Doors: 6:30pm

Tickets: $20 advance, $25 doors

Advance tickets can only be purchased online-we do not sell advance tickets at the venue. Refunds are not available within 48 hours of the event. Tickets do not guarantee seating during shows at the Royal Room. 

We are now accepting reservations for diners! After purchasing tickets, please visit the Reservations page to book a table. Table reservations require advance tickets, and are only for guests who plan to dine at the Royal Room.  We do not take reservations over the phone.

Seating for non-diners is first come, first served. Please arrive early to guarantee a seat!

The Royal Room is All Ages until 10pm.

Beginning in 2000, The Zaida LaRose Band arose out of the ashes of the 20th century, melting its way thru some of the most diverse sounds of the 50’s, 60’s, 70’s and 80’s, purposefully and conscientiously skipping the 90’s, and all music henceforth, not as a personal rejection of all things boring and unnecessary, but rather as an embracing of beauty, power, and savagery.
The band features an all male rear, propulsing a relentless syncopated pounding thru an utterly feminine power front and reflecting thru the lens of a most undefinably shiny multi-instrumentalist, creating unique, non-binary and, ultimately a non-giving-a-shit photon torpedo of musical blinding. Look out, people, look out.

Whiting Tennis is a Seattle singer and songwriter who’s been performing with and without bands since the mid 80’s. Following Big Tube Squeezer, the trio from that explosive era, he’s released three solo albums: “Hello Dolly”, “Three Leaf Clover”, and last year’s “I Do”. Presently he is performing with Jim Wood on drums, Kevin Warner on bass and occasionally, Barb Hunter on cello, all three of which play in numerous other musical projects.

“Barton Carroll is the kind of songwriter that gets taken for granted. In a modestly fragile tenor, he relates real stories instead of impressionistic poetry or woe-is-me folk confessions, full of acute observations and complex emotional developments. It’s literary in the sense that he has a strong grasp of character and voice, not in the sense that he favors big words or clever turns of phrase.”
– Pitchfork