In a city with few all-ages venues, informal settings provide a place for smaller acts to perform and for minors to access the arts. But at least one type of informal venue frequently, if not always, violates safety codes and may put the people who attend in danger.
Advocates of “basement” venues say they fill an important role in Eugene’s arts community by providing smaller-scale shows for people of all ages. To keep operating underground, the organizers of these events tend to focus on avoiding attention by insulating rooms and keeping crowds indoors.
They often ignore fire codes.
Stonehenge, a basement venue started this fall that is gaining popularity among University students, is failing to meet fire codes; it does not have proper exits for the number of people attending shows there.
But Stonehenge, at 2841 Central Blvd., isn’t the first campus-area venue to encounter problems complying with fire codes. University students establishing basement venues have historically faced difficulties meeting fire standards. Sometimes they get shut down.
It’s virtually impossible for a residence to be a proper venue because houses aren’t built with the exits needed for large crowds, Deputy Fire Marshal Mark Thompson said.
“It’s pretty much completely illegal,” Thompson said. “You’d really be inviting a liability problem to have something like that at a personal residence because if somebody gets hurt, there are going to be lawsuits.”
Residential basements rarely meet codes for fire prevention, much less building codes that require sprinkler systems and a minimum number of bathrooms.
“Especially when they’re utilizing basements or second-story types of structures where the exiting is going to be limited, and the proper precautions haven’t been taken for flame spread through interior decorations, there’s always quite a risk for large loss of life,” Thompson said. “That’s where fire codes are based.”
For an occupant load of up to 50 people, the outside needs to be directly accessible from at least a 36-inch-wide door with an approved latching mechanism. For gatherings of more than 50 people, an establishment must provide two marked exits to the outside with doors that swing outward in case of panic.
According to the U.S. Naval Academy Fire Department, fires like the 1942 Coconut Grove nightclub fire that killed nearly 500 people in Boston usually have similar, if not exact, circumstances leading to a massive loss of life.
The similarities between these fires seem to include flammable materials on interior walls; overcrowding; complex building design or flaws; illegal occupancy use; open flame; no suppression system; locked, blocked or unseen exits; or not enough exits, according to the department.
Underground venues face a variety of other hurdles to avoid getting shut down.
Glenn Shires, a University alumnus who had a few shows at a house called Bignu during the 1999-00 academic year before he and his roommates moved, said repeated visits from police can strain tenant-landlord relationships and lead to eviction. Also, fines for underage drinking and noise complaints often sway residents to quit having shows, he said.
“I think most basement venues around campus have a similar story,” Shires said. “People throw a few parties with bands, eventually the cops show up and then the tenants give up on live music because it’s too much of a hassle.”
Shires also said loud music is often seen as the predominant problem for underground venues, but police are the bigger issue.
“These house venues get shut down when the Party Patrol sees people congregating outside,” he said. “Obviously if they spot people drinking, they’re going to investigate.”
Other underground venues have included The Animal Farm, The Spoke, My House, The Basement, The Spot, The Corral, The Alamo and Le Sous-sol. Most shut down because owners moved or because of the police, Shires said. He said only The Alamo and Le Sous-sol have closed because of fire code violations, and Le Sous-sol has since reopened.
Stonehenge has one direct door to the outside and a door at the top of a winding staircase into the house. Carpet lines the walls of the basement, and lights are strung around and between the pillars.
University student Ashley Keneller and her housemates opened Stonehenge at the beginning of fall term. They have, on average, one show every two weeks and are beginning to hold events showcasing other arts as well, she said.
The venue can hold 50 or 60 people, the house’s residents said. Keneller said 30 or fewer people show up for most events, although 50 or more people have come at times.
University junior and house member Adam Zeek said it’s difficult to juggle avoiding noise complaints and protecting the safety of people attending shows.
“On the one hand, you want people to come, and on the other hand, you don’t want it to get out of control,” Zeek said. “On the one hand, you want it to be quiet, and on the other hand, you don’t want to put carpet on the walls.”
Two of Zeek’s housemates, University students Matt Brown and Whitney Gum, pointed out that soundproofing the basement without putting carpet on the walls would cost more than they could afford. Most of their money, time and energy has gone into the basement, Keneller added. They even purchased an amplifier so bands wouldn’t have to bring their own, she said.
Zeek said the venue is invaluable and provides access to art unavailable elsewhere. He said he and his housemates have tried to “keep on top of things,” juggling noise complaints with safety, and that they’re doing everything within their means to protect the people who come to shows at Stonehenge.
“We’re concerned enough to get a fire extinguisher and to mark both exits,” Zeek said, noting they purchased the extinguisher with their own money and have a first-aid kit on hand.
University Arts and Administration professor Doug Blandy has conducted research on various types of art venues. He said shows at basement venues like Stonehenge and My House, which closed in 2003 when the student who created it moved, are typically small enough to be safe.
“Whenever you bring a group of people into your house, you’re concerned for their safety,” Blandy said. “I think these house concerts are part of the larger fabric through which people are able to experience arts and culture. It’s an opportunity for people to reach smaller audiences with arts and cultural events that may not be of interest to the mainstream.”

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