Funky ‘04

The Las Vegas club scene has become one of the most important scenes in the world. In fact, the Vegas scene has become so large and important to the tourist industry that Vegas clubs are starting to create the trends rather than working off of what works in other parts of the world. It's certainly the scene with the most exposure. Our scene is a favorite topic for the Travel Channel and E!'s Wild On. The scene, and the Palm's Rain In The Desert, were the main focus of last year's MTV's Real World: Las Vegas. And there's no other scene that is visited by more people from so many walks of life. After all, Las Vegas is the entertainment capital of the world; there should be no reason it isn't the club capital as well.

The club scene in Vegas grew immensely in 2003. It also matured considerably, with the advent of the ultralounge. I also noticed that variety became commonplace. These are certainly trends that will continue through 2004.

In order to see exactly where the club scene is headed in 2004, I decided to check in on the industry leader. That is, of course, MGM's Studio 54. The club sees at least 600,000 people pass under its disco ball a year, and the club has long since proved a worthy successor to its legendary namesake (by the way, that's the disco ball from the original NYC Studio 54).

Studio 54 is undergoing a bit of growth of its own. The club is closed for Phase One of a grand remodeling adventure. I recently took a hardhat tour of the club with Mike Milner, executive director for both Studio and its sister ultralounge, Tabú.

First, Studio is completely remodeling two of its primary bars, at a whopping cost of $1.5 million. Expect to see a new version of the downstairs main bar, as well as a new version of the lovable upstairs bar, where all the locals love to congregate. In fact, that bar is being re-dubbed the Locals Bar. These two new bars are set to debut on New Year's Eve when the club reopens.

Also on tap for later in 2004 is a brand new VIP section and a completely recalibrated sound system. From what I've seen of the new VIP section, it's already going to be the most luxurious in town, ensuring that Studio 54 can cater to everyone from the highest roller to the average tourist and even to the jaded local.

 "It's nice to see a hotel reinvest in a successful nightclub rather that to leave it as is," Milner says as he describes the various renovation plans. Studio 54 isn't the only club remodeling. Luxor's Ra has a long-planned renovation in the works, and I've heard even Bellagio's Light is planning a remodel. I wouldn't be surprised if many more joined the trend by year's end.

As Milner and I walk the ghost town construction of Studio 54, we talk at great length about the biz and such. I ask what he thinks the biggest trend in clubs will be in 2004, and he answered, "Smaller." While some of the bigger clubs will expand, Milner expects new spots to go small in size. He explains that it's just more cost-effective for a hotel to open a smaller venue. He adds, "In reality, only Rain and Studio 54 have been able to keep up business as mega clubs."

Smaller venues made a considerable impact on the scene in 2003. New, smaller venues such as OPM, Prana and Risqué have all done extremely well. As has the Venetian's Venus and Bellagio's Light. Of course, for this past year's smaller club success story, we'll have to go back to the MGM for Tabú and the birth of the ultralounge.

"The great thing about Tabú is that it allows customers to hop back and forth between clubs," says Milner. "If people want conversation, they can hang out at Tabú, and when they're ready for the big party and dance floor, they come over to Studio."

The ultralounge acting as a subordinate venue to a bigger club is a genius way of increasing revenue and traffic. Milner laid it down in simple numbers: "Before, we'd have a night of 1,700 at Studio 54. With the addition of Tabú, we now will have a night of 2,300." The ultralounge also offers a spot for clubs to clean up on bottle service and upscale clientele, thus dramatically increasing the profits. And that, my friends, is a good thing. Because the more money clubs pull in, the better the clubs will be. Plus, if bottle service and booth reservations are the main focus of the ultralounge, that allows the bigger club to better accommodate the average guest.

The Batman and Robin relationship of the club and ultralounge is a trend that will only continue. Rain and Ghostbar (the first such combo), Light and Caramel, Venus and V-Bar. It's a trend that makes total sense. Expect to see the majority of new venues opening up in 2004 to be more of the ultralounge variety. Word around the campfire is that Steve Wynn's new Wynn Las Vegas will debut with a megaclub, plus not one but two sidekick ultralounges.

