The Sale of the Masquerade
By 2015, the Old Fourth Ward was gentrified by anyone’s standards. This was especially true for the area neighboring 695 North Avenue. The Masquerade used to be surrounded by parking lots and abandoned buildings, but now it was surrounded by parks, trendy restaurants, boutique clothing stores, and Ponce City Market overlooking it all. As Paul Mazurkiewicz of Cannibal Corpse put it, “Remembering the early-nineties where it was that parking lot to the left. I mean, it was kind of like you didn’t want to go anywhere. You felt like, ‘Alright this is like a dump area,’ you know? I mean, you just didn’t feel—there was nothing around. And then…it just sort of gentrified, over the years. The last few times you’re playing there, you’re like, ‘Wow, I can take a walk down the road and go to this cool coffee shop,’ and ‘Oh, there’s a market across the street, I can go get some food!’”[1]
According to a rent research site, the average rent for a one-bedroom apartment in the Old Fourth Ward was $1,264 in January 2015. By January 2019, this jumped to $1,790. By 2022, it is well over $2,000.[2] The apartments in the immediate vicinity of 695 North Avenue start out in the high-$2,000s for a one-bedroom.
As mentioned in the seventh circle on this website, the Masquerade sold in 2006, but still remained as a result of the housing market crash and development of the BeltLine. On July 27, 2015, the property sold again, this time by Southeast Capital Companies to SWH Residential Partners for $2.8 million. Rumors that the Masquerade was closing had been a staple in the local music scene since 2006, but now the possibility was very real. The day after the sale, the venue assured concertgoers via their website that all bookings would continue as scheduled throughout 2016.[3] However, it was indeed the beginning of the end of the Masquerade’s tenure at 695 North Avenue.
Greg Green and the Wrecking Ball
On the weekend of August 8, 2015, the Masquerade celebrated its “25th anniversary,” although the choice of this date is unclear. The Masquerade opened its Atlanta location in September 1989, making this celebration closer to what would be its 26th Anniversary, and even then, it was still a month off. Nonetheless, the event was organized largely by Greg Green, who was hired in 1991 as a bartender and talent booker for the venue. Within a year of his hiring, Green was already making press statements for the Masquerade, beginning in the wake of the Piedmont Park drowning of Michael Adams.[4] Green continued through the ranks, eventually becoming the Masquerade’s vice-president. By the 2000s, he was in charge of the venue just as much as Dean Riopelle and the other presidents, with the presidents only making final decisions when needed. Upon Riopelle’s death in 2013, Green became the primary representative of the venue and managed the day-to-day activities of the club.
Green and the others titled the anniversary festival “The Wrecking Ball.” This furthered the confusion as to whether the Masquerade was closing or possibly still getting demolished due to the name and advertisement images that featured a Converse wearing skeleton riding a wrecking ball swinging into a brick wall. Supposedly, “Wrecking Ball,” was only meant to be a play on words for a dance ball. The festival featured 60 bands on all four Masquerade Stages: Heaven, Hell, Purgatory, and in the Music Park. The lineup consisted of both established artists and up-and-coming artists that epitomized the Masquerade’s music trends over the years. This included Coheed and Cambria, Descendants, Thrice, Glassjaw, the Get Up Kids, Desparecidos, American Nightmare, and the Lawrence Arms. The Wrecking Ball began with a pre-party on Friday, August 7th, that featured punk rock karaoke.[5]
The Push Out
Early in 2016, a decade after it sold for the first time, the Masquerade received its final “walking papers” when it was decided that the $60 million mixed-use development called North + Line (pronounced North and Line) would be built on the property and its surrounding areas. The former excelsior mill that currently housed the Masquerade was now a protected landmark, so it could not be destroyed, though it could be converted into something else. Early speculation was that it would be a restaurant.[6] The Masquerade announced its closure to the public in May 2016.
Sarah Rose, the singer/guitarist for the Atlanta band Sarah and the Safeword, started a petition on the social networking site Care2 in an effort to keep the Masquerade at North Avenue. Sarah said the venue “has come to define our music scene…there’s something about playing in that venue and standing on that stage that you feel, this is where Kurt Cobain once stood.” She added, “There seems to be an erasure of Atlanta’s musical history under the guise of gentrification.” The petition immediately reached its 6,000-signature goal, but all in vain.[7]
In June 2016, the Masquerade announced its plans to move to a new location, 1421 Fairmont Avenue, into a neighborhood known as Blandtown. This new location would retain the original Masquerade name, and be held within a 30,000 square-foot, single-level warehouse that once housed a battery factory. The venue would maintain the three separate stages, though they would all be on the same level with each room separated with sound-buffering systems. Greg Green said, “It’s a formula that’s worked for 26 years.” He added “the heart of Masquerade isn’t in the brick and mortar, but the music and the people, and we’re bringing those.”
