BandWagon Magazine - December 2020 - Thin Black Line: Venues Fight to Survive by BandWagon Magazine

MUSIC reviews Musketeer Gripweed PG. 4 Alright Alright PG. 6 The sickly hecks PG. 8 Enzi PG. 12 Modern Leisure pg. 12 People in General pg. 12

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John March remembers Ted Greene

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Musketeer Gripweed More Than Ever

Valerie Vampola

BandWagon Magazine

Fort Collins-based band Musketeer Gripweed released their newest full-length album More Than Ever on November 24, their first since 2014. They evolved their sound with the help of producer Andrew Berlin (Gregory Alan Isakov, Rise Against) and engineer Chris Beeble, taking their bluesy Americana sound and infusing it with gospel and soul. The opening track, “Gasoline

Free,” should set their longtime fans at ease: they’re still the same chair-smashing band with rowdy rock riffs and the gravelly voice of lead singer Jason Downing. But then in songs such as “Rich Man’s Child” and “More Than Ever,” a gospel choir supports the band with soulful background harmonies and a call-andresponse with Downing. By the time the track “Shine” comes along, they’ve taken the listener to church with an enthusiastic back-up chorus, screaming horn lines, and a shredding solo by their new guitarist, Lance Ruby.

they add a layer of soulfulness that Musketeer Gripweed didn’t have before.

The horn section, another new addition, brings the soul to Musketeer Gripweed’s sound. They subtly sneak their way into the listener’s ears on “More Than Ever,” reinforcing the guitar and weaving in and out of the back-up vocals. While the horns may not play a part in their live setting (yet),

Gospel and soul sounds are appropriate for a project that was brought back to life after it was halted by COVID-19. After the members of Musketeer Gripweed personally funded this album, presales and an Indiegogo campaign helped offset the costs, proving that their music

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is just as infectious as anything that might try to stop it. With this growth and fan-based push, their catalog will grow at a much faster clip now: This is the first of three albums they intend to release in the near future. Check out More Than Ever and all Musketeer Gripweed have to offer at musketeergripweed.com

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Alright Alright Crucible

Valerie Vampola

BandWagon Magazine

The music places the listener directly in the room with China and Seth Kent via a creaking piano and China’s voice materializing into barely more than a whisper on “Don’t Worry.” The aural intimacy entrances with sparse instrumentation and drone-like tones in “Left but Not Arrived,” where a soulful saxophone compliments China’s voice with whipsery tones.

The album’s stand-out is “Are We Gonna Make It.” It carries some of the same elements shared in Crucible’s other tunes, (heavy use of strings, a sparse sounding intro) but this one moves away from the organic to a polished production, giving it a dramatic, cinematic vibe, like something in an indie movie trailer. I know the band doesn’t want to do this on every track — the orchestration would have ruined “Trans Am” — but the effort really shines here. While most of the songs keep a consistent level of intensity, “Are We Gonna Make It” pushes for a bigger climax, and China reaches a power that isn’t heard elsewhere on the album. This both hurts and helps them, as it’s a song most couples would die to write, but it also makes you wonder what this duo could have done had they brought that same intensity to Crucible on the whole.

These dreamy sounds are contrasted by her husband Seth, who shares a grasp of campfire-like storytelling. He brings traditional folk to the album; both accessible

Stream Alright Alright’s Crucible on the platform of your choice and visit www.alrightx2. com for videos and more.

Alright Alright’s new album Crucible, released October 23, is an intimate experience with dreamy orchestration and relatable lyrics, something for which they are already known. But here, that intimacy is closer than before, like the genuine musings of a close friend.

and conversational. In “Trans Am,” Seth fantasizes about buying a sports car and parading it around, painting a vivid image with goofy lyrics describing the car as “[fitting] most of the rules of the HOA” and “[seeming] like it runs.”

December 7 th -December 13 th Help Local NoCo Families and Agencies In Need! FIND OUT HOW TO HELP at kissmaswishes.com!

the sickly hecks Try and Fail

Laura Giagos

BandWagon Magazine

Good music waits for no man, and pandemics make shit times for everyone, so what better time to release a sad-boy pop punk album? Fort Collins-based The Sickly Hecks are doing just that with the release of their new full length album, Try and Fail.

