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.

Augustus Got A Way of Changing

Augustus.

Augustus.

Augustus began in 2011 when frontman Colin Kelly wrote, recorded, and posted to Youtube his song, “North.” This was years before he met the other two founding members of the band, Jim Herlihy and Jesse Wright, and before they began as a trio named “Tusk.”

This was their first mistake (with many more were to follow), as another band already had the name somewhere out in Musicland. As they would countless times in the following years, they adjusted and moved forward, now as “Augustus,” forgoing that which didn’t work while maintaining that which did: their original “Tusk” logo— two entwined animal bones jutting upward against a black backdrop. Without fail since, Augustus has done with failure what we all wish we would at our best: They’ve used it to become something new, fresh, and better. Today, the group features founding members Colin Kelly on vocals, Jim Herlihy on guitar and vocals, along with Marshall Carlson on bass, and Ryan Healy on drums.

I note the release of “North” as the true beginning of the group because they still play the song. I believe it’s on its fifth iteration now. And that is the real story of Augustus. This is a band in a constant state of reinvention. This has never been more evident than in their recent release, “Idle,” which is wholly different in style from previous releases and qualitatively advanced by a good bit. It is through this lens of growth that I approached a recent interview with Colin Kelly around a fire in my backyard, accompanied by BolderBeat contributor and scene veteran Zach Dahmen. Augustus will perform at the Fox Theatre this Saturday, November 10th and tickets are available here.

PL: So you’re new to Colorado, determined to write and be in a band, and you find two guys, Jesse Wright and Jim Herlihy. You start “Tusk,” which was kind of “mountain-y” and not really rock and roll. Not your forte, but it seemed to fit into the Colorado scene. Why didn’t you stick with that?

CK: Jesse always thought of us as a prog folk band.

PL: Did you really want to be in a prog folk band?

CK: I just wanted to be in a band so I was going to do anything I could with the instruments we had then.

PL: You had lots of early success and hype in those days. And yet, it didn’t work out in the long run. Why?

CK: We had some bad gigs now and again. Jim was doing too much. [He was] going full sprint all night on banjo, guitar, drums… And Jesse was always a wild card. Sometimes totally brilliant, sometimes couldn’t remember how to play the songs. I was still an ametuer in a lot of ways. We’d have these five-minute breaks between songs sometimes at shows, just trying to pull it together.

ZD: I remember those early shows of yours at Johnny’s. In the scene at that time, Whiskey Autumn was No Name Bar, Augustus was Johnny’s, and sometimes on the same night you’d be catching the first half of one show then jumping to the other. It was a captive audience. People were excited at what was happening. But it was always going to be just experimental.

PL: Who was the other band really wrapped up in that?

ZD: The Almond Butters?

PL: Yup, but another one, too… You know who I’m talking about.

ZD: The Ridgelings!

CK: There was a lot of bluegrassy shit going on then. Everybody was all like, “Mumford and Sons!”

PL: Ah yes, the Mumfordy era.

CK: If Mumford could do it, we were like, we could do whatever the fuck we want. (Colin turns to the recorder). Hey, future Pete, do you read me? This is Colin, don’t quote me on that…

PL: I’m totally going to.

CK: Don’t!

PL: But anyway, on those early recordings of yours, there were a lot of great songs, but one phenomenal song in particular that a lot of people still talk about and request called, “Return.”

CK: We still play that a lot. We’ve re-written it like five times. We finally found a version we like with the quartet that we’re keeping. The first records were pretty desperate things for me musically. I liked the songs, but I didn’t really know what I was doing in a studio yet. None of us did. The only reason we could get through it was because Jim was always so prepared. He practices his ass off. And Jesse had some moments of blinding brilliance. But it was a struggle for all of us. Being under a microscope for the first time. On the second record, I was also really sick, and we had to rush through. We had to be decisive and learn to live with flaws. Some have more character than others. Sometimes you have to be OK with not being very good.

PL: Which flaws can you live with… That sounds like some earned wisdom right there. So let me flip it around. Which flaws can’t you live with? Musically? Personally?

Colin gets up to chop some wood, as these sorts of questions make him antsy.

ZD: I can say, on the spot…

CK: That’s a really fucked up question, Pete. Do I have to answer that?

PL: Yup.

ZD: For me, diving deeper into the eye of who I am, as opposed to trying to look more outward… I need to find the thing to make me sufficient and happy, and I have to look inward for that.

CK: That’s very theological.

PL: He’s got a background in it (Zach majored in theology at college)

.Colin chops at another log.

PL: So let’s go back to that time specifically, what couldn’t you live with then?

CK: I couldn’t live with my guitar sounding shitty, my vocals being out of key… I wasn’t always prepared with all the arrangements. I didn’t know what stories I was telling with my vocals. I can’t say I’m any more confident now, but I’ve logged a lot more hours. We all have. And that definitely helps.

PL: Give me a specific story that speaks to all that.

CK: We were playing this show in 2015 and we were being scouted by this guy who had some connections, and who we couldn’t afford, but arrogantly thought we were confident about getting his help, and we realized that night that we couldn’t play a whole three hours live. We didn’t sound like we knew what we were doing at that show. Especially when we started bringing in more electric. We weren’t really acoustic listeners. We were individually more into rock and roll sounds.

Laffin, Kelly, and Dahmen (left to right).

Laffin, Kelly, and Dahmen (left to right).

PL: Tell me about The Mercury EP that came next. I know you were proud of those songs, but I remember you weren’t too happy about how that turned out.

CK: We had a thing, we thought it was working. We thought we were going to continue to get closer to the concept, the feeling of what we wanted to make, but we didn’t get there.

PL: So after that, there seemed to be a great retooling of things that led to your latest release, which couldn’t be more different than where you began, and if I may say, couldn’t have had a better outcome, at least on a critical level. It seems that in the lead up, you wanted to stabilize your group, add permanent players after Jesse left (which was around the Mercury release). You mentioned earlier that you wanted to make the best out of the instruments you had access to, but this one feels very intentional from top-to-bottom.

CK: We had to do everything different when Jesse left. We had to change the sound. It was worse than I assumed it would be at the time. I was really bummed when Jesse left. There was a vacuum, and Jim and I had to start over. Retooling to us meant trying a bunch of different shit till we got somewhere. We couldn’t really do the acoustic shit anymore.

ZD: Sonically, you seemed to completely transform from one space to another. How did that happen?

CK: Jesse used to play a lot of lead on the cello. And now suddenly I was in the position to write lead for electric guitar. I still don’t know if I’ve got that down, but again, I’ve got more hours logged. We used to have a banjo and an acoustic guitar, and now we’ve got two electric guitars. The foot-kit suddenly made no more sense for Jim, and he wanted to do more singing and more lead guitar. So then we had to bring in drums, a new bass…

PL: You sound frustrated just remembering all that.

CK: You go from a three piece folk band to a four piece rock band, and there is going to be some really ugly shit that goes down.

PL: The new album has a song on it called “Things Got a Way of Changing.”

ZD: When it came out, Pete and I listened to it a few times and knew it was going to be the song people gravitated toward. That song to me was just a fucking, “Woah!” Better than anything else you’ve done. It felt like something different to us.

PL: I know it has nothing to do with the changes in the band over the last couple of years. But so many of our motivations are subconscious, and to me it just seems so clearly like a cathartic piece. That from beneath the surface, this theme emerged on its own. What was your experience like making it?

CK: We always wanted to swing back around to playing electric music. We were tired of the half-baked folk thing. I started demoing stuff by myself more, got more organized, and I could hear better when something just wasn’t going to be a song anyone would want to listen to. We started more from the bottom of the song to build up, not just “start with guitar and vocals and then add bass and drums.” I started the old stuff more from a lyrical standpoint. But with this song in particular, we wanted to build it from the ground up. And it took months to write. I sat on it for three months. And the guys did just an amazing job with it.

