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Michael Angelo Batio

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Michael Angelo Batio

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AMAZING! MAB is untouchable! A master! The opening lineup was also stellar. James Gilmore, Alfie Lucky and 80 proof also have the guitar mastered! Oddbodys was also a great venue for it.

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Michael Angelo Batio

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About michael angelo batio.

Michael Angelo Batio (/ˈbeɪti.oʊ/; born February 23, 1956) also known as Mike Batio or MAB, is an American heavy metal guitarist and columnist from Chicago, Illinois. He was the lead guitarist for the Los Angeles-based glam metal band Nitro in the late 1980s and early 1990s. Batio's work has encompassed many genres, but he is best known for playing heavy metal and its subgenres such as neoclassical metal, and speed metal. Batio is known for his technical mastery of the fretboard and his extremely fast picking and sweep picked arpeggios. He is also known for his showmanship during performances, particularly his use of the "Over-Under" technique, and for his ability to play a double and quad guitar, using both hands to play. Batio is also noted for his guitar instruction DVDs in the "Speed Kills" series which teach shred guitar techniques and how to "master the art of playing lightning fast". Batio was voted the "No. 1 Fastest Guitar Shredder of All Time" by Guitar One Magazine in 2003.

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MICHAEL ANGELO BATIO: New Signature Products And Tour Announcement

World-renowned guitar-shredding phenom Michael Angelo Batio ( HOLLAND , N.I.T.R.O. , MICHAEL ANGELO , HANDS WITHOUT SHADOWS ) recently appeared at NAMM 2007 and unveiled his new "Quad" guitar ( photo ),designed in conjunction with Dean Zelinski . This guitar replaces the original Ritz "Quad" ( photo ) that was designed in conjunction with Wayne Charvel and which was subsequently stolen in 1989 while on tour in El Paso, TX. Only half of the original "Quad" guitar was ever recovered by Michael in 2004.

The new Michael Angelo Batio Signature Model Dean ( photo ),which was originally set for its unveiling at Winter NAMM 2007 , is now tentatively set to arrive at Dean retailers in April. Michael states: "The headstock that you saw is not the one that is going to be on the actual production model. I know that a lot of you didn't like it and frankly, it didn't turn out like we had anticipated from the original drawings. The real headstock will be the exact one that is on the Dave Mustaine model. Also, we are now developing a 'killer' graphic that just wasn't ready in time for NAMM . What I can say about the instrument is that the neck feels great and I chose EMGs because they sound fantastic with this guitar. The inlays will be slightly different on the production model as well."

Also recently unveiled is the new Michael Angelo Batio Overdrive Pedal ( photo ) produced by T-Rex Engineering . From T-Rex : "Guitar phenomenon Michael Angelo Batio was in a dilemma. He is twice the guitarist, and he plays twice the guitar. But he didn't have twice the overdrive he needed to keep up with his blistering licks and double-handed pyrotechnics. That's why he teamed up with Denmark's T-Rex Engineering — a producer of high-end and custom effects pedals — to create Michael Angelo Batio Overdrive . You only have to listen to Mr. Batio play to hear what this pedal can do — add an exquisite overdrive to your guitar sound. Heaven-sent overdrive: Michael Angelo wanted a pedal that would give him creamy, classic overdrive without clouding his unique touch and tone. T-Rex produced an overdrive unit with a sound sweet enough to make an angel cry — but with an earthy bite and punch! From a medium blues crunch to a rock guitar wail, Michael Angelo overdrive covers the full spectrum of overdrive distortion. Features: Gain, Tone and Level knobs, input and output jacks, 9-12 V DC or 9 V battery, industrial design with metal finish, Michael Angelo Batio 's logo and signature."

Michael Angelo Batio 's new DVD, titled "Performance" is in stock and shipping now. "Performance" is an in-depth look at Michael Angelo Batio the man, the artist, the entertainer, performing live at "Monster Mix" studio. Included are his versions of "Burn" , "Tribute to Randy" , "Hands Without Shadows" , "China" , "The Finish Line" , plus a beautiful unaccompanied acoustic guitar piece titled "A New Day" , his double-guitar solo and more!

For detailed information, go to this location .

