Professor Plumb Releases Their New Single "Red Sky"

By: Adam Cabrera

In their new single “Red Sky” released on February 15th, the Denver-based rock band Professor Plumb drifts atop a turbulent sea of metal doom in a slow, heavy hitting jam which warns of impending catastrophe.

Professor Plumb.

Professor Plumb.

First appearing in the Mile High in 2018 with the release of two singles and eventually a five song EP entitled The Magic Twelve (EP 1), Professor Plumb has proven themselves to be one of Denver’s more noteworthy new artists over the past year. Led by vocalist/songwriter Benom Plumb, who began his career working in music publishing and is currently an Assistant Professor at The University of Colorado Denver’s Music Industry Studies Program (hence the bands name), Professor Plumb is his first effort as a performing artist. Comprised of Plumb performing second bass, John Demitro (Pink Fuzz, The Velveteers) on guitar, Alex Bailey on first bass, and Ben Hatch performing drums, the band managed to find some recognition with their 2018 single “Midnight Creep.”

But last year’s aggressive, punk-inspired single plays in stark contrast to Friday’s release, as “Red Sky” introduces a new sound previously unheard from the band. Where “Midnight Creep” was a fast paced, rock’n’roll shuffle, “Red Sky” is funereal. Reminiscent of Black Sabbath’s “Black Sabbath” or Pink Floyd’s “The Nile Song,” the single moves along sluggishly while relishing in dark, menacing guitar riffs which subside just before breaking off into a high-energy guitar solo. One sound that distinguishes the recording is Benom’s voice. Sitting well below the vocal range of many punk/metal singers, Benom projects a unique baritone which cuts clean through the densely packed distortion and booming drums.

Furthermore, the heavier sound lends itself to the similarly dark themes presented in the song lyrics. Steeped in metaphor and ancient mysticism, the song’s imagery paints a picture of world destruction and coming apocalypse. Borrowing a line from an old rhyme often repeated by mariners, Benom’s words warn of red clouds on the horizon and “wicked” sailors who appear ignorant of the coming storm.

When asked what the song’s lyrics refer to, Benom explains that he has always been fascinated with “end-of-the-world” scenarios and the self-destructive, often hippocratic, nature of the people involved. In regards to Red Sky, Benom says that he was influenced by a red winged-planet referenced by the ancient Sumerians. The planet, aptly named “destroyer”, was said to wreak havoc on the Earth as it entered our atmosphere. With this in mind, it’s easy to imagine a certain pessimistic outlook on humanity that the song details but Plumb suggests that a far more positive message can be realized. To Benom, the song is a word for the wise and encourages, “kindness, empathy, love and compassion for one another” by pointing out the hubris of humankind and the dreadful consequences if it be left unchecked.  

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The single comes as a precursor to The Magic Twelve (EP 2), the group’s next release in a series of three similarly titled EPs. So, in the swirl of an eerie crystal gaze and heavy metal rumbling, “Red Sky” gives us a taste of what’s soon to come from the band as well as something to blast over the stereo while we wait.

Professor Plumb will be performing at the Boulder International Film Festival (BIFF) Songwriter Showcase on Saturday, March 2nd located at The Post Brewery in Boulder, CO. The same day, Benom will be hosting a panel on film music and audio production on the Pearl St. Mall. On the morning of March 3rd, you can also catch them performing a short set just before the screening of The Mustang at BIFF.

Keep up with Professor Plumb here.

-Adam

All photos, videos, and embedded tracks per the artists featured and those credited. This feature was edited for brevity and clarity by BolderBeat.

Race To Neptune Are Either the Black Sheep of Fort Collins or It's Next Big Thing

By: Brody Coronelli

With a new lineup, the band’s heavy, technical, and invigorating new EP Abandon Fashion showcases their evolution as a band, and what sets them aside from their counterparts.

Race To Neptune.

Race To Neptune.

With a spellbing conceptual precision that blends scuzzy ‘90s grunge-rock, darkwave, and the teeth-kicking emotional thunder of punk in a manner that makes heads bang, dice tumble, and PA systems growl, Race to Neptune are one of Fort Collins’ loudest, eclectic, and ferocious rock bands.

The band made their debut in 2016 with Oh Contraire, an album that had a few moments of brazen, fiery chargings into up-tempo punk-rock, but for the most part stayed on the melodic side, using dark, midtempo, and gritty instrumentation to surround frontman Brian Maier’s personal and biting lyrics in a shadowy glow. On the Thurston Moore-reminiscent “Wanderlilly,” the guitars are loud and fiery, but immensely tasteful and bright as the band uses a catchy refrain and echoing harmonies to guide the song into a warm resonance. The song is forceful and delicate all at once; a balance the band had no issue finding on that album.

On their new EP Abandon Fashion, the band has kept the technical sensibilities of their debut intact, making use of raw, punkish energy to play their eclectic and progressive brand of rock’n’roll. Many of the songs have a raw and thundering approach that takes more after punk-rock than it does from brazen, technical, and melodic broods through the dimly lit streets of Oh Contraire. These songs aim to ignite, but not in a typical four-chord punk rock fashion. The band uses this driving energy and delivers it with an array of sonic intricacies in a way that’s more indicative of artists like Jack White, Black Sabbath, and Queens of The Stone Age rather than Subhumans or The Germs.

