A Fireside Chat with The Beeves on Their Debut Record & More

From left to right: Dahmen, Laffin, Ehrheart & Sease. Photo Credit:  Courtney Farrell

From left to right: Dahmen, Laffin, Ehrheart & Sease. Photo Credit: Courtney Farrell

Since the first installment of “Zach and Pete’s Fireside Chats” went to print a few months back, Zach Dahmen and I had both been itching to get local rock dynamos The Beeves over for a night of campfire, bourbon, and forthright conversation. Coming off the heels of their raw, raucous, and renowned self-titled debut EP, the trio is in the process of rolling out its new full-length record, Adam and Beeve in the runup to their release show on May 17th at The Fox Theatre. We were especially stoked to host them at this poignant moment (with members Ian Ehrheart and Matthew Sease) in our backyard. Also joining us for the evening to take photos was local creative guru Courtney Farrell. The following is a transcript of what went down:

PL: So what’s a Beeve?

IE: Well, technically, a Beeve is just, you know, a Beeve. Slang for vagina.

MS: No, that’s a beaver.

IE: Yes, and beeves is the plural of beeve, meaning one beeve.

ZD: How did you come to this name?

MS: My understanding is that we took this dictionary down to my mom’s basement...

IE: It was a bible.

MS: No, it was a dictionary. I have the dictionary. And we decided the one word we hit was going to be the name of the band, and we had to stick with it. And we did it like three times.

IE: Really? I don’t remember that.

MS: Yeah, because we got, like, “crack.”

IE: It doesn’t say crack in the bible.

MS: That’s because it wasn’t a bible. And we did it again and it was another ridiculous word. And then we hit “beeves,” which was plural for beef, and we were like, oh, that’s actually pretty cool. So we used it the next day for our volleyball team in middle school.

PL: This goes back to middle school?

MS: This was like seventh grade.

IE: This was just after our band The Purple Zebras.

MS: We were going to be The Sun Kissed Nips.

PL: I think you guys made the right call.

MS: So that’s my interpretation of when we got the name. But Ian seems to think we found it in a bible?

IE: We did! It’s in Leviticus. But that wasn’t it. When we actually came up with The Beeves we were looking into a fire quite like this, and in the fire, when we were peeing in it together to put it out, and when the smoke cleared, the red hot embers spelled out “Beeves.”

ZD: So the story here is, they refuse to give us the real story.

MS: Ian and I did go to bible camp together. And we had to stay with the priest the whole time. All of the other kids got to sleep in their own dorms, but we had to stay with the priest and talk to him and confess things.

IE: One time I confessed to touching myself unlawfully.

PL: And I hope you said it just like that.

MS: The only reason I think Ian’s story might be somewhat true is because we were in the religious ed class together.

Photo Credit:  Courtney Farrell

Photo Credit: Courtney Farrell

ZD: How long have you guys been in a band together?

MS: Ian and I have been playing together since sixth grade.

IE: We’ve known each other since elementary school.

MS: I didn’t really like Ian then.

IE: We never got to be friends until sixth grade, when I learned he had a guitar, and we both played guitar. We were in a rivalry until then.

MS: I never liked Ian throughout elementary school because he was really good at sports. And all the girls liked him.

IE: I had the right hair. The swoop.

ZD: You had the Bieber swoop?

IE: It was just at the right time. But then we realized we had guitars and we hung out, and we did it every single day after school. And then we formed The Purple Zebras.

ZD: So when did the third member join?

MS: We had a couple drummers before Will [Erhart]. But he was always part of the picture.

IE: We had some guy who wanted to record us one time when we were in seventh grade and Will did the drums… this creepy guy in Erie who lived in a trailer and just sat there and chain smoked next to us the whole time.

MS: We recorded an AC/DC cover.

PL: When did you know that you wanted to do this seriously?

MS: We always knew we’d do this. We’ve stuck to the same mentality since seventh grade.

IE: We were writing lyrics together in math class.

MS: It’s all we wanted to do.

IE: The first show we did was an open mic in Louisville.

MS: We did our own punk rock version version of “Wagon Wheel.”

IE: Pete, cut that part out.

PL: I talked to your father after your last Fox show, when you guys packed the place, and he was all teared up and he told me this story about how you [Ian] got tossed out of the Fox when you were in early high school.

IE: That’s why we’re doing the release at the Fox. That was where we first saw live music and the potential of what we could do.

MS: The first concert we ever went to by ourselves was at the Fox. We took the bus to the Boulder and we just kind of knew that the Fox was on The Hill. We didn’t even know where it was.

IE: We didn’t even have a ticket because we didn’t know we had to buy tickets to shows. So we just went up to the box office and we were like, “Hi, we’re here for the show.”

MS: We went up to the front, hands on the stage, watching the show.

IE: We told ourselves, “We are going to play on this stage someday.”

MS: That’s why we used to play on Pearl Street. We thought someone from the Fox would like, willy nilly, walk by and ask us to open up at the Fox someday.

IE: We were more lucrative [busking] on Pearl Street than anywhere.

MS: One day we made like $350 and a pack of cigarettes and a condom. But let’s get back to that show Ian got kicked out of. That was at The Expendables. It got a bit rowdy and we’d never crowd surfed before. And Ian was dead set on crowd surfing. So he got up on the stage and fell backwards, and they pushed him back up on the stage.

IE: And then I ran into the bouncer.

MS: And the bouncer immediately throws him out, and I’m like this eighth grader standing there alone.

IE: And from my point of view, somebody just grabbed me and literally pushed me as hard to the curb as they could. And I was like, “What’s happening right now? Is this part of the show?”

ZD: So you definitely weren’t drinking there?

IE: We didn’t even know what alcohol was.

ZD: So this is just sober Ian being pretty extra?

MS: And then we were trying to re-stamp my hand outside on your hand…

The Beeves’ Ian Ehrheart and Matthew Sease. Photo Credit:  Courtney Farrell

The Beeves’ Ian Ehrheart and Matthew Sease. Photo Credit: Courtney Farrell

PL: Let’s talk about the studio recordings. The first one was super lo-fi, and you pretty much did it yourselves.

IE: Oliver from Slow Caves recorded us because we didn’t know shit about microphones or recording. He just loved the songs and really wanted to help us out.

PL: I fucking love that album. But you never play those songs anymore.

MS: Well we kind of got labelled as a “ska” band and that kind of turned us off to a bit, because we never saw ourselves as that.

ZD: You don’t even have any horns.

MS: But we got labelled as a ska band! Fuck!

Photo Credit:  Courtney Farrell

Photo Credit: Courtney Farrell

PL: Who is the best musician in the group? The easiest one in the studio?

IE: Matthew is the best musician and is the best at his instrument.

PL: Who do you rally around in the studio?

IE: It’s equal.

MS: It’s interesting to see when Will chimes in because his input his valuable. Because Ian and I are always butting heads and trying to come up with an answer.

IE: Will has become such a good drummer. At this point he knows probably the most about music. I’ve always been the one who doesn’t know shit but has big ideas. Matthew can usually flatten that out and make something out of it with his bass lines.

ZD: It sounds like elements of conflict are part of your process.

IE: It’s all about compromise. Which is valuable, even though it’s hard.

Photo Credit:  Courtney Farrell

Photo Credit: Courtney Farrell

MS: I think you and I after all these years trust each other’s instincts.

PL: Are you guys going to be together in five years?

MS: Yes.

IE: Oh, yeah. Undeniably.

MS: With all sincerity.

ZD: That’s the right answer. They say if you know someone for seven years, you’ll know them the rest of your lives. You guys kind of have a brotherhood at this point.

IE: It is like that.

MS: Ian is the most important person in my life.

PL: So Nate Cook. Let’s hear it. He’s lifting you guys up quite a bit the past year or so.

MS: He’s just a tornado of creative destruction.

IE: He pushed us in a different direction. We were so surprised he even wanted to do this. I was the biggest fucking Yawpers fan in the whole world. When they asked us to open for their album release show, I was like, “Oh my god…”

PL: In a sentence or two, what has the experience of working with him been like?

MS: He put us on a platform and he didn’t stand for any bullshit in the studio. He just kept pushing us and pushing us until we broke.

ZD: That sounds really intense.

IE: For me, it was every single song. Anyway anything I did was fucking terrible.

MS: It was terrifying to perform for someone like that who we’d idolized like that. But he had a respect for us. We played raw like him. We weren’t musicians who were trained theoretically.

ZD: So this album must have a lot of spontaneity.

MS: It was only five days of recording, and we had ten tracks. Some of the songs weren’t completed when we went into the studio.

IE: I lied to him and told him we had enough songs to record an album. I was going upstairs from the studio in between when I had to play and writing lyrics.

MS: Part of the beauty of the album was that it wasn’t put together before we went to the studio. We had to write it in those five days.

Photo Credit:  Courtney Farrell

Photo Credit: Courtney Farrell

IE: Every day we had to get a certain amount done, so we just did it.

PL: What does this release mean to you?

IE: It means moving on. Letting shit go, and getting onto the next thing. I’m so fucking over it.

ZD: What are you proud of about it?

IE: I think it’s going to be a base for us. I think these songs are good.

MS: I agree. When I look at is as a whole, I think it’s a full entity, ten full songs, and I’m proud at how much we put into that and how hard we pushed each other. We’d never been put under that kind of stress before. I think I’m a bit more proud of it than Ian in that way. I’m proud of what I did in the studio.

PL: That’s refreshing to hear. The default answer when you ask a musician is that they could have done better. But for the most part, people are proud of what they make. It’s nice to hear someone say it.

MS: I really want people to listen to the album. Sit down and listen to all ten tracks. And then actually give us the time of day. Half the time we are trying to get people to just take us seriously because we’re so fucking young. But we’ve been doing this for a long time. It shouldn’t matter anyway. If you care about what you’re doing and care about this art, and you really value the music, it doesn’t matter how old you are.

The Beeves self-titled debut record drops everywhere this Friday, May 17th. Catch them at The Fox Theatre the same night. Tickets here.

-Pete

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

Boulder-Based Nobide Are Making Waves One Big Stage at a Time

By: Natalie Pulvino

Boulder-based live electronic band Nobide is fresh off a show at the Boulder Theater, soon to headline the Larimer Lounge, and has a lot in store for this summer’s festival season. We sat down with Nick Vann, founder of Nobide, to ask him about the band’s authentic sound, local influences, and upcoming endeavors.   

What differentiates Nobide from other live-electronic acts?

