Elevate

Brothers Leo and Oliver Kremer visited karaoke spots around the globe and almost always had the same impression.

“The drinks weren’t always great, the aesthetics weren’t always so glamorous, the sound wasn’t always awesome and the lights were often generic,” says Leo, a former bassist of the band Third Eye Blind.

As devout karaoke fans, they wanted to level up the experience. So they dreamed up Mic Drop, an upscale karaoke lounge in West Hollywood that opens Thursday. It’s located inside the original Larrabee Studios, a historic 1920s building formerly owned by Carole King and her ex-husband, Gerry Goffin — and the spot where King recorded some of her biggest hits. Third Eye Blind band members Stephan Jenkins and Brad Hargreaves are investors of the new venue.

Inside the two-story, 6,300-square-foot venue with 13 private karaoke rooms and an electrifying main stage, you can feel like a rock star in front of a cheering audience. Want to check it out? Here are six things to know.

The Kremer brothers hired sculptor Shawn HibmaCronan to create an 8-foot-tall disco-themed microphone for their karaoke lounge.

1. Take your pick between a private karaoke experience or the main stage

A unique element of Mic Drop is that it offers both private karaoke rooms and a main stage experience for those who wish to sing in front of a crowd. The 13 private rooms range from six- to 45-person capacity. Each of the karaoke rooms are named after a famous recording studio such as Electric Lady, Abbey Road, Shangri La and of course, Larrabee Studios. There is a two-hour minimum on all rentals and hourly rates depend on the room size and day of the week.

But if you’re ready to take the center stage, it’s free to sing — at least technically. All you have to do is pay a $10 fee at the door, which is essentially a token that goes toward your first drink. Then you can put your name on the list with the KJ (karaoke jockey) who keeps the crowd energized throughout the night and even hits the stage at times.

Harrison Baum, left, of Santa Monica, and Amanda Stagner, 27, of Los Angeles, sing in one of the 13 private karaoke rooms.

2. Thumping, high sound quality was a top priority

As someone who toured the world playing bass for Third Eye Blind, top-tier sound was a nonnegotiable for Leo. “Typically with karaoke, the sound is kind of teeny, there’s not a lot of bass and the vocal is super hot and sitting on top too much,” he says. To combat this, he and his brother teamed up with Pineapple Audio, an audio visual company based in Chicago, to design their crisp sound system. They also installed concert-grade speakers and custom subwoofers from a European audio equipment manufacturer called Celto, and bought gold-plated Sennheiser wireless microphones, which they loved so much that they had an 8-foot-tall replica made for their main room. Designed by artist Shawn HibmaCronan, the “macrophone,” as they call it, has roughly 30,000 mirror tiles. “It spins and throws incredible disco light everywhere,” says Leo.

Karaoke jockeys Sophie St. John, 27, second from left, and Cameron Armstrong, 30, right, get the crowd involved with their song picks at Mic Drop.

3. A concert-level performance isn’t complete without good stage lighting and a haze machine

Each karaoke room features a disco ball and dynamic lighting that syncs up with whatever song you’re singing, which makes you feel like you are a professional performer. There’s also a haze machine hidden under the leather seats. Meanwhile, the main stage is concert-ready with additional dancing lasers and spotlights.

Brett Adams, left, of Sherman Oaks, and Patrick Riley of Studio City sing karaoke together inside a private lounge at Mic Drop.

4. The song selection is vast, offering classics and new hits

One of the worst things that can happen when you go to karaoke is not being able to find the song you want to sing. At Mic Drop, the odds of this happening are slim to none. The venue uses a popular karaoke service called KaraFun, which has a catalog of more than 600,000 songs (and adds 400 new tracks every month), according to its website. Take your pick from country, R&B, jazz, rap, pop, love duets and more. (Two newish selections I spotted were Raye’s “Where Is my Husband” and Olivia Dean’s “Man I Need,” which both released late last year.) In the private karaoke rooms, there’s also a fun feature on Karafun called “battle mode,” which allows you and your crew of up to 20 people to compete in real time. KaraFun also has an entertaining music trivia game, which I tested out with the founders and came in second place.

The design inspiration for Mic Drop was 1920s music lounges and 1970s disco culture, says designer Amy Morris.

5. The interiors are inspired by 1920s music lounges mixed with ‘70s disco vibes

A disco ball hangs from the ceiling.

If you took the sophisticated aesthetic of 1920s music lounges and mixed it with the vibrant and playful era of 1970s disco culture, you’d find Mic Drop.

