


Located in the Brentwood neighborhood in Austin, Texas, Brentwood Social House is a woman-owned, community coffee shop with the root belief that the world needs more places to experience love. We seek to commune, connect, and nourish by serving superb coffee and teas, house-made European baked goods, and savory meals to those seeking a quiet spot for meetings, a relaxing cup of coffee with a friend, or fun neighborhood events in a family-friendly, welcoming gathering space.
European-style cafe serving tea, coffee, English baked goods, savory pies and French-style quiches.
Address and Contact Information
Address: 1601 W Koenig Ln, Austin, TX 78756
Phone: (512) 362-8656
Website: http://www.brentwoodsocial.com/
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Reviews
They host many events, so I’m looking forward to visiting again and trying more of their menu.
BSH is normally great. It’s the first place I played music in Austin, and I found it supportive. But yesterday was different. I went to the open mic with a friend who recently moved to the neighborhood, to meet my partner, who has always spoken highly of BSH. None of us will be coming back. The host, Michael, was condescending to both me and my friend; he was gatekeepy and threatening about how we could perform; and he personally insulted me while we were preparing to leave.
I cherish the Austin open mic community. I’ve met many hosts. I even host my own. In over 6 years, I have yet to get such a hostile, sour, and unenthusiastic first impression from an open mic host. Mike was unprofessional, uninterested in others’ music, and completely humorless.
The outcome of his attitude is evidenced by the fact that nobody else came for the mic, save a few “regulars” who were there before he was. Within this “safe space”, he made both me and my friend self-conscious, converting our excitement to meet new friends into fear of his judgment.
He greeted us by shaming me for bringing a keyboard to his “acoustic sets only” open mic, a phrase which doesn’t usually exclude piano, and isn’t written on the flyer.
He then insinuated we would act inappropriately, and without provocation he threatened to cut us off if we stepped out of line.
While I was setting up, he criticized us for not arriving at the signup time, even though *nobody* had shown up at his signup time.
He interrupted my song with an early clap. Nobody else in the room mistook the end of the first chorus for the end of the song. He was eager to get me off the stage. Everybody in the room was actively invested in the art–except for the host. It’s embarrassing.
Most of the “open” mic time was for Michael’s music. I’m not convinced he’s interested in sharing the stage, in building community, or in encouraging expression. He claimed the stage is too small for a keyboard, while behind him rest FIVE of his own guitars.
While we prepared to leave after one song each, Michael informed me that it was my fault that his “regulars” had left early. I had changed the vibe by bringing a keyboard. People only want to hear guitar. He spoke on behalf of people who were not in the room. They had left for their own reasons (after my song), but he used that to bully me. He didn’t bother to say anything about my actual music, nor my friend’s, because he hadn’t bothered to listen. Condescension, projection, and obvious insecurity.
I’ll be fine to weather his rankness. But there are people in this city who need compassion to feel comfortable with sharing art, and BSH could have that. It’s been years since I’ve felt such hostile pressure getting onstage. A less confident musician might have lost the nerve to share at all for months.
Michael should not have this responsibility. With total obliviousness, he will do lasting harm to someone who is desperate to be heard. His style of hosting is genuinely worse than setting up a microphone and leaving the room. He is failing this business and himself, making a mockery of the format, and squandering the potential of the space he holds.
There are many mic hosts in Austin who state their rules clearly, who lead with enthusiasm and warmth, who listen to and support their performers, who are open-minded and creative, who don’t take more time than they give, who don’t shadowban pianos, who are not so inept as to intimidate and talk down to new arrivals on first contact, and who are not so tepid as to allow someone onto the stage while actively and openly resenting their instrument. Moreover, most of these hosts are also more talented, but as Michael said to me unprompted, “This has nothing to do with your talent. There are plenty of other spaces in Austin where you might fit in.”
I hope that the house can find a better arrangement. There are a lot of musicians in that neighborhood, and a lot of empty chairs in front of that stage.
There was also a gentleman sitting on the front picnic table in visible distress, with his drug paraphernalia scattered all over the table and ground. I’m not trying to judge or strip away anyone’s dignity whatsoever, I have plenty of loved ones who have suffered from addiction. However, the staff were completely passive to this issue, which is concerning given that children consistently play outside here and the business presents itself as a “family friendly” establishment.
Valuing performative tolerance over addressing real world child safety concerns is unacceptable. Will not be returning.