Sun, 11/20/2011 - 12:23 pm

When Polytoxic and the Denver Horns come together every year to perform the Last Waltz Revisited, they remind us of the difference between going to a show and going to a SHOW.  Everything was in place- a food drive to support a local charity, a brilliant parade of local talent, non-stop entertainment, and an energy that danced through the ears of everyone nearby. More than that, the show was an open invitation to step back in time with them, to an era where real music and real music lovers came together and just had a good time.Upon first glance at the stage of the Boulder Theater, one might feel as though they walked into romantic candlelit dinner for two… while also surrounded by their closest friends and family. The mood in the theater was very relaxed for a Friday night. I felt as though I had walked into a private party or a poetry slam or a séance. I suppose it was a séance of sorts- calling upon the musicians of the 70’s that made the Last Waltz its original success.As the stage lights dimmed and the one man opening act, Buck Perigo, took the stage, acoustic guitar in hand and surrounded by candles, my interest was piqued. I had only heard rumors of Arlo Guthrie’s “Alice’s Restaurant” but had never heard the monologue in its entirety and didn’t quite know what to expect. As I looked around the crowd, I realized I wasn’t alone. Those who weren’t paying close enough attention might have thought the 20+ minute guitar soliloquy was a sweet, nostalgic story of days gone by. After realizing that the story of Alice’s Restaurant is a tongue and cheek and often macabre account of two boys getting arrested for protesting the Vietnam War, I also realized the brilliance of the scene that was unfolding in front of me. I would definitely eat at Alice’s Restaurant again, and Perigo’s set turned out to be the perfect appetizer for the rest of the night.When Polytoxic and the Denver Horns came bounding out on stage and immediately tore into Up on Cripple Creek by “The Band” I knew we were all in for a treat. This 7th Anniversary of The Last Waltz Revisited drew its usual following and plenty of new listeners that will surely join the bandwagon for next years’ show. There was so much vocal and instrumental variety that every single song was like its own mini-concert. Throughout the almost three hour long set, they performed hits from the The Last Waltz including Wheel’s on Fire, Helpless (Neil Young), Forever Young (Bob Dylan) and The Band's classic, The Weight.  Staying true to the theme of the original Last Waltz, almost every song showcased aspiring local musicians alongside well-known guest artists, like the soprano saxophonist from the Motet.The Last Waltz, originally performed by “The Band” in 1976 on Thanksgiving, showcased musical legends Bob Dylan, Eric Clapton, Neil Young and others and was filmed by acclaimed director Martin Scorsese. The highly successful collaboration of talent inspired the local Denver band, Polytoxic, to recreate the concert, celebrating local music musicians every year around Thanksgiving, since 2005.What sets Polytoxic apart from other “Jambands” is that they’re not really classifiable, and they don’t aim to be. With elements of funk, jazz, blues, rock, and even a little bit of soul, there really is something for everyone at a show like this. Tori Prater’s growly vocals embody the spirit of Rock and Roll, while CR Gruver’s jazzy, funky keyboard skills make us wish we had all paid closer attention during piano lessons. Bringing it all together, like the secret spice in your favorite spaghetti sauce, was Chad Johnson on Percussion. The real treat of the night came from the Denver Horns- a 4-piece traveling brass section that all but stole the show, which was quite the accomplishment at an event like this. If you weren’t paying attention before, you were now.There’s something magical that happens when people are doing what they love to do. It’s palpable, infectious, and impossible to ignore. Whether snuggled up in the balcony, stomping to every beat center stage, or howling from the sidelines, a collective happiness permeated throughout the crowd throughout the entire night. I’m proud that Boulder can play host to such a fun Thanksgiving tradition.Check out more photos from the show.

Sun, 12/11/2011 - 5:24 pm

Going to a Trace Bundy show is like going to a family dinner that you actually want to be at. The first time I listened to Trace Bundy’s music was in college. A friend had a copy of his “Adapt” CD and I used to play it when I needed to relax. This was the 3rd time I have seen Trace perform. The first was at a small church in Boulder and the 2nd was last year at his 2nd annual Holiday Show at the Boulder Theater. It really wasn’t until I saw him in concert that I truly understood how impressive this guy is! Whether playing in front of a few people or a packed theater, he always makes the audience feel as though they are all just hanging out in his living room, where he is recounting his latest adventure or showing us the newest thing he’s been playing around with on his guitar.

