
13 top hotspots for nightlife in Boston and Cambridge
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The Beehive
The Beehive.
Kayana Szymczak for The Boston Globe
Stroll into The Beehive on any given night of the week and you'll be guided downstairs into a white-tablecloth lounge, complete with thick red curtains and chandeliers, serving up elevated bar food (smoked Turkish pepper wings, anyone?) and the latest sounds in jazz and world music. The events calendar is always full, so take a seat and get ready to tune your ears to anything from blues to reggae to Brazilian choro. And for those looking for a quieter summer evening, the Beehive also boasts a charming outdoor terrace.
Address:
541 Tremont Street, South End
Phone:
617-423-0069
Find online:
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The Cantab Lounge
The Cantab Lounge.
Long live the Cantab. Few spots attract as diverse a crowd as this Central Square mainstay, which boasts live music seven days a week on two stages, as well as open mic nights, poetry events, and more. The cheap beers don't hurt, either. Pro tip: Ask for the pistachio shot to muster up the courage to compete with Cantab's lively dance floor.
Address:
738 Massachusetts Avenue, Cambridge
Phone:
617-714-4278
Find online:
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Club Café
Two hundred and nine Columbus Avenue is a distinguished address for two reasons: first, the Pledge of Allegiance was written there in 1892. Second, it has been home for 40 years to one of Boston's best nightclubs: Club Café, a restaurant, piano bar, and dance club, as well as legendary gathering space for LGBTQ+ Boston. The entrance line can be formidable (regulars know to get a yearly VIP pass to skip ahead). But whether you go for a drink or dance-off, you'll leave with sticky soles and a smile. We'll pledge allegiance to that.
Address:
209 Columbus Avenue, Bay Village
Phone:
617-536-0966
Find online:
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The Glitter Boys
The Glitter Boys.
Nathan Klima for The Boston Globe
Bubbles. Glitter. ABBA. And costumes galore. This all-vinyl disco — which takes place every Friday in the basement of The Sinclair — draws quite the crowd. Arrive early to secure a spot. DJs Kyle Buresh and Steve Maling, now in their 30s, have been going to concerts together since their high school days in Stoughton and they bring the party. Setlists span the '70s and '80s. And the records spin until 2am.
Address:
The Sinclair, 52 Church Street, Cambridge
Phone:
617-547-5200
Find online:
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Grace by Nia
Grace by Nia.
Josh Reynolds for The Boston Globe
Nia Grace brings Southern soul to the Seaport with her eponymous restaurant-meets-jazz-bar. Leather seats and intimate tables face the cabaret-style stage, giving patrons the opportunity to chat over signature cocktails and chargrilled oysters or just sit back and listen. Come with the family for brown butter beignets at brunch (or oxtail and grits at dinner) — or stop by later in the night to see guests transform the dining area into a dance floor, twinkling under the lights. (The venue is 21-plus after 10 p.m.)
Address:
60 Seaport Boulevard, Floor 3, Seaport
Phone:
617-927-9411
Find online:
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Hava
Hava's layout — a large, oval bar with a ramp leading down to the dance floor — means more room to show off your moves and a shorter wait to get a drink. Despite the elegant interior, complete with chandeliers and a decorative fireplace, the atmosphere is the opposite of stuffy. The dance floor always remains high energy thanks to the club's stellar music selection, ranging from hip-hop and Top 40 artists to Latin hits. And special guests, which have previously included rappers Polo G and Fetty Wap, sporadically perform.
Address:
246 Tremont Street, Theater District
Phone:
617-695-2250
Find online:
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Havana Club
Havana Club.
Jared Charney
The rhythms of bachata and salsa echo through the door as you walk into Havana Club, one of the most established venues for Latin dance in Cambridge. The club hosts dance socials throughout the week — each one starting with a lesson for beginners. With an in-house bar (open Thursday through Saturday) and performances from local dance groups, this dance hall guarantees a fun time for movers of all levels.
Address:
288 Green Street, Cambridge
Phone:
617-312-5550
Find online:
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La Fábrica Central
La Fábrica Central.
Jonathas Mascarenhas
La Fábrica offers a seamless transition from day to night with a Latin American dining experience — complete with mofongo, maduros, and chicharrón — that gives way to Latin music at its nightclub on Fridays and Saturdays. But for a full experience, stop by on a Wednesday evening, when the restaurant offers dance lessons starting at 9 p.m. in partnership with Bachata Room, and a party that stretches into the early hours of the morning.
Address:
450 Massachusetts Avenue, Cambridge
Phone:
857-706-1125
Find online:
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ManRay
ManRay.
Carlin Stiehl for The Boston Globe
ManRay, the legendary Central Square club that shuttered in 2005,
Address:
40 Prospect Street, Cambridge
Phone:
617-864-0400
Find online:
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Silk R&B Party at Big Night Live
The Silk R&B Party at Big Night Live.
Shamari Humphries
All R&B. All love. All night. That's the tagline of the Silk R&B Party. It only comes around once a month, but it's always worth the wait. Silk attracts people from all over New England in the hundreds, largely because it features some of the region's most talented DJs on the turntables. The outfits are immaculate, the dance moves are on point, and the music is always well mixed.
Address:
110 Causeway Street, West End
Phone:
617-896-5222
Find online:
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Slade's Bar and Grill
Slade's Bar and Grille
Yoon S. Byun/Globe Staff
Slade's is a must stop for homesick Black Southerners, and lovers of a strong Hennessy punch. Once owned by
Address:
958 Tremont Street, Roxbury
Phone:
617-442-4600
Find online:
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Yvonne's
Yvonne's.
