On July 25th, Colorado was once again treated to an incredible night of music at the world-famous Red Rocks Amphitheatre, serving as the backdrop for living folk-rock legends Melissa Etheridge and The Indigo Girls. Performing back-to-back single sets to kick off their Yes We Are joint summer tour to a nearly sold-out crowd, fans hung on their every word and sang along to verses that have been filling both personal and commercial soundtracks for decades. As expected, tunes of yesteryear filled both setlists and included some rarities as well as fresh pieces that were welcomed by listeners throughout the night.
Starting off the evening, Melissa Etheridge hit the stage with a vigor and fire that was so visually present that there was no doubt that after all this time, this performer gives everything she has and loves doing it. Her set started off with a high-energy take on “All American Girl” that saw Etheridge beaming with as much spirit as those listening. Her confident and gravelly voice belted out the well-known lyrics alongside the audience and from the get-go, she owned that stage and held everyone’s attention. Strumming her acoustic with fury and with the audience on their feet, Etheridge laid out her mission statement for the evening:
Red Rocks! What a pleasure to be back here again! The world’s greatest venue! With my friends The Indigo Girls, we are here to lift your spirits tonight, we are here to let you know everything is going to be alright… ‘cause we got me, we got you and we are taking care of ourselves and we are going to fill the whole night with love!
With that proclamation received loud and clear, the audience lit up in agreement as Etheridge and her band finished the set opener with a raucous finish that had everyone dancing and applauding far past the final note. Segueing into “Angels Would Fall,” Etheridge shared more of her sentiments with the fans:
I get so excited…and then I remember about this altitude. Oh my goodness, I am so glad you all came out tonight. Perfect night! Gorgeous! Of course it is! We’re going to play all the songs…well, most of them. I love when I can see ALL your faces singing the songs! There is nothing like that.
Showered with more adoration, the band moved into slot two. Following a solid rendition of the angelic track from Etheridge’s 1999 album Breakdown, choice three was an organ-filled take on “If I Wanted To.” Moving on to perform “Don’t You Need” from her debut self-titled album, Etheridge paused to thank Colorado for their dedication to her career:
Oh, Colorado, I have loved you for so long! One of my longest relationships… Oh, Colorado, you were there from the very first album, the very first one. You made me feel like a rock queen from the very beginning so let’s go back to the first album. Woo, the 1980’s! My children ask me, they say, ‘Mama, mama, tell us about the eighties’ and I say, ‘Dears, gather ‘round, let me tell you children…children, it was wild…and there were no pictures! Yes! That was the best part, we got away with everything!’
Shifting decades, Etheridge’s fifth started up with the intro to another one of her commercial hits, “I Want to Come Over.” Continuing her engagement with the audience, Etheridge adlibbed again:
Let’s go back now, let’s go back to the nineties. Let’s go back and revisit all those poor choices we made. Ahhh, we learned and we grew! How do you know what you want if you don’t know what you don’t want…something like that. Oh, it was a crazy time though…I was crazy, I was on fire! Yeah, I found myself driving around in the middle of the night you know, ‘what’s going on, what’s going on?’. Then I find myself…’how did I get here on HER block?’ That’s crazy, well, I’ll just park my car right here, look up at her window… Nowadays, we call that a stalker, but back then, it was okay.
Delivering a soulful version accompanied by the full voice of The Rocks, Etheridge also included a lyrical pull from young star Chappell Roan’s “Red Wine Supernova” into the classic, which received the expected reception and certainly showed once again that Etheridge’s voice in song and pen is a connecting experience, timeless and authentic, no matter what the age or position in life.
Looking back at Etheridge’s relationship with Red Rocks Amphitheater, this beautiful lady has only played within this majesty three other times, with the last being over twenty years prior. With that in mind and her aforementioned love for the Colorado fanbase, it came as no surprise that on this special night, the audience would be treated to something special. Before handing over the jewel, Etheridge continued:
Let’s go back to that first album, Colorado, because I want to do a special thing for you. I want to do a song that I rarely do, but I thought it would be a special time to do this and hopefully the sky will not listen to me. This one is for you, Red Rocks, ‘cause this is just the most perfect, beautiful place.
As promised, “The Late September Dogs” would be the rarest tune of the set, this being only the fifth version of the year for a song that is only performed less than that annually. With the familiar start, the fans lit up the steps and graciously listened intently, taking in every measure of the shared moment. Fortunately, per Etheridge’s request to Mother Nature, the sky did not open up and deliver on the “let it rain” chorus, a characteristic that Red Rocks and our Earthen Mother are infamous for.
