songs

Tapes N' Tapes at the Fox Theater

Tapes ‘n Tapes is a rock band from Minneapolis, MN, made up of Josh Grier on guitar and lead vocals, Matt Kretzmann on keys and horns, Erik Appelwick on bass guitar and backing vocals, and Jeremy Hanson on percussion.

Grier said he formed the band in 2003, to “have fun with my friends.  I always wanted to see if I could play music with others and for others.”   Grier and his buddies amassed “tapes ‘n tapes” of noodling, experimental jams and declared themselves officially a band.

In the winter of 2004, the band now known as Tapes ‘n Tapes bought some recording equipment and headed out to a rustic cabin in the woods of Wisconsin.  They recorded their self-titled, now long out of print, seven song EP in three days.  Songs like “Beach Girls” and “50’s Parking” from the EP are still in their live set today.

Next up for the band was recording their critically acclaimed follow up, The Loon.  Appelwick recorded, mixed and produced the eleven song record with the band in one week at a friend’s home studio.  The Loon came out in November of 2005 on ibid records, and no one was ready for what came next.   People started to notice the foursome’s jangly, melodic brand of rock and the band started touring – gaining more and more attention from music critics and fans all over the world.  Even the Thin White Duke took notice.  “’Insistor’ is the first single, and it's cracking. It was a slow grower, but once that chorus digs in there's really no escape,” said Mr. David Bowie.  The prestigious XL Recordings re-released The Loon in July of 2006, the same month Tapes ‘n Tapes made their national television debut on the Late Show with David Letterman.

The band then toured around the world for the next few years- playing shows with the likes of Franz Ferdinand, Spoon, Cold War Kids, The Black Keys, Echo & the Bunnymen, and The Wrens.  In 2006 they were honored to play Reading/Leeds, and 2007 saw them rock out at Lollapalooza and Coachella.

When starting to work out songs for their follow up, Walk It Off, the band was asked who their dream producer was.  The obvious answer to them was Mr. Dave Fridmann (Flaming Lips, MGMT).  With twelve songs in hand, the band made the jaunt to upstate New York to live and work with Fridmann for two amazing weeks- one week in September 2007 to record and one week in October 2007 to mix.  However, years of touring, the political climate, and distance from friends and family had changed the band, and given them a different point of view- one that seemed to pervade their sound.  Spin praised the record saying, “the tunes are tighter and performances far more dynamic and aggressive…..they can now pull off jittery punk and understated, graceful melancholy.”  XL released Walk It Off in April of 2008, on the same day the band made their debut on Conan O’Brien.

After touring and supporting Walk It Off for the following year, it was time for a little R & R- rest and relaxation.  They purposefully took their time and tried to get back to a place where the band was fun, and not work.  They also decided to go back to their roots and do everything on their own, with no label involvement.  They cut ties with XL, and re-launched ibid records, their own label which initially released The Loon.  The brothers tapes had saved their pennies over the years and set out to make the record they’ve always wanted to make – Outside.  They wanted to record at home and self-produce, which they did over two weeks at The Terrarium in Minneapolis, MN in March of 2010.   The next step was getting the talented Mr. Peter Katis (Interpol, The National) to lend his ears to the mix.  Grier spent two more weeks in Bridgeport, CT, while Katis mixed the record to perfection.  The result is twelve songs that are playful and melodic, while also capturing the essence and energy of their live show.   Grier said, “We had a great time making Outside and we wanted our enjoyment of the process to be audible in the recording, and I think we succeeded.”  One thing is for sure, Tapes ‘n Tapes feel like they are making music for the right reasons – fun and pure love for music.  And as Grier always says, “Everything else is gravy.”  Outside will be released on January 11, 2011.

Tapes N’ Tapes

Fox Theatre

Saturday, March 5th

Doors:  8:30 pm

Show Time:  9:00 pm

All Ages

Over the Rhine gets help from Joe Henry on new CD

The Long Surrender, the new studio album from the southern Ohio-based husband-and-wife team of multi-instrumentalist/vocalist Linford Detweiler and vocalist/multi-instrumentalist Karin Bergquist, otherwise known as Over the Rhine, is something rare and wondrous — an intimate epic. The fan-funded record, to be released January 11, 2011 on OtR’s own Great Speckled Dog label (named for the couple’s Great Dane, Elroy), marks 20 years since their 1991 debut. It’s the bountiful result of a collaboration between the couple and Joe Henry, whose songs they’ve long admired.

