4483 Logan Street
Denver, CO 80216

303.296.1003

Facebook-f Instagram

Genre: Alternative/Indie Rock

105.5 The Colorado Sound presents Cheekface w/ Sad Park + Mr. Atomic

105.5 The Colorado Sound Presents Cheekface with Sad Park and Mr. Atomic on Saturday, April 8 –When we last left the arguably interesting adventures of Cheekface, they’d released the minor phenomenon “Emphatically No.” The band’s sophomore album bowed at #1 on Bandcamp’s alternative and vinyl sales charts, became a college radio staple, and propelled the L.A. talk-singing trio into packed houses of Cheek Freaks across the US. So I guess now is a good time for Cheekface to return with their third LP, “Too Much to Ask.”You might say “Too Much to Ask” builds on the strengths of the first two Cheekface albums, but also refines and evolves their sound a little, and why would I argue with you? The band’s songwriting battery of guitarist/singer Greg Katz and bassist Amanda Tannen show their lyrical trademark, a strangely inviting sad and sideways wit, right from the jump — “life hands you problems, make problem-ade,” they announce in the almost-unglued 1-minute-25-second album opener “When Life Hands You Problems” — and then across the record’s 11 tracks, the band proceeds to make hay out of many of life’s mysteries.There’s the problematic popularity of quinoa (the what-if-Stephen-Malkmus-fronted-Television headnodder “Pledge Drive”), the boundless desires of American imperialists and the political complacency that enables them (the relentlessly hooky and bleak “You Always Want to Bomb the Middle East”), the physical toll of daily routine (“I would get so much done if I didn’t have to sleep anymore, but then I would be tired,” they observe on The Cars-via-Rosenstock “I Feel So Weird”), the questionable marketing of a certain quacky soap bottle doctor (beach-blanket strummer “Election Day,” which features a guest verse from kindred spirit Sidney Gish), and the seemingly sabotaged pointlessness of it all — pick any track really, but I like “coffee from the bank / Fritos isn’t free / I only want to be with other people like me” from “We Need a Bigger Dumpster,” a singalong single that exposes Cheekface’s most fundamental components as clear as a deep-sea fish: a simple drum beat, a nasty bassline, a neatly catchy guitar riff, a suprisingly memorable chorus, and a funny fatalistic wisdom that unites it all.Cheekface — comprising Katz, Tannen, and drummer Mark “Echo” Edwards — often stick close to the blend of post-punk and power pop they first explored on 2019 debut “Therapy Island” and honed across 2021’s “Emphatically No.” But new to this album, the chatty indie rock outfit lets the music do the talking at times, like in the winding dance break of LCDesque “Featured Singer,” the explosion of guitarmonies on “You Always Want to Bomb the Middle East,” and the majestic Moog melody of album closer “Vegan Water.” These excursions give more space to the band’s best punchlines and lighten the weight of their darker thoughts. Meanwhile, pianos and Casio keyboards and cowbells poke their heads in here and there; there are some cut and paste samples sprinkled around; some flotsam and jetsam are used as percussion, like a staple gun, a stainless steel ashtray, an old vinyl suitcase and a clanky folding chair. They also fit their first ballad on this record, “Election Day,” next to a screaming 57-second mantra about instant noodles.But even as Cheekface evolves a little, the album stays focused on Katz and Tannen’s lyrics about the confounding feeling of the unmoored present. “I think the last year or two has drawn a big circle around a lot of things we all already knew, but maybe didn’t know we knew,” Katz says. “The shock of isolation and the shock of togetherness, the call to activism and the pull of resignation, wanting the best for your friends but expecting the worst of yourself. The sneaking feeling that your life is mostly funny but a little sad a lot of the time — except for the times when it’s mostly sad but still kinda funny.”

