demo

Saturday, October 16, 2021

McMenamins Presents

Sabertooth Micro Fest

Red Fang

Starcrawler

Here Lies Man

Wild Powwers

The Deep

5:30 pm doors, 7 pm show

$35 advance, $40 day of show, $40 advance balcony, $45 day of show balcony

21 and over

Share this event

Add to Calendar

Sabertooth Micro Fest

psychedelicstonerrockmicrofest

Sabertooth Micro Fest

Mark your calendar for the 6th annual Sabertooth festival! The psychedelic stoner rock microfest is back in Portland on October 16th. With headliner Red Fang and special guests Starcrawler, Here Lies Man, Wild Powwers and The Deep!

Red Fang

Red Fang

"I like the idea of the record starting in a way that doesn't make any sense at all for a
Red Fang record."

That's vocalist/bassist Aaron Beam talking about "Take It Back," the opening
track-or "sintro," part song, part intro-of Red Fang's fifth album, Arrows.

"It reminds me of a time before people listened to music digitally-and they listened
to full albums," drummer John Sherman adds. "There were often cool, spooky
intros-like fuckin' Dio albums and shit. There are some weird sounds at the
beginning to get you in the mood before it blasts off."

And blast off it does. After the woozy opening salvo of "Take It Back," Arrows
launches into a super-rock trifecta of what Red Fang does best-from Melvins-esque
power dirge "Unreal Estate" into the anthemic title track into up-tempo banger "My
Disaster."

Yeah, it's been nearly five years since 2016's Only Ghosts, but your favorite
beer-crushing, zombie-killing, air-guitar-contest-judging metal heroes are back in
action, doing what they do best-AND MORE. "This record feels more like Murder
The Mountains to me than any record we've done before or since," Beam ventures. "It
doesn't sound like that record, but Murder The Mountains was us doing whatever the
fuck we wanted, and that's what this is, too."

"We're definitely exploring new territory," says guitarist/vocalist Bryan Giles. "And
I'm very happy about that. I wouldn't wanna be in this band if we kept doing the
same thing over and over again."

Arrows was recorded at Halfling Studios in the band's hometown of Portland, OR,
with longtime collaborator Chris Funk, who produced Murder The Mountains and
2013's Whales and Leeches. "Chris is a major influencer as far as the weird ambient
stuff in between the songs and the creepy incidental noises within the songs," Giles
points out. "I think he definitely creates an added layer of atmosphere that we
wouldn't have otherwise."

In an effort to compound said atmosphere, Sherman recorded some of his drum
parts at the bottom of a pool. Luckily, it was empty. "It's actually a kick-ass skate
pool," the drummer explains. "It was designed by Lance Mountain, if I've got my facts
straight. As soon as we decided to record there, I knew I would end up in the pool at
some point."

"The pool was a big part of the record," Giles confirms. "The drums sound so
huge-it's crazy. But I was terrified of the pool because there was no railing. Every
time I walked by, I was afraid of falling into it. So it was a love/hate relationship with
the pool for me."

The title Arrows was chosen through Red Fang's patented and labor-intensive
selection process. "Of all the titles that got thrown around, that was the one
everyone hated the least," Sherman explains. "Which is the case with every record,
pretty much."

"It's actually the same way we decided on the band name," Beam chimes in. "It was
the only one where someone wasn't like, ‘NO!'"

Arrows has the added bonus of a proper title track, which is new territory for the
dudes. "This is the first time we've named an album after a song that's actually on
the album," Beam explains. "We have other albums that are named after songs of
ours that are not on those albums. So this time we're really fucking with you because
we didn't fuck with you."

It just so happens that the title track is also the lead single for the album-the
general public's first taste of fresh Fang. "There's some songs that are pretty clearly
Red Fang on this album, and others that maybe go a little further outside of what
we've normally done," Beam explains. "‘Prehistoric Dog' was clearly the song to pick
for the first single from the first record. ‘Wires' was clearly the song to pick from the
second record. I'm not sure there was a clear frontrunner on this album, which could
be taken to mean that either all of the songs are kind of mediocre at best or there are
quite a few that could qualify as the lead single. So it came down to the ones that the
dudes who are making the videos liked best."

Which brings us to director Rob McConnaughy, who created the pants-pissing clips
for "Prehistoric Dog," "Wires" and many other Red Fang hits. "His way of presenting
us really works," guitarist David Sullivan says. "That first video he did for us for
‘Prehistoric Dog' gave us a big jumpstart as far as the band getting popular. And we
love working with him."