PL: Aside from the mechanics of it all, there must have been a cathartic moment for you guys with this song, especially after the lull of “Mercury.” You came out ahead when maybe you thought you were falling behind.

CK: Well there was a lot of change in mine and Jim’s life around that time (both got married within that same year) and I stopped working my same old job. A lot of things personally changed. Things stabilized. Life finally felt a little less on the brink of disaster on a daily basis. Which was fun when you’re in your twenties. But from all that was a lot of failure, which created a lot of intensity. We had to find out how not to fuck up anymore. Obviously something was missing, and we had to figure out what that was… We had to find it. It’s tough to say.

PL: I think you said it.

See for yourself how Augustus has changed and grown as they co-headline the Fox Theatre this Saturday November 10th at 9PM with Foxfeather, Hugh Manatee, and Famous Men.

Keep up with Augustus 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.

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.

Stacked All Local Lineup Slated for Fox Theatre This Weekend (07/06)

This Friday, July 6th, the Fox Theatre will host some of Colorado's finest. 

Ashley Koett sounds like Mac Demarco and Ella Fitzgerald made a band and Cuco produced the record. That said, the Boulder artist's combination of slack rock and jazz with "memorizing melodies" is exactly how you want to spend your Friday night this week. We promise.

Flanked by a four-piece band live, Koett is the singer and multi-instrumentalist behind most of her recorded work, which she creates in her Boulder bedroom. She's "not afraid to get personal in her songs" and often "even makes light of her dreary situations" in her music. With a roster opening for bands like Cuco and Frankie Cosmos, it's honestly hard to imagine Koett will remain local for long, which is just another reason this weekend's Fox show should be on your to-do list .

Ashley Koett.

Ashley Koett.

Tyto AlbaCorsicanaAmerican Grandma, and The Milk Blossoms will also grace the stage on Friday. Tyto Alba's female-fronted indie rock vibes mixed with Corsicana's shoegaze is already reason to show up early. But then you add in the shadowy post-rock sounds of American Grandma and the dark pop productions of The Milk Blossoms and well, you'd better just show up at doors. Honestly. (By the way, they're are at 830PM.)

KGNU Community RadioRadio 1190, and Twist & Shout Records are presenting this all-local lineup of stacked proportions and tickets are only $10 in advance. Get yours here and we'll see you at the show.

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

Gasoline Lollipops Gear Up For a New Beginning In Lieu of a Departure

By: Brody Coronelli

Drummer Adam Perry reflects on his decision to leave the band, and what’s on the horizon.

The Gasoline Lollipops have been a fixture in Colorado music for over six years. What began as a bar band became a group that can sell out the Fox Theater, open Red Rocks, get on the bill of some of the state’s most popular festivals, and have their name recognized all across the state. This meteoric rise wasn’t a passive one, though.

GasPops. Photo Credit:   George L. Blosser

GasPops. Photo Credit: George L. Blosser

Clay Rose’s songwriting was always too immense for the bars and breweries that gave the band their break, so their rise was always imminent. However, those who follow the band closely will notice that their rise to popularity happened right around the time their drummer Adam Perry joined back in 2016. The two met in a music class at Naropa University and became fast friends, which eventually led to Perry stepping behind the kit.

“I agreed to play some shows with the band until they found someone else. But in the middle of one of those shows, I had a moment where I realized, ‘Why would I not do this?’ So, it kind of took off, and we started playing all the time,” Perry says. “I did what I always do when I play in a band: I think about how it could grow, and how we could be on the radio. It was a bar band at the time, but the music [was much more than that]. Clay is an incredible songwriter, and it shouldn’t [have stayed] at [that] level. I started booking shows, contacting press, and getting us on the radio.”

Perry’s skills at working with press, booking, and promoting the band was the driving factor behind the band’s acceleration over the last two years. He helped turn a bar band with a performance that far outweighed their counterparts into a household name throughout the Front Range.

“Adam pushed us to a level where we were getting statewide recognition, and a lot of people knew our name. Booking agents started talking to us, but we weren’t really chomping on the bait, because as long as Adam was with us, we didn’t really need one,” says Clay Rose, the band’s frontman.

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Two years later, Perry has decided to leave the band. Citing his desire to spend more time with his family, focus more on work, and generally have less on his plate, his departure is completely amicable.

“Beyond music, Adam has been our manager. He’s built the railroads that we’ve been travelling on,” Rose says.

The amount of responsibility Perry took on- serving as the band’s drummer while also behind the wheel of all the bells and whistles it takes to keep a band relevant and in the public eye- was a lot, and what ultimately motivated his decision to leave the band.

“I don’t think it’s a good idea to build railroads while you’re also on the train,” he says.

In addition to his duties with the band, Perry works at a law firm in Boulder, has an eight-year-old daughter, writes for Westword, and is an avid cyclist.

“I’m really embracing those things right now. It’s a great way to feel calm and still,” he says.

While the band has cultivated new friendships, connections, and a list of accomplishments that many musicians are never able to cross off their list, this sense of calm and stillness is something that’s often missing in his life.

“When we were on tour in Europe [in 2017], I was having a bit of a nervous breakdown. I realized that I can’t do this and everything in my life well if I’m putting it all into the band. But it’s nice that it’s an amicable split this time around,” he said, alluding to the musical fallouts he’s seen multiple times throughout his career.

Perry at Red Rocks. Photo Credit:   Hannah Oreskovich

Perry at Red Rocks. Photo Credit: Hannah Oreskovich

Perry has been playing in bands since he was 16. Growing up in Pittsburgh, PA, music has been at the center of his life since the beginning, and as he’s gotten older, it’s remained important, but he’s ready to re-center and set his sights elsewhere.

“My only education in music was through punk rock in high school, so my form of drumming is very primitive and loud. I was playing in clubs and bars when I was 16, and it was just about how fast and hard you could play,” he says.

His background in punk-rock shines through loud and clear. His presence on the songs is pummelling and thunderous, giving the band a density that most alt-country and rock acts have a hard time capturing.

Perry’s other notable project in Colorado was The Yawpers, a band he helped form in the aughts. After his time with that band came to an end, his plan was to turn his back on playing music entirely. But meeting Rose and stumbling upon the magic of the Gasoline Lollipops changed his mind.

“I left The Yawpers in 2012 and told myself I’d never do the band thing again.” he says.

Perry’s decision to leave the Gasoline Lollipops comes six months after the band released Soul Mine, their fourth album. The record came from a band with a long history, but it carries the pent up energy and polishing of their raucous, gritty, and often sweeping blend of alt-country and rock‘n’roll that renders it more similar to a crashing, bombastic debut than an album from a band with steady footing.

Rose at Red Rocks. Photo Credit:   Hannah Oreskovich

Rose at Red Rocks. Photo Credit: Hannah Oreskovich

“I didn’t know how to push a band [before Adam joined]. You have to have an interesting story or a project to pitch to press, and he showed me how to do that and lit a fire under me as far as making [Soul Mine]”, Rose says.

Perry speaks of Rose with similar fondness of his role in the band, and the opportunities he’s granted them.

“With Clay, there isn’t a wall between him and his songs. Every other band I’ve been in, what the singer/songwriter is writing aims to portray something. I don’t think Clay could do that if he tried,” he says.

Perry’s last show with the band is their headlining show at The Bluebird on May 18th. With support from RL Cole & The Hell You Say and Grayson County Burn Ban, the night will be a celebration of where the Gasoline Lollipops have been, and where they’re headed from here on out.

