Three sets, five courses: how our dinner shows get built
Four times a year the mezzanine becomes a music room with a kitchen attached. Tomas books the bands, Marco writes against the setlist, and the two of them explain how a dinner show gets built without either act upstaging the other.
Soundcheck on the mezzanine, 17:40
The band is booked first
The season is booked a year out — a soul revue to open, a jazz trio through winter, a blues night to close. The band comes first because the room has a sound: forty seats, timber, a low ceiling that keeps the horns warm. The menu is written against the setlist afterwards, which is backwards to most venues and the only order that works here.
The pacing rule is simple: courses land between sets, never during. The kitchen and the band share a rehearsal week until the timing is honest — the big plate behind the loud number, the palate-cleanser before the ballad. It sounds precious. At the table it just means the food and the music never talk over each other.
The pacing rule
The mezzanine takes forty for a show — tables of two to eight, every seat with a sightline. Tickets go to the mailing list 48 hours before the public on-sale, and most nights sell inside a day of that window. The full mezzanine books as one for private shows: your setlist, your menu, your forty guests.
The bar runs quiet through the second set. That's not a rule — it's just what the room does when the room is right.
— Tomas Reilly, from the winter show notes
The practical notes: five courses at $129, the cellar list running all night at house margins, and the encore landing with the last pour. Doors at half six, first pour at seven, the band at half past — and the kitchen keeping the same clock as the drums.
Forty seats, and the list hears first
The practical notes: five courses at $129, the cellar list running all night at house margins, and the encore landing with the last pour. Doors at half six, first pour at seven, the band at half past — and the kitchen keeping the same clock as the drums.
If you want the room to yourself, the mezzanine books as one for private shows of forty — your setlist, your menu, your night, with the band booked for the room rather than despite it. The events team builds both halves of the night in one brief.
The short version
The band is booked a season ahead; the menu is written against the setlist, never the reverse.
Courses land between sets — the big plate behind the loud number, the cleanser before the ballad.
Forty seats, every one with a sightline — the room was built for the horns, not around them.
The mailing list gets tickets 48 hours early; most shows sell inside a day of that window.
Keep reading the house
The full catalogue with prices lives on the price page; every dish is on the menu; the story of the house is on about.
Reader questions
Asked about this piece
Quarterly — four productions a year, each announced on the events calendar and to the mailing list before the public on-sale.
Five courses paced to the performance, the full three-set show, and table service through the night. Drinks run from the cellar list at house margins.
Yes — the mezzanine books as one room for private shows of forty, with the setlist and the menu built with you rather than for you.
Come as you are for dinner — the room is smart-casual, the band doesn't check, and neither does the maître d'.
Enough reading
The setlist reads better live.
Shows run quarterly with forty seats, and the mailing list hears 48 hours early. Join the list or watch the events calendar — the next set is closer than it looks.