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{state of the denver music scene} with ricardo baca, michael roberts and john wenzel by jonathan bitz For the last several years there has been two questions floating around Denver’s music community: Is there something happening in Denver? And, really? The short truth is: Denver’s music scene is as vibrant as it ever has been. Denver does, contrary to the pundit’s word, have a wealth of talent. Evidence is in the fact that on most given nights, one should be able to find some music venue with a great show. Still, the primary problem may just be, as Julie Davis (bluebook) noted, the fact that Denver has an "identity problem”. John Wenzel from The Denver Post stated, “Denver’s music scene is strong and diverse, but fortunately not a tightly-packaged little ‘scene’ (trademark symbol) like in some cities.” So while the Queen City of the Plains may still be searching for its cultural identity, the fact is that Denver has produced a variety of music acts that have surfaced nationally. Devotchka, The Fray, Big Head Todd and the Monsters, The Samples, The Apples, and Dressy Bessy compose a few mentionables (Friends Forever still may have left one of the most interesting marks with a critically-acclaimed, full-length documentary and a very favorable Rolling Stone review). For Colorado-native Ricardo Baca (The Denver Post), the Denver music scene is the most potent and creative and alive that he has ever seen it. And while Baca is not so much interested in gauging Denver’s success through mainstream success, two local acts have gained sizable national attention, as of late: The Fray, by winning three Billboard Awards and receiving two Grammy nominations; and Devotchka likewise scored a Grammy nomination for their work on the “Little Miss Sunshine” soundtrack. The Westword’s Michael Roberts agrees with Baca in that there is undoubtedly some talented musicians in town. For Roberts Denver’s scene is in possession of a wealth of high-quality music that can stand-up to groups from anywhere, in a wide variety of genres. However, there is not a recognizable sound in town – and while this is not a prerequisite, Roberts believes that a springboard effect may occur if there was a molded sound, like Houston and Saint Louis and their hip-hop culture. But, as Baca pointed-out, there is one genre of sound that is idiosyncratically-Denver: the gothic country music genre most typified by Munly and the Lee Lewis Harlots, Wovenhand, Slim Cessna’s Auto Club, (the now-defunct) 16 Horsepower and Bad Luck City. While the issue of identity continues to be ironed-out and argued-over, many components to Denver's music scene are unmistakably well. One visible progression over the last three years has been Denver's expanded breadth of music venues. On account of the town's size, Denver is fortunate to have so many venues and that cater to such a wide-variety of genres – from big theaters to holes-in-the-walls. Notables? The Fillmore’s turn-around. The revamping of 7 South Broadway and the Hi dive. The Oriental Theater. The Skylark’s move down the block into a bigger space. Bender’s Tavern. The Lion’s Lair is still steady and stinky. The Meadowlark. The Larimer Lounge and its new bathrooms. The Walnut Room. The Marquis’ transition from Brendan’s. Forest Room 5. Monkey Mania and its transition into its even more dilapidated state. The Cherry Pit's transformation into The Three Kings. The D-Note in Arvada. The Toad Tavern in Littleton. The Soiled Dove moving out East. And as for the immediate future? The Anschutz Entertainment Group may create more venues – but the fear is that there aren’t enough ticket purchasers. Another strong component to the scene has been the record labels - who have been receiving some notable attention. Leading the way is Morning After Records (currently with Born in the Flood and The Photo Atlas on its roster; and previously with the Hot IQ’s), Suburban Home Records, Needlepoint and Not Bad Records. And there are a wealth of audio engineers working in this town, constantly impressing critics and fans alike. Some of the best engineered albums of this last year have been: The Hot IQ’s, Dangling Modifier; Everything Absent or Distorted, The Soft Civil War; Januar, The Way Back Home; John Common, Good to be Born; Laylights, Laylights; The Swayback, Forewarned; Drag The River, It's Crazy. Baca encourages people to remain communal. He states, “We're in this together - the musicians more so than anybody else. We're at a point where the media is paying attention and the fans are following suit. The support is in high gear, and now musicians need to work together to build that momentum and push forward the creative boundaries.” Baca makes mention of an important component to Denver’s cultural history when he points at “the collective-oriented bands that have been created, the labels/alliances, the warehouse performance spaces, the house parties, the like-minded friends, the guesting on each others records. It goes on, but as much as the sharing/helping spirit is alive in Denver, there are also those who would be a lot better and lending a helping hand - and also asking for that help when it's needed.” And while we have all sensed this community-component to the scene (walking into the Sputnik most any night and it is palpable), Wenzel offers us a realistic warning when talking about disappointments. What is his biggest disappointment? “The fact that incredible bands (i.e., Blue-Blooded Girls, Cat-A-Tac, Porlolo, Red Cloud West, Bright Channel, etc.) can play to a mostly empty house. True, they can't always expect great showings, but when people congratulate themselves on what a sweet ‘scene’ we have, they should be supporting the bands by paying to see them. It's equally as important as professing to like them. “Playing music for its own sake is noble, but some of these people are trying to make a living.” In the end, Michael Roberts is very pleased that Denver bands are getting more attention, but still a lot bands should get more recognition. For Roberts the formula for Denver as a whole is simple: The more bands that earn success, the more inspired other artists will become. To this day, each time Roberts puts one of the multitudes of new CDs from the mail in the player, the hope is that it is THE CD. For now, here is a small sampling of talent that is standing on the brink of the national attention: The Hot IQ’s, Born in the Flood, Photo Atlas, The Swayback, Everything Absent or Distorted, Lion Sized, Machine Gun Blues, The Life There Is, Drag The River, Munly and the Lee Lewis Harlots, The Laylights, Cat-A-Tac, Meese, The Vanity, John Common, Bright Channel, as well as: Anybody who is brave enough to pick up an instrument and give a darkened room full of eyes your entire soul. |
