I descend the Marquis Theater’s narrow stairway into a chilly and sparsely decorated basement room where I find the man responsible for “preaching the gospel of some new kind of depraved music.” Lincoln Durham, the one man Southern-Gothic, Psycho-Blues, Revival-Punk virtuoso is decked out in all black, his hair is neatly combed back, and he’s casually talking with The Ghost Wolves lead singer and guitarist, Carley Wolf. A couple of half-eaten pizzas sit on the table in front of them on this normal Thursday night in Denver; a night when normal will turn into a spectacle of musical precision that only Durham can bring with his “bastardized mid-century guitars, hand-me-down fiddles and banjos, home-made contraptions with just enough tension on a string to be considered an instrument, and any random percussive item he can get his hands or feet on.“
Tonight Durham is closing out the first leg of his tour in support of the new album, “And Into Heaven Came the Night,” a dark, gritty, and blues charged project of which he produced by himself after losing long-time producer and friend, George Reiff.
Wolf quietly exits the room as I take a seat at the end of one of the room’s black couches and turn on my iPhone’s recorder. What was supposed to be a ten minute interview turns into thirty, just enough time to get a sense as to who this man is and what makes him so damn good.
Give me a short history of Lincoln Durham. When did you start playing?
I started playing when I was four years old. I started playing the fiddle. My dad and my grandpa started me on the fiddle at that age but it wasn’t really a fiddle, more like a toy. I played it for a long time, and well, still technically do I guess, but solely until I was about fifteen or so. And then about that time I was in high school and bands like Nirvana started coming out and that really spoke to me because the fiddle was put in my hands and I always had a little bit of weird relationship with it because I didn’t choose it. So that’s when I got into guitar and wanting to sing. You know, playing cover songs and stuff, but I don’t think I found my voice or knew what I was going to do until I was in my mid-20s.
You mentioned Nirvana as an early influence. Who were some of the other influences on you at that time?
Yea, when I first started grunge was a big thing and I was really into that stuff. My dad and grandparents were old-school country so you know, Willie, Waylon, and Johnny Cash were big influences early on. Later on I started to appreciate some of the old blues guys from those early days, people like Fred McDowell, Lightning Hopkins, and Robert Johnson. That’s when I started to get more of a grittier vibe to what I was doing. I also kinda half grew up in Texas and the other half in New Jersey so I had this punk background, too, so there was always this underlying punk influence that gave more aggression to what I did. So yea, inadvertently that southerny, punk-ish, old blues vibe just kind of converged into what I do now.
That’s a lot of vibe to put into a one man show. Was that always the plan?
Back when I started doing this thing and actually trying to make a career out of it, I couldn’t afford a band. At the time I would play a more docile, still gritty, but a more low key acoustic set and I’d tap my foot on this porch board and it would make a kick drum sound. And then as I started to get more comfortable with what I was doing, I really wanted to go back to what inspired me as a teenager, get a harder, thicker, and bigger sound, but at the same time not being able to afford a band, I had to figure out how I could get the most amount of noise and still sound like a band. So it was basically out of necessity and just became a quest to be as big and beefy as possible with a big presence. And as I was doing that, it just became what people started noticing me for.
It couldn’t have been easy starting out as a one man show. How did you feel about it?
It was scary as hell and honestly, it’s still rough because you don’t have a band to kind of back you up emotionally. You’re out there all by yourself and so you have to be the entire show. I stand up in front of the kit so it does limit me a bit with what I can do. I can’t jump around and rage like I’d love to, so you just have to come up with ideas and ways to get the audience into it because you really want that. Early on it was extraordinarily difficult and I didn’t know if I would be able to do it. Even now, it’s still scary and you hope it doesn’t fall flat.
Do you ever think about bringing in a drummer?
