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  • Where to celebrate New Year’s Eve in metro Detroit – Detroit Metro Times

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    Whether you’re craving live DJs, local bands, themed dress codes, or bubbly and hors d’oeuvres, our curated list highlights the best places to celebrate the new year in metro Detroit. Read on for details to help you plan your perfect night out — and start the year off right, Motor City-style! (Did we miss any? Let us know: tips@metrointhed.com.)

    Resolution Ball (Masonic Temple)

    Billed as Detroit’s largest New Year’s Eve event, the long-running Resolution Ball brings a Vegas-style party to the Masonic Temple’s Crystal and Fountain Ballrooms, complete with showgirls and other circus-style performers, DJs, and a balloon drop and confetti storm at midnight. A number of VIP packages are also available which include express entry, dining options, a Champagne reception, and other perks. Cocktail attire is encouraged.

    Doors at 8 p.m.; Masonic Temple, 500 Temple St., Detroit; resolutionballdetroit.com. Tickets start at $43.05. Ages 21 and up.

    The Annex

    Upscale nightclub vibe with music by Manuel Antonio and DJ Lito, fire breathers, a balloon drop, and more. Dress to impress. Table reservations are available. 

    Doors at 8 pm.; The Annex, 24 W. Adams St., Detroit; eventbrite.com. Tickets start at $39.19, ages 21 and up.

    Belle’s Lounge by Valentine Distilling Co.

    Drag performances by Rose Ritz, Ulani, and Ava Andrews, hosted by Aphrodite and with music from DJ Hemlok.

    Doors at 9 p.m.; Belle’s Lounge by Valentine Distilling Co., 161 Vester Ave., Ferndale; eventbrite.com. Tickets are $40, ages 21 and up.

    Bert’s Marketplace (The Legendary Soul: Motown vs. R&B)

    Live performances of Motown and R&B hits spun by DJ No Doubt, with comedy from Crystal P.

    Shows at 6 p.m. and 9 p.m.; Bert’s Place, 2727 Russell St., Detroit; eventbrite.com. Tickets start at $50.

    Bosco Lounge

    Music from DJ ErnieT, with complimentary appetizers and Champagne.

    Doors at 9 p.m.; Bosco Lounge, 22930 Woodward Ave., Ferndale; eventbrite.com. Tickets start at $12.51.

    Bowlero Lanes & Lounge

    A rockin’ NYE with music by the Hourlies, Rob Zinck & the Collaborators, and Plutophonics, with DJ Tony Drake on the decks. 

    Doors at 9 p.m.; Bowlero Lanes & Lounge, 4209 Coolidge Hwy., Royal Oak; bowlerodetroit.com. No cover, ages 18 and up.

    Cadieux Cafe

    Live rock ’n’ roll from Mike Skill of the Romantics, the Custodians. 

    Doors at 8 p.m.; Cadieux Cafe, 4300 Cadieux Rd., Detroit; eventbrite.com. Tickets are $39.19.

    Chandelier Detroit and District Seventy8 (Downtown New Year’s Eve Block Party)

    One ticket gets you access to NYE parties at two clubs, located one block away from each other: Chandelier Detroit and District Seventy8. Festivities include DJs, Champagne toast, and drinks specials. VIP booths are available. 

    Doors at 8 p.m.; Chandelier Detroit, 2233 Park Ave., Detroit; District Seventy8, 78 W. Adams, Detroit; eventbrite.com. Tickets start at $27.88.

    Club Bleu (Napkin Wars)

    Have you heard of “napkin wars,” where clubgoers make it rain paper napkins just for the fun of it? The trend is believed to have started in Atlanta in 2020 and has spread to other American cities, including now, apparently, Detroit. VIP booths available.

    Doors at 9 p.m.; Club Bleu, 1540 Woodward Ave., Detroit; eventbrite.com. No cover before 10 p.m. and RSVP.

    The Detroit Club

    This swanky soirée at Detroit’s oldest private club features multiple floors of eclectic entertainment, featuring music from “trap violinist” Clejan, the Whoopee Cushions jazz band, and DJ Ric, in addition to burlesque by Roxi D’Lite. Other offerings include tarot readings, strolling appetizers, a Champagne toast, a midnight balloon drop, and more. VIP tickets are available with booth seating.

    Doors at 8 p.m.; The Detroit Club, 712 Cass Ave., Detroit; eventbrite.com. Tickets start at $188.58, ages 21 and up.

    The Eastern (New Dawn)

    Here’s one for fans of African club music, featuring afrobeats, amapiano, afrohouse, and other sounds all night long. 

    Doors at 9 p.m.; The Eastern, 3434 Russell St., Suite 501; eventbrite.com. Tickets are $20.

    Eastern Palace Club

    This NYE party doubles as a 16th anniversary party for DJ night Happy Endings, featuring DJs Mike Trombley and Udenjoe spinning alternative rock, synth pop, post-punk, and more.

    Doors at 10 p.m.; Eastern Palace Club, 21509 John R, Hazel Park; epchp.com. No cover, ages 21 and up.

    Elektricity

    Midnight Gala features electronic dance music from Jantsen, Champagne Drip, Wodd, Chaotic Character, and Bosstatus. 1920s attire is encouraged.

    Doors at 9 p.m.; Elektricity, 15 S. Saginaw St., Pontiac; elektricitymusic.com. Tickets start at $40, ages 18 and up.

    Fort Pontchartrain Hotel

    Live music, cash bar, hors d’oeuvres, dessert, Champagne toast, and more.

    Doors at 6 p.m.; Fort Pontchartrain, 2 Washington Blvd., Detroit; eventbrite.com. Tickets are $71.21.

    Ghost Light

    This Hamtramck haunt is ringing in the new year with live music from IZAK, Matt C. Axe, and Mark Bolohan.

