EST 1917
Collective Concerts Presents
Wednesday are known for their fuzzy shoegaze guitars and country-tinged storytelling, creating a sound that straddles indie rock and alternative country. Formed in Asheville, NC, the band started as Karly Hartzman’s solo project but soon grew into a full-fledged group. Wednesday’s music marries feedback-drenched noise with lap-steel twang, often dubbed “country-gaze,” yielding “the great fuzzy guitars of shoegaze with a faint Southern twang” in their songs. This distinctive blend provides the backdrop for Hartzman’s evocative lyrics about small-town life and personal memories, delivered with equal parts grit and heart. Over time, Wednesday’s musical evolution has amplified their signature style. Hartzman’s early lo-fi recordings gave way to 2020’s, I Was Trying to Describe You to Someone, where lush shoegaze textures met confessional alt-country lyricism. With MJ Lenderman joining on guitar, 2021’s, Twin Plagues, introduced a fuller, more explosive band dynamic. By 2023’s, Rat Saw God, their first release on Dead Oceans, Wednesday had honed an even bigger, emotionally powerful sound without losing their raw edge. Throughout, the band’s influences range from noisy 90s rock to classic country storytellers, resulting in a potent mix that’s both melancholic and raucous. Wednesday stand out for forging a bold, “melting pot” style that is uniquely theirs.
Wednesday’s genre-bending approach – equal parts shoegaze haze and alt-country twang – has earned them critical acclaim as one of today’s most exciting indie rock bands. Their catalog shows a band continually pushing their sonic boundaries while staying true to the rough-hewn honesty at their core. Wednesday invite listeners into a world where distortion and Southern Gothic imagery collide, producing an electrifying, “bootgaze” sound that is instantly recognizable as their own.
November 15 2025
19+
Doors at 7:00PM
$36.43
RAPSEASON Presents
Nine Vicious (Treyvion Echols) emerged from the Athens, GA underground with a fearless fusion of trap and rage energy. Bursting onto the scene via SoundCloud in 2024 with tracks like “I Love You” and “I’ll Neva,” he quickly gained momentum. His debut EP, B4SA, and mixtape, Studio Addict, introduced a chameleonic flow and drew comparisons to early Young Thug and Ken Carson. Major outlets noticed; he’s been featured in Rap-Up and Pitchfork, validating the buzz around his distinctive style.
By 2025, Nine’s evolution hit overdrive. A high-profile co-sign from Young Thug led to a deal with YSL Records, and he dropped two ambitious albums that year. Tumblr Music, his label debut, flaunted “raw, unapologetic, rockstar sound” with gritty Southern beats and experimental twists. Just months later, follow-up, For Nothing, continued his meteoric rise, blending melodic hooks with dark, barbed-wire energy. Both records showcase Nine’s ferocious delivery and genre-blurring production, from cloud rap ambiance to bass-heavy rage anthems.
What truly defines Nine Vicious is his magnetic presence and unfiltered creativity. Critics note his “unhinged ability” to captivate listeners, while fans connect to his rebellious charisma and heartfelt honesty. Whether paying homage to hip-hop legends in cover art or dropping viral singles like the Pitchfork-praised “U Fancy?”, Nine Vicious constantly pushes boundaries. He stands as a bold new voice turning Atlanta’s rap template on its head, forging his own lane with a signature blend of innovation and attitude.
November 19 2025
All Ages
Doors at 7:00PM
$35.00
Art Buzz Productions Presents
Formed in 1994, Russian rock band Splean (Сплин) emerged from St. Petersburg’s alternative scene with raw, guitar-driven energy. Early on, their music bore hallmarks of alternative rock and post-grunge angst, but Splean never stood still. Lead singer Alexander Vasilyev – a literary soul whose very band name nods to poetic melancholia – guided the group through constant reinvention. Over the years, they experimented boldly with genre and style, so much so that newer albums “sound almost nothing like the first ones.” Splean’s signature today is a blend of introspective rock and artful lyricism: brooding folk-rock balladry, dreamy indie sounds, and even electronic or orchestral flourishes coalesce under Vasilyev’s voice. His lyrics, rife with rich metaphors and existential themes, have earned Splean a reputation as “Russia’s poetic rockers,” pairing the mundane and the profound in equal measure. The band’s evolution from the edgy angst of 90s albums to the experimental, philosophical tone of recent releases showcases a relentless creative “searching, searching, searching” in Vasilyev’s words. Splean today delivers melodic, genre-blending compositions that retain rock’s bite but prioritize poetic depth and atmospheric experimentation. Fans cherish their ever-evolving sound – one that marries rock riffs with soulful introspection – proving Splean’s music only grows more lyrically poignant and sonically adventurous with time.