“Joe has been quietly making records (well not that quietly, he has won at least two Grammys) that don’t sound like other records bring made in 2010,” says Detweiler. “They are a little bit dark and cinematic and funky and unpredictable. It seems like he loves to help performers who have already covered a lot of miles — Mavis Staples, Elvis Costello, Solomon Burke, Loudon Wainwright III, Ramblin’ Jack Elliot, Mose Allison, Allen Toussaint — rediscover the soul of what they do in a new light.” The Long Surrender was recorded at Henry’s Garfield House studio in South Pasadena, Calif.

“With The Long Surrender, our vision was to make a record we couldn’t imagine in advance,” says Detweiler. “We wanted to be surprised. We wanted to remain open, let the record unfold in real time. Fortunately, Joe loves to be surprised as well.”

The album’s title “speaks to our ongoing desire to let go of certain expectations — and much of what we are convinced we know for sure — in favor of remaining open and curious,” Bergquist explains. “It seems like so many of our friends are currently wrestling with various forms of ‘letting go,’ so hopefully the ideas conjured by the title feel somewhat universal. And I think the title speaks to the arc of a lifetime commitment to writing and performing regardless of recognition. Learning when to work and when to let go. Learning to leave room for grace to billow our sails occasionally. Learning not to white-knuckle everything.”

In his liner notes, as much free verse as prose, Henry writes, “Before their arrival on my turf, my communication with them had been a fast flurry of emails, occasional phone conferences and songs that I’d find sporadically in my morning inbox. I had pictured Karin and Linford in the attic of their Civil War-era house in the rural outskirts of Cincinnati, huddled beneath a swinging bare bulb, shooing away pigeons and confiding songs-in-progress into an old German-made reel-to-reel recorder . . . I am not suggesting that these songs as I first heard them sounded in any way anachronistic, but rather that they shimmered in some amber band of light that stood outside of time . . . hung like blue smoke in rafters. And Karin and Linford brought with them, in fact, the greatest gift one can bring to a collaborative outing — that being an abiding faith in and a continuing wonder at the mystery involved in the process.”

The May 2010 sessions at The Garfield House enlisted drummer Jay Bellerose, bassist David Piltch, pedal steel and all-things-stringed player Greg Leisz, keyboard sound-scapists Keefus Cianca and Patrick Warren and Joe’s son Levon on tenor sax, along with soul singers James Gilstrap, Niki Haris and Jean McClain. Lucinda Williams, of whom Detweiler and Bergquist are longtime fans, traded lines with Bergquist on the song “Undamned,” which evokes a campfire gathering under a canopy of stars in a John Ford Western.

Even more than their earlier records, The Long Surrender seamlessly interweaves the disparate strains that form the many-colored crazy quilt of American music. “We’re really only reflecting what we’ve already heard,” Detweiler explains, “a mix of all the music we grew up with and were drawn to . . . But when this music is reflected back to the listener through the filter of our own particular lives, it hopefully becomes a different experience for those with ears to hear.”

As Henry puts it, “We settled for luminance over order, a terse beauty and a smeared-lipstick brand of soul. . . I am not in the business of dispelling mysteries, only abiding them when invited. Mystery is life’s strange and glorious weather, so to speak. And this time, Over the Rhine brought it with them.”

Over the Rhine will preview The Long Surrender over a series of fall tour dates, the centerpiece of which is “Over the Rhine Across the West” <http://www.flyingunderradar.com/rails/FT10LS.htm>, a five-day music festival held November 5-10 aboard railroad cars from Los Angeles to Santa Fe, across the Mohave Desert, tracing the lines of Route 66, “the Mother Road,” and then by chartered motor-coach to the Painted Desert, the Petrified Forest, Winslow, AZ and the Grand Canyon, before re-boarding for the return trip. Also featured are Lucy Wainwright Roche, Mickey Grimm and Swan Dive, as well as photographer Michael Wilson and naturalist Lynn Neal.

