NOFX Final Denver Shows

Punk In Drublic Presents:
NOFX FINAL DENVER SHOWS
7/20 & 7/21
with special guests!
Outdoors at the New National Western Center Yards aka The Stockyards
5004 National Western Drive
Denver, CO 80216
SAT JUL 20, & SUN JUN 21 2024 – 12:00 PM
Ages: All Ages
Doors Open: 12:00 PM
VIP Packages:
VIP 1 Includes:
1) Special Viewing Area
2) VIP Bathrooms
3) VIP Bar
4) VIP Laminate
VIP 2 (SIDE STAGE PLATFORM) includes:
1) Special Viewing Area
2) VIP Bathrooms
3) VIP Bar
4) Side Stage Platform Viewing
5) VIP Laminate
VIP 3: Bro Package
1) Watch NOFX onstage with our crew and friends, dedicated full sound system with full band mix on stage.
2) Access to VIP all day.
3) A chance to meet the band and get a selfie.
4) Free refreshments onstage
5) Limited edition merch bundle
6) NOFX final tour laminate and lanyard
Please note: The Bro package patrons will be contacted by the tour the day prior to the show. outlining details of
meeting time and location.
For all enquiries regarding The Bro package please contact Officialnofxcrew@gmail.com
Onsale: MON NOV 20, 2023 – 10:00 AM
Tickets: https://www.axs.com/…/nofx-outdoors-at-the-new-national…

3OH!3 & MATT AND KIM

Channel 93.3 Presents
3OH!3 & MATT AND KIM
lovelytheband, N3ptune
SUN, 3 MAR 2024 at 06:30PM MST
Ages: All Ages
Doors Open: 05:30PM
OnSale: Fri, 8 Dec 2023 at 10:00AM MST
Announcement: Tue, 5 Dec 2023 at 10:00AM MST
TIERED PRICING
PRICING – GA ONLY
This event has a tiered pricing structure. All General Admission tiers have the same access. Once a lower price level sells out it will no longer be visible or available
*Please note: Multiple price levels may be available at the same time
SCALING
This show is GENERAL ADMISSION with a GA VIP East or West Balcony configuration
Please see below for the different ticket options available on this event
*Access is granted based on your purchased ticket type
*All East and West Balcony tickets have access to the general admission areas
GENERAL ADMISSION TICKETS
First-come, First-served Access to the Floor and Bowl Areas
GA VIP TICKETS
First-come, First-served Preferred Standing Room Only Balcony Viewing Area in the East or West Sections with Nearby Bar and Exclusive Restrooms

