When Dave Rawlings hits his stride, the genius of his improvisation seems to stop time. All other distractions fade away and one can focus on his confident, driving guitar playing that is both discrete in melody and fluid within the larger harmony. Mr. Rawling’s is like a chess Grandmaster, able to play 20 moves ahead.  This is an incredible strength because as you begin to realize the beauty of what he has just played – a reward to those listening closely – Mr.

If the spirit of the 60s was still alive, it’s probably not through the music. Nostalgia is what connects most folks to those simpler, but equally perplexing socioeconomic times in American history. On a grand scale, the human-be ins and connectivity that brought the young generation, the baby boomers, growing into adults of the late 1960s, was a time when youth stopped buying into their elder generations ideas of conformity and the lies about being patriotic by supporting a pointless war halfway across the world.

There’s one thing you can count on from a Gogol Bordello show; you’re going to leave it dripping, either from your sweat, everybody else’s sweat, or with some red wine that frontman Eugene Hutz uses to liberally douse the crowd. You’re also going to leave immensely satisfied at having seen one of the best live acts going, period.

The Grateful Dead were always an unnecessarily modest group of musicians. Milestones, anniversaries, career-spanning accomplishments were underplayed by guitarist and vocalist Jerry Garcia in particular, who always was hesitant to accept hype around the group’s resurgence in mainstream popularity in the mid-1980s.

I have been going to shows regularly for over 15 years. Somewhere along the line, I came to understand that live music is my adopted religion and venues of great renown are, collectively, my house of worship. Being a Deadhead, in particular, is a sect onto itself. Until recently, I only understood this spiritual manifestation in the abstract.

After hanging out with Mike Gordon a bit the night before his show during the Toubab Krewe concert at the Fox Theater, I was more than ready to see his new lineup at the Boulder Theater. I pre-ordered his new album and enjoy listening to it especially on vinyl. Each time I have met him has been a peculiar, but enlightening experience.

It’s felt like eons since David “Dawg” Grisman has played in Boulder. Not that is really been all too long, but since then residents have all sorts of jammy and traditional grass growing underneath them. Theater performances and community picks become increasingly popular and plentiful. A sort of roots resurgence has blossomed and a generation of newgrass players is inheriting while reinventing this tradition. Purists need to a look back a few generations to what Dawg music did for what was then current in bluegrass.

After a great interview on Valentine’s Day with probably the best blues Americana musician alive, it was my pleasure to see him perform at the Boulder Theater. As I approached the theater, I noticed that there were a lot of people looking for extra tickets. I should not have been surprised, but the show was very sold out.

On a cold, snowy Friday night, the inimitable Dr. Ralph Stanley brought the heat to the Boulder Theater in his latest stop on his Man of Constant Sorrow Farewell Tour. Backed by the excellent Clinch Mountain Boys, Dr. Stanley sang some of his best-known songs along with the usual heaping of bluegrass standards made unique by him.

When the collection of talent present in Blue Sky Riders finds itself under the roof of the Boulder Theater, you make sure you get a seat (literally, it was a seated event). While their story is one of chance, their music is no leap of faith.