Other fall and winter shows:

Fri., Nov. 12  LOS ANGELES, CA Troubadour *
Sat., Nov. 13   SAN FRANCISCO, CA Great American Music Hall *
Mon, Nov. 15  EUGENE, OR W.O.W. Hall *
Wed., Nov. 17  PORTLAND, OR Aladdin Theater *
Fri.-Sun., Nov. 19, 20 & 21  SEATTLE, WA Triple Door *
Fri., Dec. 3  MARION, OH Palace Theatre   
Sat., Dec. 4  KENT, OH Kent Stage       
Sun., Dec. 5   ANN ARBOR, MI The Ark    
Tues., Dec. 7   COLUMBUS, OH Lincoln Theatre    
Fri., Dec. 10  LOUISVILLE, KY Bomhard Theater  
Sat., Dec. 11  CHICAGO, IL Old Town School of Folk Music (7 & 10 p.m.)
Fri., Dec. 17  CINCINNATI, OH The Long Surrender Premiere at the
Jarson-Kaplan Theatre  (in the Aronoff Center)  
Sat., Dec. 18    CINCINNATI, OH Taft Theatre (with special guest Joe Henry)
Sun., Dec. 19    NORWOOD, OH St. Elizabeth's  
(*shows with special guest Lucy Wainwright Roche)

RAIN: A Tribute To The Beatles - on Broadway

The acclaimed Beatles concert RAIN: A TRIBUTE TO THE BEATLES will make its Broadway debut this fall with a limited 12-week run of performances at the NEIL SIMON THEATRE (250 West 52nd Street). RAIN is set to officially go national in early 2011.

RAIN: A TRIBUTE TO THE BEATLES marks the first time The Beatles’ music has been licensed on Broadway. While for the past 45 years the music of The Beatles has touched millions of people around the world, the fact remains the Fab Four were experienced live in concert by very few. The group’s final concert tour of 1966 was long before the release of the legendary Sgt. Pepper, The White Album and Abbey Road albums. RAIN brings The Beatles’ incredible songs to a whole new audience of music lovers.

RAIN encompasses the full range of The Beatles’ discography through a Live performance onstage. From the group’s early days on the Ed Sullivan Show in ’64 through Sgt. Pepper and onto Abbey Road, RAIN is a time capsule of music highlighting the unforgettable songs in the iconic group’s career some of which have never been performed before in a live concert setting. RAIN features “I Want To Hold Your Hand,” “Yesterday,” “With A Little Help From My Friends,” “Come Together,” “Hard Days Night” and many more.

Official opening on TUESDAY, OCTOBER 26 at 6:30 PM and running through Sunday, January 9, 2011 at the NEIL SIMON THEATRE.


SHOW SCHEDULE:

Monday & Thursday: 8:00 pm
Tuesday: 7:00pm
Friday: 8pm
Saturday: 2:00 pm & 8:00 pm
Sunday: 3:00pm & 7:00pm

NEIL SIMON THEATRE

250 West 52nd Street

New York, NY  10019

The White Buffalo Announces Tour Dates

The White Buffalo announces even more US and Canadian Tour Dates - including shows opening for Mishka, Angus and Julia Stone and full band dates - supporting his newest EP Prepare for Black & Blue out this fall via Ruff Shod/Nettwerk Records.
After years spent touring the Nation with acts from Gomez to Donavon Frankenreiter to State Radio and with two releases under his belt that have sold over 20,000 combined physical records, The White Buffalo emerges with an EP of tirelessly road tested new material showcasing his stripped down, unmistakable sound.
To catch a glimpse the live White Buffalo experience, watch this live video of EP track "Into the Sun." Listen for White Buffalo's "The Matador" in the season finale of Sons of Anarchy.
The White Buffalo Tour Dates
Oct 21 - The Independent - San Francisco, CA *
Oct 22 - the Catalyst - Santa Cruz, CA *
Oct 24 - St Rocke - Hermosa Beach, CA
Oct 25 - Belly Up - Solana Beach, CA *
Oct 28 - Opera House - Toronto, ON &
Oct 29 - Le National - Montreal, QC &
Oct 30 - Le Cercle - Quebec City, QC &
Nov 8 - Club Congress - Tucson, AZ #
Nov 10 - Lambert's - Austin, TX #
Nov 11 - Chelsea's - Baton Rouge, LA #
Nov 12 - The Shed - Lafayette, LA #
Nov 13 - The Shed - Mobile, AL #
Nov 15 - House of Blues - Dallas, TX #
Nov 16 - the Hydrant - Denton, TX #
Nov 20 - Zooeys - Ventura, CA #
* w/ Mishka
& w/ Angus and Julia Stone
# w/ full band
More fall tour dates to be announced soon

Who is The White Buffalo:
The White Buffalo represents an authentic homage to the times of hard touring, hard drinking artists who truly lived what they sang about. Seamlessly moving from heartfelt ballads to raucous bar songs, The White Buffalo sings with honesty and thoughtful reflection as he wanders the road, sharing his music.  Everything about him is big, from his imposing physical size to his amazing vocal range.  From his whiskey-drenched, growling lows to heart-stopping highs, The White Buffalo paints a touching picture, whether he stands alone or performs with his energetic, charismatic band.
After vigorously road testing his new material, The White Buffalo is releasing his latest EP, Prepare for Black & Blue on Ruff Shod Records, State Radio's imprint label through Nettwerk, this fall. Produced by Jimmy Messer, this collection of songs showcases The White Buffalo's stripped down unmistakable sound.

