It wasn't that long ago that the idea of an all-local bill filling a venue as large as the Gothic seemed outrageous. Nowadays, it happens pretty frequently. Still, few shows over the years have reached the excitement level that surrounded this four-band superbill. Each of the acts slated to perform that night -- Meese, Nathan & Stephen, the Photo Atlas and Born in the Flood -- are bona fide headliners in their own right, which accounted for much anticipation in the days leading up to the show. That chilly February evening, the Gothic was brimming with local luminaries -- and though the performances weren't completely flawless, they were inspiring. Billed as a dual CD-release party, the show felt more like a coming-out party for Morning After Records, the imprint responsible for three of the four outfits, and Denver's indie-rock scene.
Coming off a well-received outing at Coachella, Tool opted to play a series of rare, intimate theater shows, one of which happened to be at the Buell. Almost as soon as the show was announced, 2,000 rabid Tool fans eagerly parted with $66.66 for a chance to get up-close and personal with their idols. The band didn't disappoint as it tore through material from 10,000 Days, the record it had released the week before, as well as select songs from its catalogue. Although Maynard James Keenan and company were mostly lifeless in terms of overall stage presence, you'd be hard-pressed to find a single audience member who doesn't recall it as one of the most memorable concert experiences of his life.
Beat Happening, K Records, Dub Narcotic Soundsystem and so much more: Calvin Johnson is a living legend in the world of indie music. Over the years, he's never seemed to lose sight of what makes the music and art special, including the intimacy of performing. So when it was announced that he'd be at Chielle instead of one of the bigger venues in town, it seemed like the most natural thing in the world. Although it was forbiddingly cold that night, the store was packed with people whose lives Johnson's music has touched, along with a smattering of curiosity-seekers. He played only music from his solo records, and the endearingly imperfect performance was warm, fragile and amusing.
When drummer James Barone told his friends about this seemingly once-in-a-lifetime opportunity to play a show at a planetarium, the very idea fired up their collective imaginations. Luckily, his band, Mothership, was fully capable of meeting the expectations. The act had already written an epic song cycle in the vein of Hawkwind's classic Hall of the Mountain Grill, which seemed perfectly suited for presentation in such a venue. The story revolves around a space-faring young man who experiences the joys and horrors of interstellar travel and going where no human has gone before. Despite the high concept and sci-fi-movie premise, the tunes were visionary exercises in songcraft and the cinematic use of sound. And seeing the visuals projected onto Fiske Planetarium's curved screen was one of those experiences that burns itself into your memory forever.
When Sarah Lucey, Supply Boy's blazingly great guitar player, discovered she had songs that didn't really fit into that band's context, she decided to flesh them out on her own. One night last summer, she headed over to tHERe coffee shop armed with a handful of tunes, her
beautiful, unconventional voice and an acoustic guitar. The room that night was hot and the air was muggy, but it served as a perfectly intimate setting for Lucey to present her uncomfortably frank and honest songs. Miles from being a self-indulgent solo acoustic project, Lucey was simply revealing another layer of her already considerable talent.
Over the years, Jim Yelenick has fronted various outfits -- Jet Black Joy, Zillion Dollar Sadists, a Turbonegro cover band and, most recently, a band called Invasion. As a frenzied frontman, the guy's never been afraid to expose himself, if you know what we mean. And that punk energy spills over into his Friday-afternoon acoustic sets at the Larimer Lounge. A longtime Clash fan (he's even gotten drunk with Joe Strummer at the Lion's Lair), it's only fitting that that band's songs make up a majority of his happy-hour repertoire. When Yelenick's not rocking the casbah, though, he's performing his set staple -- an acoustic mash-up of the Dead Kennedys' "Holiday in Cambodia" with Madonna's "Holiday." By the end of happy hour, you can count on a few things: that Yelenick will be as snockered as everyone else, and that he'll be making up lyrics, leading a sing-along of Irish drinking songs and playing tunes by the likes of Steve Miller, the Boomtown Rats and Britney Spears.
Hearing a show at the Walnut Room is an audiophile's wet dream. There's no doubt that the room was "built for music," as the club's slogan claims. With over two decades of audio engineering experience under his belt, Ron Gordon clearly knew a thing or two about sound dynamics and acoustics when he helped design the club's sound system two years ago. But having a killer system is one thing; knowing how to make the thing sing is another. Needless to say, when Gordon's manning the faders, you can count on the mix being immaculate no matter who's playing. The guy knows how to make a drum kit kick you in the gut, a Stratocaster swim around your ears and keyboards soar -- all without pushing the volume to deafening levels.
Frontman/guitarist Luke Fairchild is a gnarly motherfucker when you put him in front of a mike. The seasoned musician, who has charmed crowds before in such stellar acts as White Dynamite and Sparkles, is now allied with equally formidable musicians drummer Devin Rogers (of Munimula) and bassist Joe Ramirez (another ex-Whitey). The trio commands the stage with a vehemence that induces riotous fist-raising and metal finger salutations. Like Bad Brains filtered through an Eyehategod guitar pedal, Kingdom is the perfect blend of super-heavy rock and energetic punk. Barely a year old, the Denver-based outfit has cultivated an ardent following of metalheads, hardcore kids, scenesters and rock snobs alike. Enter the Kingdom.
Pee Pee. It's hard to say out loud without giggling even a little bit. It's like a recession back to grade-school vernacular, and it's absolutely the silliest combination of two monosyllabic words since "wee wee." But who needs a clever, well-thought-out band name anyway? This Denver-based assembly of friends makes beautiful music that doesn't need to be weighed down by pretentious metaphorical bullshit. Pee Pee is an aural amalgamation of everything from horns and acoustic guitars to theremins and saws (yes, saws). Alongside sweet lullabied compositions, the ragtag orchestra often improvs on stage, resulting in down-home folk-rock jamborees that make show-goers gladly squeal for more Pee Pee.
At first glance, declaring Nathan & Stephen Denver's best new band looks like a misprint. But while Nathan McGarvey and Stephen Till initially began performing together as an acoustic duo, their project has blossomed into a bulging-at-the-seams nonet thanks to the addition of another seven players, including three (Jonathan, Matthew and Leanor) who share Stephen's last name. Moreover, another Till -- Anna -- contributes vocals to The Everyone E.P., which packs more hooky melodies into fifteen brief minutes than can be found in the average double album. Although tracks such as the aptly titled pop-gospel workout "Brothers & Sisters" and "Happier," replete with a chorus guaranteed to induce smiles, feature plenty of instrumentation (keyboards, brass and more), they are, at their base, rousing sing-alongs that brim with good feelings and camaraderie. No doubt these songs would charm in a stripped-down setting, too. Still, there's something to be said for a family affair.

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