erases all sense of time. The back patio at Thunderbird Lounge does just that, making clocks and email feel about as relevant as they were 500 years ago. Part dive, part hipster hangout, part zero-fucks-given, and nothing but itself, Thunderbird provides a sticky haven to kick it with macrobrews, no-bullshit cocktails you could have made in high school, and newfangled hard seltzers. It’s not a place to oooh and aahh over craft libations or design. It’s just the ideal spot to have fun and snap open can after can after can, forgetting it all.

Unfortunately, local drag queen Joey Jay didn’t stay long on season 13 of RuPaul’s Drag Race; our hometown hero was the second contestant to get the ax. But it only took one episode to get the whole Drag Race fanbase talking about him. He famously made his entrance by declaring himself a “filler queen” (a Drag Race contestant destined to get eliminated quickly). Then, later in the episode, during a surprise lip-sync challenge, his red feather ensemble shed all over the stage. Since appearing on the show, he’s been spending a little less time in town as he makes appearances around the country, but you can still catch him most Friday nights at Kobalt in central Phoenix as part of the 4Some Revue. Oh, and those red feathers? He auctioned some of them off to raise money for nonprofits that help LGBTQ youth. He really is the queen that fills our hearts.

There are 1,000 ways you could frame a conversation about Andy Warpigs. They were a true punk rocker with piss and vinegar to spare. Or, a committed friend and collaborator and partner with a massive heart. They were also a spark for amazing art across the Valley’s rich indie music scene. All of those are true, and yet they only briefly encapsulate Warpigs, who died on May 30, 2021, at the age of 32. Warpigs’ art was a direct result of this ongoing battle between ample rage and disdain and a belief that change is inside us all. You got the sense that Warpigs saw life as this wondrous struggle for decency and humanity. As such, their work was representative not just of great punk but what it means to be alive in the world as someone who wanted more from it. Warpigs taught us, with every raw, sweat-soaked show and snarling new anthem released, that great art really could change the world — if only because it made us all just a shred more open and honest. Andy Warpigs helped make Phoenix a weirder and more beautiful place, and we’re all charged with carrying that great flame forward.

When Jake Stellarwell first started developing Recordbar Radio in 2019, he envisioned the locally focused internet radio project, studio, and retail spot as something to “bring DJ and independent underground music culture in a bit tighter while bringing everyone together in a meaningful way.” He turned out to be more prescient than a needle-dropping Nostradamus. When the pandemic pressed pause on the Valley’s music and nightlife scene for the better part of a year, Recordbar helped fill the silence with video and audio YouTube livestreams of local DJs, producers, turntablists, beatsmiths, and selectors laying down a wide variety of sounds at the central Phoenix studio. (MCs, bands, and musicians have also been featured.) After launching in April 2020, the Recordbar crew began inviting in artists from various scenes, running the gamut from crate-diggers like Djentrification and Johnny D. to experimental electronic artist Terminal 11 to techno-loving freaks like Disco Zombie. They’ve broadcast close to 500 livestreams thus far, and later this year, Stellarwell says they’ll debut a new location that also functions as a coffee shop, record store, beer and wine bar, and full-fledged venue. “We’re trying to make Phoenix a bit more of a dynamic, interesting, and culturally relevant place to be,” he says.

Doug Hopkins may have shuffled off his mortal coil some 28 years ago, but he’s still a part of the city where he made his name as a musician. A vibrant, 8-foot-wide painting of the late Gin Blossoms songwriter and guitarist adorns the cinderblock wall outside Tommy Gwinn’s home in Tempe and is part of the Valley Rockstar Memorial, a mural series he launched in 2020 to honor prominent local musicians who have died. Alongside Hopkins are portraits of guitarist-vocalist Lawrence Zubia, Linkin Park frontman Chester Bennington, keyboardist Vince Welnick of The Tubes, and Mike Condello, the bandleader for The Wallace and Ladmo Show. There are seven paintings in all, each created by Mesa artist Gina Ribaudo. As Gwinn told us earlier this year, the project is a way to keep the memories of these local legends alive. “Someone told me once that everybody dies twice: The first time is when they pass away and the second is when everybody forgets who they were,” he says. “And I’m trying to help keep the second one from happening as much as possible.” Amen, brother.