Try and Fail is another example of the incredible pop rock scene that lives (underground for now) in Northern Colorado, and it works particularly well because of how real it is. It’s the honesty of a band who really means it, whatever “it” is. It’s the daunting tightrope between not wanting to care but simultaneously deeply caring how they express themselves as artists. Just when you think they’re not taking it seriously, The Sickly Hecks pop you with something special. Something that scratches the surface and bears true, honest depth. Tracks like “Tarred and Feathered” and “Stick n Poke”

demonstrate a real and palpable angst that goes deeper than your run-of-the-mill manic depressants. Brought to life by some incredible mixing and mastering, you can really feel that angst as a listener. Then songs like “Hissy Fit” kick in and shake you out of it – because in the end it’s just about having, or trying to have, a good time. There’s a consistent sense of things coming in and out on the record; tracks peppered with wandering bridges and solos. That’s not a bad thing intrinsically, but with most of the songs topping out around five minutes, for a pop punk (or whatever it is) record, that can be filler. That being said, Try and Fail is a feat and speaks to the times. The deep sullenness and manic happiness written across this album is all of us. It’s you and me living out our day-to-day lives trying not to let the four walls close in around us, hoping one day it will all be normal again – but then again maybe “normal” kind of sucked too. That’s Try and Fail. And these poor guys got stuck releasing it during a global pandemic. Well, lucky for us.

Try and Fail by The Sickly Hecks releases January 8, 2021. Check out the video of the album’s lead single “Four Years” - which premieres December 4 exclusively at BandWagMag.com

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Ron: Weekdays 6am - 10am Simply enough, here are my 5 fav holiday tunes. 1. Bruce Springsteen - “Merry Christmas, Baby” – I’ve seen him sing this and “Santa Claus Is Coming To Town” live a few times, and this Charles Brown tune really gets some special “umph” from Bruce & Clarence. 2. Eels - “Everything’s Gonna Be Cool This Christmas” – If for no other reason, this song makes the list because of the line, “Baby Jesus, born to rock!” 3. Darlene Love - “Christmas, Baby Please Come Home” – There is nothing to match the power of this Phil Spector-produced classic. YouTube has a compilation of 1 line from every year she sang this on David Letterman. 4. Darlene Love - “Christmastime For The Jews” – Darlene makes a 2nd showing on my list with a fav tune that needs more space to explain than is here. I love this tune from Saturday Night Live and 15 years later still laugh at its creativity and the truth! 5. Adam Sandler - “The Chanukah Song” – SNL. Who knew they could be such a contributor to classic holiday music through the years?!?

Margot: Weekdays 10am - 3pm 2020 wasn’t ALL bad. There were some really good albums released. Here are 5 of the best: 1. Paul Weller - On Sunset – Paul Weller’s 15th solo album came out in the Summer. It’s a wonderfully nostalgic but clear-eyed look at getting older. 2. Drive-By Truckers - The Unraveling – DriveBy Truckers are rapidly becoming the go-to band for music that delivers a sharp take on current affairs. This album, released in January, is the second in a trilogy of albums that put the band’s practiced eye on social commentary. 3. Nada Surf - Never Not Together – Nada Surf can always be counted on to deliver melodic, sweet looks at life, thanks in no small part to lead singer Matthew Caws emotive voice. 4. Bob Mould - Blue Hearts – Bob is mad as hell and he’s sick of singing about the same kinds of injustices he’s been singing about since the 1980’s. But he will continue to do so as long as there’s a need, delivering some great observations.

5. Matt Berry - Phantom Birds – Matt Berry is a man of many talents: actor, writer and musician. His sixth album, Phantom Birds, takes on something not unfamiliar in 2020: putting on a brave face.

Stacy: Weekdays 3pm - 7pm 1. Olive, the Other Reindeer (1999) – Based on Vivian Walsh’s children’s book, this animated holiday special follows Olive (a Jack Russell Terrier), Martini (a con artist penguin) and Fido (a pet flea) as they fight to save Christmas. Featuring voiceovers by Drew Barrymore, Edward Asner, Joe Pantoliano, and Michael Stipe 2. Nightmare Before Christmas (1993) – The perfect animated story to bridge the gap between Halloween and Christmas, Nightmare teaches us that sometimes the grass isn’t greener on the other side. Good any time of year, this stop-motion, animated musical from Tim Burton will help cure the holiday blues. 3. The Polar Express (2004) – Based on Chris Van Allsburg’s book, the breakthrough animated movie follows a young boy who, doubting Santa’s existence, goes on a magical train ride to the North Pole, showing him that the wonder of life never fades for those who believe. Colorado native Dustin Wicke is among the film’s animators! 4. The Year Without a Santa Claus (1974) – This set contains the remastered version of the This classic animated tale shows just how much can go wrong when Santa takes a vacation. Meet Jingle and Jangle on their quest to find proof that people still believe in Santa. And sing along with the Miser Brothers! 5. Colorado Sound’s Top 20 List for the month! – TDecember is finally here, and we get to bid adieu to 2020! In honor of a crazy year, The Colorado Sound wants to know what song sums up 2020 for you. We’ll tally up the votes and play it as a countdown on the last Friday of the month. Vote at coloradosound.org