Oh, I occasionally get that way. I generally ask my team and ask Alissa who is my tour manager and wife. The thing with her is that I haven’t really met someone with the taste that she has. She just seems to have a good thumb on the pulse of what’s good and what’s bad. She knows when I’m getting tacky or if I’m gonna have a Spinal Tap moment. And then a lot of times I ask fans and they’ll say “do what you do.” What usually deters me the most, though, is a lot of the way I have my style is because I’m writing to my limitations of the one man band. I fear that if I had the ability of a band that it might start sounding a little different and less like me.
If you could describe your music in one word, how would you do that whether it’s the live show or on a record?
Visceral. It’s raw and it’s from deep in the belly. It’s gritty and unapologetic, me bearing the problems that I have in my head. And it’s aggressive for the most part. You’re not in a mosh pit or anything but I mean it’s pissy and aggressive music.
How hard do you feel it is to stand out in such a saturated industry nowadays?
That’s the thing where doing it how I do benefits me. It keeps me in this realm of slightly different even if I don’t want it to be. I can’t help but write this way because it’s the only way I can because this is all I have to work with. For better or worse, and technically I think it might be a detriment but I view it as a positive as an artist, is that people have a hard time figuring out what I am as far as genre. They can’t ever figure out what to call it. But maybe that’s a good thing so I don’t know. I just write how I write.
Tell me a little bit about the new album, “And Into Heaven Came the Night.” How do you feel it’s different from your previous work?
Well, this one I produced myself. My previous producer, George Reiff, he passed away last year very suddenly and shockingly really, and he was going to do this one, too. It left me wondering how I was going to do this, who was going to produce it, and I was hesitant to start a new relationship with this album. So, I decided to try and do it myself and this one is different because it’s a hundred percent me. It’s what was in my head. That can be for better or for worse, though, because there aren’t a lot of people checking what you’re doing like in a normal setting. I didn’t have that and it made me nervous. Just because it’s in my head doesn’t make it good. But from people talking to me, I think it’s going over really well because it’s the old me and new me together.
Is there any one song that stands out among the others for you?
Heaven. That was the first one I wrote. It was kinda the anchor point for this album. And then I would say Feather was a big one for me as well. It made me remember what I was doing but then in this harder environment that I’m in now.
Did you hear George in the back of your head at times when producing this project?
Yea that’s what I did. Ultimately when I went into the studio, I tried to channel his critiques because I think whether you’re a painter or a musician or whatever, when you present your art to someone, I think deep down you already know what’s wrong with it. There are some songs that you say I don’t give a shit what you say, this is fuckin’ great. But there are some when you ask what they think about it, you already know something’s wrong.
What’s next for you?
Well, we’ve got a lot of touring to do this year. I’ve got this national tour that I’m on, some shows with Reverend Horton Heat coming up, and then on into the future, I’m going to keep producing because I’m really enjoying that. I’m going to start flooding the market with a lot more music. I think I found myself for the time being with this new one so I’m going to make its sister and brother albums.
Dorothy Martin waves to the crowd yet says nothing as the band nonchalantly walks onto the stage lit in a low blood-red light. She turns her back to the cheering crowd, stands in front of the drum kit, lights a small batch of sage, and slowly progresses through a spiritual smudging, something I’ve never seen on stage but very fitting as the band plays a sweet and melodic tune reminiscent of something you might hear on an old Doors record. The crowd quiets only briefly as she moves to the mic, peers through the enveloping smoke out into the now ever- building roar of the Bluebird Theater and for a moment soaks in the energy before finally announcing “Welcome to the Freedom Tour!” What happens over the next hour and a half is nothing short of pure rhythm and blues, rock and roll music thunder the way it should be played thanks to the Los Angeles based alt-rock group, Dorothy
When it comes to Martin, think Janis Joplin power and blues, Stevie Nicks stage mysticism and crowd-seducing control and a Linda Perry hard rock fuck you attitude backed by a hard-charging and relentless band to back her. That’s Dorothy. From the opener “White Butterfly” off the soon to be released 28 Days in the Valley, through gritty and heavy stomping “Raise Hell,” “After Midnight,” and the bluesy, emotional rollercoaster of relationship choices, “Pretty When You’re High Boy,” Martin, drummer Jason Ganberg, bassist Eliot Lorango, and guitarists Nick Maybury and Leroy Wulfmeier, bring the crowd to an early frenzy proving that they are indeed the “perfect mix of blues thunder and alt-rock guitar crunch” that Rolling Stone Magazine labeled them as.