Rose wants to dedicate his time to other projects at the moment as well, so it could be a year or two before we get another GasPops album, but until then, the band is just as alive as ever. They recently opened for The Tallest Man On Earth at Bluebird Music Festival, and they’re on the bill to play Grandoozy this September, sharing the stage with Kendrick Lamar, Sturgill Simpson, and St. Vincent, among other high profile acts. This is where the band was headed from the beginning, and they couldn’t have done it without Perry.

“Eventually, we might’ve reached the point we’re at now, but without Adam, it would’ve taken a really long time. This is where I always wanted to be, but I had no idea how to get here,” Rose says.

There’s a lot on the horizon for The Gasoline Lollipops in wake of Perry leaving. Whatever it ends up being, Rose assured me that it’ll take on a new sound.

“[Our new music is] going to sound a lot different. I’ve always had a definite direction where [my music] is heading, but I never see it until the last minute. It’ll definitely be more psychedelic and dreamy,” he says.

Here’s to a new beginning for the band, in lieu of a departure. Get tickets for GasPops Bluebird show 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: Gasoline Lollipops' New Record 'Soul Mine' Leaves Nothing Left Unsaid

By: Julia Talen

Colorado's beloved alt-country band Gasoline Lollipops release their new album Soul Mine  this month, with a vinyl release party happening December 16th at The Fox Theatre in Boulder. The band will be making their homecoming after a long stint in Europe touring throughout Belgium and the Netherlands. Fans and listeners will not be disappointed, as this album gives us the rugged-punk, country rock’n’roll sound fans know and love while exploring themes of emotional heartbreak, pain, motivation, and growth. The opening track and title of the album hint at the content within, as the band welds together folk and untamed alternative-country-rock to produce a record full of depth, stories, and music that compels listeners to take a stand while also contemplating.

Gasoline Lollipops at Red Rocks. Photo:   Hannah Oreskovich

Gasoline Lollipops at Red Rocks. Photo: Hannah Oreskovich

Clay Rose's voice immediately reminded me of the likes of Tom Waits and Leonard Cohen; deep, gritty and dark, yet sustained with unwavering intensity and truth. The title track begins with a soulful, bluesy opening accompanying Rose's rich vocals and the band's groovy guitar solos. Lyrics like "started out digging for diamonds and gold/now I'm digging through the long, dark night of the soul/to see dawn" and "love springs from deep wells/faith is born in the forge of hell/forge on" allude to the theme of the album: one of transformation. "Soul Mine," evolves as a track as well. At one point the refrain builds and then pulls back, stripped down to bare instruments and vocals, only to rebuild into an epic finish that swells. This engrossing track sets the tone for the album as listeners dive deep into stories of loss and evolution.

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The first half of the album is filled with songs that showcase Gasoline Lollipop's eclectic style and ability to explore country rock beyond the confines of a genre. Rose's profound voice sounds subterranean and electrified at times, while other times rustic and lightened, yet still powerful. Drum beats, guitar solos, and harmonic keys shine through in many of the tracks as listeners settle into the tales that the album chronicles. "Woman and a Gun," the third track, begins slowly and vocally; it sounds like a story told near a fire out west about an outlaw named Jessie. The tune's refrain breaks the early, rustic, folktale feel as the track builds. The second half of the song surges with lyrics, "all my faith is a bullet/all my God is a gun/all this world was just smoke and mirrors/I'm gonna break them one by one." After repeating the last verse, "gonna break them one by one," the song launches into a fast, dynamic progression full of intricate guitar solos and percussion that intensifies, elevating the ending of the track by taking it to an edge.

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As the album continues, listeners move through songs of heartbreak. "Casanova" wavers in and out of a harsh rock’n'roll sound and a slow, somber refrain: "If a man goes livin'/for the heart for too long/he's bound to be eaten alive." The track "Montreal" details an ending and nostalgia for the past, as GasPops evoke emotion and leave nothing left unsaid.

"Burns" comes soon after and opens with strings that cry out from the start. There is an evocative darkness hovering over the track, that reminded me of The National. However, Rose's voice builds and breaks boundaries as he repeats "and it burns" towards the end of the track. This one gave me chills, because once again, it felt like GasPops were taking me into the fire with them. Their music goes beyond instruments and vocals; their passionate lyrics, layered with brilliant instrumentals, grab you and take you into an experience they construct with their music, one in which you feel the pain from a past memory that their music expresses in the present moment.

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After exploring more heavy transformation and darkness with tracks titled, "Ghost of a Man," and "Leaving Alone," the album ends with the tune, "Put me to the Task," a hopeful send off, complete with elements of upbeat country rock. The steel guitar and violin liven the tune along with Rose's vocals and the warm harmonies that round out the refrain. The bass carries through and lights a spark under the folds of sound that grow throughout the song. The song finishes off with lyrics, "Well I know/time has come to make good what we don't/but I'm eager to please." We are left with some light at the end of this dark, yet resounding album.

Soul Mine takes listeners to a vulnerable threshold, all the while showcasing the band's dynamic sounds, sounds that truly liberate them from one specific genre. This mighty and gripping album is one that listeners can relate to, contemplate, and even dance to, making it an album that anyone can connect with. Don't miss Gasoline Lollipops album release party on December 16th at The Fox Theatre, followed by their NYE show December 31 at Hodi's Half Note in Fort Collins!           

-Julia

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

Whitacre Bringing New Brand Of Folk Rock To Fox Theatre This Week (09/28)

By: Hannah Oreskovich

Earlier this year, we premiered singer/songwriter Paul Whitacre’s music video for his track “Beth.” The Indianapolis transplant had recently settled into the Denver scene and was playing his acoustic folk originals at venues around the state. But since we last caught up with Paul, he’s added more rock to his folk sound. How? By adding several Denver players to his new project: Whitacre.

Whitcare.

Whitcare.

Under his solo project, Paul played a few Denver shows with Chase Perry (banjo) and Kyle Miner (electric guitar). But after Mark Cunningham slid into Paul’s DMs and the two had a productive jam session, Cunningham and his roommate Brent Perkins also joined the crew, which at this point was turning into a full-fledged band. That's when Rachel Hartman (fiddle) also connected with the group, and Whitacre the band was born.

Whitacre have since been supporting The Ghost of Paul Revere at shows this fall, with their next performance slated for Boulder’s Fox Theatre this Thursday, September 28th. The show will also feature Denver blues rock outfit Dragondeer, who released their Topanga Canyon Sessions Vol. 1 earlier this year.

21731166_1399798166736620_2951816645601019345_n.jpg

Whitacre told us they're excited to share their new sound at The Fox this week, so make sure to snag tickets to check out their new brand of folk rock for yourself! You can listen to their latest record Coming of Age here.

Keep up with Whitacre 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.

The Malai Llama Lit Up The Fox Theatre's Stage Like A Wild Fire

By: Jura Daubenspeck

Spring has sprung, and Colorado has been keeping it as colorful as ever with vibrant sunsets, cool breezes, and music that won’t quit. Friday night at the Fox Theatre was one for the books, as experimental rock’s bad mama jamas The Malai Llama put on a headlining performance that exploded with color and rhythm.

The Malai Llama at The Fox Theatre last weekend. Photo Credit:   Kaotic Design Productions

The Malai Llama at The Fox Theatre last weekend. Photo Credit: Kaotic Design Productions

The venue was packed with new grads and rascals alike, all greeting the weekend with smiles, twirls, and yes- even a few dance-offs. Local improvisational rock group Intergalactic Peace Jelly took to the stage first, inviting attendees onto their spacecraft and blasting off for the night. Their experimental, jam-heavy set was the perfect launching point for the remaining performances.

