Last night the famous Fox Theater hosted a band that has been rapidly finding fame of their own.  Or should we say…infamy? Drawing in an audience from the blustery Boulder wind, The Infamous Stringdusters, warmed us up with a set that left us with no doubt why their ascension to the top of the bluegrass charts has been so rapid.

Mere seconds into “No More To Leave You Behind,” it was obvious.  These guys were here to play and leave nothing on the table, an attitude which they carried throughout the entire show. The crowd equally never stopped, continually singing and moving along with each song.  These were obviously not just causal concert-goers, but fans, clearly intimate with the verses of many of their songs.  It seemed that not a voice was silent as they gave us more from their repertoire, especially during some of their well-known cover songs, such as John Mayer’s “3 x 5.”

They slowed it down for “High On The Mountain Top”, a Marty Stuart song many fans hope will make the next album. Never missing a beat, they soulfully wove the melody together with tight, three-way vocal harmonies.  Meanwhile their instruments seamlessly mimicked the lonesome chill of the mountain's “wind blowin’ free.”

The quintet’s spell was so enrapturing that it caused us to forget that they had lost their “sixth man”: the mandolin. Jesse Cobb left the band a mere four months ago, taking with him his arsenal of mandolins, and as a result, leaving the upper register of their live performances noticeably vacant, a presence missed by those familiar with their work. Since his departure they have found the occasional fill-in, but no steady touring member to date.

And then, almost as if they too had begun to feel this essential instrument’s absence, they responded by giving their audience a glimpse of their full glory.  Bassist Travis Book stepped up to the mic and introduced their special guest for the evening, Jeff Austin.

Austin, “infamous” in his own right as a long-standing cornerstone of Yonder Mountain String Band, appeared from backstage, mandolin in hand.  Seeing such a wealth of picking skill on one stage was apparently too much to handle for this sold-out crowd.  They erupted in cheers and danced all the way through the Austin-led version of “Up On the Hill,” one of the evening’s best offerings.

As good as it was, it highlighted the group’s need to get out there and find a permanent mandolinist, one that can keep up with their lighting fast licks.  This will undoubtedly be a hard, if not near-impossible task for this masterful jam band that draws inspiration from wells both old and new, such as John Hartford, to Jerry Garcia, to U2.

As the end drew near, fiddler Jeremy Garret invited us to keep the magic going at their next stop on Friday night, just a short drive up to the mountain resort town of Breckenridge.  This is, after all, their annual Ski Tour, and the snowy slopes are calling them.

Then they went out with a flurry of string-dusting virtuosity, passing the lead back and forth between Garrett’s fiddle, Andy Hall’s dobro, Andy Falco's guitar, and Chris Pandolfi’s banjo; playing as if in a deep, private conversation without words.

Well after the lights have dimmed, all who were present are ever more certain of one thing: if these guys can find a way to stick together for the long haul, then music lovers everywhere can expect years of magical nights with The Infamous Stringdusters, giving us memories that will live on in infamy, forever.

Check out more photos from the show and a video of 'No More To Leave You Behind' with Jeff Austin.

What happens when you take little pieces of bluegrass, surf rock, Afro-pop, Spanish flamenco, hip-hop, and blues, and then shake them up in the “Boggle cube” of these North Carolina based artists?  Well, you’ll get ONE of The Toubab Krewe’s songs.  Shake it again, and these same pieces of musical inspiration will form a totally different song, while retaining their distinctive sound.  This outside-the-box approach, combined with creative song writing and a slew of skillfully played instruments, has given them a reputation for being one of the most unique groups around.

The evening started with up and coming local band, Ground Up, a modern rock jam band.  They gave us an energetic set that was highlighted by the riffing skills of both their lead guitarist and keyboardist.  Although they’ve only been together a couple of years, and have yet to hit full stride in their artistic chemistry, they have a well rehearsed set of toe-tapping head-bobbing rock.

Then DJ Equal, a record scratcher hailing from NYC, dropped the beat on us, seamlessly mixing hip-hop and dance tunes.  This accomplished spinner brought us through a musical history of sorts, moving the crowd with modern rhythms infused with tracks from the 60s to the present.

When Toubab began to perform, those not in the know were wowed by what this group brought to the stage.  Exotic looking harp-like lutes made from gourds, a four-stringed guitar-like thing that appeared to have been fashioned out of a cigar box, a set of West African kettle drums, and a crazy looking xylophone, were all used to surprise the audience as they constantly shifted musical gears.  Strange to see these foreign (“Toubab” means “foreigner” in several African dialects) instruments rocking out in tandem with the guitar/bass/drums formula of domestic music. Yet it all made perfect sense to the entranced revelers in the theater.

