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Genre: Alternative/Indie Rock

Blondshell w/ Tiny Tomboy

Larimer Lounge Presents Blondshell with Tiny Tomboy on Wednesday, May 8th. In the past few years, 25-year-old Sabrina Teitelbaum has transformed into a songwriter without fear. The loud-quiet excavations that comprise her hook-filled debut as Blondshell don’t only stare traumas in the eye—they tear them at the root and shake them, bringing precise detail to colossal feelings. They’re clear-eyed statements of and about digging your way towards confidence, self-possession, and relief. Teitelbaum grew up in a classic rock-loving household in several Midtown Manhattan apartments, raised primarily by her single dad. During an era of sleek teen radio pop, her most formative childhood obsession was the Rolling Stones. Piano and guitar offered a means of processing the instability around her. “I had a lot of really big feelings, but I had learned as a child that I couldn’t really express them,” she says. “Performing and writing ended up being the only place where I could get any feelings out.” In high school, she discovered new indie-rock bands by scouring the websites of Bowery venues with her fake ID in hand—teen fascinations that instilled in her a love for lyrics with specificity and intensity, particularly as learned from The National, whose lyrics “informed a lot of the way I write.” But when Teitelbaum moved to Los Angeles for music school in 2015, she began forging a different path. Entering USC’s Pop Program, she was swept into a context where the brooding pop legacies of Lorde and Lana Del Rey reigned. She dropped out after two years, but Teitelbaum studied classic and jazz theory, the art of harmonies, and found herself writing songs inside the world of pop studio sessions. The biggest gift the pop machine gave her was the stark clarity of realizing that she didn’t quite belong there. Her music was increasingly too raw and intense to easily categorize, and after finishing her last full-on pop EP with producer Yves Rothman (Yves Tumor, Girlpool, Porches) at the start of the pandemic, she gave herself permission to write without expectation. She began penning songs just for herself, with no thought that she would release them. The process emboldened her. Subtracting self-consciousness became a catalyst for the lucid songs of Blondshell, on which her experiences all coalesce to form her truest expressions of self yet. “It was me, as a person, in my songs,” she says. When she showed a few to Rothman, he encouraged her to write an album, joining a chorus of friends saying, “This is you.” For all its complicated, soul-baring subject matter—processing post-lockdown social anxiety, her relationships with men as well as with women—Blondshell is a comfort, and its songs often contain the perfectly-calibrated humor and levity we need to survive. “There were a lot of things that I was running away from—mainly loneliness, self-esteem stuff,” Teitelbaum says. It all left her yearning to make the kind of music that has helped her feel empowered herself—and the way there was in telling the truth. “I always want to make people feel like they have more power and control and peace because I know what it feels like to want that for myself. I know how music has helped me get there,” she says. “What I’ve realized I need to do is write realistically, and try to not bring shame into the writing. Each song gave me more confidence. I hope the songs help people in that way, too.” -16+, under 16 admitted with ticketed guardian

Sun June & Wild Pink w/ A Place For Owls

Larimer Lounge Presents Sun June & Wild Pink with A Place For Owls on Tuesday, March 19th.Sun June:The five members of Sun June spent their early years spread out across the United States, from the boonies of the Hudson Valley to the sprawling outskirts of LA. Having spent their college years within the gloomy, cold winters of the North East, Laura Colwell and Stephen Salisbury found themselves in the vibrant melting-pot of inspiration that is Austin, Texas. Meeting each other while working on Terrence Malick’s ‘Song to Song’, the pair were immediately taken by the city’s bustling small clubs and honky-tonk scene, and the fact that there was always an instrument within reach, always someone to play alongside.Coming alive in this newly discovered landscape, Colwell and Salisbury formed Sun June alongside Michael Bain on lead guitar, Sarah Schultz on drums, and Justin Harris on bass and recorded their debut album live to tape, releasing it via the city’s esteemed Keeled Scales label in 2018. The band coined the term ‘regret pop’ to describe the music they made on the ‘Years’ LP. Though somewhat tongue in cheek, it made perfect sense ~ the gentle sway of their country leaning pop songs seeped in melancholy, as if each subtle turn of phrase was always grasping for something just out of reach.Wild Pink:The fourth full-length from Wild Pink, ILYSM unfolds with all the fractured beauty of a dreamscape. Over the course of 12 chameleonic tracks, the New York-bred rock band build another world inhabited by ghosts and angels and aliens, inciting a strange and lovely daze as the backdrop shifts from the mundane (subdivisions, highways, hotel parking lots) to the extraordinary (deserts, battlefields, the moon). But within its vast imagination lies a potent truth-telling on the part of singer/guitarist John Ross, whose lyrics closely examine his recent struggle with cancer. The follow-up to 2021’s A Billion Little Lights—a critically acclaimed effort praised by the likes of Pitchfork, NPR, Vulture, and Stereogum, who named it “one of the prettiest rock records of the past decade”—ILYSM emerges as a truly revelatory body of work, transforming the most painful reflection into moments of transcendence.-16+, under 16 admitted with ticketed guardian

