Spaceland’s 30th reunion show orbits back to the ’90s heyday of Silver Lake’s music scene

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Even before Spaceland opened in 1995, Silver Lake was known as a cool, up-and-coming neighborhood. But Spaceland, taking over the former Dreams of L.A. venue, really put it on the map. It created a buzz and cemented Silver Lake’s reputation as a hot spot for artists and musicians – a perfect concept in the perfect location.

In the early 1990s, a mix of affordable living, quirky local businesses, and dive bars started drawing artists, musicians, and a creative crowd to the neighborhood. They joined a long-established, diverse community that included a thriving LGBTQ+ scene and many multi-generational Latino families, making it one of the most interesting places to live in Los Angeles. While it’s become more expensive and a bit more upscale, some longtime residents still feel it’s lost some of its original charm.

Thirty years ago, this neighborhood had a cool, unique vibe. The annual Sunset Junction Street Fair, which began in the 1980s and closed down a section of Sunset Boulevard, helped make it even more popular. It featured both established and up-and-coming bands, attracting people from all over Los Angeles until the fair ended in 2010. This event expanded the city’s cultural scene and brought a lot of attention to the area.

Silver Lake became known as a central hub for music thanks to promoter Mitchell Frank. He transformed his popular weekly music night at Dreams, called Pan, into a dedicated rock venue. This gave a unique space for the thriving local music scene – which had previously existed in smaller venues, house parties, and rehearsal spaces – to develop and gain a following.

The opening night event was a fundraiser for local band Lutefisk, known for their unique sound. They’d been rehearsing at Hully Gully on Fletcher Drive, like many other area musicians, but had their equipment stolen. To raise money to replace it, they organized a show featuring popular local artists, including headliner Beck, who began his career performing at the Onyx coffeehouse near the Vista Theatre, and later in Los Feliz Village on Vermont Avenue.

The singer’s first album, “Mellow Gold,” released in 1994, was produced by The Dust Brothers, and its lead single, “Loser,” quickly became popular on both the radio and MTV. With the dark and melodic alternative rock band Possum Dixon opening, the concert was highly anticipated. It became even more special when Dave Grohl’s new band, the Foo Fighters, was unexpectedly added to the lineup for an early performance.

It was an incredible night. It rained, but both of our shows were completely sold out,” remembers Brandon Jay, the drummer for Lutefisk. “It was a special time because KBLT radio had just started, and Silver Lake was becoming a really exciting music scene. People were saying it was the ‘new Seattle,’ but with a lot more diversity.”

Jay, who has played in bands like the 88 and Gwendolyn and the Good Time Gang, wants to bring back memories of the legendary music scene at the Regent this Saturday. Lutefisk will be reuniting, along with Rob Zabrecky from Dixon’s (playing with other well-known musicians from the club), and popular Spaceland acts like Touchcandy, the Centimeters, Jon Wahl (from Claw Hammer), Sissy Bar, W.A.C.O., and several others.

Frank says this show perfectly captures the vibe of a classic 1990s Spaceland night. With bands like Touchcandy, Lutefisk, Centimeters, Rob from Possum Dixon, and Sissy Bar, it’s the same kind of energetic and unique music that made that decade so special. He believes nights like these were key to building a strong music community on the Eastside.

What really set this music scene apart was how it brought together so many different types of bands and styles. As Jay puts it, there was a fantastic mix of eclectic groups. While some of them went on to get record deals, he notes that success in the music industry is unpredictable, and it’s hard to say what will become a hit.

Many bands got their start at the club. Alongside well-known acts like Beck and the Foo Fighters, local groups such as Silversun Pickups (named after a local liquor store), Rilo Kiley, and the Airborne Toxic Event all gained recognition after playing there. Numerous touring indie artists also honed their skills on the club’s stage, including the White Stripes, Arcade Fire, Arctic Monkeys, Jet, Ween, Cold War Kids, Death Cab for Cutie, Amy Winehouse, and countless others.

Jennifer Tefft, who used to book acts for the venue, recalls that in the early 2000s, Spaceland’s Monday night shows became a must-play for bands touring the US. Agents specifically requested their clients play there, even though it was a free show, because it offered valuable exposure. Bands from all over the world, including Bloc Party, The Killers, and My Morning Jacket, made their Los Angeles debuts at Spaceland, boosted by positive press from publications like NME in the U.K.

I remember when Tefft booked the Bootleg Theater, but then he teamed up with the building owner, Jeff Wolfram, to revamp the place and create the Satellite. It was such a bummer when it had to close in March 2020 because of the pandemic, and sadly, it’s still closed. Around the same time, Frank and Liz Garo left Dreams – that was still the official name of the venue, by the way – to pour all their energy into their new spot, the Echo, and eventually, the Echoplex too.

