equipment

Now you can pair your big show with dinner and a more intimate listening experience. The Hollywood Palladium, an Art Deco music venue graced by performers like Frank Sinatra, Richard Pryor, Jimi Hendrix, Lady Gaga and Jay-Z since 1940, has debuted a swanky lounge known as Vinyl Room.

Inspired by 1970s Japanese high-fidelity (hi-fi for short) listening rooms and operated by entertainment company Live Nation, it’s a space where concertgoers can have dinner, grab drinks and catch a vinyl DJ set before or after their ticketed event in the same venue.

With a name like Vinyl Room, you can expect to see vinyl records everywhere.

“You’re in [for] a whole night of music,” says Geni Lincoln, president of the California region for Live Nation, adding that her team put “so much thought” into the sound and design of the space, which was in development for more than two years.

“I’ve been coming to the Palladium since I was a teenager, so it’s really special to see,” she says.

Entering Vinyl Room feels like you’re stepping into a secret speakeasy for music lovers, one with iconic music memorabilia, a thoughtful food menu and premium sound quality. Want to check it out? Here are five things to know.

Everything inside of Vinyl Room is inspired by the sounds and the musicians who’ve played at the Hollywood Palladium since 1940.

1. Vinyl Room is exclusively open to members and concertgoers with an upgraded ticket

Vinyl Room is open only on Hollywood Palladium show nights, starting 90 minutes before doors open, and remains open one hour after the concert. Admission is limited to concertgoers who purchase a ticket upgrade, which starts at $35. Early reservations are recommended.

Vinyl Room also offers annual membership packages, which start at $2,000 and come with various benefits such as complimentary guest passes to Vinyl Room, access to an exclusive menu, valet parking, table reservations inside the lounge, a dedicated private entry, complimentary coat check and concert ticket credits.

Tip Dunn, also known as DJ tenSpeed, played records during opening night at Vinyl Room at the Hollywood Palladium.

2. Hi-fi is having a moment in Los Angeles — and Vinyl Room delivers on sound quality

From Common Wave Hi-Fi in Boyle Heights to Slow Jamz Gallery in the Arts District and Gold Line bar in Highland Park, hi-fi — a 1950s term used to describe the high-quality reproduction of sound — venues and experiences have been slowly popping up around L.A. over the last few years. Vinyl Room joins a short list of places where audiophiles can go to listen to music on hi-fi equipment, which many argue is the best way to experience it.

Much like the Hollywood Palladium, which is known for its top-tier sound, Vinyl Room also makes sound a priority. The lounge utilizes hi-fi sound equipment including Master Sounds Clarity-M speakers to ensure that the records sound as crisp as possible. Live DJs spin records on a set of turntables, which helps to create a richer and more analog sound that is closer to the original track than compressed versions such as MP3s.

Ruthie Embry, vice president of architecture and design at Live Nation, says the records and other memorabilia inside the space “connects you directly to the venue’s history the second you walk in the door.”

3. All of the decor ties back to music and the Hollywood Palladium’s rich history

With a name like Vinyl Room, you can expect to see vinyls everywhere. Records line most of the walls and shelves, drinks are served on vinyl-shaped coasters and tables and light fixtures are designed to the theme. There’s even vinyl wallpaper in the photo booth. In one corner of the lounge, you can dig through records under a neon sign that reads, “But have you heard it on vinyl?”

Ruthie Embry, vice president of architecture and design at Live Nation, says the records and other memorabilia inside the space “connects you directly to the venue’s history the second you walk in the door.”

Some standout items include a Red Hot Chili Peppers show flier, a Hollywood Palladium postcard signed by late musician and host Lawrence Welk and a photo of late singers Bonnie Baker and Orrin Tucker at the venue. Even the bathroom creates a memorable photo moment: The stalls are filled with photos of musicians and an “on air” studio sign lights up when a stall is occupied.

Vinyl Room’s menu, created by Chef Ryan DeRieux, is inspired by Asian flavors and includes items like the “Vinyl Roll,” which is made with spicy tuna.

