ArtistDirect News
Fishbowl Live Reopens at The Mockbee After March Closure, Raises $1,000 for Ovarian Cancer Alliance
When the last of Clifton’s neon‑lit walls fell silent in March, the city’s underground music scene braced for an empty stage. Then, on September 3, a new light flickered on at The Mockbee in Over The Rhine (OTR), as Fishbowl Live returned with a splash of sound and a splash of generosity. The first post‑closure event, titled "Fish Out of Water," drew roughly 500 attendees and netted almost $1,000 for the Ovarian Cancer Alliance of Ohio (OCAO), marking a triumphant comeback for a venue that had become a staple of Clifton’s DIY culture.
Fishbowl’s roots trace back to a converted house on Taylor Avenue that opened its doors in November 2024. Within months, the venue had morphed into one of the town’s most sought‑after underground stages, pulling crowds that sometimes swelled to 1,000 people. Organizers reported that ticket sales from Fishbowl shows had already raised more than $6,000 for local charities. The original layout—an upper‑level garage for bands and a yard below for vendors, bonfires, and other displays—captured the raw, communal spirit that defined the scene.
In March, Fishbowl announced its closure on social media after losing the Taylor Avenue location. Organizers said they were searching for a new venue and had not yet revealed a replacement. The September show marked the first communication from Fishbowl organizers since that announcement, signaling that the search had finally borne fruit.
"We were always planning on keeping an open mind into moving to a different venue, but we didn’t want to settle on anything we weren’t in love with," Boston Hammond, a founding organizer and fourth‑year construction‑management major at the University of Cincinnati, told reporters. Hammond added that the partnership with The Mockbee was a blessing after a period of disappointment.
The Mockbee is a modular event space in OTR that offers multiple floors, a full bar, a lounge area, and a stage set up in a tunnel. Fishbowl leveraged the lounge and second floor for vendors and staged six performers in the tunnel for the opening night. The venue’s layout allowed the event to retain Fishbowl’s intimate vibe while providing the technical infrastructure needed for larger crowds.
The lineup for "Fish Out of Water" reflected Fishbowl’s legacy. Local acts Limelight and Zolmon’s Wolfgang opened the night, followed by Cleveland‑based False Teeth. DJ sets were provided by Auxstar, pureapathi, and TwkrBtch. Hammond said the selection was intended to honor Fishbowl’s history. He noted that Limelight had introduced him to Clifton’s live‑music scene and that Zolmon’s Wolfgang had performed at Fishbowl’s biggest shows, including "The Battle of the Bands" and "Halloween 2025." According to Hammond, Zolmon’s Wolfgang has played more Fishbowl shows than any other artist.
Jay Thornbury, bassist and manager of Zolmon’s Wolfgang, commented on the new venue. He said the space felt "more real" and described the lighting rig, smoke, and green room as enhancing the rock‑star experience. Thornbury added that the crowd was large and that the venue’s features made the performance feel like a step up from the house venue.
The reopening show was a success in terms of attendance and atmosphere. Hammond reported that the line into The Mockbee was out the door for several hours and that the dance floor and lounge remained consistently full. The energy in the venue echoed the excitement of the first Fishbowl nights while showcasing the upgraded facilities.
Fishbowl’s proceeds from the first show after reopening were donated to the Ovarian Cancer Alliance of Ohio. This is the second time Fishbowl has contributed to the organization. Hammond said the battle against ovarian cancer is "very close to all of us that work with Fishbowl" and that contributing to the OCAO’s mission was meaningful.
While the organizers have not confirmed a long‑term plan for Fishbowl, Hammond said the venue’s future remains uncertain but that the reopening is not the last time Fishbowl will be heard. He emphasized that the community’s support after the closure motivates continued shows.
The event demonstrates how a local underground venue can pivot to a larger, more versatile space while maintaining its community focus and charitable contributions. It also highlights the resilience of Clifton’s DIY music scene following the abrupt loss of a key venue.
Fishbowl’s roots trace back to a converted house on Taylor Avenue that opened its doors in November 2024. Within months, the venue had morphed into one of the town’s most sought‑after underground stages, pulling crowds that sometimes swelled to 1,000 people. Organizers reported that ticket sales from Fishbowl shows had already raised more than $6,000 for local charities. The original layout—an upper‑level garage for bands and a yard below for vendors, bonfires, and other displays—captured the raw, communal spirit that defined the scene.
In March, Fishbowl announced its closure on social media after losing the Taylor Avenue location. Organizers said they were searching for a new venue and had not yet revealed a replacement. The September show marked the first communication from Fishbowl organizers since that announcement, signaling that the search had finally borne fruit.
"We were always planning on keeping an open mind into moving to a different venue, but we didn’t want to settle on anything we weren’t in love with," Boston Hammond, a founding organizer and fourth‑year construction‑management major at the University of Cincinnati, told reporters. Hammond added that the partnership with The Mockbee was a blessing after a period of disappointment.
The Mockbee is a modular event space in OTR that offers multiple floors, a full bar, a lounge area, and a stage set up in a tunnel. Fishbowl leveraged the lounge and second floor for vendors and staged six performers in the tunnel for the opening night. The venue’s layout allowed the event to retain Fishbowl’s intimate vibe while providing the technical infrastructure needed for larger crowds.
The lineup for "Fish Out of Water" reflected Fishbowl’s legacy. Local acts Limelight and Zolmon’s Wolfgang opened the night, followed by Cleveland‑based False Teeth. DJ sets were provided by Auxstar, pureapathi, and TwkrBtch. Hammond said the selection was intended to honor Fishbowl’s history. He noted that Limelight had introduced him to Clifton’s live‑music scene and that Zolmon’s Wolfgang had performed at Fishbowl’s biggest shows, including "The Battle of the Bands" and "Halloween 2025." According to Hammond, Zolmon’s Wolfgang has played more Fishbowl shows than any other artist.
Jay Thornbury, bassist and manager of Zolmon’s Wolfgang, commented on the new venue. He said the space felt "more real" and described the lighting rig, smoke, and green room as enhancing the rock‑star experience. Thornbury added that the crowd was large and that the venue’s features made the performance feel like a step up from the house venue.
The reopening show was a success in terms of attendance and atmosphere. Hammond reported that the line into The Mockbee was out the door for several hours and that the dance floor and lounge remained consistently full. The energy in the venue echoed the excitement of the first Fishbowl nights while showcasing the upgraded facilities.
Fishbowl’s proceeds from the first show after reopening were donated to the Ovarian Cancer Alliance of Ohio. This is the second time Fishbowl has contributed to the organization. Hammond said the battle against ovarian cancer is "very close to all of us that work with Fishbowl" and that contributing to the OCAO’s mission was meaningful.
While the organizers have not confirmed a long‑term plan for Fishbowl, Hammond said the venue’s future remains uncertain but that the reopening is not the last time Fishbowl will be heard. He emphasized that the community’s support after the closure motivates continued shows.
The event demonstrates how a local underground venue can pivot to a larger, more versatile space while maintaining its community focus and charitable contributions. It also highlights the resilience of Clifton’s DIY music scene following the abrupt loss of a key venue.