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King Gizzard & The Lizard Wizard Concludes Their North American Tour at Red Rocks

November at Red Rocks Amphitheater is sometimes a gamble with the changing seasons, but I had no hesitation when given the opportunity to attend another 3 hour marathon concert from King Gizzard & The Lizard Wizard’s North American Tour. When I went to their first Red Rocks show in early October many of the fans held these tickets since their 2020 tour that was canceled due to COVID. The November date was a surprise, as the final show was tacked onto their tour promising the same feel-good giz energy as the first marathon show at Red Rocks. My friend flew into Denver with some film cameras after hearing the news and we eagerly waited in the longest line I have seen at Red Rocks- undisturbed by the cold in my gizzard-themed crocodile onesie.

Note: I was encountered by multiple “die-hard” Gizzard male fans who had a lot to say about the difference between a crocodile and an alligator, proceeded to mansplain the symbology of King Gizzard and their Giz-verse related to the crocodile, all of which I am aware of. If you are a girl going to a Gizzard concert, avoid this conversation at all costs. But DO wear a crocodile onesie because it is warm and Giz fans are cultish so you’ll get creds. If anyone asks, say: “crocodiles are from Australia… just like them” and leave at once.

First and foremost, I will say that King Gizzard has an absurd amount of albums, with three albums released last month alone! and although I know many of their songs, I do not know all of their songs. But some people there did. When I was chatting in the photo pit with another photographer, she showed me the zoomed-in set list on her camera with the opening song entitled “Digital Black-” I was not sure what albums nor energies King Gizzard was bringing to the night. I was ready for everything reminiscent of their themes in their recent album: Ice, Death, Planets, Lungs, Mushrooms, and Lava- with an emphasis on lava.

A funky set from The Murlocs and the ethereal sounds of Leah Senior set the scene of deception for King Gizzard. We went down to the pit to prepare for the show to start. The band was as playful as ever, with Joey trying to banter amongst the crowd while the staff were tweaking Lucas’ guitar settings. After a few minutes everything was ready to go and (surprise, surprise) they started with “Digital Black” in Stu’s satanic cadence and blaring guitar riffs. Everyone instantly went into a frenzy despite being confined to the tiered seats (although some people above did mosh/fall onto our row!). Throughout the night, King Gizzard dedicated a third of their set to playing songs from their 2017 album Murder of the Universe and selected the vast majority of their marathon set to more metal-oriented songs that strayed from their dreamy synthesizer hits. This meant a lot of head banging and an entrance into the Rats’ Nest, arguably the  hardest album that they played from. They drew from a variety of albums along the way including “Cutthroat Boogie” from their 2012 album 12 Bar Bruise, one of my favorite songs of the night that featured some amazing harmonica solos and fit comfortably among the Colorado landscape. King Gizzard continued their tasteful guitar thrashing from various albums including some favorites like “Hot Wax” and a jammed up version of “Her and I (Slow Jam 2)” and concluded with a more relaxed outro of “The Fourth Colour.’  The intermission offered a quiet countdown for fifteen minutes until their second set. A marathon indeed!

The second half of the show astonishingly kept up the same energy as the previous, jokingly playing the American National Anthem before jumping straight into “Head On/Pill” while lacing in “Hot Water” and teasing their recent release of “Hypertension” throughout their lengthened song. This was an especially impressive song for their ability to transition between three (basically four) songs in one, and definitely sent the message that they were not planning on slowing down. After about their 10 minute version of that song, they revisited the album I’m In Your Mind, Fuzz, a personal favorite of mine, while still sticking to a high energy set by playing “Am I In Heaven?” The transitions between songs were seamless, usually recognizable motifs across all their albums, causing the crowd to stir with anticipation. Stu returned to Infest the Rats’ Nest to keep the pace up as the wind started to blow up the slope of the amphitheater. It was truly an epic scene: a showdown between King Gizzard and the elements, and they prevailed with hair flying. After a few metal songs, they switched up the vibe to something more lighthearted with Ambrose howling into the mic during “Let Me Mend The Past.” Shortly after Leah Senior came on to do an amazing narration of “Alter Me III” and “Altered Beast IV” also from Murder of the Universe. Leah Senior brought the eerie cadence like the Ronald Dahl-esque introduction of “Dark Fantasy” by Kanye West. King Gizzard slowed down for the final song, “Float Along-Fill Your Lungs,” playing an ensemble of dreamy guitar chords clashing against each other. The ending was drawn out like the studio version, but I’d like to think it was also a moment of savoring the last moments of their long-awaited North American tour.

The stamina and chemistry of the band is something that is rare amongst jam bands, and King Gizzard & the Lizard Wizard put everything out in that three hour marathon set. Even if many of the songs were not ones I was familiar with, the songs were sharp and fast- perfect for hypnotic dancing and head banging. Their interaction with the crowd made it even more of a special experience, after spending so much time apart from their American fans it felt more like a reunion. Although their tour is finally over, their music continues. I know I will be trying to play catch-up as they keep cranking out more and more albums this year, and for many years to come.