4. Don’t worry about dinner plans before or after the show. Vinyl Room has got you covered

Eliminating the need to find a pre- or post-show restaurant, Vinyl Room has a full Asian-inspired menu created by Chef Ryan DeRieux.

Think sushi tots (like crispy tuna but with tater tots instead of rice), tuna poke nachos, chili crunch chicken wings and shiitake tempura burgers. There’s also a mouth-watering 100-ounce American wagyu skirt steak served with shishito peppers, pickles and charred carrots. For dessert, try the taiyaki, a popular fish-shaped Japanese street food, which is served with a delicious passion fruit cream that I wanted to take to go because I liked it so much.

Signature cocktails at Vinyl Room, inspired by popular songs, include the Superfly, Escape (if you like piña coladas) and Smoke on the Water.

5. The craft cocktails aren’t just delicious — they each have a story

Vinyl Room’s old-fashioned is made with Nikka Yoichi whisky, which is made in Japan.

The cocktail program, developed by third-generation bartender Sean Kenyon, is inspired by the songs created by musicians who’ve graced the Hollywood Palladium stage. A nod to the 1970s, the Superfly is a fizzy, citrus-forward play on Curtis Mayfield’s 1972 track and is made with Roku Gin and yuzu and sencha syrup. Other signature drinks include the rum-based Escape (if you like piña coladas) with coconut oolong syrup, pineapple juice and miso, and the tart yet sweet Smoke on the Water, which is reminiscent of Deep Purple’s 1972 song. The bar also offers an espresso martini (called the MT Joy), a signature old-fashioned (made with Nikka Yoichi whisky) and a Japanese whiskey highball (made with Hibiki Harmony whisky). The bar offers a number of non-alcoholic options as well.

A Los Angeles firefighter said in sworn testimony that he sounded the alarm about the inadequate mop-up of the Lachman fire — and was blown off by a captain — days before the embers reignited into the deadly Palisades fire.

The firefighter, Scott Pike, testified last month in a lawsuit brought by Palisades fire victims against the city and the state.

Pike, a 23-year LAFD veteran normally assigned to a station in Sunland, was working an overtime shift on Jan. 2 when he was assigned to pick up the hoses from the Lachman fire. But he said he saw about five areas that were still smoking.

At one ash pit, he said, “I didn’t even want to use my gloved hand because it was hot. So I just kicked it with my boot to kind of expose it, and there was, like red hot, like, coals … that was still smoldering. And I even heard crackling.”

• Share via Close extra sharing options

Pike’s dramatic retelling, which city attorneys initially blocked from release along with transcripts of deposition testimony from 11 other firefighters, corroborates previous reporting by The Times that a battalion chief ordered crews to pack up their hoses and leave, despite signs that the earlier fire was not completely extinguished.

Pike testified that when he reported his observations to other firefighters at the scene, “I felt like I kind of got blown off a little bit.”

Then he tried the captain.

“That’s how I approached him, is like, ‘Hey, Cap … We have hot spots in general. We have some ash pits,’” Pike said of the captain on the scene, whose name he did not know. “That’s an alert to double-check the whole area and maybe we need to switch our tactics.”

Pike testified that it was not his job “to overstep and tell him what to do. He earned that rank.”

The other firefighters, too, seemed eager to “just get this hose picked up,” Pike said, adding that he was working overtime the day after a holiday “because nobody else wanted to work it.”

“It kind of sits heavy with me that nobody listened to me,” he said.

LAFD commanders have insisted that the flames were completely out and barely mentioned the earlier fire in an after-action review report designed to examine mistakes and prevent them from happening again.

Pike said in his testimony that he was never interviewed for the after-action report.

After the firefighters testified over the course of three weeks, city attorneys invoked a general protective order that any party in the litigation can designate testimony as confidential for up to 30 days. A city attorney previously told The Times that this allowed them to review the testimony and determine which parts, if any, should stay confidential.

Days after the firefighters left the scene, high winds reignited the embers into the inferno that destroyed much of Pacific Palisades and killed 12 people.