November 21 2025
19+
Doors at 7:00PM
$99 - $139
RAPSEASON Presents
Mario is more than an R&B singer. He is a voice that has defined eras, a presence that has carried soulful music from teenage charm into mature artistry. From his breakout as a teenager with, Just a Friend (2002), and the chart-dominating, “Let Me Love You,” he set a new standard for emotional, smooth, and unforgettable vocal delivery. Over the years, Mario has evolved into an independent force, fighting through industry struggles and creative battles to build his own lane.
On 2004’s, Turning Point, Mario showed the world he could balance classic soul with the raw energy of the streets. With 2007’s, Go, he claimed ownership of his sound, pushing boundaries and stepping boldly into new territory. The 2009 release of, D.N.A., blended pop and hip hop influences with his signature R&B feel, proving that he was never afraid to take risks. After stepping back from the spotlight, he returned in 2018 with, Dancing Shadows, an album that reflected deep personal truth and complete creative independence.
Today, Mario’s latest work, Glad You Came, captures everything that makes him unique. The record is filled with seductive energy, heartfelt lyricism, and the unmistakable power of his voice. It is proof that Mario has never stopped evolving and has no intention of slowing down. Nearly two decades into his career, he continues to inspire and redefine what R&B can be. With Mario, you get more than music—you get honesty, passion, and timeless soul.
November 23 2025
All Ages
Doors at 7:00PM
$42.50
Not Dead Yet Presents
bar italia emerged from London’s underground in 2019 with an enigmatic, DIY spirit that quickly earned cult status among indie die-hards. The trio – Nina Cristante, Sam Fenton, and Jezmi Tarik Fehmi – craft lo-fi, post-punk and shoegaze-infused songs that feel like midnight whispers in a city café. Early releases on Dean Blunt’s World Music label, including debut LP Quarrel and follow-up Bedhead, shrouded the band in mystery while showcasing their knack for dissonant yet hooky melodies and raw, bedroom-recorded intimacy. By the time Tracey Denim dropped in 2023, bar italia had sharpened their sound without losing their edge – layers of sleety guitars, dual vocals, and woozy atmospherics coalesced into something both haunting and catchy. “We just wanted to write catchy, good songs, not endless experiments,” they’ve hinted, a manifesto reflected in every aching chord and off-kilter pop hook. Influenced by the moody romanticism of The Cure, the haze of Slowdive, and Sonic Youth’s artful noise, bar italia channel familiar nostalgia through a fractured, contemporary lens. Their aesthetic – lowercase, low-profile, and laden with moody collage imagery – mirrors the music’s gritty elegance. From the jangling gloom of underground EPs like Angelica Pilled to the recent one-two punch of Tracey Denim and The Twits, bar italia’s evolution is a testament to staying true to one’s DIY roots while quietly redefining the sound of modern alternative rock.
November 27 2025
19+
Doors at 7:00PM
$34.21
Collective Concerts Presents
Nick Mulvey’s music unfolds like a sunrise meditation – gentle, radiant, and brimming with soul. In poetic verses and intricate guitar patterns, he sings of inner journeys and global landscapes, drawing on rhythms and modes gleaned from his travels and ethnomusicology studies. A former Portico Quartet percussionist who traded the hang drum for a six-string, Mulvey carries a worldly heartbeat into contemporary folk. His songs feel like mantras: each note a step toward spiritual awakening. Listeners drift on warm currents of melody as Mulvey’s soft vocals ponder life’s mysteries – unity and impermanence, self-discovery and surrender.