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Local Shows: Previews & Reviews

Black Midi Commit (sonic) Arson in Denver

My head is a flaming 1998 computer with fans whirring and every time I hear a noise I want to catch those jagged soundwaves and catapult them away to Andromeda. I just got back from the doctor, and I did get a concussion after colliding heads with somebody at the Black Midi concert. This is not me looking for sympathy, but my concussion – as well as the destruction of my friend’s seemingly indestructible Doc Martens – just goes to show what a septic tank the pit at the Black Midi show was. 

Black Midi is a chaotic band of many pretentious dashed genres: brutal-prog, jazz-rock, post-punk. My dad would probably call them ‘weird for the sake of being weird,’ and I would’ve agreed a year ago. Over time their arsonist approach to music warmed up to me with its redeeming qualities in mastery of tension and release. I arrive at the concert to see a fandango of “I Love Black Midi” or “Jesus Loves Black Midi” shirts. The most notable conversation I hear around me is also an alarming one: “I’ve heard Black Midi’s shows are louder than a My Bloody Valentine set.” As the lights dim, a WWE commentator’s voice hollers an introduction of the “world’s hardest working band,” hyping up the roaring crowd for the “super colossal heavyweight champion of the world: Black Helllllllfire Midiiiii.” The Verve’s “Bitter Sweet Symphony” starts playing and vocalist Geordie Greep runs out to that cinematic string arrangement in a boxing robe. The crowd goes nuts at the sight of this mischievous looking Englishman. Cameron Picton has a pair of shades on that shield his deadpanned face and a brain that would set music theory books to 451º Fahrenheit. He picks up his bass and the distorted notes overpower The Verve’s prerecorded opener. Geordie Greep grabs his guitar; the end of its strings hang off the headpost like a geriatric cat’s whiskers. The band begins their set and opens with a face-melting “953” at an unholy level of the decibel scale.

I look into the crowd from the photographer’s pit to see about ten or so people clinging to the barricade for dear life. Behind them is a sight I must point to Dante’s fifth level of hell to describe: The Divine Comedy author describes the river Styx as filled with people “in that lagoon… they smote each other not alone with hands, but with the head and with the breast and feet, tearing each other piecemeal with their teeth.” Maybe this is a dramatic analogy, but the pit was true chaos. During “Welcome to Hell,” I joined the pit to find that this was an obscure type of mosh. Because of the ‘stop and go’ nature of many Black Midi songs, members of the audience are given time to stabilize and stop to pant like dogs during the calm moments of many songs. I often see faces of friends during these 5-second pauses, but as soon as the mayhem begins again they are swept away into the storm of band shirts. 

Painting violent impressions into the crowd like an evil Jackson Pollack, Greep stands villainous and postured in his buttoned shirt above the chaos. The WWE commentator’s voice returns at the beginning of  “Sugar/Tzu,” a song that tells the story of a fight between “Sun Sugar, a simple man, cut from coarse cloth and Sun Tzu, seeking strength from a snakeskin broth.” The fight takes place on the impossible date of “February 31st 2163.” Greep’s storytelling is gilded in an eerie elegance, bolstered by drummer Morgan Simpson’s manic jazz tempo changes. Fans yell out every word to “John L,” the tale of a cult leader being torn to gory pieces by his subjects. The brain-rattling instrumentals and jargon are what I imagine the folks that took Woodstock’s infamous “brown acid” would have heard at a King Crimson show. 

Geordie Greep on vocals and guitar

Cameron Picton trades his bass for a six-string guitar and steps up to the mic to perform his own Black Midi songs. Fans belt out every word to “Eat Men Eat” along with him. This is the story of two miners (most likely in love) escaping the wrath of their blood-drinking cannibal of a captain. Picton wails the words of the captain like he is possessed.

“You f*****g f*****s ain’t seen the last of me yet

I’ll have the last laugh, you c****, soon you’ll see

Each day you wake, and each night you sleep

I’ll be camped in your chests, burning! Burning!”

Greep looks at his drummer impressed, he flashes a grin and raises his eyebrows as if breaking the fourth wall. By the end of the show, the pit is festering with stench, human and otherwise. A whiplashed crowd bangs around to “Slow,” and the sweaty stew of fans throws their bodies and elbows with what energy they have left. People that were just at war with each other in the pit tenderly introduce themselves to each other as they babble about how wild the concert was. 

After the show, I sent a cool teacher of mine a Black Midi song, I was curious if he would call it progressive-rock or not. To copy and paste part of a diplomatic response from the true prog-rock connoisseur, he muses that “Prog wants to draw you into a dreamscape of expanding ideas, but this feels more like a temper tantrum.” I’d agree, Black Midi is the corrupted child of a Yes and Genesis soundtracked Middle-earth, a corrupted child with an urge to commit arson and steal some magic sword from the Shire. As I write this article two weeks later and am still concussed, I can fondly recall that the concert was less a dreamscape and more like a self-aware nightmare in which you bear witness to some talented musicians spilling cathartic oil onto the flaming nooks and crannies of their mind. 