Benji: Weekdays 7pm - 10pm Here are my top 5 albums of 2020: 1. Mavericks – En Español – They’ve been creating great music for 30+ years. 2020 had them doing something new: recording an entire album in Spanish. En Español is 12 tracks of that classic

Mavs sound, half original, half traditional & classic Latin songs. No wonder it was the #1 record on the Latin charts for several weeks! 2. Allergies – Say the Word – A pair of British DJ’s making great music since 2012, this year’s: Say the Word, has the duo hitting their stride. The album is a potent combination of Hip Hop, Soul and Vintage R&B with a healthy dose of horns. It was the soundtrack of the summer in a year where we all needed to forget our trouble and get out on the dance floor. 3. Jason Isbell and the 400 Unit – Reunions – Listening to Reunions gives you the sense of being in the same shoes as the characters Isbell sings about: a cast of loveable losers and misfits to which many of us can relate. You can’t help but sing along to songs like “What’ve I Done to Help” or “Dreamsicle.” 4. Sea Wolf – Through A Dark Wood – Alex Brown Church AKA Sea Wolf often writes as if his songs were pieces of literature (he got the band name from a Jack London novel). It’s easy to imagine being on a path, deep in the woods or dealing with inner struggle, as his characters all journey before reaching some form of conclusion. Pay attention to every lyric. 5. Chuck Prophet – The Land That Time Forgot – For his latest effort, The Land That Time Forgot, Prophet evokes a sense of nostalgia especially on songs like “Marathon” and “High as Johnny Thunders.” The songs are sentimental but not syrupy, catchy but not cliché. Chuck brings back the good things and leaves the bad behind.

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Single reviews by Gabe Allen

Enzi

Modern Leisure

People in General

Since Enzi released “Mad Chemistry” in October, it has amassed more than 80,000 streams, on track to be her biggest hit yet. The Northern Colorado turned Nashville alt pop rising star even made it onto a “Girls Gone Alt” list from the shishi women’s lifestyle site Refinery29.

Modern Leisure has, once again, harnessed millennial malaise and channeled it into an achingly beautiful 3-minute track. And frankly, into an entire new Extra Play release. According to the band, the new single “Rita” is a thesis statement for said EP, Another Good Time, out December 18.

Although not particularly original, it’s exceedingly accessible. Like Avril Lavigne’s 2007 smash hit “Girlfriend,” “Mad Chemistry” channels the angst of an unrequited crush over punk-tinged, glittery pop. Enzi even borrows a refrain from Lavigne with “I don’t like your girlfriend.”

A driving four-on-the-floor beat and shoegazey layers of clean guitar create a melancholy soundscape fitting for the song’s sentiment of grasping at the fleeting freedoms of young adulthood. For a comingof-age song, it’s surprisingly mature.

People in General’s latest single was recorded entirely in bassist/keyboardist Matan Birnbaum’s basement. Although the decision was made due to COVID-19 precautions, the vibe of the subterranean space seems to have seeped into the mood of the track: “Take It or Leave It” sounds like being half-drunk at a DIY basement show with an arm around someone you’ve just met.

“Mad Chemistry”

The song’s musical foundation blends live and synthetic instrumentation. Heavily compressed blues guitar riffs provide musical hooks between verses and a wobble bass drives momentum over sparse electronic percussion and finger snaps. As with all of Enzi’s music, her fullthroated vocal performance carries the track. She croons through a hooky chorus while calling and responding to a manylayered harmony of her own voice. Between her unmistakable confidence and adept fusion of pop tropes, you get the feeling that she is just getting started. “Mad Chemistry” is one of six singles Enzi released since 2018. More at iamenzi.com

“Rita”

The accompanying video flits between literal interpretations of the song’s lyrics and deadpan performances by the band – and it’s beautifully blasé. The video shoot wrapped on March 16, the day before Denver Mayor Michael B. Hancock banned gatherings of more than 50 people. “We think of this video as a time-capsule of life before the massive shit-storm of 2020,” the band tells BandWagon. Mid-shitstorm, the EP at large and in particular, “Rita”’s nostalgia for a bygone simpler time – filled with concerts and carelessness – hits home.

