Every Seattle venue has personality, there’s no denying that. We tried to compile a list of our top 10 favorites. Begrudgingly, I excluded the first venue I ever played at, Tim’s Tavern. As special is it is to me — boy is it a shithole. Let us know if we missed one of your favorite venues.
The Central Saloon earns the number 10 spot due to its rich history and significant contributions to Seattle’s music scene spanning over a century. Established in the aftermath of the Great Fire of 1889, it has transformed from a restaurant to a gathering place for gold rush adventurers before emerging as a pivotal live music venue. During the 1980s, it played a crucial role in the birth of grunge, hosting legendary bands such as Nirvana and Soundgarden, and aiding in the rise of Sub Pop Records. Despite its age, The Central Saloon remains a vibrant destination, offering a welcoming atmosphere for musicians and patrons alike. While it may show signs of its storied past, its historical significance and enduring charm make it a must-visit venue in Seattle. Just make sure to keep an eye on your car, and don’t leave any gear in the van.
High Dive has cemented its status as a vital player in Seattle’s music scene over its 15-year history. With an intimate layout reminiscent of legendary national venues like The Boom Boom Room and CBGB, High Dive strikes a balance between hosting big-name acts and supporting emerging talent.
Located in Fremont, dubbed the “Center of The Universe,” and across the street from the famous Lenin Statue, (weird neighborhood, we love it) High Dive embodies Seattle’s unique musical spirit. It’s a neighborhood steeped in history, nurturing the talents of iconic figures like Jimi Hendrix and Kurt Cobain. The pole might obscure your view of the stage, so make sure to get a spot on stage left.
Owl ‘n Thistle is a pool room, restaurant, bar, and venue. In the days of prohibition, it was a speakeasy, which explains its location: down an alleyway off of a side street, down a hallway, through some doors, and to the left – away from all those snobby prohibitionists. Renowned for its jazz scene, Owl and Thistle hosts open mic jazz jam sessions every Tuesday, attracting both local talent and big-name musicians that come to blow some steam off after their shows at bigger venues like Triple Door and Jazz Alley.
Participating in these jam sessions sets a high standard for musicians, with performers expected to play any standard in any key at any tempo. The atmosphere is charged with excitement as artists rise to the challenge, making for a thrilling experience for both performers and audience members.
Throughout the week, Owl ‘n Thistle presents an eclectic lineup, ranging from dynamic big bands to tight jazz combos. It fills up quickly, so show up early to secure a spot. Whether you’re looking to hop on stage and show your stuff, or enjoy an evening of authentic jazz music, it’s worth checking out – and you’ll get to know the regulars pretty quick.
The Neptune holds a special place as Seattle’s quintessential college venue. Situated on 45th Street, just a stone’s throw from The Ave, one of UW’s bustling thoroughfares, it enjoys a prime location, making it a go-to destination for students eager to catch their favorite musical acts. It can be a pretty dingy spot, but The Neptune’s consistently stellar and relevant lineup draws crowds, establishing it as a mid-sized gem where emerging bands can showcase their talents as they ascend in popularity.
Beyond its musical offerings, The Neptune always has an incredible atmosphere, with tons of energy pouring out of the room. Good luck finding parking though. We recommend the parking lot behind Chipotle. Then walk up The Ave, maybe grab some Sweet Alchemy before the show.
For more details about its historical importance, written far better than I ever could, check out this article by Duke Enham at KXSU
Apart from Owl and Thistle, The Sunset is the smallest venue on this list. When you enter the sunset, it looks like a small bar. The venue is in a small room behind the small bar. This isn’t a venue for mid sized acts – they’ve tried that and it didn’t work out too well. But what The Sunset lacks in size, it makes up for in aesthetic.
They recently remodeled, and the woodworking behind the stage is beautiful. The sound is controlled and locked in. Shout out to Rick, by the way – go ahead and high five the sound guy if you go, they’re underappreciated, and they do god’s work.
Adding to its allure is a unique feature – a porthole behind the bartop offering a glimpse of the stage. While soundproof walls keep the bar quiet (as quiet as a dive bar can be), the distant echoes of live music goad you to go check it out.