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CONCERT REVIEW: The Front Bottoms at Mission Ballroom 10/11/21

By Henry Hodde

The Front Bottoms’ performance at Mission Ballroom last Monday was a reminder that punk rock and roll is not dead. The genre is alive and well alright. It may not look the same as the days in which The Clash and The Ramones reigned supreme, nor does it sound like Metallica, or even Green Day. Nevertheless, fans of noise first and foremost ought not despair. 

The Front Bottoms at Mission Ballroom

The Front Bottoms are not a new band. Guitarist Brain Sella and childhood buddy Mathew Uychich began to write music together in 2007, adding Uychich’s brother Brian to complete the original lineup. Sella and Mathew Uychich still form the heart of the New Jersey band, but on Thursday, the founding duo were complemented by Erik Kase Romero and Natalie Newbold. The next hour and a half quickly morphed into 90 minutes of exhilaration, energy, experimentation, happiness, and noise. The concert was easily the best I’d attended live in recent memory.  While this distinction doesn’t really carry significant weight considering that I grew up in rural Middlebury, VT and spent my first year of college living through a pandemic, I have a feeling that it will take a while for another show to match this celebration of sound. 

“You Used to Say (Holy Fuck)” set the tone for the concert, with a strong drumset backing a series of playful guitar riffs and a set of conversational based lyrics that embody any good Front Bottoms song. “West Virginia” brought hard hitting head bangs, “Jerk” crowd surfing and a sense of vulnerability through Sella’s words. Then we were into the classics. “Twin Size Mattress.” “Montgomery Forever.” “Peach.” The songs that stole my heart- each one building the excitement, the energy, and the joy on the faces of those that populated the crowd. 

Sella belts out “You Used to Say (Holy Fuck)”

It’s the randomness, the human in the lyrics. I remember sitting in my room at boarding school, trying to write an English essay when Sella’s voice first reached my ears from my roommate’s Iphone 8 speaker. I was struck by the abstract, the volatility, the repetition. Lyrics like “this is for the lions living in the wiry frames of my friends bodies,” “I avoid using traditional techniques,” and “it’s snowing right now I wish it was summer” all define The Front Bottoms. They might seem pointless, unimportant, childish even. But it’s exactly this approach that makes the band relatable. It’s what makes the band identifiable. It makes them relevant. As a 21 year old kid, I don’t necessarily need wisdom in my music, nor do I desire it. No. I want friends. I want to feel someone else speaking about a sense of chaos and uncertainty. Who else gets the occasional feeling that they just need to voice their aimless and spontaneous thoughts?

“Au Revoir (Adios)” closed the show. Fitting right? One of my best childhood friends used to hate when I played that song for him. “There’s no point,” he’d exclaim. “The entire song has like 3 distinct lyrics!”  I always thought he was missing the point. “That’s not what The Front Bottoms are about,” I’d tell him. I wouldn’t say I listen to The Front Bottoms to learn how to live my life for the next 10 years. No. If I wanted that, I’d turn to those podcasts from Yale professors that my mother loves to forward my way. Maybe I just want to laugh, to bounce up and down for an hour and a half, and most importantly, to listen to noise. And I think there’s some value in that too.

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Greensky Bluegrass with Lukas Nelson and the Promise of the Real

by Max Brown

It’s August 7th of this year, and I’m standing in a crowd with some of my closest friends, unconsciously swaying while the sounds of dobro, banjo, and mandolin wash over me. I close my eyes, but behind my eyelids I can still make out the soft blue lights from the stage. I’m at Salmonfest, a music festival in my home state of Alaska, and Greensky Bluegrass is rocking my world for the first time.

Cut to September 17th, just over a month after my first exposure to the group, and I’m on my way to see the band again, but this time for my very first concert at Red Rocks Ampitheatre and with four brand new friends. I’d never been to Red Rocks before that night. I’d seen photos, heard stories, even listened to and watched recordings of live shows there. But I knew none of that would come close to attending a concert there in person, and I was beyond excited for the opportunity.

Walking into the venue, what was immediately striking was the energy. Everyone was excited to be there, and the feeling was totally infectious. I spotted several folks wearing Grateful Dead apparel, and while I’ve never actually been to a Dead show, I imagine the vibe would be quite similar—smiling and laughing folks everywhere you looked.

Opening for the show that night was Lukas Nelson and the Promise of the Real, and they were already playing as we made our way through the crowd, listening to Nelson crooning to the bustling masses that were settling into the stands. Nelson’s voice is both piercing and soothing—while playing “Just Outside of Austin,” his voice rolled over the crowds and seemed to emanate from around the sandstone lining the venue, singing affectionately of his family’s ranch in Luck, Texas. When the band played their most popular tune, “Find Yourself,” absolutely every member of the crowd was singing along, and my friends and I were no different.