“No Souvenirs” was the next selection and swung the energy back into the upper atmosphere from the preceding stilling piece. Once again, the band delivered on this one, laying out the tune with a well-polished feeling that was lively and inspired. Feeding off that inspiration, Etheridge touched on the current state of the world:
Alright my friend, these are crazy times I know. Sometimes, we are scared, sometimes it’s just too hard. It’s these times I say my friends, ‘You got to find that hope and that love inside yourself!’, because the more the more we light ourselves up, the more we can light up the rest of the world. And you know, there ain’t enough darkness in this whole world that can ever overpower one flame, that’s true. So keep shining your light my friends, we got this! Oh, Mama’s been ‘round long enough to see some things happen, yes I remember…
Without finishing the thought, Etheridge moved the band into the reflective and emancipatory “Silent Legacy.” Shadowed in doubt and refuted thought, the lyrical journey here ends with putting an end to the shackles of uncertainty through the power and freedom of love and the wonder of life. This one certainly was an uplifting collective experience in the moment, to state the least of its virtues.
Returning to the Yes I Am album once again, “Come To My Window” got a strong reception and, as one would expect with the song’s commercial success, this one had ten thousand belting out all of the lyrics, not just the chorus. Towards the end, Etheridge and the band fell off and let the audience take the spotlight, which is always a beautiful moment no matter who is performing.
Before getting to the hard-rocking grit of “Bring Me Some Water” from her premier album to reignite the fire, Etheridge took the time to finally introduce her spectacular co-conspirators:
Let’s take a moment to just introduce my band, they are so amazing! Brand new over here, the amazing Mr. Tim Lafaye on the bass. Back behind me is the incredible Mr. Eric Gardner (on the drums). And over here on the guitar and keyboards, the magnificently talented Max Foxx. My name is Melissa.
With that and sinking deep into the blues, the southern swagger of “I’m the Only One” possessed many to grind up on anyone who was willing to take the ride. This one even had Etheridge wielding the harmonica and getting her growl on in the truest of blues fashions. At the close of an overwhelmingly raucous finish, Etheridge gave over her final words of positivity and hope:
Thank you all so much for coming out tonight. I hope the music has filled you up. I hope it has healed you. I hope you know that everything is going to be ok, I mean this, man. Lead with love! You want to see more, you be more love. You want to see more kindness, you be more kindness. That’s the way we do it. I promise you, you going to be alright.
Sealing the deal on one set of incredible energy and talent, the final choice was “Like The Way I Do,” pulled from Etheridge’s first album once again. This one was edgy and came off with the same strong sensibility as any other tune from earlier in the set, the band nor the audience for that matter showing any signs of wear or tear, giving their all until the final note. The final choice also got to witness Etheridge jump behind the drum kit alongside Eric Gardner for a multi-minute drum solo that had the duo grinning from ear to ear as the audience pushed them on.
Hitting the mark consistently for nearly ninety minutes, Melissa Etheridge showed that her talent and career are still as viable as any other point in her existence. She remains relevant and continues to stand as a representative to so many communities of humanity. She gives a voice to those who fear and helps to silence those who relinquish power from others. After witnessing her inexhaustible gifts, it is no wonder how she has kept going year after year and why people continue to turn out over and over again to bask in this woman of power, possibility, and positivity — this woman known as Melissa.
Giving everyone a chance to catch some refreshments and relief with a brief set break, it was finally time for The Indigo Girls to share that something special that they do that has kept their wheels turning and motivating the hearts and spirits of those who find the love and inspiration in what they do. Hitting the stage, Emily Saliers and Amy Ray humbly and enthusiastically addressed the crowd:
Hey y’all! Alright! What a gorgeous night! Oh my god, it is so good to be here with Melissa!
Under the roar of those ready to open their hearts, the duo paused for a moment to ground themselves and lock in with the rest of the band. Smiling and nodding, their set began with a tune from one of their earliest albums, Indigo Girls. “Kid Fears,” a patient and rolling piece, got something special when Amy and Emily were joined by Melissa Etheridge for the second turn at the chorus, audibly lighting the crowd up. After introducing Melissa’s presence at the close of the song, Amy stated what everyone was feeling, “That’s a f*#king thrill, y’all!”, sending the crowd into elation over Etheridge’s appearance.
Traveling on, Emily picked up the banjo and led everyone through a nice run of “Get Out the Map” from the 1997 album Shaming of the Sun. Supported sweetly by Lyris Hung on the violin, this one was carried by a rootsy vibe that had the place grooving. Popping with a ska vibe and bounce, “Heartache For Everyone” was up next. Driven by Amy, this one contained some nice harmonizing from the rest of the female presence on stage.
Before getting on with the next one, Emily invited everyone to join in:
Thanks y'all. It's so good to be here. Alright, this is a big ol’ sing along. A song about love and maybe you’ll even get married or something. I am going to sing you this careless ballad.
With a beautiful rollout on the keys by Carol Isaacs, the well-recognized “Power of Two” had everyone singing from the start. The layering of the piano sounds alongside the resonator talent of Jeff Fielder and the stringed accents given over by Hung on the violin once again floated under the direction of Emily and the support of Amy.