Michael has announced the first leg of his 2007 "HWS (Hands Without Shadows) World Tour" . Michael has been scheduled to perform at Day Jams ( web site ) and the National Guitar Workshop ( web site ) in over a dozen major USA cities this summer, including Atlanta, Los Angeles, San Diego, San Francisco and Baltimore, to name a few!

For detailed show information, go to this location .

Michael Angelo Batio will be continuing his "Time to Burn" column for Guitar World magazine, taping new lessons and a performance for the GW Comcast cable show to be aired later this year.

(Thanks: Fullshred )

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Michael Angelo Batio: "This new generation of guitarists is the best I’ve seen. They're where I was in my 20s but at the ages of 10 or even 5!"

The thousand-notes-a-minute shred hero talks competing with younger players, effects pedal minimalism and his face-melting new album, More Machine Than Man

When it comes to one-liner quips and bite-size pearls of wisdom, Michael Angelo Batio certainly has a way of explaining his approach to guitar. The man who famously - and quite rightly - appropriated Kafka to explain sweep-picking (“It’s better to have it and not need it than to need it and not have it”) has long been revered as one of the fastest guitar players in history . 

Though he grins when we list some of our favorites in his long list of catchphrases, he also explains they are very much still to this day the essence of his life code...

“I must have a gift for those quotes,” he laughs, talking to Guitar World via video chat from his home studio. “I have a habit of coming up with soundbites like ‘I’m going to give you the keys to my Lamborghini!’ but, you know, I live by them. 

"The way I look at it, I’m still a student myself. Even [Grammy-winning cellist] Yo-Yo Ma said that at one point, admitting he’s only ever making progress. Nobody is so good they can’t learn something new...

“That’s one of the main things about being a good teacher. In my humble opinion, it’s about showing someone things in a way they can grasp and understand rather than trying to impress someone with how much you know and how wonderful you are.”

The American guitar legend has a new album out, More Machine Than Man - a title which playfully celebrates a life dedicated to mind-boggling dexterity and mechanical precision. Its cover art depicts the musician in cyborg form, wielding his famous dual guitar an arm made of human tissue and another forged from metal. 

Musically, it follows a similar concept, with down-tuned seven-string guitars warring with drum machines and a handful of guest contributions from ex-Lamb Of God drummer Chris Adler, bass virtuoso Victor Wooten and Arthemis’s Andrea Martongelli...

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“It was actually Guitar World who gave me the quote that became the title,” smiles MAB. “There was an article on me a while ago and it was written that I was more machine than man. I know it might also be a Star Wars reference. But the idea stuck with me and I wanted to make a different kind of album. 

I didn’t want a lot of other players - this time I felt like I had something to say and I was the guy to say it

"Whenever people say they’ve learned something in the style of MAB and they nail it, I say those are the riffs I will no longer play on my new album. I really tried to mix it up and make this one raw and powerful. "

“I’ve always played keys on my albums and layered them out. But this time I wanted just two rhythm guitars, sometimes leads moving in and out, yet you can hear everything really well. 

"I didn’t want a lot of other players either - I’ve had so many greats over the years, like Guthrie Govan, Jeff Loomis and Michael Romeo. This time I felt like I had something to say and I was the guy to say it. It had to be heavy in ways unlike anything I’d done before…”

Given what you said about software, did you track using amps or through plug-ins?

“I made a radical career change a few years ago and switched amp companies. I’d never actually endorsed anyone until a few years ago, it wasn’t in my best interest doing workshops all over the world. You have to go to different stores and venues, playing their amps. But I knew Jim Marshall personally and used to use his amps. I got taken on a tour of the factory a long time ago and we were friends.

“I still love Marshalls, but I’ve been using a new company called Sawtooth who make tube amps. I just want to play real amps. Kemper and Fractal systems are amazing, I like them. But I ask myself ‘Does Joe Bonamassa play a Fractal? Does Mark Tremonti? Does Brad Paisley?’ All my favorite guitar players use real amps.”

What else felt different about the new recordings?

But I ask myself ‘Does Joe Bonamassa play a Fractal? Does Mark Tremonti? Does Brad Paisley?’ All my favorite guitar players use real amps

“This time, the rhythms are right in your face. Before, I used to track a live amp on each side and then use a direct sound underneath so there would always be four rhythm tracks. It can blend together and make its own chorus. I didn’t do that this time. 