When Greensky Bluegrass came on, the sun had completely set, and the only light around came from the stage and from the Denver city lights that were the backdrop of the event. The setting for the show was completely psychedelic. The stage flashed green, blue, and purple, and the band appeared as colorful silhouettes until a spotlight shone on whoever was blowing minds with a solo. I couldn’t help but feel as if this was the kind of show Red Rocks was made for—driving, lively bluegrass music and a strikingly beautiful venue amplified each other effortlessly.

Throughout the whole show, dancing was simply required. Slower song, faster song, absolutely blazing song, it didn’t matter. Whatever they were playing, all the music made you want to do was move. Even the event staff couldn’t help themselves from dancing with the crowd. With such a rocking, roll the windows down and feel the wind in your hair kind of feeling in so many of their songs, I had to keep reminding myself I was listening to a bluegrass band. Standout songs included “What You Need,” a loping tune with some fantastic solos from dobro player Anders Beck and mandolin player Paul Hoffman, and the group’s rendition of “Atlantic City,” a timeless classic made new with a bluegrass twist.

My favorite tune of the show came right at the end of the night—the band came out for an encore and played a brand-new song from Hoffman called “Grow Together.” Energetic and vibrant, it was a perfect song to end the night and send the crowd on their way home.

My first time at Red Rocks Ampitheatre (now my favorite venue I’ve been to), my first time seeing Lukas Nelson, and my second time seeing Greensky Bluegrass—a night I won’t forget any time soon.

Greensky Bluegrass’s new album, “Stress Dreams,” is available starting 1/21/2022.

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Devendra Banhart Plays at Boulder Theater

Devendra Banhart at the Boulder Theater. Image courtesy of Lauren Hough.

Clad in the sleekest of all black getups down to the polished Prada oxfords, cleanly-pressed Devendra Banhart sashayed on stage and silently announced to that he indeed was a fancy man. The stage was set with a giant tapestry that displayed Devendra’s hand painted ginormous flowers that mirrored the floral design on the cover of Ma, his newest album.

Ma is multilingual and multicolored, splattered with primary colors and songs that salute Carole King and John Lennon. He released three singles as a prelude to the complete album, each one wildly fun and widely different- “Kantori Ongaku.” “Abre Las Manos,” and “Taking a Page.” With each coveted single release though, my understanding of Devendra’s vision grew- this wasn’t about a cohesive musical aesthetic but rather, a cohesive concept. This album is about those who teach us, who impart wisdom, who guide us the world, and it’s about those who bring us into this world. The album is Devendra’s journey into him becoming a Ma. It is his statement of paternity and maternity. Yet, I was hesitant to like Ma. I couldn’t understand this new role Devendra had chosen to play.

I saw Devendra and his band perform in Boulder with my friend Mimi- we stood front and center. The best way I can describe the experience for me was the feeling of being a preschooler. I imagined huge bugs crawling across the stage, and felt as if every audience member was sitting criss-cross applesauce in a semi circle, googly-eyed. Devendra talked cryptically almost, telling us long, extended, made-up stories about socks and concerts he performed fifty years ago. The kick drum was adorned with a huge smiley face, with the Om symbol for its eyes. The flowers on the tapestry seemed to grow- or I seemed to shrink- becoming more like a child.

He began the concert by performing “Is This Nice?”, a soft song loaded with lessons on how to love and cry and create. Give this song a listen for references to John Lennon’s “Beautiful Boy,” if nothing else. Devendra sang maybe 5 or 6 songs off of Ma before dragging a wooden stool and his acoustic guitar on stage and asking the audience what they’d like to hear. Some people ecstatically shouted their fave songs’ title, others widened their eyes and raised their hands waiting for teacher to call on them. I was in the second boat of people, and when called on, I requested Devendra play “Shame,” an old, silly song about boobs and playing in the sun. “Shame” is a song that encapsulated my former image of Devendra Banhart as an artist. It’s a song that makes you want to giggle and dance and let yourself be like your childhood self (the song does come off an EP called “I Feel Just Like a Child” after all). Devendra looked almost shocked at my request, it’s one of his oldest songs. He thanked me for asking to hear it, but said the band didn’t know how to play it. Admittedly I was sad. Unable to hear that song live! A minor heartbreak.

But thinking about it now, “Shame” didn’t fit into that concert. While I always thought of Devendra Banhart as having the fervent feel of a child, I had missed that he had changed. His music contained more teachings than before. It was less spastic. It felt put together and organized, in the way some parental figures do. Caterpillar has become a butterfly! Sprout has become a bean! Devendra has become a Ma!

You can read about Devendra Banhart, look at his tour dates, and access his music on his website, linked here.

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Interview with Chastity Belt’s Julia Shapiro

By Emily Faulks

Julia Shapiro. Image courtesy of Hardly Art.