BUNT. w/ Ryan Leary + Beavs

Larimer Lounge Presents BUNT. with Ryan Leary and Beavs on Friday, February 23rd — Sound splashes across songs much like paint on a canvas. Melodies manifest in different shades with their own textures and nuances. BUNT. employs a vibrant sonic spectrum in his music. The German artist, producer, DJ, and multi-instrumentalist utilizes various elements to enrich each and every track with a pop of color befitting of his moniker — which translates to “Colorful” in English. After making a global impact with north of 250 million + streams and counting, he channels this spirit on a series of 2023 singles and his forthcoming project. “My music is a variety of different genres and instruments blending together like colors do,” he exclaims. “I have an LED sign in my studio that says, ‘Melodies First.’ I’m super melody-driven, and it’s the most important part for me. If your lyrics are in English, German, or Spanish, somebody might not understand them. Melodies don’t speak a specific language; they’re universal.” Growing up in Stuttgart, he instantly gravitated to music as a kid. As if predestining BUNT.’s path, his father actually met his mother at a club where he worked as a DJ on the weekends after emigrating to Germany from Turkey. At 15-years-old, BUNT.’s older brother introduced him to Swedish House Mafia via the video for their smash “One.” Inspired further by Avicii, Of Monsters & Men, Mumford & Sons, M83, MGMT, and The Naked and Famous, he broke out his laptop, downloaded a production program, and spent “25/7 nonstop” on writing and recording. Early uploads caught the attention of tastemaker German label Kontor, and he inked his first deal at 18-years-old. He gained traction with tracks such as “Journey” and “Harmonica” which have now racked up 25 million streams. However, “Old Guitar” exploded in 2016. It catapulted to #8 on the Spotify Global Viral Chart. Around the same time, he teamed up with Nathaniel Rateliff and the Nightsweats to create the soundtrack for a Kia car commercial. He also served up official remixes for AVICII, OneRepublic, Gryffin, and National Parks, to name a few. Moreover, his catalog expanded to include fan favorites such as “Unbreakable” [feat. Clarence Coffee Jr] and “Crocodile Tears” [feat. Jens Hult], boosting his stream tally beyond the 250 million-mark. During 2022, he regularly embarked on a seven-hour train ride to visit his brother and infant nephew. Becoming something of a ritual, he put on his headphones, cooked up songs, and shared them on TikTok as the train stopped at its final destination. One such track, “Paperplanes,” caught fire in December. “What I like about trains is there are no distractions,” he smiles. “You don’t have internet access. You don’t have much equipment. You can just focus on music. I felt like I found my new studio!” At the top of 2023, another train upload, “Clouds” [with Nate Traveller], blossomed into an international phenomenon. His initial post of the sound generated over 1.4 million-plus views and 181K “likes” with 20K “creates.” Meanwhile, the song quickly gathered over 10 million total streams as he simultaneously signed a global deal to Arista Records US, Columbia Records UK, and Epic Records Germany. Reimagining Traveller’s track around the original vocals, “Clouds” hints at the breadth of BUNT.’s signature style. Its propulsive energy underscores a head-nodding bounce, lifting the hook beyond the stratosphere.

The Vices w/ The Rocky Coasts, Alive At Nine + Birdnest.

