Can Alternative Venues Jump-Start the Local Music Scene?

Generally, he adds, trouble with the authorities is pretty minimal. "If law enforcement does show up, typically they understand what's going on," he says. "They know it's someone's house, they know someone lives there. The owner or the person whose name is on the lease will come out and say, 'Hey, sorry,' and the officer will say, 'Turn it down a bit.' They'll only come out if it's too loud or the party spills out onto the right-of-way or a public street, and typically that doesn't happen."

The environment is key to the success of events like this. For one thing, most take place at venues that are also artists' studios, so the paintings and sculptures on display are a little nicer to look at than neon beer signs. Beyond that, the industrial surroundings and anything-goes atmosphere can create a surreal effect light-years away from a dimly-lit tavern or sterile listening room.

"When you're in a warehouse or art space like that, it puts you in a different world in a way," says Ceeplus, who says the wildly successful Starbucks Mixed Media series of bands and DJs he curates at the Museum of Fine Arts, Houston creates a similar environment.

"We didn't think at first people were going to come out — it's the Museum of Fine Arts," he says. "But the feedback we've gotten is like, 'Oh, we love it — it's an alternative to the clubs. It's so great to be in a museum dancing and drinking and partying.' People are thirsty for something different in this city as a whole. I think that's why you see these events pop up."

Ceeplus sees a couple of ways for Houstonians to satisfy that thirst, and enterprising young bands and promoters should seriously consider both. First, he thinks they should broaden their horizons and start booking shows at places other than the handful that regularly host local independent bands (the Mink, Notsuoh, Boondocks, Walter's). Maybe Navigation Boulevard hardcore room the White Swan, he offers, or even an eastside Tejano bar or Third Ward beer joint. He's already talked to the owners of a few northside bars who are "starving" for business, and says they've expressed some interest.

"I think those kinds of places are cool," he says. "I eventually see people doing that. I intend to push that idea."

The other is actually already happening. Ceeplus points to the community that has sprung up around Bohemeo's, the eastside coffeehouse that displays local artwork and hosts live music and other cultural events at night. It reminds Ceeplus of similar venues he's seen in cities like Seattle and Austin.

"What they're doing out there for the Latino community and the arts is amazing," he says.

Ceeplus has similar hopes for the newly opened Caroline Collective in the Museum District and Super Happy Fun Land, which was forced to close its ­warehouse-like venue on Polk Street in the East End in February for not having the required city permits. (They're still working on it, reports owner Brian Arthur, and hope to reopen in the fall.) Before it closed, Super Happy was already practically an art space/warehouse. If they had just gone ahead and opened as that instead of as a live-music venue, Ceeplus laughs, they wouldn't be in their current ­predicament.

"Those kind of places are the future of the city," he says. "That's how the music scene is going to survive."

chris.gray@houstonpress.com