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Led by dynamic vocalist and multi-instrumentalist Lech Wierzynski, and drawing on diverse musical influences from Bay Area R&B, funk, Southern soul, Delta blues, and New Orleans second-line, the California Honeydrops bring vibrant energy and infectious dance-party vibes to their shows. They’ve toured with heavy-hitters such as Bonnie Raitt, B.B. King, Allen Toussaint, Buddy Guy, and Dr. John. Whether in those high-profile performances or in more intimate venues where the band can leave the stage and get down on the dance floor, the California Honeydrops’ vision and purpose remain: to make the audience dance and sing.

The band has come a long way since guitarist and trumpeter Lech Wierzynkski and drummer Ben Malament started busking in an Oakland subway station but the band has stayed true to that organic, street-level feel. Lech’s vocal stylings are influenced by recordings of Sam Cooke, Ray Charles, and Louis Armstrong, as well as Oberlin College education and lessons from the club circuit in Oakland, California. With the additions of Johnny Bones on tenor sax and clarinet, Lorenzo Loera on keyboards, and Beau Bradbury on bass, they’ve built a powerful full-band sound and contagious energy.

More like parties than traditional concerts, their shows feature extensive off-stage jamming and crowd interaction. “The whole point is to erase the boundaries between the crowd and us,” Wierzynski says. “We don’t make setlists. We want requests. We want crowd involvement, to make people become a part of the whole thing by dancing along, singing, picking the songs and generally coming out of their shells.”

Time

(Sunday) 8:00 pm

Price

Tickets start at $45

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18sep7:00 pmBoz Scaggs7:00 pm Event Type :Different Tempo,Fall and Winter

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TICKETS GO ON SALE
Tuesday, June 4, 10 a.m. MST for donors of $500 or more
Tuesday, June 11, 10 a.m. MST for the general public

It’s appropriate that Boz Scaggs‘ new album is Out of the Blues since the blues are what first sparked his five-decade musical career.

Born William Royce Scaggs in Canton, Ohio on June 8, 1944, he grew up in Oklahoma and Texas, where he spent his teenage years immersed in the blues, R, B and early rock ‘n’ roll. While attending school in Dallas, he played in local combos. After several years as a journeyman musician around Madison, WI and Austin, TX, Scaggs spent time traveling in Europe, the Middle East and Asia, eventually settling in Stockholm where he recorded the album Boz.

Returning to the U.S. in 1967, Scaggs joined the Steve Miller Band in San Francisco, performing on that group’s albums Children of the Future and Sailor, before launching his solo career with 1968’s seminal Boz Scaggs LP, recorded in Muscle Shoals, AL for Atlantic Records. Scaggs continued to mine a personalized mix of rock, blues and R&B influences, along with a signature style of ballads on such influential ’70s albums as Moments, Boz Scaggs & Band, My Time, Slow Dancer and 1976’s Silk Degrees. The latter release became a massive commercial breakthrough, reaching Number Two and remaining on the album charts for 115 weeks. It spawned three Top 40 hit singles: “It’s Over,” “Lido Shuffle” and the Grammy-winning “Lowdown.” Subsequently, “We’re All Alone” from that same album, would become a #1 single for Rita Coolidge. Silk Degrees was followed by the albums Down Two Then Left and Middle Man, and such hit singles as “Breakdown Dead Ahead,” “Jo Jo” and “Look What You’ve Done to Me.”

Despite his ’70s successes, Scaggs spent much of the 1980s out of the music-biz spotlight, traveling, opening a family business, fathering young children and founding the San Francisco nightclub, Slim’s, He returned to the studio after an 8-year hiatus and released, Other Roads, Some Change, Dig, the Grammy-nominated Come on Home, the unplugged Fade Into Light, the in-concert retrospective Greatest Hits Live as well as a stint touring with Donald Fagen’s New York Rock & Soul Review; all while continuing to maintain a loyal audience in the U.S. and overseas, particularly in Japan. A pair of albums of jazz standards, But Beautiful and Speak Low, the latter topping the Billboard Jazz chart, demonstrated Scaggs’ stylistic mastery, as did the Southern-flavored Memphis and the rhythm & bluesy A Fool to Care.

Time

(Wednesday) 7:00 pm

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28sep7:00 pmRising Appalachia7:00 pm Event Type :Different Tempo,Fall and Winter

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As world travelers for nearly two decades, Rising Appalachia has merged global music influences with their own southern roots. Founded by sisters Leah and Chloe Smith, the band’s latest album Leylines, conveys a sense of unity and immediacy. Special guests on Leylines include folk hero Ani DiFranco, soulful songwriter Trevor Hall, and jazz trumpeter Maurice Turner. The album title alludes to the concept of invisible lines believed to stretch around the world between sacred spaces, bonded by a spiritual and magnetic presence. That deep sense of connection is key to understanding Rising Appalachia as a whole.