What did you most miss during the pandemic? Indoor dining? A trip to the mall? Grocery shopping without fearing for your life? For us, it was live music. So we were grateful to Paul and Julie Kent, Tempe neighborhood activists who very quietly lined up acoustic acts and sent out the low-key word about a series of socially distanced, outdoor performances. It felt so decadent to grab a mask and a beer and wander down the street to the George Ditch to listen to music. We loved being able to tip the musicians (most of whom really suffered with no venues open) and most of all, to just feel normal for a bit, transported by music performed in several spots around the ‘hood to keep the crowds tiny and the tunes flowing. We hope the world never shuts down again, but if it does, a return of Ditch Sessions would be an acceptable silver lining.

A great person once said, “When the going gets tough, the tough get weird.” That’s certainly been the recent M.O. of Robbie Pfeffer, the frontman of longtime Phoenix indie rock band Playboy Manbaby. Over the last year-plus, Pfeffer has blown up big-time on TikTok, whether on the band’s account or working with the Maricopa County Democratic Party. Pfeffer’s presence on the “children’s dancing app” sounds unlikely until you see his videos. His combination of bizarre antics and visuals, paired with relevant musings on Arizona’s political landscape, somehow works, and his deadpan humor and general vibe make these clips informative, entertaining, and even a little edgy. Pfeffer’s rise as an unlikely social media star is great for Phoenix, bolstering our reputation as an artistic haven. But mostly, it’s a victory for Pfeffer, who was able to expand his career options in a way as to build on the weird and wonderful art that he’s made over the years. It’s like having your cake and eating it too (but in, like, one of those super-viral mukbang videos).

The 2021 NBA playoffs were a highly emotional time for a lot of us. As our Phoenix Suns plowed through the competition toward what seemed like an inevitable NBA championship, we all dealt with our nervous energy in different ways. As one example, Tempe music legends the Gin Blossoms blew off a little steam by engaging in a Twitter war with a smartass Denver Nuggets fan. After the Suns trounced the Nuggets in the second round of the playoffs, the Gin Blossoms were the halftime entertainment during Game Two of the Western Conference finals against the Los Angeles Clippers. “Leave it to the Suns to book the third shittiest band ever,” tweeted @VicFang1o. “Who did your Nuggets book tonight?” the Blossoms fired back. That could have been the end of it, but @VicFang1o just wouldn’t stop poking. “This @nuggets season is now about as relevant as the Gin Blossoms tbh,” he responded. The Gin Blossoms clapped back by saying they were playing “one more game of the Western Conference Finals than the Nuggets.” The back-and-forth jabs continued, with @VicFang1o’s trolling comments getting increasingly lame. In the end, he faded back into obscurity and the Gin Blossoms spent the summer on tour, so we know who the real winner is here.

Earlier this year, when music venues hadn’t reopened and we were jonesing for some live, local music, only one thing took the edge off. The Way Back Sessions is a weekly YouTube series featuring host Adam Carter, camerawoman Kat Carter, and outgoing sound engineer Brian Pristelski, along with a rotating cast of musical guests. Over the course of 90 minutes or so, viewers get a livestreamed performance interspersed with interview questions and banter between Carter and the musicians. Carter’s enthusiasm is infectious; you can hear him screaming in the background for beloved local acts like Banana Gun, Snailmate, Wurmfur, The Real Fakes, Chrome Rhino, Wyves, The Woodworks, and Big Finish. Beyond giving us a crash course in what’s cool in the Phoenix music scene, The Way Back Sessions personalizes the concert experience for viewers; we come away from each episode knowing more about the people we see on stage at shows. Carter says he has big plans for the show, including getting regional and national acts into the WBS studio. We can’t wait to go along for the ride.

Speakeasy spots, rowdy saloons, dingy dives, and new Arizona-forward cocktail lounges currently comprise the Phoenix bar scene — but this historic tiki tavern is still tops. The Bikini Lounge is a well-loved neighborhood bar — okay, dive — in the Grand Avenue Arts District. And though it’s old Phoenix, we’re not too worried it’s going to get run out of the burgeoning downtown scene. It’s too much of a fixture. Open since 1947 and named for Bikini Atoll in the Marshall Islands, it’s one of the last of the first-wave tiki bars that were popular in the midcentury Valley. The cash-only haunt is also known for a lovable but stern longtime bar staff. Bikini was remodeled in the 1960s and is still adorned in Tom Cooper murals (most iconically, the topless woman above the bar), a bamboo-walled back patio, and even a tiki-themed bike rack.

