demo
McMenamins Music

1332 W. Burnside, Portland, OR 97209

    Saturday, February 11, 2017

    SiriusXM Jam On Presents: Galactic Winter Tour

    with special guests The Bright Light Social Hour

    Buy Tickets

    7 p.m. doors, 8 p.m. show
    $29.50 advance, $32 day of show (mezzanine and VIP tickets available)
    21 and over

    Add to Calendar

    SiriusXM Jam On Presents: Galactic Winter Tour

    It's been more than 20 years since Ben Ellman, Robert Mercurio, Stanton Moore, Jeff Raines and Rich Vogel began exploring the seemingly limitless musical possibilities born out of their work together as Galactic. Since then, the seminal New Orleans band has consistently pushed artistic boundaries on the road and in the studio, approaching their music with open ears and drawing inspiration as much from the sounds bubbling up from their city's streets as they do from each other.

    A key part of that creative spark comes from the teamwork of Mercurio and Ellman, whose ever-evolving production and arranging skills helped usher the band into a new phase of studio work beginning with the loop-centric "Ruckus" in 2007. A series of albums focused around specific concepts like Carnival followed, as did collaborations with guests hailing from worlds outside the one Galactic calls its own.

    On "Into the Deep," the band members look within themselves instead, drawing inspiration from people and ideas that have long been close to their hearts - and, in turn, close to the development of their unique sound. Shot through with soul, funk, blues and rock, the result is an organic riff on elements of Galactic's past, filtered through the lens of where they're headed in 2015.

    "I see this album as a kind of culmination of all of our collaborations or experiences, from [trombonist] Corey Henry to the people we met on the road, touring," says Mercurio, referencing Ellman's first full-time gig in New Orleans, which kicked off when Henry hired him into the Little Rascals Brass Band in 1989.

    "The previous albums took us in the opposite direction," Mercurio says. "We collaborated with rappers that we had never dealt with and even on the New Orleans tracks, we didn't have working experience with most of those artists before the recordings."

    In contrast, "Into the Deep" contributors like JJ Grey, David Shaw and Maggie Koerner spent significant time touring with Galactic. A few years ago, Mavis Staples sat in with the band, all of whom are longtime fans of the legendary singer's R&B-meets-gospel soul style. They caught up with Macy Gray when she performed a memorable concert at Tipitina's where Ellman says he could see from the outset "how much she cares about the music." And each of the players had also developed a deep appreciation for the Honorable South's Charm Taylor, whose contribution, "Right On" was written specifically to suit her vibe.

    "Quint Davis [the producer of] Jazz Fest always has a couple people he books at the festival that aren't big names but that Quint knows are going to be super cool," says Ellman. "That's how we met Brushy One-String. We originally wanted to bring him in to do anything, just to see what would happen. But when we heard his song ‘Chicken in the Corn,' we really wanted to do our version of it."

    In the end, he joined them on the road for over a month, collaborating with the band onstage at each show.

    For the instrumental tracks, Galactic mined the interests and tastes they've cultivated together for years in New Orleans. "Buck 77" was written via improvisation, a long-standing cornerstone of their live shows. The funky bass line and tumbling guitar part on "Long Live the Borgne," meanwhile, represents an updated, more composed take on some of the concepts that made early albums like "Coolin' Off" so strong.

    As for the opener "Soogar Doosie," Ellman points out Galactic tends to record at least one track on each album that speaks to the band's collective love of brass band music.

    "We write [those songs] with the idea of how awesome it would be to hear the Rebirth going down doing the street in a second line playing one of our songs. We try to think of a real second line song that would get people slapping stop signs and dancing on cars," he says.

    The album, Ellman says "is all about people. It's these connections we've made over 20 years. They're people in our orbit that have come into our little world and affected us in some way."

    It's also about how the individual musicians within Galactic have grown over time. When it comes to trying new approaches as players, producers, songwriters and arrangers, Ellman muses, "it's an evolution."

     

    Website:
    http://www.galacticfunk.com/

    Instagram:
    http://instagram.com/galacticfunknola#

    YouTube:
    http://www.youtube.com/galacticyakamay

    Facebook :
    https://www.facebook.com/Galacticfunk

    Twitter:
    https://twitter.com/galacticfunk

    with special guests The Bright Light Social Hour

    with special guests The Bright Light Social Hour

    Questions bring art to life. Songs can still ponder socio-political issues, the fragility and isolation of the human condition, and what lies ahead for earth. Moreover, music possesses the potential and gravitas to incite change, while reflecting the world's faults and follies. The Bright Light Social Hour contemplate a "Future South" on their second full-length album, Space Is Still the Place [Frenchkiss Records]. The Austin artists-Curtis Roush [guitar, vocals, synths], Jack O'Brien [bass, vocals, synths], Joseph Mirasole [drums, synths], and Edward Brailiff [synths, keys, guitars] -offer a different interpretation of the space around them throughout ten thematically connected songs. They tackle a myriad of issues head on during tracks such as "Ghost Dance" and "Ouroboros," while "Infinite Cities" contemplates loneliness and "Escape Velocity" subtly hints at a orgiastic ending. The album will pose a few questions, but you may leave with an answer or two as well.


