Category: Fox Theatre

Evanoff is a guitar driven live-electronic trio hailing from Denver, CO. Defined by a bold live show full of sonic exploration, the band blends soaring melodies and emotive bass lines, making them one of the most versatile and dynamic acts in the ever-evolving electronic music scene. “Basically they are like a jam bands favorite DJ, and a raver’s favorite rock band… you know what I mean. F*cking crazy shit!!!” The bands ability to bridge the gap between the Jam and bass music worlds, has amassed them a cult following that is only getting bigger every tour.

Since 2017, Evanoff has obliterated festival stages all across the country including Peach Festival, Camp Bisco, Electric Forest, Hulaween, Resonance, Sonic Bloom, and more. Fueled by Coors Light, This band is only just getting started.

Eminence Ensemble

The Colorado-based sextet, comprised of members Tanner Bardin [drums], Nick Baum [vocals, percussion], Wil Snyder [keyboard, synth], Zac Flynn [bass, synth, vocals], Dylan Gleit [guitar, vocals] & Justin Neely [guitar, vocals], has been steadily building their fan-base through explosive live shows featuring a unique conglomerate of genre-blending compositions. The archipelago of sonic worlds put forth by the band features elements of rock, funk, metal, electronic, soul, and hip-hop that together create an intricate foundation to be decorated by exploratory improvisational jams in a unique way, every show.

Gaining their following first as a live band, Eminence Ensemble captures the crowd with high-energy performances and large-scale production, with a light show just as dynamic as the music. Although they mainly thrive in the jam scene, the band is recognized and loved by fans of all genres. Eminence Ensemble has become known for their complex song structures, harmonized dual-guitar lines, heavy bass drops, dense vocal harmonies, and powerful percussion, both on stage and in the studio.
 

Winter Fest 2.0 (Boiler Room) feat. Bruins b2b Spendo, Catch Cook b2b PAREDES, Solem, Hami b2b GASPY at The Fox Theater

Boulder Colorado’s longest-running champions of high-energy, authentic funk and soul music, The Pamlico Sound are known for their original, contemporary songs and performances, while drawing inspiration from classic legends like Sly & The Family Stone and Parliament Funkadelic. The joyful interplay between band and audience combine to create the “Jive Church”: a non-religious, theatrical/interactive experience inspired by the Black Baptist churches of the south—with everyone moving, shouting and shaking in a celebration of the uplifting power of Pure Funk’n Soul. 

iZCALLi (iːs kæ liː)
Is a genre-bending rock band pushing the sonic envelope of conventional Latin sounds. Miguel Aviña (Lead Guitar/Vocals), Brenda Aviña (Bass) and Luiggy Ramírez (Drums) combine to create music for the relentless, the determined…the immigrant song. Inherently authentic and undeniably refreshing. iZCALLi swigs its evolving sound from all wells of tradition, from Latin-tinged echoes to fuzz rock anthems saturated with rebellious spirit in English and in Español; creating the perfect molotov of nostalgia and euphoria, equal parts sweet and intoxicating. iZCALLi’s music ignites a sonic space to reconnect yourself with the present, to join what you’ve left behind with what you will recover, discover your heart, so you know you are home.

“DIZGO has one of the most operative names in the jamband scene, evoking a transcendence of genre: a dizzier disco, filled with a hodge-podge of genres, styles, and technical influences while still, at it’s core, a dance party.” -> Space Tapes Dizgo redefines the live experience by blending jamtronica with funk, deep-groove soul, and psychedelic rock, taking the audience on a musical journey that includes intricate compositions and extended improvisation. The result is something both danceable and introspective: soulful vocals, interweaving analog synths, and shredding guitar all which join forces under the banner of Dizgo. The band has played stand out performances at festivals such as Peach Music Festival, Sum mer Camp Music Festival, Resonance Music Festival, Werk Out Music Festival, Sonic Bloom Music Festival, and much more and has supported acts such as Goose, Pigeons Playing Ping Pong, Papadosio, The Main Squeeze, Aqueous, Lespecial, and more.

