Terminal West Is Not A Rave Cave
Atlanta’s premier music destination in a converted iron and steel foundry, built primarily from reclaimed metals, wood and brick — and the coup de grâce, the original boiler as the centerpiece of the room and rooftop bar.
These are the only descriptions of Terminal West, King Plow’s new music venue, worth reading in Creative Loafing’s recent recap of the Terminal West launch, titled Terminal West at King Plow: The house that dubstep built.
Full disclosure before I begin:
I freely admit I have voiced my concerns with Creative Loafing’s ‘dubstep coverage’ at least once before on this site, so perhaps I am not the most objective candidate for this observation.
Secondly, I have been fortunate to be involved with King Plow’s growth as a music venue from day one both personally and professionally, and while I appreciate the well-earned coverage they are receiving, one hopes media would portray the venue accurately.
I was invited to Terminal West’s launch party, an invitation only soft-launch an evening prior the one covered by Creative Loafing. An upscale, civil, event – attended by courteous, well-dressed, mild-mannered mostly East Cobb and Buckhead types, in an upscale refined location on Atlanta’s quickly gentrifying west side. The event’s headline artist was a King Plow regular performer and friend, The Mad Violinist, an area artist renowned for his unique musicianship. In case the name did not enlighten, the aforementioned is a violinist, versed in a classical musical instrument from the 16th century. Not a problem though, The Mad Violinist is a consummate performer who captivated the teenagers as easily as the septuagenarian set.
No cargo pants and certainly no glowsticks (prohibited at King Plow’s music events since its inception due to the historic nature of the surroundings – here is a picture of their ‘No Glowsticks’ sign I took because I was so impressed)
I do commend Creative Loafing for its ability to use popular internet keywords like INSTAGRAM and DUBSTEP in some lazy attempt to pretend it is presenting the reality that Atlanta finally has an upscale venue contending with the inertia plaguing venues such as The Variety Playhouse, or The Masquerade – the latter of which should include a tetanus shot as a part of any ticketing ‘convenience fee’ I ever have to pay for attending a show there.
King Plow Arts Center has been anchored by arts businesses, Bold American Catering, and regarded as one of the city’s more highly regarded convention / banquet spaces for well into the past decade. Terminal West at King Plow is the house that weddings and corporate events built.
Atlanta has needed an upscale music venue sized for crowds under 1000 for quite some time. The lack of a decent venue does not bode well for event promoters, and in turn means Atlanta misses out on its ability to continue booking engaging music events. With traditional artists like Yann Tiersen and Spiritualized continually looking to stop in Atlanta, it benefits the city as a whole to have another viable and enjoyable venue to negotiate with as opposed to settling for another dark converted theater with lackluster acoustics and an uncomfortable aesthetic.
Creative Loafing, if you fault an upstart venue for booking popular music to make people aware of the site and generate excitement, you’re out of your mind. If you think “dubstep built Terminal West” you obviously haven’t done your homework.
Ultimately it should be noted, following recent layoffs of Creative Loafing’s remaining worthwhile writers (and later asking them to continue working after firing them,) one would not expect valuable business insight to come from the former Atlanta independent news institution.