Plenty of amazing rock bands have received the same praise that Dorothy has garnered only to fall off the face of the music scene; victims of an ever-changing, fickle industry that swallows talent up and casts them into oblivion on a way too-often basis. And sure you could place Dorothy into a neat little box of just another group fronted by a good looking female rocker, but if Friday night’s show proved anything, it’s that this band can not only hold their own, but that they can carry the rock and roll torch for years to come. The proof lives in moments like Martin showing off her mesmerizing and ever-present confidence singing “This ain’t for the faint of heart” on the hard stomping “Wicked Ones,” delivering a powerful Joplin-esque performance on the blistering ‘60s laden “Who Do You Love,” conquering songs like “Black Tar and Nicotine” and “Ain’t Our Time to Die” with beautiful vocal range breakdowns and belted fire before they all decide to finish off the audience with wild abandon fury on “Down to the Bottom,” “Freedom,” and a blazing rendition of “Whiskey Fever” that sends Martin straight to the stage floor and on her back with seemingly nothing more to give.
If you were there and understand the true need for not just live music, but for gritty, loud, in your face rock and roll, blues, and alternative thunder, it would be hard for me to imagine that you’d not only agree to being a witness to just that, but that were also in the presence of undeniably one of the best bands in music today.
If you are feeling the blues, maybe a good cocktail and a bit of jazz are just what you need. Fortunately, the jazz scene around Denver is pretty vibrant and as smooth as a sax solo on a Friday night.
To get your Jazz fix, here are some spots you can go to:
If you are talking about Jazz in Denver, the first place to go to is the pioneer in the scene: El Chapultepec. Every Jazz fan in Denver knows to go to the corner of the 20th and Market. They are considered the oldest Jazz club in Denver, serving up the blues every night since 1933.
1962 Market St. Denver, CO 80202
Herbs’ motto is low on pretension, high on energy, and the club certainly lives up to it. If you are looking for a Jazz club at Denver’s LoDo scene, this is the spot. Great bands paired with creative, yet inexpensive cocktails make for a very smooth night. If you are in the mood to sing or play yourself, Herbs wants you to come down and bring your voice and your Axe on their Hump Day Funk Jam. Just check out their calendars for the dates
2057 Larimer St. Denver, CO 80205
Probably the premier jazz spot in Denver. They have featured some of the best local and national jazz artists like Joe Lovano, The Bad Plus, and Kurt Elling. It was listed as one of the top 100 jazz clubs in the world by DownBeat magazine too. To top it off, they also established their own vinyl record store so that Jazz enthusiasts has another mode to enjoy the music.
1512 Curtis St. Denver, CO 80202
Nocturne is a pretty young contender on this list as they only opened in 2014, but that they already belong on this list speaks volumes of what they offer the Denver Jazz scene. What started out as a warehouse in RiNo, turned into an acoustically designed room to optimize the blues from the bands and artists. Their Artist in Residency program explores modern and classic jazz as never before as artists engage in an 8-week performance. So for straight ahead to funky, Nocturne has got you covered.
1330 27th St. Denver, CO 80205
The Crimson Room
If you are looking for a more intimate setting with a touch of sophistication, just check out this cozy place behind a glossy red door at downtown Denver’s historic Larimer Square. Wear your fancy clothes and experience some of Denver’s best Jazz and Acoustic acts nightly.
1403 Larimer St. Denver, CO 80202
From high school garage band with a youthful folk rock sound to no bullshit, emerging pop punk rockers with something to say, One Flew West is finding their true identity and sound with the new EP, Trial and Error.
