BandWagon Magazine - July 2020 - Black Lives Matter by BandWagon Magazine

album reviews David Burchfield PG. 4 My Dog Ate Chad PG. 5 Polyakov PG. 6 The Beeves & Slow Caves Pg. 9

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David Burchfield State To State

Valerie Vampola

BandWagon Magazine

Whether it’s your first time going on a hike since lockdown, or an anticipated camping trip, David Burchfield’s album State to State makes for a proper soundtrack to a mountain getaway. He combines elements of Americana, Country, and traditional Celtic to set the scene for a night around the campfire. Burchfield utilizes acoustic guitars, fiddle, and percussive

brushes for his Americana and western folk vibe and continues to set the mood by singing with a vocal quality that reminds the listener of Woody Guthrie. Songs like the opening and title track “State to State” show that this folk style is his fluent language, but he isn’t afraid to change things up a little bit. Burchfield brings a harder edge with “Way It Goes,” reminiscent of Fleetwood Mac’s “The Chain,” by using a more rock and electric sound. He also includes an instrumental, a cover of the old-time fiddle tune “Midnight explains the frustrations on the Water.” and dissatisfactions he’s Burchfield, however, experiencing in moving to a mostly chooses acoustic new city with his lover, while textures and softer percussion he still wants to bring a smile to create intimate settings to her face with simple acts of with songs like “By the service. Coast.” He brings listeners State to State feels like a in further by communicating honest, nuanced feelings: living room show, and reminds In “Dishes in the Sink,” he listeners of simpler times,

where people just played music and shared personal stories to connect with each other. Song-filled gatherings around a campfire after a long day of exploration in the mountains can feel like a far-off dream these days, but State to State brings it to the here and now.

My Dog Ate Chad Krakatoa

Kevin Johnston

BandWagon Magazine

be. A conglomeration of 5 flanneled friends from high school throwing their influences at the wall to see what sticks. As evidenced by the 8 tracks here, there are a lot of influences, some literal, as in the ode to drugs of choice “Cherry Coke” and some far flung and ambitious, like the 80’s guitar rock feel of “Ashen Winter.” “Little Diamond” summons a long-lost Ric Ocacek guitar/synth hook mashed up with garage tones and arm-waving power ballad feels. The execution and exploration here reveal how badly MDAC want to be a band who connects with an audience, which is as important in a young band as anything else.

My Dog Ate Chad define teenage garage-prog with the release of their debut full length album Krakatoa. Committing to hard drive the youthful excitement of saying yes to every idea, the record is a pastiche of hammering classic rock, 90’s jam band vibes, concert piano stride, beach pop choruses and perhaps most importantly, The staccato, unison stabs flecks of humour. on “No Shame” accompany “guitarpeggios” The inside “bastard” jokes noodly that pepper opening track which again remind us that “Spurs” remind us that these these guys will try anything, kids (much of the band are and “The Performer” closes still in their teens) grew up on things out with distortionTenacious D, but we’re also heavy circus slog. reminded that they’re selfWhile the chord awareness isn’t only tonguelyrics and in-cheek. They’re looking for progressions, their true identity on Krakatoa instrumental prowess aren’t with wide eyes, open ears groundbreaking on Krakatoa, and loud-ass guitars. they’re the sounds every My Dog Ate Chad (and rock musician from older no, we still have no idea generations recognize when what the name means) they look their own histories is exactly what it should in the mirror.

Performer. Professor. Unifier.

Meet Nan at myGreeley.com 5

Polyakov Hazy

Laura Giagos

BandWagon Magazine

Dream pop, as a genre, has a home in Northern Colorado, and in a way has come to represent the leisurely stroll through anxiety you get from living here. Northern Colorado is a nice place to live; great people, cool places to hang out, amazing outdoor spaces, but also a soul crushing sense of being stuck in the endless cycle of surviving while trying to make it look like you’re having a good time. Bands like Gleemer and Slow Caves have really captured this in their music and following in their footsteps is Polyakov, the brain child of Alex Olson. At the end of May he released his four track debut EP, Hazy, a luscious and well-textured delivery that lives up to the title. To fully capture this sound, Northern Colorado recording