Old 97's at the Boulder Theater

Old 97’s make their triumphant return on October 12th with The Grand Theater Volume One, their eighth studio album, from New West Records.  The band, who Rolling Stone says have “evolved…into master-class rock & roll songwriters,” recorder over two dozen brand new songs during the studio sessions and will be releasing a second volume in 2011.  The 12 song album was once again produced by Salim Nourallah (the band’s previous release, Blame It On Gravity) and engineered by Jim Vollentine (Spoon).  Legendary for their blistering live performances, the Old 97’s spent a week of pre-production recording the new songs completely live at the nearly 100-year old (and reportedly haunted) Dallas venue Sons of Hermann Hall.  The band set up on stage like they normally do during concerts, so it was instantly conducive to whether or not certain new songs would translate well in a live atmosphere.  After deciding what new songs make made the cut for proper recording, the band moved the production to Treefort Studios in Austin, TX.  Basic tracks for these studio sessions were recorded mostly live, resulting in an album that is as vibrant, immediate and sweat drenched as their praised live show.  Frontman Rhett Miller stated, “The Old 97’s have hit a great stride, found our second wind.  I feel like we found the secret to capturing the live energy people rave about after they see us play.”

The Grand Theatre Volume One was predominantly written during Rhett Miller’s 2009 solo tour abroad.  The lyrics are filled with character studies while the sound – expertly rounded out by band members Murry Hammond, Ken Bethea and Philip Peeples – is Garage-Rock=meets-60’s-British Invasion without abandoning the classic 97’s sound.  Rhett Miller offered, “The Grand Theatre centers around a suite of songs I wrote during a month-long tour of England, Ireland and Scandanavia.  Opening for the great Steve Earle meant watching a master Texas songwriter at work and I soaked up these strange surroundings and turned them into songs.  I was writing at a furious cli in the midst of the most intense kinds of planes, trains and automobiles.  I can see an epistolary strain running through the songs.  All my years of Anglophillia make these fell like a collection of love letters, or a collection of letters home.  I wrote the title track in the dressing room of Leeds’ Grand Theatre.”

The album’s first single, “Every Night Is Friday Night (Without You)” is an exuberant rocker.  “Like a lot of songs on The Grand Theatre, “Every Night…” is more complicated than it first appears.  The speaker has some issues.  What can I say?  The Old 97’s have been making anger and depression sound fun since 1993” said Miller. “Champaign, Illinois” re-imagines Bob Dylan’s classic Highway 61 Revisited track, “Desolation Row” with brand new lyrics by Rhett Miller.  Miller said, “The one song on the record that dates further back is ‘Champaign, Illinois.’  A few years ago, during a long, late-night drive through Southern Illinois, I kept myself awake by rewriting the lyrics to ‘Desolation Row.’  I played it around live a little, but never recorded it for fear of repercussions from Dylan’s legal team.  When the 97’s were putting this record together, we kept bringing “Champaign” up with a sort of bittersweet longing, sad that we would never be able to use it.  Finally, it occurred to me, “Why not?”  Through a series of phone calls, Dylan’s manager approached the legend with a live recording of the tune from the old Café Largo in Hollywood.  I couldn’t believe it when word came back through the channels that Dylan liked the tune but wanted to read they lyrics.  I never typed faster.  Apparently, Dylan liked it enough that, not only did he approve the release, but he wanted to split the publishing 50/50 with the band.  A co-write with Bob Dylan, even in absentia, is an enormous honor.  What a cool dude.”