Green was optimistic about the new location, pointing out that it is an area on the rise with good interstate access, and that the sound and production would be upgraded from its predecessor. It was also important to him and Brian McNamara, who was still the President of the Masquerade, that they stay near the original location. This spot was within four miles of 695 North Avenue. Green intended for the second annual Wrecking Ball Festival to be the Masquerade’s final blowout on North Avenue, meaning that this time the “wrecking ball” phrase and imagery would indeed be applicable to the end of the venue’s North Avenue tenure.[8] While the building could not be destroyed, advertisements for the 2016 Wrecking Ball advertisements featured the grim reaper holding a wrecking ball that was swinging into the venue, as well as a variant ad of the same grim reaper with a bouquet of roses floating over a tombstone reading “695 North Avenue.”
The second annual Wrecking Ball was held on August 13-14, 2016, and again featured small and large acts alike. This included L7, Motion City Soundtrack, Anti-Flag, Juliette Lewis and the Licks, and Bayside. Jack O’Shea of Bayside always heard the rumors that the Masquerade was closing to the point that the band always checked to ensure it was still open when they saw it on their tour list. However, when they played at the Wrecking Ball that year and saw how much the Old Fourth Ward had been gentrified, they knew the end was eminent.
The festival also acted as a reunion show for some bands that toured with each other throughout the 1990s and 2000s. For some, this was their first time seeing each other since early in their careers. With free alcohol pouring for the bands hidden away inside Purgatory, they reminisced in full knowledge that this would be their last time at 695 North Avenue.
Blocked
The move to Blandtown was stalled, causing concerts to continue at the original location beyond the 2016 Wrecking Ball. This was originally due to construction and permit delays.[9] The permits that the City of Atlanta rejected from the Masquerade’s new location included zoning, plumbing, and mechanical. Only the electrical permit had been approved.[10]
As the permits were being reviewed, a real estate war occurred between the Masquerade and a developer who was building a 75-home subdivision right across from the venue’s planned location on Fairmont. The developers were Landmark Partners II, and they, alongside Steve Brock of Brock Built, were suing the venue. Their new subdivision was called WestTown, and featured homes that cost more than half-a-million-dollars each in 2016. They already had four lots under contract, but a fifth potential resident canceled their contract when the buyer learned that the Masquerade was moving in. Two others stopped the negotiation process upon hearing the news. Brock and the developers thus filed a suit at the Fulton County Superior Court on August 17, 2016.
The suit against the Masquerade read that the venue is “dramatically under-parked and patrons (will) flood the surrounding neighborhoods, subjecting them to late-night revelers, noise, and light.” Those filing the suit claimed that the Masquerade “hid” in their permit requests that it was a concert venue, instead applying as an “eating and drinking establishment” and “convention center.” This was because those latter permits had less requirements for aspects such as parking. Indeed, while the new Masquerade location could have held at least 1,000 patrons, there were only 123 parking spaces in the accompanying lot. The suit also claimed that “illicit and illegal conduct” occurred at the North Avenue location, which would then be brought to Blandtown, making it difficult to sell homes in WestTown. Brian Daughdrill was the attorney representing the developer.[11]
In the past, Brock had built homes near strip clubs, a sewage treatment plant, a landfill, and a prison— “the junky stuff that no one wants in their part of the city,” as he described it. He added that this was because of the value proposition of discounted land. However, building homes across from the Masquerade was more than he could bear. He tried to convince Brian McNamara to look elsewhere on the Westside, particularly at an industrial site on a four-lane road near the Bankhead MARTA station to no avail.[12]
Going Underground Part Deux
The Masquerade was being pushed out by the developers building North + Line, and was also being blocked from moving to Blandtown. Until a settlement could be reached, the venue moved to what was supposed to be a temporary location near Dean Riopelle and Greg Green’s old clubs in Underground Atlanta. The plan was that by October 2016, the Masquerade would take over three spaces in Kenny’s Alley, again with the Heaven (Suite 10), Hell (Suite 12), and Purgatory (Suite 18) motifs.[13] This date was optimistic, as it took longer than expected to renovate the spaces. They later made another announcement that the date would instead be November 4th, though Craig Waters (General Manager of Underground Atlanta) said that it would take at least two weeks longer before city inspections and approvals were completed.[14] McNamara was listed as the sole agent applying for the liquor license in September 2016.[15]
This was obviously confusing to Masquerade ticketholders in October and November. Within a four-month span, the Masquerade announced they were closing and moving to Blandtown, then that they were being stalled so shows would continue in the Old Fourth Ward; then that the shows would be held temporarily at Underground Atlanta, but there was a stall there as well. This allowed the Masquerade to have one last Halloween bash at North Avenue, a historically important holiday for the venue. On October 31, 2016, the pirate metal band Alestorm performed in Hell. Many of the fans dressed as pirates, while Alestorm performed as “Ghoulstorm,” which included band members dressed as a mummy, Santa Claus, a demonic-possessed priest, a scarecrow, and a black metal pharaoh. As the Masquerade was moving locations, it made more financial sense for issues such as plumbing to be rolled over to the next tenants. As a result, Porta Potties were placed outside during the Alestorm concert. I was there, and it was my last time at 695 North Avenue.