    The Bright Light Social Hour released their self-titled debut in 2010 and scored six awards at SXSW 2011 Austin Music Awards. Throughout nearly three years on the road, they experienced the ins and outs of America, and that voyage ignited a perspective shift. "The new album's themes and inspirations came from touring, particularly the southern part of the country," explains Jack. "We couldn't afford to stay in hotels most nights so we were staying with a lot of people. We got to see how average young Americans lived. We felt a lot of struggle."


    "It was shocking," adds Curtis. "We realized how few individuals were working jobs they felt self-actualized by to some extent. They're pedaling for survival. Our generation has grown up in continuous financial crises, a lot of unemployment, a lack of opportunity, widening inequality, and pervasive issues of race, gender, and class. We're taking a lens to some of these gritty realities and espousing an optimistic, frontier-looking gaze into the future." Theirs is not just a thematic progression though. Traversing the country and cranking tunes in the van, the collective musical palette expanded, embracing influences as diverse as deep house icon Frankie Knuckles, dance renegades Disclosure, Motown legends like Marvin Gaye, and Detroit Afro-rock revolutionaries Black Merda. Everything siphoned into the vision behind Space Is Still the Place. Building a studio in their Austin home, the boys began their musical journey in early 2013.


    "We're all ostensibly southerners," Curtis continues. "The South has great food, a relaxed pace, and sweet, well-mannered folk. However, a lot of issues aren't going away. ‘Future South' is both an aesthetic and political statement. We're taking forms and influences from soul, blues, and gritty southern music and ushering them forward. ‘Future South' evinces the south can be a vibrant egalitarian place. You can love barbecue and not be racist."


    "The dichotomy exists musically," says Jack. "Some songs mirror these harsh truths with guitars and blues energy. Meanwhile, the dreamier electronic-influenced moments are about escaping those dark realities and going to a place symbolized by space." Opener "Sweet Madelene," which Curtis dubs "the most southern rock of the bunch," tempers guitars thick enough to rustle tumbleweed with a bombastic beat and emotive, soulful vocals.


    "Slipstream" could be considered "a death train for the ego," acting as a clarion call to let go of isolation and join the communal struggle under a haze of hypnotic delay and haunting textures. The ethereal "Dreamlove" blasts off on a synth swell, conjuring the image of what Jack likes to describe as "waking up in a hospital on a spaceship."


    The propulsive bass riff of "Ghost Dance" augments its magnetic pull. "At this point, the record trajectory breaks out of the atmosphere and moves into the stratosphere," Jack goes on. "It's a call to the community. We want to encourage using the power of togetherness to effect change."


    Their version of a love song is the dreamy and strangely danceable "Sea of the Edge," painting a lunar portrait that's infectious and inviting. After the pensive and potent "Aperture", "Ouroboros" directly compares those stuck in that cycle of banality to the mythical snake who eats its own tail over buzzing guitars.


    The album's first release "Infinite Cities" coasts ahead on a driving beat before building into one of its sweetest refrains. Accompanied by a transfixing video, it bristles with a bright energy. "Now, we've been away from our families and the ones we love so much-literally gone on the road and figuratively away in Austin while making the album," states Curtis. "We still found a sense of hope in that distance, becoming closer and reimagining what community is. It's like finding a way home no matter where you are."


    "The Moon" and "Escape Velocity" provide a subtly hopeful dénouement, leaving listeners with breathy optimism. Jacks reveals, "You wake up from that dream, realizing humanity may end someday, but you still have to work toward progress anyway."


    Ultimately, The Bright Light Social Hour will unite people. "We're all together, but we have a lot of individual power," concludes Jack. "We want every listener in the audience to have his or her own experience-but together."


    Jo leaves off, "As far as the south goes, it can be a place that exists and participates in the future. I'd love to see more southern bands think about the future. They respect the past so much. At one point, those classic artists forged new paths, but we're treading the same paths they did fifty years ago. Musical generations passed by and respected their elders so much they forgot to kill them."