Matisyahu

Hold The Fire Tour 2024
MATISYAHU
with Special Guest Cydeways
SAT, 2 MAR 2024 at 08:00PM MST
Ages: 16 & Over
Doors Open: 07:00PM
OnSale: Fri, 17 Nov 2023 at 10:00AM MST
Announcement: Tue, 14 Nov 2023 at 10:00AM MST
Singer-songwriter MATISYAHU has been on journey inward for more than a decade. The journey has been private and public. The journey has at times been explicitly external, even while being driven by internal change. Now nearly thirteen years after the release of his first studio record, MATISYAHU and his band have done something unmatched in his past repertoire; they have crafted that journey into a musically thematic eight song movement.
The band features longtime guitarist Aaron Dugan, Dub Trio bassist and drummer Stu Brooks and Joe Tomino, and keyboard virtuoso BigYuki — and the journey starts with them. The band improvised for hours in the studio with MATISYAHU watching on as an admirer without singing a single lyric. Out of the improvisations grew melodic themes, rhythmic peaks and valleys, blissful and proto-song guitar passages, deep dub meditations and ultimately an inspired instrumental record until itself. Only once the band had crafted this musical narrative, did MATISYAHU begin to work on a lyrical narrative of his own — a lyrical narrative that is simultaneously informed and integrated with the music yet driven by MATISYAHU’s own personal journey. The result is Undercurrent, MATISYAHU’s sixth studio album.
The record is musically MATISYAHU’s most courageous release to date and lyrically his most vulnerable.
The courage in the music comes from trust. Trust in the band. And only in the band. There are no post-production bells and whistles or litany of special guests on Undercurrent. On the opening track, “Step Out into the Light” the band lays out a repetitive minimalist verse section that anchors the listener in a near meditative loop only to open up into a gorgeous set of chord changes that makes the chorus feel revelatory, as if the listener has earned this release, and can achieve the song-title’s call to action.
By the record’s third track, “Coming Up Empty” the band has established melodic themes that will be called upon or re-harmonized later in the record, and just two songs in, it is clear that these musicians are road-tested, brave-song-crafters, with tens-of-thousands of hours of playing together embedded in their muscles and fortified in their bones.
The vulnerability in the lyrics comes from acceptance. Acceptance in uncertainly. Acceptance in the actions of one’s younger self and acceptance that while the future may be uncertain, having the courage to trust gives us all the best chance at meaningful relationships. It’s a lyrical reframing of the Jewish philosophical differences between emunah (faith) and bitachon (trust). Faith, the constant, and trust the immediate. MATISYAHU sets the stage for this conceptually on the record’s opening track, but he digs in internally on the authoritative plea in the chorus of “Back to the Old,” [I’m giving up, I’m giving in / All I got is what’s right in front of me / Is the people that I see…]. He projects it outwardly through questioning in “Forest of Faith,” [What’s a man got to do, Oh! / To get through to you?] And finally works towards acceptance on the guitar-driven gem “Headright, [And I know feelings come and go / How should hold on, should I let go].
These forces direct the journey of Undercurrent, and as the record progresses the music begins to open up into full band improvisations like a relationship becoming more trusting, willing to take chances, knowing there’s acceptance in the process. A stunning example of this is on the record’s fifth track “Tell Me.” If you stop the song at the three-and-a-half-minute mark, you have a great reggae-tinged pop tune that promises to make a hit radio single. The track however continues for another six-and-half-minutes, beginning with a beautifully re-harmonized keyboard reference to the song’s opening wordless vocal melody. From there the entire band begins to improvise. Each player speaking briefly but with purpose, adding slowly and deliberately to the conversation. Drums and bass falling in and out. Guitar and keyboards calling back and forth to each other. The listener can almost intuit the personalities of each musician. The musical conversation continues to build, each band member adding to the improvisation without playing on top of one another. Trust and respect. This is truly MATISYAHU the band. MATISYAHU the singer is patiently waiting for the band to direct the journey, and he joins back in with a near whisper as the rhythm section finds that incomparable dub groove Brooks and Tomino are famous for.
The level of interplay between MATISYAHU and his band mates on Undercurrent is unquestionable and requires multiple listens. Each repetition of a song reveals a guitar line from Dugan that elevates a vocal melody that only 15 years of experience together can achieve. Keyboard patterns from Yuki unrealized in a previous listen connect one song to another and the full band improvisations that climax with an impressive exploratory section on the record’s final track “Driftin'” achieve the rare feat of capturing a band’s live potential on a studio album.
Ultimately, Undercurrent, is a fully realized concept album crafted by a band-of-brothers who have learned to hold a conversation that is both comforting and challenging at the same time. It plays like a revelatory session with a great psychotherapist.
Like someone watching an ocean wave move chaotically towards the shore unaware of the undercurrent pulling mightily back in the opposite direction, MATISYAHU and his band have achieved a musical retelling of the MATISYAHU story that explores the forces within that inspire us all, challenge us all, break us down, lift us up, and yet are rarely obvious to the outside observer.

