Club 90s brings its Heated Rivalrave to the Fillmore on Friday, turning the room into a pop-meets-EDM free for all. Their crew runs fan-forward dance nights with DJs slicing between singalong anthems, deep cuts, and left field remixes at a clip. Big choruses and synchronized screams meet cheeky rival camps trading volleys from the booth. It is 18+ with ID, with the party kicking up around 9 p.m. after doors at 8.

The Fillmore New Orleans sits inside the casino complex and feels built for nights like this. It is a modern mid-sized hall with a wide GA floor, wraparound balcony, crisp sightlines, and a clean, heavy sound system that handles pop low end without mud. Bars are spread around the room, everything is cashless, and production values run high with big LED panels and plenty of room to move.

Another session of the Heated RivalRave lands at the Fillmore on Friday night, driven by the Club 90s team that turns fan culture into a full-room workout. Multi-DJ sets flip between chart smashes and cult favorites, stitching eras together with quick blends and big hooks. Costumes, shout backs, and friendly rivalries fuel the floor. It is 18+ and built for loud, communal singing until late.

Fillmore NOLA is the city’s polished big room, tucked above Canal in the casino, with a flexible stage and a balcony that hugs the floor. The sound is punchy without harsh highs, security and staff keep things moving, and the layout makes it easy to find a breeze when the floor heats up. It is a go-to for touring acts and large-scale dance parties.

Stan Society brings a full-on Justin Bieber Night to House of Blues on Saturday, a DJ-driven celebration that runs the catalog from early hits through Purpose singles and recent collabs. It is designed for singing at the top of your lungs, rapid transitions, and that sweet spot where a deep cut lands like an anthem. Doors 8:30, music at 9, 18+ with ID.

House of Blues on Decatur is a familiar stop for New Orleans crowds, with a folk art wrapped main hall, a roomy pit, and a balcony that sounds good. Staff keeps sets on time, the PA is full and clear, and the room handles big pop nights as well as rock shows. It is cashless these days, and there are bars tucked along both levels to keep lines short.

Congress the Band rolls into House of Blues on Sunday with a guitar-forward rock show built on tight grooves and soulful vocals. The tunes lean on punchy riffs and sturdy hooks, the kind that stretch onstage without losing focus. They are touring behind their In Session spring run, and they work best in a room where the rhythm section can hit hard and the harmonies cut through. Doors 7, show 8.

House of Blues’ main hall fits a band like Congress well. The mix is dialed for clarity, the subs have weight, and the balcony sightlines make it easy to lock in on the interplay. Located in the French Quarter, it is an easy in and out on a Sunday evening, with food nearby and plenty of late parking options on Decatur and Chartres.

Ruthie Foster brings that rich, clear Texas voice to the New Orleans Jazz Market on Friday at 7:30. She folds blues, gospel, and soul into songs that feel both grounded and luminous, pushing from a whisper to a shout without losing warmth. Multiple Grammy nominations back up a catalog built on craft and conviction, and she tends to turn a listening room into church by the last chorus.

New Orleans Jazz Market on Oretha Castle Haley is a seated, acoustically tuned home for the New Orleans Jazz Orchestra that doubles as one of the city’s best listening rooms. Sightlines are clean, the mix is pristine, and the bar program is thoughtful. It is a comfortable place to settle in for a vocal-forward set where the dynamics matter.

Jason Marsalis leads a deep dive into the Ellis Marsalis songbook on Friday, framing his father’s compositions with his sharp vibraphone touch and a rhythm section that swings with purpose. Vocalist Christien Bold adds color and narrative to the melodies Ellis penned. It is a focused, familial tribute delivered in two seatings, 7:30 and 9:30, with room for improvisation inside each tune.

Snug Harbor is Frenchmen Street’s classic listening room, brick walls tight around a small stage where every note carries. The club runs two shows nightly with assigned seating, and servers keep a low profile so the music stays front and center. Dinner is next door, the music room is quiet, and the sound is tuned for acoustic jazz and voices.

Kelly Love Jones brings her Reggaemericana blend to Snug Harbor’s Happy Hour series on Saturday at 4:30, folding reggae pulse into soul, hip hop, and folk with a bright, affirming lyric streak. She is a seasoned songwriter with a warm stage presence, and this early set leans into groove and uplift. It is a free, first come gathering that rewards early arrival.

Snug Harbor’s afternoon sets feel different from the late shows. Sunlight skips across Frenchmen, the room fills with neighbors and regulars, and the staff keeps it loose while the music stays focused. Seating is limited and informal for happy hour, and the mix still does right by vocals and percussion in the intimate space.

Two heavy hitters share the Chickie Wah Wah stage Saturday at 9. Papa Mali brings swampy guitar tone, dubby edges, and road-earned stories, while Johnny Sansone’s harp, accordion, and husky voice cut straight through the room. They trade leads and lean into slow-burn blues and greasy shuffles, the kind of set that stretches as the night gets deeper.

Chickie Wah Wah in Mid-City is a musician’s club first, with a dialed-in PA, a cozy floor, and a bar that remembers faces. It is built for roots music, blues, and songwriters, and there is enough space to dance without losing the listening-room vibe. Parking is easy by New Orleans standards, and the staff keeps the night flowing without fuss.

Bruce Daigrepont’s Sunday fais do-do at Tipitina’s is a New Orleans tradition. His accordion-led Cajun band moves effortlessly from two-steps to waltzes, with fiddle and rhythm section snapping in time. It is a family-friendly early evening dance that keeps the floor turning and the culture close, and newcomers are always folded in by the second song. Start time is 5:15.

Tipitina’s uptown is the city’s classic big room, wood floors underfoot and a balcony ringed with posters and history. The sound is punchy and warm, and the early Sunday slot turns the club into a community dance hall. Owned by members of Galactic, the place runs tight and friendly, with space for families up front and plenty of room to two-step.

Phil Rosenthal, the curious heart behind Somebody Feed Phil and the creator of Everybody Loves Raymond, takes the Orpheum stage Friday for an evening of stories and laughs. He blends travel tales, food obsessions, and TV lore with easy warmth, and he is quick with audience Q&A. It is comedy built on charm and timing rather than punchline sprints.

The Orpheum Theater downtown is a beautifully restored Beaux Arts room with plush seating, sharp sightlines, and speech-friendly acoustics. It hosts the symphony and touring talks as comfortably as stand-up, and the lobby bars keep things moving at intermission. Set just off Canal, it is an easy walk from the streetcar or nearby garages.