I reached out to Julia Shapiro, indie rock singer and songwriter, as she prepares for Chastity Belt’s American Tour for their self titled album released in September. Shapiro is most known for her solo album she recently released as well as her lead vocals and guitar for all-girl garage bands Chastity Belt, Childbirth, and Who is She?

After Chastity Belt cancelled their tour last April due to “health concerns,” Shapiro ventured into introspective songwriting and mixing that resulted in her first solo album titled Perfect Version that captures Shapiro’s discontent with personal imaging and searching for self growth through musings of change and stagnation simultaneously. She then continued working with Chastity Belt and the band later released their self titled album on September 20. Capturing similar sentiments and instrumentals as Shapiro’s Perfect Version, Chastity Belt wanders through foggy terrain of a mental landscape of dissatisfaction while combating it with surreal optimism. I asked Julia some questions about her experiences with creating Perfect Version mostly alone and being back with Chastity Belt after a much needed break.

What have you been up to since the release of Chastity Belt’s album and getting ready for the anticipated U.S. tour in February?

We tour quite a bit over the fall. In October we did a European tour and then in November we played the East Coast. We’re also working on writing some new stuff.

How are you feeling about touring with Chastity Belt again?

I sort of have a love/hate relationship with touring. It can be really fun, but also super exhausting. It’s all about getting the right balance. I’m excited about this upcoming tour because we’re taking our Australian buddies Loose Tooth with us. It’s also our last tour for a while, so that makes it feel a bit more manageable.

What are the things you do to stay centered when you’re struggling on tour or dealing with the frustrations of the recording industry?

Take a walk, call a friend, try to remember to take some alone time. It can be hard to find the time to take care of yourself on tour.

Did your solo album and emotions you unpacked in Perfect Version influence Chastity Belt’s self titled album?

All the lyrics are coming from me, so yeah I suppose so. Some of my solo songs probably could’ve been Chastity Belt songs if the timing had been different — there’s not a huge distinction between my songwriting process when I do solo stuff and when I do stuff with my band, except I was maybe a little bit looser with the way I wrote lyrics for my solo album. It was a little bit more stream of conscious.

How does mixing and composing music alone compare to the process with Chastity Belt?

It’s a lot quicker cause there’s only one person to consult. It’s also hard cause you sort of have to trust yourself more, since you’re the only one making decisions. It’s harder for me to get as excited about songs when I’m by myself — it helps to have my bandmates around to encourage me.

How did you all start Chastity Belt and overcome gender barriers in garage rock? Any advice for college students (specifically, girls) trying to start a band?

Trust yourself, and don’t just blindly follow others advice, especially men who are out of touch haha. Check in with yourself and your bandmates every once in a while to make sure what you’re doing feels good, and ask yourself why you’re doing it.

Do you think Chastity Belt has evolved since you all started making music in college?

Oh definitely. We started out just joking around, we never thought the band would become this serious. We’ve learned a lot along the way. There’s no way to really learn how to make music other than just doing it and learning from your mistakes.

What kinds of music inspired the conception of Chastity Belt? What are you listening to right now? 

Growing up I was really into Elliott Smith, and I still think he was an amazing songwriter. I also listened to Fiona Apple and the Yeah Yeah Yeahs in high school. Recently I’ve been really into the new DIIV record. Those guitars sound so good.

Chastity Belt is touring the United States starting early February and will be performing in Denver at the Bluebird Theater on February 23.

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Superstar boyband Brockhampton brings rising stars 100 gecs and slowthai to Denver

By Auguste Voss

DENVER—On a Monday night, the line to get into the brand-spankin’ new Mission Ballroom spanned the length of the 60,000 square-foot building, doubled back on itself twice, and wrapped around the front corner. Fans planning for a sweaty moshpit stood in shorts and t-shirts in crisp 30-degree air, huddling together for warmth. Once the doors opened, however, it was a matter of minutes before the whole line was inside and de-frosting.

Situated in Denver’s River North art district, the Mission Ballroom opened just months ago in August with a 4,000 person capacity and a concert calendar stacked with major national acts. 

The venue already operates like a well-oiled machine—several entrances allow for speedy security checks, and once inside the building, conscious efforts to streamline the guest experience are obvious. A muraled archway leads into a second chamber, facing an expansive bar with the usual over-priced beverage choices and the option of a branded cup for cheaper refills. After grabbing a drink, bathrooms are conveniently placed on either side of two hallways leading to the main space—which was packed by 7:30 for an 8 o’clock show. 

Unsurprising as the massive turnout for one of today’s most popular boy-bands was the demographic that showed up. Early 20-somethings abounded, but the crowd was dominated by teenagers and high-schoolers in trendy streetwear, tour merch, and borderline rave gear. Sprinkled in the crowd were older fans, too, but they stuck to the fringes as younger groups pushed up toward the pit. 