When you walk into the lounge, the first thing you’ll see is a bright red check-in desk that resembles a performer’s dressing room with vanity lights, several mirrors and a range of wigs. “So much of karaoke is about getting into character and letting go of the day, so we had the idea to sell the wigs,” says Oliver. As you continue into the lounge, the focal point is the stage, which is adorned with zebra-printed carpet and dramatic, red velvet curtains. For seating, slide into the red velvet banquettes or plop onto a gold tiger velvet stool. Upstairs, you’ll find the intimate karaoke studios, which are decorated with red velvet walls and brass, curved doorways that echo the building’s deco arches, says Mic Drop’s interior designer, Amy Morris of the Morris Project.

Sarah Rothman, center, of Oakland, and friend Rachel Bernstein, left, of Los Angeles, wait at the bar.

6. You can order nontraditional karaoke bites as you wait for your turn to sing

While Mic Drop offers some of the food you’d typically find at a karaoke lounge such as tater tots, truffle popcorn and pizza, the venue has some surprising options as well. For example, a 57 gram caviar service (served with chips, crème fraîche and chives) and shrimp cocktail from Santa Monica Seafood. For their pizza program, the Kremer brothers teamed up with Avalou’s Italian Pizza Company, which is run by Louis Lombardi who starred in “The Sopranos.” He’s the brainchild behind my favorite dish, the Fuhgeddaboudit pizza, which is made with pastrami, pickles and mustard. It might sound repulsive, but trust me.

As for the cheeky cocktails, they are all named after famous musicians and songs such as the Pink Pony Club (a tart cherry pomegranate drink with vodka named after Chappell Roan), Green Eyes (a sake sour with kiwi and melon named after Green Day) and Megroni Thee Stallion (an elevated negroni named after Megan Thee Stallion).

The elephant in the room for the Lakers as they enter the playoffs has been, and will continue to be, the status of their starting backcourt, Luka Doncic and Austin Reaves.

Both are out because of injuries — Doncic with a grade 2 left hamstring strain and Reaves with a grade 2 left oblique strain — and neither is expected to play in the best-of-seven, first-round playoff series against the Houston Rockets that begins Saturday at 5:30 p.m. at Crypto.com Arena.

After practice Friday, coach JJ Redick was quick to say “there’s not” when asked about an update on Doncic and Reaves.

After Doncic and Reaves were injured on April 2 at Oklahoma City, the Lakers said both would be out until the end of the regular season. According to people not authorized to speak on the matter, both are expected to be out four to six weeks.

Doncic went to Spain to get treatment, and Reaves has been working diligently in L.A., with the hope that they can return sooner.

The Lakers miss their combined output of 56.8 points, 13.8 assists and 12.4 rebounds per game. Doncic led the NBA in scoring (33.5) and was third in assists (8.3); he was second on the Lakers in rebounding (7.7).

During the week of practice, Reaves was around his teammates and seen shooting after a few practices. He appeared to be in good spirits. Doncic was supposed to be back by Friday.

“We love having Austin here and we’re glad he is in a position to do his return-to-play [work], however long it takes with us,” Redick said. “Excited to get Luka back and be around the group. Austin and I talk just about every day about different things. So he’s … just being a part of this. …

“The mindset for our team and for those two guys, like we’re gonna try to make this season as long as possible so that we can get those guys back at some point. We don’t know what that is, and that’s just our job. And their job is to do everything they can to be in a position to come back at some point. It may not work, but that’s what we’re trying to do.”

The theme of the Lakers’ week at practice was to “elevate” their work.

Yes, they won’t have Doncic and Reaves, but that didn’t mean the Lakers couldn’t work harder.

When they worked on box-out drills in preparation for the way the Rockets attack the offensive boards, the Lakers went hard. When they watched film and had practice sessions, the Lakers worked with a purpose.

“The word we’ve used all week is ‘elevate.’ I think that’s what it is,” Redick said. “We all know the playoffs are different. They’re harder. There’s no easy matchups, and you have to be able to elevate your play. But beyond that, it’s elevating your recovery, your attention to detail, your preparation.

“I talked about that with my coaches as we started this week on Monday morning. It was an off day for the guys, but we were in there for six hours and we’ve all collectively gotta elevate. And particularly when you’re missing two of your top guys, part of elevating is elevating each other and the belief that the group as a whole can be great.”

The Rockets are a tough and rugged team that is good on defense and at rebounding.

They ranked fourth in the NBA in points given up (110.0) and tied for fifth in opponents’ field-goal percentage (46.0). They were tops in rebounding (48.1) and offensive rebounds (15.0).

That has the Lakers’ attention and is why they worked so hard during practice.

“It’s been great. The level of focus and attention to detail, the communication, everything has been elevated,” forward Jarred Vanderbilt said. “We’ve got a lot of guys that’s been to the playoffs and know what it takes.

“Like you said, everything elevates around this time and having a veteran group that’s kind of been there and had a taste of the playoffs, we all know what it takes to win games in the playoffs. It’s everybody going out and doing their job and paying attention to the game plan.”