There’s a reverence in his tone, inspired by meditation and nature’s wisdom, that turns each lyric into an introspective prayer. Ever conscious and compassionate, Mulvey invites us to wake up now and embrace our shared humanity. He stitches West African grooves to English folk roots, Cuban rhythms to introspective indie, creating an earthy tapestry of sound where personal stories and planetary concerns entwine.
In this space, Nick Mulvey stands as a gentle bard of the soul – a contemplative songwriter channeling hope, harmony, and the healing power of music in an increasingly disconnected world. Whether he’s whispering intimate truths or calling for global connection, Mulvey’s songs offer comfort and clarity, encouraging listeners to pause, breathe, and reconnect with something deeper within. His music is both a refuge and a reminder: the path inward is the journey home.
November 28 2025
19+
Doors at 7:00PM
$42.89
Chocolate Groove Presents
Poranguí emerges from the high desert red rocks of Sedona, where his Brazilian-Mexican-Southwestern roots converge into a singular sonic vision. Raised between the lands of Brazil, Mexico, and the American Southwest, he carries ancestral rhythm and ceremony deep into every performance.
From early improvisations on guitar, voice, and world percussion, he developed his signature live looping solo practice, transforming himself into a one-man orchestra. His work bridges Afro-Brazilian pulse, Indigenous songlines, didgeridoo drones, Native flutes, and electronic texture, creating a tapestry of global ceremony and club rhythm.
His recent album Beauty Way weaves Afro-Latin rhythms with ballads, folk song, and ceremonial music, blending didgeridoo to kalimba and multilingual vocals in a call to collective renewal. Earlier works such as Kuya Sessions: Sol (with Liquid Bloom) leaned into ritual sound journeys that move bodies in dance and minds into reflection.
On stage he summons movement and stillness alike. A groove may rise and then dissolve into a chant, the audience becoming co-creator of the moment. His music serves as both pulse and prayer, grounded in the land and open to the cosmos. With each show he invites listeners into sonic ceremony, where drum, voice, and looped groove become vehicles for healing, connection, and transformation.
November 30 2025
19+
Doors at 7:00PM
Collective Concerts Presents
Born Ruffians – Luke Lalonde, Mitch Derosier, and Steve Hamelin - rose to prominence in the aughts indie blog era, the same Toronto scene that produced Canadian indie icons like Broken Social Scene, Tokyo Police Club, and Metric. Since that time, they’ve become one of Canada’s biggest indie rock exports, releasing 8 albums and 3 EPs on some of the world’s most acclaimed record labels - Warp Records, XL Recordings, Yep Roc Records, Paper Bag Records, and their newly-minted Wavy Haze Records.
The group has toured internationally, supporting renowned artists like Caribou, Franz Ferdinand, Hot Chip, and The New Pornographers, while also headlining tours throughout North America, UK, Europe, and Australia. Uncle, Duke & The Chief (2018), one of the final projects produced by the late, exceptionally-great producer Richard Swift (The Shins, Nathaniel Rateliff, Foxygen), brought the band into a new era: the album was lauded by NPR Music, Rolling Stone, and American Songwriter as a mature, confident evolution of the band’s hooky left-of-center pop sensibilities. Their follow-up COVID-era trilogy, JUICE (2020), SQUEEZE (2020), and PULP (2021), produced by Graham Walsh (Alvvays, Holy Fuck, METZ), charted on Billboard and US Alternative Radio Charts and garnered widespread acclaim from press outlets in North America and Europe.
In 2025 they return with, Beauty’s Pride, with new band member Maddy Wilde in tow. Here, the band set out to create a record that sounds like it was made in 2025: it’s a maximalist indie rock album that embraces hi-fi production techniques. It presents Born Ruffians as the rare veteran act that can still make you feel like you’re discovering your new favourite band.
