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There’s a second act at Trino, chef Stephen Sandoval’s award-winning Latin steakhouse tucked into the West Loop. When the gin and tonic glasses are drained, and the crab tostada and chimichurri-dressed steak plates are cleared from the table, customers can snake through the kitchen and descend candlelit stairs to an entirely different experience: Laberinto, an underground speakeasy.
The theme at Laberinto, which means labyrinth in Spanish, is escapism — a micro vacation after the meal has ended where guests chat, flip through vinyl records, and sip Mexican spirits and liqueurs layered with notes of oregano, sage, and palo santo. “Nobody’s on their phone, and everyone is actually talking to one another,” says beverage director Carolina Gonzalez.
More and more, restaurant owners are finding that having just one meal isn’t enough to satisfy; they’re looking to capture diners attention with a second experience: Enter the speakeasy chaser, a sort of backup cocktail bar that’s that has been popping up as an attachment to restaurants, and even some bars, with more frequency in the past few years across Chicago. You can observe the trends at spots like Moonflower in Portage Park and its sibling basement bar Nightshade, or Nightcap — the open-to-the-public extension of Bucktown’s Class Act — or even After, the intended second stop after a meal at Curtis Duffy’s Ever. These bars, tacked onto an anchor restaurant, serve as additional revenue for the business and aim to entice customers with more opportunities to commune without having to ever leave the building.
“We’re trying to give people the best night of their life.”
Trino co-owner Oscar Sotelo says that after dinner, the question of “what’s next” often surfaces — with guests wanting to extend the night with one more cocktail in a different setting. Laberinto provides that second space.“Business-wise it just makes sense, it’s another revenue stream,” he says.
Gonzalez adds that the speakeasy also allows for more creativity than the traditional flow of a steakhouse. “Down here we can do an experience cocktail, a hands-on cocktail, maybe showcase something tableside.”
Building community is also woven into the design of these hybrid models. At Class Act, customers start with a multi-course meal around a communal table. They complete the evening by clinking glasses of house amaro with chef Nicolai Mlodinow at Nightcap, the group’s 23-seat speakeasy.
“Fine dining experiences all start to feel the same in the pacing, the progression, and the service style,” Class Act partner Shreena Amin says. “Our dinner party format allows for organic interaction between guests that unlocks something new and interesting every night that can’t be scripted.”
The cocktails serve as conversation starters. Mlodinow says one drink, infused with a seed flown in from Africa, often sparks further discussions about travel or mixology. “So you had a drink, but you also had a story and you connected with someone across the world… and you maybe connected with that person at the bar too,” he says.
Matilda and its speakeasy, Clandestino, are also built around connection — with a strong emphasis on culture. “We’re trying to educate people to open their minds,” beverage director Gilberto Mendez says, noting guests can experience different Mexican and Peruvian flavors and techniques. “I just want to showcase my culture and give it to the local people.”
Mendez sees Clandestino more as a social club than a nightclub. Upstairs, Matilda’s aesthetic reads chic and minimalistic — Tulum at 8 p.m. Downstairs, Clandestino evokes an hour before midnight. Guests push a panel within Matilda’s front wall to reveal a moody atmosphere where they mingle amid Latin and Afro beats, with riffs on classic cocktails in hand. “It’s [like] the same person, but different parts of their personality,” Mendez says of the two spaces.
In addition to Mendez’s own cultural influences, Clandestino’s identity is influenced by well-traveled customers, many of whom are exposed to world-class bar scenes abroad and want to recreate those experiences back home. “They come back understanding ingredients, techniques … So it’s not about us setting trends. We’re just giving people what they’re already asking for.”
Ultimately, cocktails are the star of the speakeasy, with unique spirits and high production value helping operators stay competitive. “You’re paying for the creativity, the thought, the theater,” Mlodinow says. “Did you pay to go to The Nutcracker? Do you pay to go to the Art Institute? It’s the same with us — you just get to drink ours or eat ours.”
That creativity carries into Nightcap’s quarterly themes. “We aim for the theme to come through in every aspect of the experience,” Amin says. With its recent concept Evolution, guests selected rocks or hand-carved arrowheads that aligned with their drink pairing. Artwork in Class Act’s front room offered a modern take on cave paintings, and a playlist traced hip hop from its roots to today. At Nightcap, cocktails explored the evolution of classics and examined humanity’s history.
Sotelo believes diners choose to spend money in places that offer more of an experience, part of a broader trend across the industry. “There seems to be a hunger and a curiosity for culturally relevant things in the city, and I think we can provide that,” he says.
Laberinto’s cocktail menu replaces traditional flavor descriptions with short poems, so mood rather than ingredient drives orders. A customer drawn to balancing seduction with menace might opt for Minotara, which balances sweet, sour, and savory flavors; the cocktail is topped with drops of oil and a torched bay leaf.
“Based on their feeling or the kind of poem that captivates them at the moment, that’s how we guide our guests to choose their cocktail,” Gonzalez says.
The restaurant-speakeasy model meets Chicagoans’ shifting expectations for a night out both immersive and intentional. When the curtain closes, bonds forged over cocktails crafted as an experience leave a lasting memory worthy of an encore.
“We’re trying to give people the best night of their life,” Mlodinow says.
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Jill McDonnell
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