Another Good Time is due out December 18. Watch and listen at modernleisuremusic.com

“Take It or Leave It”

Skittering hi-hat eighth notes and a decidedly cheerful chord progression contrast with Abraham Dashnaw’s lilting vocals. It may have been recorded and mixed in a basement, but the production is as crisp and inviting as it is raw. Though thematically full of emotional ennui, the song isn’t quite about unrequited love — Dashnaw’s lyrical muse is just apathetic to his burning passion. “Mama said that love was give or take,” he sings. “Seems like you’ll take it or leave it.” Like People in General in general, the track is strange, danceable and, most importantly, catchy as hell. “Take It or Leave It” is due out January 2, 2021 with an accompanying music video well worth watching. Head to peopleingeneralband.com for more.

THE THIN BLACK LINE:

Venues FIGHT TO SURVIVE BY DAN ENGLAND Travis Ragan spent a recent Tuesday morning in a 40-foot truck rocked by a bumpy road – not getting rocked by the bands that supported his lifestyle before the coronavirus stole it from him.

Ragan, like many other venue owners in the area, was also grateful for landlords who have forgiven rents for now, only asking for taxes and insurance. Those costs are significant — they total Ragan was a partner in the Roxy more than $4,000 a month for him— but Theater in Denver and the Mesa Theater that, along with federal loans and other in Grand Junction, and he booked shows assistance, will allow him to survive. in 15 different markets. Now he hauls Most music venues are, so far, still equipment for his brother, a construction surviving, although they also aren’t sure manager out of Colorado Springs. Ragan for how long. The virus was more out had, at one time, supported himself of control than ever in late November, this way – he still has a Class A license and even though vaccines are allegedly – but he spent most of his time before COVID-19 on a computer, booking acts, on the way, owners don’t expect to be instead of spending 50 hours a week in booking acts regularly until the summer and fully operating again until next fall. a “roughneck” lifestyle.

“I think we are very lucky,” Ragan said about his own experience, as he will open a third place in Spokane, Washington soon. “We are able to power through this. But we are in dire need of leadership throughout the country. I know venues are closing down, and yet, we have no leadership backing us and supporting us. We have no one telling us what we should do as opposed to what we shouldn’t do,” Ragan says. “You still have to respect the situation. We want to try to enjoy life while not being a risk to the public.”

Ragan said Mesa County had relaxed restrictions compared to Denver “It’s nowhere near the money I need to (although that may have changed sustain,” Ragan tells BandWagon, as Gov. Polis put new restrictions in place and was considering more as the virus raged). He had shows of up to 400 people, with masks and social distancing, and so far, that was working, he said. He had a show in the Roxy, too, but it only made money for his staff, which is important, he said. Still, Ragan was grateful for the work.

“... but I was lucky to have something in my corner like this. I’m just trying to keep my head above water.”

Blue Face performs at The Roxy Theater pre-lockdown. Photo: Saulshotya

SCRAPING BY

There were probably better times to open a new venue, admits Renee Jelinek, co-founder of The Lincoln, a venue that can hold 1,200 in Cheyenne, Wyoming. “The timing was SO BAD,” Jelinek tells BandWagon with a sigh. Which is fair. They began work twoand-a-half years ago, and by March, they were close to being through with construction, when they heard the news about a virus from China. They were lucky to keep construction going, she said. “We did open this summer,” Jelinek says, “but not at all in the way we thought we would be doing things.”

The capacity was reduced to 250, only 20 percent of what it could be. It took a while for the virus to reach Cheyenne — the town just got a mask mandate in mid-November — but it’s there now, so Jelinek doesn’t know what will happen in the next weeks. Jelinek volunteered to follow more rigid restrictions, such as those in Denver, but even then, the venue isn’t making much money. “The place is not made to be at a 250 person capacity,” she says, “and even then, it’s not like we sold out those shows. People just aren’t coming out.” Still, Jelinek calls herself lucky too, with a bank that wants to see them succeed, so she’s confident they will make it through. But they’re also