An Old 97’s record would not be complete without songs from bassist Murry Hammond.  He has two strong contributions on The Grand Theatre Volume One, “You Smoke Too Much” and “You Were Born To Be In A Battle.”  Like Miller’s songs, Hammond has a highly literate style yet harkens back to an older school of writing, which creates a balance on the record.  Speaking of the record, Hammond stated “I’m a big 60s garage punk fan, and my favorite moments on this record have a thick vibe in that direction…while I’m proud of my stab at 60s Johnny Cash in ‘Born To Be In a Battle.’ I’m just as thrilled as the way the bass generally bubbles all over the place and the background and harmony vocals swim in the old plate reverb.  It gives me that same smile I get listening to my heroes the Zombies, Chocolate Watchband, Syd Barrett, etc.  I’m proud of how the band can be garage and raw but very Technicolor at the same time.  This is one of my top favorite records of ours.”

Old 97’s

Boulder Theater

Thursday, January 27th

Doors:  8:00 pm

Show Time:  9:00 pm

All Ages

Sarah Jarosz to Release “The New 45” on November 2nd

Sugar Hill Records and Sarah Jarosz are excited to announce the release of two brand new songs titled The New 45.  The songs were recorded in Nashville on the nineteen-year-olds’ summer break from New England Conservatory where she is currently a sophomore.  The New 45 combines the original composition “My Muse” (to be included on her upcoming full-length release) plus the Bill Withers’ chestnut “Grandma’s Hands”.  Both tracks are previously unreleased, and this will be the only chance for fans to purchase the crowd pleaser “Grandma’s Hands”.  The digital release date for The New 45 is November 5th; limited vinyl pressings to be made available at select outlets and on Sarah’s website later in the month.

Since her debut release Song Up In Her Head dropped in June of 2009, Sarah Jarosz has garnered the attention of fans and critics alike. The New York Times dubbed the project “an unretouched gem committed to the dark corners of bluegrass past” and USA TODAY describes Sarah’s original “Edge of a Dream” as “at once precocious and achingly pure”.  A contemporary improvisation major at NEC with a focus on vocal performance Sarah has successfully been balancing a full school schedule, national performances, while continuing to write and collect material for her sophomore release – due out Spring of 2011. Highlights over the last year include performances on A Prairie Home Companion, The Grand Ole Opry, Bonnaroo Music Festival and Austin City Limits as well as a nomination for New & Emerging Artist from the Americana Music Association.

Sarah’s Austin City Limits performance in which she’s paired with Steve Martin will air on Saturday, November 6th.  “My Muse” is one of the songs featured on ACL.  Check local listings for times. 

Be sure to check back soon for Grateful Web's coverage of Austin City Limits.

Phish | Broomfield, Colorado | 10/10/2010

Phish is back in Colorado... just a mere two months earlier we were all out in Telluride to catch Phish at one of the most stellar locales in America.  1st Bank Arena, in Broomfield, Colorado might be in the middle of cookie-cutter American looking architecture -- but the promoters did get it right after renovating 1st Bank back in 2008>2009.  The place was a complete disaster when it first opened in 2006.  The place was riddled with parking problems, crummy acoustics and a real lack of interest from bands, special events, etc.   I guess the Colorado GOP had their little shindig there, which should give you an indication right away how lame this place was…

Now it’s still the same building in the same cookie-cutter location, but what has changed has made all the difference! This place sounds good! Really good…it’s small too, nearing about 6500 at full capacity.  You're not going to catch Phish in a smaller venue in 2010.  Sure us lucky folk who started seeing Phish in the early 90's will still boast seeing the band in a venue holding less than 500 (for me that was Liberty Hall in Lawrence, KS on 4/1/92 -- still my favorite Phish show.. get it!).  However, catching Phish in this relatively intimate venue is pretty cool considering the alternative…Pepsi Center or gag…Fiddler's Green (or whatever they're calling the schwaggy place nowadays).

Trey sounds great.  They really tore the roof off the place last night.  Highlights for me:  Julius was a rager – Golgi is always a lot of fun to hear.  Mike’s Song > Simple > Ghost > Weekapaug Groove had a little bit of everything.   Trey introduced a new song last night titled: “My problem Right There” – Sure Senior Ernesto is one of the most prolific song writers out there… I will confess on average, however, I am probably fond of only 1/3 new songs Trey has brought forth over the past decade or so – But this song I liked right away. Most songs take a least a few listens before I know the song well-enough to gauge if I truly dig it – but this song is catchy, bluesy and I enjoyed it from the get-go.

The band is hot. They sound great.  Check out Grateful Web’s videos from the shows – We’ll have more up on Tuesday as well as photos and phan interviews.

Filling Joe’s Pub with More than Music

After a somewhat painful opener by Me in the Zoo, Kelli Scarr took the stage on Thursday night and filled NYC’s Joe’s Pub with her giant whispery voice. She is on tour now showcasing her newest album, “Piece,” which was released on August 10 by the indie-start-up label, "Silence Breaks."