One final trend Mr. Milner and I discussed was the growing variety of events and activities that will be found in the clubs in 2004. Studio 54 has always been known for its ability to effortlessly blend both clubbing and spectacle. Going to Studio 54 isn't about just dancing. Flying acrobats, stage shows, snake charmers and the like are commonplace. Just witness the Nightmare on 54th Street transformation Studio undergoes every Halloween. Studio 54 also recently added one of the scene's most clever nights with its Dollhouse. Dollhouse is fantastic. You have gorgeous models and menus. On the menus are different hot outfits. Pick your outfit and dress up your doll. Dollhouse is avant-garde, it's cabaret and it's a sight to see. Not to be outdone, Tabú has a fashion show every Wednesday night that features the ultralounge's own staff of beauties modeling the latest in high fashion.

This variety isn't limited to the MGM, either. Ra at the Luxor and Rain in the Desert each do a fantastic job of keeping the crowds entertained. Ra has some of the most majestic dance numbers around and at Rain ... well they can make it snow at Rain. Spectacle is often the name of the game.

Mist at the Treasure Island features a weekly fashion show, and I just caught one at Risqué a few weeks back. Ice recently featured a lingerie show at its Christmas party, and I wouldn't be surprised to see more and more spots trying different events such as these.

Music—it's what truly fuels the scene. Music is the one language that all may understand and enjoy, regardless of race, creed or color. After all, how can you dance without music?

When the Las Vegas club scene first exploded in the late '90s with the birth of Utopia's legendary parties, the music was squarely based on the rave sounds that inspired the club in the first place. Trance and house music were the lifeblood of the burgeoning scene. As more and more clubs like the Luxor's Ra and the Venetian's now defunct C2K appeared, the day of the superstar DJ was born. Names like Paul Oakenfold, Sasha and Digweed, and Paul Van Dyk achieved almost saint-like status among club kids. It was a glorious time.

This was all, of course, before 9/11. Ecstasy was everywhere and fit ever so snuggly with the trance and house sounds booming from the pounding sound systems. When 9/11 happened, security tightened in every conceivable way. Transport of illicit drugs became more difficult than ever, and the bountiful and steady supply of ecstasy seemed to all but dry up. Granted, you can still find the much ballyhooed club drug, but it's not like in 2000, when it seemed that Vegas had more E dealers than LA has out-of-work actors. Unfortunately, for many people, ecstasy goes hand-in-hand with much electronica.

The decline of the ecstasy supply wasn't the only thing fueling the change of music and the scene. As the scene grew, much of the underground flavor all but vanished. As more casinos built more and more clubs, the scene became a mainstream affair. Clubs and Vegas DJs began to rely more on what was hot on MTV than what was all the rage in the rave scene. And what was hot on MTV? Hip-Hop.

The story of hip-hop and its rise as the predominate style of pop music is no secret. Much like rock 'n' roll in the '50s and '60s, hip-hop shocked the establishment so much that it became the establishment. Throughout the 1990's, hip-hop's popularity increased as it expanded past the confines of its mainly black fan base into the white suburbs. I remember the shift so clearly. I was a strapping young prep-school lad in the early '90s. I'll never forget watching many of my friends abandon their Pearl Jam and Nirvana records in favor of Public Enemy and NWA discs because rock was no longer rebellious. No longer cool.

Since then, as house and trance slowly lost prevalence in the local club scene, hip-hop gained dominance. As the top of the pops, hip-hop's appeal to the masses fit nice and snug with the ever-growing mainstream audience of Las Vegas.

And this is where we are today. In the past couple of years, the likes of Eminem, 50 Cent, Nelly and even Beyonce Knowles have all but conquered the music industry and the club business alike.

House music today isn't like it was before. It isn't about giant anthems like "The Launch" or "Sandstorm"; instead it's a bit funkier and softer. It's music that seems more suited to the ultralounge. You still hear the occasional big-house remix thrown in at the big clubs, but it's almost always surrounded by hip-hop. And good luck finding trance music, too. Aside from the occasional big guest DJs at Ra or Spundae events, trance music seems to have gone the way of the dodo in Las Vegas.

