View from the balcony while Strangeways played at The Smiths/Morrissey Convention on Sunday, August 25, 2024. (Pic: Liz O.)
It was still early in the evening when Strangeways dropped us back into 1992 with a little “Glamorous Glue.” Up on the balcony at Avalon, the crowd sang along, “everyone lies/nobody minds/everyone lies” and the energy grew more dynamic as the song progressed. If you knew the song— and, certainly, everyone in this room did— you could anticipate what would happen once The Smiths/Morrissey tribute band reached the final verse.
“We look to Los Angeles—“
The crowd roared, nearly overpowering the second half of the sentence.
“— for the language we use.”
Down on the floor, right in front of the stage, people jump up and down, their arms waving in the air as they chant, “London is dead! London is dead!”
In this brief moment where L.A. pride and Morrissey-mania converge, I realize why I’ve always had a good time at The Smiths/Morrissey Convention. It’s a legit, local gathering made by and for fans that still happens in spite of all the forces that make it more difficult for subcultures to exist.
This was my new from DJ booth in the Jewel’s Room at Catch One for Nocturno on Saturday, August 31. (Pic: Liz O.)
It’s Sunday morning, I’ve hardly slept. I have Sacred Skin’s song “Call It Off” running through my head and Depresion Post Mortem’s cover of “Yo Voy” fighting to overtake it. Still, I’m going to try to explain last night’s gig at Klub Nocturno in a way that people who normally don’t know what I’m rambling about will understand. It might not work, but we’ll try. (Scroll down if you just want to see the set list.)
Last night, Klub Nocturno took over Catch One, which is this massive, multi-room disco that has an amazing history going back to actual disco L.A. There were five dance floors of varying sizes going all night: Rock en Español vs. Cumbia, Indie vs. 80s, Deftones Night, Corrido Night and Sad Bunny Night. I played Indie vs. 80s in the Jewel’s Room, where the dance floor is on the ground level of the building and a staircase in the corner leads up to a mezzanine, where the DJ booth is located, before heading towards the second level of the club.
I have a view from the booth that overlooks the dance floor and stage. Usually, it’s not until right around 10 p.m. that I see the room begin to fill with people. Last night, I started playing at 9:30 on the dot and began to see signs of life on the dance floor three or four songs into the set. By the time I mixed “Rippin Kittin” into “Something to Remember Me By,” the dance floor was alive and growing.
The first time I heard people scream for a song that night was during “Love My Way,” the Psychedelic Furs classic, which was maybe at around 10:30 p.m. The energy was incredible. I’d look down and see this big mass of people under the purple and red glow of the lights. I could hear them singing along to The Strokes song “Reptilia” and Le Tigre’s big ’00s club hit “Deceptacon.”
When the intro of “Smalltown Boy,” the Bronski Beat’s jam, faded in at midnight, the screams were wild. TBH, that’s really the song of summer 2024, even though it’s literally 40 years old. I hear it everywhere from clubs to the A Line.
The room hit its peak at midnight. People chanted through “Living on Video” and sang along with “Two of Hearts.” There were dancers in the mezzanine lounge area too, so during the stretch from “Smalltown Boy” through “Goodbye Horses,” I felt like I was DJing in the middle of the dance floor.
It was one of those nights that passed all too quickly. I looked at my laptop, noticed it was after 1 a.m. and realized that I had to start dropping the big sing-a-long numbers— “Love Will Tear Us Apart,” “There Is a Light,” “Just Like Heaven”— immediately and try to squeeze in as many requests as I could. (I had more than four hours of requests, which came in before the party started, loaded into Rekordbox.) Anyhow, it was an awesome night and you can see my set list below.
Here’s the crowd dancing to Depeche Mode’s cover of “Route 66” (The Nile Rodgers Mix) at Club Underground’s Depeche Mode Nite on Friday, August 30
Last night was the first time I DJed the Depeche Mode room at Underground’s Depeche Mode Nite. By the end of my first set, I realized that playing nothing but Depeche Mode-related songs (Yaz counts, it’s Vince Clarke) is really easy to do when you’ve been a big ol’ fan since you were 10 years old.
I got in my favorite Alan Wilder cut, “Fools (Bigger),” which is a B-side for “Love in Itself.” I have a whole story about that, which involves tracking down a sample I heard, accidentally finding it in a used record bin, playing it at a club and making a friend with whom we became the Alan Wilder Appreciation Association, but we’ll save that for another day.
Mixed in some synth pop that wasn’t made by members of Depeche Mode in the second set, plus a mini Vince Clarke tribute right after “Send Me an Angel,” and then went all DM again for my third set, which closed out the night upstairs at the Grand Star. Anyhow, the set list is below. Thanks for sticking through the sets. I hope you got to hear a Depeche Mode song that you hadn’t heard in a long time, or maybe one that’s new to you.
Want to know what’s happening in L.A. this Labor Day Weekend. Let’s start off with where I’ll be DJing.
Friday, August 30
Club Underground: Depeche Mode Nite @ Grand Star Jazz Club
Not only is it Depeche Mode Nite, but we’ll be celebrating the birthday of Underground’s founder and resident DJ Larry G. Both floors of the Grand Star will be open, so expect Depeche Mode jams and deep cuts, plus your Underground favorites on Friday night. Larry G., Filthy Rich and I are DJing from 9:30 p.m. until 2 a.m.