    Space Is Still the Place is out now on Frenchkiss Records (worldwide) and MapleMusic Recordings (Canada).

     

    Instagram:
    https://instagram.com/tblsh/

    Youtube:
    http://bit.ly/1HZIMal

    Twitter:
    https://twitter.com/tblsh

    Facebook:
    https://www.facebook.com/thebrightlightsocialhour

    Soundcloud:
    https://soundcloud.com/thebrightlightsocialhour

    Website:
    http://tblsh.com/

    Events

    The Crystal Ballroom

    1332 W. Burnside
    Portland OR 97209

    (503) 225-0047
    Contact us

    Where On Any Night, Anything Can Happen!!

    In these walls...

    The historic Crystal Ballroom -- now over a century old -- is one of those rare concert halls that can point to a proud, diverse history while also laying claim to an ongoing musical legacy. Every time you enter this majestic ballroom, let your imagination sense the tremors resonating from a century's worth of gatherings, and realize that you are joining a thriving, generations-long procession of show-goers. Welcome!

    Looking for your Crystal Ballroom Passport Stamps?

    Crystal Ballroom, Lola’s Room & Crystal Brewery Tour occurs daily at 2 p.m. - meet at Ringlers Pub (street level below the Crystal Ballroom.) The tour takes about half an hour to complete. Any questions may be directed to the Crystal box office, 503-225-0047.

    Stamps for the Crystal Ballroom and Lola’s Room are also available when you see a show – ticketed or free – in either venue.

    Please note: Due to private events, concert setup needs and brewers’ schedules, not all spaces are guaranteed to be available to tour daily, but our staff will give it our best shot and show you the spaces that we can.

    Tech Specs

    Floor and stage plan
    PDF download

    Lighting diagram 
    PDF download

    Sound manifest
    Crystal:
    PDF download
    Lola's Room: 
    PDF download

    Technical and logistical packet
    For Crystal Ballroom & Lola's Room
    PDF download

    Ballroom height and beam-to-beam dimensions
    16' 11" from beam to floor
    19' 11" from floor to ceiling
    14' 6" in between beams

    Promoter Info

    Rental Expenses To Outside Promoters

    RENT VARIES, PLEASE CONTACT A BOOKING COORDINATOR
    $850  SOUND & LIGHTS
    $365  PRODUCTION MANAGER ($54.75/hr OT)
    $255  STAGE MANAGER ($38.32/hr OT)
    $255  FOH TECHNICIAN ($38.32/hr OT)
    $255  MONITOR ENGINEER ($38.32/hr OT)
    $255  LIGHTING DIRECTOR ($38.32/hr OT)
    $150  HOSPITALITY ($20/hr OT) [mileage is 33 cents per mile]
    $1,000*  SECURITY ($100/hr OT)
    $100  BOX OFFICE STAFF ($20/hr OT)
    $200  ADMINISTRATION FEE
    $ ----  PARKING HOODS
    $ ----  CHAIR RENTAL ($2 per chair)
    $ ----  ADVERTISING
    $500  PIPE AND DRAPE/BARRICADE
    $175  STAGEHANDS
    $ ----  BOX OFFICE CREDIT CARD FEE (3% of Box Credit Card Sales)

    * Security cost is an estimate. Additional security may be required depending on the nature of the event. 

    Overtime: All expenses incurred by the Crystal Ballroom for Catering, Advertising, requested stagehands, overtime (anything over 10 hours), backline, barricade, risers, etc. will be added to total rental rate.

    Deposits: A non-refundable 50% room deposit and a $2,500 'untenured promoter fee' (UPF) is due immediately in order to secure the room. If ticket sales exceed 500 the 'UPF' will be refunded; if ticket sales are below 500 the room keeps the entire $2,500 to make up for less than 1/3 capacity and corresponding lack of sales. The 'UPF' will not be refunded if the event cancels within 60 days of the event.

    Settlement: Venue will pay renter with a company check at the immediate conclusion of door sales. Venue will not provide any cash at settlement.

    Late Night Fee: There is a $1,000/hour additional fee for any events after 3 a.m. We may also require additional security for events of that nature.

    Merchandise: Merch rate is 20% they sell. We can provide a seller with advance notice and will keep 30% of sales. The outside promoter will receive no revenue from the merchandise as that is the prerogative of the house. House keeps a percentage of all transactions.

    Tickets: All tickets must be placed through the venue onto the Cascade Tickets system. All comps, label buys, and holds must be approved by the venue. There is a $1/ticket venue fee at the Box Office.

    Refunds: All refunds will be directed to the outside promoter. In the absence of an outside promoter representative, the venue shall use its own discretion regarding refunds and all refunds shall be deducted from settlement.

