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    Lend Us Your Ears

    Listen up: 7 underrated live-music venues in Dallas-Fort Worth

    Alan Ayo
    Sep 24, 2012 | 12:00 pm
    • The Curtain Club in Deep Ellum is more than a metal club.
      Photo courtesy of Curtain Club
    • The Loft is often overshadowed by Gilley's and Palladium Ballroom.

    For whatever reason, there are a lot of places to see live music in Dallas that are misjudged, miscategorized or simply misunderstood. Maybe it’s a lopsided Yelp review. Or perhaps it’s been labeled a “a bar with a stage.” Then there’s the old excuse, “That place only does (insert particular music genre here).”

    We say it’s time to stop splitting hairs and start acknowledging these joints. These seven venues are just plain good for getting your live-music fix.

    The Loft
    Wedged between two much more high-profile venues, Palladium Ballroom and its sister party room, Gilley’s, the oft-overlooked Loft is a more intimate space. It has been rigged for everything from weddings to beer-hurling, old-school mosh pits that churn while The Buzzcocks play an entire album set. The deck has a great view of downtown, the bartenders are quick and there’s doable bar food downstairs.

    The Curtain Club
    It sucks to be pigeonholed. Typecasting doesn’t only affect actors like George Reeves and Shia LeBouf; it also affects clubs that historically have relied on one genre. In the case of Curtain Club, that’s heavy acts like Drowning Pool and Slow Roosevelt. Truth is, the well-laid-out Curtain Club is one of the best live-music venues in Texas, and this place is open to all kinds of music. One recent other-than-metal example: the “Ghost of Blind Lemon” assembly of bands, an ode to the gone-but-not-forgotten venue that used to be across the street.

    Lola’s Saloon
    In Fort Worth, this is a pretty heralded spot. But if you’re looking at it through a Dallas lens, it seems like a normal bar with an average stage and an Old West-style rear deck. But have another beverage and stick around past 10 pm to witness the transformation. Local promoters have piped in some great national touring acts who could have played a place with more square feet but far less personality. Even the college kids in here seem more laid-back than most, well, college kids at a bar do. It’s one of the biggest little venues in Texas.

    El Sibil
    It might not hold a liquor license or a typical schedule of shows. (Monthly is the norm.) But considering the vibe, great lighting and decent acoustics, those are but minor flaws for what is a very, very special place to see live music. The creative epicenter of video whiz Jason Whitbeck and crew’s YesGo Productions, El Sibl is part video studio, part house party and part happy accident. Experience it at least once in your local music travels – if not sib-eral times. (Sorry. We had to.)

    Cambridge Room
    Like The Loft in the Gilley’s complex, the Cambridge Room gets overshadowed by its big brother, the House of Blues main stage. But the Cambridge Room has got it where it counts: a big, solid-wood, general-admission floor; above-average acoustics; a stage at one end; and a big bar at the other. If you must, there are seats flanking each side. (Wuss!) We remember an especially great night in this room when Black Joe Lewis and the Honeybears opened for the New York Dolls in 2009.

    The Foundry
    It’s not the easiest spot to find. But it’s worth whipping out your smartphone navigation to get across the bridge and into the industrial section of Oak Cliff. Why this open-air fest is downplayed as a live-music venue (and cast as a patio bar attached to a hell of a family restaurant called Chicken Scratch) is beyond us music geeks. With gravel under your feet, picnic tables galore, a mile-long list of beers and plenty of diversity on stage – from electronic and avant-garde duos to indie-rock acts from Austin – this isn’t the first time someone has written that The Foundry begs to be a legit live-music venue.

    The Boiler Room
    Similar to its Deep Ellum neighbor the Curtain Club, the Boiler Room (albeit a newcomer to the neighborhood) is typecast as a rock bar. (It doesn’t help that one of the owners is a member of Drowning Pool.) Truth is, this place is down for whatever, and while the Boiler Room does end up booking a lot of rock, it’s not so unusual to find DJs and dancing or other types of crowds. The lounge side is cozy and plastered with big screens, and the burgers are mighty fine. On the live side of the Boiler Room is some top-notch PA, and it’s a fairly spacious stage for a place this size.

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    Movie Review

    Steven Spielberg returns to alien territory in captivating Disclosure Day

    Alex Bentley
    Jun 11, 2026 | 11:33 am
    Tommy Martinez, Emily Blunt, and Josh O'Connor in Disclosure Day
    Photo courtesy of Universal Pictures and Amblin Entertainment
    Tommy Martinez, Emily Blunt, and Josh O'Connor in Disclosure Day.

    With the release of Disclosure Day, Steven Spielberg has now directed 17 feature films over 26 years in the 21st century, the exact same number over the exact same period of time he did in the 20th century. The first half of his career was mostly defined by his blockbuster films, while the second half has seen him exploring a lot more serious material. Disclosure Day marries the two for an experience only he could deliver.

    The film starts in medias res, as Dr. Daniel Kellner (Josh O’Connor) is being pursued by Noah Scanlon (Colin Firth) and a team of henchmen for stealing intellectual property from Wardex, a government contractor for which he works. As the audience gradually discovers, Daniel is a cyber-security programmer who has discovered evidence of alien life in the company’s servers. He and others within the company, including Hugo Wakefield (Colman Domingo), are determined to release the information to the public.

    Concurrently, television meteorologist Margaret Fairchild (Emily Blunt) starts experiencing weird things, including the ability to speak multiple languages and read people’s minds. Without either of them actively trying to seek each other out, Daniel and Margaret are set on a path to meet, with Scanlon (with the help of a mysterious alien device) trying to track their every move.

    Directed by Spielberg and written by David Koepp, the film is an almost even mix between classic Spielberg wonder and a deep story about what it is to be human. By starting the film in the middle of the story, Spielberg immediately ramps up the excitement level. While the movie has relatively little action, that sequence and a few others deliver the type of propulsiveness for which Spielberg is revered, keeping the 145-minute film moving at a brisk pace.

    Of the different types of alien movies Spielberg has made over the years, this one is closer to Close Encounters of the Third Kind than E.T. The story ponders the ethical, religious, political, and sociological effects that revealing the existence of aliens could have on the world. The debates had by various characters purposefully take the film out of being a sheer popcorn flick, forcing the audience to grapple with issues that they may have never considered before.

    Unlike some other Spielberg films, he and Koepp don’t hold the audience’s collective hand throughout the story. There are a lot of times when viewers have to use context clues to understand exactly what is happening. That especially goes for an extremely important aspect of the world in which the story takes place that could pass you by if you’re only paying attention to the main characters’ dialogue. Spielberg’s using only subtle allusions for an element which would be the main focus of most other films is a fascinating choice.

    O’Connor (Wake Up Dead Man, Challengers) has that everyman quality that a story like this needs. It always feels like it's him against the world, and does a terrific job of exuding both confidence and fear. Blunt delivers a fantastic performance, switching between confusion and composure with ease. Firth makes for a solid villain, and the story is helped by great turns from Domingo and Eve Hewson.

    The idea that the nearly 80-year-old Steven Spielberg is still making blockbuster-style movies over 50 years after he made Jaws is astonishing, and the fact that he still knows how to make them work is even more impressive. Disclosure Day may not be the type of alien movie many were expecting, but it’s another high water mark in a career that has been full of them.

    ---

    Disclosure Day opens in theaters on May 12.

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