wiz Oliver Mueller of Slow Caves was brought on as producer. Under his technical guidance the EP achieves a richness that gives the project as a whole a contemplative nature that lends to the strength of the writing. When reached for comment Mueller had this to say; “Yo this fuckin record is cool and my boi Alex is the man.” While Hazy isn’t breaking any ground in the genre, it’s a strong release. “Dirty Lenses” has some killer vocal harmonies on it, and the guitar effects and layering on “Building Forts” are mesmerizing. What the EP lacks in originality it more than makes up for in execution of the overall vision. You can see where Olson is heading with Hazy, and he makes it on the train before it leaves the station. As strong of an EP as it is, it also shows this is only the beginning and Olson definitely has his feet underneath him. Look up Hazy on the streaming platform of your choice - Polyakov is another great Northern Colorado artist to watch.

The Beeves Playing Bingo

Kevin Johnston

(with people who are angry and somewhat dangerous)” from their forthcoming full-length Beauty & The Beeves is a reminder of how painting with primary colors can be rad AF if you throw in some attitude and personality.

BandWagon Magazine

X-Factor is the most important thing in making a band stand out and The Beeves have it in threes. That’s a XXX joke, kids, and well, The Beeves are as funny as they are rocking, so it’s staying in. Their single “Playing Bingo

Riff-heavy with the pizzaz and swagger of the White Stripes, “Playing Bingo” highlights the proper rock yelps of vocalist Ian Ehrhart and the grooving instrumental playfulness of bassist/vocalist Margot Sease and drummer Will Ehrhart. The trio get away with flipping from their bread-and-butter guitar rock to country swing for a hot second, because they commit with the confidence of true naturals. And confidence like theirs is as fun to watch as your favorite flick.

Slow Caves Walk In The Park

Kevin Johnston

BandWagon Magazine

Slow Caves have a way especially on the new single “Walk In The Park” of putting your heart smack-dab in the middle of the emotional peak of films like Say Anything (you know that part where he’s holding up the boombox? Ugh! The feels!)

With top production, heartfelt turn of phrase and beautifully transparent melodic construction, the track sparkles with the slow motion lens-flare of memories you haven’t even made yet. Masters of washy-guitar power balladry, “Walk In The Park” is Slow Caves at both their heaviest and most sincere. Finding power in simplicity and earnestness, the track is one for repeated spins and placement between Washed Out and Nada Surf’s “Blonde On Blonde” on that mix-tape you’re making for your crush. Destined to be a remedy after a break up on a summer night, or cinematic soundtrack for a wordless drive at sunset with your best friend, it captures the magic of one of music’s biggest inspirations: melancholy.

Slow Caves and The Beeves perform July 7 at FoCoMX Drive & Jive, a live musical performance double-feature at the Holiday Twin Drive-In movie theater in Fort Collins. The Beeves release “Playing Bingo” that day, Slow Caves release “Walk In The Park” July 10. 9

Ron: Weekdays 6am - 10am This month’s Colorado Sound Top 20 is favorite Colorado artists! Here’s mine. 1. Tyto Alba – This ‘dream pop’ band from Denver named for a barn owl stopped me in my tracks at FoCoMX ’19. I knew the name but not the sound. Hypnotic! TytoAlbaMusic.com 2. Daniel Rodriguez – He spent more than a decade in Elephant Revival, so he’s got game. I’ve so enjoyed watching him take the spotlight with his beautifully-crafted lyrics and music. “Colorado” makes me feel like I’m driving from Wray to NoCo at sunset. DRodriguezMusic.com 3. 12 Cents For Marvin – Bill Clinton was still in his 1st term when this NoCo outfit started raising the pulse of ska fans from their CSU dorm rooms. After a “Frank Sinatra retirement” they’ll celebrate their Silver Anniversary next year! 12Cents.com 4. Dressy Bessy – I love it when a current band can capture music’s energy from the late 70s. That’s how I felt when I first heard “Lady Liberty”. It’s 2-minutes and 15 seconds of kick-in-the-pants aural adrenaline. DressyBessy.com 5. Petals Of Spain – It says something when you get a 7-time Grammy winner to produce your album and Frank Filipetti heard what CO fans have known for a dozen years. You gotta like a band who’s bio says “We play music for a living” too. Facebook.com/ PetalsOfSpain