I highly recommend the sunset. Beyond its musical offerings, The Sunset exudes a laid-back vibe, making it an ideal spot to unwind even if you’re not catching a show. However, with cover charges typically around $10, the temptation to see some live music is hard to resist. And with a vibrant bar scene nearby—including Kangaroo & Kiwi, Shingletown, and King’s Hardware for a high energy night out, Hazelwood for a cozy, intimate night out—The Sunset sets the stage for a memorable night of entertainment and exploration in Seattle.
What little country-folk scene exists in Seattle is concentrated at Tractor Tavern. It’s not uncommon to find hay on the floor and concert-goers who look like they know how to line dance in this venue. Even if that’s not your cup of Bud Light, the music is stellar, every time. Maybe it’s something about country music artists not getting the same shine in Seattle that they get elsewhere, but these musicians play like their life is on the line.
I’ve gone to Tractor without knowing headliner many times, and I’ve never left disappointed. There’s something about drinking beer and listening to a banjo that has a timeless, undeniable appeal, like embodying the american dream or… something. Trust me, give it a shot. It’s also a few blocks from The Sunset and the aforementioned night-life scene, so if you’re not into the vibe, there’s plenty of other options.
Nectar Lounge feels like a large-sized venue that happens to be in an intimate space. They book acts that would usually play bigger stages. They sell out most nights. Their equipment is top-of-the-line, and the aesthetic of the venue is one of the best in all of Seattle. The balcony overlooking the stage gives some of the best views of some of the best artists that come through the area. It’s really the ideal experience, especially if you’re a music nerd, and want to really pay attention to the nuances of the music. The relatively small space ensures that you can hear everything, and everyone.
You can’t mention Nectar without mentioning Mo’ Jam Mondays, an ongoing open-mic style jam session that Nectar hosts every Monday night at 7. Bring your instrument and sign up when you get there, and you’ll be assigned to a random group of musicians. When it’s your turn on stage, you have a few minutes to get organized, pick a key and a chord progression (or lack thereof), and perform. In front of everyone. In front of all of the other musicians in the crowd – most of whom just got off stage and absolutely ripped it. It’s high stakes and exciting, and I’ve heard some of the coolest drum solos I’ve ever heard during Mo’ Jam Mondays. If you play drums, keyboard, or sing, you’re pretty much guaranteed a spot. If you play guitar, get there early because spots fill up quick. Also, if you’re in the area, check out Add-a-ball, a retro video game themed arcade bar across the street.
The Crocodile is the perfect size. It’s just big enough to book mostly “ohh yeah I think I’ve heard of them” acts, but just small enough that the sound in the room is very very good. They tend to book younger indie acts, so be sure to wear your baggiest jeans to blend in with the Gen Z hipsters. And when you get in, be sure to look up at the 25-foot long crocodile fossil hanging from the ceiling that gives the venue its namesake.
In 2018, The Showbox was set to be demolished to make space for flashy, new apartment buildings, fit for any esteemed Amazon Exec – a hazard of its prime location just a few blocks from Pike Place Market, and the rapid value increase of the land that it sat on. The city rioted. Flyers went up on every telephone pole, magazines published articles, “Save the Showbox!,” people picketed town hall, begging to keep The Showbox around. In 2019 after a long year of uncertainty, the City of Seattle’s Landmarks Preservation Board unanimously decided to grant The Showbox landmark designation, saving it from demolition. We all rejoiced and bought tickets for an upcoming show.
Ever since that movement, The Showbox has taken on a new meaning. It’s always been historic, but now it’s also a symbol of Seattle’s love of music, and a stake in the ground that says Amazon and Google can’t gentrify everything. It’s one of the most important venues in the Pacific Northwest. At least to us.
If that’s not enough to convince you to go, let me tell you its sound is off the charts good, at one point it’s hosted just about every artist you like – from Duke Ellington to The Weeknd – and it has one of the coolest interiors of any venue I’ve ever been to. If you’re going to check out any one venue in Seattle, this might have to be the one.
