Music & Venues

The Northside has a new space for community and live music, now that the Federal Theatre has been revived into a top-notch venue, courtesy of Oriental Theater owners Scott Happel, Andy Bercaw and Peter Ore. The Federal demonstrated its dedication to the local scene upon its September 2025 opening with a free show from iZCALLi and Los Mocochetes, followed by another free concert the next evening with Cobranoid. Longtime local DJ Miggy Camacho has also started hosting a series there dubbed “Federal Nights,” which unites the neighborhood, lowrider community and more with Latin tunes and food. We can’t wait to see what’s in store for this venue, which is already becoming a neighborhood staple.

Project 70 may not be open year-round, but it’s already made a splash. Inspired by the concept of the New York City venue Under the K, AEG debuted the pop-up venue last September with a hardcore lineup comprising Turnstile, Mannequin Pussy and SPEED, and it was one of the best shows of the year. Located under the I-70 overpass near the Denver Coliseum, the venue included food trucks and even a half-pipe with pro skaters for the affair, which was followed up by a rave with Chase & Status. The sound is surprisingly impressive (you can’t hear a whisper of the cars rushing overhead), and despite its size, Project 70 carries the impression of an underground show — and we’re here for it.

When a Denver band sees its name on the marquee of the Bluebird Theater, it marks a milestone moment in its career. The Bluebird, which opened in 1994, has cemented itself as one of the top venues in the area for artists who are starting to make a name for themselves (as well as established ones — Jack White returned to the Bluebird for an intimate performance a couple of years ago). It’s where such musicians as Adele and Billie Eilish cut their teeth on early tours, so it’s a big deal when hometown bands make it to the stage. 

If there’s one thing Manos Sagrados does exceptionally well, it’s bringing together a sense of community you may not have realized was missing. Hosted by Melissa Ivey, the monthly BIPOC Open Mic event transforms the Manos stage into a platform for a dynamic lineup of emerging talent and first-time performers alike. Free and open to the public, it invites attendees to share covers, workshop original material, or simply listen. With its spirit of inclusivity and encouragement, the event fosters an atmosphere where artists, especially those who haven’t always felt seen, can feel welcomed, supported and celebrated.

Kerry O’Brien opened Bar 404 in 2021 in the former home of Rory’s Tavern, and in the following years it’s become known as an excellent, lowkey spot for local live music, food and finding community. A larger stage was installed, making more room for Denver bands that perform there in residencies or at Indie 102.3’s networking events, which it has hosted in the past. Bar 404’s concert programming includes weekly jazz on Wednesdays and, most recently, a blues jam on every Tuesday except the first of the month. A big bonus: The food is also incredible.

The last Monday of every month is for shaking hands and rubbing elbows with songwriters, musicians, producers, performers and anyone else in the Denver music scene. Hosted by Indie 102.3, a local favorite for discovering new artists, these events allow anyone to stop by and meet people, including the hosts of Indie 102.3. Not only is this a great way to start networking with the music community, but attendees are also treated to a live show from a local band, along with concert ticket and prize raffles. The meetups are hosted at different venues each month, and admission is free (though donations are appreciated).

One of South Broadway’s best-kept secrets is the weekly Wednesday karaoke night, known as “Alley Cat Karaoke,” held at the Skylark Lounge. Hosted by Allison Young, the event takes place downstairs from 9 p.m. to 1 a.m. and features a wide range of performances, from oldies and indie sleaze to current hits. You might even catch a screamo rendition of a favorite pop song, as all styles are welcome. There is no wrong way to karaoke here, and when a song resonates with the crowd, the entire bar often joins in. See you there!

The Fillmore Auditorium is a favorite venue for touring artists ranging from rock to hip-hop to indie and more. And while the sound system, stage and layout are all great, those sparkling chandeliers hanging from the ceiling are a highlight of the concert-going experience there (especially if you have indulged in some psychedelic fun). When there’s a really good light show happening, the beams bounce from the stage across the crystals on the chandeliers, creating a mesmerizing effect. The venue, which has a capacity of around 3,700, has a lot going for it, but we had to give its eye candy a nod.