The second act, Woodshed Red, brought up the energy in a totally different way, covering a variety of songs, with my personal favorites being “Ramble On,” “Nuthin’ But a G’Thang,” and “Colt 45.” The way they incorporated the fiddle and standup bass to create gritty twists to classic tunes made my heart sing.

By the time The Malai Llama took the stage, the crowd was fired up and ready to be wooed- and this band absolutely did not disappoint. There were so many aspects of Malai Llama’s set that blew me away: Jennifer Hartswick’s slay-worthy vocals in the “Immigrant Song” cover, the band’s mesmerizing onstage chemistry, and of course, the incredible lightwork with colors galore. However, what stood out to me the most was their dynamic force that made each song so unique. They managed to fill their two-hour set with so many different emotions and energies, playing songs such as “Allocamelus,” “Gentle Giant,” and “Cockeyed.” They toyed with metal-like riffs, hip-swaying funk beats, and electrifying dance music. Progressions were seamless, and no two songs sounded the same, leaving the crowd feeling satiated and at peace.

The band finished their performance with a cover of Bob Marley’s “Three Little Birds,” which had everyone embracing and feeling the love. The vibes were strong on Friday, as The Malai Llama welcomed the crowd acapella sing-along to their closing song.

Jennifer Hartswick. Photo Credit:   Kaotic Design Productions

Jennifer Hartswick. Photo Credit: Kaotic Design Productions

As an established musical dynamo within the Colorado scene, The Malai Llama has fearlessly put their killer chromatic tunes out in the world for all to hear. Their music moves as freely as the wild winds of Colorado, and the even wilder people living here. Be sure to check them out next time they hit the stage!

Connect with The Malai Llama on Facebook, Instagram, and Twitter.

-Jura

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

Review: Whiskey Autumn's 'Ice Cream In The Sun' Is Tasty Electropop With R&B Vibes

By: Trevor Ryan

These days, the electronic-leaning movement in music is strong. And although the growing brand definitely holds the current popular vote, it can be challenging to make a true mark worth hearing. But that is exactly where Colorado’s Whiskey Autumn shine through. The project, founded by multi-instrumentalist Greg Laut, is a fluid blend of pop/soul, incredibly catchy synth work, smooth euphonic vocals, and a lyrical witticism that originally found its voice with their EP 2014 EP Into Something New. Though the band has made a turn from Americana to electropop with their latest EP, Ice Cream In The Sun, they’ve managed to keep their music warm and inviting while introducing R&B hooks with synth sounds and soul.

Whiskey Autumn.

Whiskey Autumn.

There’s a futuristic sound blended with their early soul-feel too- you'll hear what I mean in the opening track “Dog Days.” And the song following, “Human Frailty,” brings back the tempo with a slightly more mellow-groove-type R&B vibe, but not enough to really make you question it. This pattern seems to weave throughout the rest of the EP, along with a pretty upbeat energy and catchy storytelling. My favorite track is the closer, “Postcard From Tokyo.” It blends interesting sounds with harmonies that will make you float off into space, or at least I know I did...

Listen to Ice Cream In The Sun:

My only criticism: I would love to see WA experiment with bringing out their percussion even further, with more of a build from time to time. The instrumentals here are very tight though, making this trio refreshing to listen to (Matty Schelling is on drums, Jason Paton is on bass). They seem to have their sound really pined with this record, and I for one am excited to see how they grow with it.

The band has described Ice Cream In The Sun, as their “most confident release yet,” and it’s easy to see why. Giving us a taste of a their new brand of electronic influence with classic R&B nodes, along with that touch of soul ultimately forces our mouths (and ears) to water in the hopes that we may have more from the “Coney Island” crooners sooner rather than later.

Schelling, Laut, & Paton.

Schelling, Laut, & Paton.

Whiskey Autumn play The Fox Theatre Friday, May 26th and have discount tickets available. Contact them on their Facebook for free ticket delivery from the crew (they’ve got $12 presale tickets for you), and follow them on Instagram and Twitter for other updates. The rest of their summer tour schedule throughout Colorado and the Midwest and Southwest can be viewed here.

-Trevor

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

The Alcapones Are Gangsters of Love On Their New Record 'Mountropolis'

By: Mirna Tufekcic

One time at Boulder’s staple, and sadly now defunct, Conor O’Neill’s Irish Pub, I spent an evening dancing the night away with friends to a band that was really keeping the heat going despite the winter weather outside. And that band was The Alcapones.

The Alcapones. 

The Alcapones. 

The Alcapones are gangsters of love, and they’re expressing and sharing that love through some good vibes of reggae and ska with a mountain flare. They call their music folkadelic, an infusion of folk, psychedelics, and jazz/jam sprinkles. In essence, they’re a group of happy, high-vibin’ musicians out to make you dance and have a good time.

The Alcapones recently released their new album, Mountropolis, as an ode to mountain living and moving your body to stay warm. The record features both songs and instrumentals for your listening and dancing pleasure.

Listen to Mountropolis:

So if you’d like to get yourself moving until the music stops, then go ahead and check out this crew at The Fox Theatre this Thursday, May 11th with Amoramora and The Jive Tribe. Tickets here, and more Colorado tour dates on their Facebook.   

-Mirna

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

I Went To A Weed Party & Watched Marco Benevento Rock Out Because Denver

By: Mirna Tufekcic

Some might say that weed and music go together like wind and fire: one sets the other ablaze. Partaking in smoking the herb while enjoying music is by no means something novel; it’s something many music lovers and showgoers know to be a staple of the scene since days of past. And Denver, being the hip, progressive city that it is, has companies and entrepreneurs taking this idea a step further by bringing some class and sophistication to the concept.  

Marco Benevento at Cultivated Synergy.

Marco Benevento at Cultivated Synergy.

Recently, I was invited to a private event at Cultivated Synergy, a co-working space for entrepreneurs in the RiNo district of Denver. Marco Benevento, the psych-jazz guru who BolderBeat just wrote about here, played the party. I met Marco via a Lyft ride in Boulder the weekend he played The Fox Theatre. We got to chatting, and after learning that I write for BolderBeat, he invited me to the event in Denver the following Monday. I agreed I’d come check it out, but I had no idea what I was about to witness.

Binske's Samplings.

Binske's Samplings.

When Monday night rolled around, I showed up at Cultivated Synergy around 8PM. Walking through the door, the first thing that hit me was the sweet aroma of a very familiar scent. The people congregating held joints between their fingers, puffing and passing them along, filling the venue with a smoky, hazy vibe.

The full spread.

The full spread.

As I walked around trying to get oriented as to what it was I just walked into, I came upon a table spread of honey, olive oils, chocolates, and joints. The person behind the table greeted me with a very friendly attitude and proceeded to explain that these foods in front of me were a Binske product, a Colorado-based edibles company with a conscientious ethos and a very artsy character. The friendly gentleman offered a taste of any and all of the products on display, making sure to point out they were not medicated, except for the joints obviously. Smart move on their part keeping the food untreated, or else everyone would have been on the floor drooling before the music even started.

The evening was essentially a Binske tasting party, and since they sponsored Marco Benevento’s tour, he eventually took the stage. Once the music started, people got to dancing and having a great time. Marco Benevento’s band is a trio of bad-asses. As Marco put it, “We use our time for fun!” and that fun radiated from the stage. Marco’s piano skills are sophisticated and playful, Andy Borger on the drums nailed the beat, and Karina Rykman’s bass shredding skills whilst holding a perma-smile on her face kept us grooving.

Another thing that goes with joints? Cake. Duh.

Another thing that goes with joints? Cake. Duh.