    Insurance and Licenses: Renter must provide liability insurance not less than $1,000,000 for any single occurrence naming McMenamins Inc. d.b.a. Crystal Ballroom as additionally insured. Tickets will not be placed on sale until binder is received. Promoter is responsible for all ASCAP, BMI, and SESAC fees.

    Production Advance: Performers or their representative must contact venue's production manager 5 days prior to the event in order to advance production needs, otherwise runner will arrive at 6 p.m. and all rider items/requests will be greatly limited if provided at all.

    Layout: The Crystal Ballroom is located on the 3rd floor. The first floor is Ringlers Restaurant and the 2nd floor is Lola's Room, both of which may have a public or private event simultaneously with the Crystal.

    Cancellation/Postponement: The contract covers the specified event for the specified date. No substitution will be accepted for a cancellation. If the event is postponed the room deposit will be transferred to the date of the new event but the $2,500 'UPF' will be applied toward the date of the originally scheduled show and an additional $2,500 will be required in order to reschedule.

    Capacity: The venue's capacity is 1500*. All artist and promoter guests and comps will be deducted from sellable. Comp and guest space must be reserved in advance. House is entitled to 20 guests. House guests will not effect sellable. Promoter must have guest list to house no later than 2 hours prior to doors. VIP cap is 25.

    * Seated capacity is 850. Seated shows must be 21 and over. There is a $2/chair rental fee.

    Venue and corporate sponsor banners may be present during event.

    Marketing your event at the Crystal Ballroom

    Please contact Mike Walker for information about marketing your event through McMenamins resources.

    Box Office

    Please note! Both the Crystal Ballroom and Lola's Room specialize in open-floor shows with a very limited amount of seats. The rare seated events will be clearly denoted as such, within the event description on our schedule page.

    Box Office Information

    Tickets for all McMenamins shows are ticketed by Cascade Tickets, and may be purchased at the Crystal box office (located under the Crystal's awning) and McMenamins Edgefield, by phone at 1-855-CAS-TIXX, or by clicking the "Buy Tickets" link located at the event listing on our schedules.

    Tickets bought directly at the Crystal box office or any of our four ticket outlets will only incur a $1 facility charge. (Please note! Tickets to Edgefield Concerts on the Lawn will incur additional service fees.)

    Crystal Ballroom Box Office Hours 
    Daily, 11:30 a.m. to 8 p.m.
    The box office is open later on nights when there is a performance.
    Tickets may also be purchased in Ringlers Pub, Monday through Friday from 6 to 11 p.m., and Saturday and Sunday from 11:30 a.m. to 11 p.m.

    The box office accepts cash, VISA, MasterCard, American Express and DiscoverCard.

    Will Call

    Will call is located at the box office.

    Refunds

    All ticket purchases are non-refundable.

    Parking

    There are three pay lots nearby, and street parking is available.

    Accessibility

    Those with disabilities may call (503 225 0047) or email in advance to arrange early admittance.

    There is an elevator located in the lobby.

    Hold your Private Event at Crystal Ballroom

    Weddings  Meetings  Social Events

    The Crystal Ballroom is a truly awe-inspiring venue with its vaulted ceilings, grand chandeliers, giant wallscapes and famous "floating" dance floor. Accommodating groups from 100 to 1000 people, this 7,500-square-foot space includes access to the Ballroom's classic corner stage, floor-to-ceiling windows, swooping balcony, and full bar service.

    Tucked in the Crystal’s second story is Lola’s Room accommodating events of up to 200 guests.  Lola’s comes with a handsome fully stocked bar, original artwork, and a floating dance floor all it’s own.

    For overnight accommodations, our Crystal Hotel is just a block away!

    Art

    Artwork plays an important role in the character of McMenamins locations throughout Oregon and Washington. We believe art makes life richer and more enjoyable. So, you'll often find paintings covering our walls, ceilings doors, overhead pipes, and equipment -- works as diverse and entertaining as our places for family and friends. Many artists have contributed to this vast variety of delightful eye candy. Jump in and enjoy some now!

    History

     

     

    Explore the Crystal Blocks

    Our Crystal Hotel and legendary Crystal Ballroom are just across the street from each other, each offering their own unique spaces for live music, Northwest style fare and McMenamins hand crafted beverages.  Explore these properties and all they have to offer. 

