Architects bring their towering UK metalcore to the Egyptian Room on Friday night, leaning into glassy synth atmospherics, avalanche riffs, and Sam Carter’s serrated roar. The Brighton veterans have reshaped heavy music over the past decade, stacking arena hooks on mathy precision, and they tour with a set that swings from the pummeling Doomsday to the radio-crushing Animals. Doors at 7, show at 8, and they keep a tight run of deep cuts and new material in rotation.

The Egyptian Room is Old National Centre’s big GA ballroom, the ornate heart of the Murat complex on Mass Ave. It is all open floor with riser sections along the sides, tall ceilings, and a sound system that hits clean and loud without mud. Sightlines stay strong from midfloor, and the room breathes even when it is packed. Bars anchor the back corners, with the easiest moves happening between sets.

Natalie Nunn heads into Deluxe for a late set Friday at 10 pm, bringing the high-energy club takeover she has honed since Bad Girls Club and Baddies made her a fixture in pop culture. She works the mic, keeps the room lively between DJ cutups, and leans into selfies and crowd banter. It is a personality-driven night built for dancing, cameras up, and messy fun that stretches well past last call.

Deluxe is the compact downstairs room at Old National Centre, a low-ceiling club with a tight stage, crisp PA, and nowhere to hide once the lights drop. It is a true general admission space, quick to fill and easy to move front to back. Staff keeps it moving at the bar and door, and the vibe swings from sweaty punk shows to DJ parties without losing its punch.

Cattle Decapitation mark three decades of extremity with their 30 Years of Inhumanity run, packing Deluxe on Saturday at 7 pm. The San Diego unit folds deathgrind speed into bleak melodic turns, with Travis Ryan’s elastic snarl-to-falsetto leading technical riffs that cut like a bandsaw. Recent chapters like Terrasite and Death Atlas power the set, and the blastbeats hit with frightening clarity in a room this size.

Deluxe thrives on high-intensity shows. The room’s tight dimensions and quick, punchy PA put drums and vocals right in the teeth, and the rail gets claimed fast. With a single open floor and minimal frills, it is built for pits, stage lights, and zero wasted motion. Being inside the Old National complex keeps load-in smooth and set changes sharp.

Airplane! Live lands in the Murat Theatre on Friday at 7 pm with Julie Hagerty and Robert Hays on hand for stories from the cockpit. The stars revisit the 1980 classic’s gags and production mayhem in a relaxed, onstage conversation, taking audience questions and swapping behind-the-scenes memories. It is a rare chance to hear exactly how that deadpan chaos came together.

The Murat Theatre is the crown jewel of Old National Centre, a historic Moorish Revival room built for seated nights that need charm and clarity. Plush rows, a deep stage, and warm acoustics make it ideal for film talks, comedy, and legacy tours. Located on Mass Ave, it runs like a theater should, with friendly ushers, roomy lobbies, and clean sightlines from orchestra to balcony.

Unprocessed take over HI-FI on Friday at 8 pm with their precision German prog metal, stitching laser-cut riffs to polyrhythms and glassy clean passages. The band’s recent material sharpens the contrast between djent weight and elastic melody, and they play it with studio-tight execution. Stop-on-a-dime turns, knotty grooves, and a crowd that counts along while headbanging.

HI-FI sits inside the Murphy Arts Center in Fountain Square, a mid-sized room with a tuned system, sturdy subs, and honest sightlines from the floor. The stage is low enough to feel close, but the mix holds detail even when it gets loud. Staff runs a tight ship, set changes are quick, and the neighborhood keeps the night rolling before and after the show.

A Tale of Two bring their swampy blues into The Speakeasy Listening Room on Saturday at 7 pm, a duo setup built on resonator textures, hushed harmonies, and slow-burn storytelling. They lean into porch-swing tempos and Southern gothic tones without losing the intimacy of folk. It is a songwriter-forward night that rewards quiet ears and the room’s bring-your-own pace.

The Speakeasy Listening Room is a small, seated hideaway that treats silence like part of the music. No bar, no TVs, just a handful of tables, warm lamps, and an audience that came to listen. It hosts Americana and songwriter nights where stories carry as much weight as the chorus. BYO snacks and drinks keeps it casual while the focus stays locked onstage.

Midnight Tyrannosaurus rolls into HI-FI on Saturday at 8 pm with the Devil In The Jungle concept, a cinematic bass experience that fuses prehistoric roars with modern riddim and tearout. The Florida producer deals in chest-rattling drops, horror-tinged atmospheres, and cartoonish sound design delivered with tight DJ control. Custom visuals stitch it together like a film reel.

HI-FI’s room handles heavy low end without turning to mud, with subs that travel through the floor and a mix that keeps mids clean for the leads. The space is intimate but not cramped, and production brings sharp LEDs and haze when dance nights hit. Fountain Square location means easy pregame and quick rides out when it wraps.