After some socializing, I came to learn that the marijuana industry in Denver extends far beyond the dispensary and weed growing business-end you hear about. A space like Cultivated Synergy hosts weed parties, events, and even yoga classes frequently, and is known for doing just that. According to one of the attendees at the party who is himself on a quest to capitalize on the weed industry but wanted to remain anonymous, these kinds of events used to be raided and shut down. But, from the looks of it, after Initiative 300, these days that doesn’t seem to be a problem. So the potential, like the ganj, is growing. If you want to be hip like the cool kids in Denver and you’re 4/20 friendly or curious, then I highly recommend checking out Cultivated Synergy for yourself.

-Mirna

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

Na'an Stop And Their Gnar'V Are Headed To A City Near You On Upcoming Record Release Tour

By: Mirna Tufekcic

“Everyone thinks we’re a food truck. We’re driving through all these beach communities playing shows and people are like, what kind of food do you sell?” laughed Caton Smith, bassist of Boulder’s Na’an Stop, as he playfully acknowledged that their name does in fact have the name of the Indian bread we all love served as a side to our Chicken Masala. It sums them up in a way though- the Na’an Stop fellas are a bunch of goofy, fun-loving musicians out to have a good time as they make their dreams come true.

Na'an Stop. 

Na'an Stop. 

Na’an Stop stands for “never stopping the pursuit of your dreams.” This becomes obvious once you start to know their music. It’s the van that confuses people. Colorful and painted in graffiti, it’s easy to see how passersby would mistake it for a food truck. But Na’an stop will not sell you food from the vehicle they’ve dubbed “Gnar’V.” They may, however, sell you a lifestyle. If, that is, they’re selling anything other than tickets to their shows, which are always a riot of good, positive vibes as reggae and ska music should be.

The legend that is Gnar'V. 

The legend that is Gnar'V. 

The first thing you’ll learn about Na’an Stop is about their aforementioned lifestyle. Personally, I was intrigued and had to dig deeper into what that meant. Lucky for me I got to go to the Na’an Stop lair for aninterview and see NS in their true habitat to talk about their upcoming CD Release Show at The Fox Theater this Wednesday, April 26th.

Na’an Stop started six years ago as five college friends playing at The Lazy Dog and (now defunct) The Goose. One of the first times they played an impactful gig was opening up for Boulder’s West Water Outlaws, a beloved rock outfit from Boulder that fell apart some years back. That show took place at The Fox, and ever since then, the venue on The Hill has been their home. Naturally, it’s the perfect spot for Na’an Stop to make their next moves known.

NS at The Fox.

NS at The Fox.

Released in 2015, their album From the Deep won accolades, climbing to #2 on iTunes Reggae Charts and #5 on the Billboard Reggae Charts. Following that, the weight was on their shoulders to make something cohesive and whole.  

“For our From the Deep album, we had a great sound engineer, but no producer. Nonetheless, I think we did a great job on that one,” said Caton.

It’s the album that opened doors and platforms in the reggae music scene for the group, and though From the Deep is an impressive body of work coming from very young musicians, they knew that they needed to get a bit more professional after the record’s success. So the five-piece put together a Kickstarter Campaign for a new album. They met their goal and went to Virginia to record the self-titled record with producer Danny Kalb at White Star Sound Studios. Kalb has worked with other established reggae bands like The Green, The Movement, Giant Panda Guerilla Dub Squad, and Hirie who put out one of the best reggae albums of 2016. He’s also worked with artists like Beck and Ben Harper.

But don’t fret- the Na’an Stop guys are still keeping true to their fun roots, even as they grow their sound. When I walked into the NS crib, the boys were setting up to record a short dance video as a token of appreciation for their fans. That’s when Caton revealed what the Na’an Stop lifestyle means, “Time, practice, and dedication and having fun while doing it. The thing is, we’re all in this world trying to find our way and make a life for ourselves. Each of the members of Na’an Stop are giving their all, putting 100% of ourselves in everything we do, but also not succumbing to the pressures of American society to follow a cookie cutter career and climb ladders. It’s important for people to realize that you can do what you want to do if you actually take yourself seriously, but not too seriously, and have commitment. And we’re committed. We’ve made sacrifices in our lives to make Na’an Stop a priority, and that’s really what it takes to succeed in any career path you take.”

Life on the road. 

Life on the road. 

The “having fun while doing it” part is certainly true for these guys. Their video release for the single “Lazy Susan,” off the upcoming self-titled album, clearly shows the boys having fun. So does the video previously featured by BolderBeat for “Win a Bagel,” the single from From the Deep.  

Watch Na’an Stop’s video for “Lazy Susan”:

I asked Caton what else people can infer from their videos, because they’re pretty silly and have little to nothing to do with the actual song. His response was, “That we like to party. That we’re all friends. That it’s not a hard process for us to have fun on or off camera; on or off stage. We don’t want to follow any trend. We want to show our creativity and put out funny videos that haven’t been seen since The Foo Fighters crushed it.”  

The album art for the self-titled record.

The album art for the self-titled record.

Browsing around, I also noticed Na’an Stop’s upcoming self-titled album features a new logo for the group.

Said Caton, “We want to keep it fresh and show that we’re growing as musicians and artists. Each song that you record, looking back, shows you where you were and where you are now as a musician and as a group. ‘Win a Bagel,’ lacks harmonies in the recordings. It’s something we missed for being so green. But we definitely add them in our live sets now. Our new self-titled album shows how far we’ve come.”

You’ll definitely be able to notice the more refined, matured, and sophisticated rendition of the band with their new record available on all music platforms Wednesday, May 3rd. Hear them for yourself before the record drops as they kick off their spring tour at The Fox this Wednesday before heading west, where the people have “been really good to the band with legitimate fans and venues,” said Caton, “It’s a beautiful thing to watch the rise in our following and dedicated fans as they come out and support us. We’re really looking forward to it.”

Keep up with Na'an Stop here and make sure to wave hello if you see their Gnar'V in a city near you

-Mirna

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

Marco Benevento Returns To Colorado With Another Jumpin' Set

By: Hannah Oreskovich

The king of pianist-meets-experimental-rock graced The Fox stage last weekend, and if you’re not familiar, let me catch you up on Marco Benevento.

Marco Benevento. 

Marco Benevento. 

Starting in the experimental jazz scene around 1999, Benevento is known in multiple genre circles for his piano playing. In fact, his first studio album as a pianist, Invisibile Baby (2008), was nominated for an Independent Music Award. In his second solo record, Me Not Me (2009), Benevento dipped more heavily into the jazz collides with experimental rock realm and has been soaring through it ever since.

Benevento has a special history with Boulder. He’s been playing the local scene since his involvement with Joe Russo in what they dubbed the Benevento Russo Duo. Russo called Boulder home for a period of time, and as such, Benevento developed a following here and let me just stay- it’s still strong. Benevento’s Fox crowd exploded in applause when he entered the stage in his trademark sunglasses and a top hat after a super-groovy set by opener Envy Alo, and fans only boogied more from there.

Check out Benevento's Woodstock Sessions:

Benevento started the first half of his set with Side A of his 2016 release, The Story of Fred Short. The band then mixed in a few covers (including fan favorite “Heartbeats” by the Knife, which was a cover released on Benevento’s Me Not Me record). They also played a number of originals from Benevento’s catalogue throughout the second half of the set, including a few from the recently released Woodstock Sessions; “they” referring to badass female bassist Karina Rykman and energetic drummer Andy Boger. Though mostly positioned behind the keys (which were stacked with various pickups, toys, and electronic gadgets to facilitate Benevento’s circuit-bending styles), Marco jumped off of his piano a number of times to the delight of the crowd, and overall brought a ton of energy to his performance.

Benevento put on an electrically-charged show last weekend, and the trio’s current tour continues. Get the rest of his tour dates here and make sure keep up with Benevento’s newest music moves on his website.

-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.