a new venue, and it takes time to get established even without a virus complicating things. She hopes to start booking acts for February, ramping things up in the summer, and hoping more bands will trust her venue – some dropped out in October because they didn’t take it as safe. Because she’s new and scraping to pay bills, when she finally does book bands, it will be an extra gamble, as she doesn’t have the extra cushion it takes to absorb the shows that don’t draw big crowds. “Partnerships with promoters are hard,” Jelinek says. “There’s not a lot of money on the table for them, for artists, or for us.” Partnerships, however, are one way to make money. Ely Corliss, owner of the Moxi Theater in Greeley, worked with Hamilton “Jake” Byrd and his Blue Pig Presents company in Cheyenne, who produced a series of drive-in concerts at Terry Bison Ranch on the border of the Colorado and Wyoming with some success. The two, Corliss said, hope to have “a significantly larger calendar” of acts this spring play on that stage. Corliss, who owns the Moxi Theater, was doing what he could with his Downtown Greeley venue, holding shows with a limited seated capacity of

60 and hosting a virtual concert series called Moxi Live. He can no longer afford to close, even with shows that don’t make much money. “Socially distancing shows don’t pay the bills,” Corliss said. “It would be one thing if we didn’t do them every night, but that’s not working right now. Individual shows do work, but I haven’t been able to do them as often. Some money is better than no money, but it’s a Band Aid.” He, too, said he’s lucky with a supportive community and good landlords, but he said additional aid was vital to his survival and the survival of many other venues.

“This is our life source – for a lot of people,” Corliss said. “We’ve been asked to shut down, or told to shut down, for months now. We’ve done that, and where are we now?”

New norm: The Chinook Drive-In stage at Terry Bison Ranch in Cheyenne, Wyoming.

THAT’S THE TRICK, ISN’T IT

City venues are struggling, too, even when the pressure to make money isn’t as high, given that it’s not a private business, but that can make it hard, too, because so many city events take place in them.

The Union Colony Civic Center in Downtown Greeley hopes to resume programming with national touring acts in the Fall of 2021, assuming the risk levels permit gatherings by then, says Jason Evenson, manager of cultural affairs for the UCCC. It was open for rentals as of late November, but it wasn’t advertising the availability.

“Right now we’re being very careful to go slowly,”

to discourage crowds. There’s also a timed entry and limited capacity.

her philosophy of more than 30 years in the business.

“Sales are going OK so far,” Evenson “I’ve seen situations come up in that said. “As long as people cooperate with time,” she said. “I never operate so thin the rules, we feel it will be successful.” that we aren’t prepared to weather a But that’s the trick, isn’t it? Venue storm. I also don’t use ticket sales as owners who have put on shows said operating capital. Those funds don’t crowds have been responsible for the belong to us until the show plays off. But most part, but there’s always a few, or even some, who don’t obey the rules, it’s been pretty devastating. Not all will whether that’s because of defiance, weather this.” denial or just weariness from wearing a That worries her, as she is seeing face-covering for three hours. more companies swoop in and purchase “I think my staff, and everyone, really, are just so sick of mask patrol,” Jelinek said of The Lincoln.

The Aggie in Fort Collins and the Boulder Theater and Fox Theater in Boulder have hosted shows of limited Evenson said, “especially with the rise capacity, although that changed at the end of November with new state in new cases.” guidelines. The shows, as others said, At the end of November, the UCCC covered the overhead but left little room was getting ready for the community for much profit. event Festival of Trees, just like it does “It’s nice to be able to give artists and every holiday season, but with many staff some work,” said Cheryl Liguori, changes. That includes getting rid of all the popular events in the festival that CEO of Z2 Entertainment, which runs draw large, family-friendly crowds, such those three venues, “and [to give] as the Teddy Bear Bash and Silver Bells everyone some enjoyment and live music mental therapy.” Social, and putting performances on the She survived with fiscal conservation, stage instead of out among the people,

independent venues, which fewer will exist next year.

means

“We don’t panic,” Liguori said. “When you panic, you make bad decisions.” All that talk about responsible money management did turn emotional at times, though, as Liguori, like many other owners, had to cut staff to survive. She said she will continue to pivot and search for loans, aid and grants to continue to survive until life can, one day, return to normal. “You have to do what you need to do to stay afloat and keep morale up,” Liguori said, “so that they see the hope – and an end to this.”

