Jia J.
Yelp
I think the one star snubs of this place are written by complainers who have very few reviews to their credits and unable to distinguish the overcrowded nature of this city from a night in an intimiate venue that's pulling very popular names and curating lively events.
Seriously, for me to give a one star, it's because I think that the world and my life would be better off it if the business ceased to exist. I think one and even two star reviews of Littlefield are not only unwarranted, they are irresponsibly misleading.
Here's an honest evaluation as someone who's been to the old venue, been to the new venue, and produced an event hosted at the new venue.
I first found out about Littlefield back in 2012 when I was broke, lonely, depressed, and part of a free/cheap comedy meetup group. I went to the old joint to see Janeane Garofalo and also had my hair blown back by pre-famous Amy Schumer during the opener. When I walked into the dark, graffiti'd, but not dirty space and grabbed a bottle of craft beer, I remember texting a friend: "I feel like I'm in Seattle." (This is a GOOD thing).
Then, the years went by and I missed many an event (music groups, cover bands, theme parties, Punderdome, comedy sets, etc.) even if I'd had every intention of going there seeing as it's right down the hill from my place. By the time I went to see Hari Kondabolu last year, the venue had moved to its present location.
The new space is neater, more polished, more open in layout, and with a greater range of drinks at the bar. There were seats that evening and all were full, so I squeezed in next to the water dispenser at the bar. I could see all right, and neither the patrons nor the staff got on my case about it.
Next, events transpired so that I produced my second annual Brooklyn Jeff Buckley Tribute Concert there last November (the inaugural installment was at the wonderful ShapeShifter Lab - I've decided to spread the love to a new venue each year).
First were emails reserving the date and then brainstorming about what kind of vibe we're going for and what services are available. Then, an in-person visit and walk through that wasn't required but that I'd wanted to have. They didn't take cash up front, but drew up a contract for a percentage of the door proceeds after the surprisingly reasonable expenses for providing an in-house door person, sound engineer, and a stage engineer (a really handsome actor who manages to work his magic from L.A.). To me, this is a huge show of trust and partnership.
I MAXED OUT everything the venue had to offer, maxing out their free coat check and green room (in which they even placed a case of beer!), having their bar manager create four themed cocktails alluding to Jeff Buckley's songs, projecting a charity's information on the high-res LCD screen on stage and in the reception area, and getting tables set up for like 15 different bands' merch.
Only at the eleventh hour did I get to feeling that I would've appreciated more proactivity in publicity and stage engineering coordination but quickly got over that because it's a rookie's mistake for any producer to forget that it's ALL ON YOU. In other words, it's my fault that I asked for their press list after many submission deadlines had passed. And I was foolish to think that a man across the country with lots else on his plate would aggressively follow up with northwards of 40 artists to find out what THEY needed.
Event day was the truest testament to this venue's power and service. While the show didn't roll out TO THE MINUTE as it miraculously had the year before, it was a smooth success, especially considering there was ONE guy mixing the sound for each act AS they were happening, while shuttling back and forth to set calibrate a DJ booth at the sister business, the Parklife Brooklyn Mexican restaurant around the block. One moment, it was a Celtic harp player and soft falsetto singing, the next, a five man group. Each time, the sound was PERFECT - both the musicians and the audience knew it.
The show was well attended but not sold out, meaning that the die-hard could sit in a row, creating a buffer to the stage. Behind them were the standing and the dancing, and back further, the barflies. The superb sound combated interference from the socializers.
Importantly, no one got hyphy under pressure. And once the clock started rolling, no one counted and we all just enjoyed the ride. At one point, the sound engineer did laugh, "You didn't tell me it'd be like THISSSS!" (I still owe him a burrito and beers from Parklife.)
After 3+ hours of musical bliss, a staff member showed me the breakdown and gave me a check right on the spot. I was so impressed, moved, even, and proceeded to Parklife with some of the performers who also needed to come down from the high with delicous Mexican food (separate review forthcoming) and smoky whisky by a raging outdoor fireplace whose fragrance would linger in our hair along with the memories.