    Crystal Ballroom Property

    Crystal Ballroom  Lola's Room  Ringlers Pub  Crystal Brewery

    Crystal Hotel Property

    Crystal Hotel  Al's Den  Ringlers Annex  Zeus Cafe

    • Saturday, February 11, 2017

      SiriusXM Jam On Presents: Galactic Winter Tour

      with special guests The Bright Light Social Hour

      Buy Tickets

      7 p.m. doors, 8 p.m. show
      $29.50 advance, $32 day of show (mezzanine and VIP tickets available)
      21 and over

      Add to Calendar

      SiriusXM Jam On Presents: Galactic Winter Tour

      It's been more than 20 years since Ben Ellman, Robert Mercurio, Stanton Moore, Jeff Raines and Rich Vogel began exploring the seemingly limitless musical possibilities born out of their work together as Galactic. Since then, the seminal New Orleans band has consistently pushed artistic boundaries on the road and in the studio, approaching their music with open ears and drawing inspiration as much from the sounds bubbling up from their city's streets as they do from each other.

      A key part of that creative spark comes from the teamwork of Mercurio and Ellman, whose ever-evolving production and arranging skills helped usher the band into a new phase of studio work beginning with the loop-centric "Ruckus" in 2007. A series of albums focused around specific concepts like Carnival followed, as did collaborations with guests hailing from worlds outside the one Galactic calls its own.

      On "Into the Deep," the band members look within themselves instead, drawing inspiration from people and ideas that have long been close to their hearts - and, in turn, close to the development of their unique sound. Shot through with soul, funk, blues and rock, the result is an organic riff on elements of Galactic's past, filtered through the lens of where they're headed in 2015.

      "I see this album as a kind of culmination of all of our collaborations or experiences, from [trombonist] Corey Henry to the people we met on the road, touring," says Mercurio, referencing Ellman's first full-time gig in New Orleans, which kicked off when Henry hired him into the Little Rascals Brass Band in 1989.

      "The previous albums took us in the opposite direction," Mercurio says. "We collaborated with rappers that we had never dealt with and even on the New Orleans tracks, we didn't have working experience with most of those artists before the recordings."

      In contrast, "Into the Deep" contributors like JJ Grey, David Shaw and Maggie Koerner spent significant time touring with Galactic. A few years ago, Mavis Staples sat in with the band, all of whom are longtime fans of the legendary singer's R&B-meets-gospel soul style. They caught up with Macy Gray when she performed a memorable concert at Tipitina's where Ellman says he could see from the outset "how much she cares about the music." And each of the players had also developed a deep appreciation for the Honorable South's Charm Taylor, whose contribution, "Right On" was written specifically to suit her vibe.

      "Quint Davis [the producer of] Jazz Fest always has a couple people he books at the festival that aren't big names but that Quint knows are going to be super cool," says Ellman. "That's how we met Brushy One-String. We originally wanted to bring him in to do anything, just to see what would happen. But when we heard his song ‘Chicken in the Corn,' we really wanted to do our version of it."

      In the end, he joined them on the road for over a month, collaborating with the band onstage at each show.

      For the instrumental tracks, Galactic mined the interests and tastes they've cultivated together for years in New Orleans. "Buck 77" was written via improvisation, a long-standing cornerstone of their live shows. The funky bass line and tumbling guitar part on "Long Live the Borgne," meanwhile, represents an updated, more composed take on some of the concepts that made early albums like "Coolin' Off" so strong.

      As for the opener "Soogar Doosie," Ellman points out Galactic tends to record at least one track on each album that speaks to the band's collective love of brass band music.

      "We write [those songs] with the idea of how awesome it would be to hear the Rebirth going down doing the street in a second line playing one of our songs. We try to think of a real second line song that would get people slapping stop signs and dancing on cars," he says.

      The album, Ellman says "is all about people. It's these connections we've made over 20 years. They're people in our orbit that have come into our little world and affected us in some way."

      It's also about how the individual musicians within Galactic have grown over time. When it comes to trying new approaches as players, producers, songwriters and arrangers, Ellman muses, "it's an evolution."

       

      Website:
      http://www.galacticfunk.com/

      Instagram:
      http://instagram.com/galacticfunknola#

      YouTube:
      http://www.youtube.com/galacticyakamay

      Facebook :
      https://www.facebook.com/Galacticfunk

      Twitter:
      https://twitter.com/galacticfunk

      with special guests The Bright Light Social Hour

      with special guests The Bright Light Social Hour

      Questions bring art to life. Songs can still ponder socio-political issues, the fragility and isolation of the human condition, and what lies ahead for earth. Moreover, music possesses the potential and gravitas to incite change, while reflecting the world's faults and follies. The Bright Light Social Hour contemplate a "Future South" on their second full-length album, Space Is Still the Place [Frenchkiss Records]. The Austin artists-Curtis Roush [guitar, vocals, synths], Jack O'Brien [bass, vocals, synths], Joseph Mirasole [drums, synths], and Edward Brailiff [synths, keys, guitars] -offer a different interpretation of the space around them throughout ten thematically connected songs. They tackle a myriad of issues head on during tracks such as "Ghost Dance" and "Ouroboros," while "Infinite Cities" contemplates loneliness and "Escape Velocity" subtly hints at a orgiastic ending. The album will pose a few questions, but you may leave with an answer or two as well.