SABAI is a rising star in the world of melodic bass EDM, captivating audiences with his emotionally charged soundscapes. Despite the project only being around since 2020, his authentic and vulnerable sound deeply resonates with his listeners, leading to a rapid growth in his dedicated fan base. Through his music, SABAI aspires to inspire his fans to pursue their dreams, never lose sight of their goals, and to find their most authentic self.

SABAI’s live performances are a testament to his dedication, as he pours his heart and soul into every set, connecting intimately with the audience and creating an unforgettable experience.

As SABAI continues to carve his path in the world of EDM, he remains committed to pushing boundaries, experimenting with new sounds, and sharing his artistry with the world.

What began as something to do while there was no surf has become so much more for Zach Stephenson and Billy Fleming aka Hockey Dad. In 2013 the two, who have been friends since early childhood started jamming in their parent’s garage because there were no waves. With Zach on guitar/ vocals and Billy behind the drum kit the two quickly progressed to writing their own songs and had a set together to start playing some shows locally across Wollongong. Ten years on and Hockey Dad now have an EP, three full length albums and a live record under their belt and have headlined tours across Australia, New Zealand, Europe, Canada, the USA and UK as well as played main stage sets at some of the worlds biggest festivals. In the process they duo have earned themselves gold and platinum records in Australia, two top 10 chart positions and a loyal set of fans that have sold out shows at some of music’s most iconic venues. With a fourth album now recorded, the band have been getting back to the stage over recent months with tours around the world ahead of the first taste of the new album due in the back half of 2023.

One line on the record:

I am the Dog is a record of exquisite contrast: fast, feverish, and dreamy all at once. I am the Dog is invested in constructing exquisite and impossible tensions, interrogatory and profound.

Dana Foote put Sir Chloe together in college to serve as her senior thesis. She wrote “Michelle,” and “Animal,” songs that would become the band’s first major hits a few years later, on the floor of her college dorm. The band recorded the songs in the early hours of the morning, the only time their school’s studio was available. The rest of Sir Chloe’s EP Party Favors was recorded in a warehouse that the band transformed into a decent recording space with just $100 dollars and sheer will. This labor of love soon transformed into something colossal. Due to the success of the EP, Sir Chloe would go on to tour with Portugal. the Man and alt-J, open for the Pixies, and headline two tours in the United States and Europe.

When Sir Chloe wasn’t touring, Foote worked with Grammy award-winning producer John Congelton to make what would become Sir Chloe’s debut album: I am the Dog. She wrote with pop powerhouse Teddy Geiger and Sarah Tudzin, from illuminati hotties. Collaborating with a team supported and challenged Foote, and the resulting work is a more stylistically dynamic and mature song cycle. I am the Dog is a record that grapples with finding control in the entropic chaos that is nature, that is life: “The violence of the natural world is pretty constant throughout the record,” says Foote, “It’s about trying to find control within that violence.” It’s a record invested in constructing exquisite and impossible tensions, toying with opposition, resolving it, and then destabilizing any comfortable resolution once again. Foote is not as invested in being at rest so much as she’s interested in interrogating why she cannot be.

Single “Hooves,” is an urgent song, fast and intense. It’s campy and serious at the same time. Foote was thinking about the particular physical freakishness of goats: their three eyelids, how their eyes move independently from each other, that these bizarre features better equip them to avoid predators. Characteristic of Foote’s songwriting, “Hooves” embodies paradox to get its point across: sonically it’s deliciously perverted and dark, while lyrically it demands space, expresses a unequivocal bid to be left alone: “I don’t want to hold hands,” Foote sings over the violent thrash of guitar, “You’ve been chewing my hair over and over again.” It bursts open, erupts, leaves both nothing and everything to the imagination. Foote’s voice is emotional and dynamic. Her alto is vibrant, intense, sometimes frightening. Lyrically, she’s frank, but avoids giving too much away. Foote is always toeing the line between expression and concealment. She makes a fetish of the unsaid, preferring to shield her songwriting with a degree of opacity. I am the Dog opens with “Should I,” written with Sir Chloe’s guitarist Teddy O’Mara and Teddy Geiger. It’s severe, dissonant. Foote asks a naughty question, explores a back and forth, oscillates between “Yes” and “No”. Foote is always wondering which way to go. “Know Better,” orbits a similar tension. “I wanted it to sound like I was teasing someone,” says Foote. Like when you pull someone’s hair instead of asking for a kiss. It’s disarming, at the same time molten and edgy, obscuring and revealing desire in the same breath. It’s the outline of someone’s tongue against the inside of their cheek, suppressing the smile that would reveal the secret they’re looking to keep. “Salivate,” born out of Foote’s meditation on the way shame is leveraged to control people, shapes desire into something dark: a scream and a whine and a weapon. The album’s title track begins stripped down and melancholy, almost resigned, and then slowly builds into a cathedral of sound, cinematic and heartbreaking. It’s written from the perspective of a beloved but violent dog Foote lived with. She empathizes with the animal, recognizing the tragedy of its helplessness, entirely at the mercy of the person it can’t help but hurt: “I am the dog under your couch, gnashing teeth and open mouth,” Foote sings, “Shouldn’t have clawed my own way out, loving you is my only house.”