Probably our versatility- we want to make all types of music, not get caught in one sound or genre. We’ve been working on combining the production elements with the live instruments, figuring out how to allow the produced pieces to function like a band member. Our live setup is pretty crazy- I can now manipulate and change the sound of the guys as they’re playing [and] do DJ production effects live which is pretty crazy.

You’ve described Nobide to BolderBeat previously as “organic-electronica,” emphasizing the live aspect to your music. What is your process for infusing the produced pieces with the organic element to create the perfect blend?

Our process is evolving as we figure out our sound. We’re still fresh as a unit, so we’re not sticking to any one process for writing or playing- it’s all very open right now. As far as putting songs together it’s really important to me that the songs don’t come out sounding like just another band. There’s so much possibility with production and sound… I’m always looking to hear something new, both musically and in regards to how a piece actually sounds.

Are there any local live-electronic acts that you draw inspiration from?

Mxxnwatchers is making some really forward thinking stuff, as is Evanoff. Break Science are the OGs. I think we all feed off each other, but we’re all sorta doing our own thing and pushing it as far it can go. To me that’s the ideal- there doesn’t seem to be much of a point in making stuff that sounds too much like someone else.

How do you cultivate that influence while maintaining a strong sense of authenticity in your music?

I think seeing how other people approach their music is the best kind of inspiration. We try not to take what other people are actually doing musically or sonically into account and just focus on doing what sounds best to us. In that sense we have no choice but to be authentic.

Nobide recently opened for The Floozies at the Boulder Theater- what was that like for the band?

It was a huge moment for all of us. I grew up in Boulder, so it was especially exciting for me. It was so killin’ to play for the hometown crew and have them show up like that. Nobide is Boulder-bred, and I think it was cool for the Boulderites to see the evolution of the project. A lot of people got introduced to the music that night too which was exciting. We’ve got mad love for Boulder.

Larimer_FB (1).jpg

Are there any shows you guys have played that have been super memorable?

The Boulder Theater show was one for sure, as well as The Fiillmore when we opened for Sunsquabi in January. It’s always exciting to play big rooms with big sound systems. We played with Michal Menert in January and that was a full-circle moment. I’ve been listening to his music for years.

Nobide is on the bill for Summer Camp Music Festival, Sonic Bloom, and a few others that will be announced soon. What is the band looking forward to most about being on the lineup for these festivals?

I think mostly meeting new people- artists and fans alike. It’ll be cool to see how our music stands up and translates in new environments. It’s a big opportunity, but it’s also just gonna be fun as heck.

Do you foresee any challenges that may arise from playing festivals as opposed to singular shows?

It’s definitely going to be a compromise on some fronts [since] we have a pretty complex setup for performing, but it’s nothing we can’t handle. It’ll be a good challenge to be pros, to know it’s not all about us but more about the vibe of the whole event.

There’s been talk that the band may be hitting the road soon. If you guys go on tour, where would you want to play and who would you love to play with?

Eventually all over the world! But for now we’re trying to get down South and out to the West Coast and Midwest, start slowly expanding our radius through the U.S. We’d love to play with all sorts of people that like to get down. Lettuce, Pretty Lights, Zhu, Rufus Du Sol, Bonobo, Odesza… We want to bring this music all over!

Keep up with Nobide here and don’t miss their headlining show at the Larimer Lounge this Saturday, April 6th. Tickets & information here.  

-Natalie

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

Corda Vera's Brand of Indie Is Rocking the Boulder House Party Scene

By: Taylor Falkner

Boulder, Colorado may be a land for new music, but it is certainly not a new land to the music scene. Once considered the next mecca of young musicians and “…the Berkeley of the Mountain Time Zone”, Boulder is a place for musical exploration and inspiration. It is located at the foothills of the Rocky Mountains, with the majestic Flatirons at the backdrop of everyday life. It helped create legendary bands like Zephyr, The String Cheese Incident, 3OH!3 and Big Gigantic just to name a few. The unique aspect of this list is that it encapsulates a variety of genres, and therefore further exemplifies how up and coming artistry in Boulder is not bound to the limits of a single genre.

This limitless sound opportunity is also expressed in the genre of indie rock. Indie originated from the concept of independent labels, but has evolved to describe “a sonic aesthetic influenced by various forms of post-punk and lo-fi music”. Moreover, indie is not overly concerned with meeting the criteria of what makes a good “commercial sound”. It is raw, and the use of at home recording equipment adds another unfiltered and imperfect dimension to the music which enriches the listeners experience. In this generation dominated by technological advancement, the D.I.Y. mentality of indie is blossoming due to the convenience and easy accessibility of online platforms like SoundCloud and Spotify. The spirit of this fresh freedom is very much alive in the city of Boulder, and it is where you can also find the beginnings of the very local band Corda Vera. As an underground, basement dwelling, house party band of Boulder, Corda Vera, swiftly takes on the essence of Boulder and the attitude of indie music in the twenty-first century.

Corda Vera.

Corda Vera.

Corda Vera is a band of four twenty-year olds, one female and three males, some of which are on the journey to obtaining a college degree at the University of Colorado in Boulder. Simone Fohrman (vocals), Josh Bennett (drums), Sam Sawyer (bass), and Thomas Perry (guitar) all have been brought together through the allure of Boulder. Each member has their own style and differing musical background and inspirations, which compliment each other very well in their original music. They have an undeniably otherworldly aura to them, which makes them relatable to the confusion and individual growth that many college students experience while away from home where everything is safe and comforting. Their songs manifest a perfect blend of Sonic Youth grunge rock vibes with an indie, and somewhat psychedelic, sound. Setting themselves apart from today’s millennial teenage angst, Corda Vera plays into their emotions rather than becoming a victim of them.

As the band guides listeners on a trip away from wherever they may be, the lyrics sung by band leader Simone touch base on the interpersonal connections in all kinds of relationships. Their song “Over The Edge” encapsulates this well. The dark, yet enchanting bass riff that Sam bewitches listeners’ ears with transports one to the shuffling streets, lit only by the moon, in the faraway land of Istanbul. The song sends one to face the unknown. Through every thud of the bass drum the city breathes and comes to life and then, “Bang!” A shot echoes from Josh’s snare drum and the chills run down your spine. “We’re lost in translation/building my agitation/you can’t keep what ain’t yours,” Simone croons. Immediately the tension the band has been building is released by a powerful statement that gives the listener a piece of mind. Simone’s lyrics of feeling uncertain about her own emotions towards her counterpart reflect the universal angst that anyone can relate too when they feel shorted in a relationship. Instead of shying away from this angst, Simone and the rest of Corda Vera embrace it by turning it into a powerful energy, one that makes the listener feel as if they are walking a fine line and indeed about to fall “Over the Edge.”

A major factor to the unique tone and mood that Corda Vera puts out is due to the vast array of musical influences. All sorts of unconventional things can be heard in their music from various genres, scales, and even the effects used on every instrument. Their use of the harmonic minor scale in “Over the Edge” is what gives it its eerie vibe by dancing with the devil’s note. At the same time, however, you can here an influence from The Zombies’ “Time of the Season” which helps keep the song in a mystical world of its own.

44800690_537401023391054_553652594765987840_n.jpg

In the song “Nao” Corda Vera makes you feel as if you are floating through the clouds daydreaming. With a heavy chorus and reverb, Thomas, the guitarist and Boulder native, encapsulates what it is to feel weightless and floating. The ticking of the hi-hat alters time, and the audience is left in a place where there is no up and down or left and right. In respects to most other songs called “Heartbreaker,” Corda Vera’s version is one of the band’s fastest tempo songs. Moreover, it stands far apart from sounding that of Led Zeppelin, Pat Benatar or even Taio Cruz’s “Heartbreaker,” and sounds more like a contemporary electronica song. The drums are reminiscent of that of Seal’s in his hit “Crazy” or Moby’s “Porcelain”, while the guitar bares resemblance to that of Lenny Kravitz. Mesh all of this up with chorus-driven spacey vocals, and you have something totally new.

The motley crew that is Corda Vera has led them to create a sound that they can call their own. They all have different musical influences but their love for music, courage to face unsettling truths, and their desire to just have a good time has brought them to create something unique to everything else going on in Boulder currently. By blending such a vast array of sounds and with themes based in personal experience, Corda Vera are as authentic as it gets. There is no facade that they are attempting to convey. They are a group of friends who met through their love of music at open mic nights at Innisfree Cafe on the Hill and decided to join forces. In turn, they have given the students of Boulder, and hopefully more to come, a chance of a genuine experience.

Keep up with Corda Vera here.

-Taylor

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

Rubblebucket Bringing 'Sun Machine' to Colorado for Two Shows Next Week

By: Mirna Tufekcic

Rubblebucket is hitting the road this month for their Spring Tour to spread the warmth and burns of their latest album Sun Machine. Lucky for us Coloradans, they’ll be stopping at the Aggie Theatre in Fort Collins on March 20th before heading straight to The Fox Theatre in Boulder on March 21st.

Rubblebucket.

Rubblebucket.

Sun Machine is a post-relationship child of the band’s core duo, Kalmia Traver and Alex Toth. As a sort of a homage to the duo’s romantic 11-year relationship end, Sun Machine addresses the trials and tribulations, and the persevering love that lasts despite the breakup. Sun Machine is a testament to the musically fertile nature of breakups, and the introspection and growth that follows. But if relationship tunes aren’t your thing, don’t be discouraged because Sun Machine is out on all mainstream music media platforms and it will take you on an intimate journey you can definitely sing and dance to.

Unlike their two previous albums, Survival Sounds and Omega La La, Sun Machine has a deeper, darker, and more serious mood. And not without reason. The band saw its end when the duo split, but despite and because of it, it also brought Rubblebucket a more grown-up sound with this newest record. The band’s lead singer Kalmia Traver went through ovarian cancer while Alex Toth took to sobriety from alcohol. Both artists came out stronger mentally and musically from these hardships, which are obvious in Sun Machine.

Rubblebucket’s upbeat, danceable core is decidedly still intact though, shining through on tracks like “Party Like Your Heart Hurts” and “Inner Cry,” both of which don’t pull any punches, emotionally or sonically. “Lemonade” on the other hand will make you feel things. A track with opening lyrics from which their latest album got the name, it reminisces on the beauty of days past when things were light and happy, then jerks you right into the day it all fell away. These musicians are a real deal; it’s why they couldn’t help themselves from continuing to create the sounds that move, despite all the hardships and a failed romance. That’s pretty powerful.

Ready to dance, cry, and dance some more with Rubblebucket? I am too. Get your tickets for The Aggie here and The Fox here for their shows next week!