Margot: Weekdays 10am - 3pm There are a lot of excellent music documentaries available on streaming services. My top 5 are: 1. The Two Killings Of Sam Cooke - This is part of Netflix’s ReMastered Series. It is hard not to be affected by this documentary that explores the awful circumstances around Sam Cooke’s death and how it affects his legacy. 2. Rumble: The Indians Who Rocked The World - This documentary highlights the role of Native Americans in music history and the role of traditional Native American chants and rhythms in rock. rumblethemovie.com 3. The Miami Showband Massacre - Another documentary that’s part of Netflix’s ReMastered series. The Miami Showband were a hugely popular Irish band in the 1970s, who made a point to stay away from politics, and got caught up in the Troubles (the name given to three decades of Irish Sectarian violence) anyway, when their van was blown up coming back from a show in Northern Ireland. 4. The Future Is Unwritten - An extremely intimate and touching look at Joe Strummer after The Clash. joestrummerthemovie.com

5. The Decline Of Western Civilization I - This is actually a multi-year, 3 part series, with II covering Metal and III covering homeless “gutter punks”. The first, filmed between 1979-80 and released in 1981, is the best in the series. It highlights the Los Angeles punk scene of the time and gives great insight into the scene with looks at X, Black Flag, and Germs among others. declinemovies.com

Stacy: Weekdays 3pm - 7pm 1. BTO – Boston Typewriter Orchestra - Yes, it’s an orchestra made up of vintage typewriters. The ensemble, formed in 2004, plunks out tunes via their manual Gundkas, Olympia Werkes and Smith Coronas. Catch the percussive power at bostontypewriterorchestra.com 2. Live Music in New Zealand – After 10 weeks in lockdown, coronavirus restrictions have lifted in New Zealand, green lighting the live entertainment industry to come out of hibernation. Prime Minister Jacinda Arden said the biggest venues will open with classical and contemporary music followed by dance, ballet, and opera. 3. Pandemic of Love – Shelly Tygielski just wanted to help her community, but she started a movement! It began with a simple Instagram post aimed at connecting those in all forms of need with those who want to help however they can. As of June 4, her grassroots program raised more than $13 million, helping 132,000 people. pandemicoflove.com 4. Uncle Jimmy’s Basebal Stash – When James “Uncle Jimmy” Micioni passed away at age 97, a treasure trove of baseball memorabilia was found in his attic. Among the goodies are autographed cards from Babe Ruth and Lou Gehrig as well as a1969 Topps Super Rookie Reggie Jackson card. The collection is expected to fetch several million dollars at auction. 5. Hall of Shame - All I can say is shame on the MLB. The players, managers, agents and the league using these unfortunate times to further their own agendas makes me rethink my love of “America’s Pastime”.

Benji: Weekdays 7pm - 10pm 1. Random Sports on ESPN – Having burned through everything on Netflix and Prime, I turned on ESPN to see how they’re handling the absence of professional sports. I was treated to some of the most random sports coverage I have ever seen. I found myself cheering on anonymous racers in the Cheese Roll in Great Britain. I grimaced in pain watching the shin kicking championships and felt guilty that I was enjoying stilt racing. I realized I had truly crossed a line when I was upset at the marble I chose only being runner-up in the downhill marble race.

2. Bettye Lavette: “Black Bird” – Covering the Beatles is always a gutsy move, but Bettye Lavette’s version is the perfect song during these challenging times. Her interpretation puts a whole new perspective on the song - especially now. Her is voice filled with pain, hope and an understanding of this world that comes from years of challenge. Look it up on YouTube. 3. Drive And Jive – Cabin Fever has hit us all pretty hard. One cure is Drive N Jive at the Holiday Twin Drive In, now through through Labor Day. It’s a chance to get out, see some music and blow off some steam all in a safe environment. There are two great bands performing every Tuesday night. FoCoMa.org. 4. John Prine – “I Remember Everything” – I miss John Prine. Knowing that he is not in this world creating music makes me sad. So when his last recording was unveiled as part of a tribute concert, I was thrilled. The sense of nostalgia in the way Prine pays attention to the mundane and the grand in the lyrics feels prophetic. Rest in peace Mr. Prine. You will be missed. 5. The return of the Tour De France – Not all sports have gone away: the Tour De France is scheduled to start! There will be changes and alterations, but if all goes according to plan, the greatest bicycle race in the world will begin August 29 in Nice. If you have not followed the Tour in years past, the combination of natural beauty, history and some of the finest athletes in the world make it worth your time. letour.fr