"Working with Chris Adler was amazing, he’s a great drummer – the king of that super fast drum style, a bit like Dave Lombardo. He only got to play on a couple of songs because he was in a really bad motorcycle accident…

“I had Victor Wooten guesting too, though I ended up playing five-string bass on a lot of songs. My friend Andrea Martongelli from Arthemis played on a track too, The Countdown Is On. I really liked his solo, he’s very technical but he’s wild. 

"Then there’s Josh Wilbur, who is an amazing producer - he won a Grammy for Megadeth’s last album, he’s done Trivium, a lot of Lamb Of God’s stuff. He ended up arranging the two longest songs on the record.”

What ended up being your main pedals?

“I’ve been kind of a minimalist for the most of my career with pedals. That started back in my Nitro days. I guess I made career choices that were a lot different to other artists. I’ve been signed to Warner Bros Records twice, which is two times more than most people, and I’m very grateful. 

"Gene Simmons told me many years ago, ‘If you didn’t know who you are, no-one will!’ I asked myself what kind of guitar player I wanted to be and decided the effects are right here in my hands. So I would only use an amp, a cable and one overdrive. 

“In my new rig, I use these nano pedals made by Tom’sline Engineering, who make my signature overdrive and delay . And more recently, I’ve started using a wah - though I’m not endorsed by anyone. I like it more for tonality, scooping back and forth rather than flapping away. It’s a Morley mini one. 

"I’m a pretty tall guy but I have a pedalboard full of little mini things! My setup hasn’t changed too much, I have a delay around 20ms in the loop, a chorus I don’t use too much and occasional wah and overdrive. It’s more organic, just me playing.”

As we’ve grown to expect, there are some truly blazing runs all over the album. It must be almost comical to think that such serious musicianship was born out of faking illness to skip school…

Gene Simmons told me many years ago, ‘If you didn’t know who you are, no-one will!’

“It’s a funny story. We had old-fashioned heaters, like a strip along the floor across the whole wall. It didn’t heat the room much but it was massive. So I was working on alternate picking and I wasn’t quite getting it down. I later realized I had been using a mix of that with economy picking, but I didn’t know at the time, I was teaching myself.

“So it was winter and I went up to the heater and heated up my face until it was all sweaty. I ended up literally grilling my face, it looked red and barbecued. I said, “I’m sick, mom, I can’t go to school today!’ and she was like, ‘Oh my god, son, you have a fever!’ So she left to go to work and I was like, ‘Thank you, mother!’ shredding away with a grin on my face.”

Now, of course, you’re considered a world authority on picking. What have you learned in all these years answering questions about pick slanting, anchoring and raking?

“You need to divide your energy through your arm. I have a very strange picking technique because I wasn’t tall as a boy - my younger sister was much taller. I only started to grow around 16 and my arm stretched out. 

"I got lucky, I can move my wrist very naturally, while a lot of players go from side-to-side and look very rigid. I never tell people to pick like me, but if they want to understand how it works, there are two methodologies of it...

“One is to rest a finger or multiple fingers on the guitar, like I do, and two is to use a free-floating system, like Al Di Meola. Even watch Joe Bonamassa, he might start off with his fingers fanned out but when he kicks into gear, he closes his right hand and his fingers don’t touch the guitar. 

"So the two disciplines are hands on or hands off! I like hands on and there are equally great players on each side. You have to find out for yourself which is best, that’s why I talk about the PPS (potential picking speed) to gauge what feels right for you. I made a real science of it!”

A lot of players feel they can easily tremolo pick on one string but hit serious hurdles and inconsistencies when crossing. Was it the same for you?

Think of patterns as technical tools to help you make music...

“I’m sure every player feels like that at some point. I would say start with two strings, you need to master a two-string pattern before applying it to more. Some people are against pattern playing but I disagree. When you learn piano, you are visualizing patterns. Think of patterns as technical tools to help you make music...

“Try any typical Paul Gilbert or MAB lick and see how far you go with alternate. It might be a case of needing to switch to the same, or slightly different, pattern in economy. 