The room with its one wall painted blue is small, almost claustrophobic, and tucked away in the back corner of the windowless Bluebird Theater basement; a place where the building’s notable music vibe almost seeps from the concrete walls. It’s the perfect setting for the four rock and roll, pop punk band mates and self-described man children that make up Denver’s One Flew West to get ready for their headlining show and EP release party. They anxiously move from one corner to the other unable to sit still, questioning whether guitarist and lead singer Linden Jackson should wear his jacket all night, laughingly explaining to their manager that they “had a little too much on their mind” to even think about moving the van, posting on Twitter and Facebook, and then finally wondering how many people will show.
I first met these guys when a few friends, my wife, and I decided to throw a music festival in some South Dakota field a few years ago and wanted some Colorado talent on the bill. At the time they were gracious, full of youthful energy, and showed a lot of talent and promise. Not much seems to have changed. They’re still gracious, exuding the same playful, not too serious vibe as we briefly catch up, but instead of still honing their talents and showing promise, it all appears to be finally coming together. Time and growing up has made them both better in the studio and somehow even better live resulting in recognition, plays on notable Spotify curated lists such as The Scene and Pop Punk’s Not Dead, and their fan base has grown exponentially. And now they’re here, two hours before show time nearly bouncing off the walls while waiting for the anticipated show and release of Trial and Error.
What has the band been through in the last few years since I last talked to you? Any challenges or accomplishments to know about in the last three years?
“We got him,” drummer Jonah Bartels laughs, pointing at the fresh faced newest member and bassist, Dawson Fry, as a sheepish smile quickly appears.
“We’ve gone through an extreme lineup change,” guitarist David Di Salvo admits. “We’ve dropped a few people.”
In September of 2016, pianist Dillon left the band which was followed by guitar and trumpet player, Joe, as well as hired gun bassist, Noah, leaving a few months later in December.
“We’ve really been experimenting with what we want to sound like,” Linden adds. “But I think the main thing since then is that we’ve developed an identity as a band which is something we struggled with for a while. You know, getting a solid sound down, really like this is what we are as a band. I think we’ve been able to get that pretty down.”
One Flew West formed in 2014 out of Longmont, Colorado, starting out with a more folk influence due to Jackson’s love for the acoustic guitar and where he started from as a songwriter. They’ve been able to morph that early identity into a now more rock based sound injected with a little punk attitude toward things and how they present themselves.
“We’ve just never really taken ourselves very seriously,” Linden says brushing his jet black hair from his eyes, “and the thing is we’ve tried, you know when you kinda first knew us, for a while we were trying to take ourselves too seriously because we thought this is music and we need to have a good image. We do need to have a good image but at the same time we don’t give a fuck. We just want to have fun with it.”
And now tonight is the night. What does it all mean to you?
“A year of hard work,” David says, breathing out a small sigh of relief.
“A lot of ups and downs into it, that’s for sure,” Dawson smiles.
“A year ago we were playing Lost Lake across the street and we told Dawson that this is where we’d do our EP release,” David adds, recalling that moment of foreshadowing at the time. “That was his first gig with us. We didn’t have it booked at all, we didn’t even know the EP would be called Trial and Error, we didn’t have a single song written.”
Will this be the first time your fans will hear the new stuff?
“In Denver, yea,” Linden says. “We actually haven’t had a Denver headliner in while. So this will be the first time a lot of people will hear it and this is a fucking great place to do it. It sounds pretty bitchin’ here.”
What’s been the reaction to the new song?
“The new song has been doing really well,” Jonah confidently says while comfortably sitting back on a small couch. “We put it on Spotify and it’s getting close to 100,000 and it’s only been out for two months.”
“Which for a band our size,” Linden speaks up, “you know a local and small Denver band, we’re pretty happy about that.”
The entire project was recorded in a just a weeks time with Chris Beeble and partner Randall Kent at The Blasting Room in Fort Collins, the same studio where the band recorded “Kinda Love” off of the Selective Memory record released in 2015, and a place known for producing records for notable bands such as Rise Against.
“It’s just a really really good vibe up there,” Linden says. “I think it helped subconsciously to channel the vibe for this EP because some of the best punk albums have been made up there. Its just got such a good fuckin’ vibe especially with records all over the walls of super huge punk bands.”
