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

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Genre: Concerts

Public Serpents (feat. members of Choking Victim) w/ Doom Scroll + Fragile City

Lost Lake Presents Public Serpents (featuring members of Choking Victim) with Doom Scroll and Fragile City on Wednesday, November 29th.  Public Serpents are a six piece ska-core band from New Jersey, USA, fronted by Skwert who was the drummer in New York seminal squat punk band Choking Victim. Since Public Serpents first entered the scene in 2008 with their debut album “The Feeding Of The Fortune 5000”, they’ve appeared on splits with bands UpperDowner and recent Fat Wreck Chords signee Escape From The Zoo, receiving critical acclaim in the worldwide crack-rock-steady scene.  2022 saw Public Serpents touring with some incredible bands like The Suicide Machines, Escape From The Zoo, and Catbite in cities across America before shipping out to Europe for a month long tour over seas, playing venues ranging from the world renowned Manchester Punk Festival to a Hungarian bomb shelter under the streets of Budapest. Their next full length album, “The Bully Puppet” is also set to be released this year, following the bands signing to SBÄM Records (Austria). – 16+, under 16 admitted with ticketed guardian

The Hails w/ Foxtide

Lost Lake Presents The Hails w/ Foxtide on Saturday, February 17th. – 16+, under 16 admitted with ticketed guardian

Sydney Sprague – The “Somebody in Hell Loves You!” Tour w/ Wheelwright + The Sickly Hecks

Lost Lake Presents Sydney Sprague – The “Somebody in Hell Loves You!” Tour with Wheelwright and The Sickly Hecks on Saturday, November 18th.  SYDNEY SPRAGUE channels her sadness, anxiety, and existential dread through driving guitars, shimmering melodies, and the deceptively sweet weapons of indie pop-rock and keen observation. The Phoenix, Arizona singer/songwriter sharpened her creative voice across two radiant albums. Self-aware with a knowing injection of dark humor, her songs summon the best of 90s alt-rock and classic power-pop without sacrificing a melancholy befitting of the end times. Her music is intimate, vulnerable, confrontational, autobiographical, and strangely uplifting. Her sophomore record, somebody in hell loves you, is as devilishly saccharine as the title implies, boldly accessible and smart. Take, for example, the summertime glimmer of the punchy “overkill” or the inescapable hook of the ode-to-dreaming that is “smiley face.” There’s an audible recreation of panic in the escalating loudness of “terrible places.” An ocean of clever nuance powers “god damn it, jane.” The diverse extremes anchoring somebody in hell loves you are both fresh and familiar, like the most timeless of indie rock. Sprague, once described as “the punk rock Kacey Musgraves,” first fell in love with the unapologetic guitar-fueled pop of Avril Lavigne and Kelly Clarkson. Bands like All-American Rejects and Fall Out Boy followed. She next immersed herself in The National, and Death Cab For Cutie. Gigs in local bars, restaurants, and hotels proved less than fulfilling until about 2019 when inspiration struck, and she put together demos for her first full-length. In 2020, she made the album at Hall Of Justice with producer Sam Rosson (Collin’s Beach, Danielle Durack, Exploded Drawing). Ex-Death Cab guitarist Chris Walla operates the Seattle studio, a location whose history includes important records by Death Cab, Nirvana, Sleater-Kinney, The Decemberists, Modest Mouse, and Fleet Foxes. Sydney wrote most of somebody in hell loves you during the pandemic lockdowns, and yet, it’s decidedly less angsty than its predecessor. “And not because I’m a less angsty person,” she clarifies. “Obviously, none of us were in a good place in 2020. It was a depressing time. But I didn’t want to wallow in that. I wrote more as an exercise to distract myself from my woes.” A lot of the songs became observational storytelling, exploring the drama of people around her and revisiting her past. The earnest, candid, authentic, and sometimes surreal emotion explored on both albums are keys to the instant accessibility and relatability of Sydney Sprague’s songs. An emo kid who loved pop punk and grew into indie, radio, and everything in between, Sydney shares the same struggles as her crowd. “I just hope that my songs make people feel better, in whatever way that’s meaningful for them in the moment,” she offers. “Songs have different pills for different ailments. Anytime I feel a particular type of way, there’s a song I’ll go to, either to be more present in that feeling or to make it go away. “And if there’s a way for my songs to do that for other people? That’s the ultimate reward.” – 16+, under 16 admitted with ticketed guardian

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