Emo Nite brings its cathartic pop punk and emo singalong to Deluxe on Friday, opening doors and hitting play at 9 p.m. The touring party stacks My Chemical Romance, Paramore, Fall Out Boy, and deep-cut scene favorites into a nonstop, DJ-driven rush built for group choruses and sore throats. It is 18 and up, and the night kicks a dollar per ticket to Emo Nite Gives A F*ck, channeling a little nostalgia into real-world support while the floor stays loud and lively.

Old National Centre is the historic Murat complex on Mass Ave, home to multiple rooms from the ornate Egyptian Room to the intimate Deluxe, where this lands. Deluxe is a standing GA club with a low stage and punchy sound, ideal for DJ nights and kinetic crowds. Bars run the back wall, security keeps the line moving, and the Mass Ave location means easy rides and late-night food within a block or two.

Megan Moroney brings The Cloud 9 Tour to Gainbridge Fieldhouse on Saturday at 7 p.m., riding the momentum of hits like Tennessee Orange and I’m Not Pretty. The Georgia-born songwriter pairs diary-plainspoken lyrics with glossy Nashville production, fronting a band built for big hooks and even bigger rooms. She plays the confessional and the crowd-pleaser equally well, and a dollar from every ticket supports the Megan Moroney Foundation, tying a high-capacity night to a cause she carries city to city.

Gainbridge Fieldhouse sits right downtown and handles arena shows without killing sightlines or sound. The bowl mixes lower-level intensity with a wide concourse, and production teams this size make full use of its screens, lighting, and rigging. Staff keep traffic moving, concessions run deep, and there is plenty of pre and post show action within a short walk, so the whole evening clicks into place easily.

¡NOCHE LATINA! takes over Deluxe on Saturday at 9 p.m., an 18+ dance floor built on reggaeton, salsa, bachata, dembow, and club-ready edits. The DJs keep transitions tight and energy high, threading classics with the newest perreo anthems so the room never cools down. It is a straightforward, beat-first night that centers the crowd and the cadence, with lights and low end setting the tone from the first drop to last call.

Inside Old National Centre, Deluxe is the compact black box tucked within the Murat complex, tuned for loud nights and quick turnarounds. It is fully GA with clean sightlines to a low stage and enough floor space to actually dance. The bars live at the back, security is efficient, and the Mass Ave address means rides are easy and late bites are steps away once the lights come up.

Journey vs. Foreigner: A Tribute stacks two powerhouse catalogs into one night in Fountain Square, with bands trading anthems like Don’t Stop Believin’, Faithfully, Jukebox Hero, and Cold as Ice. Big choruses, sky-high tenor lines, and crowd harmonies are the point, and the arrangements hit the radio moments fans know by heart. It is a classic rock victory lap built for singing along, air guitar, and a little arena drama under club lights.

HI-FI Indy anchors the Murphy Arts Center, a crisp-sounding room known for dialed-in mixes, sightlines from every corner, and a staff that keeps nights smooth. When weather allows, HI-FI Annex opens next door as the outdoor stage, adding capacity and a backyard block-party feel. Both sit in the middle of Fountain Square’s bars and eateries, so the pre and post show shuffle is a short walk in any direction.

Reggaeton Party zeroes in on Bad Bunny’s catalog and orbit, a DJ night that stitches deep album cuts to chart crushers and collabs, then rounds it out with fresh reggaeton, Latin trap, and dembow. It is wall-to-wall perreo, built on hooks, drops, and collective shout-alongs as the clock pushes past midnight. This one is 21+, with lights and subs doing the heavy lifting while the floor stays packed and moving.

The Vogue is Broad Ripple’s landmark theater turned 900-cap club, a roomy dance floor with wraparound sightlines and a balcony that still feels close. The system hits low without mud, the lighting rig flatters DJ nights and live bands alike, and the bar crew moves at pace. Surrounded by late-night spots, it is an easy anchor for a full evening in the neighborhood.

Spellbound Indy returns with A-Squared DJs and DJ Evil Twin steering a dark rave built on EBM, industrial, darkwave, post-punk cuts, and neon-tinged synth. The pacing favors tension and release, swapping ice-cold machine rhythms with goth-club staples that pull the floor in tight. Kicking off at 9 p.m., it leans immersive, with fog, strobes, and a fashion-minded crowd that knows this soundtrack by heart.

White Rabbit Cabaret sits off Prospect in Fountain Square, a velvet-draped room with a low stage, checkerboard floor, and a bar that keeps the night moving. The calendar swings from burlesque to comedy to left-of-center dance parties, so staff handle theatrical lighting and crowd flow smoothly. It feels intimate without cramping the floor, perfect for moody electronics and after-hours atmosphere.

The Spooklights anchor a late-night dance party on Saturday at 9 p.m., rolling through synthy grooves, club edits, and high-energy cuts built for movement. A surprise guest drops in day of show, but the tone is already set for a room that likes tempo up and transitions quick. It is a DJ-forward night tuned to keep the floor working until close, with lights and bass doing their part.

The Mousetrap on North Keystone is Indy’s home base for jam, funk, and dance-heavy nights, with a big horseshoe bar and a stage that punches above bar-room size. The staff knows long sets and late hours, the sound is honest and loud, and the patio gives a breather between waves. Parking is easy and the kitchen keeps the grills going late when the crowd needs fuel.

Andrew Montana brings a hushed, indie-folk touch to Sunday night, all close-mic vocals, fingerpicked guitar, and imagery that lands like late letters. Aiden Robinson complements with reflective songwriting and warm harmonies, a good match for the room’s quiet corners. It is a songwriter-forward bill that trades in craft, space, and stories more than volume, settling in for a 7 p.m. start and an unhurried pace.

The Irving Theater anchors the Irvington strip, a century-old space with creaks that add character and a stage that suits storytellers, punk bills, and community nights. Seating shifts between rows and standing depending on the show, the PA carries clean, and the lobby bar keeps it simple. Street parking and neighborhood coffee shops make the evening feel neighborhood-rooted and easygoing.

Booze Hounds Bluegrass brings two boot-stomping sets to The Mousetrap on Friday at 8 p.m., leaning into hard-driving rhythms, fleet picking, and barroom harmonies. The band toggles between traditionals, crowd favorites, and jam-grass detours, stretching solos without losing the pocket. Two sets leave room for dynamics, from train-beat burners to campfire closers that still ring clear over clinks at the bar.

A Northside institution, The Mousetrap is built for marathon nights, with a sticky dance floor, friendly regulars, and a stage that welcomes bluegrass pickers as easily as funk collectives. The booth knows how to place banjo and fiddle in the mix, bartenders keep long shifts upbeat, and the vibe stays unpretentious. There is plenty of parking out front and a patio for fresh air between songs.

Shea Farmer heads to The 808 on Sunday at 8 p.m., trading songs with Michael Sanders and Sean Atkinson in a stripped-back writer’s-round spirit. Farmer’s alt-country lean and steady drawl sit well alongside Sanders’ and Atkinson’s folk edges, turning attention to melody, phrasing, and the small details. It is an intimate setup where lyrics get room to land and the room stays tuned to the story.

The 808 is the cozy listening room tucked behind Indy CD & Vinyl in Broad Ripple, a small stage, tight rows of chairs, and walls that still smell like records. It is a no-frills, sound-first space where acoustic sets bloom and chatter stays low. Steps from the shop’s front door and neighborhood bars, it turns a Sunday night into a focused, friendly coda to the weekend.