“I think [Abandon Fashion] is a two word statement that almost signifies that we are going to write, record, and do what we want and how we want, no matter what is cool, trendy, or ‘in fashion’,” says frontman Brian Maier.

The whole EP was cut live at Stout Studios in Fort Collins, capturing a raw and forthright energy that often can’t be found when meticulously multi-tracking or chasing the perfect take. This raw approach, balanced with the driving and aggressive nature of the songs makes Abandon Fashion a fierce, unrelenting pleasure.

“I honestly have always wanted to [record the way we did on this record] because it captures the aggressiveness and raw energy of how we actually sound that can’t be faked. I think if we recorded the first album the same way those songs would have come across just as heavy. Track by track recording is so dialed in and precise in every way from the smallest turn of an amp or pedal knob to how hard we strum or hit a drum or cymbal. This was total freedom and we recorded this just how we practice and this is how we sound live, because it is!” says frontman Brian Maier.

The opening track “Mortal Melody” features a nearly two-minute chugging intro with guitars that gradually grow more jagged, and pummelling drums that grow fiercer with each strike. The song is a garage-driven excursion that has all the thrill of driving down an empty desert highway going fifty over the speed limit. “I’ll be your creature/Can you teach me to teach/Sing to me slowly/In a motor melody,” Maier sings with a quiet growl on top of a scuzzy and aggressive bassline.

The Sonic Youth and Modest Mouse inspired “Departure” follows, a scuzzy rocker with a chanting, harmonic, and arena rock-reminiscent chorus. “Sunsets” is an older song of Maier’s that resurfaced while the band was tracking the album. With a beachy, sunburnt instrumental that feels like a long drive by the coast and lyrics about running off to California, it’s a bright and infectious song by a band that often defaults to the shadows.

The closing track “Abandon Fashion” is a return to form for the band. The entirely instrumental song opens with a fit of siren-esque picking, only to devolve into a showdown of fiery, circling guitars that get more aggressive with every note. What starts out capturing a warm sunset quickly starts to resemble a sky littered with flames, dancing down to the ground.

The album artwork for Abandon Fashion.

The album artwork for Abandon Fashion.

In more ways than one, Abandon Fashion marks a new beginning for the band. Not only is it a step into new musical territory, but the band underwent two significant lineup changes before making it. With Matt Petersen now on drums and Matt McNear on bass, the band’s sound is shifting in a different direction. Their influences are made loud and clear, and their presences melding with Maier’s technical and anthemic songwriting have led to Race of Neptune’s most invigorating record so far.

“I think it has been a pretty seamless transition,” says Petersen. “We got comfortable together really quickly. Matt just came on as bassist late February and we were in the studio the first week of April. I think that's definitely a testament to our cohesiveness. [Matt and I] both have a strong jazz background with our instruments which allows us to keep time really well while getting out of the rhythmic box bass and drums can sometimes be confined to in rock music. We are also all involved in the writing process… it’s a very cumulative sound you’re hearing.”

Race to Neptune underwent a quick evolution on Abandon Fashion, and for the better. It’s an invigorating, technical, and fun record that sets the band at the forefront of Fort Collins’ music scene. This doesn’t mean that they aren’t outliers, though. In a scene dominated by folk, EDM, and bluegrass, Race to Neptune are a shining beacon of musical progression and experimentation run through a filter of loud, raw, and eclectic rock.

“There has been a little increase in rock bands and venues in the [Fort Collins] area which is nice, but we are still the black sheep of the music scene up here. It is still very much dominated by jam bands, DJs and bluegrass, but we are trying very hard to support other local rock bands as well,” Maier says.

When the musical cohesiveness, energy, and vision of a band like Race To Neptune are all working together, maybe being the black sheep isn’t a bad thing; maybe it’s a sign that they’re at a the forefront of new sound and identity for Northern Colorado. It’s too early to say, but considering how far they’ve come as a band on only two records, anything is possible.

Abandon Fashion is out now. You can keep up with Race to Neptune here.

-Brody

All photos, videos, and embedded tracks per the artists featured and those credited. This feature was edited for brevity and clarity by BolderBeat.

Dragondeer Are Set To Be Colorado's Next Big Music Name

By: Meghan Hargaden

Dragondeer, a heavy blues American rock band from Denver, CO, is gathering quite a bit of esteem for their newest album, and first full length LP, If You Got The Blues. Sighted for their singularity and strangeness, this Denver band is doing something different, and has us all turning our heads and our hips.

They draw inspiration from all angles of the American sound including the soul and sincerity of the electric blues of Stevie Ray Vaughn, the modern-day dread of The Black Keys, a bit of pre-heavy metal influence from Black Sabbath, and the swamp rock of Creedence Clearwater Revival. These influences have helped Dragondeer claim a first-class seat on Jefferson’s airplane, as it takes off into the future of American rock music, and pays homage to all the artists that set the runway for this band to jet. The members of the band include Cole Rudy (electric guitar/lap steel/mandolin), Eric Halborg (lead vocals/harmonica/guitar), Carl Sorensen (drums), and Casey Sidwell (bass).

The album begins with the self-titled track, “If You Got the Blues,” setting the stage for the sincerity and soul that occurs throughout the journey of this production. A production, I might add, that couldn’t have happened without the help of accomplished producer Mark Howard, who has worked with legendary artists such as Bob Dylan, Tom Waits, REM, Neil Young, Lucinda Williams, and Willie Nelson.