You haven’t experienced South Broadway (or the Denver music scene, for that matter) without seeing a show at the hi-dive. This neighborhood spot is a staple for local performers getting started in the scene, and a friendly gathering place whether you’re looking to catch a show or just hang out. Its neon “The Club is Open” sign welcomes passersby inside and signals community for Denver musicians and fans alike. The drinks are cheap, the stage is dark, and the crowd is packed in. True to its alt aesthetic, the hi-dive sold “Keep ICE in the Well” shirts in January, donating proceeds to the Colorado Rapid Response Network. From community activism to great music, it’s everything you want from a local dive.

Located right on bustling Larimer Street, Two Moons is a much-needed breath of fresh air from typical music venues. Rather than fighting to see over a tall person standing in front of you and squeezing in and out of crowds to get to the bar, Two Moons offers a spacious, comfortable environment to enjoy the show. With plenty of cozy seating, tables, and even small snacks, this is our favorite place to see a show when we want to be able to really kick back. Two Moons also books a wide variety of shows, and also hosts fun events like live-band karaoke. 

Levitt Pavilion has been hosting a slew of free concerts each summer since the independent nonprofit venue opened in 2017. Situated in Ruby Hill Park, the 6,500-capacity outdoor venue is spacious and perfect for bringing your own chairs and picnic blankets to soak up live music. Each year, Levitt Pavilion presents more than forty free concerts and community events as well as ticketed shows, and this year’s lineup is looking extra sweet, with free shows including such old favorites as Flobots and Shakedown Street, as well as an all-local lineup on May 23 with iZCALLi, Monica The Great, Fruta Brutal and El Jag.

Any local band knows slapping its sticker anywhere and everywhere around town is a great way to get its name out there. Whether it be bathroom stalls, pipes, the glass barrier at Illegal Pete’s or a sound booth, band stickers decorate tons of spaces in Denver. The green room at Lost Lake Lounge is small, sure, but that makes it all the more perfect a place to slap your sticker the first time you play there. Put it on the literally green wall, the tiny fridge, or, if you run out of space there, the bathroom mirror. This small but mighty venue has seen every band in the scene, and its green room is a reflection of years of local music. 

We all know and love indie musician Ben Pisano, known as Corsicana, who’s been releasing dreamy folk and indie tunes for years, filling venues with loyal listeners. It’s clear from his own music that his production skills are next level, but he’s also the best when it comes to producing songs for others. Step into the studio with Ben and show him a basic voice memo of your idea, and you’ll leave with an elevated, polished song true to your sound. You won’t have to worry about the song coming out completely different than you imagined. Every melody, beat and instrument is meant to make the song truly yours.

Bluebook is one of our favorite Colorado bands, known for its ethereal, rich sound that recalls such seminal bands as Radiohead. Fronted by Julie Davis, whose vocals are absolutely captivating, evocative and stunning, the band has been a staple in the community, with shows that feel more like a coven ritual than an ordinary concert. The band’s latest EP, Holy Rider, soars with songs that give the impression they were born in a Gothic cathedral or from the depths of a forest under a full moon. Put on your headphones, close your eyes, and you’ll be completely immersed in an almost spiritual experience. Or better yet, catch the group live.

WWJD? Probably listen to Jesus Christ Taxi Driver. This rock band’s energy is unparalleled and inexhaustible, with some of the best live shows you’ll see in town or at festivals like Psychs Peak. Frontman Ian Ehrhart frenetically bounds around the stage and throughout the audience with energy that recalls such energetic frontmen as Mick Jagger or Lux Interior of legendary cowpunkers the Cramps, while the band absolutely shreds. The band just released its new album, Taxi the Rich, with physical copies on March 19 via Midtopia’s Buy Before You Stream initiative; it will be available to stream on April 24. But trust us: This album is well worth buying in advance.