And just when we thought we had this group figured out, they did something even more unexpected. They SANG, an odd choice for a band that has built their house on an instrumental foundation!  Not one vocal is heard on any of their previously released work.  We wondered why this “strictly” instrumental group made the decision to include vocally driven pieces their live performances, betraying their previously established identity?  The answer came from the music itself: “because we’re good at it and you love it!”  This we could not deny.  They interspersed renditions of crowd-pleasing covers, such as Lead Belly’s “Where Did You Sleep Last Night,” Nirvana style, and a slowed-down version of bluegrass classic, “There Ain’t No Whiskey In This Town.”  A highlight of the evening was when bassist David Pransky grabbed the lead and sang his way through an original African-inspired flamenco party jam, enirely in FRENCH.  Proving once again that, whatever your box is, this talented group of multi-instrumentalists will not be put in it.

Changing it up once more, they invited DJ Equal out to contribute his turn-table skills on several songs.  His tracks mixed well with the instruments, demonstrating yet another facet of this gem of a band. It’s not surprising they melded so well, considering that these two have an established history together. Equal, a friend and fellow native of Ashville, North Carolina, has previously toured and collaborated with Toubab Krewe (see “Holy Grail” on their latest albumTK2), making this a perfect pairing for the band.  The Bluebird show marks the first of a four-date mini-tour where the two will share the marquee, giving fans even more reason to make those shows.

After this showcase of inspiring creativity, we look forward to when Toubab Krewe returns to the area.  How could we not? After the Bluebird we carry such high expectations. We can expect to be dazzled by their techniques, uplifted by their melodies, and transported to foreign musical lands, all without the use of our passports.  But that’s about all we dare expect, since this band seems so dead-set on leading fans through an unexpected journey that is their music.

Check out more photos from the show!

Also, don't forget to check out Grateful Web's recent interview with Luke Quaranta, percussionist of Toubab Krewe. 

Thanks the kind folks at Mason Jar Media for setting everything up!

Opening up the show, the band Onward, Soldiers, fresh off recording their sophomore LP, Monsters, started us off with a tight performance that sourced heavily from their new album.  Rapidly collecting fans and critical attention, this young band from North Carolina gave concertgoers reason to jump on the bandwagon.  According to lead singer Sean Thomas Gerard, “We’ve been a band for three years, but only two years with the current members.”  Despite that fact, Onward, Soldiers have a mature sounding blend of acoustically driven alternative and southern rock, while still sounding fresh.  Much of this comes from the presence of the lead singer, who brings a voice and lyrics that reveal an old soul. Gerard sang his way through, “Cry,” the most twang-y track off their Feb 21^st release, mixing his emo stylizing and the band’s obvious country influence to a suburb effect. We danced along with guitarist Lincoln Morris who, despite being forced to play seated due to recent leg injury, weaved together some moving chops on “Cinder Blocks.” After the show Morris jokingly related to me, “It was a mountain lion” that put him in crutches.  Actually, he had done it while unloading some oversized stage equipment from the van, one of the many risks of the road for these up and comers.  Injury notwithstanding, on they trek on tour Colorado through March 3^rd.

Poor Man’s Whiskey, the headliner, gave the fans at the Fox two distinctly different sets to enjoy.  The first set was an awesome display of their bluegrass prowess, including the guest appearance of the famous fiddler, Michael Kang of String Cheese Incident.  They jammed their way through crowd-pleasers, such as renditions of “Land Down Under,” “Cripple Creek,” and “Catfish John.”  Poor Man originals were to be heard as well, like “PMS,” which according to them stands for Pretty Much Screwed.  They also showcased the catchy “Stuck in Colorado,” about lead singer Josh’s experience last year, right here at the Fox Theatre.  Without spoiling the story, it’s a song about the few hours that he spent detained by the Boulder Police.  An incident he blames on his taste for Pabst’s Blue Ribbon.

After a small break they returned for their second set, their Pink Floyd tribute Dark Side of the Moonshine, a re-imagining of the concept album from a moonshiner’s point of view.  They reappeared on stage in costumes from the other side of the rainbow, alluding to the synchronicity theory between the album Dark Side of the Moon and the 1939 film The Wizard of Oz.  Looking like some kind of backwoods rock stars  that had taken a wrong turn onto Yellow Brick Road, out came lead singer Josh cross-dressed as Dorothy, sporting braided pigtails and all. Mandolinist Jason was in costume as the Scarecrow, drummer George as the Wizard, guitarist Sean as the Cowardly Lion, bassist Aspen as the Wicked Witch of the West, and joining in the fun was special guest fiddler Kang as the heart-less Tin Man.