      The Bright Light Social Hour released their self-titled debut in 2010 and scored six awards at SXSW 2011 Austin Music Awards. Throughout nearly three years on the road, they experienced the ins and outs of America, and that voyage ignited a perspective shift. "The new album's themes and inspirations came from touring, particularly the southern part of the country," explains Jack. "We couldn't afford to stay in hotels most nights so we were staying with a lot of people. We got to see how average young Americans lived. We felt a lot of struggle."


      "It was shocking," adds Curtis. "We realized how few individuals were working jobs they felt self-actualized by to some extent. They're pedaling for survival. Our generation has grown up in continuous financial crises, a lot of unemployment, a lack of opportunity, widening inequality, and pervasive issues of race, gender, and class. We're taking a lens to some of these gritty realities and espousing an optimistic, frontier-looking gaze into the future." Theirs is not just a thematic progression though. Traversing the country and cranking tunes in the van, the collective musical palette expanded, embracing influences as diverse as deep house icon Frankie Knuckles, dance renegades Disclosure, Motown legends like Marvin Gaye, and Detroit Afro-rock revolutionaries Black Merda. Everything siphoned into the vision behind Space Is Still the Place. Building a studio in their Austin home, the boys began their musical journey in early 2013.


      "We're all ostensibly southerners," Curtis continues. "The South has great food, a relaxed pace, and sweet, well-mannered folk. However, a lot of issues aren't going away. ‘Future South' is both an aesthetic and political statement. We're taking forms and influences from soul, blues, and gritty southern music and ushering them forward. ‘Future South' evinces the south can be a vibrant egalitarian place. You can love barbecue and not be racist."


      "The dichotomy exists musically," says Jack. "Some songs mirror these harsh truths with guitars and blues energy. Meanwhile, the dreamier electronic-influenced moments are about escaping those dark realities and going to a place symbolized by space." Opener "Sweet Madelene," which Curtis dubs "the most southern rock of the bunch," tempers guitars thick enough to rustle tumbleweed with a bombastic beat and emotive, soulful vocals.


      "Slipstream" could be considered "a death train for the ego," acting as a clarion call to let go of isolation and join the communal struggle under a haze of hypnotic delay and haunting textures. The ethereal "Dreamlove" blasts off on a synth swell, conjuring the image of what Jack likes to describe as "waking up in a hospital on a spaceship."


      The propulsive bass riff of "Ghost Dance" augments its magnetic pull. "At this point, the record trajectory breaks out of the atmosphere and moves into the stratosphere," Jack goes on. "It's a call to the community. We want to encourage using the power of togetherness to effect change."


      Their version of a love song is the dreamy and strangely danceable "Sea of the Edge," painting a lunar portrait that's infectious and inviting. After the pensive and potent "Aperture", "Ouroboros" directly compares those stuck in that cycle of banality to the mythical snake who eats its own tail over buzzing guitars.


      The album's first release "Infinite Cities" coasts ahead on a driving beat before building into one of its sweetest refrains. Accompanied by a transfixing video, it bristles with a bright energy. "Now, we've been away from our families and the ones we love so much-literally gone on the road and figuratively away in Austin while making the album," states Curtis. "We still found a sense of hope in that distance, becoming closer and reimagining what community is. It's like finding a way home no matter where you are."


      "The Moon" and "Escape Velocity" provide a subtly hopeful dénouement, leaving listeners with breathy optimism. Jacks reveals, "You wake up from that dream, realizing humanity may end someday, but you still have to work toward progress anyway."


      Ultimately, The Bright Light Social Hour will unite people. "We're all together, but we have a lot of individual power," concludes Jack. "We want every listener in the audience to have his or her own experience-but together."


      Jo leaves off, "As far as the south goes, it can be a place that exists and participates in the future. I'd love to see more southern bands think about the future. They respect the past so much. At one point, those classic artists forged new paths, but we're treading the same paths they did fifty years ago. Musical generations passed by and respected their elders so much they forgot to kill them."


      Space Is Still the Place is out now on Frenchkiss Records (worldwide) and MapleMusic Recordings (Canada).