SUPPORT THE SURVIVAL OF MUSIC VENUES. VISIT SAVEOURSTAGES.COM TO CONTACT CONGRESS AND DONATE. DIRECTLY SUPPORT THE VENUES IN THIS STORY AT: THELINCOLNCHEYENNE.COM • FACEBOOK.COM/THEROXYTHEATREDENVER • FOXTHEATER.COM • UCSTARS.COM MOXITHEATER.COM • BLUEPIGPRESENTS.COM • THEAGGIETHEATRE.COM • BOULDERTHEATER.COM

An empty room at The Lincoln in Cheyenne.

For Once in My Life:

JOHN MARCH REMEMBERS TED GREENE BY GABE ALLEN

In the late ‘70s, John March was a young blues guitarist trying to refine his sound in LA. Like many before him, he sought the tutelage of legendary fingerstyle player Ted Greene. At this point, Greene had already shared stages with Joseph Byrd, Ry Cooder and Canned Heat drummer Adolfo “Fito” de la Parra, but you wouldn’t know it from his teaching quarters. “He had this apartment where there was no furniture,” March tells BandWagon. “There was one chair for a student, and a few cushions for him to sit on. Then it was floor-to-ceiling music books through the entire apartment.” For the next 25 years, March continued, off-and-on, to go to Greene for lessons as his playing grew beyond the confines of blues. In the years since Greene’s untimely death in 2005, March has never stopped learning from his former mentor. “He was an extraordinary, like, Mozart-level musician,” March said. “Music is a language, and the way I speak in music is based almost entirely on the foundation that was established by my work with Ted.” This summer, March, now based in Colorado, released For Once In My Life: A Tribute to Ted Greene. The album is March’s second tribute to his former mentor after 2012’s Chord Alchemy: A Student’s Tribute to Ted Greene. While March revisited the challenging fare of Greene’s solo guitar arrangements on Chord Alchemy, he took a decidedly different approach on For Once In My Life. “It’s all based on the idea of accompanying a melody, soloist or vocalist,” March said. “The other thing that Ted loved to do was accompany singers.” The list of singers that contributed to the album is a who’s who of long-established

FIND MORE ON JOHN MARCH’S MUSIC AT ZENGUITARGUY.COM AND WATCH HIS“38 MOVIES ABOUT COLORADO MUSICIANS” VIA ZENAVGUY.COM

Denver performers and studio musicians. Robert Johnson, Mark Oblinger and Linda Styles each contribute vocals, and legendary session musician Jeff Paris (Keb Mo’, Ringo Star, Mr. Big) croons over the title track.

destroyed in the floods,” March said. “One of the other musicians came up to me and said, ‘Hey, man. We think you’re playing really well. We just can’t tell over the screaming.’ I think it was a joke, but it didn’t feel like it.”

On “Unexpected Blues for Ted,” the sole original composition on the album, March takes the lead and accompanies himself. The song vacillates between a shuffle feel and a swing feel as it builds from a clean, jazzy head to an overdriven, unhinged solo section.

MusiCares was the first organization to provide financial assistance to March after he decided to undergo rehab and physical therapy for the double elbow injury.

“The idea was that, like a Bach piece, the harmonic structure increases over the course of the recording,” March said. Over the course of the album, and sometimes within an individual song, March steps in and out of the spotlight to alternately display his incredible musicianship and make room for stand-out performances from the various other contributors. The result is a collection of standards that is both stimulating and easy to listen to. Greene’s influence is not limited to musicality on For Once in My Life. The influential educator was known by students to accept payment on a pay-what-you-can basis. In the image of Greene’s generous spirit, March is donating a portion of the proceeds from For Once In My Life to three charities: OneTreePlanted.org, TedGreene.com and the MusiCares COVID-19 Relief Fund. Perhaps the charity that holds the most personal significance to March is the latter. During the 2013 Colorado Floods, he broke both of his elbows and then continued trying to make a living as a gigging guitarist despite crippling pain. “Two weeks later, I was playing at a fundraiser for people whose homes had been

These days, March has fared decently well through the pandemic due a diversity of work as a producer, video editor and documentarian. Notably, he produced dozens of mini-documentaries on Colorado musicians in the past handful of years, celebrating the rich history of the independent and scholastic music scene in the state. His thoughts and efforts remain focused on the musicians who are suffering from the fallout of the pandemic. “Through cooperating together, we’ll make it through this time,” he said. “Music will reemerge, hopefully in a stronger place.”

For Once In My Life tributes Ted Greene, but the true mission of the album lies in supporting music, from wherever it may stem.

The grand finale event, the top three artists/bands will debut new music videos and showcase their music in an exciting online broadcast celebrating our all ages music community.

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