December 5 2025
19+
Doors at 7:00PM
$29.50
Inertia Entertainment Presents
Cattle Decapitation have spent over two decades pushing the boundaries of extreme metal. Formed in 1996, this San Diego outfit evolved from a ferocious gore-grind side project into a full-fledged force of nature in modern death metal. Early releases showcased a raw blend of grindcore savagery and gruesome imagery, driven by the band’s fervent ethical stance. As albums rolled out, their sound grew more sophisticated and intense, with each release upping the ante. By the time of 2012’s Monolith of Inhumanity, Travis Ryan’s vocal innovations – ranging from inhuman gutturals to eerily melodic snarls – and the technical prowess of the band had coalesced into a signature style. The group took on a more polished yet no less punishing death metal approach, drawing comparisons to legends like Carcass and Cannibal Corpse while carving out a niche entirely their own. 2015’s The Anthropocene Extinction and 2019’s Death Atlas further cemented Cattle Decapitation’s reputation for combining blistering, intricate riffs with apocalyptic atmosphere. The latter album was a career peak – a bleak, cinematic opus of misanthropic fury. Rather than rest on their laurels, the band reinvented itself yet again on 2023’s Terrasite, infusing new layers of melody and experimental texture without sacrificing intensity. Through it all, they have retained a brutal honesty in their lyrics – tackling humanity’s collapse, environmental ruin, and animal suffering with unflinching imagery – ensuring that Cattle Decapitation’s message hits just as hard as their music.
December 6 2025
19+
Doors at 6:30PM
Collective Concerts Presents
Public Service Broadcasting (PSB) are a London-based band known for their unique sonic identity that merges past and future. They weave archival voice samples from old films, newsreels, and propaganda into expansive instrumental tracks, creating a cinematic fusion of post-rock and electronic music. Guitarist/programmer J. Willgoose, Esq. and drummer Wrigglesworth (with multi-instrumentalist J.F. Abraham and visuals artist Mr. B) have built a reputation for concept albums that “teach the lessons of the past through the music of the future”.
Each album in PSB’s discography explores a distinct theme. Their 2013 debut Inform – Educate – Entertain blended wartime speeches and mountaineering broadcasts with driving rhythms, setting the template for their sample-rich sound. 2015’s The Race for Space celebrated the space race era, layering mission control audio over pulsating krautrock beats. 2017’s Every Valley delved into the rise and fall of Welsh coal mining with poignant interviews and guest vocals. On 2021’s Bright Magic, the band shifted to a more impressionistic approach, capturing the spirit of Berlin with krautrock grooves and sparing use of English vocals. Throughout these releases, PSB’s signature combination of surging guitar rock, textured electronics, and historic samples delivers an emotive, educational journey. From triumphant saxophone hooks (“Go!”) to haunting orchestral collaborations (This New Noise), Public Service Broadcasting continually evolve while remaining true to their core mission: making the past alive and thrilling in the present.
December 11 2025
19+
Doors at 7:00PM
$55.12
Collective Concerts Presents
Cate Le Bon stands at the intersection of spectral folk, art-pop intrigue, and restless sonic ambition. Across seven solo albums, she has built a singular voice that seems to drift in half-light, part oracle, part guitarist coaxing colors from chords. On Me Oh My she unfolded a modest palette of folk intimacy; by Cyrk she bent her melodies into psych-pop loops and unexpected detours. Mug Museum pared things down, letting space amplify what lingers, what mourns, what hums underneath. With Crab Day she leaned into ambiguity, weaving off-kilter riffs and lyrical frays that refract meaning. Reward felt like a leap, bringing richer textures and sharper turns, with voice and instruments turning on one another and pulling the listener into a tighter orbit. Then Pompeii arrived as an incandescent excavation of her own interior, where synths glint like mirrors and guitars ripple in shifting light. Her newest record, Michelangelo Dying, channels heartbreak, obsession, and rebirth. It is an album steeped in tension, love as erosion, sorrow as method, in which she produces, arranges, and performs with full reckoning. Through it all, she moves with an unflinching gaze. Her songs linger between the seen and unseen, the personal and the mythic. Her production work for Wilco, Horsegirl, and Devendra Banhart underscores a restless curiosity. To hear Cate Le Bon live is to feel the air charged, guitar strings vibrating like stained glass, voices faltering and returning, the fragile engine of creation humming just beneath.
January 20 2026
19+
Doors at 10:00AM
$48.50
Collective Concerts Presents
Dry Cleaning stand at the center of a modern avant-rock movement built on trust, detail, and the peculiar tension of ordinary life. The South London quartet of Florence Shaw, Tom Dowse, Lewis Maynard, and Nick Buxton shape their music through mutual response, beginning with ideas in rehearsal rooms that stretch outward into layered soundscapes. Shaw’s voice remains a quiet force, weaving her found words and postcards into rhythmic speech that sits inside the pulse of each song rather than above it.