May Be Fern is one of the hardest-working bands in Denver, performing hundreds of shows each year, on tour and at local spots from Bar 404 to Globe Hall to the Bluebird Theater. And its effort shines through with the concise polish of Three of Swords, the band’s latest album that dropped in September. Inspired by Tarot, Three of Swords is a piece of unmatched sonic sorcery, with biting lyricism and addictive rhythms that make it a must-listen from front to back. Each bandmate brings their all, from Madi Spillman’s tantalizing guitar solos to Kate Fern’s breathtaking vocals and basslines, and Hannah May’s spellbinding cascade of keys as well as vocals, with Ian Spillman holding it down on drums. Be sure to check out May Be Fern’s upcoming EP of ’80s covers, which drops with a show at Globe Hall on April 3. 

The nine-piece Denver band DOGTAGS had quite the year in 2025, especially with the release of its debut album, ROSEWORLD, last summer. After performances at festivals like Underground Music Showcase, the group celebrated the release at the Bluebird Theater in December with an all-local lineup that underscored its commitment to community and uplifting others. The album itself is uplifting, too, filled with queer anthems and authenticity shining through in layered, textured sonics that enmeshed Bossa Nova, Latin rhythms, rock, jazz, soul and more into a sound completely unique to the band. DOGTAGS has found its sound, and the city is all the better for it.

Summer Bedhead went all out on The Body Needs a Break, which we haven’t taken a break from since it was released last August. Each instrument shines through across the thirteen tracks that are all polished to perfection, with vocals that recall Hayley Williams of Paramore. It sounds just as good live, as well, as the band demonstrated at its release show in Denver. From tracks that dip into melancholy, like “Living in the Walls” or “Stranger,” or those that can be described as perfectly anthemic, like opener “Not Behind My Eyes,” The Body Needs a Break is an album you’ll find yourself listening to over and over again.

There’s something to be said for a man who shows up in a three-piece suit for literally every performance, even if it means sweating through the dapper duds during summer shows. Old Man Saxon is a dedicated showman, an endearing entertainer, and an instant pick-me-up in human form. His natural stage presence extends beyond music, too, landing him speaking engagements like his Ignite Denver talk on imagination in hip-hop. A festival favorite, Old Man Saxon made his mark on the main stages of Underground Music Showcase, Roots Music Fest, and FoCo MX last year, and has already been confirmed for FoCo MX 2026. He’ll be performing on the festival’s biggest stage, the Aggie Theatre, at 9 p.m. on Friday, April 24. If there’s one act you don’t want to miss, it’s this spry Old Man.

In a recent interview, Denver rapper TheyCallHimAP responded to criticism that Colorado doesn’t “have a sound” by saying, “I’m the sound.” As one of the most recognizable names in Colorado hip-hop for the last decade and counting, he’s not wrong. In the last year, AP has been a go-to representative for Box State hip-hop at Colorado’s biggest festivals and when national acts come to town. He’s shared stages with rap giants like Three 6 Mafia and Yelawolf, and will perform at Red Rocks not once, but twice this spring, on April 20 and May 19. In February, he was named the 2025 Rapper of the Year at the Denver Spotlight Awards, which is based on a public vote. With over 90,000 monthly Spotify listeners from L.A. to Brazil, he’s introducing Denver rap to a national and even international audience.

This is the year of the horse, but to us it’s also the year of Monica The Great. The first-generation Mexican-American artist has a lot to look forward to, thanks to all the work she’s been clocking in through the years, especially going viral on TikTok and other platforms throughout 2025 with such songs as “Delusional.” Named one of the People to Watch in the music scene this year, Monica signed with UniversalMasters and plans to release more tunes this year that showcase her penchant for melding Latin beats and hip-hop. Even if you don’t speak Spanish, tracks like “Mala Vida” are absolutely addictive and made to get you moving.