"You might be able to find combinations of alternate and economy that work for you. Memorize them and go up chromatically. That’s how you build the dexterity. You’ll find a way of making it musical later.”

Much like Frank Gambale, your instructionals inspired players to think more mathematically about their runs - using odd and even numbers to strike through or change direction...

“I know Frank Gambale... I’d be lying if I said we were best friends but we know each other by name. He said one thing that I found very interesting - and I truly believe this - he said that economy is like a fifth gear. I’m faster with economy than alternate, which feels more like fourth gear. So I worked on those techniques from the late '80s, when I knew Frank, but I didn’t get them down in the way I have now. It took years of working on it. 

“And you’re right, it’s kind of mathematical. Frank doesn’t like alternate at all, but I think part of the reason was because he didn’t like Al Di Meola maybe, both of them were in Chick Corea and Al was usually very strict alternate. What I like about having both is that it adds to what you can play. 

"If I told Frank to play my song No Boundaries using only alternate picking, he would say no. But the point is, there is no way of playing it with economy picking. That style means writing to find ways of moving around, it has to lend itself to the upstroke or downstroke for that next sweep. Alternate picking does not, it can go any way whenever you want.”

Frank Gambale said that economy is like a fifth gear. I’m faster with economy than alternate, which feels more like fourth gear

As you’ve so often pointed out, different techniques will feel easier for each player...

“You want the least resistance to play what you want to play, why make it harder when it could be easier? That’s the beauty of not sticking with one discipline or technique. I make jokes sometimes, because Marty Friedman was really into sweeping during his days with Jason Becker but he doesn’t really like it now. 

"And a lot of people are down on those kinds of arpeggios, so I always ask them, ‘What did a sweep ever do to you? Were a dating a sweep and then it broke up with you?!’

“At the end of the day, I realized economy was everything that it claimed to be – economical. I use it more and more, especially live, because it’s ridiculously fast. Frank was right. But alternate also has its place!”

You get a lot of mileage out of harmonic minor and more outside scales. How do you think of it all theoretically?

“I’m going to defer to a lot of the younger players now. This new generation is the best I’ve seen, they seem to love wider intervals - it’s like everyone is trying to find that lost arpeggio through tapping. They are starting where I was when I was in my 20s but at the ages of 10 or even five. 

"They have the benefit of watching players up-close. I didn’t have that, I had to go to concerts and watch guys like Al Di Meola or George Benson. I feel music theory has changed drastically in the last 20 years. I learned the church modes of classical music - from Ionian through to Locrian...

“Today there’s thousands of scales out there, while when I was growing up I was told there were only 30 or so. Now you can learn a Hungarian minor that’s exclusive to only one tiny part of Hungary or the Spanish Phrygian from the South of Spain. Pretty soon we’ll have the Guinness Beer mode. 

"Everyone has got a new scale! I think of it simplistically, every scale resolves. The five wants to go to the one, they call it the dominant chord because it forces you to go back to the start...”

So you look at the fretboard more like church modes with added chromatics?

Some people say all I do is play scales up and down, but if you listen that’s not true. I use a lot of chromaticism to create flourishes that sound close together

“Yeah, I’m definitely thinking of chromatic passing tones rather than the hexatonic flatted fourth diminished third secondary dominant of the fifth entity! Even when I studied jazz, we looked at it as chromatic passages through the church modes. 

“Some people say all I do is play scales up and down, but if you listen that’s not true. I use a lot of chromaticism to create flourishes that sound close together. I like that - it’s four notes per-string and I can use economy picking. Instead of just playing D and then B on the 15th and 12th frets of my B-string, I’ll play the notes in between, and then again on a different string.”

Jazz players like George Benson were the masters of that. Did you study his music much?

“George Benson was and still is one of the all-time greats. And he can sing equally as good he plays too. I’ve met him before and we ended up having a really nice talk about music. I love aggressive music like metal, but I listen to everything. I’m a fan of good music in general. 

“I play the way I play because I know what I want to sound like, from listening to so much other music. Even listening to younger players like Andy James, Jason Richardson and Angel Vivaldi - I could name a whole bunch of them - reinforces that. It reminds me I have to be the best version of myself. I can’t be a 20 year-old. I can only be me.”

