Queen City Sounds and Art

Best Shows in Denver January 2026

**Cherished celebrates the release of its self-titled debut LP at Hi-Dive on 1/22/26**

Friday | 01.02
What: Angel Band w/Ryan Wong, Fishlegs, Elaine and Nimona
When: 7
Where: Hi-Dive
Why: Angel Band is an indie pop band that seems to have taken inspiration from jangle pop groups of the late 80s and early 90s. Like C86-affiliated groups and acts on the Sarah Records and early Slumberland imprints. There is an enthusiasm with which the music is performed but without losing a sense of delicacy and gentleness. Fishlegs is like-minded in its embrace of the kind of charming twee pop that made 90s underground music worth seeking out. Ryan Wong is of course the songwriter and producer behind his band Supreme Joy but his solo performances can wax into his equally worthy country songwriting.

Thursday | 01.08
What: Victim of Fire, Cronos Compulsion, Aleister Cowboy, Pedestal for Leviathan
When: 7
Where: Hi-Dive
Why: Victim of Fire is a Denver-based hardcore/black metal band that has been at the forefront of that music out of the Mile High City. Its 2025 album The Old Lie is a sharp and ferocious dissection of economic elitist lies told to working class people to get them to give up their best interests in pursuit of enriching the wealthy at the expense of everyone. Cronos Compulsion is a death-sludge metal band also from Denver whose 2025 album Lawgiver is a bracing listen and a solid example of the caustic and brutal sonic power of the art form. Fort Collins’ Aleister Cowboy released an EP of what might be described as cosmic death metal called Neolithic Blood Rites in 2025. Pedestal for Leviathan’s flavor of black metal is the more symphonic variety but don’t worry, it’s plenty brutal as well once the songs get into gear.

Friday | 01.09
What: An Evening With Black Flag
When: 7
Where: The Oriental Theater
Why: Ever since replacing the most recent lineups of Black Flag with young musicians, Greg Ginn seems to want to bring some new blood into his venerable and influential punk band Black Flag. Did it work? You’ll have to go to find out but Ginn’s guitar work remains impressive and unique in the canon of punk and hardcore.

Precocious Neophyte, photo by Tom Murphy

Friday | 01.09
What: Warper, Precocious Neophyte and Blackberry Crush
When: 8
Where: Hi-Dive
Why: Warper released its new album Something, Sometime in October 2025 showcasing its further development from moody, atmospheric emo band into a heavier shoegaze band. The new record also showcased the band’s development as songwriters since its 2021 Lateness EP. Sure, you can hear a touch of possible influences like Hum and Sunny Day Real Estate but also newer groups like Cloakroom. Warper doesn’t shy away from demonstrating musical chops in the songs as well with evocative solos. Precocious Neophyte seems to come from similar roots but its musical instincts seem to have some noise rock and metal influences along with obvious touchstones like My Bloody Valentine with a knack for fragile melodies alongside searing guitar work and crushing heaviness. Blackberry Crush has evolved into more of a shoegaze band in the past couple of years but without sacrificing a knack for writing compelling pop hooks with some clear inspiration from 90s grunge.

Saturday | 01.10
What: The Pretty Shabbies, The Futons and Watch Yourself Die
When: 7
Where: The Skylark Lounge Bobcat Room
Why: The Pretty Shabbies sound like its music is comprised of bits of 1970s jazz and funk. There’s a chance the members listened to a lot of Zappa, a bit of Jethro Tull, modern jam bands and someone in the mix probably has every Traffic record. And yet the organic free flow of the music is not without a certain appeal because it’s not like many other local bands. The Futons are sort of a psychedelic garage punk band. But Watch Yourself Die is seemingly different every time with a strong and confrontational, transgressive performance art component which is going to make it completely divergent from everything else on this bill in the best way.

