Priscilla Block brings the Things You Didn't See Tour to House of Blues with the pop-country bite that put her on the map. She writes in plainspoken detail, swinging from party-starter sass to bruised confession, and those big hooks carry in a room this size. Her breakout Just About Over You and cuts from Welcome to the Block Party sit comfortably next to newer material. Doors at 7, show at 8, and she tends to run it tight.

House of Blues San Diego anchors the Gaslamp with a multi-tier main hall, balcony sightlines that actually work, and a stage that flatters country and rock equally. The room holds a few thousand without feeling impersonal, and the sound is dialed, especially for vocals. Bars are tucked to the sides so the floor stays moving. It is an all-ages space on nights like this, with the Voodoo Room next door for the late-night crowd.

Early Ones Only takes over the Voodoo Room for a pop-centric early evening built on bright hooks and a dance-floor pulse. The format is quick and breezy, with local talent keeping the energy up while leaving the night wide open afterward. Expect singable choruses, glossy production and no filler. Doors open at 5 and music starts at 5:30, making it a clean jump-start to the weekend.

Voodoo Room is the intimate club tucked inside House of Blues, a low-ceiling space with warm lights, bold art, and a tight, present mix. Capacity sits in the low hundreds, so sets feel immediate and unfiltered. The bar is close, the sightlines are easy, and staff keep things moving. It is built for DJ nights, showcases, and early sessions like this one, with quick turnover and plenty of character.

Rangoo tops a stacked all-ages bill on SOMA's Sidestage, joined by surf-friendly indie outfit The Grinns plus locals The White Collars, White Girl Wednesday, KICKBACKS, and Slacker. Rangoo leans into catchy guitar lines and punchy rhythms that fit the room's close quarters. It is a night built for discovering new bands and shouting along by the second chorus. Doors at 6:30.

SOMA's Sidestage is the smaller room at the long-running warehouse venue near the Sports Arena, an all-ages space with a low riser, concrete floors, and a PA that hits without burying the vocals. It is standing room only and built for movement. Merch tables line the wall, security keeps it straightforward, and the clear bag policy speeds up the line. It is a starter stage that still feels big.

JADE brings Thats Showbiz Baby! The Tour to North Park with a glossy, theatrical pop set that balances charisma and clean production. Expect big hooks, tight choreography, and a wink between songs. The vibe is playful but the vocals land, and the arrangements hit with modern punch. Doors at 7, show at 8, and the staging reads well in this theater.

The Observatory North Park is a restored 1930s theater with a sloped floor, wraparound balcony, and one of the cleaner mixes in town. It sits right on University Avenue with West Coast Tavern connected for pre-show bites. Capacity hovers around a thousand, so pop shows feel big without losing detail. The sightlines are fair across the room, and parking is easy with the garage across 29th Street.

NONSTOP kicks off the year at Music Box with Anton Khabbaz, a selector rooted in melodic house and Afro-leaning rhythms. His tracks ride sleek, percussive grooves with patient builds, the kind that stretch late into the night without losing the floor. Support from global heavyweights has followed his releases, and his sets translate that polish live. A 9 pm start sets the tone for a deep run.

Music Box is the tri-level room in Little Italy with a broad stage, wrap balcony and mezzanine that make every set feel close. The sound system is tuned for clarity and low-end presence, so house and techno land with weight while vocals stay crisp. It is mostly standing room with pockets to post up, bars on each level, and a staff that turns sets efficiently. Street and lot parking sit nearby.

Mary Droppinz dives into Bloom with a kinetic mix of breaks, electro and acid, stitching quick-cut blends to keep the room on its toes. Her sets bounce between rave classics and bright, modern edges without losing momentum, and she reads small rooms well. Expect chunky basslines, squelchy synths and a bit of cheek. A 10 pm start puts this firmly in the late slot.

Bloom is Gaslamp's compact, neon-lit dance room, a basement feel with a sharp LED canopy and a punchy system that covers the floor wall to wall. The booth sits close to the crowd, so energy loops quickly between the stage and the dance floor. It is a 21 plus space with a tidy layout, friendly staff, and table lanes that do not choke the groove. Cashless entry keeps lines short.

Earlybirds Club flips the script with a 6 pm dance party built on feel-good pop, disco, and house edits, all wrapped well before midnight. It is a social, no-pressure floor where hooks lead and phones tend to stay down. This edition kicks a slice of proceeds to the Women's Resource Center, adding purpose to the groove. The format suits Music Box perfectly for an early surge.

In the early slot, Music Box feels spacious and lively, with sunlight fading through the Little Italy streets as the room fills level by level. The balcony gives an easy overlook of the dance floor, and the main bar crew moves fast during party nights. The sound spreads evenly without hot spots. It is a comfortable mid-size venue that adapts well to early-evening dance formats.

Kottonmouth Kings roll into House of Blues with the rap rock hybrid that made them fixtures of SoCal subculture. Expect bass-heavy beats, punk-shaded guitars and stoner anthems shouted back from the floor. They have decades of catalog to pull from, so the set hits nostalgia and chaos in equal measure. Doors at 7, show at 8, the way this band likes it.

The main hall at House of Blues suits loud, rowdy sets. The pit rail is sturdy, the balcony keeps chants bouncing, and the mix is thick without burying vocals. Staff move crowds smoothly from Fifth Avenue into the room, and the footprint leaves space to breathe even when packed. It is central Gaslamp, so post-show options are everywhere.

Thought Experiment and friends gather at Brick By Brick to honor Frank Mercurio, whose bass work powered Cypress Hill offshoot SX-10 and a string of heavy projects. Expect a night rooted in riffs, memories and community, with proceeds supporting Apt 4 Music's work. It is a proper celebration of a life lived loudly. Music starts at 7:30.

Brick By Brick is San Diego's no-nonsense rock room in Kearny Mesa, a black box with a stout PA, low stage and cold beer. The floor is flat, the sightlines are honest, and the back patio offers a breather between sets. It is a 21 plus spot that consistently books metal, punk and hard rock. Load-in is easy and the sound crew knows how to make guitars snarl.

IF YOU SEE ME YOU SEE ME returns for No. 12, a world music experience curated by Sasha Marie and Studio Sessions with Anastazja, Mango and Ginger, Dauche and Kitana. The night moves through soulful R&B, Afrobeat, baile and global bass without losing the thread. It is a 21 plus hang with sharp curation and smooth flow. Doors at 7:30, show at 8.

At The Observatory North Park, this series plays well on the wide stage and under the clean light show, with bars placed so the floor stays clear. The sloped room keeps sightlines intact even when it is full. Being in the heart of North Park means easy pre and post options, and the attached West Coast Tavern simplifies the handoff from dinner to the show.