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3602 E. Colfax, Denver, CO 80206
2 Blocks East of Bluebird Theater
303.296.1003

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Genre: Alternative/Indie Rock

The Moss w/ Lady Denim

Lost Lake Presents The Moss with Lady Denim on Friday, July 15th– 16+, under 16 admitted with ticketed guardian 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.” “Bryology seemed like a collection of separate songs we put together to make an album, whereas Kentucky Derby is a similar thought and story coming together to collectively make a more cohesive album,” adds Brierton Sharp says, noting the album’s tracks are sneakily arranged in pairs of two that seamlessly flow into one another. “Each song could be listened to on its own, or you could listen to them all and get a broader sense of our intention.” 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

Meltt w/ Jr. Rabbit

Lost Lake Presents Meltt with Jr. Rabbit on Monday, August 29th–16+, under 16 admitted with ticketed guardianMeltt is a collection of four multi-instrumentalists sonically painting their own dreamscapes with psychedelic-guitars, swelling-synthesizers, powerful-drums, and ethereal-vocals. Currently falling somewhere in the category of indie/ psych- rock, the band has been praised for their combination of heavy riffs, colourful instrumentation, detail oriented production, and multi-layered song- writing. With an equal love for the blissfully tripped out and the powerfully crunchy corners of music, a Meltt album or show is designed to transport the listener to spaces they have only previously dreamt of. They are currently putting the finishing touches on their second album which they hope to release in Spring of 2022.

Milly w/ Gleemer + Miss Betsy

Lost Lake Presents Milly with Gleemer and Miss Betsy on Sunday, June 26 — Wish Goes On soundtracks the (re)birth of a band called Milly. It is something new emerging from something old; something old from something older, made new again. In 2019, Milly hit the road with labelmates and fellow fans of fuzz, Swervedriver. At the time, their lineup was rotating consistently as Brendan Dyer, Milly’s principle songwriter, searched for permanence in the form of a live band. It was on this tour that something clicked for Dyer, who recalls the feeling as nothing short of cosmic. He remembers thinking one day, simply, “This is the band,” and so it was. Spencer Light on guitar, Yarden Erez on bass, and Zach CapittiFenton on drums, with Dyer playing guitar and singing the songs. The dynamic that burst into existence on this tour only deepened in the following months. “So much of it for me are those in-between moments,” Dyer says about the band’s blossoming friendships, “driving in the car listening to music, or being on break from rehearsal getting something to eat from Lassens.” Dyer would bring sketches of songs to the group, most of which he’d already been developing for years. “This release marks the transition from Milly as a solo project to Milly as something more unified,” Dyer explains. CapittiFenton, Erez, and Light were invited to dissect and rework his demos, a process that continued right up until the time they found themselves in rural Colorado actively recording Wish Goes On with Gleemer’s Corey Coffman. Coffman, who engineered and produced, also became involved in the songwriting process at this point, offering ideas the band would take home and play with before returning to the studio the next day. The result is five songs which complement one another artfully. By the time Dyer sings, “But it’s different now, feels like the same old town but I know it’s not” on the EP’s second track, “Denial,” it is not only a hometown that has disappeared in change, but also the sordid illusion of US supremacy as it is incessantly propagandized, especially to children — a notion which opener “Star Spangled Banner” openly unsettles. Dyer wrote “Denial” and the three songs that follow at around the same time in his life, with “Star Spangled Banner” coming significantly later, sometime after Milly’s formative tour in 2019. There is something to be said about these conversations across time, the album receding in a sense into the past even as one advances through it. Maybe it has something to do with the idea that longing, wishful thinking, and hope are always reaching both backwards and forwards. Maybe when Dyer sings that he “can’t get past denial,” he’s referring in a sense to the denial of anything but the present moment. Maybe, in the way of Alan Watts, Wish Goes On furthers the idea that “The only way to make sense out of change is to plug into it, move with it, and join the dance.” Dyer describes something to this effect when he says he’s been “trying to keep my head down and follow my path, knowing things will work out.” In the same conversation, he openly acknowledges that “even if that’s not true, it still feels helpful,” which is to say, of course, “Wish Goes On.” – 16+, under 16 admitted with ticketed guardian

Ax and the Hatchetmen w/ With Special Guest + The Keeps

Lost Lake Presents Ax and the Hatchetmen with With Special Guest and The Keeps on Wednesday, June 15th–16+, under 16 admitted with ticketed guardian Ax and the Hatchetmen, a seven-piece band from the Chicago suburbs is comprised of Axel Ellis (vocals/guitar), Kenny Olzewski (vocals/guitar), Sal Defilippis (vocals/guitar), Hunter Olshefke (vocals/bass), Nick Deputy (drums), Phil Pistone (trumpet), & Quinn Dolan (saxophone). They often deliver a blend of quasi-pop melodies mixed with flavors of Indie/Alternative Rock, Classic Rock, Surf Rock, Pop, Jazz, Blues, Folk, and Punk. They also like to party.

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