Dragondeer.

Dragondeer.

The album saunters us in with the ethereal notes of Eric Halborg’s voice merging magically with the harmonica, as it soars over the chortling cuts of low-end accompaniment in this psychedelic Americana ballad. “Don’t Go” pleads the song’s opening line, and from the moment the words first burst forth from his lips, the pure longing in his voice lends credence to the name of this track, and the entire project. The discordant harmonies of the chorus resolve into a melancholic, distorted fuzz, leaving us reminiscent of dusty guitars plucked by the firelight, and amplified by the neon lens of modern reality. The second chorus cuts with a solemn breakdown, drifting off into the chasm of our isolation. Both the lyrics and the voicing of the instrumentation echo our worst fear of being truly alone; listening to these tunesmiths, it’s as if our entire psyche has been cloaked in an iridescent haze of the weirder parts of the 1970s. A bold and beautiful love song, this first track stands as a testament to Dragondeer’s songwriting, musicianship, and purity. The band describes the track as a personal manifesto, with inspiration drawn from the belief in a shared human experience and a desire to connect with others.

The next track, “Amarillo Bump,” begins with the sustained sounds of Rudy’s electric guitar, leaving us suspended in time only to be saved by Halborg’s harmonica once again. We are then escorted into the thumping and driving kick of Carl Sorensen’s drum beat, which becomes the outboard motor for the entire track, propelling us into the murky waters of the 1950s and out into the swampy southern rock of the 70s. Like a bunch of Scottish teenagers out for a boating holiday on Loch Ness dropping acid before hearing thumps at the bottom of the boat, the electric guitar and harmonica attempt musical cries for aid, calling until their voices grow raspy, realizing that there is no help coming. And so, we lay back and accept our fate, letting the bass tones and percussive rhythms of writhing tentacles and electronica bring us deeper and deeper into the darkness.

The album continues with Halborg’s raw vocals, rambling harmonica solos, and groovy instrumentation that fuse all together into a unique genre of country funk and American rock. Like taking a long swamp ride along the rolling waves of the Florida everglades, brought up and turned on by the slow, isolating tracks like “Believe,” “Easy With Me,” and “When I See You,” and then brought back down into slow, isolating tracks like “Same Train,” “Let it Ride,” and “Part of the Flow.” This vacillating progression, capturing the beautiful desperation of blues music.

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Alone, If You Got The Blues stands as a declaration of the band’s genius, but their live performance brings an entirely alternate layer of talent, captivating the audience with their impressive improvisation, harmonizing harmonica, heavy metal mandolin, lap steel played untraditionally through delays, and a ripping rhythm section that can’t keep us from getting down and dancing.

You can see Dragondeer perform their new album live at The Grandoozy Festival this summer in Denver, CO on September 14th. The band is stoked to be coming back to their hometown to perform alongside a variety of internationally renowned artists of all different genres.

Be sure to follow Dragondeer on Spotify and iTunes and keep a look out for all of their other upcoming shows in Atlanta, Telluride, and right here in their hometown of Denver. You can buy tickets for Grandoozy here!

-Meghan

All photos, videos, and embedded tracks per the artists featured and those credited. This feature was edited for brevity and clarity by BolderBeat.

Public Safety On Why There's Nowhere Else To Go In The Mile High But Up

By: Annie Kane

Four-piece Denver band Public Safety believe that there is nowhere else for them to go but up. I spoke with them recently at a local coffee shop prior to their show at The Biergarten in Boulder to pick their brains on their roots, influences, and what they might expect on their ascent.

Public Safety.

Public Safety.

Do you guys want to start off with your background? Where you’re from and how you feel like that shaped the artists you are today?

Bear: Well, Jimmy and I actually founded Public Safety back in Charleston two and a half years ago. We were down at the College of Charleston, and he and I met and we started [Public Safety] as more of a college party band. And then, I decided I wanted to transfer back here and do music and asked him to come with me and he came and we re-formed Public Safety with you guys. (looks to other band mates)

Jimmy: Yeah, we started in September of 2015.

Do you feel like Boulder is a better platform for your music?

Bear: We’ve only played Boulder like, three or four times. We mostly perform in Denver; yeah we’re out of Denver. That’s where I was born and raised and he came six months after I moved back and I kinda got my feet wet in the Denver scene.

Jimmy: This whole area, just like Colorado, is way more of a scene than what we had in South Carolina where we were at, so definitely a good decision to come out here.

Bear: And it’s crazy how quickly it’s growing, too.

Ethan: Oh yeah, the scene is getting a lot bigger for sure.

How do you guys like the scene here in Colorado?

Bear: I don’t know the Boulder scene too well yet, but I’ve definitely seen a lot of bands in Boulder and a lot of bands come out of Boulder. But the Denver scene is crazy, it’s just exploded. It’s so fun to be a part of.

Ethan: There’s some people doing some cool stuff in Boulder, like the Cosmic Collective guys who we just did a podcast with a couple weeks ago. [Eric] is doing some cool stuff, he’s a super nice guy.

Agreed. What kind of environment do you guys like to create when you perform?

Bear: Rowdy! I like it to be lit to the max! (laughs) But, I’m very into hip hop and that stuff so I try to make it really hype.

Ethan: It’s definitely a party feel.

Jimmy: We definitely like people dancing.

