Crafting memorable experiences has been a lifelong passion for Ben Lovett, the keyboardist and songwriter from Mumford and Sons. His journey into experience curation began at an early age, specifically during his sixth birthday party. Instead of handing out typical loot bags filled with candy and toys, Lovett opted to record his favorite music onto cassette tapes as party favors. “I’ve always wanted to guide people through some sort of an experience that I can make sure is optimal, fun, and meaningful,” he reflects.
At 39, Lovett has spent the past decade turning his vision into reality by building and opening music venues across the United States through his company, TVG Hospitality. His latest venture, Pacific Electric, made its debut in March and can accommodate up to 750 guests in downtown Los Angeles. This venue has generated excitement in the area, particularly as it emerges in a community still grappling with the lingering impacts of the COVID-19 pandemic. Lovett is optimistic that Pacific Electric will grow alongside its community, welcoming both residents and newcomers for years to come.
In a recent conversation over Zoom, Lovett shared insights as he prepared to catch a flight to Atlanta. The dialogue touched on how music venues play a crucial role in shaping neighborhoods and can serve as cultural anchors. “There’s not that many [music venues] if you really break it down,” he notes. “Often cities are made up of a handful of these spaces that define them. Behind each one of those, there was a person or group of people with a dream and a vision.” This vision often triggers a chain reaction where bars, restaurants, and shops emerge, ultimately influencing where people choose to live.
Lovett emphasizes a deeper truth about human simplicity amidst the complications of life. “We often lose track of how simple we are as human beings,” he says, acknowledging that returning to this simplicity requires navigating through various complexities. This complexity is a familiar challenge faced by those who seek to unveil or restore music venues across the nation. The task may seem straightforward, but the intricacies of securing city permits, executing construction, opening the doors, and managing the impact on the local community can be daunting. This challenge is amplified in the current climate, where rising living costs have led to an affordability crisis affecting the live music industry.
Editor’s picks
Across the country, nightclubs and smaller concert venues continue to shutter, while the revenue generated from live events primarily benefits major artists on large arena tours. Consequently, the prospect of refurbishing and reopening a midsize concert hall in this environment seems precarious. “If you look at the business plan for someone who wants to be a concert promoter, it’s pretty insane,” remarks Mary Conde, senior vice president of Another Planet Entertainment (APE). “You have no guarantee of any income and you put up all the money. What kind of business plan is that?”
In 2022, APE committed to a significant $41 million restoration of the historic Castro Theatre in San Francisco, almost a century after its initial opening. This ambitious project followed decades of neglect and deterioration to iconic features designed by architect Timothy L. Pflueger. The building’s clay tiles had disintegrated, the basement faced erosion from water damage, and the rebar suffered from years of rust. As Conde points out, “Asbestos was very popular in the Twenties. So was lead paint. It was a building that really needed an intervention.”
Despite some local concerns regarding APE’s involvement, Conde emphasizes that the theatre had long lacked essential modern conveniences such as ADA access and climate control. “In 10 or 15 years, [the venue] would have started crumbling,” she states. “It needed to be rescued.”
Related Content
Josh Withers*
After five years of extensive renovations, the Castro Theatre officially reopened in February with a residency from singer Sam Smith. Balancing its historic roots with modern functionality, the venue has continued to serve as both a concert hall and movie theater, emphasizing queer programming. The restoration has not only retained Pflueger’s original architectural touches but also made the entire building, from the orchestra to the dressing rooms, accessible under ADA standards. Additionally, they have installed the world’s largest symphonic digital organ. “We’ve really made it a place where we want it to be inclusive,” Conde emphasizes. The venue has already hosted community fundraisers and screenings in collaboration with local organizations.
“People think of the Castro Theatre like a chapel. It’s a revered space in the LGBTQ+ pantheon of history,” Conde states. Meanwhile, those operating these venues recognize the importance of ensuring that the artist experience is just as enriching. “I had a bit of a revelation when touring, when [Mumford and Sons] were coming up through the different spaces,” Lovett recalls. “You spend so much time on the road. It doesn’t cost that much more to bring some of those hotel-level amenities to the back of house, where the artists are spending the majority of their day outside of soundcheck.”
At Pacific Electric, artists can expect a welcoming experience that rivals luxury accommodations. The green room boasts amenities like a skylight, piano, bar, and even a walk-in shower, leaving behind the stereotype of a tired couch and a worn coffee table. Lovett asserts, “It’s about treating artists with respect. If the artist is happy, then they’re gonna go onstage and play harder and be more relaxed.”
Stacey Levine, senior general manager at Pacific Electric, praises Lovett’s grand vision for the venue. “It was really amazing to watch that come to fruition because Ben definitely had a lot of hand in the design and how he wanted it to feel—a really fan-forward and artist-forward space,” she says.
Another venue mirroring this artist-centric approach is Stable Hall, which opened in January 2024 in San Antonio’s Pearl neighborhood, known for its vibrant culinary scene. Initially constructed in 1894 as housing for the Pearl Brewing Company’s horses, the venue’s recent renovations totaled $11 million, leading to state-of-the-art sound systems, various seating configurations, and six bars, accommodating up to 1,000 guests.
“If I book this room and I put somebody in here, are they going to want to come back?” queries Hannah Gold, the head talent buyer for Stable Hall. Her focus is on ensuring the venue leaves a lasting impression on artists through quality sound and thoughtful amenities, minimizing disgruntled phone calls from tour managers. “I know that I’m not going to get weird phone calls at 2 a.m. from a disgruntled tour manager.”
Both Stable Hall and the Castro Theatre honor their historical contexts while adapting for contemporary use. “It’s really important to honor and restore things and keep these pieces of our history in place,” Gold says. “It’s really important we don’t erase all of that stuff, because that is what makes a place unique, honors its history, and makes it enjoyable to spend time in.”
Pacific Electric’s business model encourages inclusivity by welcoming all promoters, rather than restricting access to one company. Lovett describes the venue as “a contemporary indie rock & roll club,” reflecting his inclusive vision for the space.
Trending Stories
Lovett likens the experience of entering a music venue to the enjoyment of a captivating song. “Some of the best things you don’t want to end,” he muses. “You might notice a lyric or a countermelody on a guitar that you don’t hear the first time. The song reveals itself subsequently. I like that in design, as well—how you can build up layers and storytelling in that way.”
He recalls that Pacific Electric evokes fond memories of his youth in the late ’90s and early 2000s. “I just loved that era of my life,” Lovett reflects. “It felt non-conformist and free. I want Pacific Electric to be there for L.A., where fans and musicians feel like they can be fully expressive.”
