Best New Bar 2009 | Tooey's Off Colfax | Best of Denver® | Best Restaurants, Bars, Clubs, Music and Stores in Denver | Westword
As a local rep for PBR, Alissa Anderson visited a quite a few bars in this town. The next logical step was to own a bar of her own. So last October, she and her husband bought the former Club Boca, which had been vacant for close to a year, did a quick renovation that involved moving the bar to the front near the window, and opened in a flash. Just as quickly, the bar was attracting regulars, especially service-industry folks, and Anderson started bringing in bands, DJs, art shows and a whole lot more. While the place still doesn't have a sign up, it's pretty easy to find: Just look for the neon beer lights and lots of people in the window.
After Brendan's closed up shop on Market Street and then unsuccessfully gave it a go at the spot where the Marquis Theater is now, a large hole was left in downtown's blues scene. Thankfully, Blues on Blake, which combined the former Laughing Dog Deli and Dugout spaces, stepped up to bring blues back into downtown. Modeled after the '40s and '50s supper clubs of New York and Chicago, with candles on the tables and steaks, fish and wine on the menu, the dark, cozy Blues provides the perfect backdrop for the fine local blues acts it showcases three nights a week. Just down the street from Coors Field, Blues on Blake has scored a home run.
Eric Gruneisen
Francois Safieddine has been in the LoDo club business for fifteen years. During that time, he's launched such hot spots as Lotus, Monarck, 5 Degrees, Mynt and, a year ago, his super-posh 24K club. But Suite Two Hundred might just be the feather in Safieddine's cap. Since it opened last August, the ultra-slick upscale club, located in the former Lucky Star space, has brought in nationally known celebrities such as Aubrey O'Day, Lady Gaga, Rock of Love's Daisy de la Hoya and Playboy Playmates to host parties that, in turn, attract many a local sports celebrity. While the club is usually packed on the weekends, its Room Service industry nights have also become the place to be on Tuesdays in LoDo.
With a mix of moxie and money, Plus Galley owners Ivar and Karen Zeile undertook the reconstruction of the Flue structure on the back side of the old Benjamin Moore paint factory on Larimer Street. For the redesign of the existing building and the creation of an addition, the Zeiles tuned to Denver architect Steve Chucovich, a cutting-edge neo-modernist. Chucovich orchestrated a second-story rectilinear volume that seems to float above the old brick structure. The results are intelligent and beautiful.
Even though the Food Chain doesn't have a MySpace page, website or even a logo, it's made a big enough impression through a collection of leaked tracks for us to take notice. The Chain consists of producers Mass Prod, MoHeat and Mic Coats, with contributions from Frank E. and rappers Champ (aka Oren Lomena from Raw Sports/Fox Sports Rocky Mountain and 104.3 FM/The Fan), Jae One (Urban Nerd/, Midas (Gang Green INT), C-One and F.L. Given all that talent in one place, we wouldn't be surprised to see this crew end up at the top of Colorado's hip-hop food chain (pun definitely intended).
The premiere of the Mile High Music Festival last summer yielded a unique opportunity for local music fans, offering them the chance to take in sets by homegrown musical heroes like Rose Hill Drive, the Photo Atlas, Born in the Flood and the Flobots in the afternoon, then spend the evening lolling on the grass to the strains of Tom Petty and the Heartbreakers or the Dave Matthews Band. It was an ideal fusion, a marriage of the local and the national, the commercial and the indie in an expansive, open-air setting. It was a festival where rock legends like Steve Winwood followed hometown artists like Meese, a gathering where giants from the history of pop music rubbed elbows with artists who've helped forge the local scene.
Like "Mustang" at DIA, John McEnroe's "National Velvet" has elicited a lot of public comment. But here the jokes have been accompanied by sniggers and smirks rather than shock and awe. Some have suggested that the piece, a contemporary take on an obelisk cast from piled-up sandbags — in the Platte River floodplain, no less — suggests either a penis or a stack of breasts. What really makes this sculpture fun, though, is the way McEnroe parodies traditional monumental sculpture by placing a glow-in-the-dark red plastic spire in the middle of an old-fashioned-looking town square.
Everything Absent or Distorted's strong debut, The Soft Civil War, should have been difficult to improve upon — a sophomore slump would have been acceptable, even expected, from Denver's resident bombastic pop big band. But somehow the group pulled out all the stops and delivered a second album that not only fulfilled the promise of its stellar debut, but flat-out obliterated it. Sanding off some of the first album's charming rough edges and streamlining the eclectic songwriting and sound, The Great Collapse is an accomplished, symphonic masterpiece that delivers its heartbreaking barbs and beams of hope in the form of a dozen perfect pop songs destined to become classics.
Since relocating from Denver to its new home in Aurora last April, Shadow Theatre Company has become a forum for much more than just drama. Artistic director Jeffrey Nickelson and the Shadow crew have incorporated a wide range of performing arts into the theater's programming, including the new "Soul Den" concert series mounted by DaJazz Records CEO Michael Hancock in January. Billed as a fusion of neo-soul, jazz, gospel and R&B, the event offers a meeting of local musical minds in an intimate, theatrical setting. The first round of shows in January boasted compelling and participatory performances from aspiring stars and established veterans of the soul genre, a dynamic that Hancock has promised will figure into future series in April and May.
Inside the spacious lobby, dozens of people chatted, smiled and sipped wine as they waited for the opening of Dinah Was — Shadow Theatre's first production in its brand-new home. Along one wall was a series of sculptures by Ed Dwight, and wandering through the crowd was artistic director Jeffrey Nickelson, beaming. For years, the company had performed at the Ralph Waldo Emerson Center, where audience members sat on folding chairs in a large, bare room and the actors had to prepare on the fire escape, since there were no dressing rooms. But then Shadow caught the attention of a developer who'd been working with the City of Aurora to develop a lively arts district on East Colfax. In 2008, Nickelson moved his company into this beautifully renovated building, complete with a comfortable 191-seat theater, and set the stage for years to come.

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