Bear: I hump my mic stand quite a bit. (laughs)

Lem: This will be my first time [performing with Public Safety].

Bear: Yeah he’s brand new. Only his second show with us. We had a different drummer for a little while, and we found this guy right here, and we felt he matched the vibe a lot better and I think it’s just the right move. We’re about to record the first really album at Coupe Studios here in Boulder, actually. So we’re excited about that.

What can your listeners expect from that album coming up?

Bear: What do you guys think? (turns to bandmates)

Jimmy: I think it’s gonna be rolling with a way tighter sound; more production. We’ve taken the time to put the songs together in a better way. Last time [we recorded] we didn’t really have an idea of what to create in the studio and this time we have a way more clear vision. If anything else, it will just be upgraded with the drums, so it’s just gonna be way better.

Bear: Just fuego. There’s gonna be some fire in there. There’s some sensual songs, there’s some darkness in there, and then there’s a couple rock songs. A lot of angry songs about my ex-girlfriend.

Ethan: It’s a lot of emotions! The whole spectrum.

Bear: Yeah, if you watch the progression of my lyrics, they’re very indicative of what’s going on in my life. If I’m in a bad mood, I’m writing songs like ‘Retrograde’ just about being mad. ‘Impulse Control’ is about being mad too.

Ethan: (laughs) You’re just an angry individual!

Bear: I’m actually a very jovial man, full of joy and happiness.

Ethan: It’s good to vent.

Bear: It’s good to vent. Yeah, what better way to get back at somebody who’s hurt you than to throw it in a song?

Ethan: Make a bunch of other people sing it with you.

Bear: Yeah, have a bunch of people sing along.

So do you write the majority of the songs Bear?

Bear: Jimmy writes music and I write lyrics for the most part. It’s kind of interchangeable as well. He’s written some verses for ‘Night Call,’ which is a song I’ve been working on for a long time; it’s gonna be on the album. I had the basic outline and he comes in and is like, ‘Alright, well I hear this’ and we put it together. That’s why I think I had Jimmy come out here because we had such a good connection with songwriting and performing.

What genre would you guys classify yourself as fitting into, or not fitting into?

Bear: We say rock and soul.  

Jimmy: It’s a big variety. It’s definitely rock-based, for sure. It’s definitely hard hitting, but we like to get soulful too.

Bear: We get down and dirty. We also get hype.

Lem: I’ve wanted to play rock too and this is the first band I ever get to play rock with. As much as I’ve wanted to, I just always get R&B or gospel or funk. So this is awesome to change it up.

How long have you been playing?

Lem: Professionally, for like thirteen years. But pretty much since I was three.

Bear: Somehow he wanted to end up with this band, somehow he said yes.

Lem: It worked out.

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Is there anybody that you feel like you make your music for?

Bear: The ladies. I think that we fit into the multiple niches or sections of music. We have the rock stuff, almost Royal Blood. We have one song that’s almost like Rage Against the Machine. But we also fit into the pop scene with Kaleo or Twenty One Pilots that you hear on the radio who have a lot of musicianship but also have that sing-along pop. We have more deep tracks as well.

Are those artists that you named who you draw a lot of inspiration from?

Bear: I think we all have different people who are inspirations to us.

Ethan: I know there’s a lot of bands that I listen to that they don’t. We definitely all pull from different music genres and have a lot of overlap. Like I listen to a lot of classic rock, a lot of Led Zeppelin, Black Sabbath, that kind of stuff. Jimmy listens to a lot of Jimi Hendrix and a lot of rock’n’roll.

Bear: I really like Motown. James Brown is probably, on stage, my hero. That’s the guy I really look up to, how he takes control of the stage, takes control of the entire arena. That’s amazing for me.

Jimmy: I think the one thing we all have in common is that we love jamming. The song is the main goal- at the end of the day we just wanna have a good song to start from.

Bear: [Lem’s] best quote ever is, ‘It’s about the feel not the fill.’

Lem: I know that sounds strange- most people are like, ‘What do you mean?’ I mean the feel- like the soul, feelings, emotions you get versus doing a whole bunch of licks on drums. That nostalgia that you get.

Ethan: It’s more about the melody than anything.

Bear: I was sold when I saw that [quote]. I knew he needed to be in the band. That is the quintessential piece. Something I’ve noticed about all these guys is this drive to be better and know that we can always be better. That’s something that I really respect from everybody here. No one’s ever really happy after a show- we find areas where we need to work on. On stage there’s so much confidence and [we] come out with a bang, but at the end of the day we’re always looking to get better.  

Ethan: I think we’re our own hardest critics for sure.

Where do you see Public Safety going?

Bear: 13 nights at MSG.

Ethan: 17 in 17! We just gotta wait for 3017.

Bear: I wanna be one of those bands. When people think about the Colorado scene exploding, and they think about The Lumineers, Nathaniel Rateliff, Motet… I wanna be in that list. I think we’re on our way. There’s been a lot of traction, it’s just about finding the right people to get in our corner.

Ethan: I think the only place we’re going is to the top, honestly. There’s nowhere else to go.

Lem: It’s definitely the dream. It’s all we’re trying to do forever, and ever and ever. We have to go to the top.

Bear: We work, we show up to gigs on time, we don’t get shitfaced before shows. Everybody is on it, we know our parts. We have a contract and a bunch of agreements we’ve made. I’ve been in good bands but never had the confidence like I do in us right now. All [of us are] excited about what we’re doing which is really inspiring and motivating.