For almost 50 minutes they took us track by track through the famous album.  They mesmerized us on this tour through familiar territory, introducing us to a musical vantage point that sparked more than a few smiles from long time lovers of these songs.  Most of the songs brought the original version into a bluegrass interpretation, as opposed to trying to karaoke it with the banjo and mandolin, showing off their ability to reinvent.  Highlights came from their newest addition guitar virtuoso, Lehe, and local guest violin hero Kang, both of who shredded it up for “Any Colour You Like.”  And if you we’re singing at the top of your lungs through the up-tempo grass-jam finale, “Eclipse,” then you must not have been there.  And if you weren’t there, be sure to catch them on their next time through.  You will not regret it.

To sum it up, the evening with was a success:  no one suffered any injuries from heavy stage equipment, the self-proclaimed “hairiest Dorothy ever” drank PBR and remains free from jail, and we were delighted with hours of musical favorites, old and new.

Check out more photos from the show.

Zach Deputy brought his creatively branded “island infused, drum ‘n’ bass, Gospel-Ninja-Soul” to the Fox Theatre this week.  Part gospel, because he is a disciple in the way of the one-man-band.  Part ninja, because his music attacks you with dizzying techniques.  Part soul, because whether or not you choose to surrender to his music, your soul cannot escape.  Ok, that might not be the meaning Zach intended us to get from his self-description.  But it should be.

Making creative use of looping technology and a host of electronic toys, he reminded us how enjoyable it can be to watch a lone performer.  Deputy played the entire set seated, surround by a collection of digital effects panels and pedals.  Though he did not wander once from center stage, his arms and legs were constantly flying here and there, from one digital instrument to the next, creating layers of bass lines, beat box rhythms, strumming patterns, vocal effects, and more.   He sang using four separate microphones, utilizing each mic differently to amplify the many different presentations of his multi-faceted, soulful voice.  You’d think that this kind of approach would further demand the employment of at least four different guitars, yet he used only one, a nylon-stringed classical guitar that sometimes sounded like a funk bass, then an rock organ, then a Stratocaster, then a brass horn section, then a traditional classical acoustic.

Those who witnessed Zach’s performance were inspired to the core by more than just his instrumental abilities. His voice is bad-ass as well, capable of the highest dance hall falsettos, island reggae stylings, and drawling blues as thick as the ocean’s fog.  Jumping from one genre from the next, each song sounded as unique as the last, all the while inscribing his own personal ZD flare upon each tune.  My personal favorite of the set, “Into the Morning,” which is the closing track off his most recent studio effort, begins with classical-style flamenco tremolo, then transitions effortlessly into a head-bopping reggae jam.

His songwriting and performing style evokes images of a gospel preacher eliciting praiseful responses from the crowd, leading a congregation in a gospel-esque fashion. His ability to involve the audience in his spontaneous compositions heightened this feeling of this spiritual revelry.  This singer-songwriter led his congregation, prompting the crowd to sing, scat, and shout their joyfully responses.

Then after a killer Frank Zappa cover, he said goodbye and sent us home as new converts in the Zach Deputy way, a response not uncommon amongst those fortunate enough to have danced at the feet of this masterful musician.  And this is how this unassuming, humble man from North Carolina has gained such a dedicated following.  More than one concert-goer confessed to having paid for his ticket because a friend or roommate had seen Deputy before and raved about this guy.  Not a surprise.  I also left that night fully intending to share the good news: this guy puts on a kick-ass show.

Check out more photos from the show.

This week the stage at the Boulder Theater was eclipsed by the looming shadow of a performer with a gigantic reputation, one who has been in the spotlight for over three decades.  Dressed in his signature black jeans and black tee, Henry Rollins took center stage, adopted a rocker-like stance, and firmly wielded his weapon of choice: the microphone.  Initially it was difficult hard to behold this lone veteran of guitar rock without a metal band backing him up.  But, of course, Rollins is equally as experienced in moving fans with humor and insight as he is with inciting riotous mosh pits with his bruising vocal chops.

He showcased his social interests with commentary on American mores, highlighting his desire to see Americans stop destroying themselves on a fat-rich diet of television and apathy.  Still, he’ll “fight for your freedom” to atrophy on a intellectually sedentary lifestyle, if that’s your preference.  Rollins, one accustomed to using the stage as a megaphone for his political rally cries, caricaturized the Republican front-runners to sidesplitting effect.