Last year, rapper Nelo and producer Siah Rain’n won our Best Hip-Hop Album award for their 2024 collaborative album, Born Yesterday. In late December, they followed it up with a second joint project, Today Years Old, cementing them as our favorite rapper-producer pairing in the city. Rain’n blends pop and R&B influences into his beats, like the bouncy pop melody on “Cotton Candy” or the dreamy synths on “MXC,” creating the perfect backdrop for Nelo’s bars. While their first venture had features from a handful of other collaborators, the dynamic duo shines on their own on the sequel (minus one contribution from soul singer Alana K. on “Solar Return.”). The artists also teamed up for a youth concert series with The Colorado Symphony, and you’ll rarely (if ever) see a live set from Nelo without Rain’n supporting him from behind the decks. Keep your fingers crossed for Act Three!

Product of the World by JD the M.C. (which stands for “medicine child”) is a testament to the phrase “Good things take time.” The Denver-based hip-hop artist spent six years perfecting his debut album, and his patience paid off in spades. Across seven strong tracks, boom bap drums join up with syncopated piano rhythms, tense strings, fingerstyle guitar, and even an accordion riff, uniting influences from different genres and cultures. JD is a conscious rapper with an unequivocal message of solidarity for disenfranchised people worldwide. Inspired by thought-provoking lyricists like J.Cole, Saba and Kendrick Lamar, he spits unflinching, politically charged bars that take aim at capitalism, colonialism, police brutality and related societal evils. But it’s his defiantly cheerful energy that gives Product of the World its staying power.

From the funky keyboard riff on the opening track “At Least I Know” to the world-weary final bars on “Seen it All,” Good Problems delivers exactly what hip-hop fans expect from Grammy-nominated rapper Trev Rich. This thirteen-song joint project with Orlando-based producer Sharke is a reminder why Rich is one of the most successful hip-hop artists in Colorado. Released last December, Good Problems features Houston rapper Sauce Walka, Denver trap artist SG Comma, and Colorado’s own R&B songstress Kayla Rae. Standouts from the album include the R&B-leaning hustler’s love song, “G.I.T. (Get it Together)” and “Colfax Dreams,” a trappy ode to nights spent on one of Denver’s most recognizable streets. 

If you need something to help set the vibe before you hit the town, Telly’s The Many Faces has you covered. Telly is a versatile Latin hip-hop artist who dips her toes into all different genres, while consistently delivering catchy, high-energy tracks. The Many Faces has a little something for everyone at the pregame, from rap bars and pop vocals to an appearance from singer-songwriter Grayson Ratliff and a “country trap” song called “Down South Shawty” (think Lil Nas X’s “Old Town Road”). There’s even a few bilingual verses for anyone who needs to brush up on their Spanish. As a matter of fact, if you’re looking to get heads nodding and hips moving, go ahead and put Telly’s whole catalog on shuffle.

After she released The Fourth Wall, Denver dark-pop artist Riah shared that it “isn’t just an album to me — it’s me confronting my own truths and inviting people to see the raw, unfiltered parts of my story. I didn’t make this as background music. I made it as art that demands to be seen, heard and felt.” And the sophomore album, which follows up 2024’s Trauma Bond, continues Riah’s heartfelt ethos of pure authenticity. The competitive pole artist even provided visuals for the tracks “Talk to Someone,” “Misandrist Interlude” and “Sacrilege” in the visual album Reclamation, as well. Riah is definitely an artist to watch this year and beyond.

Pleasure Prince is an eclectic synth pop and electronic duo you will likely have playing on repeat. Fronted by Lilly Scott and Will Duncan, the pair is known for moody yet fluid synth textures paired with hard-hitting drums that draw listeners in. On their most recent album release, General Pallor, Scott and Duncan deliver an intimate take on ’80s-inspired synth pop that feels both nostalgic and fresh. Scott and Duncan’s voices blend seamlessly, creating a sound that is both soothing and sensual, particularly on tracks like “At The End” and “Sherry With a Cherry.” With a sound this distinct, Pleasure Prince is carving out a space of its own, and is not to be missed.