Saturday | 01.10
What: Night Fishing, Nativity in Black, Tainted Blade, Halo of Lightning
When: 7
Where: Hi-Dive
Why: Night Fishing is a collision of fusion, psychedelic prog, surf rock and post-rock but heavy and it includes members of other much heavier and more brutal bands. This is not gentler so much as not aggressive in its sound. Nativity in Black is a Black Sabbath cover band fronted by Chella Negro. Don’t expect the poetic Americana of her other band Chella and the Charm. It’ll be legit Black Sabbath evocation. Tainted Blade is a blackened death doom band from Denver. Halo of Lightning is a “stoner-doom metal” band from Colorado.

Thursday | 01.15
What: Summer Bedhead, Circling Girl and Majona
When: 7
Where: Hi-Dive
Why: Summer Bedhead’s eclectic indie rock reflects the changing musical landscape of the past decade. In the band’s story songs you hear strands of the throwback to 90s rock, garage rock, dream pop and more. But it’s all channeled into the group’s own style of confessional pop songs with some bite and more than a little vulnerability. Circling Girl is a Denver-based dream pop band whose sound has some bright shimmer in the guitar melodies with vocal harmonies that are reminiscent of The Sundays, Lush in its more pop mode and a touch of Cocteau Twins. Its 2025 album Only My Veins Know is one of the better releases in the broad spectrum of shoegaze and dream pop of the past five years with its intricate and entrancing songwriting. Majona is the style of atmospheric pop that is adjacent to shoegaze but more in the realm of Mazzy Star-esque slowcore.

The Green Typewriters, photo by Tom Murphy

Friday | 01.16
What: Green Typewriters, Salads and Sunbeams and Teacup Gorilla
When: 8
Where: The Skylark Lounge Bobcat Room
Why: The Green Typewriters are the kind of psychedelic pop band that makes use of conceptual framing and aesthetics to deliver a unique style of music that blurs the line between Elephant6 indiepop including the experimental streak of that music, art rock and mystical psychedelia. Salads and Sunbeams engages in modern pop storytelling through the sonic lens of 60s and 70s psychedelic rock with poetic observations on modern life and the ways our current civilization works to erode our humanity and offering ways to reclaim it through imagination and honest feeling. Teacup Gorilla is a high concept art pop band that challenges conventional views of gender and identity in its songs and in its presentation of the music.

Sunday | 01.18
What: Kayo Dot and Abandons
When: 7
Where: Hi-Dive
Why: New York-based avant-garde metal and Kayo Dot makes a rare appearance in Denver following the release of one of its most challenging and visionary records to date in 2025’s Every Rock, Every Half-Truth under Reason. The album was written against the idea of the creative act and creativity as a result of predictive modeling and its dystopian offspring, AI music and art. The songs are not in the vein of traditional metal or really something easily or at all identifiable as metal. It’s often like an organic, mutant and sprawling set of songs that at most has something in common with something like Mamaleek. But even more abstract. Abandons is not as avant in its songwriting but it is in the way the band writes music in a more improvisational mode and without seeming to try to fit in with a neat genre. Sure if you want to call them post-rock or post-metal they fit that but also noise rock and art rock and in moments with songs written with more abstract electronic ideas in mind.

Thursday | 01.22
What: Cherished album release w/Tassles, Flesh Tape and Headslug
When: 7
Where: Hi-Dive
Why: Ever since switching names to Cherished in 2022 and a shift in sound more toward the shoegaze end of post-punk this Denver quintet has developed a body of work that defies easy categorization. There is some noisy, punk edge underlying the sonics and performance style but the atmospheric melodies and introspective and thought-provoking lyrics set the band apart from any obvious niche aesthetics. Its 2025 self-titled album was recorded and mixed by Seth Manchester at Machines With Magnets who is perhaps best known for working on records by Model/Actriz, Lingua Ignota, Battles, Big|Brave and Lightning Bolt. It emphasizes the more gritty side of the band’s sound without sacrificing the deep moods Cherished manifests live. Opening the show is bedroom dream pop band Tassles, noise-rock post-punk group Flesh Tape and Headslug whose sound sits somewhere between grunge pop and shoegaze.