    Doors at 7 p.m.; Ghost Light, 2314 Caniff St., Hamtramck; eventbrite.com. Tickets are $17.85.

    Gigi’s

    This LGBTQ-friendly event features seated cabaret shows at 10 p.m. and 12:30 a.m featuring performances by Monica Devereaux, Peaches, Ariana Love, and more, hosted by Nickki Stevens. A complimentary meal will be served after midnight.

    Doors at 7 p.m.; Gigi’s, 16920 W. Warren Ave., Detroit; eventbrite.com. Tickets are $15 for ages 18-20 and $10 for ages 21 and up.

    The Godfrey (Gatsby’s Grand Affair)

    This early show features live jazz music, aerial acts, and a three-course dinner from Chef Nyle Flynn. For an additional cost, you can celebrate the new year at the Godfrey’s rooftop party.

    From 6-9 p.m.; The Godfrey, Curio Collection by Hilton, 1401 Michigan Ave., Detroit; eventbrite.com. Tickets start at $190.71.

    The Godfrey

    Rooftop celebration with welcome cocktails, passed appetizers, strolling caviar, Champagne toast, and live entertainment all night long. VIP booths are available.

    Doors at 8 p.m.; The Godfrey Detroit, Curio Collection by Hilton, 1401 Michigan Ave., Detroit; eventbrite.com. Tickets start at $93.88.

    Greektown’s New Year’s Eve Bar Crawl

    Can’t pick just one spot to ring in 2026? The bar crawl will have you hopping around Greektown, starting at Delux Bar & Lounge and including stops at Exodos Rooftop, Bakaliko, Bar Humbug, and Who Loves Ya Baby.

    Doors at 8 p.m.; Delux Bar & Lounge, 350 Monroe St., Detroit; eventbrite.com. Tickets start at $23.18, ages 21 and up.

    Legends (Stroke of Midnight)

    Detroit’s largest gentlemen’s club is celebrating the new year with three floors of entertainment, including food served until 4 a.m., the ball drop on its video wall, and of course entertainment from the lovely ladies of Legends. VIP tables, booths, and private rooms are on offer.

    Doors at 6 p.m.; Legends, 415 E. Congress St., Detroit; legendsindetroit.com. Tickets start at $39.19.

    The Loving Touch (Kpop Club Night)

    For fans of the Korean music genre that has taken the world by storm, this party features music from DJ Chen and dancing from Detroit’s SYNR-G Crew — oh, and lots of soju. 

    Doors at 10 p.m.; The Loving Touch, 22634 Woodward Ave., Detroit; eventbrite.ca. Tickets start at $31.31.

    Mad Track Arena 

    Adult Skate Night at the former Lexus Velodrome includes music from DJ Ent and DJ Lacxxury. Tickets include food and Champagne toast at midnight.

    Doors at 9 p.m.; Mad Track Arena, 601 Mack Ave., Detroit; madtrackarena.com. Tickets are $30, skate rental and coat check are an additional $5 each.

    Marble Bar

    Music from ADULT., Day Residue, Haute to Death, Todd Osborn, Salar Ansari b2b Jacob Park, Keith Worthy, and 2 Lanes b2b Psy-chick.

    Doors at 8 p.m.; Marble Bar, 1501 Holden St., Detroit; ra.co. Tickets are $27.15, ages 21 and up.

    The Magic Bag

    Throwback music from the Mega 80’s. 

    Doors at 8 p.m.; The Magic Bag, 22920 Woodward Ave., Ferndale; themagicbag.com. Tickets are $30, ages 21 and up.

    Magic Stick

    A bass-heavy night of  electronic music from French producer Habstrackt.

    Doors at 9 p.m.; Magic Stick, 4140 Woodward Ave., Detroit; majesticdetroit.com. Tickets are $39.32, ages 18 and up.

    The Old Miami

    Bangerz & Jamz event featuring funk, hip-hop, house, R&B, and more.

    Doors at 9 p.m.; The Old Miami, 3930 Cass Ave., Detroit. 

    The Old Shillelagh

    NYE at downtown Detroit’s Irish Pub. 

    The Old Shillelagh; 349 Monroe St., Detroit; oldshillelagh.com. Ages 21 and up.

    ORA Detroit (A Gatsby Party)

    This The Great Gatsby-inspired party offers an exclusive experience with music, a live cigar roller, Champagne tower, and more. Roaring ’20s fashion is encouraged.

    Doors at 9 p.m.; ORA Detroit, 205 W. Congress St., Detroit;  eventbrite.com. Tickets start at $81.88.

    Orchid Theatre (All Gold Everything)

    This party invites guests to “dress to dazzle” and promises that the club “transforms into a shimmering golden dream.” Orchid Theatre’s NYE bash has DJs, a Champagne toast, late-night pizza, and golden confetti.

    Doors at 8 p.m.; Orchid Theatre, 141 W. Nine Mile Rd., Ferndale; orchid-theatre.com. Tickets start at $12.10. Ages 21 and up.

    The Roostertail

    Two floors of entertainment at this stunning riverside venue including DJ Godfather, DJ Chrome, Andre terrell, Leo Alton, Simba, Woop, Fuloos, Jus Ron, and more, plus live performances from Nay Luma, Indigo, and Rod Bataya, and more. VIP booths available.

    Doors at 8 p.m.; The Roostertail, 100 Marquette Dr., Detroit; eventbrite.com. Tickets start at $33.85.

    The Royce

    This NYE features dancing, an open bar, charcuterie and other food, and a Champagne toast at midnight. A raffle raises funds for Detroit’s Ruth Ellis Center, which helps young LGBTQ+ people in the city. 