Alex Robertson, an attorney representing the Palisades fire victims in the lawsuit, said the 11 other firefighters who were deposed testified that the fire was out and that they did not see hot spots or smoldering.

“Only one of the firefighters we deposed had the courage to tell the truth — that his fellow firefighters and captain ignored his warnings that the fire had not been fully extinguished,” Robertson said.

The fire victims allege that the state government, which owns Topanga State Park, failed in the week between the two fires to inspect the burn scar after firefighters left and make sure a “dangerous condition” did not exist on its property.

The LAFD was responsible for putting out the fire, but plaintiffs’ attorneys argue that the state should have done more to monitor the burn scar and ensure the area was safe.

Several California State Parks representatives also testified in the case. Their testimony and text messages show that their initial concern was whether the fire was on parkland and whether firefighting efforts and equipment would harm federally endangered plants and artifacts.

The Times report about crews being ordered to leave the earlier fire, published Oct. 30, described text messages from firefighters indicating that at the scene of the Lachman fire on Jan. 2, 2025, the ground was still smoldering and rocks were hot to the touch.

In one text message, a firefighter who was at the scene wrote that the battalion chief had been told it was a “bad idea” to leave because of the visible signs of smoking terrain, which crews feared could start a new fire if left unprotected.

“And the rest is history,” the firefighter wrote.

A second firefighter was told that tree stumps were still hot when the crew packed up and left, according to the texts. And a third firefighter said last month that crew members were upset when told to pack up and leave but that they could not ignore orders, according to the texts. The third firefighter also wrote that he and his colleagues knew immediately that the Palisades fire was a rekindle of the Jan. 1 blaze.

LAFD officials were emphatic early on that the Lachman fire, which federal prosecutors believe was deliberately set, was fully extinguished.

“We won’t leave a fire that has any hot spots,” Kristin Crowley, the fire chief at the time, said at a community meeting Jan. 16, 2025.

“That fire was dead out,” Chief Deputy Joe Everett said at the same meeting, adding that he was out of town but communicating with the incident commander. “If it is determined that was the cause, it would be a phenomenon.”

The Lachman fire broke out shortly after midnight on New Years Day. A few hours later, at 4:46 a.m., the LAFD announced that the blaze was fully contained at eight acres.

Top fire commanders soon made plans to finish mopping up the scene and to leave with their equipment, according to another set of text messages obtained by The Times through a state Public Records Act request.

“I imagine it might take all day to get that hose off the hill,” LAFD Chief Deputy Phillip Fligiel said in a group chat early the morning of Jan. 1. “Make sure that plan is coordinated.”

At 1:35 p.m. on Jan. 2, Battalion Chief Mario Garcia — whom firefighters said had received the observations about the smoldering ground and hot rocks, according to the private text messages The Times reviewed — texted Fligiel and Everett: “All hose and equipment has been picked up.”

Five days after that, on the morning of Jan. 7, an LAFD captain called Fire Station 23 to say that the Lachman fire had started up again.

In June, LAFD Battalion Chief Nick Ferrari had told a high-ranking fire official who works for a different agency in the L.A. region that LAFD officials knew about the firefighters’ complaints at the Lachman fire scene, The Times also reported.

After the Oct. 30 Times report, Bass directed Fire Chief Jaime Moore, who started the job in November, to commission an independent investigation into the LAFD’s handling of the Lachman fire.

In an interview last month, Moore said he opened an internal investigation into the Lachman fire through the LAFD’s Professional Standards Division, which probes complaints against department members. He said he requested the Fire Safety Research Institute, which is reviewing last January’s wildfires at the request of Gov. Gavin Newsom, to include the Lachman fire as part of its analysis, and the institute agreed. Moore also pointed to the L.A. City Council’s move to hire an outside firm to examine the Lachman and Palisades fires.

Even with the internal investigation underway, Moore said he spoke with the battalion chief who was on duty during the Lachman fire mop-up.

“He swears to me that nobody ever told him verbally or through a text message that there was any hot spots,” Moore said.