“There’s something about walking into the first hallway and seeing all of the Rise Against records up on the wall,” David quickly agrees. “It just brings it out in you.”
Trial and Error is a four track masterpiece comprising the band’s best work to date. It includes the poppy yet no bullshit title song attacking today’s political climate, a true coming of age song about growing up called “What Do I Know,” the songs “Out of Time” and “Staying In”, and the brutally honest, inspirational, and quite possibly the EP’s best track, “Best Worst Thing;” a song about doing what makes you happy regardless of what others think.
How did you guys approach the making of this one… meaning did you all come in on day one with the same direction for where the project was going to go or did it morph into what it is as work was put in?
“On the writing end I had a very particular vision because as I said, one of the things we struggled with was having a real identity as a band and this was an opportunity to actually put something out that was cohesive and made sense.”
“The other cool thing about it was that Linden wrote the songs at random times at different periods,“ Bartels explains, “so there really wasn’t a concept from the beginning but the whole EP is about the same thing, at least to me, it’s about being pissed off about the current state of everything around you, not really feeling like you know where you belong or where you’re going, and all the pressure that everyone puts on you. We spent a lot of time before we actually went to record this talking about what exactly we all wanted it to sound like.”
“Yea, that’s really important to us. Some people can just go into a studio and fuck around and write stuff and I think it would be cool, but we just can’t afford it,” Linden says getting a laugh from everyone. “We just had to have everything as down as possible before we went in there.”
“Full steam ahead once we were in there,” Dawson nods.
Was there a lot of production on this or did you keep it as raw as possible?
“It’s pretty raw. We kept it as straight as we could. Just our four instruments and it’s the tone he uses on stage so it’s nothing different,” Jonah says, pointing to Linden. “We have a couple of things layered on top like some keyboard stuff and a few extra sound effects. That’s really it.”
“That was another really important thing for us,” Linden says, “because a huge part of who we are is our live show and nothing pisses me off more than when a band can’t replicate their album in a live setting. So a huge thing for us is being able to, for more or less, pretty much completely translate what’s on the EP to the live show.”
Tell me a little bit more about the new title track “Trial and Error” and its inspiration.
“November,” Dawson jokes.
“I didn’t want to write a song about fucking Trump,” Linden says after the laughing subsides a bit, “because that’s just stupid and didn’t want to write it directly at the dude. I was just pissed about how many people were totally cool with it and did absolutely fucking nothing. That’s what made me the most angry. It’s like the name, Trial and Error, we’ve seen shit like this happen before and we know what’s gonna happen but you don’t do anything about it. It’s obviously an angry song. I like writing angry songs. But that’s where the initial thought came from. It was just directed at everyone that helped make it happen as opposed to not just him.”
“I think part of the beauty too is that it’s not telling you exactly what you should think,” Dawson adds. “Somebody could listen to it and think something entirely different than somebody else listening to it. It just depends what situation you’re in.”
“For instance,” David smiles, “today we found out somebody thought the lyrics were I just wanna fuck you in a million different ways.”
“That’s really hot,” Linden says while everyone explodes in laughter.
Is this the favorite song off the album?
“I think we all have different favorites,” Dawson says.
“This is Dawson’s favorite thing,” Linden says pointing to the two liter bottle of Diet Coke on the table.
“Oh yea, that’s for me. It’s got my name all over it.” But yea, all of us have been comparing notes and we all like different parts of the EP for different reasons.”
Linden leans on the wall nodding in agreement. “And when we send it to publications, which is a good sign in my opinion, everybody is kinda saying a different one is their favorite one. In the past we’ve always had people say this one song is obviously the stand out and everything else is kind of eh, but this is the first time I’m 100 percent confident in every song that is on there.”
“But most of it is still to be decided ‘cause we don’t really know,” David says.
“Yea, the general audience could think it’s shit,” Linden jokes.
