There Will Always Be a Basement to Go Wild In

Between gentrification, noise complaints, and increased policing, Boston’s ‘Rock City’ region is facing an existential crisis—will the show go on?

By Walker Elvin

Photo by: Scarlett Capellan

There are more noise complaints now than ever before, especially in the college neighborhoods of Allston and Brighton. Previously, young people could gather to listen to live music, and up-and-coming bands could garner a following without needing a venue. Now, these third spaces are being increasingly policed. But the music isn't stopping—it's moving.

The turning point came in fall 2023, when a Boston Globe piece exposed the inner workings of a scene that depended on staying hidden. The center of their profile was a Berklee student named Joe, who ran an underground venue called Mt. Greylock out of his two-bedroom Allston apartment. The space was host to Joe’s very own band, of the same title as the venue, which he played in with his roommates. He described the scene as, in his words, “the part of Berklee that Berklee doesn't promote.” The Globe also disclosed that the secrecy surrounding the community is what kept it safe.

Except, visibility apparently comes with some costs. According to Northeastern's student paper, there was a widespread crackdown on basement venues following The Globe’s publication, as house shows can violate Boston's noise and venue-licensing rules. One Northeastern student, Maddy Westcott, who helped run a basement venue called Hillside Bistro, remembered the time as one in which many makeshift venues closed and small artists struggled to be seen.

The change isn’t only occurring on the legal front. Allston is struggling to maintain its young, college student crowd, as much of the area is being bought out by luxury housing and biotechnology spaces pushing in from Harvard’s expanding campus. With rent costs also increasing exponentially, the neighborhood will very soon lose the youthful spark it once carried.

Despite such dire times, the organizers of Hillside Bistro didn't give up. Instead, they transformed the space into a booking agency that helped local bands get connected with venues. Andrew Mall, a music industry professor at Northeastern University, noted a pattern, which is that many promoters who were once a part of the DIY music scene “started going legit.”

Danny Rollo, a previous singer at Hillside, now fronts a band called Music Farm. Music Farm started at Dedham Porchfest and played in basements, and has now moved to various bars in Massachusetts, including The Jungle and The Burren. Rollo says that nearly every gig he has booked has come from cold emails and social media outreach, which is an approach he recommends to all aspiring artists. 

Another success story of Boston’s basement bands is a group called Pile, who came up in Boston’s 2010 basement circuit. The frontman of the band, Rick Maguire, credits much of their development to playing in people’s houses. Pile has just finished an international tour. 

Between the 60s and the 80s, Allston acquired the nicknames “Allston Rock City” and “Rat City” due to its ever-expanding, alternative music scene. What started it all was the launch of the Summerthing concert series in the late 60s, which brought artists such as Jimi Hendrix, Van Morrison, and Janis Joplin. A bit later on, local clubs hosted cutting-edge acts like The Velvet Underground and Led Zeppelin. The youth’s increased access to legendary musicians helped shape the sound of the Allston area. 

The affordable student apartments near Boston University provided the backdrop for the band that would later become Aerosmith. When Bunrattys, a high-volume bar where local acts were able to play, opened up, it offered the young band a place to expand. 

The Paradise Rock Club also played a role in cementing Allston as the “Rock City,” becoming the venue to host U2 on their very first American tour.

Are there still safe spaces for young artists to grow, or has the recurrent policing abolished such places? Venues are definitely more scarce these days, but the Silhouette Lounge in Allston does offer DIY punk, indie, and experimental showcases on Mondays and Wednesdays. While the dive bar is a promising space for keeping the makeshift music scene alive, there is a catch for younger fans: the shows are 21+ with a cover fee. This age restriction makes the loss of the open house basement concert much more evident.

Other organizers are getting more creative in their endeavors to keep the scene active. There was recently a punk show being promoted at Marlborough farm, and buying a ticket earned you a free round of mini golf. There is also an underground culture site called Boston Hassle that throws “Hassle Fest” in a different location every year. The festival is typically for all ages, and hosts a plethora of local bands and artists. 

The city's dance community decided to do things a bit differently. Luis Castellanos of the promoter and music group Experience Collective booked out warehouses in Lynn and Everett to host raves, before moving on to book bigger spaces. But there are some drawbacks to this route. Castellanos brings in international DJs, and charges about a $25 cover fee, but barely breaks even if nothing goes wrong. Regardless, his newsletter reaches about two thousand people, and in 2025 the collective created a new techno version of their group called Experience Minimal. 

One legitimate space is on its way back. Great Scott, located at Harvard Avenue and Cambridge Street, has been closed since the pandemic, and is slated to return in 2026 as a 300-capacity venue. However, a formal stage will never replace the feel of the basement. 

Hopefully, in the next few years, there will be an increase in authentic, affordable spaces for the music of the youth to thrive in. As Allston musician Aidan McCall said, “there will always be a basement to go wild in.”