Neumos sits in the cultural hub of Capitol Hill, and Capitol Hill is the cultural hub of Seattle. You may have heard about CHOP or CHAZ (Capitol Hill Occupied Protest) back in 2020: a protest following the murder of George Floyd which included blocking off several blocks of Capitol Hill and not answering to any form of organized government outside of its walls. And all of this happened in the middle of a pandemic. It truly felt like the world was ending. My apologies for bringing you back to that year, I’m sure we’d all like to forget. All this to say Neumos had a front seat view of CHOP. It’s in Seattle Seattle. It’s also a main venue in Seattle’s biggest annual music festival, Capitol Hill Block Party. It sits in the middle of everything.
Neumos has a penchant for hosting massive bands in their early stages. In the stairwell down to the greenroom, you’ll see pictures of bands that have played there, most of them young and bright-eyed. Bands that you may have heard of like, The Shins, The Raconteurs, Muse, The Yeah Yeah Yeahs, Feist, Bloc Party, Fleet Foxes, The Kills, Conor Oberst & the Mystic Valley Band, Iron & Wine, Band of Horses, Adele, Spiritualized, Damian Marley, MGMT, Yeasayer, Justice, Diplo, Cat Power, Metric, Stars, Super Furry Animals, Vampire Weekend, the list goes on and on. This is the spot in Seattle.
On top of all of that, the sound is some of the best you’ll ever hear in a live context. It’s not uncommon to catch a sound guy wandering around with an iPad in the middle of the show, constantly tweaking and EQing, making sure it sounds great everywhere in the room.
And on top of all of that, Neumos is a part of a bigger complex that’s all connected. It includes The Runaway, a charming bar that’s perfect for before-show drinks, and another of my all time favorite venues in its basement – Barboza. Barboza is a long, narrow room with the stage at one end, seating on the other, and a bar right in the middle. The ceilings are low, and it’s always packed with people. It gets hot, and it stays loud. It’s the perfect setting for the deep house, electronic, and EDM artists that find their way to Barboza most every night.
Neumos / Barboza is also surrounded by the best nightlife in Seattle. For clubbing, check out The Rhino Room, Rheinhaus, and Neighbors. For a quick drink, check out The Comet (just across the street), Sam’s (they give out free drink tickets all the time, I have no idea how they’re still open), and Elysian Brewery. For food, check out Lost Lake (breakfast served until 3am), Big Mario’s Pizza, and any of the many street stands serving the best damn hot dogs you’ve ever tasted at 2am.
Neumos / Barboza is a cultural experience that Seattlites have somehow kept hidden from tourists for a long time. It’s everything that Seattle is and wants to be, for better or worse, and it’s easily the best venue in Seattle.
Honorable Mentions to:
El Corazon / Funhouse – classic punk, ska, metal venue that’s hard to miss from the freeway – there’s gonna be backlash because this didn’t make the list.
Moore Theatre – where Pearl Jam recorded their music video for ‘Even Flow’
The Vera Project – all-ages non-profit venue in Seattle Center
The Paramount – one of the best large venues in Seattle
Tim’s Tavern – you’ll always have a place in my heart.
New News
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In a recent article titled The Musician’s Census 2024: “It’s Becoming Harder To Be An Independent Artist”, Mark Knight of Right Chord Music, in collaboration with Musosoup, reveals the difficulties faced by independent musicians. The survey, which gathered insights from 300 artists across 64 countries, highlights concerns around payment, visibility, and the evolving landscape of the music industry.
Seattle’s music scene is no stranger to innovation, and Waltzerr is adding its own distinct voice to the mix. With their recent EP, the band isn’t just following indie rock traditions—they’re reshaping them. In this interview, we explore how they’ve crafted their sound, the intricacies of their recording process, and how Seattle’s vibrant music landscape shapes their work.
Mk.Gee’s ongoing tour has taken a unique turn, with his song “DNM” becoming an unexpected centerpiece of his shows. Fans across multiple cities have noticed a trend—Mk.Gee is playing “DNM” not just once or twice, but sometimes five, six, or even more times per performance! On Reddit, users from Nashville, Dallas, and other cities have shared their excitement, with some even saying Mk.Gee played the track 9 or 10 times in a single night. One fan from Nashville commented, “I swear I think he played it like 5 times,” while another from DC mentioned, “5 times in DC last night :)”.