-Mirna

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

Nobide Chats with Us About Their New Single & What It Means to Be "Organic Electronica"

By: Norman Hittle

Nobide is a Boulder, CO based live electronic band who classify themselves enigmatically as “organic electronica.” Their new single “Wildin’ Out” was just released, so we decided to catch up with band founder Nick Vann to discuss their brand of music as well as what the future holds.

Listen to “Wildin’ Out”:

Nobide is an interesting name and doesn’t seem to hint at its meaning. Would you guys care to elaborate on your project name a bit?

The name Nobide originated in 2015 when I was reading an Eastern philosophy book. There was a chapter exploring what happens when we die, and a particularly poignant part of that suggested that as humans we shouldn't waste our time so that when we meet death we don't go full of regret. I wrote down in my journal ‘no biding time’ and the name sort of came to life. What's really cool and special to us is that Nobide isn't a word, so we get to totally shape and explore the concept and meaning.

What’s the origin tale of Nobide?

Nobide originated as my solo project in 2015. From inception, the focus has been on organic electronic music; walking the line between totally produced pieces and live recorded pieces. The fusion is where the magic happens; it's like you're human but not. Nobide continued to develop and expand into live performances as time moved forward. I was simultaneously studying at CU Boulder and created an independent study major called ‘sociomusicology’ which allowed for a more academic side of exploring with Nobide as well. For graduation, my thesis included the album Contrary To Popular Belief, a written exploration of the project, as well as a live performance of some of the songs. The thesis was the first time Nobide music was performed by a band, and within six months, the Nobide band as it lives now had settled into place. The members now include Nick Vann, Matt McElwain, Ted Kleist, and Tanner Fruit.

You classify yourselves as “organic electronica” and right out of the gate that sounds fun and interesting. Can you go into detail as to how you arrived at that classification and what that entails?

Organic electronic was kind of poking fun at Boulder's hyper-health conscious culture, but it really stuck and we think it's a great description of our sound. We're influenced by people like Lettuce, Snarky Puppy, Pretty Lights, Bassnectar, Bonobo, etc. and when describing their sound to others, ‘organic’ is often a term that pops up. We think it's a good description for our sound as we're very focused on bringing a sort of natural sound and texture to electronic music. The potentials of electronic music are incredible, but so much of it feels one-dimensional today. We're interested in maintaining a natural feel and sense of space/development in our recordings and live shows; not being tied to traditional instruments or to computers. It's an incredibly exciting place to be exploring. We can't wait to hear what we're making in two years, five years, ten years!

Nobide.

Nobide.

“Wildin’ Out” is a very eclectic mix of dance and live instrumentation - as could be suggested by your genre classification - and it makes me wonder, what is the writing process like for you guys? Do you start out all electronic and branch out to live instruments? Or go the live route and then add the electronic elements? Or something else altogether?

The writing process varies. As the band lineup still quite new, we don't have an established method of working. Most songs start as riffs or beats that I produce, then bring to the band. We're big fans of working out songs live. From the second we have an arrangement that's cohesive, we're playing it live and figuring out what works and what doesn't. It's a very iterative process. We'll write a new section, then discard it two weeks later after trying it out. We get together for practice and we'll jam one song for half an hour and find all sorts of new places to take it, and that's incredibly inspiring. As we move forward it seems everyone will be pretty involved with the production/writing processes. Matt and Ted are just learning to navigate the Ableton universe, so they'll be able to write more as well. What's especially killing about having an electronic heartbeat is that we can write wherever we are. We're heavily influenced by our travels and people we meet; to be able to put that right into sound is a huge opportunity for us.

Is “Wildin’ Out” a part of a full LP or EP, or is it specifically a single? Can we expect more to be released from Nobide soon?

Wildin' Out’ is just a single, but it's pretty definitive of the realm we're exploring. We do have several more releases slated for this year, and then LOTS for 2019. We're trying to be strategic about all of it and give each song/project the attention and care they deserve.

Looking at your past discography, it seems like you guys have been working hard for a few years on your craft. What’s in store for the future of Nobide?

The future of Nobide is really exciting. We really don't know what's going to happen, but we know we're on to something with this sound. We really just want to get deeper into exploring its potentials, possibilities, and crossovers with other art forms/mediums/artists. We're at a really exciting place as a band right now in that we're starting to get some attention, but we have no expectations yet. We've got a completely blank page we get to start with, which means we have lots of room to explore. At the end of the day, everybody wants more good music, and we want to be making some of the best organic electronic out there. So the immediate future for us looks like lots of time in the studio and lots of shows just working to be the best we can be.

Catch Nobide’s upcoming live performance with Mimosa next Wednesday, November 7th at Cervantes. Event details here!

Keep up with Nobide here.

-Norman

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

SoDown Lifted and Lit Up the Fox Theatre Last Saturday

By: Will Baumgartner

A Saturday night at one of the top-rated music venues in the country, which happens to be within walking distance of my house, surrounded by joyful energy and kept moving by irresistible dance grooves- not a bad way to spend an evening, right? Add the pleasure of getting to review a headlining set plus a consistently mesmerizing light show with a packed crowd of young friendly faces, and the end result was a music lover whose walk home felt elevated.

I also felt enlightened, because to be honest, electronic music isn’t my field of expertise. That being said, I learned long ago not to ignore it because I love to dance. And what SoDown does-Bass music- is specifically designed for dance lovers. One of the things I’ve learned from talking with those immersed in the culture is “Don’t call it Dubstep!” Also sometimes called “UK Bass,” this music is clearly influenced by dubstep, but also draws on so many different types of sounds that it’s asserted itself to the point where it has its own identity and commands special attention.

SoDown.

SoDown.

So how does SoDown, a relative newcomer in an already exploding field, distinguish itself within the burgeoning Bass pantheon? And who exactly is SoDown? The answers to these questions are interconnected. As is often the case in the electronic music galaxy, we’re talking about one person here: his name is Ehren River Wright. He stands out because he’s an accomplished saxophonist in addition to his clear mastery as a producer, and a fascinating young star whose rise is an exhilarating thing to experience. In the interest of trying to share a bit of that experience, let’s go back to Saturday’s show for a minute.

The crisp autumnal spark outside the theater became a surge of crackling energy inside. Supporting act Megan Hamilton pumped the swelling crowd with her own brand of uplift, blending some live vocals and bits of drumming on a set of pads mounted next to her rig. Everyone was engaged and the smiles exploded toward the entry of SoDown, whereupon the bliss meter hit the high end of the spectrum. From the first notes and flashes of stylized imagery, through the entire barrage of thumping rhythm, soaring melody and spectacular light show, SoDown ascended to some new and dizzying heights.

When young Mister Wright raised his tenor sax to surf the swells and crests on this sea of sound, it was like we were all riding these waves together, light breaking through storm clouds, all surge and spray with a good dose of sway. I’m not sure where all the voices came from, but the familiar backing bits (including, of all people, some Britney Spears) brought a somewhat grounding effect to the ensemble; a reminder that music is a continuum which leads us into an ever-expanding future while holding the power of its own past. Wright came onstage already dancing to the music in his head, and the dance kept growing throughout the night, and throughout the crowd. Even when the “show” experience was “over,” the dance continued on.

SoDown.

SoDown.

Being considerably less well-versed than others in the Bass world, I needed to make allowances for a few things at SoDown’s set. For one, in my research leading up to this night, I’d expected something a bit different. The recorded music that SoDown has released led me to expect something a little more low-key, a tad more downtempo. So it took me a few minutes to adjust my consciousness to the heavier side of his music, until I remembered that if you’re going to create a party or keep one going, it’s necessary to bring some of your heaviest gear with you. As someone who’s attended countless shows by live bands using no electronics whatsoever, I knew this: virtually everyone plays louder, faster, and harder live. That’s the nature of the beast. Once I’d navigated this shift, a handful of the aspects that make up the whole of who and what SoDown is reasserted themselves: the soulful, sometimes even moody smokiness that belie Wright’s love of jazz, soul, and funk were still there. They simply made their presence a little more of an unassuming and pleasant thing, like the quieter guests at a party- they might be bopping a bit more unobtrusively on the periphery or in the midst of all that more frenzied activity, but they aren’t about to leave.

So, ultimately, this is one of the greatest things about the fully alive and ever-evolving world of music we’re so lucky to be part of: there’s room for everyone and everything, all types of people and emotions, all levels of experience and knowledge. That openness was in great evidence at this gathering. There’s no one watching the door at a dance party thrown by SoDown, and if it takes you a minute or three to fold yourself into the crowd, they’re more than happy to make room for you to get in there and be your unique and indispensable self. This element, like the music itself, resists being pigeonholed because there are so many parts needed to make it whole and keep on lifting.

-Will

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

Kwolek's 'Masks' Was Recorded at the Women's March in Denver, in South Africa, & Everywhere in Between

By: Norman Hittle

Kwolek released his fourth solo LP Masks earlier this month. Take a gander at the link below to check it out:

Having formerly played guitar in Lima Research Society, Kwolek has since been focused on creating highly textured sonic art with nods to Arcade Fire and The Talking Heads. In actuality, his music is reminiscent of the movie Juno, with it’s highly indie rock and lo-fi vibes delivered in relentless torrents of high energy and borderline weirdness.

For Masks, it’s been a three-year endeavor for Kwolek to get all the meticulous layers of sound and texture just right, while spending his days recording and mixing in his Boulder, CO apartment. An impressive gem in the listed credits is all the field recordings included in his songs, as well as the locations. There’s everything from the Women’s March in Denver to Cape Town, South Africa and half a dozen in between.

On the few songs that follow a more somber and cinematic vibe, there’s a definite inspiration noticeable from bands such as The Dear Hunter, Radiohead, The Smiths, and hints of The Beatles’ White Album. Though, overall a bit less cohesive than any of those artists, Kwolek still managing to convey a true sense of self throughout each track.

Give Masks a list above and keep up with Kwolek and his music on his official website as well as on his Instagram.

-Norman

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

Whiskey Autumn & The Beeves Talk to Us About Why They're Excited to Play Benevolence Festival This Weekend & Their Upcoming Tour Plans

In honor of Benevolence Festival which we’re presenting to benefit RAICES this Saturday, August 18th at Boulder’s Twisted Pine Brewing from 2PM-10PM, we recently chatted with Denver bands Whiskey Autumn and The Beeves. They’ll be playing Saturday’s fest along with headliner Augustus and bands Native Station, Ben Hanna Band, and ChinaRose. We sat down with Whiskey Autumn frontman Greg Laut and The Beeves’ Matthew Sease to learn about why they felt called to play this benefit and what their bands are up to this year:

Why was playing a benefit for RAICES important to you?