Transviolet w/ Jagwar Twin

Globe Hall Presents Transviolet with Jagwar Twin on Sunday, April 23rd. After a successful catfishing on a musician networking website, Sarah McTaggart began to collaborate with producer and bassist Mike Panek across the world, and over the internet writing the beginnings of what would eventually become Transviolet.  She made the move from the Cayman Islands, to Toronto, landing eventually in San Diego where they met for the first time and sparks flew, or at the very least no one was serial killed. Jon Garcia was brought in on drums, and later Judah McCarthy on guitar and keys after moving to LA and signing their first publishing deal. For two years the band locked themselves in studios across the purgatory that is the San Fernando Valley (which would later be the title of their 2018 release), writing song after song, until piquing the interest of LA Reid and their first major label partner EPIC records.  From the very beginning, Transviolet has made a point to approach music differently. Like when they released their first single Girls Your Age, the band sent out 2,000 plain manilla envelopes to kids across the country containing a cassette tape that only said “play me”, not realizing that was pretty near to the exact plot of the horror movie SAW. Blogs and press outlets took notice, but no one cared nearly as much as the mothers across the country when they took to facebook to demand answers, and threaten the band with legal action. It was hilarious. 24 hours later and ‪Katy Perry‬ Tweeted out the song, a week later ‪Harry Styles‬. A flood of attention came to the band and they were thrown into the deep end that is the music industry. Writing with collaborators DreamLab (‪Selena Gomez‬, ‪Miley Cyrus‬, ‪Nicki Minaj‬…) Sam Hollander ( ‪Panic At the disco‬, ‪Fitz and the tantrums‬) ‪Andrew Dawson‬ (‪Kanye West‬, ‪Tyler the Creator‬) and Nate Motte of 3OH!3, among many others, Transviolet put out two more EPs, seeing critical acclaim from countless press outlets. Now in 2019 with multiple support (Twenty one pilots, LANY, ‪Dua Lipa‬, ‪Joywave‬) and headling tours (US, UK) under their collective belt, and tens of millions of streams –  Transviolet is gearing up to release their first Independent full album. Feeling as they’re writing the best material of their career thus far, the band couldn’t be more ready to show the world, just who it is, they are.  Self written, self mixed, self released, the band is taking the reins and show no signs of slowing down. – 16+, under 16 admitted with a ticketed parent or guardian

The Moss w/ The Olson Brothers

Globe Hall Presents The Moss with The Olson Brothers on Friday, February 10th. In a musical landscape with fewer boundaries than ever before, The Moss’s exuberant brand of alternative rock spans genres, eras, and even oceans. The Utah-via-Hawaii group was born on the shores of Oahu in 2015, as teenage buddies Tyke James (vocals/guitar) and Addison Sharp (guitar) picked up a gig serenading diners at local taco trucks in between surf sessions. Naturally, their songs took shape in the spirit of the island, imbued with the joyfulness and breeziness of reggae culture yet cut with the introspection and communal spirit of mainland indie acts like Pinegrove and Cage the Elephant. By 2018, the duo had grown, enlisting Willie Fowler on drums and Addison’s brother Brierton on bass, and traded in beaches for the Great Salt Lake. They hit the stage at spots like local cornerstone Kilby Court, live-testing their modern-indie-meets-’60s-blues with a wide-eyed exuberance that translated effortlessly into their 2019 self-released debut, Bryology.  Colored by the sound of Stratocasters jamming through reverb-cranked Fender amps, all backed by bouncy rhythms, Bryology marked a big step for the still-young quartet – but, true to The Moss’s nature, was still hard-coded with a DIY ethos. “We basically had no budget,” James remembers fondly. “We bought some nice mics and an interface and I ended up learning how to mix while we were recording.” The follow-up, 2021’s Kentucky Derby, brought a more aspirational, blue-sky tilt to the foundation they’d laid on Bryology, expanding the group’s sonic arsenal while keeping the relatable lyrical style and sun-soaked sentiment at the forefront. “I’m really proud of how we’ve evolved as a band over time,” Addison Sharp says. “It feels like we’ve taken every different influence and mashed them all together to create something that feels really special.” No matter how listeners choose to interact with The Moss’s music, the band just hopes they feel something. It’s that kinetic relationship between band and audience that makes their live performances – including a pitch-perfect recent set for Audiotree – so compelling. “No matter what we do, we want to make sure the songs are fun to play live,” says Fowler. “We pride ourselves on being a band people want to see live.” “There’s something special that happens when you get an immediate reaction to a song,” says James. “Whether it’s during a live show or even just a songwriting session, if there’s a reaction from people in the room, you know you’re on the right track.” XX – 16+, under 16 admitted with a ticketed parent or guardian