Friday | 01.23
What: Cthonic Deity, Street Tombs and Death Possession
When: 8
Where: Hi-Dive
Why: Cthonic Deity is the doom/death metal/punk band from Denver that includes Paul Riedl of Blood Incantation fame. It’s much more stripped down and brutal in its guitar attack and includes members of Scolex and Ascended Dead as well. Street Tombs from Santa Fe, New Mexico are a collision of d-beat punk and thrash-infused death metal. Death Possession play the kind of death metal that sounds like it was inspired by many sessions of taking in early Slayer, early Possessed and Xasthur in a secret club house.

Friday | 01.23
What: Gion Davis, Dollpile, Your Friend Nirantha
When: 8
Where: The Skylark Lounge Bobcat Room
Why: Gion Davis is a poet with the indie rock band Clementine Was Right who is releasing a new book Designated Stranger that “spans years, states, genders, and climates as it confronts the concurrent apocalypses of being trans and poor in America.” Seems appropriate for the world today. Also performing is Dollpile fka Isadora Eden, a band whose dream pop is more theatrical and atmospherically dense than the genre is often known for producing. Also Your Friend Nirantha and its endearingly earnest bedroom dream/noise pop.

Turning Jewels Into Water, photo by Ed Marshall

Saturday | 01.24
What: Turning Jewels Into Water
When: 6PM doors for Artist Discussion and Q&A, concert 7:30PM
Where: Bug Theater
Why: Turning Jewels Into Water is a project with composer/percussionist/turntablist Val Jeanty and percussionist/composer/electronic musician Ravish Momin. Formed around 2017 when the two met at a jam session at Pioneer Works in Brooklyn, New York. Recognizing a shared affinity for crafting unique rhythms and soundscapes and compatible methods of working the two artists have since worked together to explore the ways in which new technologies can be used to blend electronic and acoustic instruments in creating music that reflects the diverse cultural heritages and musical interests in common. The name of the project is a commentary on access to natural resources and howthat has been politicized in human struggles for power especially in the capitalist era increasingly so with the rise in climate change impacts. A casual listen to any of the duo’s three albums reveals a mastery of rhythmic arrangements and patterned tones for a sound that is ambient adjacent but more akin to the kind of early industrial beat-making and culture jamming sounds heard in a band like Cabaret Voltaire but steeped in modern sensibilities and production methods. For our interview with Ravish Momin please follow this link.

Saturday | 01.24
What: Vulgarian, 908, Old Skin and Cop Killer
When: 7
Where: Hi-Dive
Why: Denver-based, anti-capitalist, doom/sludge/crust group Vulgarian are releasing their third album Cost of a Bullet at this show. Expect caustic and brutal riffs and plenty of pointed and incisive lyrics about what a demented and corrupt civilization we’re living through right now. 908 is a grindcore/powerviolence band from Colorado Springs that includes current and former members of Aberrant, Catheter, Throcult, Upon a Field’s Whisper, Havok and Tree of Woe. Old Skin sounds like a band that came up playing stoner metal and doom but leaned into the Unsane and Cherubs end of that sound and now is almost more of a noise rock band with some sludgy grooves while still sounding incredibly menacing. Cop Killer is the hardcore band from Denver that thankfully has lyrics that are appropriate to the name of the band and a confrontational performance style worthy of the name as well.

Thursday | 01.29
What: William Elliot Whitmore and Jim Ward (Sparta)
When: 7
Where: Hi-Dive
Why: William Elliot Whitmore is a singer/songwriter from Iowa who earned a reputation as one of the more skilled practitioners of folk Americana since the late 90s. With releases on Southern Records, ANTI- and Bloodshot Records Whitmore’s respectable body of work has garnered him a bit of a following and he has toured with Chris Cornell, Murder By Death, Converge and Esmé Patterson, with whom he has worked, to give a sense of his broad appeal beyond the obvious for his charismatic performances and fine songcraft. Also on this bill is Jim Ward, the frontman and guitarist of Sparta and former member of At the Drive-In performing his solo material that spans genres but all graced with his vulnerable yet passionate vocals.