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Philadelphia fans were left disappointed on September 28 when rising indie artist Mk.Gee canceled his highly anticipated show at the last minute. The announcement came via Mk.Gee’s Instagram story, where he apologized, explaining that he was simply burnt out and couldn’t bring himself to perform another show after a grueling schedule.
Legendary singer Frankie Valli has responded to fans’ concerns about his health and the noticeable lip-syncing in his recent performances after videos of the shows went viral online.
With a diverse array of genres everywhere from indie-pop to death rock, people interested in finding new local music need not go further than their nearest venue to discover their new favorite band. There are countless talented artists in the Seattle area, all of which deserve to be listened to and talked about. While this article can’t list them all, it will give you a head start on highlighting a few to get your feet on the ground.
New Reviews
Natalie Clark’s “Nothing Left to Lose” marks a return to her acoustic roots, yet it never feels small. Instead, it’s a track that swells with emotion and urgency, capturing the very essence of confronting fear and anxiety. Co-produced with Todd Spadafore, the song strips back the production layers that defined her recent work, letting Clark’s agile vocals take center stage. And it’s in that vocal delivery—raw, vulnerable, yet undeniably powerful—that the song finds its true heart.
Kylie Rothfield’s “The Barrel” is a gentle gut-punch of a song—a slow-burner that takes its time to cut through the noise and land somewhere deep. It’s indie pop with a soul, borrowing from R&B’s emotional playbook and infusing it with something both timeless and incredibly of-the-moment. Co-written with a team that has their fingerprints on everything from Chapell Roan to Kelly Clarkson, the song is an exploration of exhaustion—the kind that comes from being stuck in the same cycles, in life, in love, in feeling like you’ve settled for less than you deserve.
KARMA’s “SIS (She’s Something)” isn’t the type of track we typically review, but its engaging musicality and unapologetic message make it impossible to ignore. This Memphis-based trio delivers a fresh, club-ready anthem that celebrates the unselfish roles women play in everyday life, with a mix of sass, soul, and swagger. It’s a song designed to uplift, and it does so with infectious energy and smooth production.
Andi Fins’ “You Need A Friend” is a warm, introspective hug in musical form—a celebration of companionship that feels refreshingly sincere without tipping into saccharine territory. Set against a backdrop of shimmering DX7 chords and playful guitar lines, the song channels a relaxed, almost effortless vibe that invites listeners into a world of quiet nights, cozy conversations, and the simple joy of shared moments.
“Mile Wide” by Trickshooter Social Club taps into the restless, rebellious spirit of Americana, delivering a track that celebrates breaking free from self-imposed constraints. It’s a song about blowing open the cages we build for ourselves and embracing the chaos that comes with defying expectations. The band, rooted in Chicago’s rich tradition of roots-rock, layers this message over a foundation of stomping rhythms and unapologetically gritty guitar work, inviting listeners to escape alongside them.
BOYFRN’s single “GoGo,” released on July 26, 2024, brings a dynamic fusion of emotional depth and rhythmic drive. Produced by Bobby Love, Young Clancy, and Dave Plowman, and supported by Jahmal Padmore’s drumming, “GoGo” navigates the stages of grief through an explosive, rhythmic canvas. The track’s themes of anger and resilience resonate as BOYFRN delivers a raw, poetic reflection on pushing through hardship.
Grace McLean’s “My Lovely Enemy” is an eerie, entrancing track that defies easy classification. It weaves together a mix of avant-garde pop, blending synths, strings, funky bass lines, and even New Orleans-style horns. The result is a song that constantly shifts and evolves, offering a fresh piece of ear candy every few seconds as it moves between sparse moments and full orchestral swells. This unpredictable soundscape keeps listeners on edge, never settling into one mood or feeling for too long.
Maggie Rogers has treated fans to her first new material since the release of her album Don’t Forget Me earlier this year. The single, titled “In The Living Room,” is a nostalgic nod packed with 90s-inspired guitars and LeAnn Rimes-esque vocal hooks. Co-written and co-produced with Ian Fitchuk, the track was born out of a March 2023 studio session, just a few months after finishing her latest album.