The Jaden Carlson Trio opened up the show. The trio is comprised of Scott Messersmith and Garrett Sayers from the Motet and 10-year old Jaden Carlson on vocals and acoustic guitar. Ten years old!  A collective jaw-drop came over the crowd as soon as soon as Jaden started playing. It’s difficult for anyone to upstage seasoned and accomplished musicians from the Motet, but it was clear that almost all eyes and ears were fixed upon Jaden. During her 10 song set, she played several songs she had written herself, displaying a lyrical and musical maturity one would expect from someone three-times her senior. With an incredible stage presence, depth, and a natural ear for music, this girl has a very bright future ahead of her. The Trio finished their set to a standing ovation from the crowd and left us all asking ourselves, “What were we all doing when we were 10?”

After a brief set change, acoustic guitar master, Trace Bundy, took the stage. Last year, he performed at the Boulder Theater, literally right after the birth of his firstborn son, Sawyer. This year, he came bounding out on the stage, presenting a very adorable and comfortable Sawyer in a moment reminiscent of the Lion King.  After Sawyer left the stage, Trace opened up with a brand new song, inspired by one of his trips to Africa. Then, Violinist, Aubrea Alford joined him to perform a beautiful rendition of  “O’ Holy Night.” Aubrea accompanied Trace on several songs throughout the night. Through a joyful blend of storytelling, creative technology, and captivating talent, Trace was able to keep the audience engaged and excited throughout the entire show. During an intermission, he went backstage to pick the winner of the “Ugly Christmas Sweater Contest.” The contestants got to come up on stage with Trace, where he presented the winner with an engraved trophy.

Trace “The Acoustic Ninja” Bundy grew up in Buena Vista Colorado and begun playing music at age 11. He later went on to become an Engineering Professor at the University of Colorado, Boulder. Trace often combines these two skills on stage and always manages to amaze audiences, and even himself sometimes. He has become a master of capos, creative guitar, and integrating technology with natural-born talent. He can play songs backwards and loop them forward, reveling the original song. Through looping and fast fingers, it often sounds like he is playing several guitars at once. Him and Aubrea even played their own version of Stevie Wonders’ “Superstition” through a guitar and violin app on their iPhones! My favorite Trace Bundy song, “Joy & Sorrow,” features two guitars. The first guitar melody is played in the key of D-minor, which he then sets on a loop. The second guitar melody is played over the loop in the key of D-Major. He switches back and forth throughout the song creating something truly beautiful.

This is why it is difficult to place Trace Bundy into a genre. His music is complex but lovely; ethnic but familiar; serious but light. Maybe that’s why he is affectionately referred to as the “Acoustic Ninja.” You never know what he’s going to attack you with next. He doesn’t sing. He doesn’t need to- his guitars have a voice all their own. Trace Bundy is just as talented as any of the great rock legends, but you can tell right away that he isn’t out seeking fame or fortune. He is so modest that it is almost disarming when you watch him play. He loves his family, his charity work and travels, and creating beautiful music. What more could one ask for? He and his wife Becca have traveled all over the world together and have begun to take their son along with them. The close bond he shares with his family and their life experiences together inspire much of his music and it shines through during his performance.

Trace has released all five of his CD’s as an independent artist and I highly recommend checking them out and catching him perform the next time he comes around.

Check out more photos from the show.