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HAYDEN FARR LOVE AND THE MARCH OF AN ANGRY INTROVERT

DAN ENGLAND

ntil recently, the pandemic, and our directive to stay put, wasn’t all that hard for Hayden Farr. Farr is an introvert – to the point where large crowds bother him. It may not seem that way when you see him dancing on stage with the Burroughs, playing his baritone saxophone (an instrument that’s hard to ignore) or his antics — and that’s what they are, antics — with the goofy Trash Cat. But he is an introvert. Staying inside, at least for him, leaves him energized, like a phone left plugged in all day. So when he got an invitation to protest for Black Lives Matter in Denver, he declined. He was scared of the crowds, or what could happen, of the chaos of all of it. Oh, he was angry. Farr is black. He is also white. His father is black, and his mother is white. It hurt to see George Floyd killed by the police. It was another person who looks like him killed by another white person with a badge. Farr makes it a point to watch every video of someone who looks like him killed by

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the cops. He wants to know the reality. It is not his reality, of course. He keeps his head down. That’s his introverted personality, even when he wears the bright colors and crazy, mohawk’d hair of someone who doesn’t want to go unnoticed. He doesn’t interact with police officers all that much because he doesn’t interact with many others at all. “But I’m wondering,” Farr asked, “why do we need to have this conversation every two years?” Once he saw the video of Floyd’s murder, he didn’t want to talk to white people. He called his father, and his brother, Everett, and a friend who is also mixed race. Yet the first person who checked in on him was Mary Claxton, a close friend, a bandmate (in both groups) and a white woman. He loves her. But it was weird to talk to even her. “My brother later corrected me on that,” Farr said. “He asked me how I expected things to change.” Farr is a thoughtful guy who says he doesn’t always know how to handle

his emotions, but they bubble to the surface at times. He was in a car once when a white friend was pulled over. He urged his friend to put his hands on the steering wheel, put the keys on the roof, and expose the glove compartment. His friend later remarked that it was the first time he saw Farr scared. “I can feel that energy,” Farr said. “I don’t like that energy.” So he and his brother Everett have talked about avoiding trouble (hence the pull-over routine). Everett is a big man, with the strength of an NFL player, and Everett knows this. So whenever he’s pulled over, he asks the cops, gently, if they want to cuff him. Once, when Farr was driving, a friend flipped off the cops, and Farr became angry. Why, he asked his friend, would you ever give them a reason? That’s how he and his brother survived: They never give the police a reason. Even so, Farr also believes the energy feels different this time. “I wonder if it’s because people are stuck at home and forced to see what’s going on,” Farr said, “or is it because people want to see a change?” Farr wants to see a change. He doesn’t ever want to force himself to watch another graphic video. Perhaps that’s why, in the last few days of June, he wanted to get out. He wanted to march in Greeley. “It has to start in your

own community,” Farr said. “You have to do small things that will make it better until there’s change.” He wasn’t afraid of Greeley, his home where he’s well known, and because of that, he wondered what else he could do to make things better. And though navigating the territory of racial injustice is complicated, uncomfortable and overwhelming, small, positive gestures are often the most powerful. For Farr, the movement starts with one simple thing: love. Loving his mother, who is white, and his father, who i s black.

IF YOU’RE LISTENING

GREG CARROLL ON JAZZ THE BLACK AMERICAN ARTFORM WITH AN INHERRENT SENSE OF EQUALITY

DAN ENGLAND

reg Carroll grew up playing jazz because on one hot summer night, he chose to join his father on the porch rather than play hide-and-seek during their family’s weekly pizza dinner. There, with the radio on, he heard two things: Ella Fitzgerald singing “A Tisket, A Tasket” and Lionel Hampton playing the vibraphone. Carroll loved the music

almost instantly. He researched that strange, wonderful sound, soon buying his own vibraphone and playing it professionally for decades, even after he became an administrator. But even though it was the music that got him into jazz, he became a champion of the artform: someone who teaches, preserves and protects the history of it, because it is the music of his fellow black Americans. “It excites me to see everyone play it,” said Carroll, who spent eight years as the CEO of the American Jazz Museum in Kansas City, Mo. before resigning in 2015. “But jazz is black folks’ music. It was created by African Americans, born out of the experiences of the people forced on this land as a way to honor their culture – the only thing that couldn’t be ripped away from them. It’s a gift to the world, and