L.A./ Chicago-based duo 100 gecs opened with a performance that seemed to draw mixed feelings from the crowd. Comprised of Laura Les and Dylan Brady, 100 gecs has created a refreshing if overstimulating tribute to the digital age through a fast-paced mashup of more genres than I can define. They’ve blown up in the past few months, but it was clear that many at the show hadn’t hopped on the gec-train – yet.

Their debut album 1000 gecs is a chaotic frenzy of death metal, chiptune, hip-hop, and explosive bass punches, initially striking the unexpecting ear as abrasive and overcomplex. But a close listen to  “Money Machine,” for example, reveals creative and endearing lyrics like opening line “you talk a lot of big game for someone with such a small truck.” Sonically, the two have created an impressive, unique reimagination of digital music, weaving an almost tangible essence of internet sub-culture into their unrelenting barrage of angsty autotune and genre-bending production. 

Their live show, every bit as turbulent as their online presence, capitalized on the chaos woven into 1000 gecs. The duo jumped around to muddled backing tracks, bathed in green light, while the crowd tried to figure out what they were experiencing; many joined in the moshing, and a few who came expecting Brockhampton’s more straightforward pop-anthems appeared to be caught off guard.

The lighting switched from sickly green to intense red, and for those hesitant to get on board with 100 gecs, slowthai was more their speed. 

Born Tyron Frampton, the Northampton, UK rapper has recently risen to the headlines for masterful lyricism and bold political statements. After receiving a Mercury Prize nomination for his 2019 album Nothing Great About Britain, the 25-year-old wielded a model of Prime Minister Boris Johnson’s decapitated head during his performance at the September award ceremony.

Slowthai’s music is forceful, propulsive, and engaging, covering topics from drugs to politics to his childhood background in riding motocross. And his stage presence followed suit. Fuelled by raw, manic energy and probably a good bit of testosterone, he waved the mic around his crotch and jeered “sometimes in life people will talk shit to you. When they do, you say ‘get the fuck out of my face.’” 

Slowthai ripped his shirt off just a couple of songs into his set. Standing still, I could feel the floor shake below me as the whole room opened up into moshpits. 

He finished his set with a spirited rendition of “Doorman,” which chronicles a fling with a rich girl and uses allusions to addiction, the royal family, and a children’s show to blast Britain’s wealth disparity. 

After slowthai’s explosive set, the crowd had a chance to cool down before their beloved headliner, Brockhampton.

In the early 2010s, now-frontman Kevin Abstract posted on a Kanye West forum that he wanted to start a band. Over 30 people responded, leading to the inception of Alive Since Forever and the subsequent release of the ASF EP in 2013. Over the months that followed, ASF dissolved and reassembled—about one-third of its original size—as Brockhampton. Since their 2014 inception, Brockhampton has released six studio albums, toured the world, and amassed a cult following.

Today, the boyband is comprised of 13 members: Kevin Abstract, Matt Champion, Ciarán “Bearface” McDonald, Dom McLennon, Merlyn Wood, Ashlan Grey, Robert Ontenient, Russell “Joba” Boring, Jabari Manwa, Romil Hemnani, Jon Nunes, Kiko Merley, and Henock “HK” Sileshi.

Each member contributes something unique to the collective, from vocals to production to visual media direction, and the result is a boyband like no other. Their music addresses difficult topics like mental health and sexuality in plain language, often drawing from band members’ personal experiences, leading to music that advocates for acceptance and self-love in a frequently disparaging society. 

The Mission Ballroom on Monday was a perfect testament to the spectacle of Brockhampton. Three massive, mirror-paneled crosses towered above the stage and LED panels lit the room from behind the bandmates. 

Kevin Abstract, left, and Merlyn Wood, right.

Abstract hit the stage first, opening with his verse on track “ST. PERCY” from most recent album GINGER. The groups other five vocalists, Bearface, Dom McLennon, Merlyn Wood, Joba, and Matt Champion joined Abstract and the crowd went crazy. 

Everyone who was hesitant to get down with 100 gecs and slowthai hit the mosh pits in full force when the group jumped into “ZIPPER,” a dynamic, quintessential Brochhampton anthem with opening lyrics “Pretty sure I’m maniacal, but what do I know?” Later in the track, Wood belted: “shoutout to south-central San Marcos, I got addicted to soft shell tacos.”

Left to right: Kevin Abstract, Joba, Matt Champion, Bearface, and Dom McLennon.

Mosh pits steadily continued, pausing only for “SUGAR.” The song is a cathartic, bittersweet ode to the love, late-night shenanigans, and drug-induced highs that populated the band’s younger years; it felt fitting, then, that the vibe of the room shifted from hip-hop show to high school dance as the crowd slowed down, swayed back and forth, and shouted along to the lyrics. 

The crew closed with “No Halo,” and the end of the show was like coming out of a daze—one I didn’t particularly want to leave behind.

The Brockhampton boys have undeniably infectious energy. Their achievements over the past six years, from the popularity of each studio album to their notoriety for insane live shows, have enabled the rapid growth of a fanbase that knows to bring high expectations. They certainly didn’t disappoint.