Call Sign Cobra circa 2006, photo by Tom Murphy

Friday | 01.30
What: Call Sign Cobra w/Friends of Cesar Romero, El Welk, Total Cult
When: 7
Where: Hi-Dive
Why: Back in the mid-2000s Call Sign Cobra was a bit of a local supergroup that included members of now, minus the punk cognoscenti of the day, forgotten punk bands like Scott Baio Army, The Facet, Mail Order Children and Out on Bail. It’s sound was a kind of loose around the edges garage rock and what later “neo-classic rock” bands aimed for but could never quite nail in trying to sound pro. Imagine a Memphis garage rock band of the 90s, The Dirt Bombs, Teengenerate and a glam rock band mixed together and add a horns section and you have some idea of what you’re in for. It’s raucous, ridiculous and here’s a rare chance to see the band nearly twenty years after it dissolved. Also on hand will be modern garage punk luminaries Friends of Cesar Romero and Total Cult as well as noisy post-Americana group El Welk.

Saturday | 01.31
What: The Crooked Rugs, Rugburn and Chroma Lips
When: 8
Where: Hi-Dive
Why: The Crooked Rugs from Fort Collins live come off like a countrified psychedelic rock/shoegaze band with a deep appreciation for T. Rex. But one with a knack for memorable and transporting melodic hooks. Rugburn’s own flavor of psychedelia is more steeped in grunge and more distorted sounds in general with a bit of an edge. Denver’s Chroma Lips has more synth in the music and its motorik beats point to some inspiration from Krautrock, possibly a touch of Silver Apples and possible hints of having soaked up bits of the better end of King Gizzard and the Lizard Wizard, Black Mountain and the most inspired bits of Tame Impala but with more interesting guitar work.

DOMUS Conjure Feelings of Cosmic Uncertainty on Ambient IDM Single “Unavoidable Cycles”

Thobias Eidevald and Henrik Sunbring of DOMUS are not utility members of Sinoia Caves but the beautifully saturated synth tone on “Unavoidable Cycles” has a similarly fantastical quality. Like music for a dystopian, existential, retro-science fiction film. The song from the duo’s latest EP The Last Swan (released December 12, 2025) is accented by what sounds like a touch of bass guitar through reverb or light delay but the synth layers and the arrangement of the pacing is in the style of a classic IDM track from the late 90s and early 2000s like they had absorbed Boards of Canada circa Geogaddi as well as mid-to-late-2000s Black Moth Super Rainbow. The song is the last track of the EP and it indeed has a mood of accepting the end of a journey with an uncertain future ahead. Perfect for the times we’re in. Listen to “Unavoidable Cycles” on Spotify and follow DOMUS at the links below.

DOMUS on Facebook

DOMUS on Instagram

DOMUS on Bandcamp

“I will eternally miss you when the abyss finally disintegrates me” by the fear of death and the end of time is a Gutting Depiction of the Last Days of Humanity

“I will eternally miss you when the abyss finally disintegrates me” by the fear of death and the end of time is in fact not a song by an early 2000s emocore band nor is it post-rock. The sentence of the title captures the mood of a song that starts off sounding like it’s going to be a cool, lo-fi indiepop song before the distortion kicks in a little and ups the emotional intensity for a moment before transitioning to the end with the spoken word piece over the melancholic, harmonic drone. The nearly whispered words come across like the final page of a diary entry of someone who is living at the end of the world and regrets not having more time with their loved one and how cruel that that connection had to happen right when there is no escaping the eschatological disaster. Fans of Slint’s influential 1991 album Spiderland will appreciate the mood of this song and the rest of the album together we fade away though this music is more in the realm of noise and drone but the enigmatic tone of the song and the album resonates deeply with the mood of what Slint has done. Fans of They Are Gutting a Body of Water will find more than a little to like here too. One might think of the track as kind of a bummer but take a look at the world and the impending doom of climate collapse and socio-political disintegration in late stage capitalism and it hits as more poignant. Listen to “I will eternally miss you when the abyss finally disintegrates me” on YouTube and follow the fear of death and the end of time on Bandcamp.