From Death to Dawn Comes 'Resurrection': Catch The Gasoline Lollipops at The Fox Theatre This Valentine's Day

By: Mirna Tufekcic

There’s a reason why a band gains momentum. Sometimes people connect through the language of music, and what comes of it, well, it’s undeniable. That’s kind of the story of Gasoline Lollipops, a band escaping genre confinement as they set every show ablaze with heart-forward, stomping, growling tunes.

Jeb Bows, an exceptional fiddler from the tiny town of Ward, CO, talked about this language of music with me recently, in an interview about his role in the Gas Pops.

“I was four years old when my eye caught a violin posted on the wall of the cabin I was born in.” Jeb told me, taking me back to the start of his music career.

Jeb Bows.

Jeb Bows.

“I learned to play music as someone would learn to speak their native language.” Jeb said, “It’s called the Suzuki Method, invented by Shinichi Suzuki, a Japanese violinist. The premise of the method is listening to sounds and figuring out how to produce the sounds you’re hearing, not unlike a baby learns to speak from watching and mimicking its parents… Music’s been my life path since.”

Jeb plays the fiddle with the Gas Pops, but he also dabbles in other music projects.  

As he says, “I stay really busy, but rarely do I say no,” when it comes to playing with other musicians and singer-songwriters. You’ll see him playing a sold out Red Rocks shows with Gregory Alan Isakov or in a local coffee shop swooning a small crowd with his violin alongside other, lesser known, but no less talented musicians. Bows has a keen ability to sync with anybody he plays with, a gift and a privilege he is very well aware of having.  

The Gasoline Lollipops. 

The Gasoline Lollipops. 

But not all of Jeb’s life was as smooth as the vibrations he creates on that fiddle of his. He spent a chunk of time in Los Angeles walking down a dark, dead-end road and lost himself in the process. He stopped playing music for a while. It took a few years of meandering in the dark for fate to finally come knocking. And she gave him a choice, “What’s it gonna be, Jeb Bows, music or death?”  

Right around the time Jeb was figuring out his way back to sobriety, Clay Rose, the frontman of the Gas Pops was fighting his own demons and self-destructive behavior. Clay grew up in the South, always an outsider bullied by other kids for being different. He was a rebel without a cause, maybe, but he was definitely someone who wanted to make himself stand tall… but not before hitting rock bottom first. As fate would have it, when Jeb moved from L.A. back to Boulder, and Clay moved to Boulder from Nashville, Clay started the Gas Pops and Jeb joined very shortly afterward, the two having met through a mutual friend.

Clay Rose (left) and Brad Morse of Gasoline Lollipops.

Clay Rose (left) and Brad Morse of Gasoline Lollipops.

When I asked Clay about his inspiration for Gas Pops he told me, “If you put a tin can over my chest and listen you would hear this… The [Gas Pops] songs are extremely personal. It’s where I come to play, to confess, for redemption, and where I flog myself.”   

Music for Clay is a way of coping with feelings that have no place in this world; it’s what saved him and gave him a purpose. Though his start in the language of music was admittedly a little different. One of his earliest musical influences was a random cassette tape he found in his mother’s closet with Leonard Cohen on one side, and Tim Buckley on the other.

“That’s when I started writing poetry, because I realized Cohen was writing about things I didn’t know you could talk about. I didn’t know there was language for it. He validated that these things exist and that they can be expressed.”

Clay went on, “There’s a lot of songs I write that I won't play for anyone for months, because I think, man, I can’t be that transparent. But, eventually, I’ll present it to the band and they’ll urge me to play it at our shows. So, I’ll play it and cringe for months.Then the people from the crowd will come up to me and affirm that that song means alot to them, and I start to feel better about it. And that’s when I remember the reason I’m doing this in the first place. My function, my validation as a musician, is to validate the lonely and suffering.”

And Jeb’s musical mission isn’t far from Clay’s.

“I’ve dedicated my life to sharing in the light and love and connecting with everyone who wants to play and listen, because, in the end, we’re all better for it.” Bows smiled.

The truth is, if you get the Gas Pops in a room, the whole crowd will undoubtedly perk their ears and pay attention. The band taps into something others can relate to, whether through the language of hardship or love, and they prove time and again that their music is something to get down and dance to no matter your life experiences.

Gasoline Lollipops’ music has been called alt country, gypsy folk, and punk rock among others. Even the guys themselves can’t quite tell you what genre they sound like. But really, who cares? If we can connect through the language of music itself without having to confine it to genre, then I think times are ripe with progress. These days you’re a good musician if you can pluck from the tree of knowledge and make it into something totally your own. Sometimes it takes a group of people to create a special work of art, and sometimes trials and tribulations to show you the way. That’s the Gas Pops.  

16300081_1201932179876177_5767260207913162127_o.png

The Gasoline Lollipops just finished their new album Resurrection, the final piece of their Lucky 7 Trilogy, and are celebrating this Valentine’s Day with a CD Release Party at the Fox Theatre in Boulder, Colorado. Foxfeather and Kid Reverie will share the stage. Explore the Gas Pops’ language of music for yourself on a night where we could all use light and love- get your tickets here!

-Mirna

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

Boulder's The Fox Announces Special Shows for 25th Anniversary Concert Season

By: Hannah Oreskovich

This morning, Boulder’s The Fox Theatre announced a number of special shows for their 2017 concert season, celebrating their 25th Anniversary in business. The Fox is one of Boulder’s premiere concert venues, and has even been recognized by Rolling Stone as one of the “best clubs in America.” The Fox are celebrating their 25th year making noise with groups who have local roots, and classic bands who have generally been a big part of the Fox’s concert history.

The list includes 3OH!3, Big Gigantic, G. Love, Leftover Salmon, North Mississippi Allstars, Poolside, Rose Hill Drive, The Funky Meters, The Greyboy Allstars, The Motet, The Magic Beans, The New Mastersounds, & The String Cheese Incident. All tickets are already on sale for these spring shows, so grab yours to celebrate 25 years with The Fox here!

-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.

 

Your Guide To Colorado Shows For New Year's Eve

By: Hannah Oreskovich

It’s time to pop bottles Colorado! Here are our picks for New Year’s Eve shows this weekend:

Berthoud

Jeremy Mohney at City Star Brewing in Berthoud 9PM-Close

Jeremy Mohney.

Jeremy Mohney.

Boulder’s Jeremy Mohney released multiple EPs this year, both of which definitely caught our ear. The jazz/swing artist is throwing down at City Star Brewery to welcome in 2017, and we definitely recommend getting your swing moves on at this one. Mohney will have your feet tappin’ in no time, and after a few celebration libations, you won’t want to sit still. Details here.

Boulder

Andrew Sturtz & Friends at The No Name in Boulder 10PM-Close

Andrew Sturtz.

Andrew Sturtz.

Soulful singer/songwriter Andrew Sturtz will be holding things down behind the big brown door tomorrow night for NYE. Known locally for his solo work and his performances with The Constellation Collective and other groups, Strutz will croon you into the new year in style. Plus, there’s no cover. What’s not to dig? Deets here.

Lady and The Gentleman at The Lazy Dog in Boulder 10PM-Close

Boulder’s Lady and The Gentleman have made some changes to their lineup this year, but they’re still bringing mad grooves to the Colorado scene. Tomorrow they’ll grace the stage at The Lazy Dog, and no cover means no excuses. Get to it! More info right here.

The Alcapones at Conor O’Neill’s Irish Pub in Boulder 10PM-Close

The Alcapones.

The Alcapones.

If you want to be shaken up Boulder, here’s your chance! The minstrel show of The Alcapones will be taking over Conor’s to dance you into the wee hours of 2017. Come hang and get rowdy! There will be lots of funky horn playing for your listening pleasure. More info here.