 

Photography by Auguste Voss // iPhone.

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Bedroom-pop heartthrob ROLE MODEL brings “Far From Perfect” tour to Denver

By Auguste Voss

DENVER —Just blocks from Coors Field in downtown Denver, the Marquis Theater is a low-key hotspot for local gigs and up-and-coming national acts. Tucker Pillsbury, aka ROLE MODEL, stopped by in November on his inaugural “Far From Perfect” tour.

Oxeye Daisy by Auguste Voss

The night began with Denver grunge-pop outfit Oxeye Daisy. Flamboyant, brightly-colored animal print attire added to an already energetic stage presence. While many garage-rock groups might find their sound muddled at a smaller venue like the Marquis, Oxeye Daisy’s music felt crisp and refreshing in a wonderful, grungy sort of way.

Nineteen-year-old songwriter Mills. was next, gracing the stage with a solo set. His voice, smooth as butter, sounded like a bouncier Lewis Capaldi. A wide-brimmed hat was the cherry-on-top of an outfit seemingly catered to his stop in the southwest. Mills. has created a space for himself in the oversaturated bedroom pop realm, working with ‘Surf Trap’ artist Felly on recent single “Water.” Already ahead of the game at nineteen, Mills. demonstrated a passion for music that seemed to tell the audience “this is just the beginning.”

Mills. by Auguste Voss

After plenty of hype from the opening acts, ROLE MODEL burst onstage with a grin that had the whole room cheering even before the music started. The epitome of the teenage heartthrob, ROLE MODEL swept perfectly-disheveled hair away from his eyes as he scanned the room. 

ROLE MODEL by Auguste Voss

At first glance, ROLE MODEL feels like an unexciting archetype—another cigarette-smoking wannabe popstar with skinny jeans and edgy tattoos. But Pillsbury weaves a persona that tells us that he knows exactly what he’s doing, and his music is honest and raw.

His “Far From Perfect” tagline feels like an authentic testament to growing up in Gen Z, and recent songs like “minimal” and “notice me” are anthems of teenage angst and relationship troubles.

ROLE MODEL dances in the crowd. Photo by Auguste Voss

I was impressed that the 22-year old bedroom-pop icon, still testing the waters of national touring, brought along a live band—and it made his show fantastic. Even when he slowed down for a sappy, well-received cover of Hannah Montana’s “The Climb,” his energy was infectious. He bounced back and forth across the stage, wandered into the crowd, and never stood still for more than a few seconds. 

After “thank you for coming,” the band dipped offstage for a moment before returning in full swing for a lively encore. ROLE MODEL closed the night with “girl in new york,” a smooth, catchy ballad of romantic dissonance.

ROLE MODEL by Auguste Voss

ROLE MODEL’s stop in Denver was a dreamy, well-polished sneak-peek of what will undoubtedly be an ongoing rise into the mainstream.

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CONCERT REVIEW: Wilco at The Mission Ballroom in Denver

Wilco won’t let you down. Over the course of twenty-five years and eleven albums, they’ve established a fervent fanbase. Their live performances have a solid reputation; they’re known to play at least two-hour sets at every show, and they always include some fan favorites along with the songs from whatever album they’re promoting. In fact, they even have a spot on their website to enter song requests for different shows.

Jeff Tweedy. Photo credit: Mimi Norton

When I saw them on Nov. 19, frontman Jeff Tweedy announced that it had been twenty-five years and two days, to be exact, since their first show. When he said this, I was applauding just like everyone else, but I found myself regretting that it was only my first time seeing them. I went to the show on my own, and the two hours I spent alone in the front of the crowd were some of the most stunning and exciting in recent memory. I hope I’ll see them again and again.

Even though I’d read a lot about Wilco’s live shows previously, their performance at the Mission Ballroom blew all of my expectations away. After a decade of rotating through various members, their current lineup has been consistent since 2007’s Sky Blue Sky. Each member was highlighted various times during the show, and most of them had incredible solos throughout the set.

Jeff Tweedy. Photo credit: Mimi Norton

In addition to the most iconic member of the band, Jeff Tweedy, I was especially excited to see guitarist Nels Cline and drummer Glen Kotche. Cline was named “a true guitar polymath” by Rolling Stone magazine on their list of the 100 Greatest Guitarists, and it watching his iconic solo from “Impossible Germany” was a highlight of the show. Kotche was also named to Rolling Stone’s list of the 100 Greatest Drummers, as they named him “a Jim Keltner-John Cage hybrid” for his talent and originality. Around the half-way point of the show, Kotche was dripping in sweat as his drumming drove one song after the next. Although Tweedy, Cline, and Kotche usually get most of the attention, each member put so much energy into the performance; it seemed like they were having just as good of a time as the audience.