Native Coloradan and folk singer-songwriter Joel Van Horne is a lyrical genius, and his latest album, The Color of the Dark, is an unmistakable masterpiece. Performing and releasing music under the moniker Covenhoven, which was inspired by the name of his family’s Wyoming cabin, Van Horne imbues The Color of the Dark with the feelings of warmth and peace he derives from nature. Covenhoven tunes are a soothing respite from the chaotic day-to-day realities that cloud our minds, and that spirit is carried throughout the album’s ten pristine tracks.

Country gets a refresh with self-described “race car country” band Caspar Milquetoast, which released its debut EP, From the Cheap Seats, last June. Lyrics are at the forefront of this five-track work, pulling listeners into talented and evocative storytelling that kicks off with two dreamy and intriguing songs named for seminal artists: “Karen Dalton Says” and “Cy Twombly.” The writing recalls such greats as Daniel Johnston or Jeff Mangum, and the sonics form to punctuate the sometimes-mournful, enlightening ethos. Be sure to check out the band at its debut festival, Blucifer’s First Rodeo, the weekend of July 23.

If you find yourself in need of a soundtrack while sitting with friends by a campfire up in the mountains with a bottle of whiskey, look no further than Happy Hour, the latest EP from Chella & the Charm. The longtime Denver band is known for its distinct sound that blends country and Western traditions with more modern indie tones, as well as relatable lyricism imbued with heartbreak, hope, life and love. From the first track, “Same As It Ever Was (Truly)” — a perfect tune to indulge in post-breakup — to other standouts like “Two 22 Twenty, Too,” Happy Hour provides a seamless listening experience, with lead vocalist/guitarist Chella Negro’s mellifluous voice wrapping you around her finger.

Cameron Cade didn’t just dip her feet into the world of pop music — she dove in with a twelve-track debut album, If You Make It Home for Dinner. The project is complete with full production and introspective writing that takes listeners on a journey through her innermost thoughts and confrontations with herself. On the album, Cade grapples with the expectations society has for women in heterosexual relationships and deconstructs the stereotype of the typical housewife. She also tells stories of deeply personal experiences in both loss and love. From her polished piano playing to her soft yet powerful vocals, Cameron Cade has raised the bar for solo pop musicians in Denver with this album.

The Galentines specialize in making music for women who are fed up. Hailing from Boulder, the all-female band blends punk attitude and classic rock influences into catchy tunes that lament the frustrations of being a girl in a patriarchal world. On “Eden,” they debate the purpose and perils of female obedience, starting from the very beginning of time with the fall of Eden. The Galentines had been teasing this song during their many live performances all of last year, and finally dropped it in December to celebrate the one-year anniversary of their masterful debut album, 1140. With five multi-talented members, the dynamic vocal harmonies the Galentines are able to achieve take the chorus of “Eden” to another dimension, emphasizing their cutting lyrics. Says the band: “When we wrote ‘Eden,’ we were inspired to shape our experience as women in the music industry into one of feminine resilience.” Mission accomplished, ladies!

R&B singer-songwriter HOME was initially hesitant to release “Masterpiece,” because she thought it came off too conceited, but the track’s producer and collaborator don. convinced her that the world could use more expressions of self-love. The pair dropped “Masterpiece” in November as the second single ahead of their joint EP, Letters From Home. “You ain’t ever had no one quite like me / That’s what they call a masterpiece,” she says on the chorus, inviting listeners to claim their own confidence. HOME’s stunning vocals, expertly layered over don.’s gentle guitar melody, speak self-assurance into existence. 

When Diva Cup takes the stage, you know you’re in for a captivating show. Thumping basslines and drums uplift Polly Torrian’s vocals, which twist and wind around you with the howling punk spirit of ’80s and ’90s riot grrrl groups. Also featuring Maxx Goodman on guitar, Maggie Kempen on drums and Addy Harrison on bass, Diva Cup enters a venue with true punk-rock attitude and a no-holds-barred ethos. Decades after the riot grrrl movement began, we’re grateful to see groups like this carrying the torch. Bands like Sleater-Kinney or Bikini Kill would be proud.