Laut: Separating families is unquestionably inhumane and raising awareness about the ongoing crisis is imperative. Hundreds of children still remain separated from their parents and the Trump administration's efforts to reunite the families has been weak and insincere. RAICES is an amazing organization that provides crucial legal support to underserved migrants and is putting quantifiable plans in place to reunite families. Anything we can do to raise money and awareness for the cause feels right.

Sease: We're happy we have a platform to make some kind of difference in this epidemic of evil. Despite the small scale of the event, we hope the money raised will benefit the cause in some tangible way. This is important to us on the most basic human level, as [it] should be to all people.

Whiskey Autumn. 

Whiskey Autumn. 

What has your band been working on this year?

Laut: We've been recording a new album throughout 2018. The first single was released earlier this summer and our next track premieres with CPR’s OpenAir next Tuesday, August 21st on “Mile High Noon” with Alisha Sweeney. Keep your eyes peeled!

Sease: Last February we began work on our debut album with producer, Nate Cook of The Yawpers and engineer Tyler Imbrogno of Eldren. The album is set to release in late 2018.

What can we expect from your set this weekend at Benevolence Fest?

Laut: You can expect a high energy set of rock'n'roll, synth pop, and good time vibes that get you up on the dance floor. We may even play our new song!

Sease: Tuba?

The Beeves. Photo Credit: George L. Bosser

The Beeves. Photo Credit: George L. Bosser

What’s on your agenda for the rest of 2018?

Laut: We'll be touring the Pacific Northwest in late August and early September. It will be our first time performing in that part of the country, so we're very excited to meet some fresh faces along the way. After that we'll be finishing our new record, which you can expect to hear soon!

Sease: As of now, our focus is on the album. Tours are imminent, and an album release show is in the works. Follow our social media accounts and stay tuned!

Anything else you’d like to catch us up on guys?   

Laut: Big ups to Augustus for organizing this festival. They have been close friends of ours for some time now and have put together a great lineup. We're excited and honored to be on the bill!

Sease: We would like to thank Augustus for having us on this important event, and you all at BolderBeat for covering it.

Looking forward to it! Benevolence Fest is just $6 for six bands this Saturday. Come through!

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

Augustus Talks To Us About Headlining Benevolence Festival & Why This Benefit Show Is Important to Them

Earlier this month, we announced that we’re presenting a mini-festival to benefit RAICES this August. Featuring Colorado bands Augustus, Native Station, Ben Hanna Band, Whiskey Autumn, and The Beeves, along with Chicago’s ChinaRose, Benevolence Festival is slated for this Saturday, August 18th at Boulder’s Twisted Pine Brewing from 2PM-10PM. Throughout this week, we’ll be bringing you info on each of the artists involved. Today, we’re featuring the festival’s headliner, Augustus. We sat down with festival director and Augustus member Jim Herlihy to chat about Benevolence Festival and why the issue of family separation at our nation’s borders needs our attention in the music community:

Augustus.

Augustus.

Jim, what made you want to organize the Benevolence min-fest benefit for RAICES? Why is this issue important to you?

This issue is sort of a "straw that broke camel's back" for me. The psychological trauma that these children have to endure because of our government's actions made me sick to my stomach. I sometimes get into a cycle of thinking, "Well I didn't help out that situation, so why should I help out this situation?" And that just perpetuates itself and I often times end up doing nothing. This was a time I wanted to do something and putting an event like this together is a small part towards helping people in need.

There is a lot of political turmoil in our country right now. Do you have any other comments on it?

It's almost hard to describe all that is wrong with the current political environment in a few sentences. For starters, the fierce tribalism that has seemed to intensify over the past couple years and a growing distrust of media is worrying. The fact that our president perpetuates these tendencies for his own political gain is irresponsible and reckless. His flaunting of long-standing norms from not fully divesting from his business, to exacerbating the Israeli-Palestinian conflict, to antagonizing the media shows a man less concerned with governing a nation and more concerned with his own image. His lack of understanding about complex issues makes him totally unfit for the job and the fact that it feels normal to have his as our president is incredibly sad.

What is Augustus working on currently?

We recorded a five-song EP titled 'Idle' late last year and we have released two singles from that record this year with a full release slated for fall of this year. We've also been releasing one song for $1 every month through our Patreon campaign. These songs are part of our Rarities series and feature acoustic versions, live songs, covers, and alternate versions of our tunes.

What can fans expect from your fest set this weekend? Anything special planned?

This fest will be unique here in Boulder because of the lineup. It features local rock bands in a town not typically known for a rock scene, and this will be the first time all of these bands will be on a bill together. We're even bringing in ChinaRose, a band we recently played with in Chicago.  All of the bands are donating their time for this cause and all of the money made from the event will go to RAICES.

What does Augustus have planned for the fall?

We're releasing our fourth EP this fall with a California tour, and a couple of headlining shows here in the Front Range area.

Anything else you’d like to add?

I was incredibly encouraged by everyone that wanted to be involved in this event. Twisted Pine, Bolderbeat, and all the bands were so willing to get on board and it made me very proud to know that we were all in the same scene together.

We can’t wait! Tickets are $6 at the door. Stay tuned for chats with the rest of the artists on the bill. 

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

Daphne Willis Is Bringing the Freak to Boulder's e-Town Hall This Week

By: Julia Talen

To classify Daphne Willis as one type of musical artist is a difficult feat. She’s been immersed in the music scene for over ten years, having released several records, her most recent being 'Freaks Like Me.' On it you’ll find gorgeous ballads like “Somebody’s Someone” mixed with pop dance tunes like “Out of the Black” and “Just a Little Bit.” Her music gives listeners a glimpse into Willis’ personal experiences which she’s honest and open about.

Daphne Willis. 

Daphne Willis. 

Her latest single, “Do It Like This” (which includes a sweet music video shot on the Queensboro Bridge in NYC featuring dancer Shereen Jenkins), is the perfect upbeat track to blast and sing to in your car with your windows rolled down this summer. Not only that, but she’ll be in Boulder Friday, May 18th bring her vibrant spunk and rich voice to e-Town Hall. We spoke with Willis to hear more about the evolution of her multifaceted musical career and what to expect at her upcoming show.

When did you start playing music and how has your career evolved?

Sure. Well I grew up in a musical family. Both my parents went to UT Austin; my mom was a vocal major and my dad was an engineering major so I grew up singing in a musical family. We always used to listen to music and sing. My parents had me taking piano lessons when I was little. I did that for a while. Played a little bit of saxophone. And then I ended up getting really into poetry when I was in sixth grade. I learned how to play the guitar when I was in high school. I originally started playing cover songs, and once I kind of got more comfortable with the guitar I started writing my own songs.

And then did you study music in college?

No, I’m completely self-taught. I started writing songs in school, and then I went to DePaul University -I’m from Chicago originally- and I started playing out at open mics in the blues clubs and stuff like that. I had written a handful of songs and got a band together and we would play the bars in Chicago, and then we started touring around in the Midwest.

I had this little acoustic EP I had made, and I submitted it to some sub-licensing companies, like you know when you’re in P.F. Changs and you hear music playing? I had my song playing in a catalogue like that. And it was playing on American Airlines flights. The president of this record label was on the flight, and his iPod died, so he plugged his headphones into the armrest and my song was playing. It was crazy. I was eighteen/nineteen at the time and they flew me out to L.A. and the whole thing. The A&R guy that actually signed me, he’s based in Nashville so he was having me go to Nashville for co-writing and to work on the record that I was going to do with them.

So basically I signed a deal and dropped out of school. I took the opportunity and started doing co-writing in Nashville. I did a couple of records with Vanguard Records and then left the label. Now I’m independent as an artist, but I’ve signed a publishing deal with Sony ATV so I’m now a song writer. I write pop music for Sony ATV, and I’ve been with them for three years.

Cool. Speaking of songwriting, what does your process look like?

Well, I write all the time. I write four to five songs a week, and I co-write a lot which is pretty standard in the music industry. A lot of my writing is done in New York, L.A., and Nashville. And I collaborate.

Sometimes we start with the melody. Sometimes with lyrics. Sometimes someone already has like a track made so we write to a track. I often kind of categorize the writing sessions. So if I’m writing for somebody else, it’ll go a little differently than if I’m writing for me. Or, you know I do a lot of film and T.V. writing so the film and T.V. writing is always a little different too.

It all kind of just depends. For me I try and draw inspiration from things I know. I like to write what I know, things from my friends and family’s experiences, kind of just what I see in the world and experience in the world.

That’s awesome. You have kind of a range of different sounds. You’ve got some dancey pop songs and more mellow ballads, like “Somebody’s Someone.” I’m curious, what are some of your musical influences?

I grew up with The Beatles and Michael Jackson and Stevie Wonder. And I grew up with a lot of jazz and blues influence being in Chicago. I also grew up with a lot of you know the R&B of the nineties- Whitney Houston and Mariah Carey. And with all the hip-hop so I have kind of like a hip-hop influence too. I don’t know. It’s kind of all over the place, but it’s fun to be able to blend the genres by just weaving a message and theme throughout the music.

Nice. With your upcoming show at e-Town together, I have to ask. Have you and Dave Tamkin ever played together before, or how are you two connected?

Oh my gosh, it’s so fun because we go so far back! I’ve known Dave for ten years. He’s from Chicago too and we used to play the same clubs and were in the same circles in Chicago. Then we finally played a show and hung out and really hit it off. We stayed in touch though both of us moving away, and he’s just the best. He’s my homie.

That’s great. What should audiences expect at your Boulder show?

I like to talk about the song and give people a little bit of insight into my world and how I wrote it. I’m super open about my personal experiences, and the show is going to be heavily revolving around mental health. That’s the theme of the show. I’ve been in recovery for two years and have a lot of experiences, like pretty much everyone else on the planet with the mental health stuff. So I think it’s just gonna be a nice, open atmosphere. It’s going to be really fun.

Get your tickets to Daphne Willis and Dave Tamkin’s e-Town show here.

-Julia

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

Making Movies' Music Powerfully Explores The Modern Day Immigrant Experience

By: Julia Talen

Latin-indie-rock band Making Movies serendipitously forged when singer/guitarist Enrique Chi played music at a “Day of the Dead” street festival in Kansas City. Upon hearing him play, Maria Charaund, the leader of a folkloric Mexican dance group for children, encouraged Chi to play at her restaurant up the street and to meet her sons. Turns out Maria just so happened to be the mother of Juan Carlos and Andres Chaurand (now Making Movies’ percussionists).

