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Lend Us Your Ears

The 5 best live music venues in Dallas-Fort Worth

Alex Bentley
Mar 14, 2013 | 11:45 am

The Dallas-Fort Worth area is certainly not lacking in music venues, from dingy clubs in Deep Ellum to the musician-swallowing Cowboys Stadium in Arlington. But if you truly want to appreciate all a band has to offer, the list of places you should go gets significantly smaller.

There are many traits an ideal music venue should have, but there are also the ineffable details that make it rise above others. Although the places on this list arguably have individual faults, each has that certain something that keeps crowds coming back time and again

Bass Performance Hall
This downtown Fort Worth treasure is known more for the arts than anything else, but that doesn't take away from its ability to host a concert. Bass Hall is equally as good at presenting the Fort Worth Symphony Orchestra as it is popular acts like Lyle Lovett or Robert Earl Keen, because it is an engineering miracle.

No matter where you sit, its amazing acoustics ensure you hear the same thing, which helps keep the 2,000-plus-seat venue relatively intimate. Plus, it also has the attached McDavid Studio, which is good for smaller, acoustic performances. Locals owe it to themselves to attend a concert here at least once.

Gexa Energy Pavilion
This venue has had no less than five names in its 25-year existence, and you can generally tell what generation someone belongs to by how they refer to this Fair Park spot. (For the record, it will always be Coca-Cola Starplex to me.) But that factoid tends to overshadow what a fun place the Starplex Amphitheatre Smirnoff Music Centre Superpages.com Center Gexa Energy Pavilion can be to attend a concert.

As an outdoor venue, the acoustics and sight lines can vary depending on your location, but that's also part of its charm. Even more charming is its verdant lawn and outdoor setting, with picnic tables and trees for shade. If nothing else, it deserves points for bringing a steady stream of big-name acts — like the country-heavy lineup in 2013 — to Dallas.

Granada Theater / The Kessler
The Granada and the Kessler share a spot on this list because if you'd never been to either one, you could easily mistake one for the other. Both are former theaters that have been converted to music venues. Both put on multiple concerts every week that range from local up-and-comers to established bands who haven't quite graduated to arena shows. And both serve up an intimate experience that allows fans to almost feel like they're part of the band.

Arguments can — and have been — made for the supremacy of one over the other, but the real winners are anybody who wants to experience the true thrill of live music.

Palladium Ballroom
The Gilley's complex has three main music venues, but the Palladium Ballroom provides by far the most bang for your buck. It hosts one big-name band after another who want an intimate venue that can still handle a semi-large number of people. Three thousand or so hearty souls can fit in one of the space's four areas, with three bars available to lubricate the masses.

One downside is the lack of seating for most concerts, leaving those of short stature to jostle for good viewing positions. But if standing shoulder-to-shoulder is the price to pay to get up close to the likes of Alabama Shakes, Ed Sheeran and Morrissey, we'll gladly pony up.

Verizon Theatre at Grand Prairie
There are many venues that claim flexibility when it comes to hosting different acts, but Verizon Theatre truly delivers on that promise. It has a variety of panels that can be dropped down to accommodate smaller acts and make the room more intimate.

But its top capacity of 6,300 fills a great niche for the region, attracting different acts who might not otherwise include Dallas on their tours. From a fan perspective, the sight lines are second-to-none, with the amphitheater-style seating ensuring a great view no matter where you sit.

Florence + The Machine at Palladium Ballroom.

Florence + The Machine at Palladium Ballroom in Dallas
Palladium Ballroom Facebook
Florence + The Machine at Palladium Ballroom.
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Movie Review

Teenage Sex and Death at Camp Miasma gives horror a surreal twist

Alex Bentley
Aug 14, 2026 | 1:30 pm
Hannah Einbinder and Gillian Anderson in Teenage Sex and Death at Camp Miasma
Photo courtesy of MUBI
Hannah Einbinder and Gillian Anderson in Teenage Sex and Death at Camp Miasma.

The horror genre really ramped up in the 1970s and ‘80s, bringing with it a new subgenre - the slasher - that gave audiences new visuals of gore, but also a reliance on sexism and homophobia that would come to define the era. The new film Teenage Sex and Death at Camp Miasma wrestles with that legacy in ways that are funny, thought-provoking, and downright strange.

Kris (Hannah Einbinder) is a queer filmmaker who has been hired to reboot the moldy IP that is the Camp Miasma franchise, one that was fresh in the 1970s but which numerous shlocky sequels have rendered irrelevant. In an attempt to get to know the property better, Kris has scored a meeting with the reclusive Billy (Gillian Anderson), the star of the original film who has shunned the public eye for decades.

Turns out that Billy lives deep in the woods at Camp Rivoli, which served as the location for the first film. As Kris tries to get to know Billy and convince her to be a part of the new film, she starts to fall under Billy’s spell and the lore of the franchise as a whole. That includes believing that the movie’s villain, Little Death - a transgender person who has an air conditioning vent as a head/mask - may not just be a character created for the movies.

Written and directed by Jane Schoenbrun (I Saw the TV Glow), the film at first feels like it’s going to go the straight-up comedy route, with comic explosions of blood, a strange fascination with candy brands, and a production design that does nothing to hide that the two main actors are on a movie set with painted backdrops. This is backed up by Kris’ phone conversations with her girlfriend, Mari (Jasmine Savoy Brown) and her agent (Sarah Sherman), as well as numerous other details.

But the film starts to go down the surreal route the longer Kris stays at the camp with Billy, especially when they sit down to watch the original Camp Miasma. An extended sequence shows a good amount of that film-within-the-film, demonstrating why Kris and Billy have a love/hate relationship with the property. For Kris, though, the lines between the film and the real world start to blur, and Schoenbrun uses a variety of out-there elements to drive the point home.

The final act of the film can barely be described as Kris goes deeper down the rabbit hole, with Schoenbrun using her film to comment on the horror genre as a whole, its treatment of women and LGBT people, the movie industry, and more. All the while the “camp” of Camp Miasma maintains a presence, with candy wrappers showing up everywhere and the tongue-in-cheek references to Little Death (the French term La petite mort, which means “the little death,” is a euphemism for orgasm).

Einbinder, an Emmy winner for Hacks, is the perfect person to inhabit her role. Her established real-life and fictional personas color everything she does in the film, with her enthusiasm and curiosity shining through. Anderson leans heavily into another reference - Norma Desmond from Sunset Boulevard - to create a character that is as mysterious as she is alluring. Supporting actors like Brown, Sherman, Patrick Fischler, Dylan Baker, and Eva Victor keep the movie at the right pitch all the way through.

While other films have made fun of horror movie tropes before, Teenage Sex and Death at Camp Miasma finds a wholly unique way of doing so. It’s a funny and daring trip into the psyches of two women who may be victims of their own obsessions, and of the movies that made them that way.

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Teenage Sex and Death at Camp Miasma is now playing in select theaters

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