    Doors at 9:30 p.m.; The Royce Detroit, 76 W. Adams Ave., Detroit; eventbrite.com. Tickets are $135.23, ages 21 and up.

    The Social Brews (Bollywood & Bubbles)

    Enjoy music from DJ GSIMZ and Surab Deb, including Bollywood, bhangra, Desi club, and more. Food from a late-night menu is available for purchase, and there will be a complimentary midnight Champagne toast.

    Doors at 10 p.m.; The Social Brews, 211 W. Fort St., Detroit; eventbrite.com. Tickets start at $33.77.

    Spot Lite

    Local party collective HouseParty is closing out 2025 with DJ sets by Jhouse, Masquenada, BlaaqGold, Aboudi Issa, and Zo the DJ. Cocktail attire encouraged.

    Doors at 9 p.m.; Spot Lite, 2905 Beaufait St., Detroit; eventbrite.com. Tickets start at $33.85.

    TV Lounge

    Music from Delano Smith, Disc Jockey George, DJ IV, DJ Magic, Drivetrain, Garrison XR, Mike Clark, Rachael Parker, Raedylex, Ryan Sadorus, Theresa Hill, and Tony Foster.

    Doors at 9 p.m.; TV Lounge, 2548 Grand River Ave., Detroit; tvloungedetroit.com. Tickets start at $22.85, ages 21 and up.


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    Metro Times editorial staff

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  • 20 years of holiday shopping at the Detroit Urban Craft Fair – Detroit Metro Times

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    Stop us if you’ve heard this one before: Two crafters walk into a bar late at night. One’s got some T-shirts, and one’s got some stained glass. For both of them, already, this is more than just a hobby. 

    Twenty years later, they’re successfully living their scrappy dreams, having helped to build a community 100-crafters strong, and about to swing open big heavy doors to let in a weekend’s cascade of holiday shoppers sure to surpass 10,000 into a space that’s as big as an NHL hockey rink, chock-full of diverse and multi-generational makers, artists, and fellow dreamers. 

    “It’s just one giant party,” says Bethany Nixon, owner of Reware Vintage in Berkley and cofounder of Handmade Detroit, the organization that hosts next weekend’s Detroit Urban Craft Fair, celebrating its 20th anniversary this year. “[It’s] a party of creative people and people who love creative people — it’s such a celebration of the things that people in the metro Detroit area make, and I’m just so happy to be part of it.” 

    This holiday season, Detroit Urban Craft Fair returns Dec. 6-7 to the Drill Hall inside Detroit’s historic Masonic Temple, allowing shoppers to discover and connect with local makers and one-of-a-kind finds, while enjoying festive (and often eclectic) holiday music and family-friendly crafts. For many, it’s an opportunity to get the entire season’s worth of shopping done in one day, and on a budget to boot. It’s also a chance to be outright charmed by copious amounts of crafters and their personalities. 

    “It’s that buzz of Christmas morning,” says Carey Gustafson, owner of Glass Action! Studio in Oak Park, the other cofounder of Handmade Detroit. “It’s that energy of making your way through the house and peeking around the corner and getting your eyes on that lit tree and those extra boxes that weren’t there the day before — that sense of wonder and excitement is the energy I feel when we open those doors, when this weekend kicks off!”

    The Detroit Urban Craft Fair draws shoppers in search of unique gifts to the Masonic Temple. Credit: Doug Coombe

    The big weekend

    Once November hits, the entirety of Nixon and Gustafson’s weekends, as well as their weeknights, are consumed by a focus on prep. “We’ve joked for years,” Nixon says, “that our unofficial motto is ‘no sleep till DUCF’ because there’s always so much to do, so many things to take care of before the big weekend.” She adds that the night before can be summed up as “a lot of nervousness and excitement and coffee combined all into one.” 

    Gustafson describes the two weeks leading up to DUCF as akin to “those dreams where you fall and then jerk yourself awake, like you’re gonna fall out of bed. Albeit, after all these years, we do have a skeletal framework to plan from, but each year all the line-items from that format are different. We know what we’re doing and how it’s going to look, and feel; the anticipation is amazing, but then there’s so many other ‘oh no’s and ‘what’s that’ and ‘what just happened’ and ‘is this OK’ and ‘are they coming’… which totally keeps us on our toes.”

    Each year, several Handmade Detroit staff members and volunteers assist Nixon and Gustafson in coordinating the load in and arrangement of more than 100 vendors, each bringing their own unique parameters for their spaces and booths, and all of them stylishly shambling up into the Masonic Temple’s third floor mezzanine via elevators built in the 1920s — several on different timelines and schedules, steadily navigating into a 17,000-square-f00t space designed for military marching band rehearsals like a giant game of Tetris

    “And then there’s sponsors, and caterers, and our DJ, it’s a lot of cogs,” says Nixon. “Every person plays a part. It’s almost like a giant band or orchestra, playing together and making some beautiful things happen.”

    Gustafson describes the week leading up to “the show” as a chaotic ballet, with “everything from calls for all-hands-on-deck to rolly carts zooming around, to last-minute parking strategies, and then all of our vendors start arriving.” Gustafson says that it always works out, but then again, sometimes there’s stuff they just can’t predict. 

    “Doing a show for such a small window of time at one of the most iconic buildings in the city presents a lot of unknowns,” says Gustafson. “We can plan down to the tiniest minutiae of what we need but sometimes we show up and there are parties booked, or weddings happening, or one year, [in 2012] Eminem decided to shoot a music video in the cathedral theatre downstairs for that entire week! When [the Masonic] gets that kind of call, that slightly shifts what we’re walking into. But we love the Masonic, we wouldn’t go back year after year if they weren’t absolutely incredible to work with.”

