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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

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

Esther Rose w/ Dean Johnson

Lost Lake Presents Esther Rose with Dean Johnson on Wednesday, July 13th –16+, under 16 admitted with ticketed guardian As much as she’s a songwriter, Esther Rose is a scene setter, a crystallizer of moments, and a full time inhabitant of the dimly-lit world depicted in her songs. Rose found her voice over the course of years spent regularly performing and recording in New Orleans, combining her diy work ethic with an affinity for traditional country arrangements. Though still dressed with the dreamy lap steel, fiddle, and string bass accompaniment of earlier material, sophomore album You Made It This Far took on a far more personal tone. The songs were at times cuttingly direct, with storytelling lyrics culled straight from lived experiences both stormy and revelatory. This unadulterated self searching reached new levels of emotional resonance on third album How Many Times. Tracked live to tape with help from co-producer Ross Farbe from synth pop band Video Age, Rose and her small band cultivate a warm, lived-in atmosphere to deliver songs that are deceptively restless and turbulent. Swaying vocal harmonies and dialed back, straightforward instrumental backing congeal around Rose’s most fully realized work to date. As the album spins on, Rose navigates the chaos, upheaval, and exposed nerves of self discovery, and tells the tale with an intimacy that makes even the most painful moments feel almost sweet.

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.

Yellow Ostrich w/ Katie Von Schleicher + Corsicana

Lost Lake Presents Yellow Ostrich with Katie Von Schleicher and Corsicana on Thursday, September 29th–16+, under 16 admitted with ticketed guardian Soft is the gorgeous new LP from Yellow Ostrich. It takes its name from the lyric that stands as a thesis for the entire album, a beautiful and haunting rumination on the pitfalls and pressures of traditional masculinity and on band founder Alex Schaaf’s drive toward vulnerability and tenderness as core tenets of his being. The album’s ten tracks represent the first new music in seven years to be released by Schaaf under the Yellow Ostrich moniker, since he paused the project to explore new musical identities on a handful of excellent self-released albums (from which much of the best music is included on the stellar compilation Like A Bird: An Alex Schaaf Anthology 2010-20211). He notes, “When you’re translating an experience into a song, it can sometimes get at something more accurate and universal than trying to express that feeling in a face-to-face conversation… at least for introverts like me.” Born and raised in small-town Wisconsin and recently returned to his midwestern roots in Minneapolis after a half-decade in New York City and on the road, Schaaf’s path has led to both clarity of purpose as a writer and musician, and to the acceptance that there will always be truths between people and within ourselves that lie just out of reach. Prodding the structures that he and we have grown comfortable with, he worries that he’s actually shackled by them, and wonders why freeing himself can be difficult. Whereas he used to focus on romanticized heartbreak and conflict to fuel his more personal songs, now he wants to put an end to our obsessions with the conventional emotional trappings of masculinity, friendship, and love and writes about trying to be better – both to himself and to others. Binary ideas of attraction and sexuality are frequent thematic targets, embodied in ambiguous relationships like those with the subjects of lead single “Julia” or the warm manifestos “Timothy” and “John,” and in the blunt analysis of desire in “Birds.” And on album closer “Too Much Love,” he celebrates the presence of internalized emotional extremes while also lamenting the habitual urge to suppress them: “Warm blood spills / from my eyes / ‘cause I’ve got love / too much love to hide.” The task of opening up and building bonds with other people instead of building more emotional armor over time takes work, and it requires like-minded collaborators, trusted friends, and love. Schaaf has long been a consummate assembler of outstanding supporting players to help realize his musical vision, and for the recording of Soft he enlisted the help of a few friends, including drummer Marian Li-Pino (La Luz, Donna Missal), bassist Megan Mahoney (Lissie), guitarist Mike Noyce (Bon Iver, Tallest Man on Earth), and studio and mix engineer Zach Hanson (Bon Iver, Gordi, Whitney, Waxahatchee, Hand Habits), with a guest appearance on album standout “Los Angeles” by the returning Yellow Ostrich member and great multi-instrumentalist Jon Natchez (David Byrne, The War on Drugs). On Soft, despite all the potential volatility of life lived with other people and the challenges of navigating our own self-inflicted limitations, Schaaf is beginning to feel content with the person he is… while remaining eager to keep growing. “I’m proud of the way I am,” he says, before adding, “even if my definition of that changes every day.”

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