       

      Instagram:
      https://instagram.com/tblsh/

      Youtube:
      http://bit.ly/1HZIMal

      Twitter:
      https://twitter.com/tblsh

      Facebook:
      https://www.facebook.com/thebrightlightsocialhour

      Soundcloud:
      https://soundcloud.com/thebrightlightsocialhour

      Website:
      http://tblsh.com/

    • Events

      • The Crystal Ballroom

        1332 W. Burnside
        Portland OR 97209

        (503) 225-0047
        Contact us

        Where On Any Night, Anything Can Happen!!

        In these walls...

        The historic Crystal Ballroom -- now over a century old -- is one of those rare concert halls that can point to a proud, diverse history while also laying claim to an ongoing musical legacy. Every time you enter this majestic ballroom, let your imagination sense the tremors resonating from a century's worth of gatherings, and realize that you are joining a thriving, generations-long procession of show-goers. Welcome!

        Looking for your Crystal Ballroom Passport Stamps?

        Crystal Ballroom, Lola’s Room & Crystal Brewery Tour occurs daily at 2 p.m. - meet at Ringlers Pub (street level below the Crystal Ballroom.) The tour takes about half an hour to complete. Any questions may be directed to the Crystal box office, 503-225-0047.

        Stamps for the Crystal Ballroom and Lola’s Room are also available when you see a show – ticketed or free – in either venue.

        Please note: Due to private events, concert setup needs and brewers’ schedules, not all spaces are guaranteed to be available to tour daily, but our staff will give it our best shot and show you the spaces that we can.

      • Tech Specs

        Floor and stage plan
        PDF download

        Lighting diagram 
        PDF download

        Sound manifest
        Crystal:
        PDF download
        Lola's Room: 
        PDF download

        Technical and logistical packet
        For Crystal Ballroom & Lola's Room
        PDF download

        Ballroom height and beam-to-beam dimensions
        16' 11" from beam to floor
        19' 11" from floor to ceiling
        14' 6" in between beams

      • Promoter Info

        Rental Expenses To Outside Promoters

        RENT VARIES, PLEASE CONTACT A BOOKING COORDINATOR
        $850  SOUND & LIGHTS
        $365  PRODUCTION MANAGER ($54.75/hr OT)
        $255  STAGE MANAGER ($38.32/hr OT)
        $255  FOH TECHNICIAN ($38.32/hr OT)
        $255  MONITOR ENGINEER ($38.32/hr OT)
        $255  LIGHTING DIRECTOR ($38.32/hr OT)
        $150  HOSPITALITY ($20/hr OT) [mileage is 33 cents per mile]
        $1,000*  SECURITY ($100/hr OT)
        $100  BOX OFFICE STAFF ($20/hr OT)
        $200  ADMINISTRATION FEE
        $ ----  PARKING HOODS
        $ ----  CHAIR RENTAL ($2 per chair)
        $ ----  ADVERTISING
        $500  PIPE AND DRAPE/BARRICADE
        $175  STAGEHANDS
        $ ----  BOX OFFICE CREDIT CARD FEE (3% of Box Credit Card Sales)

        * Security cost is an estimate. Additional security may be required depending on the nature of the event. 

        Overtime: All expenses incurred by the Crystal Ballroom for Catering, Advertising, requested stagehands, overtime (anything over 10 hours), backline, barricade, risers, etc. will be added to total rental rate.

        Deposits: A non-refundable 50% room deposit and a $2,500 'untenured promoter fee' (UPF) is due immediately in order to secure the room. If ticket sales exceed 500 the 'UPF' will be refunded; if ticket sales are below 500 the room keeps the entire $2,500 to make up for less than 1/3 capacity and corresponding lack of sales. The 'UPF' will not be refunded if the event cancels within 60 days of the event.

        Settlement: Venue will pay renter with a company check at the immediate conclusion of door sales. Venue will not provide any cash at settlement.

        Late Night Fee: There is a $1,000/hour additional fee for any events after 3 a.m. We may also require additional security for events of that nature.

        Merchandise: Merch rate is 20% they sell. We can provide a seller with advance notice and will keep 30% of sales. The outside promoter will receive no revenue from the merchandise as that is the prerogative of the house. House keeps a percentage of all transactions.

        Tickets: All tickets must be placed through the venue onto the Cascade Tickets system. All comps, label buys, and holds must be approved by the venue. There is a $1/ticket venue fee at the Box Office.

        Refunds: All refunds will be directed to the outside promoter. In the absence of an outside promoter representative, the venue shall use its own discretion regarding refunds and all refunds shall be deducted from settlement.