Their debut New Long Leg and its follow-up Stumpwork established a framework of angular guitars, heavy basslines, and dry humor. On Secret Love, they deepen that palette, filtering paranoia, no wave, and pastoral tones through the lens of intimacy and reflection. Recorded across studios in London, Chicago, Dublin, and the Loire Valley with producer Cate Le Bon, the album carries both playfulness and gravity. Its tracks move between darkness and clarity, between the political and the personal, searching for connection through shared honesty.
Secret Love feels both inward and expansive, a document of friendship and persistence. Dry Cleaning approach each song as a conversation among equals, exploring trust, humor, and the strange coherence that exists between chaos and calm. Their music captures the unease of modern life while finding beauty in the act of simply listening to one another.
January 26 2026
19+
Doors at 7:00PM
$40.00
MRG Live Presents
Maanu emerged from the streets of Lahore with a compass made of melody and memory. Raised in the city’s restless pulse of pop and underground hip-hop, he learned piano and guitar before his first public cadence ever dropped. Over years of writing and producing he sharpened his voice into something both intimate and expansive. His record Yain City marked a beginning in 2020—a collection of songs marrying Urdu and Punjabi lyricism to modern R&B and hip-hop textures. From there, Maanu moved through single after single, expanding his reach and deepening his sound. The breakthrough moment came with the duet Jhol—a raw, heartbreak-laced anthem that pushed him into the mainstream while retaining his indie edge. His latest album Thikaana (2025) places him at the junction of love ballad and streetwise rap, anchored by rich production and bold collaborations. In each song he holds a mirror up to his generation: restless, searching, anchored to place yet itching for flight. Live he commands the stage with an edge—leaning into rap flows one moment, soaring into melodic choruses the next, all the while rooted in a distinct Pakistani sound. His lyrics scratch at longing, belonging, the ache of youth. Maanu’s signature style lies in that tension: the blend of city grit and soulful vulnerability, pop polish and street honesty. For fans who live in the space between tradition and tomorrow, Maanu offers both soundtrack and mirror.
February 14 2026
All Ages
Doors at 7:00PM
Collective Concerts Presents
Gary Numan exploded into the music world as a teenager, seeding a blueprint for electronic rebels to come. With his roots in Tubeway Army and the groundbreaking album Replicas, he imagined steel cities and machine souls long before the genre had a name.
In 1979 the solo leap delivered The Pleasure Principle, a cold, neon-lit manifesto of synthesizers over guitars, anchored by the massive hit “Cars.” From there Numan refused to stand still. He slipped beneath pop’s surface into stark industrial textures, gothic electronics, and dystopian rock-guitar drama. Audiences came to recognise his ability to shift sonic ground while retaining a voice that sounded alone in a crowded room.
As the decades unfolded, his albums moved from the minimalist future shock of the early eighties into the darker terrain of the 2000s and beyond. With records like Pure he embraced a metallic edge; with Splinter (Songs from a Broken Mind) he carved into the psyche of decay and resistance. His 2017 comeback peak Savage (Songs from a Broken World) struck a chord with its post-apocalyptic vision and sonic focus, reaching new generations of listeners.
Today Gary Numan stands unbowed, a veteran who still speaks in chord sequences, visual tableaux, and industrial shadows. His trademark blend of analogue synth darkness, propulsive rhythm, and a voice that sounds locked inside its own circuitry remains compelling. For a live gig, expect strobes imperious as machine minds, basslines carved from steel, and the unmistakable figure of a man in control of the machine and yet still human.
March 24 2026
19+
Doors at 7:00PM
$39.50
Collective Concerts Presents
Alice Phoebe Lou emerged from the sidewalks of Berlin carrying a guitar and a carry-on full of hope. Born in Kommetjie on the coast of South Africa, she set down roots in Berlin while her voice took flight. With her debut album Orbit she planted a marker: folk-tinged, breathy, restless. Her second record Paper Castles embraced broader textures, with synth washes, guitars that shimmer, and lyrics wrestling with intimate truths and vast skies. In Glow she leaned into light and shadow, her songs gliding between jazz warmth and electronic edges. With Child’s Play she peeled back everything, letting the raw voice speak, chords simple but direct. Her most recent studio album Shelter felt like a home-coming, atmospheric and grounded, filled with songs that hold you close and then push you out into the night.