Do you find yourself needing to warm up any differently these days?

I have to warm up a little longer now but 20 minutes into it, the engine goes just as fast

“I have to warm up a little longer now but 20 minutes into it, the engine goes just as fast. One of the great things about guitar is that your fingers have fast twitch muscles. Playing guitar is like typing on a word processor, imagine going super-fast, banging your head and screaming, ‘Shred!’ 

"It’s just a matter of skills. It’s not like European football, or what we call soccer, where they have to run around for two hours. That’s not something I’d care to do at my age.

"My picking has been analyzed so much over the years, for one it looks strange, plus I’ve never been hurt and thirdly I can still play just as fast as I did when I was younger...

“The playing field for guitar is more level, someone my age can compete with someone younger because the arena of competition is all within your grasp. I practiced my technique and it served me well. I’m living proof that when you get older you have a lot to look forward to. 

"You don’t have to lose your skill like an athlete, ruling the world at 20 and then adjusting their game before 30. By the time they’re 40, it’s like ‘Whoa, I give up!’ It’s a hard thing. I don’t have much to worry about, I just need to keep my fingers in good shape.”

Finally, do you find much time for the quad and dual guitars these days or are they mainly just for live shows?

“I don’t play the quad anymore because I had to put it on a stand, but I play the double a lot, which I find more fun anyway. I use it live and it’s my version of KISS wearing makeup or Slipknot wearing masks. 

"I have this solo where I play Bach’s Invention in D Minor, fretting the bass notes with one hand, a pattern that goes one five three five on the fretboard and on the other hand I play my own riff. It sounds very Mozart-like but it’s mine.

People don’t always see the nuances in my playing. Thankfully, others do and that’s why I’m still here today

“People can say what they want but I always think inventing it and having someone like Steve Vai give me credit or The Pick Of Destiny film where Jack Black gave me credit is pretty cool. I created something that was realistically just a gimmick and used for live shows, but I’m really doing it and I’m good at it! 

"I use all sorts of mixed meters and I think it’s really cool music. Some people can’t get passed what they see with their eyes. People ask me, ‘Don’t you ever change your clothes, man?’ I own 30 black jackets, sorry I just like to wear them and they’re not all the same. The same goes for my chromatics, people don’t always see the nuances. Thankfully, others do and that’s why I’m still here today.”

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Amit has been writing for titles like  Total Guitar ,  MusicRadar  and  Guitar World  for over a decade and counts Richie Kotzen, Guthrie Govan and Jeff Beck among his primary influences as a guitar player. He's worked for magazines like  Kerrang! ,  Metal Hammer ,  Classic Rock ,  Prog ,  Record Collector ,  Planet Rock ,  Rhythm  and  Bass Player , as well as newspapers like  Metro  and  The Independent , interviewing everyone from Ozzy Osbourne and Lemmy to Slash and Jimmy Page, and once even traded solos with a member of Slayer on a track released internationally. As a session guitarist, he's played alongside members of Judas Priest and Uriah Heep in London ensemble Metalworks, as well as handled lead guitars for legends like Glen Matlock (Sex Pistols, The Faces) and Stu Hamm (Steve Vai, Joe Satriani, G3).

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Birmingham, Alabama

Michael Angelo Batio

Metal Sucks presents Michael Angelo Batio - Speed Kills Tour 2020

Sponsored by Dean Guitars & Guitar World.

GA + Meet & Greet : $50 (Includes original version of Speed Kills guitar instructional DVD, this takes places 15 minutes after the show)

Speed Kills Master Class: $100  (Get one on one guitar instructional time with Michael Angelo Batio himself. Please check in at 5pm to watch him finish setting up and sound checking. The masterclass is from 6pm-7pm. Bring your guitar. Michael will have an unreleased Dean Guitars signature prototype you will be able to play as well. Also includes a free original version of his iconic Speed Kills DVD, plus a ticket into the show + the after show Meet & Greet. Limited to 10 people) The Nick is a Private Club - Membership Card ($5 Per Year) & Valid ID - 21 + Up to Enter