Hardcore punk is inherently political, and when a band names itself after a notorious anti-police song, then you don’t need a poli sci degree to understand exactly where it’s coming from. Up-and-coming Denver group Cop Killer — that’s a reference to the 1992 Body Count anthem, which frontman Ice-T still proudly performs — is unapologetic in its approach. Vocalist Alex Goldsmith is known to use a megaphone live to punctuate the points the four-piece makes on its self-titled debut. The crew cries, “Stop watching me!” on “Police State,” while other anti-authority songs such as “Copaganda” and “Three Letter Organizations” are equally scathing and succinct middle fingers.

The past year was flush with protests, as people took to the streets to showcase their frustration at the current presidential administration’s incompetence and frankly fascist moves. And punk purveyors Cheap Perfume did not hold back on its latest album, Don’t Care. Didn’t Ask, which dropped in October behind two no-holds-barred single releases, “Woke Mind Virus” and “Down to Riot.” Across the album, the band pulls punches at capitalism, right-wing religious zealots, Elon Musk, MAGA and Donald Trump. As vocalist/guitarist Jane No puts it: “A system that allows extreme poverty and billionaires to exist on the same planet is disgusting.” Well said.

Fort Collins band Bitchflower is quickly becoming one of our favorites, solidified by its latest album, Aghast, Aroused, Appalled, which released last July. The songs come at you like a racehorse bolting out of the gate, with an ensuing stampede of fast-and-furious sonics that oscillate between heavy and upbeat (or both at once). Pulling in heavy-metal influences, the guitar playing is tantalizing and fantastic, and somehow the band sounds even better live, as it proved at its album-release show at the Bluebird Theater in November.

Longmont siblings Lars and Maximus Messmer grew up in a punk-loving family, so naturally, the brothers started a band, Kung Fu Juice Box. Talk about keeping it in the family. The relatively young endeavor has produced a handful of singles so far, including “Insecure” most recently. But the Messmers are really making a name for themselves live, playing out as much as possible as a two-piece with a youthful take on three-chord punk. It’s refreshing and fun, and only just the beginning, as thirteen-year-old Maximus is a budding drummer, while the elder Lars, who is currently a student at University of Denver, leads the charge with his vulnerable lyricism and pop-punk guitar.

Psych fuzz-rock band Rugburn elaborated on one of Colorado’s most idiosyncratic yet horrific historic events with its latest single, “KILLDOZER,” named after the time Marv Heemeyer built a homemade tank and used it to drive into and shoot at buildings of businesses he thought had wronged him. The destructive, disastrous and tragic event (which ended with Heemeyer killing himself) has sparked creativity for musicians and comic-book artists since it happened 22 years ago, and “KILLDOZER” is the latest installation. Clocking in at almost five minutes, the single begins with some doomy riffs before winding into a breakneck speed that illuminates the story Coloradans will never forget.

Does a long drive on a rainy day make you feel like the main character in a romantic drama? Then Keenan TreVon has the perfect song for you. “Can you please act like you were in love with me?” the Aurora-based R&B singer croons on “Act Like U Loved Me,” appealing to broken hearts everywhere. He released the track in December, and it landed on Spotify’s R&B Weekly roundup that week, making him the first Colorado artist to appear on the platform’s curated playlist. If you’re going to have a meltdown in traffic, you might as well really get the tears flowing with TreVon’s dreamy vocals and bittersweet lyrics. Thanks to TreVon for the new unofficial soundtrack to our car crying sessions!

Sometimes you find yourself completely dissociating and staring out the window, overwhelmed by life in general. It’s way better to do that with a soundtrack. Enter Cities, the latest EP from Dollpile that just released in January. Gentle, soft and delicate, the tunes seem to rock you like a lullaby, calming and soothing listeners until you feel a sense of hope beaming forth from the rhythms. Dipping into indie and shoegaze, the EP is replete with an almost Gothic sound evoked by anthemic guitar and deep lyricism. 