Ethan: We’ve only been playing seriously for about a year, and it’s pretty cool to see all the crazy things we’ve done in that limited time. We’ve toured around a bit; played some festivals in front of a few thousand people.

Bear: We’re headed down to the East Coast, back to Charleston in March doing a 14-stop tour. We’re pretty excited about that, that’ll be a lot of fun.

To the top it is. Keep up with Public Safety here.

-Annie

All photos per the author. All videos and embedded tracks per the artists featured and those credited. This feature was edited for brevity and clarity by BolderBeat.

Radio Moscow Bringing Raw Pysch Rock Sounds To Denver's Larimer Lounge This Saturday (07/08)

By: Sierra Voss

Want to know what’s going on in today’s underground world of psych rock? San Diego’s rock’n’roll power trio Radio Moscow will be making their way to Larimer Lounge this Saturday, July 8th. Radio Moscow live in the intersection of psychedelic rock and blues, pulling sound influences from bands like Cream, Black Sabbath and The Jimi Hendrix Experience. It’s just about guaranteed that this band will be showing off their ripping guitar solos, crunchy chords and driving drum beats all night long, so if you’re into that, you’ve got no excuse not to make your way on over.

Radio Moscow.

Radio Moscow.

Radio Moscow currently rolls three members deep: Paul Marrone (drums), Anthony Meier (bass) and Parker Griggs (guitar/vocals). The band actually started off as Griggs’ solo project, and he happened to drop a demo that caught Dan Auerbach’s ear. Subsequently, Dan Auerbach (The Black Keys) helped produce Griggs’ 2007 self-titled debut.

Listen to Radio Moscow's Live! In California:

Griggs released two more albums before RM became a trio in 2013; they then recorded their first album together, Magical Dirt. More recently, the trio pushed out their second album, Live! In California, a record which is insanely explosive and raw, truly channeling back to the era of the great rock bands of the '60s. It’s reasons like these that Saturday’s set will be a show you won’t want to miss!

Grab your tickets for this show here! I’ll see you there-

-Sierra

All videos and embedded tracks per the artist featured and those credited. This feature was edited for brevity and clarity by BolderBeat.

Robert Randolph and the Family Band 'Got Soul' And It Shows

By: Will Baumgartner

When I first heard of Robert Randolph, I was intrigued enough by the idea of a pedal steel guitarist playing a high-energy soul/blues/funk/groove mix that I pulled up a live video to see and hear what all the noise was about. What came up was a performance on David Letterman of Robert Randolph and the Family Band’s hit “Ain’t Nothing Wrong With That.” I was immediately hooked, not only by the song itself and Randolph’s outrageously good pedal steel playing, but by the overall tightness and infectious joy of the band.

That was about 10 years ago. Last Friday night at The Fox Theatre in Boulder, I finally got to actually see and hear Robert Randolph and the Family Band live in person, and my initial impressions of the group not only proved themselves true, but were greatly expanded by this ridiculously fun, funky and soulful show. RRTFB haven’t just stood the test of time, they’ve grown into an irresistible force of nature. The band is aptly named, with Robert’s sister Lenesha providing hugely powerful vocal support and joyful showmanship, powerhouse drumming by Marcus Randolph, and their cousin Kasey Square on keys. And while bassist Steve Ladson and guitarist Ray Holloman may not be directly related, they sure act, play, and sing like family onstage.

The concert began with Robert playing solo, wrenching gutsy wailing sounds in a free-form bluesy style, out of his instrument. The band eventually wove into this soundscape, building on the power of the pedal steel’s soulful soliloquy, and then BOOM: They kicked into a sledgehammer-heavy and solidly uplifting version of Sam & Dave’s soul classic “I Thank You.” You’ve never seen a dance floor spring to life faster.

While the setlist I was provided had “Ain’t Nothing Wrong With That” listed as the second song, either I was already so deliriously hypnotized that I missed it, or they decided to forego the ol’ “Let’s give ‘em the hits!” approach, disregard the setlist, and play what felt right at the moment. This happened several times during the show, as when, midway through their set, they crunched their way through a badass instrumental reading of Black Sabbath’s “War Pigs.”

The constant thread running through this celebratory show was Robert Randolph’s virtuosic pedal steel playing. The word “virtuoso” often makes me cringe just a bit, as it’s almost as overused as the word “genius.” But here I have no qualms: the man is a master of his instrument. Between virtually every song in the set he took little solo excursions, and while all members of the Family Band proved themselves powerful soloists, it was obvious why Robert was consistently featured: his inventiveness and fluency, his melodic improvisational skills, the sheer eloquence with which he joyfully tears into yet another solo break. All of these were heavily evidenced and undeniably exciting every time they were used. I never once thought, “Oh no, not another pedal steel solo!” To the contrary, every solo, every note he played just had me shaking my head in awe. Enough has already been said about the novelty of hearing a pedal steel guitar used outside of country music, especially in the way Randolph does. I’ll let it suffice to say here that if you haven’t checked him out yet, do it! Especially if you love funk and soul as much as I do. I haven’t been nearly as blown away by an unusual instrument in this type of music since seeing violinist Lili Haydn tear it up with George Clinton and Parliament Funkadelic.