105.5 The Colorado Sound Presents King Tuff w/ Tchotchke + The Savage Blush

105.5 The Colorado Sound Presents King Tuff with Tchotchke and The Savage Blush on Saturday, March 11 —  There are times in our life when we feel magic in the air. When new love arrives, or we find ourselves lost in a moment of creation with others who share our vision. A sense that: this is who I want to be. This is what I want to share. It’s a fleeting feeling and one that Kyle Thomas, the singer-songwriter who records and performs as King Tuff, found himself longing for in the spring of 2020. But knowing he couldn’t simply recreate this time in his life at will, Thomas—who hails from Brattleboro, Vermont—set out to write a love letter to those cherished moments of inspiration and to the small town that formed him. The one where he first nurtured his songwriting impulses, bouncing ideas off other like-minded artists. The kind of place where the changing of the seasons always delivered a sense of perspective and fresh artistic inspiration. Where he felt a deeper connection with nature and sense of community that had once been so close at hand. The result is Smalltown Stardust, a spiritual, tender and ultimately joyous record that might come as a shock to those with only a passing knowledge of the artist’s back catalog. On Smalltown Stardust, Thomas takes us on his journey to a place where past and present collide, where he can be a dreamer in love with all that he sees. Images of his youth abound: from Route 91 which runs through his hometown (in “Smalltown Stardust”); to Redtooth, a spectre who used to roam the streets (“Bandits Of Blue Sky”); to old friends, old haunts and old dreams (“Always Find Me”); to Vermont’s Rock River, which gave its name to a song of a torch still burning for past love: “Those days are gone and we can’t rewind/ Cuz people grow and places change/ But my love for you will never fade away.” But at the core of Smalltown Stardust is Thomas’s desire to commune with nature on a spiritual level. Images of the natural world, from blizzards to green mountains to cloudy days, fill the songs and create a setting unmistakably far away from Los Angeles. “I consider nature to be my religion,” he explains, and Smalltown Stardust is nothing if not a spiritual exploration. Thomas’s identification as a sort of eternal spiritual seeker is underscored in one of the album’s sweetest moments, “A Meditation,” which features a home audio recording of Thomas as an eight year old, trying his hand at leading a meditation. It’s a journey that he continues to this day, as he intones on “Portrait of God”: “Walking in the woods, wading in the river” and “breathing in the mountain air” before heading back to a place where he finds himself “Oil painting in my garage/ Let my colors flow/ I’m working on my portrait of God.” While so much of Smalltown Stardust invokes idealized traces and places of Thomas’s past, the album’s recording process made his communal vision a reality. Thomas’s Los Angeles home in 2020 formed a micro-scene of sorts, with housemates Meg Duffy (Hand Habits) and Sasami Ashworth recording their own heralded albums (2021’s Fun House and 2022’s Squeeze, respectively) at the same time. A shared spirit dominated an era spent largely on the premises, with Thomas serving as engineer and contributor to both records, and Ashworth working as co-producer on Smalltown Stardust.  – 16+, under 16 admitted with a ticketed parent or guardian

©

2026

Globe Hall

Facebook-f Instagram

4483 Logan Street
Denver, CO 80216

303.296.1003

Join our email and text list!

Powered by ROCKHOUSE PARTNERS an ETIX company.

Skip to content