Nora Jean Wallace and Omar Coleman bring a classic-and-current Chicago blues double bill to Kingston Mines Friday. Wallace’s voice cuts with church-born power, riding tough, swinging grooves. Coleman leads a harp-forward band that leans into modern grit without losing the shuffle. With two stages alternating all night and an acoustic warmup early, this one rolls deep into the morning, the way this room has done it for decades.

Kingston Mines is the city’s late-night blues engine in Lincoln Park, a two-stage juke joint where the music never really stops. The North and Main rooms tag-team sets, so there is always something cooking, and Doc’s Kitchen keeps the catfish and wings moving. It is casual, loud, and welcoming, with tables up front, standing room in back, and a crowd that knows how to listen, holler, and dance until 4 a.m. on Fridays.

Buddy Damen and The Last Call return to Carol’s with a hard-charging barroom country set built on Tele twang, Bakersfield snap, and a little rock and soul. Damen leads with a raspy, lived-in vocal and a setlist that jumps from two-step burners to jukebox heartbreakers. It is the kind of honky-tonk show that keeps the dance floor moving past midnight, tight band, no frills, all feel. Music starts at 9:30 p.m.

Carol’s Pub is Uptown’s long-running honky-tonk, a neon-lit corner room where line dancers share space with late-night regulars. The stage sits low and loud, the long bar pours fast, and the sound carries clean across the checkerboard floor. Weekends lean country and Americana, with local heroes and road-tested bands packing in after Cubs and concerts. It is one of the few places where the two-step never went out of style.

La Santa Cecilia brings its bilingual soul to House of Blues on Saturday, blending bolero, cumbia, norteño, and rock en español with big-city swagger. Fronted by La Marisoul’s powerhouse vocals, the LA band turns grooves into stories, slipping from tender ballads to street-corner dance tunes without losing the thread. They are Latin Grammy winners for a reason, and their live show stretches styles into one warm, communal sound.

House of Blues Chicago is the multi-level club tucked inside Marina City, with a GA floor up front and balconies wrapping the room. The sound is dialed for clarity and punch, the lighting rig is built for color, and service runs tight. It hosts everything from national rock tours to dance parties and gospel brunches, and it handles a packed crowd without losing sightlines or comfort. Expect a standing-room night and big singalongs.

Frank Martin Busch and the Names roll in from Wisconsin with barstool storytelling and roadhouse muscle. Busch, a WheelHouse alum, writes blue-collar songs that mix country heart with bar-band grit, and his band leans into three-chord truth, harmonies, and Tele twang. It is a dance-friendly set that saves room for a few slow-burners, all delivered with a wry grin. A sub-$10 cover for a full-band Saturday at Carol’s is a throwback bonus.

Carol’s Pub feels like walking into a snapshot of Chicago nightlife that never aged out. The room is intimate but lively, with a checkerboard floor, a stage that keeps bands right in the crowd, and a sound mix that favors steel, fiddle, and kick drum. The bartenders keep the long necks cold, and the regulars know every chorus. It is a reliable weekend stop for honky-tonk, red-dirt, and roots rock that runs late.

Sunday at Kingston Mines starts with Mike Wheeler running the blues jam, a friendly, high-level hang where singers and players rotate through with the house band holding tight. Wheeler is a pillar of the scene, locking deep pockets and fiery solos with ease. Later, Gerry Hundt takes over the night with his jump-blues bite and multi-instrument chops. Doors at 5:30 p.m., jam early, full sets rolling after 9.

On Sundays, Kingston Mines shifts into community mode without losing its edge. The two-stage setup keeps traffic flowing between the jam and the late show, and the room treats newcomers and veterans the same: step up, plug in, play the blues. Tables turn over with plates from Doc’s Kitchen, bar lines move quick, and the staff keeps the energy friendly. It is the city’s most welcoming place to end a weekend.

Club 90s brings its Heated RivalRave to House of Blues on Friday, a high-energy pop dance party with DJs cutting between fan-favorite anthems, deep cuts, and cheeky mashups. Expect singalongs, themed visuals, and a crowd that dresses the part. Doors open early at 6 p.m., and the room leans into wall-to-wall hooks from the 90s through now, built for jumping, shouting, and losing track of time with friends.

House of Blues handles dance nights as smoothly as rock shows. The floor packs in front of the stage, balcony rails become mini dance pods, and the sound stays bright and punchy. Staff moves lines quickly, security is present but low-key, and the lighting rig sells the spectacle. It is central, easy to reach by train, and the post-show River North sprawl offers plenty of places to land.

The Thanks I Get top a Chicago rock lineup at Cubby Bear, joined by Hot Alice, SMFC, and FOUL for a night of loud guitars and big hooks. It is a four-band bill that moves from punchy alt rock to punk-leaning crunch, the kind of showcase that lives on tight sets and fast changeovers. Expect stage dives to give way to shout-along choruses and a room full of regulars who know the drill. Music starts at 7:30 p.m.

Across from Wrigley Field, Cubby Bear is a multi-level bar and rock room that has broken in more local bands than most places can count. The stage is wide, the PA is no-nonsense, and the balcony gives a clean sightline if the floor gets thick. It is a hang for North Side lifers and pregame crowds alike, with staff used to switching from sports to shows in a heartbeat. Fridays can feel like a home game.

Terrapin Flyer carries the Grateful Dead songbook with Chicago roots and a veteran lineup that knows how to stretch. They dig into deep cuts and usual suspects with patient jams, crisp harmonies, and the kind of telepathy that comes from decades on the road. The band often welcomes alumni and friends, but the core delivers the goods on its own, honoring the spirit without getting stuck in it. Show at 8 p.m.

Garcia’s Chicago is a cozy, Deadhead-friendly room built for seated listening and long grooves. Tiered sightlines ring the floor, with premium and reserved tables up front, booths along the sides, and GA rails that still feel close to the stage. Service is attentive, sound is warm and clear, and the vibe stays mellow and communal. It is an easy place to settle in for a two-set night with room to breathe.

The Front Desk headlines Joe’s with a six-piece blend of funk, soul, rock, and jazz that favors pocket and playful improvisation. What’s Her Face brings tight male-female harmonies and acoustic-driven tunes as they close the book on their current name, and AG & The Groove rounds it out with throwback feel and sharp arrangements. It is a Chicago bill built for movement and hooks, with music from 8 p.m.

Joe’s on Weed Street is a sprawling West Loop warehouse bar turned concert hall, with a wide stage, serious lights, and a PA that handles thick rhythm sections. The long room has clear sightlines from the risers and side rails, and the staff keeps drinks moving fast. It is known for country nights and alumni blowouts, but mixed-genre bills work well here, especially when the band leans into groove.

Ha/Ha To Hell is a dark comedy showcase built for late-night, with comics leaning into sharp, fearless material and quick left turns. It runs fast, prizes crowd work and punchlines over polish, and thrives on the energy that only a Saturday at 10:30 can bring. The lineup moves quickly, trading jabs and tags without filler. Dark, clever, and unapologetic.

Reggies' Banana's Shack is the rooftop hang at the South Loop complex, a tiki-tinged room that trades velvet seats for string lights and a close-up stage. Comedy plays well here because the crowd is right on top of it, bartenders keep the pace up, and the staff knows how to run late. It is the scrappy sibling to the rock club downstairs, with enough grit to keep things interesting.