        Insurance and Licenses: Renter must provide liability insurance not less than $1,000,000 for any single occurrence naming McMenamins Inc. d.b.a. Crystal Ballroom as additionally insured. Tickets will not be placed on sale until binder is received. Promoter is responsible for all ASCAP, BMI, and SESAC fees.

        Production Advance: Performers or their representative must contact venue's production manager 5 days prior to the event in order to advance production needs, otherwise runner will arrive at 6 p.m. and all rider items/requests will be greatly limited if provided at all.

        Layout: The Crystal Ballroom is located on the 3rd floor. The first floor is Ringlers Restaurant and the 2nd floor is Lola's Room, both of which may have a public or private event simultaneously with the Crystal.

        Cancellation/Postponement: The contract covers the specified event for the specified date. No substitution will be accepted for a cancellation. If the event is postponed the room deposit will be transferred to the date of the new event but the $2,500 'UPF' will be applied toward the date of the originally scheduled show and an additional $2,500 will be required in order to reschedule.

        Capacity: The venue's capacity is 1500*. All artist and promoter guests and comps will be deducted from sellable. Comp and guest space must be reserved in advance. House is entitled to 20 guests. House guests will not effect sellable. Promoter must have guest list to house no later than 2 hours prior to doors. VIP cap is 25.

        * Seated capacity is 850. Seated shows must be 21 and over. There is a $2/chair rental fee.

        Venue and corporate sponsor banners may be present during event.

        Marketing your event at the Crystal Ballroom

        Please contact Mike Walker for information about marketing your event through McMenamins resources.

      • Box Office

        Please note! Both the Crystal Ballroom and Lola's Room specialize in open-floor shows with a very limited amount of seats. The rare seated events will be clearly denoted as such, within the event description on our schedule page.

        Box Office Information

        Tickets for all McMenamins shows are ticketed by Cascade Tickets, and may be purchased at the Crystal box office (located under the Crystal's awning) and McMenamins Edgefield, by phone at 1-855-CAS-TIXX, or by clicking the "Buy Tickets" link located at the event listing on our schedules.

        Tickets bought directly at the Crystal box office or any of our four ticket outlets will only incur a $1 facility charge. (Please note! Tickets to Edgefield Concerts on the Lawn will incur additional service fees.)

        Crystal Ballroom Box Office Hours 
        Daily, 11:30 a.m. to 8 p.m.
        The box office is open later on nights when there is a performance.
        Tickets may also be purchased in Ringlers Pub, Monday through Friday from 6 to 11 p.m., and Saturday and Sunday from 11:30 a.m. to 11 p.m.

        The box office accepts cash, VISA, MasterCard, American Express and DiscoverCard.

        Will Call

        Will call is located at the box office.

        Refunds

        All ticket purchases are non-refundable.

        Parking

        There are three pay lots nearby, and street parking is available.

        Accessibility

        Those with disabilities may call (503 225 0047) or email in advance to arrange early admittance.

        There is an elevator located in the lobby.

      • Hold your Private Event at Crystal Ballroom

        Weddings  Meetings  Social Events

        The Crystal Ballroom is a truly awe-inspiring venue with its vaulted ceilings, grand chandeliers, giant wallscapes and famous "floating" dance floor. Accommodating groups from 100 to 1000 people, this 7,500-square-foot space includes access to the Ballroom's classic corner stage, floor-to-ceiling windows, swooping balcony, and full bar service.

        Tucked in the Crystal’s second story is Lola’s Room accommodating events of up to 200 guests.  Lola’s comes with a handsome fully stocked bar, original artwork, and a floating dance floor all it’s own.

        For overnight accommodations, our Crystal Hotel is just a block away!

      • Art

        Artwork plays an important role in the character of McMenamins locations throughout Oregon and Washington. We believe art makes life richer and more enjoyable. So, you'll often find paintings covering our walls, ceilings doors, overhead pipes, and equipment -- works as diverse and entertaining as our places for family and friends. Many artists have contributed to this vast variety of delightful eye candy. Jump in and enjoy some now!

      • History

         

         

    • Explore the Crystal Blocks

      Our Crystal Hotel and legendary Crystal Ballroom are just across the street from each other, each offering their own unique spaces for live music, Northwest style fare and McMenamins hand crafted beverages.  Explore these properties and all they have to offer. 

      Crystal Ballroom Property

      Crystal Ballroom  Lola's Room  Ringlers Pub  Crystal Brewery

      Crystal Hotel Property

      Crystal Hotel  Al's Den  Ringlers Annex  Zeus Cafe

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