Yonder Mountain String Band with The Railsplitters at The Boulder Theater in Boulder 8PM-Close

Yonder Mountain String Band.

Yonder Mountain String Band.

Nederland’s Yonder Mountain String Band are holding down the BT for NYE. The five-piece bluegrass band well-known around these parts will share the stage with Boulder’s The Railsplitters. Get over to get down! Tickets here.

Denver

Flobots with Nahko and Medicine For The People at The Ogden Theatre in Denver 8PM-Close

Flobots

Flobots

Denver’s Flobots members have been locally active in several awesome events this year, including Denver’s “Our Neighbors, Ourslves” refugee benefit and the Rock Against The TPP event. Tonight, the crew will swing you into the new year with Portland’s Nahko and Medicine For The People at The Ogden. Tickets here.

Fox Street & Friends with Tiger Party at The Bluebird Theatre in Denver 9PM-Close

Dever’s Fox Street & Friends will be rolling in the new year tomorrow at The Bluebird with a 12-piece band and double sets, which will include music from the movies Boogie Nights and Blow, and tracks by Rick James, David Bowie, and Prince. The band’s frontman Jonathan Huvard is relocating to NYC in 2017, so this show is your chance to catch this crew together in what may be their last local performance for awhile. Tiger Party will open the night with songs by LCD Soundsystem. Tickets for this dance party here!

Itchy-O with Total Unicorn at Summit Music Hall in Denver 8PM-Close

We actually spent our NYE with Denver’s Itchy-O last year, so we’re here to tell you this show is going to be a magical time! The mysteriously masked band will have you boogieing all over Summit Music Hall; Total Unicorn is opening. Enter the dark. Tickets here.

Slim Cessna’s Auto Club with Kid Congo Powers at 3 Kings Tavern in Denver 10PM-Close

Slim Cessna’s Auto Club will be laying out their ‘Commandments’ for you tomorrow evening at 3 Kings Tavern, and we’ve actually got a whole interview with Slim himself for you here. This show will be one crazy ride into 2017, so take it! Tickets here.

The Yawpers with The Other Black at The Oriental Theater in Denver 7PM-Close

The Yawpers. Photo Credit:   Hannah Oreskovich

The Yawpers. Photo Credit: Hannah Oreskovich

We love The Yawpers. And we love The Other Black. And both of them are sharing the stage tomorrow night at The Oriental for NYE! The Moved and Evan Holm & The Restless Ones are opening the show, making for a full lineup of Denver badassery. Get to this gig- seriously. Tickets here.

Winehouse Masquerade Ball with Judge Roughneck at Mercury Cafe in Denver 930PM-Close

Winehouse.

Winehouse.

Denver’s Amy Winehouse tribute band Winehouse are ringing in the new year at Mercury Cafe with plenty of sultry, soulful vibes. Presales are only $20 and Judge Roughneck is opening the night, so grab tickets while you can! This will be an awesome show. Deets here.

Durango

Nappy Roots with Jerney at Animas City Theatre in Durango 9PM-Close

Jerney.

Jerney.

Nappy Roots are closing out the year in Durango tomorrow, and Denver’s Jerney is opening the gig. Jerney has been dropping new music like crazy this year, and this is one of his last Colorado shows, so make sure to get to it! Tickets here.

Greeley

The Burroughs with Bryce Merritt at The Moxi Theatre in Greeley 8PM-Close

The Burroughs.

The Burroughs.

Greeley’s The Burroughs dropped some sweet new music this past year, and they’ll be playing that for you tonight + more tunes at The Moxi. The nine-piece soul pop outfit will be joined by Bryce Merritt for good measure. Wicked. Tickets here!

Fort Collins

Rose Hill Drive with The Velveteers at Hodi’s Half Note in Denver 9PM-Close

The Velveteers. Photo Credit:   Sierra Voss

The Velveteers. Photo Credit: Sierra Voss

Denver’s The Velveteers are arguably one of the most successful acts coming out of Colorado right now. Fronted by Demi Demitro, the heavy rock two-piece will make you headbang all the way up until Boulder’s Rose Hill Drive takes the stage at Hodi’s. Go get yourself hypnotized. Tickets here.

Rollinsville

Jaden Carlson Band at The Stage Stop in Rollinsville 10PM-Close

Jaden Carlson.

Jaden Carlson.

Teenage musical prodigy Jaden Carlson has had quite the year in the Colorado music scene. From impressive opening slots for bands like The Revivalists to her own headlining performances at The Fox, Carlson has proved she knows how to break. things. down. Head out to her last performance of the year tomorrow at The Stage Stop! We guarantee it will be an impressively good time. More info here.

That’s it for us for NYE Colorado! See you in 2017!

-Hannah

Follow Hannah on Instagram and Twitter.

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

Brooklyn's A Shadow of Jaguar Release New Music Video For "Keep On Knocking"

By: Hannah Oreskovich

This past fall, Boulder, CO rock duo A Shadow of Jaguar made the move to New York. Now based in Brooklyn, members Brian Hubbert (lead vocals/slide guitar/bass) and Andrew Oakley (drums/vocals) actually laid down several tracks before their Colorado departure at Denver’s Silo Studios back in 2015. One of these tracks, “Keep on Knocking,” is a tune originally written and recorded in 1976 by pronto-punk band Death. The track itself was not released until 2009, and now, ASOJ have put their own spin on the rock’n’roll hit “as an homage to America’s rock pioneers.”

Just last week, A Shadow of Jaguar dropped an accompanying music video for their version of “Keep on Knocking.” The video features shots of the duo gallivanting around several Boulder hometown haunts, including The Fox Theatre, Dot’s Diner, and The No Name Bar, where Whiskey Autumn’s Matty Schelling actually makes a short cameo appearance. These scenes are interspersed with action shots of a lady friend rocking out, skateboarders, and an ASOJ live performance. Filmed and directed by Colin Anders of Slice Cinematics, you can peep the video for yourself below:

Currently, ASOJ are busy gigging around NYC, but have plans to release more singles for your ears in 2017. Keep up with their tour schedule here.

-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.

The Weekend Six: Six Shows to See 11/11 & 11/12

By: Hannah Oreskovich

If there is one thing we want to do after this week, it’s roll to local shows and celebrate art and music. Here are our picks:

Today (Friday 11/11/16):

TAARKA with Caribou Mountain Collective at The Wildflower Pavilion in Lyons 7PM-10PM

TAARKA. Photo Credit: Anne Stavely.

TAARKA. Photo Credit: Anne Stavely.

Earlier this week, we brought you a sweet feature detailing TAARKA’s performance tonight. The Lyons-based bluegrass and gypsy jazz band play Planet Bluegrass’ WildFlower Pavilion, and Caribou Mountain Collective will open the evening. Bring your bluegrass lovin’ buds, treat yourself to a beer or coffee, and spend the start of your weekend listening to a slew of talent on this semi-outdoor stage. The weather alone at this point in November should compel you. Tickets here.

Listen to TAARKA’s Making Tracks Home:

Colfax Speed Queen’s Album Release Party at Lost Lake Lounge in Denver 9PM-Close

Colfax Speed Queen. Photo Credit: Matthew Novak

Colfax Speed Queen. Photo Credit: Matthew Novak

Denver’s Colfax Speed Queen are dropping their latest release today, an 11-track record titled Talk To Your Doctor. We had a chance to preview the record earlier this week, and man did we like what we heard! This one is guaranteed to pull at your rock’n’roll heartstrings, and after watching CSQ at The UMS just a few months ago, we guarantee their live show will too. Fort Collins’ Serpentfoot will open the night, followed by The Golden Apples of the Sun. CSQ’s release is dropping on Heavydose Records; make sure to get yourself a vinyl copy of this bad boy. You won’t regret it.