We’ve seen bands from Colorado hit it big…One Republic, The Fray, The Lumineers made it big once they recorded ‘Ho Hey’ in some Denver apartment and then posted it on YouTube…so tell me what’s the mindset of One Flew West and can you take your music to that level?
Jonah sits further back on the couch with a more serious demeanor on his face this time. “It all depends on who hears it and if somebody likes it. That’s the hard part about this.”
“That’s the thing about being in this business,” Linden says, “all we can do is work our asses off and just keep trying to play as best we can, put on great shows and do what we can on our end. There is an element of luck to it but I hope someone hears it and likes it. It remains to be seen but I think we’re all committed to doing the best we can and just keep fucking chugging on.”
I agree. There is an element of luck to it all but there’s also the element of not only purposeful direction, but confidence in recording and live shows. These are things which the band seems to both be getting better at and more comfortable with. How much has Dawson helped that process?
“Dawson is the unjaded, innocent little boy,” Jonah laughs. “We’ve all been doing this for so long so if shitty things happen to us we take it way harder while only a year ago he was playing bass alone in his basement.”
“I always tell them whenever they get crushed over something that yea, a year ago I was playing Rush in my basement by myself and now here I am. Here we are.”
“He’s the bright-eyed boy,” David laughs.
Well before I let you eat, drink, do whatever you need to do to get ready for tonight, do you have any last words for your fans before the big show?
“We’re dipshits!” Jonah announces.
“We’re incredibly stupid and hope everyone likes the new EP,” Linden adds.
“Yea, have fun with it,” David says grinning wildly. “Take out your tits and balls and just have fun with it.”
One Flew West’s new EP, Trial and Error, is available now on ITunes, Spotify and all music streaming services. They’ll be playing the Bluebird Theater again on March 3rd.
We’re far from the gaudy lights and arena stage set ups tonight. Instead, everyone is crammed into the historic, ramshackle walls of Globe Hall; it’s underground rock and roll vibe the perfect venue for the raw, grittiness that is Black Pistol Fire. And as sweat pours from Kevin McKeown’s lanky frame while fans grab at his legs and euphorically bang their hands against the stage to the heavy back beat of Eric Owen’s drums, I can’t help but think that this is where everyone who loves music should be.
There’s a scene in the movie, Almost Famous, in which Lester Bang tells the young William Miller, “These are people who want you to write sanctimonious stories about the genius of the rock stars, and they will ruin rock and roll and strangle everything we love about it.” I think about that every time I review an album or live show such as tonight’s, but trust me, everything written about Black Pistol Fire is absolutely true. “Sleep on these guys at your own risk.” “…trail of scorched earth and melted minds.” “A power duo that can almost match the power and intensity of the massive rock sounds of the likes of Led Zeppelin and Fleetwood Mac.” “Pure fire on stage.” And if you read my last write up, this Austin based duo is the epitome of everything that is great about rock music right now. Words are just words, however. Black Pistol Fire is a band you must still experience live to get the full impact of just how powerful they truly are. And that’s on full display tonight as they pummel the crowd right from the start with Lost Cause off their recent album, Deadbeat Graffiti, and into the epic Hipster Shakes with Kevin singing, “Hey mama the way you roll that cone, oh see you cuppin’ and a rattlin’ those bones. C’mon down and do the hipster shake, someone let me out my cage!” They roll through covers of Fleetwood Mac’s, Oh Well, and Bob Dylan’s, Where You Been Before, then slow it down slightly with Blue Dream before belting out “I’m dead and gone, the way you do me wrong, and I’m dead and gone!” on Suffocation Blues. From that point, it’s a continued and total annihilation of the gritty, bluesy, rock and roll authenticity their fans scream for.
Within the hour and change onslaught, you can hear them draw inspiration from some of the greats that include Muddy Waters, Chuck Berry, Nirvana, and Led Zepplin, taking the very foundation the legends built, then molding it into their own sound, and finally unleashing it in an epic roar of rock fervor. That’s apparent as they constantly change gears throughout the rest of the set, grooving through Speak of the Devil, torching the stage with Drop the Needle, and then completely burn the house down with Run Rabbit Run. They hold nothing back, forever charging ahead and leave this place wanting more. I’m saying it now, Black Pistol Fire is one of the best live acts in music today and it’s time you jump on board. There’s a reason why so many people are talking.
