Adam Blackstone Talks Rebranding L.A. Venue The Sun Rose: ‘We’re Only Going to Get Bigger and Better’

Los Angeles’ live music club scene is amping up. And one of the energizers behind that push is Adam Blackstone, in his newly created role as creative director for the recently rebranded venue Live at The Sun Rose.

Case in point: Earlier this month (Nov. 11), a long line of exuberant fans stretched down the block from the club’s entrance on Hollywood’s famed Sunset Strip. They were waiting to witness the Blackstone-led 30^th anniversary salute to the star- and hit-filled 1995 film soundtrack Waiting to Exhale. Billed as a “special legacy experience,” the family reunion-vibed evening sparked lively singalongs — plus shoutouts and standing ovations — to songs such as Faith Evans’ “Kissing You,” Whitney Houston’s “Exhale (Shoop Shoop)”/”Why Does It Hurt So Bad,” Brandy’s “Sittin’ Up in My Room,” Mary J. Blige’s “Not Gon’ Cry” and Toni Braxton’s “Let It Flow.”

But it was done with a twist. Blackstone’s surprise guests for the affair was a cast of male singers who lent their own vocal insights to the soundtrack’s themes of love, hurt and friendship. Among the emerging and established artists on deck were TA Thomas, JayDon, Dixson and Darrel Walls. Also spotted in the audience: Waiting to Exhale star Lela Rochon, actor/producer Lena Waithe and Grammy-winning artist-musician Robert Glasper.

The Waiting tribute is just one example of the kind of events Blackstone has in mind for Live at The Sun Rose. Nestled within The Sun Rose West Hollywood (formerly the Pendry hotel), the revamped 100-seat intimate space hosted a for-your-consideration chat in October between Blackstone and Teyana Taylor, who earlier this month received her first Grammy nomination. Recent and upcoming shows at the venue, which relaunched Aug. 1, include David Bowie’s Piano Man: Mike Garson featuring Judith Hill and Luke Spiller Presents — The Songs I Wrote for You (Dec. 5, 12-13).

Emmy winner Blackstone (Super Bowl LVI halftime show) won his first Grammy this year for best musical theater album (Hell’s Kitchen). The bassist, producer and musical director’s list of credits also includes Rihanna, Justin Timberlake, Alicia Keys, Maroon 5, Jay-Z and Eminem. Now he’s opening the door to a new era at the Sun Rose — and the Los Angeles club scene, which also welcomed Blue Note’s L.A. offshoot to town in August with Glasper as its partner/creative ambassador.

“It’s incredible to see and feel what’s going on in the city; there’s a lot happening now,” says Blackstone. “So I’m not taking this new role lightly. We’re going to push this new synergy of creativity forward at the Sun Rose.”

Below, Blackstone explains more about the vision behind the venue, and what inspired the unconventional Waiting to Exhale anniversary celebration.

How did this gig come about?

When my first album [2022’s Legacy] came out, I had been looking for a newish spot to set up shop. A friend of mine introduced me to a couple of people who told me about this brand new spot built over the House of Blues. I had so much nostalgia for that venue because one of the first albums I ever played on was with Jill Scott performing live at the House of Blues. So I went to see the room. It was incredible.

I feel that what we did that first night I played [promoting the new album] at Sun Rose in early 2023 set the precedent for what L.A. has become now jam session-wise. I really wanted to bring in some East Coast and Philadelphia flair: you invite people up onstage, it’s very impromptu. I think one of the things that people love about what happens at the Sun Rose, whether it’s me or not, is that it feels like a family safe space for people to mess up, to improv. That’s what jazz, blues and R&B are all about: to be in the moment, to be vulnerable, to tell stories.

I was very excited to be one of the first cats to make Sun Rose my home to do that type of music. So in making the transition from the Pendry, this job came about. I’m thankful to be a part of it. And we’re only going to get bigger and better as far as our reach.

What is your vision for achieving that mission?

My mission for Live at Sun Rose is to be a music venue that accepts all creative spaces, doing thing that other L.A. music venues can’t do. For example, we have sat down and talked about what 2026 looks like for Grammy Week, but also for NBA All Star Week, which might not just be music stuff but also installations. It could be glam things that are centered around music. All of these things our venue is able to do.

So the goal is to be anything live entertainment-oriented that allows people to have a safe space to come in and create whether that’s music, art, visual art, a podcast space [R&B Money taped a show there] or a glam space for hair, nails, makeup … there’s something to be said about the ambience and location that we provide alongside the history that’s already associated with Sun Rose.

Which prompted your staging a show celebrating the 30^th anniversary of Waiting to Exhale?

The week we staged the show coincided with the Nov. 14 release date of the 1995 soundtrack. I had been talking to Babyface about the soundtrack, which produced several major hits and made such an impact on our culture. I asked him how he was able to write in the perspective of these four women. And Forest Whitaker directed the film.

So I got this genius idea that I hoped would translate. Because nobody speaks about such hurt from a man’s perspective, I wanted to surprise the audience by having all males sing the soundtrack’s songs. We’ve experienced and gone through some ish too. We hurt as well. And I felt this was the perfect time to do something like this in the intimate, safe space of the Sun Rose.

As creative director, how hands-on are you in organizing and slating shows at Sun Rose?

Ascreative director, I’m in it every day. We have calls, text threads and ideas that we present to one another. And artists are bringing me ideas. One of the things that we’re talking about now is developing immersive experiences for both the music venue and the hotel as well. Where people can stay over multiple days like during Grammy Week, NBA All Star Week or something like that and immerse themselves in the music and the culture without even having to leave the facility. That’s something that we can provide that another venue can’t.

Also, I’ll be doing probably five-six special concerts myself a year, or possibly more. But I’m there every day as creative director, helping to make decisions. Knowing the House of Blues was on this site, I feel a responsibility to uphold that great music tradition.