Her sound is not bound by genre but shaped by the freedom of busking in Berlin’s streets, the wild Atlantic wind of her childhood, and the shimmering nights of city shows. She blends indie folk, bluesy tone, and electronic shimmer, performing with guitar and piano in arrangements that shift from fragile to fierce. Each show becomes a ritual: lights low, crowd leaning in, her voice the thread that binds everything. When she steps on stage the world tilts just a little, and the audience leans forward to listen. She is independent, open, and endlessly evolving, an artist who invites you into her orbit and asks you to stay wild with her.
April 9 2026
All Ages
Doors at 7:00PM
$35.00
Collective Concerts Presents
Dirty Three emerged in Melbourne in 1992 as a raw three-piece with violin, guitar and drums at its core, an unlikely combination that soon refined into a singular, immersive voice. From the early grit of their self-titled records, the trio — violinist/keyboardist Warren Ellis, guitarist/organist/bassist Mick Turner, and drummer Jim White — built soundscapes that feel both intimate and vast. Their breakthrough with Horse Stories (1996) marked a hurricane of strings and rhythm that carried the audience into uncharted terrain. With Ocean Songs (1998) they shifted into quieter waves, letting violin and guitar drift into melancholic drift and ebbing tides, crafting the sonic equivalent of a dusk-lit sea. Over the years their work has folded in folk roots, chamber echoes, improvisational jazz freedom and post-rock texture. Their 2005 album Cinder introduced shorter forms and guest vocals, while the 2012 release Toward the Low Sun found them spread across continents yet reunited by the tape trio set-up in Melbourne, delivering music that feels worn-in and weathered. In 2024 they returned with Love Changes Everything, a textured series of six pieces that again define their evolution: mature, unhurried, deeply expressive and still unafraid of raw emotional terrain. Dirty Three’s signature style lives in the spaces between crescendos and silences, in bowed strings that howl and drift, guitar that weaves and scratches, drums that pulse and breathe. For audiences ready to feel rather than simply listen, this is music that opens up wide enough to hold storms and stillness alike.
April 10 2026
19+
Doors at 7:00PM
$35.00
Collective Concerts Presents
Whitney return to the road in 2026 with a North American tour celebrating their forthcoming fourth studio album, Small Talk (out November 7, 2025). Formed in Chicago in 2015 by Julien Ehrlich and Max Kakacek, the band has earned a devoted following for their soulful blend of tender melancholy and radiant warmth.
Their debut, Light Upon the Lake, introduced Whitney with the beloved single “No Woman,” earning Pitchfork’s coveted Best New Music designation and praise for its “near flawless… low-key perfectionism.” Nearly a decade later, the band continues to evolve while preserving the intimacy and spirit that made them so cherished from the start.
On this run, Whitney will share new songs from, Small Talk, alongside fan favorites, bringing their signature mix of laid-back charm and intricate musicianship to stages across the US and Canada, with stops in Los Angeles, Brooklyn, Toronto, Montreal, and more.
“If you’ve ever seen Whitney live, you already know what a treasure their performances are. The Chicago-based outfit, led by the effortlessly cool Julien Ehrlich and Max Kakacek, has a gift for crafting songs that feel both timeless and deeply personal - sunny yet melancholic, tender yet bold.” - We Write About Music
April 17 2026
19+
Doors at 7:00PM
$37.50
Collective Concerts Presents
Leith Ross crafts songs with a directness of feeling and a quiet rock-edged heart. Growing up in Ontario and now based in Winnipeg, Ross discovered music young and infused it with a restless spirit. Their first major release, Motherwell (2020), found its voice in live-in-a-day sessions captured while studying at Humber College.
Ross’s music moves beyond gently finger-picked chords. On their debut album To Learn (2023) they brought an indie-rock intensity to intimate lyrics, with a thread of yearning, of becoming, of standing outside and looking in. With songs like “We’ll Never Have Sex” entering the collective consciousness through social media, Ross defined the space where vulnerability meets strength.
