We Them One's Comedy Tour brings a rotating squad of arena-tested standups to the big room Friday at 8 p.m., the kind of night built on quick jabs, long-form storytelling, and sharp crowd work. The tour moves fast, stacking multiple headliners with TV credits and viral sets, so the energy never dips. It is the high-volume side of Southern comedy, loud, candid, and playful, with the pacing and punchlines to hold a basketball arena.

Smoothie King Center is the city’s sports arena next to the Superdome, and it flips easily to large-scale comedy and pop shows. Sightlines are clean, production is tight, and they usually curtain off the upper bowl to bring the crowd closer. Concessions are everywhere, security moves quickly, and the sound has improved in recent years, making big-room standup land with clarity.

Jacksonville’s Lil Poppa brings his reflective street rap to the Fillmore on Saturday night, pairing steady, unhurried flows with melodic hooks and diaristic detail. He came up on the national radar with confessional tapes and major-label releases, building a catalog that favors storytelling over bluster. Onstage he keeps it focused, letting tight production and crisp delivery carry the set.

The Fillmore New Orleans is the chandeliered rock hall above Harrah’s in the CBD, a roomy space with a wraparound balcony and clubby decor that nods to the original San Francisco room. Capacity sits around two thousand, the PA is punchy without being harsh, and sightlines are reliable from the floor or rail. Cashless bars keep lines moving.

The Kaytraaaa! Club party returns for a three-year anniversary lap at Gasa Gasa, with Legatron Prime curating a night that lives in Kaytranada’s orbit. Expect deep cuts, edits, collaborations, and adjacent house, R&B, and afro-electronic grooves, stitched into a dancer’s flow. It is a floor-forward hang built for movement, not banter, and it goes late.

Gasa Gasa is the Freret Street living room for indie bands, DJs, and art shows, a compact black-box with a small stage, strong sound, and a patio to cool down between sets. The room tops out around a couple hundred, so energy turns quick and intimate. Staff keeps it friendly, bookings stay eclectic, and nights here feel like neighborhood parties.

Miguel brings the CAOS Tour to the Fillmore on Sunday, leaning into the sleek R&B that made his name alongside the left-field edges he has explored in recent years. His catalog runs from the satin glide of Adorn to the buoyant Sky Walker, with a live band that gives those songs lift and grit. Vocals stay front and center, falsetto sharp and phrasing elastic.

The Fillmore sits atop Harrah’s on Canal, a modern midsize hall dressed in classic rock memorabilia and warm lighting. It holds roughly 2,000 with a wraparound balcony, a wide stage, and a PA tuned for clarity over thump. Bars are quick, security is efficient, and the room flatters R&B sets where detail in the mix matters.

Mexican rock institution Maná brings the Vivir Sin Aire Tour to the arena Sunday at 8:30 p.m., a career-spanning set stacked with singalongs. Three decades in, they still punch stadium-hard, moving from glossy pop-rock to reggae inflections and power ballads without losing the pulse. Fher Olvera’s voice leads the charge, with drums and percussion driving the crowd.

Smoothie King Center is the city’s turnkey arena for big Latin pop and rock nights, with production scale to match. The floor fills fast, suites rim the sides, and the house crew dials in visuals and sound that reach the rafters cleanly. It is a cavern, but the mix usually keeps vocals crisp and percussion lively.

New Orleans native Victor Goines returns to Snug with his quartet for the 7:30 set, bringing the eloquent saxophone and clarinet voice familiar from the Jazz at Lincoln Center Orchestra. His writing folds swing, blues, and modern harmony into compact narratives, and his tone is all authority and warmth. It is straight-ahead jazz played with deep New Orleans lineage.

Snug Harbor is the Frenchmen Street standard-bearer for listening-room jazz, a narrow brick space where the band is the focus and the mix is unfussy and natural. Two nightly sets keep the turnover steady, with table service limited to drinks in the music room. The adjoining dining room handles the Creole comfort before or after the set.

Close Enough’s 90s Night leans into the alt-rock, pop, and R&B radio staples of the decade, a live-band party built for big choruses and collective memory. Expect guitar-heavy anthems, guilty-pleasure singalongs, and the occasional hip-hop detour, played with a bar-band grin and plenty of crowd interplay. It is a throwback done with tight chops, not kitsch.

On Freret, Gasa Gasa thrives on theme nights and local showcases, and 90s Night fits the room’s house-party scale. The stage sits an arm’s length from the front row, lighting is moody, and the sound engineer knows how to keep vocals upfront for singalong sets. The patio and easy bar access keep the pace comfortable between blasts of nostalgia.

The Happy Hour pairing of saxophonist Alejandro Canales and Afro-Brazilian guitarist and vocalist Geovane Paiva Santos brings a crosscurrent of jazz, samba, and modern improvisation to Snug Harbor at 4:30 p.m. Canales favors lyrical reeds and nimble doubles, while Santos threads Bahian rhythm and songcraft. A conversational duo set with relaxed sparkle.

Snug’s early slot plays like a neighborhood salon. Natural room acoustics keep small ensembles intimate, and staff keeps service unobtrusive once the music starts. With the bar pouring and the dining room next door, it is an easy way to catch high-level players in a compact, unhurried frame before the evening crowds.

Hattiesburg’s Half Dollar Rodeo rolls into town with a Southern rock set that leans on twin guitars, barroom tempos, and road-worn harmonies. Local country-rock outfit The Old Barstools add ragged charm and hooks, while The Basch Jernigan Band brings a blues-folk tilt to open the night. It is a three-band bill built for boots, beers, and choruses.

The Den is the smaller room attached to the Howlin’ Wolf in the Warehouse District, a low-ceiling, high-spirited space that puts bands within reach. The stage and PA handle loud guitars cleanly, and the bar is quick with friendly staff. It is a go-to for locals, tour van stopovers, comedy, and album release nights, with easy street energy.

Amina Figarova leads her long-running sextet at Snug Harbor’s 7:30 set, bringing intricate, flowing compositions that touch post-bop, chamber textures, and global pulse. The Azerbaijani-born pianist is a lyrical player with a builder’s mind, and the ensemble breathes as one. Expect flute-and-piano color, supple rhythm, and elegant momentum.

Snug Harbor’s back room is purpose-built for serious jazz listeners, with tight sightlines, a tuned piano, and engineers who respect dynamics. The two-show format keeps crowds comfortable and turnover smooth. It is the kind of room where nuance carries, making a sextet’s detailed charts feel immediate rather than distant.