    The DUCF has a punk rock vibe. Credit: Doug Coombe

    Crafting and punk go hand-in-hand

    Handmade Detroit started when five women, each crafters with unique modalities, styles, and backgrounds, met in 2004 inside the Garden Bowl during a local vintage market pop-up known as Baar Bazaar. That’s where Nixon and Gustafson met Lish Dorset, Stephanie Tardy Duimstra, and Amy Cronkite, along with her husband Ethan. “I was so excited to meet other similar women and just wanted to be friends with them,” says Nixon. “They were all already working on the idea of [DUCF] by the time I met them, and asked me if I wanted to be a part of it. For me, all of this started from just wanting to be a part of the creative community in Detroit.” 

    Nixon was always making things as a kid, walking to the now-bygone Frank’s Nursery in Sterling Heights after school to buy craft supplies with allowance money. “One day my brother gave me a stack of records and said I should do something with them — I decided to make notebooks with them,” she says. Nixon also credits a “crafty” cousin who was an antiques dealer, introducing her to eBay in 1998, “which is how I got started selling vintage band T-shirts,” she says. “I had literally just launched my website [rewarevintage.com] the week before I met all the Detroit Urban Craft Fair ladies.”

    Speaking of band T-shirts, Nixon says, “it’s really music that brings us all together.” The milieu of the Garden Bowl and its usual clientele during the first assemblage of what became Handmade Detroit, vending their wares on checkered linoleum floors as local and touring bands lugged amps up to the upstairs Magic Stick, manifested a mash-up of vintage shoppers and music fans that felt, perhaps unsurprisingly, harmonious. 

    “For me it’s always been about my family’s love of music and of making things that shaped the rest of my life,” Nixon says. “And I’ve personally always considered DIY and crafting to be an element of punk — I think the two go hand-in-hand. You see so much in common in those scenes. It was happenstance because I had gone to the Garden Bowl for a Raveonettes concert and the very first Baar Bazaar just happened to be that night, so there were all these people slinging handmade things.” 

    “Handmade Detroit felt like being in a band,” Gustafson says. “Everyone had a skill they were best at, and they were the ones that did that for the group.” Gustafson did play in a couple bands around the scene in the early 2000s, but her creative life started with drawing as a child, particularly portraiture. Gustafson nearly graduated late from high school because “I had too many art credits — I had to make-up an algebra class.” After high school, she freelanced for and then was hired by a stained glass company that needed someone who could draw. The rest, essentially, is history, leading to Glass Action’s now two-decade run of stained glass design and repair, as well as classes. 

    On the nature of scrappy, DIY-punk energy, Gustafson says, “we were young and just inside of so many different threads of so many different communities going on — there was always someone to grab to help or someone to host something. And in Detroit, no one waits for a handout — you find a way to make that costume, make that party, you don’t wait, you go make something! So we wanted to develop a system so that crafters would have an opportunity to make a little extra cash, to work toward something, and sometimes something on a calendar can get you motivated.”

    Handmade Detroit hosted its own large-scale pop-up with 53 vendors inside the Majestic Theater in 2006: thus the Detroit Urban Craft Fair was born. Nixon says the initial intent was to pick a name that implied that this wasn’t your Grandma’s craft show, but their initial pick of “Detroit Indie Craft Fair” led to an acronym that sounded too close to an inappropriate word. 

    “We were scrappy kids,” Nixon says. “We made pins to sell for fundraising to cover our expenses for putting on the show. But after that first DUCF, all five of us were just smiling the entire damn night. It was so fun to see it come together — the community that embraced it and local press covering it — it was just this little idea that started in a bar.”

    DJ Dave Lawson spins quirky Christmas 45s at the Detroit Urban Craft Fair. Credit: Doug Coombe

    Tradition and endurance

    Twenty years ago, yeah, eBay was a thing, and Etsy was just kind of getting started, but DUCF was growing in a pre-Pinterest world, long before the “shop small” mentality and “buy local” campaigns gained ground. Sheesh, forget about a Linktree — the women of Handmade Detroit were on Myspace, and just happy to have their own PayPals.  

    What keeps an endeavor like DUCF going strong, Nixon says, is community. It’s more than Modge Podge or Washi Tape that helps crafters stick together. There’s, if you will, a common thread: “It really is a community,” Nixon says. “I think when you’re so passionate about your art, your craft, and you meet other people who might do something completely different but also creative — sharing that passion causes instant community. Every year, we meet new people in the creative community, and it’s like each year we’re throwing a party: ‘come meet our new friends and see what they do!’” 

    “It’s counter culture, too” Gustafson says, calling back to Nixon’s punk reference. “Handmade Detroit survived the recession, then we pivoted through the pandemic, and a couple of pretty tumultuous political climates, but shopping local, supporting local, that always resonates because it’s real. Museums are full of folk art, from thousands of years of people making and expressing themselves through handiwork. Some people love it, some don’t understand it, but what we’ve found with this show is that we have the best shoppers in the nation.”

    “The people who come out to shop [at DUCF] are so warm and thoughtful and excited,” Gustafson says. “We do get some who elbow each other and say, ‘oh YOU could make that,’ but it’s rare.”

    What’s not rare is repeat customers. “Its a tradition for so many people, now,” Nixon says. “We hear it over and over, that it’s become a tradition that’s part of the holiday season for families, couples, friends to come to DUCF. We had someone tell us that their friends group went every single year together, but that when one of them moved across the country, they decided that she would fly home for DUCF, so that she could still be part of that tradition. That made me tear up.” 

    Doors open next at 11 a.m. on Saturday, Dec. 6, a time “designed for our serious shoppers,” Gustafson says, as they’ll not only get first dibs on the work, but also the chance at “swag bags” for the first 50 guests through the door. The afternoon is an ideal time for family visitors, with auxiliary “kids zone” craft activities and plenty of food vendors, then the night leans into a “party atmosphere.” Sunday evening wraps with a “dance party” led by DJ Dave Lawson and his quirky Christmas 45s. 