Fri, 12/16/2011 - 10:51 am

FACE Vocal Band is a Boulder-based, six-man a cappella group featuring Jayson Throckmorton, Forest Kelly, Mark Megibow, Ben Lunstad, Stephen Ross, and Ryan Driver. All six versatile performers share the spotlight equally and take turns performing lead vocals. The group achieved national fame in 2009 when they were featured on the NBC Show ‘The Sing-Off.’ Everyone in the group brings their own special talent and, when combined with the others, produces something extraordinary. This years’ annual Holiday show at the Boulder Theater drew a huge crowd filled with young kids, families, couples, and seniors.Looking their most dapper, clad in suits and ties, FACE kicked off the Holiday show with a Christmas/Rock medley, mashing together “Angels We Have Heard on High” with Train’s “Calling All Angels.” The whole show was a fun blend of traditional Christmas songs, rock songs, and originals. The band covered a few favorite classic rock songs like Cream’s “Sunshine of Your Love,” U2’s “In The Name of Love,” and Simon & Garfunkel’s “The Sound of Silence.” They also blended together several Holiday favorites like “Little Drummer Boy,” “The Grinch,” and “O Holy Night.”  One of their original songs was even inspired by African tribal music. The way these performers band together during every song is truly a sight to see.Throughout the show, I had to keep reminding myself that there wasn’t a drum and bass track in the background and that the sounds we were hearing were all coming from the voices of the six men on stage. No tricks, no instruments, and no special effects- just six guys using what their mamas gave ‘em. A few really impressive moments came from Ryan Driver, who made his voice sound almost exactly like a harmonica. Mark Megibow, the “percussionist,” performed a drum solo, beat-boxing fragments of unique and familiar rhythms.The holiday-inspired lighting of the theater played well against the group’s subtle choreography, precise vocal harmonies, and storytelling from various band members between songs. All six guys were highly personable and encouraged audience participation and engagement. I usually have to duck into the shadows when the audience is encouraged to sing along, but even I had to admit to myself that it worked out well, due to the ambiance of the room and the infectious personalities on stage.The term “a cappella” conjures up images of barbershop quartets, bow-ties, and cheesy black & white variety hours. All of these things have their place, but FACE seems to defy all preconceived stereotypes about vocal bands. The demographic of their audience is as diversified as their musical catalog. While most of the songs they choose to sing are family friendly and feel-good, one could easily envision them owning any 80’s punk or Hip-Hop song with the same ease as a 1920’s jazz piece. I can imagine them fitting into almost any setting, from a swanky New Orleans lounge, to a huge stadium in the middle of Chicago, to an impromptu concert in a park on some random sunny day.This was an all around awesome show. Anyone who appreciates live music and showmanship will walk away from a FACE show feeling joyful and inspired. Most of the men in the group have families and full-time jobs. They mostly play shows around Boulder County and have currently released three CD’s.Check out more photos from the show.

Fri, 12/16/2011 - 11:56 am

A Rastafarian and a Hasidic Jew walk into a bar… It’s not the setup for a punch line, it’s just another night at a Matisyahu show. Where else can we go to see Yamakas and Dreadlocks in the same place? The fusion of the two cultures is everywhere at a Matisyahu show, and a huge following of fans have evolved from the musical blend of traditional Jewish themes, reggae, and hip-hop that he has created. Matisyahu has been in the news, recently, for shaving off his long signature beard. The beard that had a star power all on its own and had become a symbol of his Jewish faith for over a decade. Matisyahu made a statement to fans, reassuring them that the gesture was not a sign that he was forsaking his faith, but rather that he was ready to shed his alias and just be himself. Matisyahu (his Hebrew name) was born as Matthew Paul Miller. It will be interesting to see if he will eventually forgo his stage name as well.

He played to a sold-out show at the Boulder Theater, and many of his fans were anxious to see if the sudden change in appearance would have any effect on his music.  Though he was late to take the stage, the crowd didn’t mind and welcomed him on stage with an eruption of delight. After the initial shock of his new appearance waned, fans settled in and were relieved to see that the change did not affect his music. He was the same old guy- rapping and singing and skanking around the stage like he was caught in a mystical trance.

Matisyahu and his band played a lot of old favorites and a few new songs he has been working on for his upcoming album. The band produced a deep bass line that resonated through the entire theater and the ska-like upbeats kept the crowd on their feet, dancing to the rhythm and swaying their arms with the melody of the keyboard and guitar. Matisyahu shows are typically very soulful and full of energy and his lyrics are generally uplifting, but he can also dance that fine line between being overly preachy and inspiring. One of the reasons he’s so likeable is that he has developed a way of lightening the mood when the air in the room is starting to get a little heavy. Whether he’s joking around with or jumping into the crowd, he is constantly reminding us that, above all, life is meant to be enjoyed.

Matisyahu has also achieved a successful balance between playing to the crowd and expressing his core values. It’s always very difficult for an artist to stay true to ones beliefs, while also enjoying the spoils of mainstream success. He could have “sold out” years ago, but his strong faith in himself and his fans have reeled him back in where other artists might have caved. Ironically, a lyric from his most famous song, “King Without a Crown,” perfectly echoes his latest sentiments to stay true to himself and foreshadows his new commitment to rebirth and renewal in both his music and personal faith: “Strippin’ away the layers and reveal your soul/Got to give yourself up and then you become whole.”

