Justin Bieber Night brings a wall-to-wall Bieber songbook to North Park, with Stan Society DJs stacking hits, deep cuts, and remixes into a sleek, high-energy set. It is a singalong pop workout that moves from early acoustic hooks to neon club edits in one continuous flow. The room feeds off the fandom, from Purpose-era anthems to the newer chart runs, and the crates go deeper than just singles. Doors at 7:30, music rolling by 8. This one is 18+ with ID.

The Observatory North Park is the city’s Art Deco workhorse on University Avenue, a 1930s movie house retooled for modern concerts. Capacity sits just over a thousand with a gently sloped floor, crisp sightlines, and a balcony that sounds better than most. The PA is clean and punchy, especially for pop and hip-hop sets, and the staff keeps changeovers tight. North Park’s bars and the 29th Street garage make pre-show and parking simple.

Squirrel Nut Zippers roll into town celebrating 30 years of Hot, the record that helped light the 90s swing revival. Their cocktail is still potent: hot jazz, jump blues, New Orleans street parade brass, and a touch of vaudeville drama. The horns snarl, the rhythm section snaps, and the vocals carry that sly, sepia-toned grin. San Diego’s own Gregory Page opens with his elegant, vintage croon and waltzing melodies, a perfect curtain-raiser for an evening rooted in pre-war glow. Music at 8 pm.

Music Box in Little Italy is a tri-level club with a big-room sound and small-club intimacy. The main floor keeps you in the thick of it, while the mezzanines give relaxed sightlines and quick access to bars. The room handles horn sections and upright bass with real warmth, and engineers here know how to make acoustic sets breathe. Street parking can be tight, but the India Street corridor’s food and drink options make pre-show meetups easy.

Snow Strippers are pushing a jagged, late-night blend of industrial club, trancey synth lines, and serrated pop hooks. The Detroit-born duo deals in blown-out drums, breathy, pitched vocals, and a neon-afterhours mood that lands somewhere between DIY rave and underground pop. Their sets move fast, flipping from sleaze-soaked bangers to icy, minimal grooves without losing momentum. This date has shifted to SOMA San Diego, with doors at 6 and show at 7.

SOMA San Diego is the city’s classic all-ages warehouse in the Midway District, built for volume and sweat. The Mainstage is a cavern with a hard-hitting system, quick security lines, and a floor that surges when the low end drops. It is concrete, practical, and focused on the show, with sightlines that reward getting in early. Parking in the area is straightforward, and the staff runs a tight, fan-friendly operation for touring alt and electronic bills.

Daniel Donato’s Cosmic Country folds Telecaster twang into long-form improvisation, stitching honky-tonk swing, Bakersfield snap, and Dead-informed jams into a road-tested set. His quartet is airtight, drifting from sweet vocal tunes into instrumental stretches where the guitar lines spiral and lock back in on a dime. Donato plays with the touch of a Nashville lifer and the curiosity of a psych head, which keeps both the dancers and the heads locked in. Music starts at 8 pm.

Music Box treats guitar music well. The room’s tuned low end supports country grooves without mud, and the balcony angles make solos read clearly from the back. It is a standing-room space with quick bar access on each level and a stage that feels close even from upstairs. Located in Little Italy, it is an easy walk from pre-show dinner to downbeat, and the production team is dialed for dynamic bands that stretch out.

Jacquees brings his Atlanta-bred R&B to the Gaslamp, leaning into slow-burn hooks, stacked harmonies, and the confident runs that made his mixtape cuts and radio singles stick. He toggles between bedroom confessionals and nimble, club-leaning grooves with ease. Jaz Karis opens with a warm, jazz-schooled tone and UK soul sensibility, sliding from stripped-back ballads to percussive, modern R&B. It is a clean one-two of contemporary voices. Doors at 7, show at 8.

House of Blues San Diego is a downtown staple, all carved wood, folk art, and a production crew that makes R&B shine. The main hall has a deep floor, wraparound balcony, and a sub setup that flatters modern low end without swallowing the vocals. The room flows well even when sold out, with multiple bars and a side patio for air. It is a reliable stop for national tours that want club intimacy with theater-grade sound.