Chi connected with Juan Carlos, who’d grown up playing Latin and salsa music and dancing to Mexican folklorico. Chi shared all along that his musical vision was “always to grab those Caribbean rhythms, those Latino rhythms, and re-link them to rock’n’roll. At the time I didn’t know how linked they already were to rock’n’roll. I just had like this gut instinct that they were. And once we started playing with Juan it was just like it instantly it all made sense.”

Making Movies.

Making Movies.

The bilingual band evolved into a group of four; two sets of brothers: Enrique and Diego Chi alongside Juan Carlo and Andres Charand. Their Latin cultural backgrounds pulse through their music, charging their songs with important messages and themes critically relevant to the country’s current political climate. We spoke more with Enrique Chi about the band’s cultural background, ideology, and their upcoming show May 14th at e-Town Hall in Boulder.

You spoke a bit about the band members familial roots in the music. I’m also wondering, were there any sort of influences from Kansas and growing up in the Midwest that have shaped your music?

I have a lot of thoughts on this. I feel lucky as an artist to be so introspective all the time, because I’m always forced to answer those sort of questions you know, ‘How did you get here?’ and it’s good for humans in general. On one hand, you have Juan Carlos and Andres who have Mexican-American roots, and you have the disconnect from Mexico, which inspires you to get more folkloric. It was something that happened with me too. Like their mother started that dance group in order to keep their roots.

One thing about being in the Midwest, when you feel so disconnected from people that are like you, you can find small pockets, but you’re always the small minority. So you cherish the things about your cultural identity at a heightened level. I think a lot of people try to like shed their parents’ culture, like, “Ah my parents, they were like this or that. I’m different.” But when you’re an immigrant from an immigrant family those things about the old versions of your culture, they become super, like you romanticize them. And so everybody in the band loves old, old Latino music. We don’t really listen to contemporary Latino artists very much. We listen to the classic stuff that we remember hearing at our grandparents’ house or grandmother’s house or with our mothers or whatever because of that longing. Because it brings us back home. So that’s one weird influence.

The other thing is that by being in the Midwest, in Kansas City specifically, Kansas City has a vibrant jazz scene. And it has come back up in the last few years. There’s a ton of history there. Like Charlie Parker is from there. And I think the first time I saw Juan Carlos perform I didn’t even know him but he was playing at the jazz museum in a Latin jazz band of sorts. Because the Latino bands, like salsa bands, almost have to play in the jazz environments. Juan Carlos has that… so the improvisational components and those things have kind of stuck with us.

And then Kansas City doesn’t have a really successful music scene. When I was growing up there was like one band that had broken through, that I knew of. It was the Get Up Kids. But outside of that there was hardly anything. And their path was the same path. The scene was all about you rent a van and you play basements or punk-rock venues or you play art spaces. There’s no other tools to a musical career. Which is not totally true, but it is kind of true because in Kansas City, their network runs out pretty quickly if you’re trying to build a real national or international career. So you kind of have to leave one way or another. And if you’re a broke artist you have to buy a crappy van and do whatever you have to do to be playing in New York or Chicago or L.A. and be building connections and experiences. So that thing really stuck with us.

Growing up, I looked up to this band called Shiner. And Shiner’s like this really angular rock’n’roll band. But they became fairly successful through that kind of path. Sometimes the guitarist can be kind of dissonant and angular and that actually comes from the Kansas City indie rock scene or punk rock scene.

Whatever the underground scene may be [that angularity is] almost a necessity. Because you’re playing oftentimes when you’re touring like that with no resources for people that didn’t want to see you. They’re just randomly at the bar, or they’re there because the other band is a local band and they’re not that good but they have friends and the friends came. You’re friends are there because it’s a night out. And you’re the opener and you’ve just drove like seven hours for your one shot in Indianapolis. And you’re gonna make it you know? And you’re opening up to these people and they’re not really there to see you so you almost have to be noisy. You almost have to like yell at them. Like, ‘Hey hey hey! Pay attention over here!’ And it’s almost a gimmick to attract attention and be like, ‘Okay so now that I have your attention, here’s the music we make.’ And so there’s some of that in the Kansas City scene and I think that we have a little bit of that… a little angular.

I’ve seen the photograph of you guys with “DACA” written in permanent marker on your skin, and I’m curious, has the band’s message or political stance shifted since the election?

It’s shifted. It’s kind of both you know. We made the first record about an immigrant neighborhood and the kids who grew up disenfranchised. And even before we made that record we’d put out a video about undocumented kids. ‘Cause I remember, to bring it all full circle, that day I met Juan Carlos and his mother, I also asked this guy who looked like he was in charge, I was like, “Hey this is really cool. A lot of young people they’ve made stuff and they’re selling it. And he was like, “Yeah we have an after-school program for kids in the neighborhood,” and so I was like, “Oh I’d love to volunteer and we can give some guitar lessons.”

And I resonated with, like, I can tell when a kid just moved here from another country. Like I remember that feeling of feeling a little disconnected… And so I’ve been writing about those experiences- about how these kids when they become aware of the fact that they’re not suppose to be here. They’re “illegal” or whatever the words are and how much that shifts their psychology, and so I would write about it because it was on the top of my head. And I remember we used to say, “Oh you know we’re not a political band, we just write about social topics. We write about what we’ve seen and what we’ve lived.”

We already had for four years put up the “We are all immigrants” flag at shows because to me that’s like the story of all music… how do you make any kind of music? It is a mix of all these people’s culture… without human migration nothing is anything. Everything comes from this beautiful mix of what people do. And so you can take pride in your own heritage, but you should do that with this education that human beings have been moving and mixing cultures and language since the dawn of time. We’re just some small part of that huge conversation.

And then we had this opportunity at the Folk Alliance Conference [in February 2017]. We did a musical piece right before the keynote speech by Billy Bragg. A lot of things he said in the speech that day really resonated with me and he told me, ”You know it’s your turn now. Pete Seeger once told me it was my turn now, [that he couldn’t] write songs for your people, your generation… [And] just like that it’s your turn now,” and he looked at me and pointed at me.

After hearing Billy Bragg, I was like, you know, we can be political because the reality is that when you pull out an ideology like that, like a crazy idea like, “All humans should have the same rights as you and I have” and you pull that out of an ideological discussion and you try to implement it into the world in any capacity,  it becomes political. I can’t just say, “Hey these kids who are undocumented, we need to do something” and pretend that that’s not a political decision that needs to be had. For me it’s my life. I know this kid. He is undocumented, and I wish he could go to college and he doesn’t have any other options. He grew up here. But to solve that very human personal problem, it’s a policy, and we don’t claim to know the political answers, you know, but we can raise awareness and ask people to engage. I think if people really look inside themselves they know the answers. Even people who are judgemental, you know, if they meet someone from a different culture and then build a bond that opens their minds, they’re like, “Oh shit maybe I was looking at this all wrong.”

Making Movies at their NPR "tiny desk" performance. photo courtesy npr. 

Making Movies at their NPR "tiny desk" performance. photo courtesy npr. 

And what about the name of the band, Making Movies? How did that come to be?

My dad loved rock’n’roll. He was almost like an outcast in small town Panama, small town Central America, and he would dig for rock’n’roll records. So during my childhood musical experience, I was always going through his vinyls and he really loved Dire Straits. And I loved them as a kid too. I would sing their music. Even before I spoke English, I would sing this song called “The Walk of Life.” And one of their albums is called Making Movies.That’s where I lifted it from. I always thought that’s a cool meaning you know. I loved that music before I knew the language. And so I loved it for the other languages that music carries. And here I’m in a bilingual band. It kind of represents that fearlessness of you know- our music can communicate the story to them through some other mechanism. ‘Cause I still remember the feeling of being elated by that song and I didn’t know words. It just moved me.

Anything our readers should expect at your upcoming e-Town show on Monday, May 14th?

I would just say that the opening act, Alex Cuba, he’s from Canada and he’s like a legend. He has multiple Juno Awards and is really respected, but he hasn’t toured the U.S. very much. So it’ll be a real treat to have him with us, and he’s also won Latin Grammy Awards and stuff like that too, so definitely come out early and don’t miss Alex Cuba.

And be prepared to move a little bit! It’s kind of hard to be at a Making Movies show and not move your hips a little.

Get tickets for Making Movies e-Town show here.

-Julia

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

Mitchel Evan's Intimate, Informal Solo Debut Record Is Also A Send Off

By: Brody Coronelli

The newly solo singer/songwriter reflects on his former band, the experience that inspired his upcoming, informal debut The Little Horse Tapes, and how it drove him to seek rejuvenation back home.

Mitchel Evan.

Mitchel Evan.

The road to Mitchel Evan becoming a solo artist has been long and winding. It’s taken a complete uprooting from his home state of Virginia, the inception, prosperity, and disbanding of his former band The Mangrove, and past struggles with addiction and personal tragedy to lay the emotional groundwork for a career that has recently become entirely his own.

At heart, Evan has always been a solo artist. He writes forthright and honest music that strikes the arduous balance between being relatable and personally expressive, and although collaboration has often been a step between the creation and delivery of his work, his music has always been a vibrant extension of himself, above all else.

“The disbanding of The Mangrove was probably the best thing that ever happened to me artistically. The material for the band was written by me, for the band. It had a specific sound in mind. After awhile, I felt constricted doing this,” he says, “I’m really grateful that I had the Mangrove for three years, [though]. It allotted me a lot of time to experiment with different sounds, to work with a producer, to learn to record, and figure out how I like to write. It was the middle of the road; it was somewhere between being a solo artist, and being in a band.”

Since his band split for good late last year, Evan has yet to officially debut as a solo artist. This is where The Little Horse Tapes comes in. Recorded at Little Horse, a vintage music and bookstore in Louisville, CO that occasionally doubles as a recording studio, this six-track, live-to-tape cassette will be Evan’s first release since he struck out on his own.

The songs that comprise The Little Horse Tapes were written from a place of heartache, and released entirely out of circumstance. After Evan struck up a friendship with Ryan Sniegowski, Little Horse’s sound engineer, six songs Evan had written but didn’t have any plans of including on his debut LP It’s A Hell of a Drug, Nostalgia (due out this summer), suddenly found a home. Loosely, the tapes are a concept album; each stripped-down, acoustic track was written during a recent romantic relationship, and they document the beginning, middle, and end.  

“They’re all- more or less- hopeful love songs, but through the filter of my cynical mind,” he says.