In 2019, he sold the Echo Park venue and the Regent to Live Nation, but he continues to be involved in booking acts and managing club operations. All three key individuals deserve recognition for the unique atmosphere and strong community they fostered at Spaceland and the impact it had on the music scene. They genuinely supported the artists who performed there, frequently promoting their favorites and helping them gain fans, often through advertisements in the free print version of LA Weekly.

Garo, who took over booking at Spaceland after Tefft and became well-known at The Echo, explains that everyone involved shared a similar enthusiasm for music and a commitment to local artists. She believes this common ground is what helped maintain the scene’s authenticity.

Spaceland just felt good, you know? It’s full of those warm, slightly hazy memories for me. And I remember spending hours up in their upstairs pool room – it was legendary, and they somehow managed to keep the smoke going even after the smoking ban in ’98 with some clever loophole. It was a special place.

Free shows on Mondays weren’t unusual – Club Lingerie had been doing them for ages – but Spaceland’s were special. Their month-long residencies benefited both the bands and the audience. It wasn’t just affordable and thoughtfully planned, featuring both new and established artists; it was a hub for people who shared a passion for alternative music, fashion, art, and pop culture.

The musicians who played at the venue were a tight-knit group, often seeing each other outside of performances. Those who impressed the audience quickly gained popularity, and their fan base grew steadily each week.

Garo explains that Jen had a successful approach: bands would finish a residency, take about six weeks off, and then return with ticketed shows. This system ideally helped bands prove they could attract an audience beyond just friends and family. He notes that it’s a significant step for a band when they start performing to rooms full of strangers.

Spaceland wasn’t just a place to play for musicians like Zabrecky and Jay—it truly shaped their music and their lives. For many artists who regularly performed there, and who are reuniting at the Regent show after years apart, it was a crucial stepping stone.

Zabrecky, who later became a famous magician, remembers that performing at Spaceland with Possum Dixon was always full of surprises. No two shows were ever the same, and the venue welcomed all kinds of bands, celebrating their unique styles. Groups like Glue, Spindle, W.A.C.O., and the Abe Lincoln Story were incredibly diverse, which made every night interesting. They were all just improvising and supporting each other along the way.

As a huge music fan, I remember when Spaceland was becoming the place to see shows, and then it transformed into The Satellite. It’s funny, but the band that really put it on the map – the Foo Fighters – were also the ones who accidentally started all the buzz! They picked the venue for a series of secret, small shows back in 2011, debuting new songs, and it was right before the name changed. It felt like a special moment, knowing we were witnessing something new and exciting.

So, in 2005, Forbes magazine declared Silver Lake the “hippest hipster neighborhood” – which, naturally, was the kiss of death for its authenticity. Suddenly, you had American Apparel popping up on every corner, Starbucks everywhere, and the artists who made Silver Lake cool started getting priced out. They began moving east to neighborhoods like Echo Park, Mt. Washington, and Highland Park, and even downtown. Interestingly, a lot of the new bars and clubs opening in those areas were clearly trying to recreate the energy of the legendary Spaceland club – and honestly, you can still feel that vibe today.

Spaceland’s influence continues today, extending beyond just fond memories for those who experienced it. Current bands are carrying on its spirit by performing at venues like the Echo, Regent, Zebulon, and Redwood Bar – choosing these more relaxed spaces over the traditional Hollywood and Sunset Strip scenes. They’re recreating the energy of the past, focusing on music discovery and connecting with fans.

Frank is still sharing his skills with Live Nation. Garo is busy organizing events, ranging from intimate acoustic performances at her bookstore, Stories, in Echo Park, to booking shows for Grand Performances downtown. Meanwhile, Jay, who sadly lost his home in the California wildfires, has created a wonderful program called Altadena Musicians to connect and support local musicians. He’s also helping to launch the Backyard Party, a new all-ages music venue in Pasadena, and believes a vibrant community of creative music lovers is flourishing, just as it did at Spaceland years ago.

Jay is assisting with the planning for the Regent show and contacted David Willis from Touchcandy, who is traveling from the U.K. specifically for the event. They’ve also reached out to Beck and Grohl, though their participation isn’t confirmed yet. KBLT, the pirate radio station that co-produced the documentary “40 Watts from Nowhere” with Jay and Jack Black, will provide DJ sets between the live performances.

The performers listed for this event are a nod to a similar benefit concert from 1995, and together they showcase a fantastic range of music. It’s a chance to relive a thrilling time for L.A. music fans – a period Zabrecky recalls as “young and free” – when those on stage played at what he calls “the best club at the best moment on Earth.”

Frank describes the bands as raw, energetic, independent, and authentic, yet surprisingly fresh. He notes the 30th anniversary show is being presented as ‘Volume 1,’ hinting at future events. Ultimately, he believes performances like these are what made the entire scene significant.

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2025-11-27 03:02