    “At DUCF, there’s truly something for everybody,” Gustafson says. “It’s this cross-pollination of generations and vibes and themes and interests and kitsch. And you can see the quality in the work. It’s just so exciting every year to see the show come together.”

    The Detroit Urban Craft Fair runs from 11 a.m.-7 p.m. on Saturday, Dec. 6, and 11 a.m.-6 p.m. on Sunday, Dec. 7; Masonic Temple, 500 Temple St., Detroit; detroiturbancraftfair.com. Cover is $5 (no cover for children under 12 after 1 p.m.)

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    Jeff Milo

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  • The tao of Insane Clown Posse – Detroit Metro Times

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    On Halloween, the Insane Clown Posse will hit the stage of Detroit’s Masonic Temple for the rap duo’s 32nd annual Hallowicked show. The Wicked Clowns Violent J and Shaggy 2 Dope promise a stellar lineup this year full of surprise guests, and this year’s spectacular will also be live-streamed on veeps.com — so if you can’t make it to the Masonic, you can still paint your face and spray Faygo around your living room for a truly authentic experience.

    Ahead of the big show, we caught up with the Duke of the Wicked, Violent J, who waxed poetic about the spiritual philosophy of ICP; its fans, the juggalos; and the group’s ambitious “Joker’s Cards” suites of albums.

    [Editor’s note: This interview has been edited for length and clarity.]

    Metro Times: How are you doing today, J? 

    Violent J: I’m good, man. I’m feeling good. I’m excited about this tour. I’m ready to get out there. This is our fourth time going out this year. We’re keeping it short. These runs have been like two weeks. Instead of going out a month every four months, we’ve been going out two weeks every three months.

    Metro Times: You guys have been hitting some good spots. Even though they’re shorter tours, you guys are still packing the shows full of all the craziness.

    Violent J: Yeah, man. This is crazy, bro, because we’ve been doing this for 34 years, right? This is the craziest thing ever. There’s been no point in our career, not during the ’90s when we were all on the charts and all that — there’s been no point that we remember that we’ve been drawing like this, selling shows out in a matter of a day or two, shit like that. 

    We did a tour, we sold out the entire tour. We have never done that. There’s no point in ICP’s career that we sold out an entire tour every day. It’s never happened. 

    Metro Times: I think you guys are getting a really good, not just a resurgence, but this whole new crowd. I was at the 25th Annual Gathering of the Juggalos in Thornville, Ohio in August, and you could tell people that have been down since Carnival of Carnage, and you could tell people that have just kind of jumped on the wagon. You guys are hitting all kinds of new demographics and just really capturing that “Dark Carnival” love all over again.

    Violent J: There’s some really wild stuff going on right now in the world, bro. Look at Limp Bizkit, you know what I mean? Killing it — killing it. And on a much smaller level, we’re killing it. For us, we’re killing it. Me and Shaggy talk about it every time. We go out there and the crowd don’t even sound the way they’ve always sounded. Like when they cheer, it don’t sound the same. It sounds like high-pitched screams. I’m not saying they’re fanatical more. I’m not saying that. … Like, it don’t even sound the same. And the other thing is, ICP don’t have no hits, right? Now, what I mean by that, I’m not saying we don’t have no good music. I’m saying we don’t have any hits.

    Like a lot of bands, when they play, the crowd is waiting on the hits, the stuff everybody knows. We don’t have any songs like that. We never had any number one hits or anything on the radio at all. But now, we got hits. We have certain songs that when they come on, the whole crowd erupts. And me and Shaggy look at each other like, “What the fuck?” Like, we’ve been doing this song for 20 years, but it blew up on like TikTok or whatever. And now, they’re like new age hits. They’re hits in today’s world. And it’s not through the means we’re used to, where it became a radio hit at some point. It’s the same though. It’s a TikTok hit. It became part of a trend or whatever the deal was. And suddenly, we got hits. Like, there’s probably six or seven songs we do where when they come on, it’s like a really loud pop from the crowd. And that is brand new for us because usually, every song we do gets the same reaction. But it’s not like that no more. There’s songs that we do that get a much louder reaction when they come on. 

    Metro Times: Yeah, you can definitely hear it.

    When I was in the crowd, you could feel a difference in the energy when like “The Neden Game” came on, or “Boogie Woogie Wu”, like those types of songs. And, you know, and I think it speaks to people going through your entire back catalog of stuff, like just searching for all the goodness.

    Insane Clown Posse’s Shaggy 2 Dope (Joseph Utsler) and Violent J (Joseph Bruce). Credit: Courtesy photo

    Violent J: You know, this is a trip — and this is scary though. We have a song on the Riddle Box album called “3 Rings.” Now, we’ve always liked to put that song on the show tape in a position where we know we need to catch our breath, because it’s a sing-along song — the crowd sings the whole lyrics of the first verse: “Ring one, a dung a dung dung/

    My name’s Violent J and I staple my tongue/

    To the desk in school then I run down the hall/

    Scaring the shit out of all y’all, bitches…” And we would just hold the mics out and catch our breath while everybody sings it, right? So we put that song on our show — and nobody sang it. Nobody! We couldn’t believe it. It’s like they haven’t found that one yet. They haven’t reached the Riddle Box album, which many of our old fans consider the best work we ever did. But nothing from Riddle Box has really popped off on TikTok and all that yet, right? It’s been all [The Great Milenko] and stuff after that. So when we go to that song, they don’t know it. And you hear a few people singing it, but nothing like it used to be. And it’s just wild, man, because it’s a different group of people coming out, mixed in with the classic people. It’s a wild time, brother.