it’s welcome to everyone. But it’s historically black, and the more I got into it and learned the history of it, the more I appreciated that. It made me proud.” Carroll graduated from the University of Northern Colorado in 1985 with a degree in music education and worked as co-band director at Greeley Central High School before moving to Manhattan, Kansas to act as Director of Education for the International Association for Jazz Education. He also worked as Director of Jazz Studies at the University of Colorado in Boulder. He now acts as founder and CEO of Midnight Blue Jazz, a consulting firm, as well as being vice president and co-founder of the non-profit Kansas City Jazz ALIVE. He believes there’s a lot to learn from jazz. But first, he should tell you, as a black man, he understands the anger he sees in the riots that swept across the world following the murder of George Floyd. He appreciates the peaceful protests as well, and it angers him that some don’t know the difference. It goes back way before Floyd, he said. Carroll learned as a kid that he lives in a parallel world, alongside others, infected by inequalities and systemic racism. “Look at what happened to our people during reconstruction and then the civil rights movement,” Carroll said. “All of that has always made me a little bit on guard as a black American.” He’s also a product of those injustices, having experienced them himself, even while living in the nicest neighborhoods and experiencing the same success of other people living there. A policeman once stopped him returning from a gig in his own Manhattan neighborhood simply because he was driving a van with the seats out, a system he used

to transport his vibraphone. He’s angry about Floyd, just as he’s angry about all the names of those killed by police officers. “But more importantly, I feel tired,” Carroll said, “and probably one of the most glaring attributes is sadness, and I don’t just feel that for people of color. I feel it for those continuing to incubate the notion of systemic racism. My grandmother told me when someone hurts you, pray for them. I feel sad for the people who aren’t able to see through our lens. If you don’t see that, you fall blind to the inequalities that exist around you. We could be so much better off, not only as a human race but as a country.” Carroll believes music has a place in this forward momentum towards racial equality. The thing everyone could learn from jazz is the inherent sense of democracy it requires to play it well, he said.

“We have to allow the voices that are spoken to be heard – and that’s improvisation.. We have to commit to that groove. We can’t have an antigroove. We have to listen to each other’s voices; to what’s being said. That ultimately makes the music that much more beautiful.” There is hope, he said, because in those protests, he’s noticed a “rainbow coalition” of people, in his words. In some cases, he sees more non-people-of-color than people-of-color marching for change. “That should tell you something” he said, “if you’re listening.”

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DRUM AS YOU ARE ERIC RILEY THROWS DOWN THE BEAT AS A BLACK MUSICIAN IN METAL

VALERIE VAMPOLA

ven with all the fun Eric Riley has thrashing onstage with his long-time friend Nate Valdez, there is always that one drunk person who has to point it out: a black guy in a metal band! Riley grows weary of others tagging him as the “token black guy,” as they have throughout his life, either during his upbringing in Texas or in Denver, where he currently gigs with In the Whale (the rock duo he formed with Valdez) playing in a genre that isn’t regard-

ed for its African-American diversity. “I mean, it’s Denver! There’s not a lot of diversity but it’s not really anyone’s fault,” said Riley in a phone interview for BandWagon. So while he’s holding down representation in the Denver scene, he looks up to other black drummers who play similar hard rock music, such as Thomas Pridgen of The Mars Volta and Jon Theodore of both Mars Volta and Queens of the Ston-

eage. But Riley’s original inspirations simply came from music itself. He was a teenager watching MTV when Silverchair’s video for “Freak” came across his television screen. The sounds of rough distortions coupled with images of the grunge trio playing inside a laboratory furnace got him hooked on the heavy. “That was one of the first things that made me go ‘holy shit, that is cool!’” said Riley. Watching and listening to the music of Soundgarden and Pearl Jam was the inspirational groundwork for In The Whale too. He and Valdez took the dirty rawness of 90’s grunge and roughed it up with hard rock and metal, pulling influences from Deftones, The Smashing