28061360_1686815548028566_2136929045831571452_o.jpg

“Open Season,” the opening track of Side A, was one of the first songs Evan wrote during the relationship, and instead of it basking in the honeymoon phase, it projects to the end, foreseeing a future where he and the girl are no longer together. “I’m at the mercy of a fragile heart,” he croons on the song, coming to terms with his sensitivity and the mess it can make.  

“Cancel Out The Noise” is a breezy and irresistible folk song about relinquishing control to love. Evan sings of love as an entity that operates on its own terms, having come over him like a storm he couldn’t outrun.

“[It’s about me] falling in love, but I don’t like that I’m falling in love. I had just gotten out of a three-year relationship, and I was only single for three months before I fell again. I knew it was gonna be a long road, and that I didn’t have a say in the matter,” he says.

“I don’t wanna feel this way/I don’t wanna feel the way I do/And that’s your cue,” he sings on the chorus, acknowledging that his feelings are out of his control, but still ultimately remain his own.

“[The track is also about] acknowledging the illusion of free will. It’s been a crazy, very hard couple of months,” he says, “We have this illusion to wrestle our will into place and gain control over our lives, but we have control over so little that happens to us. We only have control over the way we respond to life.”

“I Can’t Stop Thinking About You” continues the theme of not having control over how we feel or what comes over us. It’s a slow-burning, magnetic song that uses simple, yet powerful imagery to portray the struggle of not being able to get someone off your mind. “I can’t stop thinking about you” is repeated throughout the song, mimicking the spiraling and redundant noise that love fills your head with. It features a slow, pulsing drum machine that quietly lulls behind the music like a pulse or a subway sonar, subtly stitching the song together.

“It’s supposed to be redundant and repetitive, because that’s how [love] feels. I [couldn’t] stop thinking about [her]; [she was] running through my head over and over like this cyclical pulse,” he says. “[The song] stays true to the cynical nature of [this record]. It was irritating that I was falling in love, and I was fighting it every step of the way, instead of allowing myself to fall.”

“Thirty Miles (Juliette)” is a quaint and stripped-down song about Evan uprooting himself from Virginia, coming to Colorado, and the doubts that followed, particularly towards the end of the relationship that inspired these songs.

“I’m an eternally restless person, and a lot of that has to do with not knowing if I should be in Colorado. This song documents the push and pull between being here and loving it and also missing my family, the humidity, the ocean, and the East Coast in general,” he says.

22135752_1552875768089212_2990355784192790558_o.jpg

These feelings of doubt have culminated, and Evan is planning on leaving Colorado soon and going back home on the East Coast for a few months. He isn’t leaving without a proper goodbye, though. He’s playing a release show for The Little Horse Tapes at Little Horse Books and Vintage in Louisville on April 14th. With opening acts David Burchfield, Maya Bennett and Many Mountains, the night is a celebration of local talent as well as an intimate send off for Evan; an artist that’s done everything he can to make Colorado feel like home, but still feels the irresistible tug of the Atlantic.

“I was overwhelmed by the circumstances that ended this relationship, and I felt really alone. I didn’t know how to cope with it, but I knew I needed a break, so I started planning a trip back home to reconnect, take a look at myself, be with people who love me, and to breathe and re-center,” he says.

While back home, he has a number of shows planned in Virginia, as well as the surrounding states. With big plans of touring the Carolinas, to play Washington D.C., and to make a stop in Nashville, the trip is also about bringing his music to new scenes and new audiences. After all, he has a lot to be excited about. The past year as seen Evan at his most fully-formed and prolific. He released Back and Forth, a full length album with The Mangrove last year, and he’s set to release It’s A Hell Of A Drug, Nostalgia this summer, in addition to The Little Horse Tapes. People on the East Coast need to hear his work just as much as he needs to reflect and re-center in a place that truly feels like home.

 ** Mitchel’s upcoming show at Little Horse Books has been unfortunately cancelled. 

Keep up with Mitchel 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.

Famous Men Release Debut Single & Video "Gambler's Cry"

By: Mirna Tufekcic

A brand-spankin’ new trio, Famous Men, who were forged while busking the Pearl Street Mall during the summer of 2017 in Boulder, Colorado, are coming out with their very first album Gambler’s Cry this spring. Recently they released a video for the title track from their upcoming record and we have it here for your viewing pleasure. Check it out below and get stoked for more cool things to come from these guys, like their weekly Facebook live shows every Thursday where they serenade you with originals and covers (of your choice!). You can follow them here.

The band focuses on traditional folk songwriting, while pairing it with rock’n’roll and blues, reminiscent of The Black Keys if they melded with The Wood Brothers and Ryan Adams. Hunter Stone, vocals and guitar of the band, brings a unique twist to this style with a raspy tone that is undeniably cool. His slide guitar skills kill too. Joe Plante on the bass and keys and Joshua Thomas on the drums add to the blues-rock-country feel of this band as a whole. In fact the vibes from these guys at their live performances simply capture the audience’s attention effortlessly. I know because I’ve already seen them on several occasions.

Famous Men.

Famous Men.

Famous men mean business and they deliver. So check them out here first with the video produced by the band themselves. Then make sure to go see them live. How will you know where and when? Head over to their Facebook page.

-Mirna

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

Allie Chipkin Dropping New Record 'Cascades' With Release Show This Weekend

“I have always gotten chills from the sounds of consonants and the patterns of poetry.”

That’s what Boulder’s Allie Chipkin told us, the singer/songwriter whose love of language it seems is really what started her performance career. Having studied Spanish and poetry in college at Boston Conservatory, Allie’s obsession for “the rhythm of words” is initially what inspired her early songwriting. In fact her senior year project was actually her debut record, Honey & Knives. As she started to record the album, she dove headfirst into studying her influences alongside her poetry classes- “Joni's lyrics, Ani's melodies, Patti's wild New York stories, as well as the harmonies of Sara Bareilles and Laura Mvula's R&B chord progressions.” Together, these artists blend into her sound, along with her own styles and musings.

Allie Chipkin. Photo Credit: Justin Camerer.

Allie Chipkin. Photo Credit: Justin Camerer.

Fast-forward beyond her graduation and Chipkin is now a Boulder-based resident about to release her follow-up EP Cascades. Recorded back in Boston with producer and collaborator Kevin O’Connell, Cascades explores in subject Allie’s time spent traveling over the past couple of years. This is obvious on tracks like “Seattle,” which includes percussive elements meant to emphasize rain. Other songs like “Lovesick” don’t directly have a wanderlust feel, but more subtly explore relationships. In fact, Chipkin told us this track is more specifically about the electric creative force behind Chipkin and O’Connell’s collaboration on the record.

Said Chipkin, “I’m ecstatic to release Cascades, because it came to life through the support of the many people in this world I love. This EP showcases talents, sounds, and inspiration from my creative colleagues across the country, and was generously funded by dear friends, fans, and family. Cascades feels like a crisp ‘high-five’ with everyone who has supported my artistic/personal journey thus far. This week, I send gratitude to those who share their love with me, and to anyone who has smiled or winked at me along the way.”

Artwork per Michaella Twersky.

Artwork per Michaella Twersky.

With the digital release of her record slated for this Friday, February 23rd, you have the chance to check out Cascades before Chipkin’s release show the following night at Longmont’s Still Cellars. She’ll be joined onstage by fiddler Oliver Jacobsen, and David Burchfield will open the night.

Make sure to join Allie this weekend and check out her newest release. You just might get the chills yourself.

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

Premiere: J.W. Schuller's Signature Humor Is Apparent In New Music Video For "No mud in Joyville"

By: Hannah Oreskovich

BolderBeat first caught up with Boulder transplant and singer/songwriter J.W. Schuller about a year ago when he released his tongue-in-cheek video for “When I’m President.” Schuller is well-known for injecting his sense of humor into his work, and his recent release for his single “No mud in Joyville” is no different.

“No mud in Joyville” is the title track from Schuller’s newest record, which dropped this past January. The song’s somewhat nonsensical verses and catchy chorus are of Schuller’s signature style, one which keeps the listener wondering what he’ll say next and simultaneously has them singing along after a minute or two. In the song, Schuller imagines a place where there won’t be hate, deer ticks, and of course, mud among other things.

J.W. Schuller.

J.W. Schuller.

The video for “No mud in Joyville,” which we’re premiering here today, brings Schuller’s goofy sensibilities to light. The video features scenes of Schuller and his bearded nephew Jens Larson playing in front of an old stove in a living room of sorts, interspersed with abstract skeleton art sequences, and at one point a scene where they launch skittles from a drum in Larson’s mouth.

Said Jeff about the video, “I conceived and directed the video and it was shot on an iPhone 6 by the abstract artist Jaci Lee Reno, who I'm also lucky to call my wife. The flower and skeleton imagery in the video is an offshoot of my idea for the album cover. I've always been struck by Mexican Day of the Dead folk art and the juxtaposition of skeleton figures and flowers have been a recurring theme in videos and gig posters for me. It’s kind of an off-puttingly cute way to reflect on our mortality, I guess."

Schuller and Larson.

Schuller and Larson.

No mud in Joyville is the second release from Schuller as a solo artist, and is a follow-up to his 2013 release All Important Artists. His latest was recorded and mixed at Underwood Studios in Minneapolis by Mark Stockert, which are Schuller’s old stomping grounds.

J.W. Schuller’s album release show is slated for Saturday, March 10th at The Walnut Room in Denver with Red Petals and Kait Berreckman. Snag tickets here and make sure to keep up with Schuller on Facebook.

-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.

Michael Howard Cuts Through the Noise With Debut Record 'Impatiens'

By: Brody Coronelli

The folk Americana singer/songwriter reflects on his debut album Impatiens and how the Front Range brought new life to his songwriting.  

Michael Howard is a seasoned musician who often plays a hundred shows in a year, has actively performed and collaborated with multiple bands along the Colorado Front Range, and has been writing music in a prolific and soul-searching manner since his early teens. The catch is that you’d never guess any of this from a first impression.

When we met, Howard donned a flannel shirt, loose-fitting blue jeans, and work boots, looking fit more for a day’s work than a night onstage. He works as a contractor when he’s not making music, but the combination of dress and his uniquely relaxed, informal way of talking about his music make him feel like a true everyman; an everyman, that is, with an affinity for a rousing melody.

Born in Colorado but raised in Virginia, Howard came back out to the Rockies three years ago for a fresh start. Back in his home state, he tapped into a newfound sense of inspiration to take music more seriously than he ever had before. He began playing hundreds of shows a year, collaborating with multiple local acts, playing with The Wooden Spoons, The Healthy Herd, and working prolifically on his own solo material.

