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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

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.”

Little Stranger w/ Cory Simmons + Steady Feel

Lost Lake Presents Little Stranger with Cory Simmons and Steady Feel on Thursday, June 16th–16+, under 16 admitted with ticketed guardianBorn and raised in Philly, crash landed in Charleston, Kevin and John Shields are breaking intopreviously uncharted waters with their quirky indie hip-hop group, Little Stranger. BetweenJohn’s melodic singer-songwriter magnetism, Kevin’s in-your-face delivery, and an overallundeniable groove, this duo is sure to get any audience up and moving. Stylistically reminiscentof Gorillaz and Odelay-era Beck, Little Stranger delivers a fresh take on melodic hip-hop. Everytrack brings the uniqueness and strangeness that their name implies.For the past few years, the duo has perfected their live performance by playing over 100 showsper year prior to the coronavirus shutdown. The group also puts a big focus on creatingarresting visual experiences through their music videos, their own eccentric television program(LSTV), and in-house graphics. Between their out-of-the-box creative endeavors and anever-increasing arsenal of new tunes, Little Stranger is poised to make 2021 another slam dunk

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

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