    Metro Times: It’s like the TikTok kids all intermingling with Vinnie the ICP Kid. You get the old and the new, and then everybody’s just chilling together. 

    Violent J: They are chilling together, and that’s what’s important, because everybody that’s down with the clown came aboard at some point. Everybody was new to it at some point, and how they found it don’t matter. They all were told about it by a friend, or they discovered it on TikTok, whatever. They all came aboard the wagon in their own way, and everybody was new at some point. It don’t fucking matter if they’re new today or if they’ve been down 20 years. Nobody is more superior than anybody else, because what matters to me is that once they’re down, they stay down. They look at this as a good time in their life. They don’t say, “Oh, I used to listen to that bullshit.” I want them to appreciate our music as a good time in their life when they discovered it. That’s, to me, what really defines a true juggalo, instead of people that grow out of shit. I’m not saying they got to remain their number one fan all their life, but I don’t like it when people say, “Oh, I used to love the Beastie Boys, but they suck now.” The Beastie Boys never changed. You changed! Your taste in music changed. Because you used to love that album. Now you don’t like it. That’s you that changed. That album didn’t change.

    Metro Times: I remember my cousin gave me Riddle Box on tape on our way down to Cedar Point one year. And right when it came out, that blew my mind. So I was hooked instantly.

    Violent J: Dope. See, everybody gets on board at some point, you know? And nobody is more important than anybody else. As long as they’re down, they’re all part of the family. That’s how I feel.

    Juggalos get drenched in Faygo at an Insane Clown Posse concert. Credit: Josh Justice

    Metro Times: You guys released The Naught this year at the 25th Annual Gathering of the Juggalos. This is your rounding out the second Joker’s Cards deck with The Naught. How was that going into that album compared to writing all the other albums? 

    Violent J: A lot different, brother. A lot.

    That album literally means nothing — literally. It means “nothing.” The first six Joker’s Cards ended with the choice of Heaven and Hell — it ended with Shangri-La and it ended with Hell’s Pit, two different albums. They were both the sixth Joker’s Cards. The whole “Dark Carnival” mythology, or whatever it is, is about having faith. Believing there’s something after death. There’s more to this. There’s something on the other side. That’s the whole idea of the Dark Carnival, and believing in that, believing there’s a better place where the good-hearted are rewarded and the bad-hearted — depends on what you believe. Some believe they get punished. I don’t necessarily believe that. I just myself believe they cease to exist. They don’t get to go to the beyond.

    But The Naught is for the other people that have no faith. They don’t believe in an afterlife of any sort. They don’t believe in any type of religion or anything like that. And that’s really the basis of what the entire Dark Carnival is. 

    So this is what you got: You got three sets of cards coming out, right? The first six cards came out, it ended with Shangri-La and Hell’s Pit. The second six cards came out now. It ended with The Naught, which is for atheists, for non-believers. The third deck is next.

    And there’s only going to be five. There’s not going to be six cards. There’s only going to be five, because that sixth card is potentially our death, for real.

    You know what I’m saying? Because we’re getting older. 

    Metro Times: Don’t say that, man. 

    Violent J: Well, you know, it’s just a fact.

    We’re getting older. For people that have been around the entire ride, we’re getting older. And we have to answer that question ourselves. Where do we want to see our souls end up? That’s your sixth Joker’s Card. When the listener or us in this situation, or any situation, when we pass, where do we want to go? So there is no actual sixth Joker’s Card. Plus, that would be 666, and 665 has a totally different meaning. It adds up to 17, which has been the juggalo number from day one. And it means a lot. You know, 665 means a lot in juggalo mythology.

    So when we went into The Naught, how do you represent an album that means nothing? We just went in. We just threw it together, brother. We just threw it together. It actually came out better than we thought, because it actually came out pretty good, but there’s nothing on it that is meaningful. There’s nothing on it that is memorable to me. 

    Metro Times: I don’t know — that last track you guys did [“WHILE IT LASTS”], your own version of “Africa” by Toto? If you’re saying that that album means nothing and all those bangers that you guys put on there, like, I’m going to respectfully disagree because that was a great album.

    Violent J: Thank you, man. It came out better than we thought, but there’s a lot missing from that album, though. A lot of the ingredients we put into our Joker’s Cards, we didn’t bother because … basically these were just songs.

    OK, put it like this: We have EPs sometimes between our albums … like [Beverly Kills 50187] or Tunnel of Love. … or The Terror Wheel. Those albums, those EPs, are just collections of cool songs. This album, The Naught, is almost like a full album, a version of that. They’re just songs, they’re great songs. They’re fun. They’re entertaining. That’s it. But there’s no deep meaning to them. There’s no message to them. There’s nothing we’re trying to relay. There’s nothing. It’s just songs. It’s just us rapping over dope beats and having fun or boasting, talking shit.

    There’s no message in The Naught. Because we don’t really have anything to say to people that don’t believe in a faith. We don’t really have anything to say except provide them with entertainment.

    Insane Clown Posse incorporates spiritual themes into its music. Credit: Josh Justice

    And there are some messages on there like the last song [“WHILE IT LASTS”], it’s saying, “Enjoy it while it lasts.” Because if you don’t believe in an afterlife, enjoy this now. And the opening song is [“THE NAUGHT”]. It’s saying, “For you, all of this amounts to nothing. Everything you did in your life means nothing.” Because if you believe in nothing, what’s it all matter, anyway? What does any of this matter? Even if you’re the G.O.A.T., even if you’re the greatest of all time, when they shut that box, that coffin, what the fuck does that matter? You’re not there to celebrate it. You’re nothing. So there are messages, but they’re blunt. They’re just saying for you, nothing — this all means nothing. 