BUY TICKETS HERE

Mudvayne

The Psychotherapy Sessions
MUDVAYNE
Coal Chamber, GWAR, Nonpoint, Butcher Babies
SAT, 26 AUG 2023 at 05:00PM MDT
Ages: All Ages
Doors Open: 04:00PM
OnSale: Fri, 24 Mar 2023 at 10:00AM MDT
Announcement: Tue, 21 Mar 2023 at 08:00AM MDT
Mudvayne frontman Chad Gray doesn’t have time for the delicacies of political correctness. “You look at what’s going on in the world today, and sometimes the only explanation that makes any sense at all is to just point your finger at people being f**king crazy!”But make no mistake, when you point one finger at someone else, you’re pointing three at yourself, and Gray isn’t about to deny the manic zeitgeist that overwhelmed his lyrical process throughout The New Game [Epic Records], the band’s first studio album in three years and fourth full-length studio album overall. Featuring the lethal first single “Do What You Do,” the album is an electrical storm of musical fury, a lesson in controlled chaos that tempers hard rock, heavy metal, prog rock and sadistic splatters of pop into an onslaught of metallic highs and emotional lows, rushing surges and pronounced blows. The album ups the ante for Mudvayne, one of the most creative and distinctive bands in the aggressive music world with sales exceeding 5 million units worldwide.”It’s been said that music should charm and flatter the ear,” explains bassist Ryan Martinie. “We want to do that very thing, to grasp you and spin you into oblivion with a contrast of movement and momentum. There has to be something effectual there. We want to keep people interested and engaged through every individual song–to let you off the hook is good, but only if you’re still swimming around and want to bite back down on that hook. Every song has its own personality, its own force, its own being. It’s a living entity unto itself that lives in the larger microcosm that is Mudvayne. It is its own presence.”That presence permeates The New Game. The band produced the album with Dave Fortman (Evanescence, Slipknot), capturing the wily charisma and hyper-kinetic energy of a band who survived their seven-year itch by embedding their claws into the heart of their music. And it shows. “In some ways, this is the most accessible record we’ve ever done… And I mean that in a positive way,” offers drummer Matt McDonough. “We’ve done it by honing our arrangement skills and making our music quickly accessible. I don’t want to say we’re less esoteric, but on The New Game we’ve stripped away a lot of the extraneous stuff. Instead of making people try to figure out what we’re doing, we’re explaining it better with our music. By focusing and streamlining our sound, we’ve found the quickest way to explain what we’re trying to achieve as artists.”As musicians, McDonough, Martinie and guitarist Greg Tribbett haven’t shifted their songwriting focus from what they’ve always tried to achieve. In the words of the bassist, “it’s an honest representation of who we are as people. We love getting high on music, whether it be crazy blast beats, European black metal, dance music, electronic music, or stuff we grew up with, like Van Halen, Rush, Iron Maiden and Metallica. The things that we like to hear are the things that come out when we write together, and when you put them together, it’s Mudvayne.”At the lyrical helm of Mudvayne is Gray. While he echoes his band’s sentiments in regards to their songwriting process, his personal inspirations cast a darker light on The New Game. “There is an overall vibe of chaotic helplessness, loss and fear, and that’s not something that I’ve experienced in putting a record together before. It’s always been more esoteric and universal. I felt like there was a more human feel to Lost And Found, but this album is more about the inner workings of people. The album has a lot of anger and frustration, and there’s a sense of wanting to kill, but it’s through the eyes of different crazy characters.”Gray elaborates: “‘Dull Boy’ is the crazy guy just losing mind, like Jack Nicholson in ‘The Shining,’ ‘A New Game’ is just twisted, then you’ve got the political songs from the perspective of a world leader, then the political songs from the perspective of being in the service. It’s killing at different levels,” Gray explains. “Just because you’re not pulling the trigger doesn’t mean you’re not killing people. I started to analyze all the different levels of consciousness and what made people feel and act that way. The album is like a psychological profile of a lot of different characters.”Work on The New Game began in Chicago in August 2006, then ended in a remote corner of Idaho not far from the Canadian border seven months later. It was there that Gray became a little too close for comfort with his inspiration for “Dull Boy.” “In Idaho, Greg and I stayed in a modular house about a mile back from the main house, where Ryan and Matt stayed. I didn’t leave that place for two or three weeks, except to go to the gas station to get beer or whatever, and one day it just hit me–six feet of f**king snow on the ground, barren nothingness as far as you can see, and I just lost my shit, just sat there on the couch and started saying, ‘all work and no play makes me a dull boy…’ I don’t remember consciously thinking about it, I just remember saying it, sitting in front of the sliding door, a wall of snow in front of me, and lyrics going through my head.”While the rest of Mudvayne didn’t necessarily share in Gray’s emotional catharsis, they know where he’s coming from. Sort of. “Unlike any other band I know, Mudvayne is singular in the sense that we’ve written and recorded every record in a completely different place in the country,” recalls McDonough. “We wrote L.D. 50 in Peoria [IL] and recorded it in Vancouver; we wrote End Of All Things To Come in Minneapolis and recorded it in Southern Minnesota; we wrote Lost And Found outside Santa Cruz [CA] then recorded it outside San Francisco; we wrote in Chicago and Idaho for this album and recorded in New Orleans; and we just did our new album [more on that in a bit] in El Paso and Phoenix.”That said, every place we record in absolutely affects the creative process and us as people. We’re in a new environment and there are all kinds of things to experience. That’s part of what makes Mudvayne, though. Being in this band is a lot about not having expectations and dealing with change, and a lot about adapting and learning how to work with the forces that are coming at you.”Although recording for The New Game began in 2006, fans may wonder why it’s being released more than a year-and-a-half later. After completing The New Game, the band–on a creative roll–went back into the studio to record another Mudvayne album, due for release in 2009.”Someone may ask where Mudvayne went, well, we went into the Mudvayne woodshed and wrote two records!” says Martinie. “It’s been different, but it’s been great, it’s being able to have our cake, and eat it, too. We got to have something that we love, that is a part of us, and we’re able to connect with it at a personal level before we go out and give it to everyone else after we’ve had our chance to live with it. It gives the whole album more of a cliffhanger feel for us, sitting on the edge of our chairs for a year-and-a-half going, ‘This is our record, we love it, but what’s everyone else going to think of it?’ The New Game was our baby, it still is, and we’re proud to put it out and let everyone else enjoy it for a while.”So while one baby grows, Mudvayne have another baby in the oven… How’s that for f**king crazy?