On November 2, 2016, local media announced that a settlement was reached between the Masquerade management and Brock Built Homes, though the details remained confidential. However, it was claimed that there was no exchange of money. The Masquerade agreed not to move to Blandtown, saying they would look elsewhere.[16] The final shows at the Masquerade’s North Avenue location took place on November 20, 2016. This included Playboi Carti and A$AP Ferg in Heaven, and Electric Citizen and Horisont in Hell.[17]
Staying Underground
After almost a year of hosting shows in Underground Atlanta, it was announced on October 20, 2017 that the Masquerade would remain in Kenny’s Alley. Greg Green said he was initially unsure whether fans of the Masquerade would be willing to visit the new location, despite it being only four miles away from the old venue. Instead, he actually saw more bookings and more attendance at the new location than the last. This was attributed to factors such as a great brand name, sound and production upgrades, plentiful parking, easy access to public transportation, and the fact that Georgia State University and its students were within walking distance. They signed a lease for ten years.[18]
Just three weeks later, on November 12, 2017, just before 9:40 pm, 21-year-old Ewell Ynoa and his 22-year-old friend Giovanni Diaz, got on stage in between sets at the new location just before Cousin Stizz was to begin. 23-year-old Jonathan Bautista took issue with them being onstage and an argument ensued. Bautista then pulled out a pistol and shot the gun toward the ground “most likely” hitting two people with shrapnel, before then pointing the gun at and shooting Ynoa and Diaz. The crowd, including the victims and the gunman, all ran to the exits. Two people collapsed going up a flight of stairs, though it is not clear in the media coverage if one or both of these were Ynoa or Diaz. One of the gunshot victims died on scene with a wound to his chest, and the other was pronounced dead at Grady Memorial Hospital with wounds to his upper and lower torso. Two other people were in stable condition with foot and ankle wounds. Bautista was arrested three days later in Social Circle—a city about 45 miles east of Atlanta.[19] With gun safety and mass shootings a constant societal fear in America, it was worried that the tragedy would affect attendance at the Masquerade who was still getting on its feet at the new location. This was especially worrisome because of Underground Atlanta’s long reputation with crime.
However, attendance returned to normal and business continued to be as good, if not better, than the North Avenue location. Fans and bands alike agree that the new location is better in almost every way than the former. It has the look and feel of a clean and well-maintained modern venue, with state-of-the-art sound, lighting, and mixing. Furthermore, not only do the new restrooms work, but they are also clean!
COVID-19
After re-establishing itself as one of Atlanta’s greatest concert venues, the Masquerade took another hit in 2020, this time its most financially devastating yet. As a result of the COVID-19 Pandemic, the Masquerade was required to close in mid-March, causing 150 shows to be cancelled, and their staff of about 40 people to be laid off. The concert industry was one of the first to close as non-essential businesses, resulting in thousands of venues shutting down across America. In response, the National Independent Venue Association (NIVA) formed and appealed to congress with the “#SaveOurStages” campaign. NIVA argued how important the arts and entertainment industry was to the nation, contributing $877.8 billion, or 4.5%, to the nation’s gross domestic product in 2017.[20] Dozens of high profile artists including Lady Gaga, Cher, and Robert Plant, signed a support letter to Congress on behalf of NIVA.[21] Atlanta venues such as the Masquerade, Center Stage, the Earl, and Smith’s Olde Bar, were among several others to join the association.[22]
To stay afloat, Greg Green and the management team started a GoFundMe Campaign, promising that if people gave $50 or more to the venue, they would get a free pair of concert tickets to a show of their choice once the venue reopened. The campaign hoped to reach $25,000, which it did through the generous donations of over 300 people.[23] However, the pandemic continued for much longer than anyone expected.