Check out Colfax Speed Queen’s Talk To Your Doctor:

Envy Alo at Conor O’Neill’s Irish Pub in Boulder 10PM-Close

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Dance away the week tonight at a place we’re so happy didn’t close. Funk rock’s Envy Alo will be playing a free show at Conor’s, and have promised to groove you into oblivion (which may be exactly what you need right now). The trio also play The Fox November 30th opening for Jaden Carlson, so pick up some tickets while you’re there from the crew. Get to it!

Peep Envy Alo’s “When I Play”:

Coral Creek at The Lazy Dog in Boulder 10PM-Close

Coral Creek.

Coral Creek.

Golden’s UllrGrass Festival is just a few months away, and tonight the music and beer fest is hosting a kickoff party for the event with Colorado’s Coral Creek at The Lazy Dog. The Americana/country and bluegrass jam band will sport their stringin’ sounds while you enjoy a brew and nab your discounted UllrGrass passes before they go on sale. Check out the full UllrGrass lineup here.

Listen to Coral Creek’s self-titled album:

Tomorrow (Saturday 11/12):

Silent Bear with Adam H. at The Gold Hill Inn in Boulder 7PM-Close

SILENT BEAR AND THE LATE PETE SEEGER. PHOTO CREDIT:   SKYHOOK ENTERTAINMENT

SILENT BEAR AND THE LATE PETE SEEGER. PHOTO CREDIT: SKYHOOK ENTERTAINMENT

With the future of the DAPL looking more terrifying than ever thanks to President-elect Donald Trump’s current 100 Day Plan, tomorrow night’s show with DAPL protestor and artist Silent Bear seems like a perfect way to spend your Saturday in solidarity. SB, who has spent his musical career working for and with Native Americans and other marginalized populations, plays The Gold Hill Inn tomorrow evening. Singer/songwriter Adam H. will open the night, which sure sounds like a powerful one.

Watch Silent Bear’s recent protest video against the DAPL below:

Oscar Ross with Ol’ Hickory & M. Florea at Syntax Physic Opera in Denver 9PM-Close

Oscar Ross.

Oscar Ross.

Denver’s Oscar Ross recently released his latest album, Get Along. Known for his work as the frontman in Denver stoner metal band Lords of Fuzz, Get Along takes you for a whole different kind of ride in Ross’ solo country-esque project. Golden’s rowdy outfit Ol’ Hickory will share the stage; Megan Fong’s latest project M. Florea will open the night. Tickets are only $7, so get yours and make sure to grab a copy of Get Along for yourself after the show!

Give Oscar Ross’ Get Along a listen:

Music always feels like the right thing to do, Colorado. See you at a show!

-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.

Fruit Bats Flying Over to The Fox This Saturday

By: Hannah Oreskovich

Formed in 1997 by singer/songwriter Eric D. Johnson, Fruit Bats came up with the early ‘00s indie folk rock boom. The four-track solo project that soon evolved into a full band, (with original members from Rowboat, another Johnson pastime) the group’s debut album Echolocation was released on Perishable Records in 2001. After touring with big bands of the time, including Modest Mouse and The Shins, Fruit Bats were picked up by Sub Pop, where they released four more records over the course of almost a decade.

Eric D. Johnson.

Eric D. Johnson.

After a personal tragedy forced Johnson to end the project, he hit the road with The Shins, Vetiver, and Califone. He then went on to produce a Breathe Owl Breathe record, scored films, and focused on the success of his growing Huichica Music Festival. But the deeper Johnson dug to find himself and start anew, the more he realized that his identity was within “this dumb fake punk rock name that I put on a four-track tape.” Johnson missed Fruit Bats.

Watch the music video for Fruit Bats' "Humbug Mountain Song":

To the delight of fans internationally, Fruit Bats reformed in 2015, touring with My Morning Jacket and recording their album Absolute Loser, which dropped last spring. The album gained a lot of buzz, with Consequence of Sound calling it the record which “brings the best of Fruit Bats’ diverse discography together.” Following its successful release, FB hit the pavement on a headlining tour, which brings us to now. This Saturday, November 5th, Fruit Bats are headlining The Fox Theatre. Front Range favorites The River Arkansas will open the evening, with Fruit Bats to follow. Tickets are only $15 in advance, and can be purchased here.

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Fruit Bats are stoked to be back on the road, so you can expect Saturday's gig to be one of their best live performances yet. They’ll be playing tunes across their catalogue, and are sure to be raising the Fox’s folk rock roof.

Come check them out! We’ll see you there.

-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. 

The Felice Brothers Chatted With Us About Their Colorado Shows, Their New Music, & Breakfast

By: Sierra Voss

Tomorrow night, The Felice Brothers are stopping by The Fox Theatre on their “Life In The Dark Tour”. Actual Felice brothers Ian and James hail from upstate New York, where they formed the band (originally with their other brother Simone), and began making their way down to the NY City to gig and busk in subways. It was here they sparked a lot of attention, bringing their Catskill roots to the sounds of the city.

The Felice Brothers quickly made a name for themselves in the folk community, touring with bands like, Dave Rawlings Machine and Old Crow Medicine Show. After a touring stint with Bright Eyes, the Brothers scored their first record deal. And though they rep those folk vibes, they equally pull sound inspirations from roots and punk music throughout their discography, which has spanned the last eight years. Their stripped-down sound and dynamic storytelling lyrics are well worth the listen.

The Felice Brothers.

The Felice Brothers.

The Felice Brothers’ current members include Ian (guitar/vocals/piano) and James Felice (accordion/keyboards/vocals), Greg Farley (fiddle), David Estabrook (drums) and Josh "Christmas Clapton" Rawson (bass). The band recently released a self-recorded nine track album, 'Life In The Dark', and are touring the rest of October in the US before hopping across the pond to Europe for the rest of the year. Earlier this week, we sat down with James to chat more about 'Life In The Dark', what the band digs most about this tour, and breakfast (duh). Check it out:

What led the band to self-produce 'Life In The Dark'?

It was just a matter of circumstance and timing, but mostly we just started recording what we thought were going to be demos, and we sort of realized right away that we liked what was happening. So we just said, ‘You know what? Let's just make this the record now!’ The self-produced process turned out to be the right one for this record.

There seems to be a mass confusion among journalists as to whether or not you guys actually lived in New York City. What’s up with that?

It’s so weird. The definitive truth is we NEVER lived in New York City. We always used to go there to gig and busk. We would be there for weeks at a time, or for a month or two but we never actually lived there. We always lived in the Hudson Valley in New York… Everyone wanted us to be from Brooklyn but it is not so.

Following your Fox set tomorrow night, you guys are playing Larimer Lounge down in Denver on Friday. Are most of the venues booked for this US tour repping a similar rock club vibe?

Mostly we’ve been playing small venues and rocks clubs because that’s how we like it. We prefer the more intimate settings. It has to do with the energy. A lot of people closer together in a small room makes the show funnier for us. [It] creates a cool kinetic energy between the crowd and band.

What city are you most looking forward to on this tour? Or do you have a favorite venue you try to get back to every time you’re on the road?

We have spots we like. It's less about certain venues, and more about putting on a good show everywhere we go. Usually we have restaurants we like to go to in every city, and if we have time we love to get out into the wilderness. We have a tradition to try and always eat breakfast together. So we wake up early before we need to drive or do whatever we need to do and eat together. We like to eat food in this band.

The Felice Brothers seem to have it all figured out: good breakfast and solid shows. Tickets for their show at The Fox Theatre can be purchased here. And if you prefer a more intimate show, check out tickets for their Denver gig at the Larimer

Watch the music video for The Felice Brothers' new song “Aerosol Ball”:

-Sierra

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