In November, Howard released his solo debut Impatiens, a sprawling anthology of stripped-down and forthright Americana-driven songs:

“The album is named after a flower that shoots its seeds out of its pods when lightly touched. They just explode and fling their seeds everywhere,” he said, cracking up.

“I came out to Colorado after a very cloistered, isolated period in Vermont,” he added, explaining the more serious side of meaning behind the name. “It was a very insular, isolated time, so by the time I got out here, there was so much pent up, and it exploded. I went from playing one or two shows a year to a hundred. I suddenly had all this inspiration flying around,” he said.

Recorded with John Macy at Macy Studios in Denver, Impatiens is built mostly from material Howard began working on when he came back to the Front Range. These are songs that came from a period of creative abandon, where music introspectively began taking shape before he put it on paper.

While making the album, which is limited to him, an acoustic guitar, and the occasional, sweeping vocal harmony, Howard replicated the environment of playing live in an intimate setting by bringing friends and family into the studio to observe the recording process. The entire album took only two days to record, many of the songs coming together in only one take.

Impatiens was really about establishing a baseline. These are what the songs sound like without other people involved. There are so many people I’ve played with around Denver, and I have individual songs that’ve been played with three different groups, and they each sound different every time. That’s what was fun about this record: it has that living room experience,” he said.

Michael Howard at Macy Studios.

Michael Howard at Macy Studios.

As a songwriter, Howard’s range of expression is thematically rousing. His narrative, colorful, and folk-informed lyrics meet his percussive, bluesy guitar playing in a manner that’ll latch onto your own stories with every croon.

“Fable” is a song Howard began writing when he lived on a hippie commune in his early 20s. The song stings of early ‘20s wanderlust and dreamlike splendor as it describes a dream he had at the time of his unborn child. Howard came across the song recently, discovering that after some fine tuning, it’d be a good fit with the sentimental mythos of Impatiens.

On the other end of the coin, “I Need Another Lover,” a swooning love song with an undercurrent of dread, was written much more recently. However, the final product took on an unexpected form.

"When I wrote 'I Need Another,' I was cracking up; it’s just a setup for a joke each time the refrain hits. It’s set up like, ‘Here’s another terrible situation.’ But when I actually had it recorded and listen[ed] to it afterwards, I realized that it’s a super depressing song,” he said.

The album’s most soaring moment is the title track “Impatiens,” a heartening love song that shows off Howard’s poetic tongue. Boasting flowery, transcendental quips like, “Time’s a patient teacher/Makes me wait to pay the cost/While I draw the map that gets me lost,” with simple, forthright declarations such as, “Cause it’s too late, I love you/Good luck,” the song is a colorful display of a songwriter that’s able to reside on multiple levels at once.

“The awkward thing about the song ‘Impatiens’ was that three or four people thought it was about them. When I’m writing a song, I don’t change names or circumstances. If you’re unlucky enough to know me personally, it’s only a matter of time,” he said, laughing.

Michael Howard 1.jpg

This sense of humor and lack of self-seriousness is part of what makes Howard- and his music- so charming. Whether he’s joking about his album title, or how a song deceived him by the time he’d finished writing it, he doesn’t let himself get lost in the emotional severity of being a songwriter. It isn’t to say that he doesn’t take his craft seriously- he’s already completed an album’s worth of new material since Impatiens released- but he keeps a relaxed grin on his face through it all, constantly acknowledging how appreciative he is to be able to do what he loves.

“The feeling I get after playing a solo set is one of total peace. I feel like I’m doing what I’m supposed to be doing. That feeling? It’s [like being] on top of the world,” he said.

When asked about how he feels playing by himself as opposed to with a band, Howard speaks about the pursuit of being a singer/songwriter with equally high regard for its challenges as well as its virtues.

“I love doing solo stuff because it’s the hardest. Playing in front of hundreds of people with a group doesn’t have that feeling; it’s just fun. When you’re playing alone, presenting material where you’re not lying or changing names- it’s just nakedness,” he said.

In many ways, its as if Howard is often only playing to an audience of one person: himself. He isn’t preoccupied with self-promotion, technology, and other variables that can cloud the consciousness of an artist in the modern age.

“To go from doing all of that booking, promotion, and social media to not going on Facebook ever- I’m a much happier person now. I’ve had periods of time where I’ve been tied up in it all, but overall, I just want to show up, have a good time playing, and meet other people in person. The great thing about social media being such a big thing right now is that it rarifies the actual in-person, face-to-face experience,” he said.

Michael Howard is bringing things back to the music and the music alone, and that’ll prove to go further than any amount of likes or shares.  

Keep up with Michael 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.

Review: Nate Barnes Dives Deep On New Solo Project Plutinos

By: Julia Talen

Having toured and played with musicians and bands such as Rose Hill Drive, Ryan Bingham, Pete Townshend, and Matisyahu, Nate Barnes has set out on his own with his musical project Plutinos. Listeners can pick up on subtle influences, from the rock’n’roll of Rose Hill Drive to the mellow, singer/songwriter qualities of music by Ryan Bingham in Barnes’ new record, but Plutinos dives deep, proving Nate Barnes as a musician with his own sound and vision. Barnes has written, performed, and recorded all of the music on the EP, and each track incorporates a plethora of Barnes’ musical skills encompassing a wide variety of rock genres, from psychedelic, to indie, lo-fi, classic, and everything in between. Simultaneously, verse content explores the nuances of breaking the mold and becoming yourself after trying to fit into others’ boxes.

unnamed.png

The first track off the self-titled EP titled, “Out of Touch,” draws listeners into the disorientation of feeling “out of touch” with reality and with yourself. The guitar and bass are strong, and symbols thrash as we drop into the tune. Barnes’ voice is hazy and distant, rounding out the harder rock’n’roll instrumentals while also playing on the theme of feeling mixed-up and frustrated, “floating in the wicked sea” of “false hope, broken dreams” and feeling “out of touch.”

The second track, “Dream is Lost,” juxtaposes the first, with a slower more reflective tone. The tune opens up with language that conjures vague but evocative imagery with phrases like “slowly fades away” and “edges blur” denoting dreams, memories, and lost feelings. The instrumentals in this track mirror the sung lines, and the tune feels abstract and lulling.  Echoing and ethereal “ooo’s,” which we got a taste of in the first track, accompany the repetitive refrain in which Barnes croons, “the dream is lost.” His vocals are so echoey they are almost hollow, hovering over the resounding and meandering guitar that takes us through this misty, introspective track, which mourns the loss of a real, true dream, forgotten from getting caught up in a fantastical illusion.

Nathan Barnes.

Nathan Barnes.

Up next is “Trying To Be,” which traverses the relentless pressures of fitting into conventional molds or boxes you think you should be in. The guitar and drums are heavy, again contrasting Barnes’ hazy vocals, which feel slightly more clear in this song. The lyrics are relatable, talking about social media’s influence on people “trying to be” something they’re not, and the tune, quite catchy, makes this one a stand out.

In “Falling Away,” the track opens with a more rustic guitar before Barnes layers his now signature “ooo’s” that haunt and echo with a bass and drums that reverberate. There is a beautiful bridge in this one, almost as if we come to a reckoning in this EP’s story of self-destruction while trying to fit in, where Barnes’ sublime guitar reminds me of something in a Sigur Ros song. Listeners get lost in this tune as it ebbs out and we wake up to the final track.

“Hand in Hand” is a hopeful send off to forge forward from the messiness of life with support so you don’t fade into illusory societal conventions and pressures. The verses sound like Tame Impala- psychedelic and deliciously dreamlike- yet the refrain, which builds, reminds me of the rawness that the Dum Dum Girls cultivate in a variety of their tunes.  A few bridges bring in that interesting, experimental, and ethereal guitar soloing similar to the previous track, highlighting how this holistic album weaves vocal and instrumental themes throughout, keeping it cohesive.

This record “venture[s] into uncharted wates… to dive deep,” as Barnes’ explains, like the mythological creatures named after the trans-Neptunian plutinos, who are associated with an underworld. Barnes’ self-titled EP feels hypnotic, raw, and contemplative. He has taken his experience playing with other bands, elevated it, and created something that is true, authentic, original, and definitely astronomical.

-Julia

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

Every 2018 Red Rocks Show Announced So Far

If you've ever been to Red Rocks, you know there's nothing like it. From the natural beauty of the amphitheater, to the friendly crowd vibes, to the dancing security guards, a Red Rocks show is like its own mini-festival atmosphere. We spend a good part of our spring and summer at the Rocks, and below you'll see why. We've compiled every Red Rocks 2018 show announced so far this year, and we'll update this post every Friday. Start planning your season now and keep checking back for more new shows- 2018 is gonna be a good one. See you on the Rocks!

January

January 12- Red Rocks Local Set with Dynamic Distractions, Venture Still

January 26- Winter On the Rocks with Rick Ross, Jauz, Brother Ali

February

February 16- Red Rocks Local Set with Sugar Ridge Band

March

March 10- Red Rocks Local Set with Many Mountains, Miguel Dakota and The Differents

April

April 18- Camila Cabello

April 19- 311, Method Man, Redman, Collie Buddz, PROF, Long Beach Dub Allstars, Chali 2na

April 20- Flosstradamus, Kayzo, Famous Dex, Melvv, DUCKY

April 21- Opiuo, Sunsquabi

April 25- Kygo, Alan Walker

April 27- Vulfpeck, Kamasi Washington, KNOWER

May

May 2- Post Malone, 21 Savage, SOB x RBE

May 3- X Ambassadors, Misterwives, Allan Rayman

May 4- Twiddle and Stick Figure with The Hip Abduction

May 5- Phil Lesh & The Terrapin Family Band with Leftover Salmon

May 6- Primus, Mastodon, All The Witches

May 10- The Purple Xperience

May 11- Tchami, Malaa

May 12- Global Dub Festival with Ganja White Night, Zomboy, Boogie T. b2b SQUNTO, EPTIC, AFK, Spock

May 13- Modest Mouse

May 14- Khalid

May 19- Above & Beyond

May 20- Elephant Revival with Blind Pilot

May 21- Phantogram, Tycho, Poolside

May 22- The Decemberists, Whitney

May 24- Louis the Child, Big Wild, Quinn XCII, Phantoms

May 25- Devil Makes Three with The Wood Brothers, Murder By Death

May 26- Emancipator Ensemble with Manic Focus, Wax Tailor, Kalya Scintilla & Eve Olution, Tor