    We each get a choice of what we want to believe in in life. I’m not mad at atheists or anything like that. I don’t have any specific religions. Maybe I’m an atheist. I don’t know. I don’t really know how religion works. I just know I believe in an afterlife. I believe my mom is somewhere better than this. I believe in my soul. And I know there’s enough paranormal type shit going on in this world to prove damn near that there’s more to this story. There’s enough ghost shit going on to know that there is a beyond.

    Metro Times: It doesn’t have the same hopefulness that “Pass Me By” or “The Unveiling” and all that has. It’s the anti that — it’s kind of like a purgatory for you guys. 

    Violent J: It is, and it’s just saying it’s entertaining. It’s not a shitty album. It’s a good album, but it’s not uplifting. It’s not — it’s just what it is. And that’s what we set out for it to be, with literally no fear of what the backlash was going to be. Even when you look at the [album liner notes] booklet, you flip through the pages — it just says nothing. Every page says “nothing” in another language. It doesn’t even say anything in there. Because it all amounts to nothing if you don’t have any faith. Faith is a powerful thing, brother. Just the will of believing will help people get through life so much better. Believing that it’s going to get better. Having faith is an important fucking thing, man. Without faith, people’s lives would be terrible. A lot more people would suffer, man. Without faith, when you lose a loved one or something, it’d be so much more painful without having faith that they’re in a better place. And that’s just how we feel. 

    Metro Times: And you’re a big subscriber to The Secret too, right? I read that book too — you know, manifesting and getting what you want, believing in yourself. Even without the book, that’s always been your guys’ motto and credo, too — you guys have to do it for you.

    Violent J: I know it without a shadow of a doubt it’s real. I’ve always known that ICP would be OK. I’ve always known that the day we leave this earth, our band will be more successful than it’s ever been. I’ve always known that. It’s never anything I ever worried about. I always known my kids would be OK. I never thought we’d be broke and fucked up in the end and nobody would care. I always knew in my heart that, and I still know in my heart, that ICP is OK because even if some sort of scandal broke out or something, I know that we’re good people. So there’s nothing we have to worry about being uncovered or something getting out. There’s nothing, there’s no worry. And so I’ve always known that we’ll be OK. It’s just going to be more and more people discovering our shit and appreciating it for what it is. And if it’s not your thing, like most of the world, it’s not your thing. 

    Metro Times: You’re taking Juggalo Championship Wrestling with you to almost every stop. You guys got a hell of a lineup on some of these stops. You got James Storm, and 2 Tuff Tony, and Vampiro, and Suicide, and all kinds of guys.

    Violent J: JCW is my passion, brother. That’s my passion project. That’s my fucking whole M.O. right now. JCW has always been for juggalos, by juggalos. It’s been a product to entertain juggalos. But now I want to show the world how good we’ve gotten at it. And now I want it to be juggalos showing the world how bomb ass of a wrestling product, a wrestling show, we can do. I want to show everybody how these juggalos get down because most of our roster is made up of actual juggalos, and I want to show the world how good these juggalos are at writing wrestling storylines and putting on these matches and keeping it engaging. And that’s our goal today. Ever since we started Lunacy, the goal is to break that image of this is just for juggalos. We want it to be for every wrestling fan. We want to show them how dope our shit actually is.

    Metro Times: You guys got your homegrown talent, like 2 Tuff Tony. And then you’re getting these national stars like Nick Namath … I feel like there’s a huge amount of respect for what you guys do, because you guys are former wrestlers, current wrestlers yourselves, that you guys respect the business. You’re not just promoters trying to hustle. 

    Violent J: We’re getting there, man. We’re getting that respect. But what we’re about to do, what we got planned now, is really about to flip the whole company up on its head. The thing we’re kicking into right now on this tour, man, we have been setting this up for months and months and months. And we finally got it all worked out and all lined up. And our show Lunacy, which has been on for about a year, maybe 15, 16 months now, every week on YouTube, Thursday nights at seven o’clock, is about to fucking kick into overdrive big time. We’re really excited. It’s like we’re putting all our marbles in this shit. We’re mashing the gas now. We’re about to drive this bitch right off the cliff. And I’m really excited about it. We’re going to really flip a lot of wigs, man. 

    Metro Times: It’s some of the most talented people on the scene right now getting into your squared circle. 

    Violent J: It’s my greatest joy right now. Doing JCW is my greatest joy right now — beside my kids. My kids will always be my greatest joy. But aside from that, doing JCW is the funnest thing I do in my life — watching the show, writing these storylines.

    And the crazy thing is, if you look back in the book I wrote years ago, and if you look in this book we just came out with called Unaccepted, it shows our whole history of wrestling. Me and Shaggy, we were doing backyard wrestling when I was 14 and he was 11 and we were writing wrestling storylines, running a backyard wrestling promotion. So this is literally something I’ve done my entire life. Even before I was an adult, we took it serious in the backyard. We took it serious. We would go to a Holiday Inn and rent the banquet room and pass out flyers everywhere and put gym mats out and run a show at the Holiday Inn just so we had a venue. I have a shitload of experience. This is my greatest joy aside from my kids. 

    Metro Times: A bit of a step up from stealing railroad ties and garden hoses. Like you guys have a legit ring.

    Violent J: That’s right. We can afford a ring now, a real one. 

    Violent J. Credit: Josh Justice

    Metro Times: So this tour that you guys are venturing out on winds up in Detroit on Halloween for your 32nd annual Hallowicked. What kind of surprises do you have in store for that? 

    Violent J: Literally just before I did this interview, we figured out the lineup, ’cause we always bring a special show to Detroit. We got some dope shit coming, man. This is going to be a big Hallowicked this year. I’m excited to see the people that are on the lineup myself. And just yesterday we landed some festivals. It’s fun to get booked on these festivals, and we landed two of them and we’re excited about it. So it’s been a productive week, man. 