By the time their sophomore album I Can See the Future arrived in 2025, Ross had sharpened the contours of their sound. Produced in part by Rostam Batmanglij, the record leans into layered textures, acoustic and electric guitars, full band dynamics, and a voice that flows from whisper to roar. They sing about loss, queerness, connection, the body that remembers and the mind that dreams ahead. Their gigs carry the electricity of a rock venue, where chords hit hard and the audience doesn’t just listen but feels. Ross stands in that moment with a guitar in hand and that lived-in voice, calling both the outsider and the believer into the same room.
Expect a live show from Leith Ross that’s honest. The kind of night where the amplifier hums, the reverb glows, the lyrics anchor you and then set you loose.
April 30 2026
All Ages
Doors at 7:00PM
$35.00
Toronto’s renewed and reimagined premiere event space located centrally in beautiful Yorkville. Our concert hall and supporting spaces, turning 100 years old this year, guarantee your event will be unforgettable and one of a kind. Radiating with character and history, having hosted thousands of musical events across the last century, there’s a story and an experience around every corner.
Complete with a raised stage, ornate proscenium arch, active theatre lighting rig, hardwood dance floor, and awe inspiring acoustics, the hall is second to none in the city.
The Masonic Temple was opened with great ceremony on January 1, 1918. Owned by an independent corporation of Masons, the Temple was intended to house a disparate group of lodges and chapters; at one point, thirty-eight different groups called the temple home.
Unlike the rest of the Temple, the Concert Hall was intended as rental public space to help defray operating costs, with dressing rooms, a stage, and food preparation areas.
It’s been known by many names as music and owners changed: The Concert Hall; The Auditorium; Club 888; The Rockpile, Regency Ballroom. The Concert hall started out mainly being used as a lecture-hall (“G. K. Chesterton: Literature as Luggage”), ballroom (“Canada’s Largest Public Dance Every Wed. – Fri. – Sat.”) and to host community concerts.
That’s not to say there weren’t more fantastic events too - Frank Sinatra used to rent the building for private parties, and the Rolling Stones used the space as a summer rehearsal studio for years.
The Concert Hall started to gain traction as a rock concert venue in the 1960s, attracting performers like Wilson Pickett, Tina Turner, Blood, Sweat & Tears, Johnny Lee Hooker, Canned Heat, and Buddy Guy by 1968.
1969 was a massive year: Led Zeppelin, Muddy Waters, Frank Zappa, Chuck Berry, The Who, B. B. King, the Grateful Dead, Mothers of Invention. And that was just a lead into the 70s: The Animals, Iggy Pop, The Ramones, Toots and the Maytals, Hugh Masekela. The 80s starred Iron Maiden, The Cure, Dead Kennedys, King Crimson and Depeche Mode
But things were starting to look bleak. The Building’s condition had rapidly deteriorated throughout the 70s, and as Masons started moving to the suburbs, the Temple started to fall on hard times. The corporation started looking to sell in the mid 90s, but the bands played on, ranging from Vanilla Ice to Weird Al Yankovic, The Tragically Hip to Ice-T. Rage Against the Machine. Phish. Queen Latifah. David Bowie. Pearl Jam & The Smashing Pumpkins opened for The Red Hot Chili Peppers. Green Day opened for Bad Religion. It wasn’t enough.
The building narrowly escaped demolition in 1997 by being declared a heritage site (the ‘lucky’ 888 address was coveted by developers). CTV bought it in 1998 as a news bureau and venue for the Mike Bullard show. MTV took over in 2006, and, despite closing the Concert Hall, still managed to cage a performance from U2 in 2009.
MTV decided to up-stakes and move down to Queen Street in 2012, but the Temple only had to wait a year before Info-Tech Research Group bought and thoroughly renovated it. The Concert Hall has been opened for special events, like listening sessions lead by Jimmy Page, concerts by Luke and the Apostles and Platinum Blond, boxing events, and much more. Now that 888 Yonge Inc. has the reins, we can expect more fantastic events in this beautiful, historic space.
Special Thanks to Daniel Tate. @theflyervault
Interested in the space? Want to throw a wicked event?
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Reach out to us and we'll set you up.
