McMenamins Music

1332 W. Burnside, Portland, OR 97209

Thursday, April 20, 2017

Soul'd Out Festival

RJD2 + Tortoise

1939 Ensemble

Buy Tickets

8 p.m. doors, 9 p.m. show
$27.50 advance
21 and over

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RJD2 + Tortoise

Soul'd Out Festival proudly presents for the first time anywhere, the debut of a truly one of a kind musical pairing: RJD2 + Tortoise!


RJD2's music is a collage of cut-and-paste hip-hop that combines disparate elements to make for soulful, moody portraits of the world. Born Ramble John Krohn in Eugene, Oregon, on May 27, 1976, he moved to Columbus, Ohio a few years later and was raised there. He first busted out onto the hip-hop scene in 1998 -- a time when producers were emerging from the shadows to seize the spotlight -- as the DJ/producer for the Columbus-based group Megahertz. MHz had two 12" singles released on Bobbito Garcia's Fondle 'Em Records and the group was mentioned in Vibe magazine's "History of Hip Hop."

In 2000, RJD2 produced Copywrite's debut single, "Holier Than Thou," on Rawkus Records. In the spring of 2001, he made his first formal appearance as a solo artist on the Def Jux Presents... compilation, proving he could hold his own alongside such luminaries as Company Flow, El-P, Cannibal Ox, and Aesop Rock. RJD2's debut album, Dead Ringer, followed on Def Jux in 2002. One of the best underground hip-hop releases of the year, it melded dirty samples and a classic approach to song structure for an end result that gave DJ Shadow, DJ Spooky, and Moby a run for their money. Aside from his top-billed recordings, he also provided productions for Cage's Hell's Winter and Aceyalone's Magnificent City (the latter also spawned an instrumentals album, Magnificent City Instrumentals).

RJD2 returned in 2004 with Since We Last Spoke, which blended hip-hop with elements of pop. He then moved to XL to fully indulge his passion for pop, releasing The Third Hand in early 2007. In early 2010, he dropped The Colossus. It was the first album to be released on his own label, RJ's Electrical Connections. Months later, he released Inversions of the Colossus, containing instrumental versions of The Colossus' vocal tracks and several additional cuts. The album More Is Than Isn't arrived in 2013 and featured appearances from Phonte Coleman, Aaron Livingston, and Blueprint. The R&B and soul flavors found on the LP returned on 2015's STS x RJD2, a collaborative effort recorded with rapper STS. Phonte Coleman, Blueprint, Son Little, and Jordan Brown all appeared on his 2016 solo effort, Dame Fortune.

Tortoise revolutionized American indie rock in the mid-'90s by playing down tried-and-true punk and rock & roll influences, emphasizing instead the incorporation of a variety of left-field music genres from the previous 20 years, including Krautrock, dub, avant-garde jazz, classical minimalism, ambient and space music, film music, and British electronica. At odds as well with the shambling framework of alternative rock's normal song structure, the group -- as large as a septet, with at times two vibes players -- relied on a crisp instrumental aesthetic, tied to cool jazz, which practically stood alone in American indie rock by actually focusing on instrumental prowess and group interaction.

Although the group's unique vision is to an extent the creation of drummer and master producer John McEntire, most of the other members are well-connected -- producers and/or participants -- in Chicago's fraternal indie rock community, which consists of numerous side projects and ongoing bands. After debuting in 1993 with several singles and an LP, Tortoise's underground prestige emerged above terra firma with their second album, Millions Now Living Will Never Die; the 21-minute opening track "Djed" was a sublime pastiche of Krautrock, dub, and cool jazz. Tortoise then linked themselves with the cream of European electronica (Luke Vibert, Oval, U.N.K.L.E., Spring Heel Jack) to remix the album on a series of 12" singles. Despite the band's growing reliance on studio engineering, Tortoise began re-emphasizing their instrumentalist bent in 1998 for their third album, TNT.

First formed in Chicago in 1990, Tortoise began when Doug McCombs (bass; formerly of Eleventh Dream Day) and John Herndon (drums, keyboards, vibes; formerly with the Poster Children) began experimenting with production techniques. The duo intended to record on their own as well as provide an instant rhythm section for needy bands -- inspired by the reggae duo Sly & Robbie. Next aboard was producer/drummer/vibes player John McEntire and guitarist Bundy K. Brown (both former members of Bastro) plus percussionist Dan Bitney (formerly with the SST hardcore band Tar Babies).

The five-piece recorded 7" singles for both David Wm. Sims' Torsion label and Thrill Jockey in 1993, then released their eponymous debut on Thrill Jockey one year later. Much of the album's sound -- restrained indie rock with sublime jazz influences and a debt to prog rock -- was pleasant but not quite revolutionary. Several tracks took a more slanted course, though, sounding like a reaction to England's ambient/techno scene filtered through the '70s experimentalism of Can and Faust. Tortoise became an underground classic and spawned the remix work Rhythms, Resolutions and Clusters featuring remixers Jim O'Rourke, Steve Albini, and Brad Wood; the album steadily segued from techno and found-sound environment recordings to feedback ambience and hip-hop, complete with samples of A Tribe Called Quest and Minnie Riperton. In 1995, the group released Gamera, a 12" single on Stereolab's Duophonic label.