• Official Website

Ambidextrous heavy metal guitar virtuoso from Chicago IL Michael Angelo Batio is known for his lightning-fast guitar techniques, as well as his inventions, such as the double guitar, which he prominently uses in his recordings and performances. Batio is also well known as a guitar instructor, and has released several instructional videos demonstrating his techniques. Batio began playing guitar as a child, and quickly developed an unusually fast guitar picking technique. After graduating from Northeastern Illinois University with a degree in music theory and composition, he became a session guitarist, recording music for several restaurant chains, airlines, and sports teams. His recording career began when he joined ex-Steppenwolf singer Tommy Holland's heavy metal band Holland in 1984. Atlantic Records released the band's sole album, Little Monsters, in 1985, and the band broke up soon after. Batio started his own group, the Michael Angelo Band, which did not release any material. Batio released his first instructional video in 1987, as part of Star Licks Productions' Master Series.

Along with singer Jim Gillette, bassist T.J. Racer, and drummer Bobby Rock, Batio formed another band, glam metal group Nitro, in 1987. The group's first album, O.F.R., was released on Rampage Records in 1989, and the video for single "Freight Train" featured Batio playing a quad guitar, which he also invented. A second lineup of Nitro, with Gillette and Batio accompanied by Johnny Thunder and Ralph Carter, released H.W.D.W.S. (Hot, Wet, Drippin' with Sweat) in 1992 before the group disbanded. Batio started a label, M.A.C.E. Music, in 1993, and began his solo career in 1995 with the release of instrumental full-length No Boundaries. Planet Gemini followed in 1997, and third album Tradition was included with his second instructional video, Jam with Angelo, in 1999. Fourth album Lucid Intervals and Moments of Clarity, co-credited to drummer Rob Ross, followed in 2000.

Batio launched his Speed Kills instructional DVD series in 2003, and released compilation album Lucid Intervals and Moments of Clarity, Pt. 2 in 2004. Studio album Hands Without Shadows arrived in 2005, featuring covers of Deep Purple, Metallica, and Aerosmith, tributes to Randy Rhoads and Led Zeppelin, and guest appearances by members of Creed and Whitesnake. A Hands Without Shadows DVD series was launched in 2006, and Speed Kills 2 was released the same year. The 2007 album 2 X Again featured remixed versions of material from his first two solo albums, and three more DVDs were released during the same year. The vocal-driven album Hands Without Shadows, Vol. 2: Voices arrived in 2009, featuring tributes to Eric Clapton, Dimebag Darrell, Van Halen, and others. The instrumental album Intermezzo followed in 2013, and the career-spanning compilation Shred Force 1 (The Essential MAB) appeared on Rat Pak Records in 2015. ~ Paul Simpson, Rov

​ Michael Angelo Batio was named the Number One Fastest Guitarist of All Time in the Guitar World Magazine Readers Poll. Over 440,000 votes were cast. Michael  Angelo Batio is an icon of Rock and Metal guitar. Michael is known worldwide for his amazing fretwork, his innovative and original  live show, his inventions such as the “MAB Over-Under technique, ”the V  shaped twin “Double-Guitar,” his 4 necked “Quad” guitar (which was voted  one of the 50 most outrageous moments in Rock and Roll history by FHM Magazine,) his great  songwriting, arranging abilities and his incredible sense of humor between songs at  his shows.

Michael  Angelo Batio has influenced the worldwide guitar community and changed  the way people play guitar. His lessons have inspired major artists such  as Tom Morello, John Petrucci, Dimebag Darrell, Michael Romeo, Corey  Beaulieu, Herman Li and many more. People all over the world use  Michael's concepts as teaching guides and Michael's influence spans  generations.  

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The Comprehensive Guide to Moscow Nightlife

• Posted on April 14, 2018 July 26, 2018
• by Kings of Russia
• 8 minute read

Moscow’s nightlife scene is thriving, and arguably one of the best the world has to offer – top-notch Russian women, coupled with a never-ending list of venues, Moscow has a little bit of something for everyone’s taste. Moscow nightlife is not for the faint of heart – and if you’re coming, you better be ready to go Friday and Saturday night into the early morning.