Los Yesterdays tap that lowrider sweet spot, delivering satin-smooth, harmony-rich soul with analog warmth and a falsetto that floats. The McCharmlys add a coastal shimmer, blending girl-group melodies, surf guitar, and mid-century swing into crisp, danceable tunes. San Diego City Soul Club DJs tie it together with faithful oldies selections and modern cuts that live in the same pocket. Doors stretch late for a proper night crowd. Music hits at 9 pm.

Music Box is tailor-made for nights like this. The room’s front-of-house mixes vintage-leaning acts with a careful hand, letting percussion and harmony breathe. Dancing on the main floor is the move, while the mezz levels give space to take in the full stage show. Bars on each tier keep lines moving, and the Little Italy setting means you can slide from dinner straight into a 60s-steeped soul set without missing a beat.

Kitty Craft deals in soft-focus indie pop built on dusty samples, downtempo beats, and whisper-close vocals. It is the kind of set that sneaks up on you, stitching crate-dug textures to warm keys and gently pulsing bass lines. The songs favor mood and melody over volume, inviting the room to lean in rather than shout over it. Expect a patient, late-evening flow that rewards a crowd ready for detail and glow. Doors at 7, music at 8.

The Voodoo Room at House of Blues is the intimate side space, a low stage with club lighting and its own bar that keeps the vibe loose. It is the spot where nuanced sets can bloom, with a mix that puts vocals up front and lets subtle beats translate. The room is comfortable without being precious, and the proximity to the main HOB hall means the staff and sound crew are seasoned. Easy in, easy out, and a good hang before and after sets.

ARRIVAL From Sweden stages ABBA with precision and sparkle, nailing the stacked harmonies, satin synths, and disco-strut arrangements that define the catalog. The band leans into full-ensemble delivery, from guitar flourishes to string pads, with vocalists who mirror the original blend cleanly. It is a hit parade designed for singalongs, but the details are what sell it: tempo, tone, and those bright, elastic melodies dialed in. Curtain at 7 pm.

Balboa Theatre is downtown’s restored 1924 gem, all velvet seats, gilded flourishes, and a natural acoustic that flatters voices and strings. Sightlines are excellent from the orchestra to the upper reaches, and the crew runs shows with theater polish. It sits right off Horton Plaza, making arrival simple, and the lobby moves crowds efficiently. For a tribute with big vocal stacks, this is exactly the right room.

Hermanos de Leche pairs two distinct voices from Mexican comedy for a live mix of standup and onstage riffing. Adrián Marcelo brings cutting, observational bits with a quick pivot into crowd energy, while Iván Fematt La Mole leans into brash, story-driven punchlines. Together they slide from solo sets into loose, podcast-style banter that thrives on timing and friendly jabs. Expect Spanish-language comedy with bite. Show starts at 8 pm.

Balboa Theatre’s seated layout is a gift for comedy. The room’s warmth keeps laughter rolling, and the balcony carries punchlines as cleanly as the orchestra. Staff moves lines quickly, concessions are efficient, and the stage picture is intimate without sacrificing scale. It is an easy downtown night out, with plenty of post-show options within a few blocks.

Noizu lands in the Gaslamp with his signature tech house toolkit: springy bass hooks, tight drum programming, and vocal chops that hit right when the floor wants them. He bridges festival-ready impact with club precision, stacking grooves that build patiently and pop at just the right moment. The set typically swings from classic house textures to modern, percussive rollers, giving Nova’s system plenty to chew on. It is a proper late start.

Nova SD is the city’s big-room dance hub, a multi-level club with a sharp LED rig, confetti moments, and a PA tuned for low-end weight without smear. The floor packs in after 11, sightlines from the balcony are clean, and the booth sits just high enough to read the drop. It is a polished Insomniac build, with tight security, quick bars, and a layout that keeps energy cycling between floor and mezz all night.