A recent addition to the Denver music scene, Bitstream Bleed is a shoegaze and grunge project that has been steadily gaining momentum. Following the release of its latest EP, Solar Eclipse, the band delivers a blend of dreamy, heartfelt lyricism paired with heavy, driving guitar riffs. Fronted and produced by Sunny Sundstrom, the sound carries a sense of nostalgia that continues to draw listeners in. For those who have yet to attend a Bitstream Bleed show, expect high-energy performances that often spark a mosh pit, alongside a genuine effort to build connection and community with their audience both on and off the stage.

Keddjra is a Denver-based indie project that blends elements of ethereal bedroom pop, folk, and grunge into a distinctive, genre-fluid sound. Led by singer-songwriter Keddjra Gallagher, the project is known for evocative and intimate live performances, often anchored by the unexpected use of distorted ukulele, which adds texture and edge to otherwise delicate compositions. Her latest single, “Love You More,” is a gritty, heartfelt anthem that makes her music undeniably easy to connect to.

You’ve probably never seen a band like Pink Lady Monster, a six-member Denver group that likes to incorporate handmade papier-mâché character costumes into their performances. And you’ve probably never heard an album like Ponk, the group’s energetic, surreal and playful third offering, including whimsical vocals, bass, guitar and synthesizer, as well as bongos, xylophone and saxophone. With bizarre lyrics like “tyrannical terrestrial lizard on Zoom call” and saxophone flourishes reminiscent of a honking clown nose, Ponk breaks free of genre expectations and becomes a soundtrack for an alternate dimension of its own.

Blankslate, the duo of Tess Condron and Rylee Dunn, went through some changes in the past couple of years, which all led to a more punk and grungier sound on its highly anticipated sophomore album, Lookout Mountain Charley. The album sees Dunn taking on primary vocals for the first time, which lends further authenticity to the raw and vulnerable lyrics, while Condron handles drums and keys. This dynamic duo is incredible live, always surprising new fans at how such a strong and powerful sound can come from just two performers. Lookout Mountain Charley has carved out a new sonic direction for the band, and we can’t wait to see what’s next.

Denver band Sexy Coyote dropped a stellar sophomore album, or, last July, following up its 2022 debut, Dead. It’s a surprising play-through, with each song seeming to pop out at you like a Jack-in-the-box with different, unique sonics. The tag “Prog-Punk” really doesn’t even cover it. Take “Evil Everywhere,” which goes from spooky, trickling swing sounds to energetic, fast-paced breakdowns fluttering with keys in the blink of an eye. Or the first track, “(sinister sorcery),” which may or may not be the band casting a spell on you. Either way, we became inordinately obsessed with this album, and have had it on our playlists since it dropped.

Leave it to a band to tag its music in the most accurate way possible: Queen Frog calls its sound “prog-frog-psych-goth-punk-funk-doom-rock,” which certainly helps encapsulate the breadth of its sound. You can always anticipate pristine and soaring vocals, excellent guitar and punching basslines and drum riffs from this group, whose sound is uniquely its own. From songs like “Heart Stopper,” which details falling in love with a friend, to the doomy vibes of “No Such Thing as Sick,” this band makes an impression that sticks. Check out Queen Frog when it performs with fellow Best of Denver award winners May Be Fern and Sexy Coyote on April 3 at Globe Hall.

Elektric Animals has been a stalwart of indie rock in the Denver scene for years now, becoming known for its lively stage presence and addictive tunes that you’ll find yourself singing along to in no time. The band recently released a new EP, GOING THROUGH THE MOTIONS, which features four pristine tracks. Kicking off with the title track, the band reminds listeners that “It’ll be alright / We’ll take it day by day / the future’s bright.” Infused with post-punk and pop hooks, the songs stick with you, especially the one titled, well, “STUCK.”

