George Birge brings fresh Nashville polish with Texas grit to the Grizzly Rose on Friday night. The former half of Waterloo Revival has carved out a solo lane built on hooky radio-country and an easy drawl, breaking through with the sing-along single Mind On You. Expect a tight band leaning into modern twang, back-porch storytelling, and big choruses fit for a two-step. The opener hits at 8 pm with Birge following soon after.

The Grizzly Rose is Denver's classic honky-tonk, a cavernous room with a springy hardwood floor made for line dances and two-steppers. The stage sits high with clear sightlines from the rails and raised platforms, while the sound stays crisp even deep by the bars. It books national country names and regional up-and-comers, with a crowd that actually dances. North of downtown, parking is easy and the whole place runs on roadhouse energy.

Dark Star Orchestra returns to the Fillmore on Friday to do what it does best: rebuild a Grateful Dead show from the inside out. The veteran ensemble rotates eras and setlists, stretching into two long sets of deep improvisation, harmonies, and faithful tones that capture the Dead's swing and sway. Doors at 7 pm, music at 8 pm, with the band settling into that unhurried, time-warp groove it has made its own.

Fillmore Auditorium is Denver's big-room rock hall on Colfax, a long, chandeliered ballroom that holds a few thousand without losing warmth. The floor slopes just enough for decent sightlines, and the PA can handle quiet dynamics and full-tilt jams alike. Bars ring the perimeter and the lobby moves people efficiently. It is the city's staple stop for legacy acts, jam scenes, and mid-to-large touring rock.

R&B ONLY LIVE brings its DJ-led celebration of R&B to Summit on Friday at 8 pm, stitching classics and current hits into one continuous, high-energy groove. The COLORS Worldwide crew leans into 90s and 2000s nostalgia, then slides into sleek modern cuts, keeping the crowd in full voice. Expect smooth transitions, big singalongs, and a party built squarely around the genre's melody and mood.

Summit Music Hall is LoDo's mid-sized workhorse, a brick-and-beam room that splits the difference between clubby and concert hall. Capacity sits around a thousand with a wraparound balcony, strong sightlines, and a sound system tuned for bass without mud. It hosts touring rock, hip-hop, and dance nights, and staff keeps the pace brisk at doors and the bar. Street energy outside matches the room's pulse inside.

Yung Bans hits the Marquis on Friday with the woozy, melodic trap that made his early tapes a SoundCloud-era touchstone. His drawled hooks and cold-bloom atmospherics sit somewhere between late-night confession and flex, built for a tight, dark club. Doors open at 8 pm for this all-ages show, with the set leaning on fan favorites and newer cuts that keep the mood floating but focused.

Marquis Theater is downtown's scrappy, low-ceilinged room that puts heads ten feet from the mic. The capacity is a few hundred, the pit stays lively, and the soundboard knows how to make sub-bass thump without drowning the vocals. It is a staple for rising hip-hop and punk bills alike. Quick bar, quicker stage turns, and a crowd that came to lock in.

Sons of Legion heads to the Gothic Theatre on Friday at 9 pm with a guitar-forward rock sound built on big riffs and driving rhythm. The band's set leans into anthemic choruses and tight, no-filler arrangements that hit clean in a theater mix. It is a straight-ahead, modern hard rock approach that favors momentum and punch over frills, built for a room that can turn up without washing out detail.

The Gothic Theatre in Englewood is a restored 1920s jewel with art-deco bones, a deep stage, and a room that wraps sound warmly. The floor is gently raked for clear views, with roomy bars on both sides and a mezzanine that feels close to the action. National rock, metal, indie, and hip-hop route through here because the production is pro and the neighborhood is easy in and out. The marquee glows over South Broadway.

Space 92 lands at The Church for a late-night session of peak-time techno, all piston-kick drums, rolling basslines, and sleek, melodic tension. The French producer has built a catalog of charting weapons made for cavernous rooms, and he rides long blends that keep energy surging. A 10 pm start suits the set's arc, with crisp builds and pressure that holds until lights-up.

The Church Nightclub lives in a converted cathedral, and it keeps the drama. Stained glass, soaring ceilings, and a multi-level layout frame a Funktion-One system that stays clean even when the subs dig deep. Different rooms let the night breathe, but the main floor is where the big drops happen. Staff runs tight, and the vibe leans international on techno nights.

Stoned Level takes the Club Vinyl stage Friday with heavy, tear-out dubstep built on serrated leads and gut-punch subs. His sets stack double-drops and quick cuts that keep energy volatile but precise, turning the main room into a pressure chamber. A 10 pm start lets the low end unfurl, with new IDs and fan-favorite bruisers anchoring the run.

Club Vinyl is a four-story fixture in the Golden Triangle, with a rooftop patio and a main room that caters to bass heads. The production is club-solid, booth centered on a wide floor with plenty of rail space and a system tuned for impact. Fridays swing from house upstairs to heavier fare downstairs, and the flow between floors keeps the energy moving without long bottlenecks.

Kyle Walker drops into The Basement at Vinyl with chunky tech house, thick low end, and crisp percussion that locks a room together. The LA producer-DJ has built his rep on club-focused grooves and clever edits that pop on a tight system. A 10 pm kickoff suits the subterranean vibe, where close quarters amplify every build and bassline.

The Basement at Club Vinyl is the venue's most intimate corner, a low-ceiling, brick-and-concrete space that carries bass with no wasted air. Lights stay moody, the booth is right on top of the floor, and the crowd packs in tight, which suits house sets perfectly. It is the spot for hands-on DJ sessions while the rest of the complex hums above.

Gimme Gimme Disco turns the Marquis into a glittery time machine on Saturday, a DJ party heavy on ABBA with a wide orbit of 70s and 80s disco anthems. It is built for big choruses, call-and-response, and costume-friendly energy, with edits that keep the classics bouncing. Doors at 8 pm, show at 8:30 pm for this 18+ dance night.

Marquis by night flips easily from rock club to discotheque. The rig throws bright color across the floor, and the room's tight dimensions make singalongs feel like a wall of sound. Staff keeps the turnover quick and the vibe loose. Steps from Coors Field, it draws a mixed crowd that knows chorus hooks by heart.

Leo Gonzalez brings his blend of observational stand-up and quick character pivots to Denver Improv on Friday at 7:30 pm. The Fresno-born comic built a huge online following with sketches and interviews, then translated that timing to the stage with sharp, rapid-fire bits that still leave room for playful crowd work. It is a smart, personable set that moves fast without losing shape.

Denver Improv sits at Northfield and runs like a classic A-list club: big showroom, low sightlines, and a tuned PA that keeps punchlines clean across the room. Tables are tight but comfortable, staff is seasoned, and the pace stays smooth between openers and headliner. It anchors national tours and strong local showcases, with plenty of parking and easy access off I-70.