SloNewsLife’s Lo-Fi Indiepop Single “Ansible” is a Tender Recollection of Loss and Connection With Memories of Family

The title track of SloNewsLife’s September 13, 2025 EP ansible has a fragile and lo-fi quality that sounds refreshing in an era of excessive production and when you’re not sure if you’re hearing something made by a human. The spare guitar work and vulnerable vocals in the beginning of the song gives way around the one minute fifteen mark to the sound of an organ like the song is conceptually entering a phase of deep reverie. The lyrics recall a memory of childhood that comes back to haunt you later in life. The line “you swore to me we were all going to die” followed by a bit about how in “three decades it turns out you were right, always right” suggests the loss of a loved family member who often offered sage observations that don’t hit the right way immediately. The title of the song possibly references a communication device created by Ursula K. Le Guin for some of her science fiction novels. The device allows for instantaneous communication across intergalactic distances. It seems for this song and possible as a theme of the EP the yearning for the ability to connect across a different type of distance in time and past barriers of interpersonal communication and as a poetic device it makes the song carry a little more weight. Fans of Owen Ashworth and his various projects will find a lot of resonance with what SloNewsLife has to offer. Listen to “Ansible” the song and the EP on Spotify.

Variety Hour’s Electro-Post-Punk Pop Single “I’m On Fire” is the Sound of Someone Who Has Chosen to Break With a Stifling Status Quo

Variety Hour, photo courtesy the artists

“I’m On Fire” by Variety Hour sounds on the surface like a moody indie rock song with a minimal rhythm guitar riff at the beginning of the song. But as it all progresses it dawns on you that the guitar part might be looped as well as the possibly electronic or sampled drums. And then the rhythm drops out as does the guitar and the melancholic vocals drift through a soundscape of birds, insect sounds, echoing guitar plinking before the sound of a soft explosion signals the song going into its final passages and a whorling drone courses as the backdrop of the vocals and sometimes in the foreground. It doesn’t draw immediate comparisons to other artists except maybe the vibe is reminiscent of JOHN or Panchiko with the genre-blurring aspect of the latter. The lyrics follow a similar theme as the rest of the EP of needing to break free of the constraints of a mode of living that seems stifling and no longer serves you and the music for this song feels like a person the verge of making that break because the spirit to do so is already there. Listen to “I’m On Fire” on Spotify and follow Variety Hour at the links below. The band’s new EP Need a Change released on October 31, 2025.

Variety Hour on TikTok

Variety Hour on Instagram

GUMDROP Subverts the Process of Keeping Up With Beauty Standards in Late Stage Capitalism on New Wave Hyperpop Single “EYE CANDY”

GUMDROP’s winning blend of 80s New Wave and hyperpop is fully realized on the “EYE CANDY” single. Warping and lingering guitar riffs drip like the confections that serve as a central symbol in the song. The song’s lyrics are a playful and sometimes surreal exploration of keeping up with the quickly shifting beauty standards in late stage capitalism and the absurdity of the situation that wasn’t designed for actual, analog humans to successfully navigate without some psychological consequences. In the song the band subverts what those values need to be and for whom those standards need to serve. All the way the lyrics deftly talk about how arbitrary aesthetic standards can cling to your psyche and rot your mind from within if you don’t have a well-established sense of self. But when various standards permeate the ways we’re encouraged to engage with the outside world ironically through digital means it amplifies the general deleterious effect of this insidious stage of capitalism is having on us all and how we’ve come to adapt to its dictates whether we’re consciously aware of it or not. But GUMDROP identifies that pain and has some fun with subverting the interweaving, dominant paradigms. Watch the charming video for “EYE CANDY” on YouTube and follow GUMDROP at the links below. The group’s self-titled album dropped December 25, 2025.

GUMDROP on Instagram

GUMDROP on Bandcamp

Dax References Forrest Gump in the Video for “Diary Of A Trying Man” is a Vehicle for Processing Deep Heartache