Over the years, McConnaughy has helped showcase an aspect of Red Fang that most
metal and hard rock bands shy away from: Humor. "It suits our personalities," Giles
points out. "I mean, I don't wanna fight people, you know? If I look like I'm flexing,
they'll be like, ‘Oh, I can take him.' But if we're making a joke, maybe someone will
wanna tell me a joke-or buy me a beer."

"If you were to have dinner with the band, it would be closer to one of our videos
than, like, us walking in slow-mo through the fog with a goat's head," he adds. "I
mean, no one's gonna believe that shit."

Similarly, fans might not believe what the song "Arrows" is partially about. "If you're
confused by some of the lyrics to that song, that makes sense," Beam explains. "But
it makes reference to meditation. I started meditating six years ago, but I can only do
it when I'm not feeling too anxious. So, when I don't need it, that's when I can do it."

Elsewhere, "Fonzi Scheme" was named after legendary Happy Days cool guy Arthur
Fonzarelli-if only because it's in the key of his famous catchphrase, "Aaay." Producer
Chris Funk came up with the idea of bringing in string players from the Portland
Cello Project to class up the track. "I would say laziness drove that decision," Beam
deadpans. "We didn't want to come up with any guitar melodies, so we hired
someone else to do it for us."

Meanwhile, the opening riff of closer "Funeral Coach" was written 12 years ago. But
it took until recently for the song to blossom into its full double-entendre glory. "I
was driving around and I saw a hearse that said ‘funeral coach services' on the back,"
Beam explains. "So the first thing that popped into my head was a dude with a
headset and a clipboard going, ‘Alright, dudes-more tears! Five minutes in is when
the tears are critical, or no one's gonna believe that anyone cares that this person
died.'"

In a nod to tradition, Arrows will be available in formats that include all the drums,
bass, guitars and vocals. But it could've gone another way. "Our original idea was to
release the album with no vocals or guitar solos," Beam explains. "If you want the
guitar solos, it's an extra five bucks. If you want the vocals, it's an extra ten bucks. So
basically people should feel lucky that we didn't do that. You get to buy the whole
thing all together."

Red Fang think of it as a generous display of gratitude toward their fans. "Yeah," says
Sherman, "Thank you for buying our album, you lucky bastards."

 

Website:
http://www.redfang.net/

Starcrawler

Starcrawler

Born on the streets of Los Angeles, Starcrawler is a band possessed by the spirit of its own hometown, every movement charged with a manic electricity. Since forming in 2015, vocalist Arrow de Wilde, guitarist/vocalist Henri Cash, bassist Tim Franco, and drummer Austin Smith have gone from bashing out songs in the garage to winning the love of such legendary artists as Shirley Manson and Elton John. They've also opened for the likes of Beck, Foo Fighters, Spoon, The Distillers, and MC5, bringing their unhinged energy to an already-fabled live show - a spectacle that's simultaneously lurid and glorious and elegant as ballet. On their sophomore full-length Devour You, Starcrawler captures that dynamic with a whole new precision, revealing their rare ability to find a fragile beauty in even the greatest chaos.

Here Lies Man

Here Lies Man

Four albums in, the convenient and generalized catchphrase for Here Lies Man's erudite sound - if Black Sabbath played Afrobeat - might seem a little played out. But Ritual Divination is perhaps the best rendering of the idea so far. Particularly on the Sabbath side of the equation: The guitars are heavier and more blues based than before, but the ancient rhythmic formula of the clave remains a constant.

"Musically it's an opening up more to traditional rock elements," says vocalist/guitarist/cofounder Marcos Garcia, who also plays guitar in Antibalas. "It's always been our intention to explore. And, as we travelled deeper into this musical landscape, new features revealed themselves."

The L.A. based band comprised of Antibalas members have toured relentlessly following their breakout 2017 self-titled debut. Their second album, You Will Know Nothing and an EP, Animal Noises, both followed in 2018. Third album No Ground To Walk Upon emerged in August 2019. All of them were crafted by Garcia and cofounder/drummer Geoff Mann (former Antibalas drummer and son of jazz musician Herbie Mann) in their L.A. studio between tours. Ritual Divination is their first album recorded as the full 4-piece band, including bassist JP Maramba and keyboardist Doug Organ.

Ritual Divination continues with an ongoing concept of HLM playing the soundtrack to an imaginary movie, with each song being a scene. "It's an inward psychedelic journey, the album is the trip," Garcia says. "The purpose is a ritual where you are divining the true nature of reality. The divination is seeking to lift the veil of inner space."