Nels Cline. Photo credit: Mimi Norton

Most of the songs they played in Denver came either from their latest album, Ode to Joy, or 2004’s A Ghost is Born. Beyond those two albums, they threw in plenty of crowd favorites, such as “War on War,” “Hummingbird,” “Random Name Generator,” “Forget the Flowers,” and of course, “California Stars.”

Wilco’s sound and lyrics speak to various emotions around living, loving and so much more. As evidenced by the increasing size of venues they play on each subsequent tour, they manage to keep attracting more fans because of their consistently impressive shows and versatile music. They care so deeply about their craft, and it shows. For me, Wilco will always reign supreme.

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Concert Review: Twin Peaks with Post Animal and Ohmme

Cadien and Clay of Twin Peaks go at the guitar back-to-back. Photo by Jane M. Harris.

On the brisk and clear night of Saturday, November 2nd Chicago indie rock took Colorado by storm. Twin Peaks headlined Englewood’s The Gothic Theatre, supported by Post Animal and Ohmme. All three groups hail from Chicago, a city well-known for some of the nation’s best early blues and jazz, as well as its current thriving and exciting alternative scene. There is no doubt that the groups that took the stage in Englewood this November are following in the footsteps of the Chicago greats.

Macie Stewart of Ohmme. Photo by Jane M. Harris.

Ohmme, composed of the power duo Macie Stewart and Sima Cunningham and supported on the drums by NNAMDÏ, took the stage first, with an attentive crowd waiting to hear some fresh sounds. They jumped right in with heavy, purposeful guitar riffs and alternating harmonies that were left hanging in the air above the audience long after their songs had ended. Ohmme’s music and onstage energy showcased an interesting juxtaposition between relaxation and erraticism. The tracks “Fingerprints” and “Water” left the crowd especially mesmerized with their unique and earnest pockets of a cappella harmonies book-ended by intense guitar strumming. The orange and blue lights bouncing off the walls of The Gothic Theatre only aided in amplifying the surrealist quality of Ohmme’s music. They made my Saturday night feel like a dream.

Dalton and Jake of Post Animal. Photo by Jane M. Harris.

Next up was Post Animal, and while they set the stage for their set, Clay Frankel of Twin Peaks performed an impassioned reading of an excerpt from Milton’s Paradise Lost to the excited and anxious crowd. It was an interesting artistic decision, but one I could get behind. With the opening chord of Post Animal’s popular track “Ralphie” the audience has no choice but to lose it a little bit—the energy exuded from the band was contagious. With Dalton Allison on bass, Javi Reyes and Matt Williams on guitar, Jake Hirshland on guitar and keys, Wesley Toledo on drums, and all members singing, the band looked more like a brotherhood than just a group. During the fan favorite “Dirtpicker” they were assisted by Twin Peak’s Cadien Lake James’ guitar playing, catalyzing some intense moshing from the audience. Throughout their set Post Animal mixed neo-psychedelic sounds with heavy guitars and lulling vocals, tremendously succeeding in exciting and entertaining the audience.

After an impatient set break that I spent anxious to get back into the photo pit, the members of Twin Peaks sauntered on stage, beers in hand and smiles radiating. Twin Peaks is the collaborative effort of Clay Frankel and Cadien Lake James on vocals and guitar, Jack Dolan on vocals and bass, Colin Croom on vocals, keys, and guitar (oh my!), and Connor Brodner on drums. Their large following in the indie and alternative rock community was clearly visible in the excitement and energy in the audience at The Gothic Theatre—I saw multiple fans scramble to put their new “Twin Peaks 2019 North American Tour” t-shirts on over their outfits right before the set.

Colin of Twin Peaks. Photo by Jane M. Harris.

With their current tour Twin Peaks are celebrating the release of their latest album, Lookout Low, featuring “Dance Through It,” “Better Than Stoned,” and “Unfamiliar Sun.” Their new music highlights new horn and keys arrangements while recalling the well-loved garage rock-tendencies of their earlier work. At the Englewood show the new tracks were received with excitement and enthusiasm from the audience, but the older tracks were truly beloved. When Twin Peaks launched into their older hit “Wanted You” the crowd took to impassioned moshing under the pink, red, and blue lights that spilled from the venue ceiling to the floor. After the set and the encore everyone screamed for more.

From left: Twin Peak’s Cadien, Clay, and Jack. Photo by Jane M. Harris.

Watching the way Twin Peaks performs their music— with fervor and determination—and how they interact with their openers and audience, it is clearly visible that music, for them, is a labor of love. Though it was a cold fall night, everyone in the theater was an endearing kind of sweaty from all the singing and dancing. All three acts of the night put everything they had out onto the stage. I left the concert feeling warm and euphoric, excited to blast Twin Peaks, Post Animal, and Ohmme in the car the whole drive home.

Twin Peaks recently released a new single, “Our World.” Post Animal also released a new single, “Safe or Not: Extended Mix.” After listening to those, be sure to check out the collaborative effort of members of Twin Peaks and Post Animal: Column.

Upcoming tour dates for Twin Peaks can be found here.

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