In June 2020, Brian Kemp, the Governor of Georgia, loosened business restrictions in the state, allowing music venues to reopen starting July 1. However, they could only open if they adhered to a list of 23 safety mandates, including patrons maintaining six-feet of space apart for social distancing—a feat that is nearly impossible at concerts. Furthermore, even if it was possible, this lowered the attendance capacity to the point that it made no financial sense to reopen. Other mandates included all workers to wear face coverings; all individuals to have their temperatures taken upon entry; the establishment of extra concession areas to reduce lines; physical barriers, such as Plexiglas, installed at ticket windows and other points of sale; and “contactless” practices for parking, ticket-taking, ticket purchasing, will call, and security.[24] Even with all these directives, Kemp’s decision to reopen venues was considered radical as most states remained closed.
Eddie’s Attic in Atlanta held six in-person shows between June and September 2020. To maintain social distancing, only 65 tickets were made available for each concert, though the venue typically held 165. Andrew Hingley, the talent buyer for the venue, said “We might be doing shows, but we’re not making enough to cover basic expenses, like the rent or the cost of opening the kitchen. Who knows what the new normal is going to be?”[25]
In July, Greg Green pointed out that it made little sense for national bands to play, as tours depend on dozens of cities, not just one or two, to be financially feasible. Green thus said that all shows for much of the rest of 2020 were cancelled, though he hoped the venue could ease back into business with one-off events and local artist shows during the fall.[26]
NIVA had an achievement in July 2020 when they introduced their bi-partisan Save Our Stages Act to Congress. Senators John Cornyn (R-Texas) and Amy Klobuchar (D-Minnesota) supported the initiative, establishing a $10 billion grant program for live venue operators, promoters, producers, talent representatives, and allowed recipients to use grant funds for costs that they incurred during the pandemic.[27] In addition to NIVA, a group of Georgia musicians and artists mobilized to urge local senators (David Perdue and Kelly Loeffler) to support the Save Our Stages Act and the “RESTART Act”—an act that included a loan program for businesses hurt by the pandemic that covered payroll and other expenses. The artists wrote a letter that included signatures from more than 75 members of the Georgia music industry, including REM.
The letter pointed out that venues such as the Rylander Theater in Americus and the Holly Theatre Community Center in Dahlonega experienced 80 to 100% revenue loss in just the first five months of the pandemic, and that places such as the Fox Theatre in Atlanta would likely remain closed into 2021. According to the Georgia Council for the Arts, the creative industries in Georgia represent a combined $37 billion in annual revenue and employ 200,000 people. “It’s estimated that for every dollar spent on tickets sales, $12 to $15 is spent in the community,” said Hubble Beasley, General Manager of the Hargray Capitol Theatre in Macon, adding that live music in Macon adds between $3 million and $5 million to the local economy every year. “People don’t take into consideration the bar back, the bus driver, the lighting guy. It’s so much more involved (than just the performers) and those are the people who are really affected,” Beasley said.[28]
A COVID-19 relief package was signed into law in Late-December 2020. This included $15 billion for the Shuttered Venue Operators Grant program, which included the Save Our Stages Act. The criteria to receive the aid was that the business had to have been operating since February 29, 2020; and that 70% of its gross income had to come from the sale of tickets, merchandise, and concessions, at live productions where an admission fee was paid. Applicants could receive a grant equal to 45% of their gross earned revenue from 2019, with a maximum of $10 million.
By the time the relief package was signed, the Masquerade’s staff had dropped down to just five employees.[29] This was just the latest hit to a concert venue with a history of obstacles. Unaware of what the future held for the venue, and for live music in general, the Masquerade persevered, embodying Atlanta’s resurgens ethos.
Beginning in May 2021, Brian Kemp controversially lifted most of the COVID-19 restrictions in the state. The Masquerade played sporadic shows in July, and by August business had returned to normal.
Well, what seemed to be the new normal—face masks were required, as was proof of a COVID-19 vaccination or evidence of a negative COVID-19 test from within a 72-hour window. Immediately after the announcement of these requirements, a noisy few flooded the Masquerade’s social media and other sites to leave negative reviews claiming that the Masquerade was buying into fascism and propaganda.
In any case, live music returned to Georgia and to the Masquerade.