Since the band is currently touring on their Got Soul album (released in mid-February of this year), it was no surprise to hear songs from it throughout the show. Standouts for me included the one-two punch of the title track leading into its “sister” song, “She Got Soul” (a tribute to mothers inspired by a Mother’s Day church service Randolph attended), the supremely soulful tunes “Love Do What It Do,” “Find A Way,” and “Shake It Off” with their inspirational messages of self-affirmation, the lovely “Heaven’s Calling,” and of course their rendition of “I Thank You.”

My number one criterion for rating a show is this: “Did I ever feel like it was okay to go outside for a break?” And my answer for this show was: “Nope!” I was fearful of missing anything. And when, near the end, Robert called out the members of opening act The New Respects for an onstage jam of Sly and the Family Stone’s “Thank You (Falettin Me Be Mice Elf Again),” I felt grateful for staying right where I was all night, though of course I had never stopped moving since the first song of the show. That’s another thing about Robert Randolph and the Family Band live: You just have to dance.

Robert Randolph.

Robert Randolph.

In chatting with Robert a bit before the show, I learned he and his family grew up in a Pentecostal church in which music played a huge part. In fact, their particular church has its own term for its music: “sacred steel.” One thing I was curious about was how Robert’s relationship with his family who are still involved in the church has been affected by his going out and playing “secular” music. He said it was “a little strained at first,” but that their relationship is still strong. To which I replied, “Oh, so it’s not like some of these religions where you actually get shunned if you leave? I’ve always thought that was so sad.” “Well I’ve been shunned by the church, though,” he said, “They don’t let me play there anymore. They call me the devil.”

Now that is truly a shame, and a mistake, and let me tell you why. I’m not religious, but I’ve seldom felt closer to something like heaven than I did at this show.

-Will

All photos, videos, and embedded tracks per the artists featured and those credited. Gallery per Joshua Elioseff. This feature was edited for brevity and clarity by BolderBeat.

OklaHomeGrown Music Showcase Set To Bring Oklahoma Talent to Historic Cain's Ballroom

By: Jura Daubenspeck

With the February freeze, it’s a good thing we’ve got solid tunes and sweaty concert halls to keep us warm.

The OklaHomeGrown Music Showcase is taking over Tulsa’s historic Cain’s Ballroom on Friday, February 17th with performances by: Taddy Porter, Nicnōs, Skytown, and Good Villains. All hailing from the great state of Oklahoma, this will be the first time all four bands will be performing together on the same stage. OklaHomeGrown's “collaboration over competition” mindset will bring local music back to the fans, offering opportunities for musicians to gain exposure they might not have received before. With no headliner, and no performance order indicated, its set to be an equal representation of talent in one of the top performance venues in the country.

Here’s a little taste of what each band brings to the table:

Caleigh Trotter of Good Villains. 

Caleigh Trotter of Good Villains. 

Starting off in Tulsa as a two-piece, Good Villains was a concept created by drummer Steven Davison and vocalist Caleigh Trotter. As their music began to progress, pianist Felicia Arnhols joined the group, followed by guitarist Ted Scott and bass player Todd Shaver. The band's story-teller theme is coupled by expert musicianship and an eerie sense of childishness, making the group a heavy contender in the "doom-pop" genre. Good Villains are a force reminiscent of the 90s, yet full of the unknown with a ton of imagination.

Skytown.

Skytown.

Tulsa-grown alternative Americana rock group Skytown are about more that just feel-good party music. With clean tones, soothing leads, and memorable hooks, their music keeps the tempo up and the crowds wild. With influences ranging from Black Sabbath to Dropkick Murphys, the six-piece band has concocted their own unique “sonic mash-up” of folk, rock, and balladry. With a vocal palate akin to rust, Dale Crain serves as the band’s storyteller, welcoming listeners into their eerily familiar world of lore. Acoustic guitar duo Tim Burress and Jason Ford’s powerful, yet melodic foundation complements the steady bass rhythms of David Williams, while John Edens’ electric guitar riffs are crisp, complex, and very funky. Finally, drummer Eliot Cooper keeps it tight, commanding the stage even from the back.

Nick Sigman of Nicnos.

Nick Sigman of Nicnos.

Hailing from the heartland of Oklahoma City, Nicnōs, expel elements of rock, blues, funk and bluegrass. Innovators in their craft, Nicnōs have independently released two highly successful albums, performed at major festivals, toured and shared stages with artists such as STYX, REO Speedwagon, Tyler Bryant & The Shakedown, and The Revivalists. Lead singer Josh Cox is a vocal powerhouse, marrying a brooding blues tone with rock. Electric guitarist Nick Sigman is also a master of tone, seamlessly laying down razor-sharp leads. Bluegrass-rooted fiddler Blake Parks brings a delicate dynamic, adding a melodic rock-fiddle layer that uniquely contributes to the band's sound. High energy bassist Jared Gaiser flawlessly anchors in the foundation, inventively bringing the funk. Jerred Bauer on drums cleverly blends a rock core while infusing hip-hop grooves and fills.

Taddy Porter.

Taddy Porter.

Rock quartet Taddy Porter were formed in Stillwater, OK in October 2007 by singer/guitarist Andy Brewer, guitarist Joe Selby, bassist Kevin Jones, and drummer Doug Jones. After building up a following around the Oklahoma City area, they were signed to Primary Wave Records for the release of their self-titled debut album. Prior to the release, they earned airplay for the single "Shake Me" and had songs such as “King Louie” and “Mean Bitch” featured on the season premiere of the TV series Entourage.