This comprehensive guide to Moscow nightlife will run you through the nuts and bolts of all you need to know about Moscow’s nightclubs and give you a solid blueprint to operate with during your time in Moscow.

What you need to know before hitting Moscow nightclubs

Prices in moscow nightlife.

Before you head out and start gaming all the sexy Moscow girls , we have to talk money first. Bring plenty because in Moscow you can never bring a big enough bankroll. Remember, you’re the man so making a fuzz of not paying a drink here or there will not go down well.

Luckily most Moscow clubs don’t do cover fees. Some electro clubs will charge 15-20$, depending on their lineup. There’s the odd club with a minimum spend of 20-30$, which you’ll drop on drinks easily. By and large, you can scope out the venues for free, which is a big plus.

Bottle service is a great deal in Moscow. At top-tier clubs, it starts at 1,000$. That’ll go a long way with premium vodka at 250$, especially if you have three or four guys chipping in. Not to mention that it’s a massive status boost for getting girls, especially at high-end clubs.

Without bottle service, you should estimate a budget of 100-150$ per night. That is if you drink a lot and hit the top clubs with the hottest girls. Scale down for less alcohol and more basic places.

Dress code & Face control

Door policy in Moscow is called “face control” and it’s always the guy behind the two gorillas that gives the green light if you’re in or out.

In Moscow nightlife there’s only one rule when it comes to dress codes:

You can never be underdressed.

People dress A LOT sharper than, say, in the US and that goes for both sexes. For high-end clubs, you definitely want to roll with a sharp blazer and a pocket square, not to mention dress shoes in tip-top condition. Those are the minimum requirements to level the playing field vis a vis with other sharply dressed guys that have a lot more money than you do. Unless you plan to hit explicit electro or underground clubs, which have their own dress code, you are always on the money with that style.

Getting in a Moscow club isn’t as hard as it seems: dress sharp, speak English at the door and look like you’re in the mood to spend all that money that you supposedly have (even if you don’t). That will open almost any door in Moscow’s nightlife for you.

Types of Moscow Nightclubs

In Moscow there are four types of clubs with the accompanying female clientele:

High-end clubs:

These are often crossovers between restaurants and clubs with lots of tables and very little space to dance. Heavy accent on bottle service most of the time but you can work the room from the bar as well. The hottest and most expensive girls in Moscow go there. Bring deep pockets and lots of self-confidence and you have a shot at swooping them.

Regular Mid-level clubs:

They probably resemble more what you’re used to in a nightclub: big dancefloors, stages and more space to roam around. Bottle service will make you stand out more but you can also do well without. You can find all types of girls but most will be in the 6-8 range. Your targets should always be the girls drinking and ideally in pairs. It’s impossible not to swoop if your game is at least half-decent.

Basic clubs/dive bars:

Usually spots with very cheap booze and lax face control. If you’re dressed too sharp and speak no Russian, you might attract the wrong type of attention so be vigilant. If you know the local scene you can swoop 6s and 7s almost at will. Usually students and girls from the suburbs.

Electro/underground clubs:

Home of the hipsters and creatives. Parties there don’t mean meeting girls and getting drunk but doing pills and spacing out to the music. Lots of attractive hipster girls if that is your niche. That is its own scene with a different dress code as well.

What time to go out in Moscow

Moscow nightlife starts late. Don’t show up at bars and preparty spots before 11pm because you’ll feel fairly alone. Peak time is between 1am and 3am. That is also the time of Moscow nightlife’s biggest nuisance: concerts by artists you won’t know and who only distract your girls from drinking and being gamed. From 4am to 6am the regular clubs are emptying out but plenty of people, women included, still hit up one of the many afterparty clubs. Those last till well past 10am.

As far as days go: Fridays and Saturdays are peak days. Thursday is an OK day, all other days are fairly weak and you have to know the right venues.

The Ultimate Moscow Nightclub List

Short disclaimer: I didn’t add basic and electro clubs since you’re coming for the girls, not for the music. This list will give you more options than you’ll be able to handle on a weekend.

Preparty – start here at 11PM

Classic restaurant club with lots of tables and a smallish bar and dancefloor. Come here between 11pm and 12am when the concert is over and they start with the actual party. Even early in the night tons of sexy women here, who lean slightly older (25 and up).