DIANE BOLDEN-TAYLOR HELPS YOUTHS HIT THE HIGH NOTES

iane Bolden-Taylor grew up in the Baptist church, where anyone with a voice would have an audience, and anyone who hit the high notes would be praised as a hero – regardless of their skin color. She loved singing for her church, until her choir director introduced her to Mozart. That’s when she learned she liked singing opera more, and discovered her true voice. “Not a saturday went by where I wasn’t propped up in front of the radio listening to the Met Opera,” said Bolden-Taylor. Her church community recognized her talent and passion, so they pulled together finances to pay for a year’s worth of voice lessons. WIth that experience

she could attend university and properly study music. After receiving her undergrad at Millikin University and her masters at Indiana University, she found herself in Switzerland professionally singing opera. After 18 years in Europe, and becoming fluent in German, it was time to return to her home in East St. Louis, IL and expose the young black community to the wonders of classical music. “I want to make sure they are introduced to classical

VALERIE VAMPOLA

music, have a more rounded education, and have the opportunity to sing that way. And you know what? They absolutely love it!” said Dr. Bolden-Taylor in a phone interview for BandWagon. Many of the kids in her old East St. Louis community were well versed in genres like gospel, pop and rock, a trend she saw becoming the new normal over the past ten years. The new generation of singers had never touched

Pumpkins, and The Melvins. Riley grew up listening to black soul artists from the 60’s and 70’s that his parents enjoyed, like Stevie Wonder and Michael Jackson, and he even has a special place in his heart for MC Hammer and Boyz II Men. But the harder rock acts were just where his heart was. He picked drums as his 6th grade band instrument, started jamming with his 12-year-old buddies to bands like Metallica in their garages,

classical repertoire nor ever sung in a foreign language. For three summers, she partnered with the school district to give free vocal workshops, where she taught students classical repertoire, which included singing in languages such as German and Italian. Years later, an old attendee of her workshop wrote about his musical pursuits. He received a degree in music and was now the director of a regionally respected gospel choir. She has indeed given back to the community in much the same way her community first supported her. Diane Bolden-Taylor taught at the University of Northern Colorado as a German diction and classical voice instructor before retiring in 2018. After an exciting life spent across the US and Europe, she enjoys a quiet retirement in Greeley, CO.

HIGHWAY TO

HEAVEN DRIVE-INS REVIVE THE LIVE MUSIC EXPERIENCE BY VALERIE VAMPOLA

he last time Adam Aijala played with Yonder Mountain String Band was March 12, 2020. Then coronavirus hit. With band members scattered across different time zones in the lower 48, throwing together a livestream was not an option with travel restrictions. So they made video collaborations which Aijala would later mix in Pro Tools, syncing their videos. However, he wanted to give their fans at least one real livestream, so the band scheduled to meet in Cheyenne, WY for a weekend in June. Then the band’s agent called. They had a gig. A live one. “I had heard people talking about drive-in concerts and thought - that’s a good idea!” said Aijala. Hamilton “Jake” Byrd, concert promoter for Blue Pig Presents in Cheyenne, was ready to give live music back to the people too. After a couple months of kicking around the idea of a drive-in concert, he took a chance and

installed a drive-in theater set up at Terry Bison Ranch, hoping that work-from-home patrons were desperate to get out of the house and enjoy entertainment in a socially distant kind of way. Before inviting any bands to perform on a stage, the Bison Ranch celebrated its grand re-opening with a classic film. “We had eight days to promote our first screening and it blew up,” said Byrd. “The first film we showed was The Princess Bride.” After successful movie showings and smoothened kinks, Byrd was excited to have Yonder Mountain String Band on the bill, and the band were thrilled to have a live audience. The idea of drive-in concerts spread almost as fast as the virus itself. Josh Cisar at the Holiday Twin Drive In Theater in Fort Collins was already approached during lock-down about hosting events like Easter Sunday service or one-off concerts, but many institutions didn’t realize they were asking a drive-in theater to basically transform into the Pepsi Center. Cisar wasn’t even familiar with most of the audio terminology that was thrown around in those conversations. But with FoCoMX postponing their April festival, they wanted to fill the concert void somehow - and in a way that was still safe. FoCoMX had the sound and stage gear to make Drive & Jive, the outdoor concert series at the Holiday Twin, possible.