Tickets for the OklaHomeGrown Music Showcase are on sale for $15, which is a great deal to see all of these acts in one room. Get yours here.

-Jura

All photos, videos, and embedded tracks per the artist featured and those credited. This feature was edited for brevity and clarity by BolderBeat.

 

Rival Sons Rip at Denver's Summit Music Hall

By: Sierra Voss

Last Saturday, Rival Sons tore up the stage at Denver’s Summit Music Hall. This Long Beach band has been serving up dirty guitar solos and ripping vocal lines since 2009, after the release of their album Before The Fire. From there, here’s a quick recap of their career: RS dropped a self-released EP in 2010, which caught the eye of Earache Records, who signed them later that year. Rival Sons’ third release, Pressure & Time, came out on Earshot in 2011 and ended up hitting #19 on the Billboard charts. And from that point forward, the band has power-housed full steam ahead: In 2012, their album Head Down annihilated music charts throughout the world, gaining huge recognition in the UK, Sweden, Finland, and Norway. The band then released Great Western Valkyrie to critical acclaim; this year they dropped their latest, Hollow Bones. And to add to their live credibility, Rival Sons have supported some serious legends on tour, including AC/DC, Alice Cooper, Judas Priest, Sammy Hagar, and Black Sabbath.

Jay Buchanan.

Jay Buchanan.

It’s no mystery why this four-piece is so well-loved throughout the world. These boys know how to rock, and they do it well. Lead singer Jay Buchanan has a serious set of pipes. I am going to go ahead and say he may, perhaps, have one of the most beautifully dynamic and powerful male voices in this age of rock and roll.

Todd Ogren-Brooks.

Todd Ogren-Brooks.

I am a fan of headbanging. I have a serious amount of respect for those who do it, and I like to myself, but until this show, I had no idea I had an equal amount of passion for beardbanging. Keyboard slaying, tamborine-crushing band member Todd Ögren-Brooks had such a long luscious beard, he could literally beardbang with it. I will stop at simply saying I was highly impressed by this rare talent.

Scott Holiday.

Scott Holiday.

All in all Saturday’s show was a ripper. Rival Sons played fan favorites like “Keep On Swinging” and “Electric Man”, as well as a wide selection of songs from Hollow Bones. I will say that certain songs live come off a whole lot poppier than they are on the records. I was always impressed by Jay’s vocals, but longed for the drive of their well-known rock sound and less of their slower, strippped-down instamentals with elongated vocal lines. Still, it was a solid set.

If you can’t catch these boys on tour take a listen to my favorite track of theirs, “Pressure and Time”:  

Follow Rival Sons here

-Sierra

All photos per the author. This feature was edited for brevity and clarity by BolderBeat.

"Like the Legend of Zelda, but heavier" - Boulder's Progressive Alt-Rock Trio, Noctogon

By: Hannah Oreskovich

Come check out our masked madness this week. 

As some of you may have seen last week, we’re pumped to be sponsoring a show this Saturday with Studio 700! The night will be masquerade-themed and you can find the deets in the FB event here . Local alt-power trio Villain Baritone put together the all-Boulder lineup for this event, and this week, we’ll be bringing you info on all three bands involved: Noctogon, Villain Baritone, and Whiskey Autumn. Join us for #MusicMasquerade this Saturday, and in the meantime, check out our chat with the opening three-piece, Noctogon below:

Composed of Wilson McNeary (guitar/vocals), Jeremiah Traeger (keyboard/vocals/drums), and Brooke Holman (bass/vocals), Noctogon are a once four-piece, now three-piece “subtly intense atmospheric rock” group formed in good ‘ol Boulder. Here’s how they got started:

Jeremiah: Wilson and I lived together and loved jamming, and he was friends with our bassist, Brooke.

Brooke: Yeah Wilson and I went to the same college and started playing covers for fun. We both moved to Boulder and started creating our own tunes during our musical hangouts. Since Jeremiah and Wilson also jammed together at their place, [the three of us] decided to fuse together like sediments in sandstone. We actually found our former drummer through Craigslist, who ended up being a perfect fit.

Jeremiah: Yeah but unfortunately he wasn’t able to continue playing with us, so now I’m drumming. We started playing at The Outback Saloon, and we've had a few [other] gigs.

Jeremiah, Wilson, Brooke.

Jeremiah, Wilson, Brooke.

Whoa! The Outback Saloon was sort of the starting ground for Villain Baritone as well- interesting. Speaking of those boys, they told us that your “War Pigs” cover is legendary. Hoping to hear that at the show Saturday- any other plans for your set you want to tell us about?

Wilson: We will be debuting three new original songs since the last time we played at Studio 700, one of which has never been played live before. We are also planning to pay tribute to David Bowie, as he was (and will continue to be) a huge influence on all of us.

Another good one gone. Well that sounds righteous! Talk to us a little more about your sound.

Jeremiah: We’ve been told we sound like Black Sabbath and Alice in Chains, but I think my favorite description was when we were told that we sound like “Legend of Zelda but heavier”. We definitely have those influences; we all love 90s alternative and classic rock and metal, so we tend to sound like bands in those genres. We all have our other influences like progressive metal, post-rock, and 80s music, and we bring all of them to the table. If I had to pick a genre overall, it would be progressive alternative rock.