    Metro Times: I caught you guys at Bonnaroo down in Tennessee and you guys were the last big band to play before it all got canceled [due to rain]. And that was crazy.

    Violent J: They should have known, man. We’re going to shut that shit down every time. 

    Metro Times: Even talking with the other photographers and the media people there, there was so much buzz about you guys in the media tent. Everybody was scrambling. I think you guys had maybe like 20 photographers down in that photo pit, just fighting for jockeying for position to get pictures of you guys. 

    Violent J: Man, we did a festival at the end of our last tour, just like a month ago in Louisville. And it was an ocean of people out there. And in the pit between us and the fans on the bottom of the stage, there was all photographers. And when we opened the Faygo, they would just run. They would just run. They look like cattle running, or bulls running to get away from the Faygo.

    Metro Times: There were all these expensive cameras. Luckily I had a couple extra ponchos that I handed out to them so that way they would be protected. They didn’t know what they were in for.

    So what do you guys have your eyes set on for after Hallowicked? 

    Violent J: We’re going to put together a tour. It’s going to be a dope ass tour. It’s not going to be ICP though. It’s going to be “Psychopathic Records Presents.” And we’re talking about just now. … We want to put a big juggalo party on tour together this winter, and do it through possibly December, but definitely January, ‘cause ICP don’t really tour in the winter. We don’t like to tour in the winter because you send everybody out in fucking clothes all wet [from Faygo] and the freezing weather and all that. So we stopped doing that probably 15, 10 years ago. But we’re going to put together something fun for juggalos to do if they want to, and also use it to film our Lunacy episodes.

    Metro Times: I forgot to mention, Hallowicked will  be streaming live on veeps.com for 20 bucks. That is a steal for all those that can’t get to the Masonic Temple in downtown Detroit.

    Violent J: Can’t beat that. … Last year we came out as Super Mario brothers.This year we got that beat. I think our new costumes are going to beat that. So it’s a challenge. We wanted to do something cooler than that. I think we did it. … It’s going to be cool, man.
    Insane Clown Posse’s Hallowicked starts at 6:30 p.m. on Friday, Oct. 31; Masonic Temple, 500 Temple St., Detroit; axs.com. Tickets start at $78.

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    Josh Justice

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  • A lesson from André 3000: embrace your weird

    A lesson from André 3000: embrace your weird

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    click to enlarge

    Jake Mulka

    André 3000 came out of retirement to tour his surprise new ambient jazz album.

    “I just made all that shit up,” a beanie- and overalls-clad André 3000 says after delivering a powerful speech of gibberish that sounds like he’s speaking in tongues.

    He explains to the crowd gathered at the Masonic Cathedral Theatre for his New Blue Sun performance in Detroit that it’s a combination of every language you’ve ever heard and that sometimes it feels good to just make noise. In fact, weird noises are encouraged at this show.

    André 3000 and his ensemble played three gigs in Detroit on his New Blue Sun tour, one at Cliff Bells on Thursday and two at the Masonic Temple on Friday. He and his backing band — comprised of Carlos Nino, Nate Mercereau, and Surya Botofasina — riffed off songs from the reclusive rapper’s surprise new instrumental album, released in November, playing some of the main melodies and freestyling the rest. New Blue Sun is an improvisational album anyway, so it made sense. Throughout the tour the band will end up playing new music every night.

    The smoke machine works overtime to billow hazy streams across the stage in the dimly lit cathedral. A blue laser beams down onto André’s flute from the balcony as a chorus of ring lights glow like luminescent all-seeing eyes cutting through the darkness.

    André changes flutes several times throughout the show, sometimes playing distorted notes that sound more like they’re coming from a keyboard. The most interesting thing happening onstage isn’t André himself, however; it’s the percussion coming from Carlos Nino, who uses mallets to play the cymbals like a gong. Gentle wind chimes and thunderous beats like a war drum fill the cathedral like a sound bath meditation.

    The best way to enjoy the show is to close your eyes. The music allows you to settle into stillness and as the night progresses I notice the tension in my shoulders and legs before allowing the music to melt it away.

    click to enlarge André 3000 performed in Detroit’s Masonic Cathedral Theatre. - Jake Mulka

    Jake Mulka

    André 3000 performed in Detroit’s Masonic Cathedral Theatre.

    André invites the audience to join him in releasing whatever noises they feel like as he growls and purrs like a panther before playing “That Night In Hawaii When I Turned Into A Panther And Started Making These Low Register Purring Tones That I Couldn’t Control … Sh¥t Was Wild.” While there’s a bit of hesitation and no one quite lets themselves go completely, the crowd obliges with the occasional yell or “whoooo.” He tells us to take deep breaths, stand up, and stretch like an internal voice embodied.

    In between songs, André gives short speeches, telling us how he began playing his flute in Los Angeles parks and met Nino in a grocery store, leading them to record New Blue Sun in his garage. He says that when he plays his flute in public, people from all cultures come up to him, because every culture has their own version of the ancient instrument.

    “Whaddup doe,” he says. “I learned that yesterday.”

    The Detroit crowd loves it.

    The audience seems to be waiting for a climax but there isn’t one. Just four guys making it up as they go along like we’re all ultimately doing in this life. As the end of the night draws near underneath the crucifix hanging from the venue’s ceiling, frantic notes and screeching melodies start to feel like a horror movie soundtrack with the cathedral’s stained glass windows as a backdrop.

    Appearing humble, he shouts out all the great music coming from Detroit, including the late new age jazz player Yusef Lateef.

    “Tell Jack White we want to make some music with him,” André 3000 says before thanking the audience for allowing him to explore and leaving the stage.

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    Randiah Camille Green

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