An honorable mention should also go out to Dubskin for opening up the show. While Matisyahu is known for bending genres, Dubskin appeals to fans who enjoy a more classic reggae sound. Based in Fort Collins, Dubskin has been touring around the state and will be playing at the Snowball Music Festival in March.

Check out more photos from the show.

Sun, 02/12/2012 - 6:26 pm

Perpetual Groove has been a staple of the Jamband scene for almost 15 years now. Their studio recordings have been received with success, but it is really their live shows and dedicated fans that have kept P-Groove on top of the scene and riding that momentum into their sophomore decade. Based out of Athens Georgia, P-Groove has achieved international success and are staples of the festival world. They have performed at Bonnaroo, Wakarusa, JamCruise, Jazz Fest, and more. I had the pleasure of watching them play aboard JamCruise 10 this year and the group became fast favorites among new listeners. They have been on the boat many times and have acquired a very loyal fan-base over the years.

The whole night, hosted by The Grateful Web, was successful and fun. Music lovers of Boulder braved the cold and packed the Fox Theater, clad in colorful outfits and ready to party all night. The Werks, based out of Ohio, warmed up the crowd with an eclectic set of dark funk, jazz, trance, and ethnic grooves. There were so many people jamming out to the Werks' set that they could have easily been mistaken for a headliner. The accolades were well-deserved and I had a couple of their tunes stuck in my head the next morning. They would be a welcome addition to many festival lineups and I wouldn't be surprised to see their name showing up more and more.

Perpetual Groove took the stage and started off with an entrancing instrumental riff, heavy with long synth runs and electric guitar. Throughout their almost 3-hour long set, we were treated to a cornucopia of sounds and rhythms. From the slow and meaningful to jazzy, techno-inspired dance beats, the high-energy of the band and crowd could have continued well into the early morning. P-Groove seems to stand apart from other bands in their genre by incorporating elements of hard rock and metal into their shows. It shouldn't work but, somehow, it does. Just when you think you have their style figured out, they switch it up. Going to a P-Groove show is a little like being on the "It's A Small World" ride at Disney World. A constant and perpetual wave of sound carries the audience through 10 different worlds and, by the end, it is difficult to tell the difference between reality and fantasy. Although their lyrics are heartfelt and thoughtful, its their unique sound and lighting display that keeps fans excited and dancing for hours. P-Groove fans immerse themselves into the whole ambiance of the show and are not easily broken from their trance at the end of the night.

Lead guitarist and vocalist, Brock Bulter, hypnotized the crowd with his enigmatic guitar melodies and harmonious vocals, while Adam Perry (Bass) and Matt McDonald (Keyboard) provided a a fantastical accompaniment that pierced through room with each song. The glue holding it all together was Albert Suttle, on Drums. Each member shines in his own way, and all play equal parts in keeping the sound of the band intact and original. Even though different members of the group have come and gone over the years, their original style has persevered through all of the years of musical expansion. Music lovers really appreciate a band that can mesh together the expected with the unexpected, and P-Groove seems to achieve this blend at all of their shows.

Both The Werks and P-Groove are also able to strike an emotional resonance with the crowd, without sounding cheesy or cliche. They are, in many ways, an acceptable alternative to the the singer/songwriter format and always seem to find the right balance between serious and fun. One could get swept away in a melodic wave one moment and suddenly be dancing the night away with all of their new friends the next. It's not a show for everyone, which is why P-Groove fans are so devout. Their songs are long and diverge down many different paths, which can be a welcome relief from the typical song-writing style we have grown accustomed to hearing. So often, we go to shows and get so caught up in the instrumental and social aspects that we overlook vocals and lyrics. While P-Groove shows are highly performance driven, I would recommend checking out some of their CD's, like "Heal" (2009), to really get a feel for the musicality and lyrical side of the group.

Check out more photos from the show.