“Rising Appalachia has come out of this idea that we can take these traditions of southern music – that we’ve been born and raised with – and we can rise out of them, creating all these different bridges between cultures and stories to make them feel alive,” Leah says. “Our music has its foundation in heritage and tradition, but we’re creating music that also feels reflective of the times right now. That’s always been our work.”

Although Leah and Chloe Smith consider their voices as their primary instrument, Leah also plays banjo and bodhran on the album, while Chloe plays guitar, fiddle, and banjo. They are joined by longtime members David Brown (stand-up bass, baritone guitar) and Biko Casini (world percussion, n’goni), as well as two new members: West African musician Arouna Diarra (n’goni, talking drum) and Irish musician Duncan Wickel (fiddle, cello). The sonic textures of these two cultures are woven into Leylines, enhancing the stunning blend of folk, world, and urban music that has become Rising Appalachia’s calling card.

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VIP details will be emailed to fans prior to the show from the address:info@future-beat.com

Time

(Saturday) 7:00 pm

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18oct7:00 pmDave Mason Fall 20197:00 pm Event Type :Different Tempo,Fall and Winter

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Donors of $500 or more to the 2019 Annual Fund get pre-sale access starting on June 4, 10 a.m. MDT.
Tickets go on sale to the general public on June 11, 10 a.m. MDT.

Rock and Roll Hall of Famer Dave Mason has been performing live shows for over 50 years. What keeps audiences coming back year after year is his authentic approach to performing and the loyal presentation of his music. Mason often says, “There are no old songs, only good songs.” His love for the songs he works into his set list is evident and his enthusiasm for music is contagious. Audiences always leave his shows upbeat, happy and inspired.

Mason’s Feelin’ Alright Tour will feature all the classic songs fans love such as Only You Know And I Know, We Just Disagree, Every Woman, All Along The Watchtower, Rock N Roll Stew, and, of course, Feelin’ Alright. In addition, you will hear songs that have inspired him as well as personal stories about rock music that only can be told by a man who has walked that historical path. Mason is a legendary living classic rock artist and will be joined by his band: Johnne Sambataro on guitar & vocals, Alvino Bennett on drums, Anthony Patler on bass, keyboards & vocals and Gretchen Rhodes on vocals.

Best known for his soulful voice and unsurpassed guitar playing, Dave Mason was inducted into the Rock and Roll Hall of Fame as a founding member of the group Traffic and continues performing as a solo artist with sold-out shows. His career spans several important rock eras and encompasses his work as a producer, performer, songwriter, and consummate guitarist. A quintessential ‘artiste’, Mason has collaborated with numerous members of the music elite including Jimi Hendrix, George Harrison, Paul McCartney, Stevie Wonder, Michael Jackson, Eric Clapton, among many others.

More at www.davemasonmusic.com.

Time

(Friday) 7:00 pm

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14dec7:00 pmGregory Alan Isakov7:00 pm Event Type :Different Tempo,Fall and Winter

Event Details

PHOTO CREDIT: Rebecca Caridad

Donors of $500 or more to the 2020 Annual Fund get pre-sale access starting on September 10, 10 a.m. MDT.

Tickets go on sale to the general public on September 26, 10 a.m. MDT. See details below,

Many musicians have day jobs to make ends meet. However, few artists maintain the lifestyle kept by Gregory Alan Isakov. The Colorado-based indie-folk artist is a full-time farmer who sells vegetable seeds and grows various market crops on his three-acre farm, while also tending to a thriving musical career.

“I switch gears a lot,” he says. “I wake up really early in the growing season, and then in the winters, I’m up all night. I’m constantly moving back and forth.”

Isakov had an easier time balancing his two passions while making his fourth full-length studio album, Evening Machines. In between farm duties, the multi-instrumentalist wrote and recorded in a studio housed in a barn on his property. Like the farm, this studio has a communal atmosphere, filled with instruments and gear stored there by musician friends—gear Isakov always leaves on, just in case inspiration strikes.

“Sometimes I couldn’t sleep, so I’d walk into the studio and work really hard into the night,” he says. “A lot of times I would find myself in the light of all these VU meters and the tape machine glow, so that’s where the title came from. I recorded mostly at night, when I wasn’t working in the gardens. It doesn’t matter if it’s summer or winter, morning or afternoon, this music always feels like evening to me.”

As its name implies, the dark indie rock and folk populating Evening Machines possesses a dusky hue. Hushed acoustic guitar and sparse piano combine for a moody foundation that’s amplified by ornate and heavy embellishments: distant electric guitars, keyboards, pedal steel, saw, percussion, strings, banjo, and some electronic drums. Lilting background vocals intertwine with Isakov’s watercolor-streaked murmur on “Powder,” while “Where You Gonna Go” applies haunting, echoing vocal effects to his voice.

However, in a nod to the musician’s desire to strike a “balance of space and instrumentation,” these lush flourishes—loping banjo on “Dark, Dark, Dark,” ghostly pedal steel on “Was I Just Another One” and strings twirling through the waltzing “Southern Star”—enhance his precise, thoughtful arrangements. It’s an intimate album that encourages close listening and contemplation.