So where does this leave us, the loyal club-goers? Is 2004 going to be yet another year of the same five hip-hop songs? I can't take much more. Which I think is a terrible thing for me to say. I was one of those kids getting into Beastie Boys and Run DMC. I was one of those kids who marveled at the genius of Snoop Dogg. Even last year, I couldn't get enough of Eminem's powerful rhymes. But it's gotten to the point that hip-hop is all I hear, and I've had enough.

I love going out so much that it's become my job. So I've been listening to more rock 'n' roll at home. This year, I discovered the White Stripes, Jet and the Soundtrack of Our Lives. No Doubt has suddenly become the most forward-thinking band in rock. And while I think the Strokes are terribly overrated, they're on the cover of Rolling Stone. I even fell in love with Evanescence. But apparently, I'm not the only one on this kick.

It happened early last year at a Baby Anne and DJ Icey show at Ra. I heard a Pink Floyd breakbeat remix followed by a remix featuring Boston. Then, in the same night, I heard No Doubt's latest hit, "Hella Good." This wasn't a remix, either. It was the album cut of the song. And you know what? The crowd went bananas.

And so it began. I began hearing more and more rock mixes at the clubs. I heard Evanesence and the White Stripes so much at the clubs that I had to go get the albums. Ladies and gentlemen, I have an announcement:

Rock 'n' roll is cool again.

Expect to hear more and more rock in 2004. Rock mixes are slowly becoming commonplace in the clubs. Spots like the V Bar and Caramel have nights solely dedicated to rock music. You're finding it mixed with house, breaks and even hip-hop.

The perfect example of the melding of rock and dance music comes in the form of electroclash. I first heard electroclash spun by Barry Weaver at the Forum Shop's OPM. It was the debut of the club's Sunday night party, Big in Japan. I was so impressed with the sound that I immediately went home and dedicated that week's entire Digital Tony column to electroclash.

The electro sound isn't exactly easy to explain, but it's easy to identify. Give another listen to No Doubt's "Hella Good" or the White Stripes' "Seven Nation Army." Those tracks, by mainstream artists no less, are pretty close to the mark. Electroclash is essentially dance music with a rock beat and attitude. It's a bit glam and a little punk. It's a bit heavy metal and little new wave, with a dash of disco and house. But it's all good. With the kind of year No Doubt and White Stripes have had, expect to see more and more mainstream acts embrace electroclash. I wouldn't be surprised to hear electro tracks from Madonna or Britney Spears by the end of 2004. You'll be hearing more and more electroclash in the Vegas clubs in 2004.

Which brings me back to hip-hop. While rock and electro are making big inroads into the club scene, you'd be a fool to think hip-hop is going to lose total dominance. But it'll be a different brand of hip-hop. Next year will not be about the love-thug. And for that, you'll have to thank the geniuses of Outkast.

The fall and winter of 2003 belonged to Outkast. Their platinum-selling Speakerboxxx/The Love Below has dominated the charts since its debut. The album is not only the most ambitious hip-hop since the Beastie Boy's Paul's Boutique, it's certainly the most fun. I'm just not meeting anyone who doesn't love them. I've had more than a few recent boring club experiences. It happened to me at Venus just a few weeks ago. The club's dead, and no one is on the dance floor. Then, like a thief in the night, Outkast's "Hey Ya" blares from the sound system. Suddenly, everyone is up and moving around. It was like a shot of funky adrenaline.

If there's a common theme in the sound of 2004, it's a funky one. Rock's gotten funkier, hip-hop's going to a funkier root and electro is just plain funky. I'll bet you'll continue to hear more of traditional electronica's funkier off-shoots, breakbeats and drum-n-bass.

One can't simply define what funky is. But you'll know it when you hear it. The funky attitude of 2004 will be about fun, joy and, of course, love. And with the wacky state of the world today, we all can certainly do with a bit more funk.

I'd hate to sound like a Calvin Klein ad, but what is style? Is it what you wear? Is it how you act? Is about fashion or attitude? Ultimately, the answer is: yes. Style is all that and more.

