The experimental music festival Titwrench is back at it again with another stellar lineup of bands fronted by women and queer people. This ninth festival will be bringing more than thirty acts to perform at Denver’s Mercury Cafe.
The Lumineers take over Fiddler’s Green Amphitheatre for three nights while Friday night Depeche Mode headlines Pepsi Center and Father John Misty plays Red Rocks. Also on tap this weekend are Reggae on the Rocks featuring Sublime with Rome, Mighty Mighty Bosstones, Fishbone and more, Titwrench Music Fest at Mercury Cafe, Goosefest 2 at Goosetown Tavern, and Lucero at Denver Botanic Gardens. See our full picks below.
When we spoke with LaRissa Vienna back in March, she described the sound of LaRissa Vienna and the Strange as, “kind of eerie, or spooky-sounding. A lot of it is also harder-hitting, so it lands somewhere in that rock spectrum. The violin really brings an extra element in there. I…
Unsure if you’re assaulting someone? Here’s your friendly guide.
It has been an immense couple of years for Los Angeles indie-rock band Warpaint. Having formed in 2004, the group, composed of Emily Kokal (vocals, guitar), Theresa Wayman (guitar, vocals), Jenny Lee Lindberg (bass, vocals) and Stella Mozgawa (drums), didn’t waste any time building a solid reputation within the then-sparse…
Shania Twain, set to release her new album, Now, on September 29, will stop at Pepsi Center on Friday, July 27 as part of a lengthy North American tour that kicks off next year. Tickets ($69.95-$149.95) go on sale on Friday, August 25, at 10 a.m.
The left has had an internal debate about the rise of white supremacy as of late: punch a Nazi, or love a Nazi? String Cheese Incident drummer Michael Travis decided to riff on the topic on his Facebook page, where he bashed antifascists for engaging in violent clashes with white supremacists in Charlottesville. But that wasn’t all.
In 2006, work began on the restoration of the exterior of the Historic Elitch Theatre, which celebrated its 125th anniversary last year, after receiving $5 million in federal, state and city grants as well as private donations. Five year later, work started on the interior and was completed in 2014. While the theater opened that summer for its first public events in fourteen years, it hasn’t hosted a major concert there since 1996.
The Lumineers blasted into stardom with the earworm “Ho Hey” on the act’s 2012 self-titled debut full-length. The indie-folk rockers were armed with catchy, stripped-down songs and a marketable story about how in 2009, founders Wesley Schultz and Jeremiah Fraites ditched prestigious New York City for Denver, which was then a cheap cowtown — at least that’s how their story goes.
“I made mixtapes before I knew I had the ability to be a musician,” says 27-year-old Denver DJ Kelci Newlin.
Colorado’s oldest blues club might be looking for a new home in November. In a Facebook post, Ziggies owner Carla Jordan writes that after her ten-year lease expires on October 31, the building’s owner will try to sell it for $1 million.
A deep dive into the inner workings of ticketing at Red Rocks.
Husband and wife Americana pairing China and Seth Kent, aka Alright Alright, recently told us that they are on their third stab at making this band thing work, and this time they’re determined. That might partially account for the amount of effort that’s gone into their latest video, for the song “Like Water,” with the help of their friends Emily Grauberger (director), David Grauberger (director of photography), and Julie Lundy (producer).
The original Capitol Hill space at 13th and Downing was built as Betty M. Lauder’s dry goods shop in the mid-1920s and converted to a restaurant in the ’30s. Around 1945, the building became the Lighthouse Inn, a bar rumored to be one of Jack Kerouac’s hangouts in the late ’40s.
When Temple Nightclub opens in the fall, in the former City Hall space at 1144 Broadway, as part of the Zen Compound entertainment complex, it will be like the love child of Burning Man and Las Vegas says CEO and founder Paul Hemming.
Father John Misty, real name Josh Tillman, was in the news, or at least the gossip columns, this week when Ryan Adams Tweeted insults while in the midst of some sort of social media shade-fest. Adams called Tillman self-important, which we kinda get. He also called him a shit Elton John, which we don’t get at all.
Country singer Sam Hunt headlines Red Rocks for two nights with Maren Morris opening, while Joe Bonamassa takes over the venue on Wednesday and “1964” The Tribute, which recreates the 1964 Beatles American invasion, is there on Thursday. This week’s lineup also includes Khalid at the Ogden Theatre tonight and Fillmore Auditorium tomorrow night, the Alarm at the Soiled Dove and Gaby Moreno at Levitt Pavilion.
In her story “Speak Now: A Fan’s Take on Taylor Swift’s Trial,” Westword reporter Lila Thulin wrote about her experience reporting from the front row of the Taylor Swift sexual assault trial and addressed some of the ethical dilemmas journalists face when covering such cases.
Mike Peters recently did what many thought might not happen: he unleashed a Mike Peters & the Alarm album of all new material. That’s not to say he hasn’t been busy in the last several years. The revered Welsh rocker has been entrenched in solo tours, studio recording and other musical endeavors. He’s also worked closely with the cancer-fighting nonprofit he co-founded, Denver-based Love Hope Strength.
To paraphrase the late Rodney Dangerfield, Eddie Money don’t get no respect. The archetypal blue collar rocker is known for anthems like “Two Tickets to Paradise” and “Take Me Home Tonight,” songs that radio listeners are familiar with before they even know who is responsible for them. But he’s widely considered yesterday’s news. Dated. A has-been.
It’s quite the varied weekend at Red Rocks Amphitheatre with Slightly Stoopid tonight, Gov’t Mule and Yonder Mountain String Band tomorrow and Die Antwood on Sunday. Also around town are Cat Power at the Marquis Theater, Psychic TV at the Mercury Cafe, Pinks Hawks album release at Lost Lake Lounge and Brazilian Girls at Ophelia’s Electric Soapbox.
Two years from the day I belted out Taylor Swift songs at a concert where the singer sashayed across the stage of the 56,000-seat Levi’s Stadium in Santa Clara, she won a countersuit for sexual assault. It was August 14, 2017. I was in the courtroom. At the 1989 tour stop, Swift was in full pop-goddess mode, wearing a glittery crop top, her face magnified on a screen so fans like me could see her sing and strut amidst a sea of male backup dancers even from the back of the football stadium. But twenty feet from me on the eighth floor of a Denver federal courthouse, hand on her mother’s as she awaited the verdict, Swift was simply a woman in the all-too-common position of waiting for someone to take her at her word that a man had touched her body without her consent. And for a scary half-second, I was afraid that, despite a clear case argued by a high-powered legal team and backed by both witnesses and photographic evidence, the answer would be no.