Seattle-based artist Annie J’s latest single, “Gotta Give It Up,” from her upcoming EP “Been Loving You,” is a disco-infused gem that blends funky rhythms with modern pop sensibility. Bursting with energy, this track is designed to make you move, with a groove that’s infectious from the first note.
“A Letter From A Friend” feels like an intimate conversation, woven with a warmth that only comes from experience. Across the album, Beck shares his personal reflections, offering a glimpse into nearly a decade of his life. The album isn’t overly dramatic; instead, it’s grounded in the quiet moments of everyday existence. The acoustic-driven sound, organic and unpretentious, creates an atmosphere where each song feels like a slow, deliberate exchange of thoughts—familiar, yet meaningful.
The Mortal Prophets’ latest EP The American Junkie Show arrives with a sharp, timely focus on the turbulence of contemporary American life. Led by frontman John Beckmann, the EP centers around its standout feature—a seven-minute opus, also titled The American Junkie Show. This ambitious composition seamlessly intertwines two tracks, “American Junkie” and “An American Scene,” delivering an unflinching critique of the country’s socio-political climate, perfectly timed amidst a charged election season.
The Heroic Enthusiasts’ latest EP, Wake Me When It’s Over, is a two-track release that expertly bridges 80s New Wave with contemporary electronic textures. Produced by Stephen Hague, a legend behind artists like New Order and Erasure, the New York duo of James Tabbi and Thomas Ferrara bring their Brit-pop and post-punk influences to life with precision and emotional depth.
Kylie Rothfield’s latest single, Never Loved Somebody, takes indie pop and infuses it with the timeless feel of 70s soft rock, a combination that feels as refreshing as it is emotionally evocative. Co-written and produced with Eric “Potz” Potapenko, the track is crafted with the intimacy of a home studio yet manages to capture the energy and polish of a live band performance.
With ICNCLST/, John Beckmann of Mortal Prophets continues his sonic exploration into the depths of the American psyche, following the striking blues-infused Dealey Plaza Blues with an equally captivating and experimental EP. This 7-song project, produced by David Sisko and mastered by Mike Tucci, infuses Beckmann’s penchant for rock-tinged pop with swirling psychedelia, creating a dreamlike atmosphere that is both haunting and engaging. ICNCLST/ feels like the soundtrack to a heat-soaked, late-summer dream, tinged with an ever-present sense of unease.
Rusty Reid’s Head to Heart feels like a personal manifesto, wrapped in folk-country charm, and delivered with the reflective wisdom of a troubadour who’s been around long enough to offer genuine insight. With its remix released in 2024, this album presents a more polished sound, inviting listeners to engage with its philosophical depth while enjoying the enhanced clarity and smoothness of its production. The title track, “Head to Heart,” embodies the heart of this project—both musically and thematically.
Lolita Terrorist Sounds’ latest release, “Living-in-glory,” feels like a meditation on tension—personal, political, and historical. The track, an avant-garde blend of drone, industrial clatter, and the unnerving intimacy of ASMR, doesn’t hold your hand through a narrative but instead invites you to sit with a strange discomfort. It’s unsettling and oddly hypnotic, a soundscape that is as much about the space between the notes as the tones themselves.
Tessa Lee’s “Mountains” is the kind of track that captures the restless spirit of adventure with an effortless charm. There’s something in the song’s laid-back, infectious energy that makes it feel like a soundtrack to a journey—whether you’re on the open road or simply daydreaming about being there. With riffs that stick in your head, a guitar solo that blazes through the mix, and sweet harmonies, it’s a song that feels light but carries just enough weight to linger.
Linda Sussman’s “Remember Dorothy” feels like a quiet anthem for today’s complex landscape. It’s not loud, but it doesn’t need to be. The song, rooted in simple acoustic slide guitar and Sussman’s unvarnished vocals, speaks to the necessity of courage in the face of societal pressures. There’s a directness in her delivery that brings to mind the classic folk-blues era, where the music’s power lay in its message, not its embellishments.
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