Mon, 02/20/2012 - 11:30 am

Soulive was in Boulder, at the Fox Theatre, all weekend long! "Snowlive," a three-day event, presented by KGNU, KGNC, and The Colorado Daily, featured mid-day workshops and three nights of shows. The workshops were run by the members of Soulive and focused on songwriting, expanding musical vocabulary, sound engineering, and the art of being a band. I stopped by one of the Saturday workshops to check everything out. The three members of Soulive were hanging out in the middle of the room, surrounded by the few dozen people who were lucky enough to make it onto the free workshop list. The intimate setting gave the audience a chance to gain a rare insight into the process of making music from start to finish. Brothers Neal and Alan Evans and Eric Kranso each took turns interacting with fans and showcasing their individual specialties.

The concept of "Snowlive"(specifically named for our snowy Boulder atmosphere) was inspired by "Bowlive," a similar Soulive event in Brooklyn. After enjoying the success of Bowlive, the band decided to extend their idea to other parts of the country. Friday and Saturday night, Soulive was accompanied by JJ Grey & the Jennifer Hartswick Horns. I attended the show on Sunday night, where Soulive performed songs from their 2010 studio recording, "Rubber Soulive", playing music by The Beatles. There was a super mellow vibe in the theatre. The first half of the show, Soulive played a variety of original songs and took requests from the audience. A lot of Soulive shows are really fast-paced and energetic so it was was a special treat to watch them play in a relaxed and laid back mood. Everyone was still dancing and having a great time and it was easy to feel the bond the band had formed with the Boulder crowd over the past few days. Because the theatre wasn't as crowded as the other two nights, we all had the chance to feel like we were at a special, private event. I loved being up close to Neal Evans and watching him play the keyboard. His ninja-like hands move so quickly that it doesn't even look like he's touching the keyboard sometimes.

Their second set started out with a cover of The Beatles, "Come Together," and they continued to play Beatles songs for the rest of the night. Their unique instrumental interpretations of classic Beatles songs was so refreshing and fun. Almost everyone has a connection with Beatles music in some way, and Soulive has a way of renewing the energy of their songs, while still maintaining the soul and original artistry of their own band. When they played, "Something In The Way She Moves," it sounded like Eric Kranso's guitar was singing. Alan Evans shined through on the drums, during a funky rendition of "Elenor Rigby." Even though you could hear the crowd singing along to the tunes, the absence of vocals really highlighted the musical talent of the trio. Hearing familiar songs in a new way, we were able to reminisce and form a new attachment to the fusion of classic rock with modern funk.

Soulive are far from rookies in the music industry though. The band emerged in Woodstock, New York in 1999 as a funk/jazz trio and has worked with many musicians on many different projects. The trio has recorded with an array of musical powerhouses like Dave Matthews, Chaka Khan, and John Scofield, opened for the Rolling Stones, and have played onstage with Stevie Wonder. Neal Evans and Eric Kranso also perform with the Boston Funk Band, Lettuce, alongside Adam Deitch and several other renowned musicians. Both Lettuce and Soulive play at various festivals, such as Bonnaroo, the Monterey Jazz Festival, and Jamcruise. Soulive's "down-to-earth" meets "cool cat" demeanor makes them widely accessible to both fans and music moguls. Who wouldn't want to show up at a party with these guys?

Soulive has recorded over a dozen studio albums and it seems like they have recorded or played with almost everyone in the music industry. Now a part of "Royal Family Records," I would expect to see a lot more Soulive events showing up across the country, and I hope they come back to warm up our snowy nights very soon!

Check out more photos from the show.

Thu, 03/22/2012 - 1:51 pm

On Wednesday night, the Colorado Daily and the Grateful Web presented "Twiddle" & "The Heavy Pets" at the Fox Theater. The show opened up with a seven-man reggae group, "Policulture." The band members all seemed pretty young, and the drummer was clad in a gas mask and a rasta hat. Once I stepped into to the room, I knew I had to stick around to see what these guys were about. I really enjoyed their soulful take on reggae music and their youthful presence was uplifting and refreshing. Sometimes a band of that size, with so much instrumental variety, can sound dissonant and overwhelming, but I was impressed with how tight and fluid they all sounded together. The intimate gathering of fans were loving every minute of it, and starting chanting their name at the end of their set.