The second floor of the Ugolek restaurant is an extra bar with dim lights and house music tunes. Very small and cozy with a slight hipster vibe but generally draws plenty of attractive women too. A bit slower vibe than Valenok.

Very cool, spread-out venue that has a modern library theme. Not always full with people but when it is, it’s brimming with top-tier women. Slow vibe here and better for grabbing contacts and moving on.

High-end: err on the side of being too early rather than too late because of face control.

Secret Room

Probably the top venue at the moment in Moscow . Very small but wildly popular club, which is crammed with tables but always packed. They do parties on Thursdays and Sundays as well. This club has a hip-hop/high-end theme, meaning most girls are gold diggers, IG models, and tattooed hip hop chicks. Very unfavorable logistics because there is almost no room no move inside the club but the party vibe makes it worth it. Strict face control.

Close to Secret Room and with a much more favorable and spacious three-part layout. This place attracts very hot women but also lots of ball busters and fakes that will leave you blue-balled. Come early because after 4am it starts getting empty fast. Electronic music.

A slightly kitsch restaurant club that plays Russian pop and is full of gold diggers, semi-pros, and men from the Caucasus republics. Thursday is the strongest night but that dynamic might be changing since Secret Room opened its doors. You can swoop here but it will be a struggle.

Mid-level: your sweet spot in terms of ease and attractiveness of girls for an average budget.

Started going downwards in 2018 due to lax face control and this might get even worse with the World Cup. In terms of layout one of the best Moscow nightclubs because it’s very big and bottle service gives you a good edge here. Still attracts lots of cute girls with loose morals but plenty of provincial girls (and guys) as well. Swooping is fairly easy here.

I haven’t been at this place in over a year, ever since it started becoming ground zero for drunken teenagers. Similar clientele to Icon but less chic, younger and drunker. Decent mainstream music that attracts plenty of tourists. Girls are easy here as well.

Sort of a Coyote Ugly (the real one in Moscow sucks) with party music and lots of drunken people licking each others’ faces. Very entertaining with the right amount of alcohol and very easy to pull in there. Don’t think about staying sober in here, you’ll hate it.

Artel Bessonitsa/Shakti Terrace

Electronic music club that is sort of a high-end place with an underground clientele and located between the teenager clubs Icon and Gipsy. Very good music but a bit all over the place with their vibe and their branding. You can swoop almost any type of girl here from high-heeled beauty to coked-up hipsters, provided they’re not too sober.

Afterparty: if by 5AM  you haven’t pulled, it’s time to move here.

Best afterparty spot in terms of trying to get girls. Pretty much no one is sober in there and savage gorilla game goes a long way. Lots of very hot and slutty-looking girls but it can be hard to tell apart who is looking for dick and who is just on drugs but not interested. If by 9-10am you haven’t pulled, it is probably better to surrender.

The hipster alternative for afterparties, where even more drugs are in play. Plenty of attractive girls there but you have to know how to work this type of club. A nicer atmosphere and better music but if you’re desperate to pull, you’ll probably go to Miks.

Weekday jokers: if you’re on the hunt for some sexy Russian girls during the week, here are two tips to make your life easier.

Chesterfield

Ladies night on Wednesdays means this place gets pretty packed with smashed teenagers and 6s and 7s. Don’t pull out the three-piece suit in here because it’s a “simpler” crowd. Definitely your best shot on Wednesdays.

If you haven’t pulled at Chesterfield, you can throw a Hail Mary and hit up Garage’s Black Music Wednesdays. Fills up really late but there are some cute Black Music groupies in here. Very small club. Thursday through Saturday they do afterparties and you have an excellent shot and swooping girls that are probably high.

Shishas Sferum

This is pretty much your only shot on Mondays and Tuesdays because they offer free or almost free drinks for women. A fairly low-class club where you should watch your drinks. As always the case in Moscow, there will be cute girls here on any day of the week but it’s nowhere near as good as on the weekend.

In a nutshell, that is all you need to know about where to meet Moscow girls in nightlife. There are tons of options, and it all depends on what best fits your style, based on the type of girls that you’re looking for.

Related Topics

• moscow girls
• moscow nightlife

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