Larimer Lounge presents The Vices with The Rocky Coasts, Alive At Nine and Birdnest. on Monday, March 18th.  Why is it that we never dare to act purely from what we think and feel in the moment? Why is it that our world seems to be guided by unwritten rules and the judgement of others? And what would it sound and feel like if we didn’t feel that way? On March 17, The Vices will release their second album ‘Unknown Affairs’, a starting point in trying to answer these thoughts. For the Vices there are no universal truths. The only thing we can do is seek truth in our own feelings and thoughts. The album includes previously released singles ‘Strange Again’, ‘I Had A Name’ and ‘Tomorrow I’ll Be’. The album will be released on Mattan Records.Since the release of debut album ‘Looking for Faces’ in March 2021, everything seems to be falling in place for The Vices. Their first club tour sold out, right after the announcement, Nothing but Thieves asked them to join the stage in Europe’s biggest venues, they opened for Kensington in the Ziggo Dome 3 times and major festivals like Best Kept Secret and Sziget could be ticked off the bucket list. And so the rest of the world seems to turn around for the energetic Groningen natives, after kicking off with their first small headline shows across Europe, until the very last person is convinced. Anyone who has seen The Vices live knows they have always played with confidence – and above all joy and energy – and after a year like this, confidence is something that can only grow. ‘Unknown Affairs’ reflects this new gained confidence audibly. Both in lyric and sound, the band dares to make choices, take risks. 2023 promises to be a special year for The Vices. This year’s ViceFest, launched in home town Groningen, will see international editions in London, Antwerp and Berlin, and with a new album under their belt, the band will play their biggest Dutch club shows to date before touring all over Europe. In March, they will travel to the U.S.A. for major US showcase festival SXSW and shows in New York City.Larimer Lounge Presents The Vices on Monday, March 18th -16+, under 16 admitted with ticketed guardian

Provoker w/ Riki + Candy Apple

Larimer Lounge Presents Provoker with Riki and Candy Apple on Wednesday, February 21 –Beneath the smoke and mirrors of Provoker’s aching melodies is a spirit seeking clarity. On their forthcoming record Demon Compass , due October 13 this year via Swedish label YEAR0001, the California post-punk outfit turns inward for answers. Written while waiting for the release of the band’s esoteric yet pop-oriented debut Body Jumper , Provoker found themselves shifting their focus from projecting familiar, shadowy figures to embodying them — if only as a means of accessing the dregs of their internal world and confronting the demons that lurk even deeper. When they first emerged, Provoker’s narrative was parallel to their infernal, no wave sound. The band’s core songwriters, lyricist Christian Crow Petty and instrumentalist Jonathon Lopez, met at a screening of the 2016 black comedy film The Greasy Strangler . However, it was far from coincidence; while living in the greater San Francisco Bay Area, between tattoo scenes and friend groups, Petty’s older brother, Alex, matched the two after hearing that Lopez was looking for a skilled vocalist. Fittingly, the older Petty designed the Demon Compass album artwork: a hand that presents the titular compass, encrusted with winged figures who join together at its northern point. Much like the record’s sound, the image juxtaposes luminosity against overwhelming gloom. What’s visible is churning with unease.Demon Compass is a collection of songs that work together as an experience. It was recorded partly in Stockholm, Sweden with producer Daniel Fagerström (Viagra Boys), who deconstructed the arrangements Petty and Lopez brought to the country. “We wouldn’t have gotten some of the sounds on the records if we didn’t do that,” Petty says. Demon Compass takes the band’s interest in horror iconography and desolate soundscapes, telling introspective stories about desire, loss and growth. Album highlight “C Ur Face” sets the standard for the album. “These days, I’m hanging by a thread / But tell my friends / I don’t wanna see your face again,” Petty sings. His tone is languid, almost resentful, but the R&B-inflected melody softens the message. Undecided on whether isolation is the key to feeling better, the track paces between creating distance and searching for warmth.Producer Zach Fogarty (Girlpool, Jean Dawson, The Blssm) highlights Provoker’s melodic sensibilities but doesn’t let them live or indulge in the sounds of the past. “He took it apart and made it what it is now,” Petty recalls. Lopez’s synths carry the project through, buzzing with a digital urgency and applying pressure through noise and other sonic manipulation only when needed. The album dives headfirst into the unknown, brave in its uncertainty. Baroque organ levitates while restless breaths mimic it on “A Fate Tightly Sealed,” which ends the first act of the record. “Bestowed with a willingness to suppress a lifelong appetite” the narrator recites. “I know it now to never be enough.” The track paints an internal anguish, which is subsequently explored in tracks like “It’s In My Head” and “Little Ghost.” Petty explains, “I just want people tolisten to it and see all the images I’m trying to put out.”-16+, under 16 admitted with ticketed guardian