Do you need a little pick me up for your commute to work? Maybe you need a few new artists to add to that playlist of yours. Whatever the case may be, here’s a few artists you definitely want to check out.
Back in 2015, Consequence of Sound stated, “Sleep on these guys at your own risk, because what they did on Friday afternoon was unholy… leaving a trail of scorched earth and melted minds.” That was at Lollapalooza in 2015. Now fast forward to Voodoo Fest 2017 and their performance at the Toyota Music Den and yea, that pretty much sums up their 35 minute set. What I witnessed was the epitome of everything that is great about music. Gritty blues, power surging rock, and an uncanny stage presence that left me and everyone else in utter disbelief. So trust me when I say you need to add them to that playlist of yours. Their powerful live show carries right over onto the record.
Guitar & Lead Vocals – Kevin McKeown | Drums – Eric Owen
New album – “Don’t Wake the Riot”
He’s one man armed with old bastardized mid-century guitars, hand-me-down fiddles and banjos, home-made contraptions with just enough tension on a string to be considered an instrument and any random percussive item he can get his hands or feet on. Lincoln Durham is a self-described obnoxious Southern-Gothic Psycho-Blues Revival-Punk One-Man-Band with a heavy amped edge, preaching the gospel of some new kind of depraved music.
“Durham unleashes unfiltered swampy blues in the same vein as The Reverend Peyton’s Big Damn Band, singing with the rawness of Tom Waits and playing with the inventiveness of Jack White.” – JamBase
Latest Album – Revelations of a Mind Unraveling
Heymoonshaker are the unlikely pairing of two art forms that are decades apart; Grit-your-teeth, raw, blues guitar and expansive, heart-pounding beatboxing. I ran across some random 11 minute video of them on YouTube one day where they were performing live on a London street corner. The strumming bluesy guitar, Balcon’s raspy voice, and the intriguing mix of Crowe’s talents as a beatboxer had me hooked instantly.
Andy BaLcon: Vocals/Guitar
Dave Crowe: Mouth Percussion
Here are the things you can do in and around Denver this week.
Celebrate Hispanic Culture at the last week of National Hispanic Heritage Month
This is an annual celebration of culture, history, and many contributions of the Hispanic community to what the United States of America is today. It is in its last week so it’s your last chance to join in this year.
SEP 15 – OCT 15, 2017
Watch Dinosaurs Live at Dinos! After Dark
What’s better than watching dinosaurs? Watching dinosaurs actually move. What’s even better? Watching them at night. The Denver Zoo brings their Dinos Live act to a next level with Dinos! After Dark. Get to experience the Zoo’s animatronic dinosaurs come to life along with illuminated sculptures made from pumpkins. Perfect for Halloween.
OCT 5 – OCT 28, 2017
2300 Steele St., Denver, CO 80205
Catch Imagine Dragons
Catch Imagine Dragons at the Pepsi Center this Saturday. I don’t think I need to say more.
OCT 14, 2017
1000 Chopper Cir., Denver, CO 80204
MmmmBop with Hanson
Oh, you know you want to sign along!!! It’s the 25th anniversary of Hanson’s Middle of Nowhere album and you can celebrate this milestone with the band itself, all grown up.
Summit Music Hall
OCT 14, 2017
1902 Blake St., Denver, CO 80202
Run, Rock ‘n’ Roll
Rock ‘n’ Roll bands along a marathon course? I am so in. The Rock ‘n’ Roll Marathon Series is an annual event that has been happening since 1998 and every year, more and more people are joining the fray. Best part is that the event has raised more than $310 million for participating charities. So, marathon, bands, and charity. What else do you need?
OCT 14-15, 2017
Broadway Ave. & Colfax, Denver, CO 80202