I am the Dog is a record of exquisite contrast: it points the finger, it pushes away, it beckons, it empathizes, it condemns, it yells and laments and prays. It’s fast and feverish and also shimmering and dreamy. It’s lush and textural and profound. I am the Dog interrogates ugly and painful things and pulls them apart until they surrender answers that are complex, or reveal the foolishness of seeking an explanation in the first place

One of the most lyrical and intimate voices of contemporary jazz piano, Brad Mehldau has forged a unique path, which embodies the essence of jazz exploration, classical romanticism and pop allure. From critical acclaim as a bandleader to major international exposure in collaborations with Pat Metheny, Renee Fleming, and Joshua Redman, Mehldau continues to garner numerous awards and admiration from both jazz purists and music enthusiasts alike. His forays into melding musical idioms, in both trio and solo settings, has seen brilliant re-workings of songs by contemporary songwriters like The Beatles, Cole Porter, Radiohead, Paul Simon, Gershwin and Nick Drake; alongside the ever-evolving breath of his own significant catalogue of original compositions. With his self-proclaimed affection for popular music and classical training, “Mehldau is the most influential jazz pianist of the last 20 years” (The New York Times).

A witty, clever, and eclectic singer and songwriter, Caroline Rose is a musician not afraid to evolve in public, growing from a contemporary folkie to an Americana artist with roots rock leanings to a sharp-humored indie pop performer. As a songwriter, Rose is unafraid to look deep inside their psyche, and the melodies are engaging whether they were exploring the earnest moods of early work like 2014’s I Will Not Be Afraid, shifting gears to a playfully fractured pop approach on 2018’s Loner, or embracing their own vision of contemporary pop on 2020’s Superstar. Emotional trauma that came in the wake of a failed relationship informed the darker and more spectral sound of 2023’s The Art of Forgetting.

Ever since forming in 2008 and releasing their debut album, 2012’s My Father and the Hunter, two-time JUNO award-winning alternative group The Strumbellas have steadily released follow-ups containing every ounce of stomping, hand-clapping, alt-country gusto, from 2013’s We Still Move on Dance Floors to 2016’s Hope to 2019’s Rattlesnake. They’ll soon round the corner with a brand-new fifth studio album, Part Time Believer, a collection that signals The Strumbellas’ grand return and rebirth.

Now with Jimmy Chauveau on board as lead vocalist, The Strumbellas spent the last four years writing, recording, and whittling 50 songs down to 12. Honed by producers Ben Allen (Gnarls Barkley, Kaiser Chiefs), Keith Varon (Machine Gun Kelly), Stevie Aiello (30 Seconds To Mars), and Dave Schiffman (RHCP, The Killers), Part Time Believer continues The Strumbellas’ long-standing tradition of blending anthemic, brightly coloured compositions with yearning, contemplative lyrics.

“I think people often feel like things are escaping them, or they’re trying to grab on to something — happiness, gratitude, professional or personal goals — and for some reason, they just can’t get there,” says David Ritter, who handles piano, organ, percussion, and vocals. “Even if they get the thing they want, it doesn’t feel the way they thought it would. A lot of these songs are about trying to, like, figure out why we’re all feeling this way, and how we can find more peace in our lives.”