Likewise, musically and sonically, the album is self-reflexive. "On this album the feel changes within a song," Garcia says. "Whereas before each song was meant to induce a trancelike state, now more of the songs have their own arc built in." Similarly, the guitar sounds themselves herein eschew the fuzz pedals of previous recordings, going for the directness of pure amp overdrive and distortion using an interconnected rig of 4 amplifiers. And, here, the well-versed live band is able to record as a unit, giving it much more of a live and dynamic feel.

Rough Trade named the band's self-titled debut in their prestigious Top 10 Albums of 2017. BBC 6 & Classic Rock Magazine deemed it among the year's best, as well as countless other press outlets singing its praises. Each subsequent album furthered the band's reputation for genre-smashing rhythmic experimentation, topping many year-end lists as well as earning features from countless metal and indie rock outlets, plus cover stories in weekly papers.

"We're very conscious of how the rhythms service the riffs," Garcia explains. "Tony Iommi's (Black Sabbath) innovation was to make the riff the organizing principle of a song. We are taking that same approach but employing a different organizing principle: For Iommi it was the blues, for us it comes directly from Africa."

Ritual Divination will be available on LP, CD and download on January 22nd, 2021 via RidingEasy Records.

 

Wild Powwers

Wild Powwers

Wild Powwers are a dynamic trio who come from the dark, dank corners of a basement in Seattle, WA. Throughout their several years relentlessly writing and touring as a band, they have grown their sound using the vastly different influences in their lives. The result being "the sort of carefree grunge riff-rock that gets better the dirtier it gets. Each layer of meticulously gnarly distortion, each off-kilter lyric, drenched in garage-echo reverb, is pure Pacific Northwest filth"- KEXP.

They are often challenging themselves to write something completely different from the song before, and their upcoming album "What You Wanted" is the best representation of who they are and what they bring to the table yet. Produced by Sam Bell, (R.E.M., Minus the Bear, Weezer, Taylor Swift), and mastered by Ed Brooks, (Pearl Jam, Death Cab For Cutie, R.E.M.), "What You Wanted" runs the gamut from straight up punk rock ("Real Deal Phil" and "Pageant") to strangely beautiful psychedelia ("Tricky and "Chrome). Cathartic angular rock ("Sucks") intersects with gorgeous, shimmering melancholy ("Decades") and the many melodic shades in between. Showing a wide array of influences skillfully blended into a sound all their own; this album is a beautiful journey. Honest, raw, and relatable - it's "What You Wanted."

 

The Deep

The Deep

Portland, Oregon's The Deep have emerged from the pandemic with a more potent concoction of their rock and roll primordial stew. On their latest EP, "The Crimson and The Gold," (Desert Records, recorded with Justin Phelps at The Hallowed Halls) the band continues to blend vintage Northwest sounds with low desert stoner blues, with a pinch of prog thrown in for good measure. From the full sonic assault of banger "Judas Cradle," it's clear the band means business with the lyrical refrain "drive my point straight home / with shackle chain and rope."
"I saw this torture device in a museum when I was on vacation in Portugal," says singer Scott Wagner (ex-HTSOB). "I was like, ‘wow the people who think of the devices themselves are even more messed up than the people who use them. And then I also thought "I can think of a few people I wouldn't mind seeing strapped to that thing."
Drawing musical inspiration from different eras and styles of rock has fueled The Deep's evolution. From the leaden groove and monster rhythm section boogie of "Down The Well" to the epic prog opus "Coming Of The Storm," the band continues to explore new territory both live and in the studio. Vocally, too, the new material represents a leap forward.
"We've all got an appreciation for a lot of different genres," offers guitarist Scott James (ex-NovaCycle). "Stylistically, we can change things up from song to song, but the one constant is that the songs have to rock."
"My only real criteria," adds Wagner, "is that I have to want to listen to my own band. There's nothing worse than not being into your own band. That's not the case this time around."

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
$900  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 $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.

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!

Contact our sales team to inquire or book your event.
Get Started Here

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. 

*Get 15% off room rates at Crystal Hotel, Sunday through Thursday with a ticket purchase. (Must mention at time of booking, must verify ticket at check in for discount) *restrictions apply. 

Crystal Ballroom Property

Crystal Ballroom  Lola's Room  Ringlers Pub  Crystal Brewery

Crystal Hotel Property

Crystal Hotel  Al's Den  Ringlers Annex  Zeus Cafe

Contact Us  | Join Our List  |  Passport Program  |  Music Booking Inquiry  |  Employment  |  Privacy Policy  |  Accessibility  |  Gift Cards  |  Donations  |  COVID-19

Site handcrafted in Ashland, Oregon by Project A

Daily Fresh Sheet

Copyright © 2017-2021 McMenamins Inc. All rights reserved.