Brown later left for solo production work and his band projects Slowpoke and Directions in Music; Tortoise added bassist David Pajo (formerly of Slint and also a member of the For Carnation) for second album Millions Now Living Will Never Die, released in early 1996. Much of the album was similar to the debut, but the British weeklies and American music magazines championed the strength of album-opener "Djed" -- which blended a rumbling bassline, scratchy lo-fi ambience, and dub techniques into over ten minutes of music before the sounds of reel-to-reel tape disintegration introduced another passage of calm yet angular indie rock figures. During the rest of 1995, Tortoise toured with Stereolab in England and headlined a U.S. tour with 5iveStyle and the Sea and Cake. John McEntire also remained busy with production, working on Stereolab's Emperor Tomato Ketchup and eponymous debut LPs from 5iveStyle, Trans Am, and Rome.

Instead of a remix album to accompany Millions Now Living Will Never Die, Tortoise optioned tracks out to several techno/experimental contemporaries during 1996. Mo' Wax heroes U.N.K.L.E. recorded a remix of "Djed" on the first of what became a four-volume series, with later interpretations coming from Oval, Jim O'Rourke and Bedouin Ascent, Spring Heel Jack, and Luke Vibert, among others.

By the time recording began in 1998 for Tortoise's third album, TNT, Pajo had gone to spend time on his Aerial-M project; a longtime group friend, guitarist Jeff Parker, replaced him. Parker's connection to the fertile Chicago free jazz community -- he's a member of the Association for the Advancement of Creative Musicians (AACM) -- served as a signpost to the group's new direction: growing instrumental prowess and an emphasis on straight-ahead, occasionally improvisational indie rock. Tortoise's fourth album, Standards, released in early 2001, maintained that direction, only leavened by many post-recording tweakings at the band's Soma Studios. Another three-year gap separated Standards from 2004's It's All Around You. The bandmembers then took a break, of sorts, concentrating on their raft of side projects -- Exploding Star Orchestra, Bumps, Fflashlights, Powerhouse Sound -- and producing only a collaborative Tortoise LP with Bonnie "Prince" Billy, The Brave and the Bold. (They also assembled a box set titled A Lazarus Taxon.)

The group's sixth proper LP, Beacons of Ancestorship, finally arrived in 2009. The following year, the Japanese release Why Waste Time? appeared, featuring the previously unreleased songs "Ruba'iyat" and "Passerine." The band also composed the score to Lovely Molly, a film by The Blair Witch Project director Eduardo Sánchez that debuted at 2011's Toronto International Film Festival. Tortoise's seventh full-length, The Catastrophist, built on music that they were commissioned to write in 2010 by the City of Chicago to commemorate the area's jazz and improvised music scenes. Featuring vocals from U.S. Maple/Dead Rider's Todd Rittman and Yo La Tengo's Georgia
Hubley, the album arrived in January 2016


1939 Ensemble

1939 Ensemble

At the crossroads where Tortoise meets Merzbow and Milt Jackson meets Slint - this is where you will find 1939 Ensemble. 1939 Ensemble doesn't just cross genres, they both embrace and exploit them, inviting each listener in through the familiar, and then leaving them with something new to explore.

1939 Ensemble is José Medeles, David Coniglio, Josh Thomas, and Knate Carter.

LA WEEKLY: "exciting blend of Krautrockian moto-drive, avant jazz and screechy no-wave noise"

SPIN: "Rhythmic might and chiming tones are blackened by occasional swells of noise, giving the entire thing a compelling dynamism"

PITCHFORK: "industrial art deco with no more than a vibraphone, constrained feedback, and the inexorable motion of multiple percussionists"

BEAT JAZZ: "a swirling mix of electronic noises, vintage drums, trumpet and vibraphone. the trio's sound is layered into a mass of jazzy, post-rock beauty, one beat-driven note at a time"

PORTLAND MERCURY: "their engaging experimentalism transcends the shackles of free jazz, infusing elements of gritty lounge, post-punk ethereal chimes and tone". "A propulsive sound that skillfully straddled the worlds of post-rock and avant jazz"
JAM BASE: "jazz-punk, post-rock, retro-futuristic sound'

MARMOSET: "simultaneously angular and pristine. With each composition steeped in noir & mystery, there lies anticipation, sophistication and excitement in every note and every beat.

MODERN DRUMMER: "gamelan-like bell sounds, snippets of electronica, and eerie drones are but some of the sounds employed by this adventurous percussion duo"

OPB MUSIC: "the music puts elegantly moody vibes melodies again skittering drum patterns. Bursts of noise interrupt like a static electricity over the radio before a thunderstorm"

SAKI: "a journey, cinematic in nature and ranging the full spectrum of emotion"

SF CRITIC: "repertoire of drums-vibes-noise harnesses the untethered euphoria of the great jazz recordings to a grim confrontation with the 21st century"

THE DELI: "distinct style & experimental drive which is seen through volatile vibraphone leads, blistering drum beats & dissonant noise"

IMPOSE: "Coniglio and Medeles's new school of crime wave jazz"

PDXPOP: "a maelstrom of sonic wonderment, tribal meditation, jazz-ish noodling"




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
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

$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)
$ ----  CHAIR RENTAL ($2 per chair)
$ ----  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.


All ticket purchases are non-refundable.


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


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!


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!




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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