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Brooklyn’s DIIV will play the Summit Music Hall on May 13. Candace and Slow Caves will open the show. Check out our photos of that show and others from the Denver Post Foundation-spearheaded music festival here. This marks a departure from previous Red Bull Sound Select Shows, which used to be $3 and RSVP only. You might remember DIIV from its headlining slow at the 2015 UMS. DIIV performs on the main stage during day two of the Underground Music Showcase in Denver, Colorado on July 24, 2015. Tickets are $5 with an RSVP and $15 otherwise; you can buy them via redbullsoundselect.com. (Photo by Seth McConnell/The Denver Post)
Red Bull Sound Select, an arm of the energy drink company that promotes shows for developing artists at a discounted ticket price, has announced the talent for its next Denver show.
Knowledge (Operation Ivy Cover)
King for a Day
Shout/Always Look on the Bright Side of Life/ (I Can’t Get No) Satisfation/Hey Jude
Jesus of Suburbia
Good Riddance (Time of Your Life) While most bands heading into their 30th year show signs of slowing down, the opposite is true of the bay area punk icons, putting on a show that felt more like a tent revival, with the reverend Billie Joe leading the masses in a series of sing-a-longs as he sprinted from side to side on the stage. opened the show. BROOMFIELD, CO – APRIL 5: Against Me! Check out our photos above, and the setlist below. (Photo by Seth McConnell/The Denver Post)
Green Day threw down a marathon two-and-a-half-hour set at the FirstBank Center on Wednesday night. performs at the 1stBank Center on April 5, 2017, in Broomfield, Colorado. Setlist: Green Day at the FirstBank Center, 04/06/17
Know Your Enemy
Boulevard of Broken Dreams
2000 Light Years Away
Hitchin’ a Ride
When I Come Around
Are We the Waiting
St. Against Me! The lack of video screens on stage was a refreshing touch, as the band relied on its deep catalog of songs and an impressive light set up to keep the sold-out FirstBank Center engaged and entertained instead of relying on flashing graphics and video tricks.
A bowler takes her turn during a night of bowling with friends at Lucky Strike. If you can round up a team of four and $100, you can enter the scratch tournament. Registration for the tournament starts on the same day tickets go on sale: April 14. Winners of the three-game series will take home a cash prize, tickets to the festival and other to-be-announced prizes. On June 2 and 3, the Punk Rock Bowling and Music Festival will return to Denver for two nights of tournament bowling and punk shows. This year, the mini-festival will bring the Vandals, Face to Face, Street Dogs, Lawrence Arms, A Global Threat, the Casualties, Teenage Bottlerocket, Lower Class Brats and Counterpunch to Denver’s Summit Music Hall and Marquis Theater. You can buy both over at sodajerkpresents.com. Federal Blvd.) on June 1 at 8 p.m. Fancy your arm swing? The bowling tournament will go down at Crown Lanes (2325 S. Hard to say (maybe Woody Harrelson?), but Soda Jerk Presents is taking it back. (John Leyba, The Denver Post)
Lame dance music, vinyl shoes, glow-in-the-dark everything — who turned bowling disco?
Despite the plaintive subject matter and language barrier (Tinariwen’s songs are written in the Tuareg’s native Tamasheq language), the band’s music is surprisingly vivacious and accessible. Songs like “Soixante Trois,” which frontman Ibrahim Ag Alhabibs wrote about the execution of his father, filter the Tuaregs’ torrid past through Tinariwen’s personal experience. A: Since we started touring in America, a lot of bands and artists have discovered our music and liked it. We have been nomadic musicians touring half of the year for almost 17 years. These are people who have been forced to leave their homes because of persecution or climate change. In turn, the Grammy Award-winning Tinariwen has cleaved to the road, playing more than 160 shows around the world since 2014. A: We never thought about using Western instruments as a way to reach a Western audience. Q: Why did you decide to work with Western artists like Kurt Vile and Matt Sweeney on “Elwan”? We didn’t know what to expect, but our guests are always really respectful to our music and never tried to impose anything. (Provided by Anti-)
In the midst of mid-tour press, bands often talk about the road with a grudging respect, a necessary evil of living the dream. Q: Guitars are an essential part of your sound. Q: Given that different sound, how is your music received by other Tuaregs? Playing through a largely sold-out tour, Tinariwen’s desert blues has thrived in standing-room-only clubs across the country. Some of them we met on the roads; some of them get in touch with us to make music. For the past 40 years, the Tuareg people have had to leave their lands many times. That’s what our ancestors did in the Sahara before the colonization. Being away from your home and your people for three or four months is very rough. In term of production and music, Tinariwen has its own sound, I think, which is always recognizable and unique. When we started playing in Europe, what we were performing was what we used to do at home. The band got better and better with time. A: Tinariwen’s albums are always welcome by our people, because they also understand the lyrics. In light of everything you’ve been through, does touring feel maddening? That’s why you have Touareg in Algeria, Niger, Mauritania, Lybia, Chad. Did their different perspectives bring anything surprising to the sound or feel of the album? A: Touring is hard for us because we all have families and kids now. This is what happened with Kurt Vile and Matt Sweeney. Desert trance-blues outfit Tinariwen play the Oriental Theater on April 8. We don’t feel like refugees. For us, this situation can’t stay forever. But we feel lucky to have been able to spread the message about the people from our desert, the Kel Tinariwen. (The band’s name roughly translates to “deserts.”) Since at least as far back as 1960, when Mali gained independence from France, the area itself has been in a state of flux as surrounding countries have disputed the land, inciting the Tuareg people to take up arms against government forces from Mali and Niger. It’s easy to see and hear why: Decked out in traditional Tuareg garb and holding Fender guitars, Tinariwen cuts an enigmatic figure while rendering an obliquely familiar sound (guitar maestros Matt Sweeney and Kurt Vile are featured on “Elwan,” its latest album) into lush sonic mirages. What they bring to the album is another point of view to our art. And this is what we still think and feel. We spoke with guitarist and singer Abdallah Ag Alhousseyni via email ahead of the band’s April 8 show at Denver’s Oriental Theater about bringing the story of the Tuareg people to Western audiences. The fact that we have several singers and composers with different styles makes Tinariwen’s sound really original. Each Tuareg wants to go back home. We think everybody should be able to move and cross any borders freely. But this is our lives. For Mali’s Tinariwen, the road is a much more complicated place. (Note: These answers have been translated, then edited for clarity.)
Q: Between the conflict in Syria and President Trump’s proposed travel restrictions, the plight of the refugee is squarely in the news right now. It is an honor to be able to represent our culture and our people. It is always great to have others’ ideas inspired by us, and this way we can be inspired by them. And this is still the same. Having experienced diaspora yourself, what’s your perspective on the government’s immigration stance? In the last five years, crime and Islamic extremists have plunged the band’s contested home even further into uncertainty. Q: You’ve spent a lot of time on the road. The six band members are Tuaregs, a historically nomadic cultural group for whom stasis is as fleeting as the shifting sands of their home on the Sahara desert’s Adrar des Ifoghas mountains. Through the band’s distinctive style of trance blues — a cousin of the genre Boulder’s Otis Taylor has popularized at his annual Trance Blues Festival — the band has taken its people’s plight from the world stage to the club stage. Is that a conscious decision you’ve made to better resonate with Western audiences? A: As Tuareg and nomads, we have never been accepted by any government or administration. Nomadic people scare the powerful because they are free.