The video treatment for Dax’s new single “Diary Of A Trying Man” deftly borrows the scene from the Forrest Gump as a visual reference point. And the song with its looped guitar and tasteful trap beat help to enhance a melancholic sense of loss. The song is the narrative of a man who is still haunted by memories of a love lost when meeting her at the wrong time in both of their lives. He talks about having moved on but his words speak to how he hasn’t let go of his feelings or perhaps more accurately his sense of who he was and is as tied to his ability to keep that relationship together with someone who wasn’t at the same place as him then. But when you listen further into the song it seems obvious also that the narrator hasn’t allowed himself to grow emotionally because he’s still stuck with the memory and idea of how things were supposed to be. Which is understandable when you grow up and have to move on in life, you look back and wonder how and why things went wrong with various things especially relationships that felt so vibrant and significant earlier in your life in a way that only new experiences fully can for most people. Yet move on you must and the song with its obvious sense of deep heartache at least expresses that pain and honors it instead of keeping it buried which itself is a way to process and open up your life to something better. Watch the video for “Diary of a Trying Man” including the humorous ending on YouTube and follow Canadian rapper/producer Dax at the links provided.

Dax on Instagram

Dax on Facebook

Trip Tease’s Synthwave Single “Acapulco Wave” Evokes Stylish 80s and 90s Cinema Thrillers

Trip Tease’s “Acapulco Wave” sounds like the opposite mood of winter and its bright, saturated synthwave tones are a welcome bit of musical warmth during the colder months of this writing. The upbeat piano melody and accented electronic drums brings to mind a scene from a 1980s action movie or thriller during a period of celebration or leisure between the darker and more menacing scenes. Or perhaps more accurately it is like music for a Mexican, police procedural version of Miami Vice created today but set in the 1980s and the music was the perfect companion to scenes in which our heroes are about the business of investigating. But all cinematic considerations aside it’s a fine song for the dance floor on the DJ nights catering to modern synthwave with its sensuous tones and expertly syncopated rhythms. Listen to “Acapulco Wave” on Spotify and follow Trip Tease at the links below.

Trip Tease on Instagram

Queen City Sounds Podcast S5E40: Corey Ledet

Corey Ledet is a zydeco musician and composer who was born in Houston, Texas but grew up around Louisiana Creole culture spending summers with relatives in Parks, Louisiana just east of Lafayette. As a kid Ledet started playing drums around age 8 or 9 playing on his grandfather’s old kit, which the latter had played when he was a drummer in Clifton Chenier’s band (Chenier was one of the pioneers of zydeco). From there Ledet was playing shows and eventually switched to playing accordion around age 12 or 13. The musical style fuses elements of blues, rock and roll, soul, R&B and Creole folk songs and its lively energy and uptempo rhythms helped to make it popular well beyond its southwest Louisiana origins. Zydeco artists entered underground and mainstream American music throughout the 80s with the popularity of artists like Rockin’ Dopsie, Terrance Simien and of course Buckwheat Zydeco. Ledet came of age during this time and over the course of three decades has established himself as one of the musical form’s most prominent practitioners twice nominated for a Grammy.

On December 23, 2025 Corey Ledet Zydeco & Black Magic released the album Live In Alaska on CD, download and streaming. It is the sixteenth record led by Ledet and a solid representation of his band’s chemistry as a performing unit. The recordings were culled from three separate performances during the Anchorage Folk Festival. The songs showcase the collective’s ability to take improvisational passages and the album includes a piece created at one of the shows: “Alaska Funk.” It’s a vibrant document of the vitality of the musical style and Ledet’s band in particular.

Listen to our interview with Corey Ledet on Bandcamp and follow the musician and songwriter at the links below.

coreyledet.com

Corey Ledet on Facebook

Corey Ledet on Instagram

Daniel Avery Brings a Moody Sonic Focus to the Remix of Woomb’s Dream Pop Downtempo Single “Powerless”

Daniel Avery’s remix of Woomb’s single “Powerless” reworks the moody, dream pop original and turns it into a dark downtempo track. The guitars echo further into the dark and Hristo Yordanov’s vocals seem to preserve a good deal of the warmth and light of the song with Gueorgui Linev’s guitar swarming and saturating the song at various points with a luminous energy. The drums also resonate with greater depth of tone and overall Avery highlights the both the low end and the mid-range with a touch on the high end so that the most distinctive lines reach forth most strongly lending what feels like a greater sonic focus to an already strong piece of music. Listen to Daniel Avery’s remix of Woomb’s “Powerless” on Spotify and follow Woomb on Instagram.