[1] Author Interview with Paul Mazurkiewicz
[2] Rent history taken from Zumper at https://www.zumper.com/rent-research/atlanta-ga/old-fourth-ward. Dates viewed were January 17, 2015; January 5, 2019; and August 20, 2022.
[3] “Masquerade Land Sold, but is the Venue Going Anywhere?” Melissa Ruggieri, the AJC, July 29, 2015
[4] “Crackdown After Alcohol-Related Death Leaves Rock Clubs with Uncertain Future,” Steve Dollar, the Atlanta Journal and Constitution, June 16, 1992, D1.
[5] “The Masquerade Plans 25th Anniversary Celebration with Wrecking Ball Festival,” Melissa Ruggieri, the AJC, April 1, 2015
[6] “The Masquerade Reveals Plans for New Home on Atlanta’s Westside,” Melissa Ruggieri, the AJC, June 22, 2016
[7] “Atlanta Musician Starts Petition to Save the Masquerade,” Melissa Ruggieri, the AJC, May 23, 2016
[8] “The Masquerade Reveals Plans for New Home on Atlanta’s Westside,”
[9] “Masquerade Move to Westside Delayed by Construction,” Melissa Ruggieri, the AJC, August 24, 2016, the Music Scene
[10] “The Masquerade is Being Sued By Its New Westside Neighbors,” Arielle Kass, the AJC, August 24, 2016, the Music Scene.
[11] “The Masquerade is Being Sued By Its New Westside Neighbors,” Arielle Kass, the AJC, August 24, 2016, the Music Scene.
[12] “Homebuilder Takes Stand Against Masquerade Club,” Matt Kempner, the AJC, September 11, 2016, D1
[13] “In Brief,” Melissa Ruggieri, the AJC, September 21, 2016, D1
[14] “Looking for a Home – Masquerade’s Move to West Midtown is Off, Foe Says – Man Fought the Club’s Relocation Near Where He Is Building Homes,” Matt Kempner, the AJC, November 2, 2016, A13
[15] Legal Notices, the AJC, September 12, 2016, B2
[16] Looking for a Home – Masquerade’s Move to West Midtown is Off, Foe Says – Man Fought the Club’s Relocation Near Where He Is Building Homes,”
[17] Local newspapers say that it was Yellowcard on November 19; however, I had a close friend attend the Electric Citizen show, and it was verified via the Masquerade’s Facebook page.
[18] “The Masquerade Staying Put at Underground Atlanta Long Term,” Rodney Ho, the AJC, October 20, 2017, Atlanta Music Scene
[19] “Arrest Made in Deadly Underground Shooting – 2 Killed at Concert; Suspect Captured in Social Circle,” Steve Burns and Lauren Foreman, the AJC, November 16, 2017, B3
[20] “How Fans can Support Atlanta Venues – the Mission Behind #SaveOurStages,” Melissa Ruggieri, the AJC, May 14, 2020, Atlanta Music Scene
[21] “Atlanta Music Venues Can Reopen July 1 – but will they?” Melissa Ruggieri, the AJC, June 26, 2020, Atlanta Music Scene)
[22] “Only in the AJC Live Concerts – Back Onstage, Cautiously – Red Clay Music Foundry Leads Atlanta’s Return to Live, Indoor Concerts,” Melissa Ruggieri, the AJC, July 29, 2020, D1
[23] https://www.gofundme.com/f/hr8ug-help-the-masquerade-staff
[24] “Atlanta Music Venues Can Reopen July 1 – but will they?” Melissa Ruggieri, the AJC, June 26, 2020, Atlanta Music Scene
[25] “AJC Continuing Coverage Coronavirus – Groups Seek Funding for Local Venues – Ga. Musicians, Artists, ask for Federal Aid in Letter to State’s US Senators,” Melissa Ruggieri, the AJC, September 3, 2020, B1
[26] “Atlanta Music Venues Can Reopen July 1 – but will they?” Melissa Ruggieri, the AJC, June 26, 2020, Atlanta Music Scene
[27] “Only in the AJC Live Concerts – Back Onstage, Cautiously – Red Clay Music Foundry Leads Atlanta’s Return to Live, Indoor Concerts.”
[28] “AJC Continuing Coverage Coronavirus – Groups Seek Funding for Local Venues – Ga. Musicians, Artists, ask for Federal Aid in Letter to State’s US Senators,” Melissa Ruggieri, the AJC, September 3, 2020, B1
[29] “Grant Program Helps Independent Venues Affected by Pandemic,” Melissa Ruggieri, the AJC, February 3, 2021, Life.
Painted Black 