Haha “Legend of Zelda but heaver”? Hell yeah. We’re so stoked for your set. What are you three most excited about for the Music Masquerade show?

Brooke: Brooke: I’m excited that it’s masquerade-themed. I’m sure it will remind me of that tidbit in Labyrinth with David Bowie as the Goblin King. I’m just hoping to see someone or someones dressed up like that. Also the hosts at Studio 700 are so wonderful and I'm looking forward to being part of such a unique place.

Wilson: Yeah- shows at Studio 700 are always a great time, and I enjoy the sense of community that’s always there between the musicians and the audience.

Definitely. So what else is Noctogon up to this year?

Wilson: Recording new material, and gigging wherever and whenever we get the chance. We’d really like to get our name out there, so we’ll take any opportunity to play in front of an audience.

Sweet. Well- last question- where’d you get your name?

Brooke: When we first started playing together, I dreamt of a wolf howling at a geometrical moon. “Noctogon” came to mind after that.

Prophetic. We can dig. Come and see Noctogon play Studio 700 this Saturday! Join the FB event righhhht here. And give Noctogon’s EP Nocturne a listen below:

-Hannah

Follow Hannah on Instagram and Twitter.

All photos, videos, and embedded tracks per the artists featured and those credited. This feature was edited for brevity and clarity by BolderBeat.

On The Record with Zach & David: The Un- "Branding" of BANDITS

By: David Landry and Zach Dahmen

BANDITS rebrand and talk to us about their history and their horizon.

BANDITS.

BANDITS.

One night over whiskey and records, we came up with a cool idea: we wanted to sit down with musicians, listen to music, and just talk about how they got to where they are. For our first interview, we jumped on Boulder’s own BANDITS. John and Lulu Demitro walked into the Gingerbread house and the first thing they both said to us was: “Nice- Rubber Soul is on.” That’s when we knew it was going to be a good evening, with The White Stripes and The Greenhornes to follow.

So let’s just start with the fact that the BANDITS are opening for fucking HEART tonight- yes Barracuda at the Budweiser Events Center. But how did they get here?

The BANDITS are a Boulder band through and through. Though they don’t play here often due to Boulder’s lack of hard rock venues, their family started here, with their grandfather being one of the first Colorado University students to attend school for bass guitar. He even owned a music shop, located where The Riverside is today. So the Demitros grew up here and still love it. John embarked on his first band (Baseline) when he was 17 and started out on bass guitar. Baseline began as a four piece, fresh out of high school; a rock band playing 21+ shows for pennies and no tab because they ‘couldn’t’ drink. John has always been influenced by the heavy hitters of rock and roll, like Zeppelin and Sabbath. Trying to fill out the sound of the band, he looked to his sister Lulu to play keys. Lulu started playing piano as a toddler and taught herself how to read music by playing Beatles songs over and over. But with John being the older brother, it took some convincing for her to even come to a practice. Eventually, she joined the band.

Rock and Roll.

Rock and Roll.

Baseline played some gigs to empty basements but nothing too serious. Together, the group’s first gig under the moniker Branded Bandits was opening a show at The Fox Theatre for West Water Outlaws, and with guns blazing the Branded Bandits kept playing. When the guitar player left the band, John told Lulu, “You will have to learn bass and I am going to learn the guitar parts.” And so they did. Non-stop practicing made their shows go smoothly from there, but what really came from the change was that they liked their new three piece outfit. Compressing the band changed the sound, and all they wanted was a badass rock band.

“The thing about rock and roll [is] there are no rules, you can do anything you want.” -John

Andrew Oakley.

Andrew Oakley.

Finding new influences like Queens of the Stone Age, The Kills, and Black Rebel Motorcycle Club showed Bandits that they really didn’t need a lot to sound heavy. Working on finding their own sound made drummers come and go, but finding current drummer Andrew Oakley (formerly of West Water Outlaws) was a sign that they were moving in the direction they wanted. They felt more at home with Andrew on the kit. They were trimming off the extra and creating BANDITS.

“[Andrew] is a pocket drummer and we needed that; he’s all about the song and the collective.” said John.

Added Lulu, “With Andrew we were falling into our sound.”

The unbranded BANDITS quickly started working on new songs and hopped on the road. A touring rock and roll band in their early 20’s brings debauchery, and they have stories to tell. They stayed on the road as much as possible and then jumped into the studio to record. For the first time ever, they got to record like their idols. They taped and pressed a 7-inch.

“It was the first time we got to see how recording a tape worked.” they told us.

BANDITS Bring It.

BANDITS Bring It.

Which brings us to now, with BANDITS opening up the Heart show tonight. BANDITS were contacted a few months back about the show, but didn’t hear much until two weeks ago when they got a call that said, “You’re in.”

“They are the female Led Zeppelin, such a unique, powerful, and original sound,” Lulu smiled, “Two leading ladies: one plays guitar and they write their own tunes. [When it comes to our set] we are going to do what we are going to do and have a good time doing it.”

Spoken like a true rock and roll band. If you are seeing Heart tonight, make sure you get to the show early to see this fantastic three piece. Or you can catch them around Colorado- they play the Snake River Saloon this Saturday. Keep up with their performances here.

Listen to a Bandits track here:

-David and Zach on the record

All photos, videos, and embedded tracks per the artists featured and those credited. This feature was edited for brevity and clarity by BolderBeat.