since a pre-virus show in early March. They were used to the tight and intimate spaces of the Fort Collins venues, like the Aggie Theater, and now found themselves in front of a parking lot full of cars, hazard lights flashing, while their faces were projected on a huge movie screen. “The drive in was a big production and felt more like a festival,” said HoldFast vocalist, guitarist, and keyboardist Charlie Maddocks. While visually the drive-in gave the audience and bands a festival feel, logistical changes had to be made. Live music being broadcast over FM waves to individual car radios meant delays in the audio from the stage to the audience. Drummer Tommy Maddocks was slapping rubber pads of an electronic drum kit to prevent a cacophony of echo between live drums in real-time and the final broadcast heard by the audience seconds later. For the same reason, the rest of the band relied on in-ear monitors instead of on-stage speaker monitors to play in sync with each other. Terry Bison Ranch and Yonder Mountain String Band had to get creative with logistics too. They decided on a spe-

cialized set-up that eliminated cross contamination between their opener and the headlining band. Rather than sharing a stage, two different stages were set up, with each band accommodating for their own tech arrangements. Aijala and the rest of Yonder Mountain String Band were used to having “a guy” to perform the many technical roles on tour and behind the scenes, but with no tours to financially justify an entire crew, he and the other bandmates are taking the DIY approach. “I’ve reset my expectations with everything we do in the music business,” said Aijala. “The best attitude is to just roll with it.” Like many things in the music industry, this was not what anyone pictured for their summer concert series. And though it’s different in so many ways, the drive-in theaters have given both audiences and musicians an opportunity to reconnect with a live experience. Check out HolidayTwin.com and BluePigPresents.com for details on upcoming shows.

“ WITHIN A WEEK, WE SOLD-OUT OUR CAR TICKETS FOR THE FIRST SHOW ” said Cisar.

People no longer had to sit on their couches at home to watch movies or their favorite bands play. And bands could step in front of a giant screen and remember what it’s like to have an audience… sort of. Synth-rock trio HoldFast played on June 16 at the Drive & Jive stage, their first live concert

GOING FOR IT

Live Music Returns... At a Distance Dan England

ani Grant will produce her second live show during the pandemic at the Mishawaka Amphitheatre the night before Independence Day – and she’s not doing it for the money. “The food and beverage doesn’t cut it, but bands are getting out, and people now get to see live music,” Grant, the Mishawaka’s owner and general manager said. “This is important. And the mood of my staff and customers is euphoric.” For independent music venues and clubs across Colorado, July 1 is perhaps as important as the day we celebrate our independence as a nation. Governor Polis’

new guidelines take effect that day, allowing the assembly of crowds which make live music possible, if not exactly feasible. The Moxi in Greeley will host live shows in July, and a few other clubs in Northern Colorado will as well, even as other wellknown clubs won’t do much, if anything, until September. “The Mish,” an outdoor arena next to the Poudre River, hosted a show in June, but it didn’t sell well, Grant said. She had 16 tables of eight people, and the tables were 15 feet apart. She learned a lot from that show. “We were so worried, that we were really conservative,” Grant said. For the next show, she broke tables into twos, fours and sixes, keeping the six foot distances between each. It’s hard to find a group of eight these days who feel comfortable around each other, she said. She also booked more well-known bands: Tenth Mountain Division and Andrew McConathy &

the Drunken Hearts – ticket sales are already much better. Grant said sponsors donated $30,000 just to make music happen at the Mish, which helped cover the money she plans to lose on the show. The problem is, of course, she can’t have the big ticket-holding crowds, yet the work-load didn’t change much despite audience size being of a tenth of what she’s used to. Plus, bands, along with the people who physically help put on the show, still need to be paid. In Fort Collins, Hodi’s Half Note will offer some shows this month, and so will Washington’s, but the Aggie and the Armory won’t offer a show until September. The Moxi in Greeley, however, will have Shane Smith & the Saints in July as well as a few other shows. Ely Corliss, the Moxi’s owner, said he’ll evenly space-out reserved tables and will encourage his

customers to honor social distancing as well as wear masks. His staff will wear masks too, and offer table service. “We will be socially distanced as best as possible,” Corliss said. “We are going for it. I won’t do it every weekend night, but I want to get back to work slowly, when it makes sense and we can do our best to be safe.” Many national bands are still playing it safe and postponing tours, so Corliss plans to offer more local bands, possibly until the end of the year. “The touring industry is cautious,” Corliss said. “They have to go through multiple states.” And so there is some live music again in Colorado, and that’s enough to make people happy for now. “Regardless of the bottom line,” Grant