So what's hot in that department? What are the cool kids wearing out to the clubs these days? Don't worry, kids; Digital Tony is here to help. And regardless of what Queer Eye says about straight guys and style, I like to think that I can handle myself quite well in that department. Still, cueing you into what's the deal in the fashion world is quite a daunting task, even for me. In other words, thank God for DJ Noey.

Aside from being a top-notch DJ and successful promoter, DJ Noey has a style that's as immaculate as the Virgin Mary. She never looks like anything less than a million bucks. There was absolutely no other choice for a style guide.

Curious as to what's in for the young ladies this year, I met Noey at Musette, an upscale women's shop in Summerlin (9420 W. Sahara Ave., Number 102; 702-309-6873). Instantly I was cued into one vibe—funky. Noey, along with the store's buyer, Michelle Blatt, showed me an endless number of get-ups that'll make any young woman a Vogue model.

One thing I noticed is jeans, jeans and more jeans. Brands like G-Star Jeans and Von Dutch are all the bloody rage. The styles seem more urban. It seems the angle with women's wear is upscale-sexy-casual.

Speaking of casual, who'd ever have thought sweats could be considered high fashion? Big with the young ladies are Juicy Sweats. Comfy enough to lounge around in but hot enough to hit the town in. Amazing.

Driver/newsboy caps are also big with the young ladies. And in the shoe department, Noey informed me of the current holy grail in women's footwear—nifty little boots called Uggs. They're absolutely impossible to find, but if you do find them, ladies, you'll be the envy of your friends. I'm not sure that I comprehend that notion, but I learned long ago not to question women and shoes.

Also all the rage this season are initials on everything: sweaters, tops, skirts, key chains, purses, you name it—it's got an initial on it. Same with random numbers.

Also big on the funky front is a Matrix-Japanese anime look that skates the thin line between mod fashion and superhero uniforms. Leather and racing jackets are as cool as ever. And, as a guy, I'm all for girls looking like lady X-Men.

I've also been informed that basic black cocktail dresses are still in style, and always will be. But it's OK to funk them up a bit.

From funking it up to punking it up, Noey and I bade farewell to Musette and crossed town to Dirty Laundry (4700 S. Maryland Parkway, Number 10; 702-895-7222). Owner Jolie Dionisio showed Noey and me a number of different punky looks for both guys and gals. Upscale T-shirts and jeans should dominate the coming year. Ms. Dionisio tells me that it has a lot to do with the comeback of the rock scene.

The T-shirt/jeans combo is the start for the guys, followed by layers. Designers like Obey, Gsus and Punk Royal all offer the type of jeans and T's that are actually allowed in nightclubs. Don't try walking up to a club wearing your torn 501s and holey Raiders T and expect to get in. Adding to the combo, a hoody jacket with a sports coat is a winning combination. Shirt jackets are also very popular, as are more urban-warrior-style coats. Essentially, guys, get yourselves some happening jackets. Obey had this killer revolutionary-style jacket that needs adding to my collection of groovy jackets. Add to that a styling beanie or driver's cap and you're ready go.

Actually, believe it or not, hats like these are making such an impact in men's fashion that many clubs are left with no choice but to lift their (ridiculous) no-hat polices.

I'd noticed that men's fashion had been more solidly influenced by hip-hop over the past few years, but from the looks of it men's fashion has certainly gone more the way of punk and rock.

And just like the basic black dress for girls, every guy needs at least one happening suit. Stay away from anything one of the Kings of Comedy would wear and go more mod. If you're lost, check out some of the sleeker suits in The Matrix. Just make sure to take it to a tailor and get it to fit right. Trust me, the ladies will notice.

One final tip for guys. Watch Entertainment Tonight at least once a week to see what Clooney, Depp and Pitt are wearing. Adjust accordingly.

Still, style, particularly club style, is essentially up to the wearer. One should never throw on an outfit simply because it's "in style." Style is an extension of the individual and shows a bit about the person under the clothes. Wear clothes because you like them, not because I tell you to. Although wearing certain clothes because I tell you isn't a bad idea, either … (cue evil chuckle).