The no-nonsense strength of “Shit Kickin’” from Amy and Emily’s last studio production Look Long took the set up a notch and was heavy on Fielder’s resonator once again, which was certainly not a bad thing and only had this listener wanting more. Lyrically, this one is filled with crossroads and expectation-defiant themes that define the voice of the human experience, often at the center of The Indigo Girls’ message. With a catchy hook and melody, this piece is one that could easily get the repeat button pushed.
Following like a true blue boot-stomping partner, “Trouble” kept fans dancing and enjoying the more rockin’ side of the outfit. At the close, Emily addressed the audience, who were vocally sharing their love:
This does feel like a gathering of love. I don’t know about y’all but I need that in this country right now.
Under a wave of adoration and acceptance, Emily continued:
Y’all, we are super excited because tonight we have this wonderful band and I am about to tell you who they are, but first I want to make special mention of this incredible young woman…this is the first time we have ever played drums with her, she is just blowing us away! Will you please give it up for T.K. Johnson? We love her!
On guitar, dobro, vocals, everything — Jeff Fielder from Seattle via Alaska. Back there on the bass and vocals from London, England, Claire McKinney. Here on the keyboards, penny whistle, accordion, vocals, also from London, England, Carol Isaacs. Singing harmony, she has a fantastic career of her own but she has agreed to come and sing some songs for us, this is Lucy Wainwright-Roach. And on violin and vocals from New York City, Lyris Hung. That’s Amy, I’m Emily.
With introductions raising the joy for both sides of the stage, the band got back to business and gave up a top-notch version of “Shame on You.” Emily traded the electric guitar for the banjo and the aforementioned Isaacs traded sitting keys for standing accordion. The crowd played their part and at the end, everyone was left with a smile.
Encouraging everyone to keep singing, Amy’s call was answered and the house joined in for the staple “Least Complicated.” Energy high, the blissful soul-stirring of “Chickenman” was the next choice and a great one at that. Fielder got a good amount of spotlight to show off his dobro chops and that eerie echo balanced well against the acoustic art of Amy. The two forced a rise that had the rest of the band punching out the ending and moving both heaven and earth under the spirited vocals of the leading women.
Pulling another choice from Look Long, “Change My Heart” was defined as ‘a song about sometimes what appear to be very strong forces are actually weak interactions and if applied to the political context, you might know exactly what this song is about.’ This hard-hitting strut had both Amy and Emily wielding electricity through the fretboard and exercising their fierce capability to be challenging.
The rarity of the set for the IG would be “Moment of Forgiveness,” the only piece pulled from the 2002 release Become You. This would be the third version of 2025 and, looking back, this one has seen the same infrequency for the better part of five years. This one reads more country than folk and feels like it could easily be spun on a honky-tonk jukebox in the early hours of the morning before closing time.
Blurring the line between star and her own humanity, Emily paused to share her perspective:
We are really fortunate to be doing a whole run of shows with Melissa Etheridge. We love her, her band, her wife. It’s just an awesome experience, after all these years, to still be thrilled.
With that reflection in mind, Emily proceeded with the title track from the Look Long album. With sustained draws from Hung, twinkling keys sprinkled by Isaacs, and playful moves in the upper registry by Kenny, this one settled the spirit and truly showed the craft and talent of all these players.
Shifting to the hard truth where tolerance isn’t acceptance, Amy’s 2001 tale dedicated to ‘all the trans and queer kids out there,’ “Laramie” and its anthemic climb cycled with its mantra that would not be silenced. Fielder and Hung took turns turning the stringed wheel with ferocity and in the end the only thing left for anyone was the consequential reminding need to be vigilant.
Lightening the spirit, the band soothed with longtime staple “Midnight Train to Georgia.” Originally a hit for Gladys Knight in 1973 and written by Jim Weatherly, this one showcased the newest member of the band, drummer Johnson, who sang sweetly while keeping time simultaneously and impressed the crowd even more than she already had. Keeping the singalong going with a song about history’s favorite heretic, “Galileo” followed and featured a few opportunities for the audience to handle the vocals alone.
“Go” was the penultimate choice for the band and this prog-rock number offered one last chance at rock star action before ending the night and had many pumping the air with its hard lesson that no matter the script, we the people have to continue to go, go, go.
No Indigo Girls show would be complete without a pass at probably the most famous of all their catalog and so, to close out their eighty-minute set, “Closer To Fine” was the final number. With Amy on mandolin and Emily on acoustic, the crowd belted out the entirety of the tale that intertwines confidence and doubt on the trail to self-discovery, fueled by the backdrop of a youthful form that just speaks to the human condition.
By their own admission, The Indigo Girls hadn’t been out on the road for five months, but by what the audience got, no one would have known any better. The aim of the group is not improvisation, but to deliver their beloved and well-known songs to audiences who have found themselves unlocking inspiration through personal interpretation and in that moment of revelation, finding they are not alone but part of a group that finds themselves stronger together than apart, and more alike than different — seeking love, acceptance, and the opportunity to achieve something more.