Great creative cocktails. Minimal theatrical bullshit. This has become a rare combination in the age of the themed or otherwise grandly designed cocktail bar. Highball lasers in on drinks with zero distractions. Libby Lingua and Mitch Lyons’ dim, copper-plated bar features cocktails as exciting as any in town, building from complex mixed bases of cognac and apple brandy, uniting unalike ingredients like coconut matcha and fernet, and infusing rum with Fruity Pebbles. If you think you’ve sipped it all, post up and try a riff like Amongst the Trees (a spice-tinged, fruit-layered paloma). Or order something wholly new, like Pardon Anything (cachaca and graham cracker?). Even the wine offerings and shots are next level.

Even now, even in its unlikely digs sharing a building with The Grey Hen and Century Grand, UnderTow immerses you so deeply into its imaginative vision that, looking out a “porthole,” you can almost feel the “ship” riding the waves. Why is this the best reboot? Because it preserved one of our best bars through stormy waters. During the pandemic, UnderTow moved a few dozen yards from its previous spot inside a Sip Coffee & Beer. The tiki-style experience remains excellent and one of hospitality group Barter & Shake’s crown jewels. Rums, tequilas, and other tropical-leaning spirits take the stage. Flavors call to mind teal waters and giant sunsets. Tiki drinking doesn’t get better.

We’ll always remember fondly this summer’s Phoenix Suns playoff run. It didn’t turn out how we wanted, but one of our favorite takeaways from those thrilling weeks was “Suns in 4,” a catchy track by local hip-hop artist Robbie Tripp. The title comes from the viral video in which Phoenician-turned-Denverite Nick McKellar got in a fight with a Nuggets fan during Game 3 of the Suns-Nuggets series: “SUNS IN FOUR!” McKellar screamed defiantly at his aggressor. The short song is an appreciation of Phoenix just as much as it is an ode to its basketball team with lyrics like “We the Valley here together / Man, we all we need / I put the city on my back / I wear it on my sleeve.” Sure, it might not be the most complex or thoughtful tune to come out of the Phoenix music scene this year. But to us, it’s a musical time capsule that will never fail to remind us of the summer of 2021, when it seemed like the whole city was united in a spirit of hope, excitement, and local pride.

“Pool bar” might conjure memories of sugar-bomb frozen daiquiris or clubby bottle service that only oil barons can afford. Lylo changes the formula, introducing casual Japanese-leaning food alongside flawless original cocktails. These come from the mind of Ross Simon, the “cocktailian” behind Bitter & Twisted and Little Rituals. They spotlight rum (mostly), and they are bomb. Two rums are blended into soft-serve ice cream for the deeply nostalgic Dole Whip. Another two rums lace the pineapple and lime juice to make a complex, supremely refreshing rocks drink. And an artful, three-berry frozen daiquiri will banish even the saddest resort daiquiri memories.

On the (relatively rare) days when we feel like it’d be nice to escape Phoenix for a little while, but can’t, we head to Casey Moore’s. In addition to being one of the finest bars in the Valley, Casey’s is also a kind of sanctuary. (It even looks like a sanctuary, much of it shielded from the street by trees and flowers and foliage and latticework.) Here, on the large, brick patio, the shade is abundant and Tempe’s fading college-town vibes are well-preserved. You’ll find cool professors, townies (but not the scary kind), pretentious English majors (god bless ’em), people who still smoke cigarettes (we don’t judge), and lots of dogs. So much of Phoenix feels new, sometimes to its detriment. Casey’s is that rare bar where the past is still alive and thriving.

The rooftop bar at Cambria Hotel Downtown Phoenix gives you a straight-shot view of all the best Valley landmarks: Camelback Mountain, Piestewa Peak, and all the construction happening along Portland Street down below. The high vantage point also means you can scout Roosevelt Row to see if the nightlife is popping — or finally dying down. Head up to From the Rooftop for after-dinner craft beer and cocktails, or before dinner for a dip in that shimmery rooftop pool. And for fans of hyper-local drink names, try the Camelback Sunset: passion fruit, sparkling wine, apertivo, and orange zest. Seating is first-come, first-serve, and reservations can be made for the furniture clusters — upscale patio furniture fancy enough to make you feel like you’re in an old Pier 1 Imports commercial.

How many dive bars let you smoke a cigarette? From how many can you see stars? The ceiling at Ernie’s is partly open, making both possible. And that’s just where things start to get good at this north Scottsdale watering hole. A low-key, zero-judgment crowd kicks it at Ernie’s until 2 a.m. every night of the week. Pool balls clack, karaoke voices howl, and people keep an eye on sports on high TVs, discussing (and half-forgetting) life while the drinks flow. Miller and well drinks are the norm. The menu doesn’t fuck around, offering tuna melts and club sandwiches. A proper dive so far north in Scottsdale almost seems like a myth at this point, but that’s part of Ernie’s charm.

