Wednesday, December 4, 2019


Nicole Atkins

6:30 pm doors, 8 pm show

$38 advance, $42 day of show

All ages welcome

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How many times in musical history has the most acclaimed act of an era peaked in its 20th year? We're not talking a reunion, return to form, twilight years surprise or any of that. We're asking how many times has a critically and publicly adored band-one still in its prime--released (arguably) its best album at the start of its third decade?

To save you valuable Googling time: It's happened once, it is in fact happening now, and unlike Haley's Comet streaking by or whatever, you are fortunate enough to be able to hold it in your hand or on your hard drive. It's called Spoon: They Want My Soul (out August 5 on Loma Vista).

Yes, the new album from the single most favorably reviewed musical force of the previous decade (Metacritic numbers don't lie) already being hailed as "perfect" (Rolling Stone) and "fantastically infectious... perhaps the most confident point of its career" (NPR) also fallsroughly on the 20th anniversary of Spoon's barely-released 1994 debut EP, Nefarious.

So on to the obvious questions: How and why does this happen? After a 20-year streak of unerring excellence in the form of albums like Telephono, A Series Of Sneaks, Girls Can Tell, Kill The Moonlight, Gimme Fiction, Ga Ga Ga Ga Ga and Transference (not to mention EPs like the indispensable Soft Effects, Love Ways, Don't You Evah and Got Nuffin), how does They Want My Soul raise the bar with surprise premiere first single "Rent I Pay," current chart climbing summer anthem "Do You" and the sublimely trippy "Inside Out" (all three of which comprise the 45RPM 10" currently flying out of indie record retailers as part of the program)?

Maybe the answer lies in the rejuvenation provided by a first-ever break following a grueling 10-year run that kicked off in 2001 with Girls Can Tell and saw the band plow tirelessly through the 2002-2010 releases of Kill The Moonlight, Gimme Fiction, Ga Ga Ga Ga Ga and Transference, and the ever expanding tours supporting each album, all without a pause. Sure, the momentum was as irresistible as it was self-induced: spurred on by singles like Kill The Moonlight's "The Way We Get By," Gimme Fiction's "I Turn My Camera On," Ga Ga Ga Ga Ga's "The Underdog" and more, sales were progressively doubling from album to album, hitting an incredible peak when Transference entered the U.S. album chart at #4.

So who would even think about jumping from that runaway train... until it just happened: at the end of the Transference tour, Britt Daniel, Jim Eno, Eric Harvey and Rob Pope all went their separate ways. No consulting one another on next moves, when the band would re-convene, or even if it would at all. Spoon had effectively gone on a naturally occurring indefinite hiatus.

Mind you, even Spoon's hiatuses defy convention. The band members were anything but idle: Britt formed Divine Fits with Dan Boeckner (late of Handsome Furs, Wolf Parade) and Sam Brown (ex-Gaunt, New Bomb Turks) and recorded the brilliant A Thing Called Divine Fits with producer Nick Launay (Nick Cave and the Bad Seeds, Public Image Ltd., etc.). And speaking of producers of renown, Jim continued his ascent in that arena, taking advantage of the downtime to go full-time at his own Public Hi-Fi, producing records by Polica, !!!, Telekinesis and others while releasing a series of Public Hi-Fi Sessions on the studio's own label banner. Rob opened a (new) bar and embarked on the adventure of family life, Eric released the solo Lake Disappointment and worked on visual art in Dallas.

So a few years of passion projects, traumatic break ups and even a new marriage later, the members of Spoon started to succumb to whatever force it is that inexorably draws them to one another. And this time there was a significant addition, fifth member Alex Fischel, found on the side of a highway being raised by wolves by Britt, who taught him to play keyboards, gave him a job in Divine Fits, and in turn exacted Alex's blood oath to play by his side in everything he does from that point.

The result has moved the likes of NPR to call They Want My Soul "unmistakably a Spoon record" while noting that the band is "challenging itself and stretching its sound, particularly with synth textures courtesy of the band's newest addition, Alex Fischel." But lest the new guy get too big a head too, there were other forces at play in making the new disc such a mind blower. They Want My Soul found Spoon working with not one but two new producers: Grammy winner Dave Fridmann (Flaming Lips, MGMT, Tame Impala) and Joe Chicarelli (White Stripes, The Shins) were both enlisted, one sonic innovator known for his psychedelic palette, the other a big rock producer known for his arsenal of monolithic tones. The two producers' individual styles couldn't have been more dissimilar, and here they were each crafting half a Spoon record-a band whose signature style made sense with neither of them.

The resultant shake-up was as necessary as it was revitalizing. It accounts for that new energy crackling in every groove of They Want My Soul, a wild card frequency underlying every familiar groove and melody... and one that serves to bolster that overall sentiment that this is the best record the band has ever made.

It also shouldn't be overlooked that a good share of They Want My Soul's alien vibe may come as the result of the extended periods of isolation they endured during its recording-one man's pastoral paradise is a primarily Austin born and bred band's dark night of the soul. The guys spent a lot of time at Fridmann's Cassadaga, NY (pop. 625) outpost, much of it snowed in and some of it punctuated by incidents involving True Detective/Blair Witch style teepees and stick structures, mysterious trails of bloodstains in the snow... Details are fuzzy and cabin fever is a real thing, so suffice to say the five men who made that trip are not the same five men who came back from it.

Anyway, whatever happened up there was evidently worth it, as the band that turned heads by leaping from Matador to Elektra nearly 20 years ago (only to begin its true ascent on Merge roughly a year later) now triumphantly resurfaces on Loma Vista for album number eight. But hey that's Spoon, "one of the most consistently great bands in indie rock" (Rolling Stone) yet one not necessarily on an indie label or making records that sound particularly "indie," the kings of the underground whose music has wormed its way into your brain on Veronica Mars and Saturday Night Live, the band that has conceived and executed the Vinyl Gratification campaign in the age of the digital pre-order incentive... If there's a tried and true formula for anything in this business, look for Spoon to be coming in an opposite lane or direction-but when a band is making records as undeniably classic as They Want My Soul, does any of that matter?




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 $2/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 6 p.m.
The box office is open later on nights when there is a performance.

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!

Contact our sales team to inquire or book your event.
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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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