Twiddle took the stage next and opened with, what I can only describe as, a rock-ballad roller coaster marathon. I was pleasantly surprised to see a live band paying homage to the rock opera genre, which has sadly fallen to the wayside over the years. It is almost insulting to call what they played a "song," as it was much more of a masterfully orchestrated composition. Mihali Savoulidis, the lead guitarist/vocalist, channeled classic rock and roll with super fast guitar riffs that lead into an all out free-for-all of sounds and dimensions. Then, what started off as fast-paced rock ballad, seamlessly evolved into a classically beautiful piano solo from keyboardist Ryan Dempsey, and then emerged back into an electric wonderland. I oftentimes felt like I was in a video game, on an epic quest to slay dragons one moment and frolicking in a field of bright, virtual poppies the next. All it was missing was an organ and a sea of wide-eyed fans with their lighters stretched to the sky. After the opening musical monologue, the boys settled into a jammier/funkier mood for the rest of their set.

The Vermont-Based quartet got the entire crowd pumped-up and moving their feet. However, I think the group did themselves a disservice by starting out with such a powerful opening number. The rest of their performance was nothing short of fun and positivity, but I felt myself waiting for the same depth and intensity of the first twenty minutes. The band does show an incredible versatility in styles ranging from classic jazz to ska to hard rock- and sometimes even in the same song. The crowd loved it and the show did indeed end with lighters in the air and a chant for more.

By the time The Heavy Pets took the stage, the crowd had mellowed out and were ready for round three. The Heavy Pets are popular in the Jam Band community, so it wasn't surprising to see a lot of familiar faces in the house. Members from Twiddle were spotted front-row center, supporting their friends and dancing along with the other fans. I love it when bands and fans play off or each others energy, and The Heavy Pets always seem to interact with a fineness often seen in groups that have been together for much longer. Members, Jeff Lloyd, Mike Garulli, Jim Wuest, Jamie Newitt, and Justin Carney, played off the audience and each other to create a fun blend of rock, ska, electronic, and folksy music that left everyone in a good mood. It was the perfect atmosphere to zone out and let your body take over. However, what really sets this group apart is that every member can sing! Not all at once or all the time, but each member contributes a vocal accompaniment. This sign of genuine talent and collaboration is not only uncommon in the jam band world, but the music world as a whole.

The Heavy Pets are a band to root for. They hold their own in a community where some groups have been around for decades. Originating out of Ft. Lauderdale, Florida in 2005, we are really lucky they love to play in Colorado. During this tour they are playing four shows around our state. They will also appear at Wakarusa, Purple Hatters Ball, and Amberland, and made their fist appearance on JamCruise this year, solidifying their place in the community and setting themselves up even more success. Their latest studio album, "Swim Out Past The Sun" has earned a heavy amount of praise and attention. With a studio release almost every year since 2007, this group shows no sign of slowing down.

Check out more photos from the show.

Sun, 04/22/2012 - 12:12 pm

It was all Scarlet Begonias, a touch of the blues, and a whole lot of funk and soul last night at the Boulder Theater. The Motet was back in town for an encore performance of their "Funk is Dead Show." They were in Boulder for the Halloween show last October and it just wasn't enough to last us another full year. This show also sold out in no time, and there were so many people walking the streets outside of the Theater begging for tickets that I thought they might start breaking down the doors to get in. Taking on the Grateful Dead in this town is no small feat, but the Motet does it with ease, soul, and a deep cadence that resonates through the whole town long into the night.

I absolutely love the stage setup for this show. Huge, glowing skulls with bright red roses placed around the stage; Soft red lighting, with bursts of blue and green. It's eerie, classic, artistic, beautiful, and exactly what i would have pictured a fusing of the Motet with the Grateful Dead would look like. The only thing missing was a group of dancing bears dressed in zoot suits.

Yellow Dubmarine, an 8-person group from Washington DC,  started the night out right with with a reggae/funk inspired cover of Beatles from "Abbey Road." I was feeling a little skeptical before they went on, thinking to myself that this was just another gimmicky Beatles cover band that would inevitably pander to the crowd and haphazardly stumble through our favorite Beatles hits like so many cover bands do. No one likes to admit when their wrong, but this was one instance where I was happy to eat my words. I loved these guys. Reggae and cover music have never been my favorite genres, but I can honestly say I've never been more pleasantly surprised by a group. These guys tapped into the heart of the Beatles and added a fusion of rhythm and soul that revived the spirit of the 60's while remaining modern, fresh, and fun.