May 27- The Disco Biscuits, Spafford, Organ Freeman

May 28- HAIM, Maggie Rogers, Lizzo

May 29- Five Finger Death Punch, Of Mice and Men

May 30- Vance Joy

May 31- Colorado Symphony: Rachmaninoff Piano Concerto No. 2, Brett Mitchell, Natasha Paremski

June

June 1- Michael Franti & Spearhead, Xavier Rudd, Victoria Canal

June 2- The Motet, Boombox, The New Mastersounds

June 3- Marshmello

June 5- Ween

June 6- Ween

June 7- Brit Floyd

June 8- Lettuce, The Floozies, The Funk Hunters, Jaw Gems

June 9- Big Head Todd and the Monsters

June 10- John Butler Trio, Tash Sultana, Mama Kin Spender

June 12- Bryan Adams

June 13- Turnpike Troubadours with Randy Rogers Band, Old 97’s, Charley Crockett

June 14- Ryan Adams, First Aid Kit

June 15- Odesza -SOLD OUT-

June 16- Odesza -SOLD OUT-

June 17- Dispatch, Nahko and Medicine for the People, Raye Zaragoza

June 19- Barenaked Ladies, Better Than Ezra, KT Tunstall

June 20- Kaleo, Anderson East

June 22- Widespread Panic

June 23- Widespread Panic

June 24- Widespread Panic

June 27- Dirty Heads, Iration, The Movement, Pacific Dub

June 27- Third Day

June 28- Funk on the Rocks with Chromeo, The Glitch Mob, Elohim, KITTENS

June 29- Avett Brothers with David Crosby & Friends -SOLD OUT-

June 30- Avett Brothers with Mandolin Orange -SOLD OUT-

July

July 1- Avett Brothers with Special Guest

July 2- Zeds Dead, Ekali

July 3- Zeds Dead, Ekali

July 4- Blues Traveler, G. Love & Special Sauce, The Wailers

July 5- Umphrey’s McGee, Lotus

July 6- Umphrey’s McGee

July 7- Umphrey’s McGee

July 8- Dark Star Orchestra with Keller Williams

July 10- Ray LaMontagne, Neko Case

July 12- moe.

July 13- GRiZ (live band)

July 14- GRiZ

July 15- Seal with the Colorado Symphony, Corinne Bailey Rae

July 16- Imagine Dragons, Grace VanderWaal

July 17- Jackson Browne

July 18- Sylvan Esso

July 19- Trampled By Turtles, The Oh Hellos, Dead Horses

July 20- The String Cheese Incident with JJ Grey and Mofro

July 21- The String Cheese Incident with The Main Squeeze

July 22- The String Cheese Incident with Rising Appalachia

July 24- Paramore

July 25- Killer Queen

July 26- Sarah McLachlin with The Colorado Symphony

July 27- Beats Antique, CloZee, Polish Ambassador, The Diplomatic Scandal

July 28- Tedeschi Trucks Band with Drive-By Truckers, Marcus King Band

July 29- Tedeschi Trucks Band, Drive-By Truckers, Marcus King Band

July 30- Halsey

July 31- Nas, Black Star, Push T, Brother Ali, The Reminders

August

August 2- HARD Red Rocks with DJ Snake, Virtual Self, Mija, GG Magree, Hekler

August 3- Lucero, Frank Turner & The Sleeping Souls

August 4- Yonder Mountain String Band, The Infamous Stringdusters

August 5- Joe Bonamassa

August 6- Steve Martin, Martin Short, The Steep Canyon Rangers, Jeff Babko

August 8- Portugal. the Man, Thee Oh Sees

August 9- Leon Bridges

August 10- Pretty Lights

August 11- Pretty Lights

August 12- Brandi Carlile with Shovels & Rope

August 14- LSD TOUR: Lucinda Williams, Steve Earle, Dwight Yoakam

August 15- Father John Misty, TV On the Radio

August 16- Joe Russo’s Almost Dead

August 17- Old Crow Medicine Show, I’m With Her, Sara Watkins, Sarah Jarosz, Aiofe O’Donovan

August 18- Railroad Earth, Fruition

August 19- THE CULT, Stone Temple Pilots, Bush

August 20- Niall Horan, Maren Morris

August 22- Nathaniel Rateliff & The Night Sweats, Tank and the Bangas -SOLD OUT-

August 23- Nathaniel Rateliff & The Night Sweats, Slim Cessna’s Auto Club

August 24- 1964 The Tribute

August 27- David Byrne -SOLD OUT-

August 28- David Byrne -SOLD OUT-

August 29- Illenium -ALMOST SOLD OUT-

August 30- Shakey Graves, Jose Gonzalez & The Brite Lites, Twin Peaks

August 31- Atmosphere

September

September 1- Gramatik

September 2- Jason Mraz, Brett Dennen

September 3- Jason Isbell and the 400 Unit with Aimee Mann and Amanda Shires

September 4- Lyle Lovett and His Large Band, Margo Price

September 5- Gary Clark Jr.

September 6- Lake Street Dive, Josh Ritter

September 7- STS9, What So Not, DJ Z-Trip

September 8- STS9, TAUK, Cut Chemist

September 9- O.A.R., Matt Nathanson

September 10- Mac DeMarco

September 11-  Rascal Flatts, Trent Harmon

September 12- NEEDTOBREATHE, JOHNNYSWIM, Forest Blakk

September 13- The Revivalists, Houndmouth, J. Roddy Walston and The Business

September 14- Gov’t Mule, Dark Side of the Mule, Warren Haynes Acoustic

September 16- NGHTMRE with Slander and JOYRYDE

September 17- Punch Brothers, Gillian Welch

September 18- Nine Inch Nails, The Jesus and Mary Chain, Tobacco

September 19- Nine Inch Nails, The Jesus and Mary Chain, Tobacco

September 20- Little Big Town

September 21- Trombone Shorty & Orleans Avenue, Galactic, Preservation Hall Jazz Band, New Breed Brass Band, Cyril Neville, Walter Wolfman Washington, Kermit Ruffins

September 22- Greenky Bluegrass with California Honeydrops

September 23- Greenky Bluegrass with Turkuaz

September 24- Beck, Jenny Lewis

September 25- Beck, Jenny Lewis

September 26- Ms. Lauryn Hill

September 27- Get The Led Out

September 28- Big Gigantic

September 29- Big Gigantic

September 29- 3LAU, Louis Futon, Party Pupils

September 30- Gregory Alan Isakov, Patty Griffin

October

October 1- Ben Howard

October 5- Snails

October 9- The National, Sharon Van Etten

October 11- Seven Lions

October 13- Rezz

October 20- Excision, SKisM b2b Trampa, Barely Alive b2b PhaseOne b2b Virtual Roit, Dion Timmer, Subtronics, Wooli

October 22- A Perfect Circle

October 28- ZHU

*All available tickets here.

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

Premiere: Augustus Release New Single "Demons" From Upcoming EP

By: Andrew Wright

In the dizzying internet world where all the different kinds of music thrown at you can be overwhelming, to the pop-dominated airwaves of half-dead radio, it is a touch of awesome nostalgia to hear simple, cool, straightforward rock and roll. The Boulder-based band Augustus are a call back to this music, the kind that simply exudes cool without trying.

“Demons” is the first single from the band’s forthcoming EP, which is due out in the spring of 2018. “Demons” is simple in its form as a rock song, but this is a good thing. The most important lesson I ever learned in music theory class was to write music and then have the theory make sense of it; in other words it’s ok to be simple when the music is actually good. Augustus have accomplished this powerful principle with “Demons,” making this band yet another solid one in the ever-growing pool of awesome talent in Colorado. With bluesy guitars under frontman Colin Kelly’s thick and reverb-y vocals, to the rock-heavy drum patterns on this track, “Demons” is a perfect wave of rock’n’roll.

a0675989597_10.jpg

“Demons” is the first of two singles to be released from the band’s Denver Art Institute sessions, where drummer Jay Elliot is an adjunct professor. Members Jim Herlihy (guitar) and Chad Mathis (bass) tracked their instruments live at DAI along with Elliot (drums) and students from an advanced audio course helped engineer the sessions, making this song bleed even more Colorado music community vibes. The vocals and lead guitar were tracked at Casa Nostra Studios in Boulder by Kelly (vocals/guitar), with mastering by Dominick Maita.

Augustus have plans to release a music video for "Demons" soon. You can keep up with this four-piece rock'n'roll outfit and their next EP here.

-Andrew

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

Daybreaker Is Officially The Best Way To Wake Up

By: Hannah Oreskovich

Last Thursday, I woke up at 5AM to don my best fur vest with some of Boulder’s happiest people. Yoga mat in hand, I headed to the Boulder Theater for what was the earliest door time I’d ever attended: a spry 6AM. Though it was still dark outside when I arrived, the inside of one of Boulder’s best concert venues was glowing. Ticket-checkers greeted everyone who entered with a hug and a twinkling, “Welcome to Daybreaker!” It was hard to keep even the most “I’m-not-a-morning-person” from smiling.

Inside the theater, DJ Falcon Punch was spinning disco funk tunes. Around me, people were spreading out yoga mats where concert-goers normally post up with a beer to catch a band. There was a lot of faux fur happening, and alongside it, yogis in onesies ranging from your classic Christmas pajama look to your Ninja Turtle of choice. Though it was early, there was no sign of sleep. People were ready to party.

Yoga Pod’s Dan Carbonell and Rob Loud led the morning sun salutations just as the horizon was lighting up outside. They made the practice playful while DJ Falconpunch continued to throw down some fun, meditative grooves for those long-held plank poses. Loud even recommended twerking during saddle pose, and more than one Daybreaker attendee took him up on it.

0K7A5919-2.jpg

After yoga, the bar opened at 7AM with a selection of green juice and tea. There were temporary tattoo stations and face-painting. More penguins, tigers, and unicorns twirled into the venue as the event's emcee, Drew Wyman from Shinesty, beckoned attendees to dance. Which they did. For the next TWO HOURS before most of them hit their day jobs. Somehow, the positive and creative space that Daybreaker fosters with this event will leave you more energized than any morning Starbucks ever could. The event almost feels like a mini Bonnaroo high-five session, jam-packed with love and positive vibes. People left the theater shining with gratitude and smiles, and though I rarely leave a music venue any other way, this was different. I actually questioned if I might be a morning person thanks to Daybreaker.

Daybreaker is coming back to Colorado, in Boulder Thursday, January 11th (details TBA) and in Denver at Club Vinyl on Wednesday, January 17th. Get tickets here and get to it! You don’t want to (hit) snooze on this one.

-Hannah

Follow Hannah on Instagram and Twitter.

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.