Ziggy’s Magic Pizza Shop in downtown Phoenix uses some sleight of hand when it comes to its most unique feature: a secret entrance to Stardust Pinbar, the David Bowie-inspired game bar next door. Stroll into the pizzeria’s back room and through a mock-up of a walk-in freezer door, which leads to the glammy lounge with its illuminated dance floor, Bowie-themed art and cocktails, and various pinball games. It’s been a pleasant surprise for first-time patrons and went viral on TikTok after co-owner Ariel Bracamonte posted a video of the entrance in October 2020. One female viewer called it her “new favorite thing.” Same, girl. Same.

In the 2010s, American cocktail bars were obsessed with the Prohibition-era aesthetic. All those suspenders and vests. Lots of ice blocks being clubbed with big wooden mallets. Handlebar mustaches. Rough Rider, which opened this summer in the basement of the Ten-O-One building, has a whiff of that vibe, but it draws its inspiration from even farther back in time. It’s named after the Rough Riders, the ragtag cavalry of cowboys Teddy Roosevelt led during the Spanish-American War in the late 19th century. Cocktail-wise, the menu’s split into four sections, two of which are very old-timey: cobblers (which include jam) and punch (made with tea). The place is properly dim and does a nice job evoking Teddy’s era, with caskets jutting out of the walls, built-in bookshelves, ornate woodwork (including in the elevator), and a lovely white marble bar top. (The team behind Rough Rider also is involved in The Whining Pig and Pigtails Downtown.) The place looks built to last, like much of the stuff produced in this proud American era. Here’s hoping the bar is, too.

We didn’t think that cigar bars were our thing — until we visited Churchill’s. The intimate space in Arcadia isn’t as big as other cigar bars in town, but what it lacks in size, it makes up for in class. The walk-in humidor has a well-curated selection of stogies, and the wood floors and club chairs make the space both cozy and elegant. There are three Churchill’s locations in town, but only the 44th Street outpost has Winston’s, a full bar with an emphasis on single-malt Scotch, bourbon, and rum (although they make a mean lemon drop, too). A top-quality filtration system means that even people who don’t dig the cigar smell can hang out comfortably, so everyone is able to come and get the full Churchill’s experience.

First things first: Go to The White Rabbit’s website and sign up for emails. That’s how you get the monthly password to this east Valley speakeasy, which is located underground in Gilbert’s Heritage District. Once you give the password and find the secret entrance (we’ll let you figure that one out yourself), you’ll find yourself in another world, one that’s dark, intriguing, and intimate. There’s a limited menu of appetizers and desserts, but the drinks are really the draw here: Cocktails are inventive and intricate, and we’ve spent many a night taking sips from our friends’ glasses, the better to try as many concoctions as possible. The White Rabbit isn’t the place to have a rager; it’s a spot to dress up for, soak up the old-school atmosphere, and imbibe in good company.

The indoor fun center — a place where people can hide from the sun while eating, drinking, and entertaining themselves in a variety of ways — is a popular destination in our desert climate. There are lots of choices around town, but we’re currently delighted with Mill’s Modern Social at the corner of Mill Avenue and Broadway Road, which opened earlier this year. The first thing you’ll notice about Mill’s Modern Social is the sleek, on-trend decor — it’s bougie, but not in a bad way. There are games like cornhole, giant Jenga, and table tennis; an arcade room with darts, Guitar Hero, and Super Mario Bros. (arcade games are free on Wednesdays after 3); and an impressive number of pool tables. The food and drinks are pretty standard (burgers, flatbreads, appetizers), but they hit the spot. We find ourselves returning to Mill’s Modern Social again and again for fun and food in a stylish atmosphere.

Local geeks rejoiced in 2020 when Ryan Scott rebooted his popular game bar at its new home in Mesa after a four-year absence. And like that long-awaited Psychonauts sequel, it was worth the wait. Version 2.0 of Endgame is significantly larger than its original home in downtown Tempe with an enormous main room, dance floor, multiple bars and patios, themed food and drink options, and dozens of gaming stations equipped with PC rigs and almost every major console known to mankind. Ravers and rappers have embraced Endgame as much as the gamer crowd since its return, as weekend hip-hop nights and DJ events happen on the regular, allowing patrons the chance to show off both their dance moves and mad gaming skills.