Erik Jacobs for the Boston Globe
While Yvonne's bills itself as a supper club, the craft cocktails are the main attraction. Hidden behind a mock hair salon, Yvonne's
Gatsby
-style bar or game of Clue. The decor is impeccably detailed, from the tin ceiling to the ornate mahogany bar, soft lighting, and secret bookcase that leads down to one of several dining spaces. As a final touch, your check comes in an old book.
Address:
2 Winter Place, Downtown Crossing
Phone:
617-267-0047
Find online:
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- Washington Post
Honorée Fanonne Jeffers's work sometimes stings, and always sings
Honorée Fanonne Jeffers was already a tenured scholar of literature and a celebrated poet when she published her debut novel, 'The Love Songs of W.E.B. Du Bois,' in 2021. It was a centuries-spanning epic of intergenerational Black Southern histories that was met with a cascade of rave reviews. The Washington Post's Ron Charles called it 'the kind of book that comes around only once a decade.' The novel arrived during a now-faded and unfinished season of racial and historical reckonings following the murder of George Floyd. Systemic injustice, long-standing monuments to white supremacy and profound inequality sparked nationwide protests and debate. The continuing backlash and counter-awakening have revealed the stubborn depths of the struggle. Now, in her first book of nonfiction, Jeffers revisits the years since 2021 through a personal lens, exploring what it means to live and heal through her experiences as a Black Southern woman, educator and artist. 'Misbehaving at the Crossroads' is a distinctive blend of memoir and criticism, a set of fearless pieces on politics, history, art and gender in the mold of her literary forebears Toni Morrison and James Baldwin. But Jeffers's book should not be confused for 'urgent' political observation in the time of Donald Trump. This is a collection forged in deeply personal pain and poetry. It's a first-person narrative about living and surviving at the intersections of self and other, Black and White, American and African, woman and men, mother and daughter. These are the crossroads at which Jeffers exists, writes and misbehaves. Though configured as an essay collection, this book functions as a great memoir, tracing an arc of unknowing beginnings, adolescent rupture, displacement, trauma — eventually arriving at a place of understanding and even catharsis. From an abusive childhood in Georgia through her literary blossoming and up to her acclaimed life in academia and publishing, Jeffers's story soars, stings and, always, sings. Music is at the heart of the project. Jeffers's background as a poet — a self-described blues poet, specifically — is in clear view across these works of mostly prose. As on any great concept album, there are short interludes, including fully italicized open letters akin to voice memos, and many deliciously melodic registers. There's rage as orchestral and ancestral chorus, the sensual softness of an R&B riff as she falls in love in Senegal, and the melancholic, sage beauty of the blues as she journeys home to Georgia to care for her dying mother. As she writes in a diary entry on her drive home to be with her mother: 'I'm thinking about this country that I love but which gives me eternal, deep disappointment. I'm thinking about the southern landscape that daily pierces me with its beauty, even while I wonder what horrors this landscape remembers.' What is most exciting about this collection is that it rarely resembles many other such books by celebrated writers. Essays are often gathered as trophy collections, bringing together discrete pieces, often previously published, with introductions that can be forced attempts to tie a unifying bow around the contents. Jeffers's collection, by contrast, does not feature a conventional introduction. It begins with a detailed family tree before leaping into Jeffers's vantage with an essay about watching the insurrection of Jan. 6, 2021, from her bedroom in Oklahoma: The book unfolds in a nonlinear way, clearly composed in the cauldron of these post-pandemic years of doomscrolling and splintered attention spans. Each of the short chapters flows into the next, building on themes addressed earlier, returning to previous questions with new attempts at answers and underscoring the book's larger ideas anew, as a song's chorus might. It is highly readable and, despite the sometimes painful material, entertaining. The cover art is from 'Links Together,' a lithograph by the artist and activist Elizabeth Catlett held by the National Gallery of Art in Washington. It is a stylish work of portraiture centering three dark-skinned women in close-up against a gold background, under a canopy of leaves, a trinity holding hands in solidarity and love. It's a beautiful image in its own right; it also captures Jeffers's mission in everything that follows. As Jeffers has said in interviews, this book is by and for Black women, designed at its core to convey their stories and celebrate, emphasize and assert their beauty, humanity and dignity. In such terms, I may not be the primary audience for 'Misbehaving at the Crossroads,' but I am deeply grateful that it invites all readers to access these most intimate human responses. The mediated effect of so much polite mainstream writing about American history, multiculturalism, sexism and racism is to offer naive bridges of understanding; earnest attempts at conversation can fail to deliver an emotional jolt and necessary truths. By eschewing such platitudes for something rooted in blunt, conversational and fearless honesty, Jeffers opens doors to those beyond her own experience. The cumulative emotional effect of this collage of short, interlocked essays, letters and poems is a term Jeffers herself used in a recent interview: big feelings. She told her interviewer that much of the injustice and violence in American life is rooted in the inability of too many in power to deal with their interior lives and unresolved emotions. Personal reckonings with trauma, inheritance and falsehoods are a necessary first step to any broader and sustainable national advancement. As Jeffers demonstrates on each page, it was through words that she found her process and her form to traverse the terrain of Black womanhood. 'Misbehaving at the Crossroads' is a brilliant testament to just how restorative the writing of one life's big feelings can be, and how equally pleasurable its reading. Bilal Qureshi is a culture writer and radio journalist. Essays & Writings By Honorée Fanonne Jeffers. Harper. 352 pp. $30