Evening Machines came together via an organic process rooted mostly in solitude and along side of engineer Andrew Berlin (Descendents, Rise Against). Isakov sketched out 35 to 40 songs himself during marathon studio sessions that could stretch up to 14 hours for many months. He recorded all the instruments and slowly intertwined the band: Steve Varney, Jeb Bows, John Paul Grigsby, Philip Parker, and Max Barcelow. A bevy of other contributors added additional sonic flourishes as well.

From there, Isakov whittled this large batch of music down to 12 songs, and spent a month in Oregon mixing Evening Machines with Tucker Martine (Neko Case, The Decemberists) and some final mixing with Andrew Berlin. “Andrew and I took many different approaches making this record—we used electronic instruments and more ambient sounds, and incorporated heavier elements,” Isakov says. “But I’ve always had a hard time mixing in the barn. It’s easier for me to mix something with a lot of space. That’s where Tucker was invaluable. He’s just got such an incredible approach and sense of sound.”

Isakov is no stranger to collaboration or traveling to hone his craft. In 2016, he released an album of his songs played in collaboration with the Colorado Symphony, and he tours regularly in the U.S. and Europe, performing alongside acts such as Iron & Wine, Calexico, Ani DiFranco, Passenger, Josh Ritter, Brandi Carlile, and Nathaniel Rateliff. But when the time came to make Evening Machines, Isakov discovered that his time on the road had started to take a toll.

“A lot of the music that was written for this record happened at a really difficult time of my life,” he says. “When I finished a six-month stretch in Europe I had a lot of time to be alone, and feel things that maybe I hadn’t in a long time, being on the road and with the lifestyle of touring. I experienced this new sensation of anxiety—this level of physical anxiety that I’ve been investigating ever since.” To cope, he turned to writing songs—“some of which were ways for me to ground myself during that time where it was really bad,” he says.

As an example, Isakov cites the album-closing “Wings In All Black,” a deeply personal song that’s about being resilient in the face of jarring loss. Still, not all of Evening Machines’ songs are this decisive: The album brims with elusive characters and slippery emotional situations, the kinds that linger long after their presence dissipates. “Did I hear something break?/Was that your heart or my heart?” he asks on “Caves,” while “San Luis” observes, “I’m a ghost of you, you’re a ghost of me.”

Yet Isakov’s lyrics themselves are vivid and deliberate—“I’ll leave you with this poem, about the galvanized moon and her rings in the rain,” he offers on “Too Far Away”—and devastate with economy. Take “Chemicals,” which observes, “You saw her bathing in the creek/Now you’re jealous of the water.” Whether addressing romantic love or human connection, Evening Machines has no easy answers.

Still, the album does have poignant resonance with current events. Take the string-swept opening track, “Berth,” which Isakov wrote and recorded during an all-night session. The original version of the song was 12 minutes long—and it wasn’t until Isakov and his brother, Ilan Isakov, started editing and cutting verses that the former realized “Berth” was “an immigration song, about landing in this country and throughout time”—something he knew well, as a native of Johannesburg, South Africa, who moved to the U.S. as a child.

“Writing songs is this delicate balance,” Isakov says. “My process has never been to start out saying, ‘I want to write a song about this. This is an important issue—or this is an important emotion that I’m going through—and I need to write a song about it.’ That has never happened; it’s never been part of my process. But you need to have a spark of all those, something visceral and something tangible as well to make something that sings well. Words have so much power on their own.”

Isakov’s words especially have resonated deeply both at home—he recently sold out a Red Rocks Amphitheatre headlining show—and around the world. His last studio album of new material, 2013’s The Weatherman, sold over 100,000 copies, and his entire catalog has sold well over 370,000 copies—an impressive amount for a musician who releases records via his own independent label, Suitcase Town Music.

With Evening Machines, Isakov is poised to reach an even larger audience, as it’s the first album he’s licensing to a larger record label, Dualtone. For the fiercely DIY musician—in addition to housing a studio, the barn doubles as a storage and distribution hub for Suitcase Town Music—linking up with Dualtone “wasn’t out of a place of need, but it was a place of curiosity,” he says. “I was like, ‘Well, I’ve never tried this. This could be really fun.’”

But despite this label backing, Isakov isn’t changing up his approach to music. He’ll still be touring around his farming season—and striving for a cohesive musical vision that feeds his soul. “Music helped me get through some of the hardest times,” Isakov says. “I always write in regards to an entire record. Trying to find the music that fits together as a whole piece was the most important thing to me.”

Donations for the 2020 fiscal year entitle donors to presale access to all concerts beginning October 1, 2019, including all winter concerts and 2020 summer festival concerts.

Donations to the 2020 Annual Fund will be accepted beginning on September 3, 2019.

Make your donation on or after September 3 and you will be able to purchase tickets for fall and winter shows on September 10, 2019 at 10 a.m. MST. Tickets go on sale to the general public on September 26, 2019.