This self-described “fading 80’s era alternative icon” explored the vulnerable side of life as well.  Henry related a few delicate letters from fans and his thoughtful responses.  His humble wisdom snuck through the back door of these tales as he captivated us with his no-nonsense humor.

A seasoned traveler, Rollins spoke of life on the road as hard rock front man, humanitarian, and cultural enthusiast.  Anecdotes poured from him at punk rock speed.  Stories of this legendary artist were as varied as his body of work: delivering soap and soccer balls to Haitian tent cities, the differences between broken-down band vans and bathtub-equipped tour busses, eating roasted Indian rats, and wrestling alligators while taping his soon-to-be-aired series on NatGeo Channel.

The two plus hours that he gave us felt like no time at all.  It passed in ease and comfort as if you weren’t listening to a performer, but your wise and witty grandfather.  That is, if your grandfather was a former long-haired head-banger with more tattoos than rock albums (at least 17 on both counts).  Adding to his résumé with this current act, The Long March Tour, Rollins gives us reason to hope he keeps on rocking our worlds for another 30 years.

Boulder was rocked off its ass this week when Social Distortion came through town, bringing with them their infamous brand of rockabilly a la punk rock. Frontman Mike Ness and crew were on hand to deliver the Social D experience, greatest hits and then some. Sporting a fedora like the gangster straight outta the prohibition-era inspired “Machine Gun Blues” (one my faves of the night), Ness started the set with radio-friendly “Bad Luck,” and took us on a tour through the three-decade reign atop their genre.   Not only did they give up the Social Distortion classics like “I Was Wrong” and “Ball and Chain,” but they played their way through some of the new stuff off their most recent album, Hard Times and Nursery Rhymes, like the story-ballad of a guy stuck in “Bakersfield.”

Performing under a giant banner with the familiar S.D. skeleton flashing his (or her?) toothy smile, the band sent the crowd into a tizzy for almost an hour and a half. Taking the time to switch it up a bit from their familiar formula of fast-paced rockabilly, they went unplugged with an upright bass, acoustic guitar, and accordion on a cover of the country-rich “Let The Jukebox Keep On Playing” (see Mike Ness’s solo album Under the Influences.)

And as the night at The Boulder Theatre came to an end we were blown away by the raw aggression of “Reach For the Sky,” and then transported into the stratosphere via Ness’s gravelly crooning on the classic Cash homage, “Ring of Fire.” This wonderful finale reminded us of why Social Distortion has thrived through it all, despite having gone through more lineup changes than albums: they have a distinctively edgy sound, balanced by simple yet soulful melodies, rooted in the heart of American rock.

Check out more photos from the show.

The good folks at the Hi-Dive in on Broadway treated Denverites to a line-up of great music last night. On the bill were three relatively new groups, all having been founded after 2009. More than worth the ten bucks to get in the door! Once inside, we were greeted by the creative sampling sounds of Young Man. This signaled the start of rocking. Young Man stands largely on the talent of front man Colin Caulfield. This Chicago based singer-songwriter popped into the public’s eye first with his YouTube performances, then a solo EP, and now as the leader of this solid rock outfit. Young Man creates a soundscape utilizing equal parts with the use of distorted guitar arpeggios (light on the grunge, heavy on the reverb) and haunting synth harmonies. Tight riff building, a driving rhythm section, vulnerable lryics, and the soulful desperation in Caulfield’s voice captivated the crowd. I for one am definitely excited to hear more from these young men as their music continues to “grow up.”

The Raven and The Writing Desk were up next with their potpourri of jazz, folk, and prog-rock stirred up by the powerful vocals of Julia Libassi. One wonders at the name for the of this Denver-based band. Brushing off any immediate Carroll The Raven must be the beautifully haunting sound from combining the piano, violin, distorted guitar, marimba, jazz bass, and Alanis –like vocals, giving their music an air of both whimsy and despair. And to those willing to listen closely, we must conclude the writing desk is clearly well-worn, given their musical and lyrical depth. Another group deserving of having their work published.

The headliners, Suckers, came with something to prove as well. Hot off their second full length album, Candy Salad (from Frenchkiss Records, also home to Young Man), Bright and crispy clean brit-pop from these New-Yorkers left one reminiscing of some of Bowie’s upbeat jams. Lead singer Quinn Walker draped plenty of falsetto and whistling throughout. On songs like “Chinese Braille”, it’s hard not feeling a little more optimistic. The driving arpeggios from guitarist Austin Fisher also gave that same insistence: all at the Hi-Dive had reason to rejoice. The rest of the world were suckers themselves for having passed on some quality tunes from these up-and-comers.