By the time the Motet went on, I couldn't even navigate my way through the crowd to get a good shot of the stage. As a photographer, this frustrated me but I also realized that the tougher it is to get good pictures, the better the show. These guys, as always, were dancing around the stage with each other, moving in and out of the spotlights, and just loving life. The best part of the Funk is Dead show is that you really don't have to know anything about the Dead or even like their music to enjoy the show. I've seen these guys play a lot and it really never gets old. They cover the Dead so well that it's difficult for me to image those songs sounding any other way now. "Playing In The Band," "Fire on The Mountain," "Casey Jones" and "Turn On Your Love Light" were just a few of the great songs they covered over the night and the crowd sang along to every song and were on their feet for the whole thing.

In my opinion, it was singer Kim Dawson who stole the show. Her powerful pipes took center stage and rose the above the rhythm section, the horns, the guitars, and a packed theatre. A fighter jet would have a hard time competing against her vocal chords, but the best thing about her is how well her voice complements the rest of the rest of the guys and remains strong, without being overpowering. Equally as great were Jans Ingber and Paul Creighton. Their voices fit so well with the others and their energy and joy on stage is infectious. Joey Porter (keys), Dave Watts (drums), and Garrett Sayers (bass), also brought down the house and added the funky and precise rhythms we all recognize as being uniquely "Motet."

However, it was Ryan Jalbert and Dan Schwindt who bridged the gap between the Motet and the Dead with their melodic and crisp guitars riffs. While most of the post-psychedelic jammy sound of the Dead was replaced by deep bass and funky runs, it was the guitarists who teased out some of those old-style barefoot, patchouli infused flowing melodies that have kept the Dead alive and well for over 40 years. Finally, the glue that holds all of these different styles and personalities together is the famous Motet horn section. Gabe Mervine (trumpet), Matt Pits (tenor sax), and Serafin Sanchez (Baritone Sax) really can do it all. I kept imaging them on stage with Phil, Jerry, and the others and how well these two two distinctly different sounds merge each other in a very pleasant and unexpectant way.

The group came back after intermission and picked right up where they left off, with the same amount of energy and enthusiasm all the way through to the end. This is a group that could come back to Boulder every month and generate the same exuberance from their fans every single time. If you haven't seen them on Halloween, I highly recommend checking them out when they return in October. There's no better party in town and as long as they keep belting out classics and keep doing what they do, funk will stay very much alive.

Check out more photos from the show.

Wed, 05/02/2012 - 4:32 am

There is a lot going on in Trace Bundy's newest studio release, "Elephant King." Fans of Bundy should instantly recognize his signature style, laced with looping harmonies, percussion on the guitar body, and complex music theories and melodies that could only come from him. This is Bundy's most diverse and complex effort to date, and he accomplishes it all with finesse and a playful spirit that shines through on every track.The album opens up with the title track, a beautiful and intricate mix of percussion and harmony, delivered with depth, precision, and some very speedy fingers. The next track, "Joy & Sorrow," features two guitars. The first guitar melody is played in the key of D-minor, which he sets on a loop. The second guitar melody is played over the loop in the key of D-Major. He switches back and forth throughout the song creating a sound that is both playful and introspective, setting the tone for the rest of the album.There is also a wide assortment of cultural influences woven throughout the album. The track "Traverse," for example, has a fast-paced Spanish and Latin feel, while the track, "Coronation" is more mellow and folksy sounding. Perhaps the most classical and soothing sounding track is "Be Still," which features a violin and simple harmonies. An honorable mention should also go out to the track "Tres Capos," which is another classic homage to a musical technique that Bundy has mastered and continues to impress with. This is song I would love to see him perform to a live audience.My favorite track off the album, "Adventures in Sawyerland" (named after his son), feels the most authentically acoustic and "Trace Bundy"-like. Most of the tracks on this album feel like they are taking the listener on an adventure. There is no telling where a Trace Bundy track will lead, what it will evolve into, and how it will resolve itself. That's what makes his music so memorable and captivating. His songs invite listeners to actively participate in his musical journey along with him and we end up feeling a stronger connection to the music.Overall, the 11-track album is another success for Bundy. It has everything we have always loved about his music, and a level of complexity and growth that we all expect from an artist on his 5th studio release. This would be a great album to bring along on a plane or anywhere else you might need to feel both  mentally stimulated and relaxed.