Denver artist ego, who performs as ego n friends, released his favorite project to date in If It Never Ends, which included a stunning visual component of seamless music videos. As social media has us more plugged into worldwide disasters than ever before, it’s hard to feel as though the end isn’t near. But ego has listeners asking the question: Would you be doing anything differently, whether the world was ending or not? Lyrically refreshing and sonically upbeat, If It Never Ends reminds us of the paradoxes we encounter throughout life, and that you always have a power over your perspective.

Crossover curated from ancient Finnish mythology works so well that Ukko’s Hammer self-titled debut became a surprise pick for the best local metal album of the past year. The vision of Zach Reini, who is of Finnish descent, Ukko’s Hammer pulls from unlikely sources, including “Kalevala,” Finland’s national 19th-century epic poem that inspired Tolkien’s “The Silmarillion,” in coming up with breakneck hardcore-infused metal reminiscent of ’80s thrash and death (think Destruction and early Sepultura). “Hiisi Tanssi,” which roughly translates to “devil dance,” and “Ukonvasara,” the Finnish word for Ukko’s hammer, exemplify that, but “Skin and Bone” and “Endless Pain” are standouts here, too.

Busking usually involves a musician playing covers on the side of the road. But Insipidus delivers full-on hardcore concerts on the streets of Denver. Whether the trio is on South Broadway or at a skatepark, Insipidus always draws a crowd with its tantalizing and melodic metal. Comprising Yoav Daube (guitar), Travis Hatley (drums) and Kane Pascarelli (bass), the band has caught a lot of attention through the unique format, even being invited out to play a tech conference headlined by Metallica last year. And Insipidus sounds just as good in its records, particularly its latest, Nearest Dusk, which is available to stream now.

Primitive Man is no stranger to harshness, as the abrasive Denver doom trio has been at it for over a decade at this point, but the band’s latest album, Observance, is the most crushing entry to date. With just seven songs, and over an hour of runtime, the album displays the unique sonic terror that Primitive Man has so effectively, and terrifyingly, perfected. Guitarist-vocalist Ethan Lee McCarthy, drummer Joe Linden and bassist Jon Campos know how to convey existential dread through doom, sludge and harsh noise. McCarthy’s wails of pure agony on tracks such as “Transactional” and “Natural Law” — both ten-minute-plus epics — are peak Primitive Man, and we’re here for it.

Enter: Vampyric Manifestation, the full-length debut of Denver blackened death-metal crew Pedestal For Leviathan, took the scene by storm and sword with its blood-sucking ferocity. Formerly the solo project of Kendrick Lemke, the Denver group grew into a more proper outfit over the past year. Now, Pedestal is dispelling dark tales of werewolf prophets, demonic metallurgists and evil incantations with such songs as “Lycanthropichrist,” “Warlock Blacksmith” and “Karmic Recollection Mirror.” Reminiscent of early 2000s symphonic black metal, Enter: Vampyric Manifestation features just the right amount of organ synth and enough brutal death metal to sink your fangs into and satiate any bloodlust.

Tainted Blade is one of the newest metal bands in Denver, making its live debut in January before putting out its debut album, Wrath Made Flesh, in March, but the barbaric trio is no stranger to the underground. Members Rory Rummings (vocals and guitar), Riley Rukavina (drums) and Matt Ross (bass) previously played together in Tricoma, and only formed Tainted Blade after that group decided to take a breather recently. A 2024 debut EP, Psychic Illness, followed. The new incarnation leans more into dirty death metal and sludge, as evidenced on the title track and “TIE YOUR NOOSE,” so keep an eye on Tainted Blade.

We pride ourselves on always finding the best and brutalist music for our readers. Case in point: Fort Collins grindcore band Human Suit, which, in our humble opinion, put out the best goregrind album in the last year. While the self-titled album is technically a twelve-minute demo, it is refreshing in its approach and execution, especially since the carnage-obsessed subgenre isn’t always well-represented in local circles. Human Suit — what a sick name, don’t ya think? — is the perfect example of good ole goregrind. It’s crusty and raw and gut-wrenching. “Blushed With Rot,” “Amorphous Monolith” and “The Anthill” are sure to make you squirm with delight … if you’re into that sort of thing.