Blab Music
San Franciscos Iconic Haight-Ashbury Jazz Club Reopens as The Deluxe After Two-Year Closure
The former Club Deluxe, a long‑standing jazz venue in San Francisco’s Haight‑Ashbury neighborhood, reopened on Thursday, June 18, 2026, under the new name The Deluxe. The reopening follows a two‑year closure that began in April 2023 after a dispute between the landlord and the club’s owner, Sarah Wilde.
The venue’s revival was driven by the local jazz community. Jay Bordeleau, owner of the Hayes Valley jazz supper club Mr. Tipple’s, met Christian Beaulieu, a former bartender and musician at Deluxe, after several musicians urged him to speak with Bordeleau. Bordeleau agreed to a coffee meeting, saying, “OK, jeez, I guess I’ve got to have coffee with this guy.” The meeting led to a partnership that would restore the club’s Art Deco interior and bring back the intimate speakeasy atmosphere that had made the venue a staple for jazz, swing, and blues.
Beaulieu, who has performed with bands such as Triclops! and is working on a self‑help book for artists, said, “I’m writing a book about my experiences, a self‑help book for artists who have lost their way.” He also noted that he had heard about Deluxe in many bars, saying, “I was bartending at a few different places and I couldn’t stop hearing about Deluxe.” The two men worked together for two years while Beaulieu managed Mr. Tipple’s, a period that confirmed their readiness to reopen the Haight‑Ashbury club.
The club’s history stretches back more than three decades. It hosted a variety of acts, from hot‑club and jump‑blues bands to hard‑bop ensembles, swing combos, and vocalists. The venue was a community hub for musicians who grew up in the Bay Area, including multi‑reed player Steven Lugerner, who has performed with the JACKNIFE band, and vocalist Emily Day, who has played at Deluxe since 2018. Lugerner recalled that he first played at the club when he was a student in New York, and that the club’s regular Wednesday gigs helped launch his career.
The Deluxe’s reopening was delayed several times as the owners worked to refurbish the space. The new schedule includes a soft opening on June 18, featuring string player and vocalist Mitch Polzak. The following night, June 19, the club will host saxophonist James Mahone at 6 p.m. and drummer Miles Turk at 8 p.m.
The revival comes amid a broader pattern of San Francisco venues reopening after pandemic‑related closures. Other well‑known spots, such as the Make Out Room and the Latin American Club, have closed or are up for sale. The Deluxe’s return is therefore seen as a positive sign for the city’s live‑music scene.
Bordeleau said that the club’s reopening was a community effort, noting that “intimate live music with a community audience is really special and valued, and people didn’t want to let it go.” The club’s location at 1511 Haight St. places it in the heart of the Haight‑Ashbury district, an area historically associated with the 1960s counterculture and the San Francisco sound.
The Deluxe’s reopening also preserves a venue that has long served as a training ground for musicians. The club’s programming includes a mix of jazz, swing, blues, and other genres, and it continues to support local talent. The venue’s reopening schedule, beginning with Polzak, Mahone, and Turk, signals a return to regular programming.
In addition to the live‑music schedule, the club’s owners have emphasized the importance of maintaining the space’s historic Art Deco interior. The refurbishment aimed to preserve the speakeasy feel that made the club a favorite among musicians and audiences alike.
The reopening of The Deluxe is a milestone for San Francisco’s music community. It demonstrates that community‑driven initiatives can revive historic venues, and it offers a new home for musicians who have long relied on the club’s intimate setting.
The club’s future programming will likely include regular weekly gigs, but no specific tour dates or festival appearances have been announced at this time. The owners have not disclosed any additional business developments or catalog transactions related to the venue.
The reopening of The Deluxe marks a return to live jazz in Haight‑Ashbury after a two‑year hiatus, and it signals that the city’s music scene remains resilient in the face of venue closures and market changes.
The venue’s revival was driven by the local jazz community. Jay Bordeleau, owner of the Hayes Valley jazz supper club Mr. Tipple’s, met Christian Beaulieu, a former bartender and musician at Deluxe, after several musicians urged him to speak with Bordeleau. Bordeleau agreed to a coffee meeting, saying, “OK, jeez, I guess I’ve got to have coffee with this guy.” The meeting led to a partnership that would restore the club’s Art Deco interior and bring back the intimate speakeasy atmosphere that had made the venue a staple for jazz, swing, and blues.
Beaulieu, who has performed with bands such as Triclops! and is working on a self‑help book for artists, said, “I’m writing a book about my experiences, a self‑help book for artists who have lost their way.” He also noted that he had heard about Deluxe in many bars, saying, “I was bartending at a few different places and I couldn’t stop hearing about Deluxe.” The two men worked together for two years while Beaulieu managed Mr. Tipple’s, a period that confirmed their readiness to reopen the Haight‑Ashbury club.
The club’s history stretches back more than three decades. It hosted a variety of acts, from hot‑club and jump‑blues bands to hard‑bop ensembles, swing combos, and vocalists. The venue was a community hub for musicians who grew up in the Bay Area, including multi‑reed player Steven Lugerner, who has performed with the JACKNIFE band, and vocalist Emily Day, who has played at Deluxe since 2018. Lugerner recalled that he first played at the club when he was a student in New York, and that the club’s regular Wednesday gigs helped launch his career.
The Deluxe’s reopening was delayed several times as the owners worked to refurbish the space. The new schedule includes a soft opening on June 18, featuring string player and vocalist Mitch Polzak. The following night, June 19, the club will host saxophonist James Mahone at 6 p.m. and drummer Miles Turk at 8 p.m.
The revival comes amid a broader pattern of San Francisco venues reopening after pandemic‑related closures. Other well‑known spots, such as the Make Out Room and the Latin American Club, have closed or are up for sale. The Deluxe’s return is therefore seen as a positive sign for the city’s live‑music scene.
Bordeleau said that the club’s reopening was a community effort, noting that “intimate live music with a community audience is really special and valued, and people didn’t want to let it go.” The club’s location at 1511 Haight St. places it in the heart of the Haight‑Ashbury district, an area historically associated with the 1960s counterculture and the San Francisco sound.
The Deluxe’s reopening also preserves a venue that has long served as a training ground for musicians. The club’s programming includes a mix of jazz, swing, blues, and other genres, and it continues to support local talent. The venue’s reopening schedule, beginning with Polzak, Mahone, and Turk, signals a return to regular programming.
In addition to the live‑music schedule, the club’s owners have emphasized the importance of maintaining the space’s historic Art Deco interior. The refurbishment aimed to preserve the speakeasy feel that made the club a favorite among musicians and audiences alike.
The reopening of The Deluxe is a milestone for San Francisco’s music community. It demonstrates that community‑driven initiatives can revive historic venues, and it offers a new home for musicians who have long relied on the club’s intimate setting.
The club’s future programming will likely include regular weekly gigs, but no specific tour dates or festival appearances have been announced at this time. The owners have not disclosed any additional business developments or catalog transactions related to the venue.
The reopening of The Deluxe marks a return to live jazz in Haight‑Ashbury after a two‑year hiatus, and it signals that the city’s music scene remains resilient in the face of venue closures and market changes.