Sidi Touré Releases New Album, 'Sahel Folk'

Sidi Touré, born in 1959 in the ancient town of Gao, Mali, made his first guitar as a child, constructing it from his wooden writing slate. Growing up, Sidi Touré faced a conflict between the inexorable pull of music and the expectations of family and society, plus the significance and onus of a past that came with being born into a noble family. The Touré family had been sung about, and sung to, by traditional griots for centuries, but until Sidi Touré challenged the rules as a small boy, the Touré’s did not sing. Despite his family’s disapproval, Sidi became the lead singer of his school’s band, and then became the youngest member of Gao’s regional orchestra, the Songhaï Stars, who played bi-annual festivals like the Bamako Biennale and toured both regionally and nationally. After winning the award for best singer twice, he took the band to the northern regions of Mali and to Niger, and toured much of the western Sahel region. Throughout his time making music, Sidi’s sound has both captured and challenged his roots. His music moves from the translucent swaying takamba to the trance inducing Holley, while the lyrics often address many non-traditional issues. Sidi has a critical mind and his songs have a purpose.

At its heart, Sahel Folk, Thrill Jockey’s debut release with Sidi Touré, is an album of friends reuniting around a glass of tea. It’s Sidi Touré’s second album, but the first time most of his collaborators have been documented. Chronicled in a live “field-recording” style at Sidi’s sister’s house, the simplicity of the takes highlight the beauty of the songs and the skill of the players. Each track on the album is a duet recording of Sidi and one friend, a product of a very specific two-day process. On the first day, the friends would meet, play, and choose a song over a glass of tea. On the second day they would record the song, allowing themselves just two takes to retain the spontaneity of the recording and reunion. It was the original intent of Covalesky, the album’s producer, to create an historical document about the traditions of Gao, and to mix the audio of Sidi and his friends’ songs with street recordings and interviews. However, once the recording started, everything changed. Covalesky puts it best when he says “In the face of such beauty and power delivered so simply by Sidi Touré and his friends, there was nothing to add. Everything was there.”

Thrill Jockey Records is honored to be releasing Sidi Touré’s second album, Sahel Folk, due out January 25, 2011.

The Last Waltz Revisited ft: Polytoxic @ Boulder Theater

Back in 2005, Denver's number one "jamband", Polytoxic, wanted to put on a show that could showcase all the great local musicians they had been playing with for the past few years.  They decided to re-enact The Band's "The Last Waltz", a concert film by Martin Scorsese from 1978 of The Band's last performance that included all of that era's greatest musicians - Eric Clapton, Dr John, Neil Young, Joni Mitchell, etc.  The show was held at Dulcinea's in Denver's Capitol Hill area on May 25, 2005, and Polytoxic planned on it being a fun little show that would garner a little bit of interest.  It sold out in minutes, surprising band and fans alike, and became the biggest show they had ever thrown.  So big, in fact, they decided to do it again in 2005, this time on the night before Thanksgiving at Cervante's Masterpiece Ballroom.

Polytoxic's "The Last Waltz Revisited" immediately went from a "fun little" idea at a small venue to their biggest event of the year.  It has become an annual event, playing to capacity crowds.  This year marks the 6th anniversary of their "Last Waltz Revisited", and it boasts over 40 guest musicians from across Colorado, a full horn section, and over 30 songs from The Bands extensive catalog, focusing primarily on songs played at The Last Waltz.  It has become a tradition for many of those involved in the show, as well as for many of the people that come out and see the show year after year.  This year we have Buck Perigo opening the show at 9:00, performing Woody Guthrie’s entire “Alice’s Restaurant”.

To further the community aspect of the show, Tabima Enterprises (the production company that runs the show) brought in The Denver Rescue Mission as an affiliated charity, encouraging the donations of canned food for the homeless, and contributing a percentage of the ticket sales to the organization. This year we are lucky to also have the support of our sponsors Anthony’s Pizza & Pasta and The Westword.

For updates and additions continue to check out their website.

The Last Waltz Revisited featuring Polytoxic

Boulder Theater

Friday, Nov 19th

Tickets are on sale at Boulder Theater Box Office. Call (303) 786-7030 for tickets by phone.

Tickets are also available through our website

Tickets are On Sale – 10.01 @ 10:00 am.

Individual tickets are $18.75 adv / $21.50 dos.