Grand Star Jazz Club, 943 N. Broadway, Chinatown 90012; 9:30 p.m.; 21+; Get tickets
Saturday, August 31
Klub Nocturno @ Catch One
Nocturno is back at Catch One on Saturday, August 31, with five rooms for dancing. I’ll be playing in the Indie vs. 80s Room. There’s also Rock en Español vs. Cumbia, Deftones Night, Corrido Night and Sad Bunny Night. Online tickets have already sold out, but there will be a very limited amount available at the door. Early arrival is suggested and the line starts at 8:45 p.m.
4067 Pico Blvd., Arlington Heights 90019; 9:30 p.m.; 18+; Online tix sold out, limited amount at door only, follow Nocturno on Insta for updates.
Check out what’s happening in L.A. for the rest of the week. Everything here is under $30 and it ranges from Spanish oldies at Grand Star on Thursday night to an L.A. Synth Club event in Long Beach on Sunday to a meet-and-greet with Night Tempo Tuesday night. There are some killer film screenings too, especially on Labor Day. If you’ve never seen The Time Masters, from Fantastic Planet director Rene Laloux, I highly recommend it.
This Friday, August 30, is Depeche Mode Night at Club Underground. It’s also the birthday of Underground’s founder and resident DJ Larry G., so you know this is going to be a night for the books. Both floors of Grand Star Jazz Club will be open and DJ Filthy Rich and I (Liz O.) will also be dropping heat all night. Be ready to dance to Depeche Mode’s biggest hits, plus album cuts and B-sides, along with your Underground favorites. Tickets are available now on Eventbrite and Dice, so take your pick and get yours now.
Album cover for Geneva Jacuzzi’s new album, Triple Fire
I’ve been hooked on Triple Fire, the latest album from Geneva Jacuzzi, since a promo turned up in my email a while back. As the August 23 release date approached, I listened to the album more often, trying to dig deeper into the stories within songs like “Laps of Luxury,” “Art Is Dangerous” and “Scene Ballerina” that are so vivid, yet so open to interpretation. The music, the lyrics, it all felt like it was already a part of Los Angeles.
Jacuzzi has been making music in L.A. since the ‘00s and first came to underground attention with the band Bubonic Plague, who were amazing live, btw. Triple Fire is her third solo album since 2010 and her first full-length for Dais Records.
I picked up this 45 of “No Longer Mine” from Thee Heart Tones at Going Underground recently and it’s fantastic.
I’ll be back in the DJ booth next weekend to play Club Underground on Friday, August 30 and the Indie vs. ‘80s room at Nocturno on Saturday, August 31. As far as this weekend goes, I’ve listed concerts, DJ events and movie screenings happening in L.A.
There are a few things to note about this list. If you want to see Nuovo Testamento at Lodge Room on Saturday, August 24, get your tickets as soon as possible because there is a low ticket alert for this show. If you’re in the mood to check out an up-and-coming band, I recommend Thee Heart Tones at The Paramount on Friday, August 23. I picked up the “No Longer Mine”/“Cry My Tears” away 45 at Going Underground earlier this month and it’s great. Plus, the show is celebrating the South Bay band’s debut full-length, Forever & Ever, which is also out this Friday. For The Smiths fans reading this, don’t forget that Sunday is the the annual Smiths/Morrissey convention is coming up on Sunday at Avalon. It’s always a fun event with tribute bands and DJs. This year’s event includes guest DJ Boz Boorer and, if you want to try your luck at winning a pair of tickets, there will be a giveaway at Underground’s ‘80s Nite on Friday.
Keep reading for more of what’s happening in L.A. this weekend and early next week.
Just wanted to update quickly with my set lists from Disco Matinee on Sunday, August 18. Thanks to those of you who made it out to Grand Star Jazz Club for the little day party that Jus’ B and I throw, now on the third Sunday of the month.
This Sunday, August 18, is Disco Matinee at Grand Star Jazz Club in Chinatown. Join Jus’ B and me for an afternoon of disco, funk, dance punk, Italo and HiNRG from 3 p.m. until 7 p.m. Discount, advance tickets are available now on Restless Nites.
The Grand Star is located at 943 N. Broadway inside Chinatown’s Central Plaza, next to the Bruce Lee statue. There is both street and lot parking in the neighborhood and the venue is located right across Broadway from Metro’s A Line stop in Chinatown. Cover will be $8 at the door (cash or Venmo) and it’s a 21+ party.
Keep reading to see more of what’s happening in L.A. between Thursday, August 15 and Wednesday, August 21.
At Underground on Friday night, it dawned on me that the most requested song of my DJ career, which, by the way, began before today’s 21-year-olds were alive, is “Blue Monday.” No question about it, the New Order dance floor classic, which I also want to mention was already an oldie by the time I started DJing, has been requested at just about every club night where I’ve regularly played, sometimes multiple times in the course of one night. I get it. “Blue Monday” is the best dance song ever. I’ll write more about that later, but the tl;dr is that it’s over seven minutes long, mixes well with multiple styles of music and never clears the dance floor. It’s perfect.
But, the weird thing about “Blue Monday” requests is that they’re unnecessary. If it’s a dance club where some variation of indie, ‘80s and/or synthpop are played, there’s a 99% chance that “Blue Monday” will be in the mix. Often, I’ll get the requests at 10:30 p.m. and I’m like, “wait until midnight,” because one does not play “Blue Monday” until the floor is at it’s peak. Other times, I’ll get the request after 1 a.m, at which point, the song was already played.
Last night, I got the post-1 a.m. “Blue Monday” request. Malvada had already played the and I said that. However, the requester had spent a good chunk of time on the dance floor upstairs, so I wanted to do something nice. “But,” I said, “I have the ‘Blue Monday’ mix of ‘Can’t Get You Out of My Head.’” The requester looked excited. I played the song. Everyone in the room seemed happy. Compromises can be a good thing.
