Club 90s brings its high-energy pop rave to Summit on Friday, stacking DJ-driven singalongs and remixes that run from 90s staples to today’s chart burners. The crew built a following on themed nights that favor big hooks, glossy beats, and a packed dancefloor. This one is 18+, with doors at 8 and music at 9, primed for a full-room glow-up that moves fast into the late hours.

Summit Music Hall is a mid-sized LoDo standby with a roomy floor, a wraparound balcony, and a system that handles pop and bass nights cleanly. The room sits on Blake near Coors Field and hosts touring rock, hip-hop, indie, and DJ events. Bars on both levels keep lines manageable, and sightlines from the balcony stay solid if the floor gets thick.

Nashville-based Hayden Coffman has been building a steady country following on baritone warmth and straight-ahead songs about small towns, long nights, and the pull of home. He brings modern radio polish without losing the twang, leaning into guitar-forward arrangements and sing-along hooks. He hits Marquis on Saturday, with doors at 8 and the show at 9, a tight fit for his fan-forward, up-close set.

The Marquis is an intimate, all-ages rock room in the Ballpark district, brick-lined with a low stage and a punchy PA. Capacity sits in the low hundreds, which keeps the energy close and sweaty when it fills. The bar moves quickly, and a slice is usually within reach before the headliner. It is a staple stop for rising acts graduating to larger spaces.

Kentucky-born Chase McDaniel has carved out a lane in modern country with big-chorus storytelling and a touch of Southern rock swagger. Tracks like Project and Your Daughter picked up traction online and translated cleanly to a live band format built for loud rooms. He hits the Grizzly Rose on Friday at 8, a space that suits his line-dance-ready tempos and radio-tight hooks.

The Grizzly Rose is Denver’s classic honky-tonk, a sprawling dance hall on the north side with one of the biggest hardwood floors in town. The room books national and regional country acts, flanked by line-dance lessons, a mechanical bull, and easy-access bars. Sound is tuned for two-steps and full-band twang, and regulars know the sightlines are best from the rail or near the sound booth.

Adam Sellouk brings a sleek blend of melodic techno and progressive house, favoring widescreen leads, rolling percussion, and tension that pays off in long arcs. His sets have been lighting up late-night rooms worldwide, threading modern trance textures into deep, hypnotic grooves. He lands in the Basement at Vinyl on Friday at 10 pm, the right hour for heady builds and hands-up drops.

The Basement at Club Vinyl is the subterranean heart of the South Broadway complex, a low-ceilinged room that keeps the kick heavy and the lights minimal. It is the spot for techno-leaning bookings and marathon sessions. The booth sits in tight with the floor, so the DJ feels close, and the sound stays warm and physical without losing clarity.

JOYRYDE takes the stage at The Church with his signature bass house that slams hip-hop swagger into rubbery low end and warehouse-ready drums. The UK producer has stacked festival slots and club anthems like Hot Drum and I’m Gone, built for big rooms with strobe-lit peaks. A 10 pm start fits his wheelhouse, where the energy spikes and the subs get a full workout.

The Church Nightclub is a Denver institution, a former church refit into a multi-room dance hub with stained glass, soaring ceilings, and a system that hits hard without harshness. The main floor sits beneath the vaulted nave, with balconies and side rooms for a quick reset. It programs touring house, bass, and techno names alongside local residents.

Son of Son heads to Club Vinyl for a late set rooted in house and techno, favoring rolling grooves, Afro-tinged percussion, and patient builds that reward dancers who stay locked in. It is a selector-first approach that leans on flow rather than quick edits, the kind of set that reshapes the room in layers as the night progresses after 10 pm.

Club Vinyl anchors South Broadway’s dance corridor, a four-level club with separate vibes on each floor and a rooftop that hums when the weather cooperates. The main room handles house and techno with thick low end and plenty of space to move. Staff keeps traffic flowing between levels, and the booking toggles between touring names and trusted locals.

Scottish singer Nathan Evans vaulted into view with sea shanties led by his breakout take on Wellerman, then broadened into folk-pop originals with big choruses and a storyteller’s lilt. For this run he links with the Saint PHNX band, the Glasgow alt-pop duo known for anthemic, drum-forward arrangements. Doors at 7 and an 8 pm start set up a full-album sweep with room for shanty singalongs.

Marquis thrives on shows like this, where vocals carry and the crowd leans in. The room’s brick, low ceiling, and compact footprint punch up handclaps and harmonies, and the small balcony offers a useful perch if the floor fills. It sits a short walk from Coors Field, easy to get in and out, and typically runs on time for all-ages bills.

La Rumba’s Ladies Night and Noche Sonidera blends early instruction with a full Latin dance playlist. Bachata class hits at 7, Cumbia at 8, then resident DJs slide into cumbia sonidera, bachata, reggaeton, and salsa, stacking rhythms for steady partners and solo dancers. The weekly party draws regulars alongside first-timers, keeping the floor friendly and the energy bright.

La Rumba is a Broadway staple for Latin nights, a polished room with a sprung wood floor, mirrored walls, and lighting that flatters every spin. The club runs classes early, then flips to DJs and live bands on weekends. Staff keeps the pace easy at the bar, and there is ample space around the edges to cool off or watch before diving back in.

Bruce Bruce brings his Cool Since Day One tour to Denver with brand-new material. A veteran of Def Comedy Jam and BET’s ComicView, he still works the stage with the same slow-burn timing, sharp crowd reads, and easy food-and-family bits that made his name. Friday’s 7:30 set locks in that post-work slot, and he tends to stretch, letting riffs breathe between punchlines.

Denver Improv is a classic two-drink-minimum club room at The Shops at Northfield, built for stand-up with tight sightlines, round tables, and a low, wide stage. Staff keeps the room moving between shows, and the sound is tuned for voices over clatter. It draws national headliners most weekends and sprinkles in local showcases on off nights.

Polish Phish is The Polish Ambassador’s live band outlet, taking his kaleidoscopic electronica into funk-forward, improvisational territory. Expect elastic bass, heady synths, and extended grooves that nod to jam tradition without losing his playful studio touch. A 9 pm curtain at Ophelia’s gives the group room to stretch in two-set fashion.

Ophelia’s Electric Soapbox is a two-level supper club in the Ballpark neighborhood, a former brothel dressed in vintage signage, velvet booths, and one of downtown’s best small-room sound systems. The stage anchors the lower floor with balcony seating above, so dinner-and-a-show and dancefloor energy can coexist. The calendar leans funk, soul, indie, and eclectic DJs.