Broken Record Routine
Harkening to bands like Title Fight and early Death Cab for Cutie, Routine, the third album from Denver-based Broken Record, is a ride on the churned up wake of late stage capitalism. This post emo/hardcore band is not out to drain your money (although they could probably use some if you’ve got it), instead they set out to capture that same feeling. It’s that dower, powerless sensation that sits in our guts as the table is sold out from underneath us. It’s that race to the bottom disguised as a race to the top where the rules are made up the points don’t matter. But set to super polished emo music.
Where Broken Record’s previous two albums, Nothing Moves Me and I Died Laughing, were solid DIY recording projects, Routine is an immense leap forward. The eternal battle between loud vocals
and distorted guitar doesn’t feel present here. Beecher’s lamenting voice resting on top of the band’s impassioned playing feels more like emotional intelligence than a tug of war for bandwidth.
Thanks to the help of producer Justin Pizzoferrato, Broken Record found a depth of body missing from their earlier work. With credits working with alternative rock legends like Dinosaur Jr., Parquet Courts, and Pixies to name a few, Pizzoferrato was well-suited to get band’s music to fill the room.
While the production gives Routine the lift it needs, the songs themselves have an authenticity that can go missing in Colorado music. Songs like “Drag”, and album single “T60” project the vulnerability consistent throughout the album and still be undeniably heavy. Even switching from the slower songs to the heavier ones feels seamless, most noticeable between “What Always Happens” and “50% Sea”.
Zoomed out, Routine feels natural and purposeful. Zoomed in, and the album is full of subtle production tricks and immaculate guitar tones. However you slice it, Broken Record nailed it and stays on theme without ever mentioning late stage capitalism by name.
Jed Murphy BandWagon Magazine
PHOTO BY: CHRIS CARRAWAY
Graveyard Choir The Wake
Nate Wilde BandWagon Magazine
2025 saw the amicable demise of Colorado power duo INTHEWHALE, but like a phoenix rising from the ashes, guitarist/vocalist Nate Valdez and drummer Eric Riley were quick to bounce back, bringing in additional personnel to give us an equally impressive Graveyard Choir.
Designed by Valdez as an outlet for his love of “more traditional songwriting” and inspired by experiences working in his family’s mortuary business, Graveyard Choir’s sophomore effort, The Wake, was released on November 1, 2025, one year to the day after the release of
the band’s debut full-length studio album, Restorative Art
With the addition of the haunting vocals of Jen Riley, wife of drummer Eric, and bass provided by Thom Whitney, it’s on Graveyard Choir’s second release, polished like a brand new granite headstone, that the band truly finds their sound.
The record kicks off with “Stone,” a dirty blues track that sounds like it belongs in a juke joint with visuals of hounds, empty bottles, and a handful of stones. This method of painting pictures with lyrics continues throughout the album.
The second track, “Ride On,” was written by Valdez as a letter to his young son as “a reminder that losing your way is part of the journey, as long as you keep moving.” Themes of change, rebirth, and hope continue to be echoed on “Dirt Floor,” a powerful exploration of mortality and peace that introduces another recurring theme throughout the record: religion.
“Edge of Town” is a haunting and intense acoustic ballad about a woman struggling with life and her complicated relationship with God. Like a series of stained glass mosaics in an old church, sonic imagery is manifested through lyrics like “she
smokes a pack of Marlboro Reds and curses his name,” “sleeps under the stars because she wants to see heaven,” and most notably, “she talks in tongues and swears she’s met Jesus.”
This album takes a dynamic, hairpin turn with “Duane’s Midnight Ride,” a high-octane rocker based on the late Allman Brothers guitarist Duane Allman about an indulgent anti-hero who, according to the lyrics, two years prior crashed his motorcycle, “head first into a truck” after travelling “faster than the devil could even fly.” The track is highlighted by the relentlessly catchy line of “let’s ride.”
Additional storytelling is found on “The Ballad of Marty Bergen,” with lyrics based on a tragic murder suicide that took place in 1900, and “16 oz Hammer,” is a song loosely based on Colorado Hammer Killer Alex Christopher Ewing. “Hard Rain,” a feel-good country song about a protagonist who, after feeling hopeless, is comforted by his mother’s reassurance that the “storm won’t rage on forever.”
Perhaps the most sensitive moment on The Wake can be found on “Coffee Cups,” an endearing oldtimey country love song in which the narrator lovingly recounts to his partner images of “singing at the top of your lungs,” “dancing on the salt flats,” and, as the title suggests, “drinking wine out of coffee cups.”The album concludes with boisterous garage rocker “Nazis Took Away My U.S.A.,” an equally fun and angry, chantable anthem about commonly shared frustrations surrounding the country’s current political climate.
In all, The Wake is a ten-song masterpiece about change, rebirth, regret, forgiveness, love, and hope, with lyrics that elicit clear and vibrant visuals, painting pictures that culminate in a sonic museum of sorts. Or, perhaps, an old church basement. At times soft and solemn as a funeral, while at others loud and raucous enough to raise the dead, The Wake truly solidifies Graveyard Choir’s place as one of the most noteworthy bands in the state of Colorado and beyond.
Darci Lynne
FINDING HER VOICE ONE CHARACTER AT A TIME
BY ROWAN CLARK
When Darci Lynne stepped onto the stage of America’s Got Talent in 2017, it felt like a spark. She was just twelve years old, holding a puppet named Petunia and standing under lights that have overwhelmed people three times her age. Then she started to sing. The room shifted. The judges were stunned. The crowd erupted. In that moment, ventriloquism, an art form often dismissed as outdated, felt alive again.
She won that season. More importantly, she captured the imagination of millions. Her Golden Buzzer performance became one of the most-viewed moments in the show’s history, and her finale remains a benchmark for televised talent competitions. What came next was equally surreal. There was a national Christmas special, a sold-out tour, merchandise, viral fame, and the kind of spotlight that rarely stays on young performers for long.
But Darci Lynne held on. She didn’t just last. She grew.
Now 21, she is no longer the girl who surprised the country. She is a seasoned performer, a songwriter, an actor, and a creative force who understands how to build a show that entertains and connects. Her latest tour, Up Close & Personal is a Christmas tour that brings together all sides of her talent. It is a blend of music, character comedy, heartfelt storytelling, and seasonal joy. It is also her most personal production yet.
“I’ve toured for years, but a holiday show lets me use more of what I’ve grown into,” she says. “Music, comedy, storytelling. I’m older now, and a Christmas tour just felt like the right step.”
Each of her puppets brings something different to the stage. Petunia is a holiday diva, Oscar thinks caroling is a conspiracy, and Edna might have a crush on Santa. Andy is just here for the dessert table. They argue about traditions, sing holiday songs, and create the kind of organized chaos that has always made Darci’s shows so fun to watch.
She built the show by starting with what she loves about the season. Family, music, laughter, and a little bit of mess. Each puppet was given a point of view, and then the scenes and songs were designed around those ideas. What results is more than a comedy act. It is a full-scale theatrical experience, driven by character and heart.
PETUNIA
A sassy, confident rabbit with a diva attitude. Known for her powerful vocals and big personality. Petunia often sings pop or diva-style songs and is one of Darci’s most beloved characters.
OSCAR
A shy, awkward mouse who is often nervous and sweet. He has a soft voice and a gentle demeanor, making him a contrast to Petunia. Oscar tends to be more reserved but very endearing.
EDNA DOORKNOCKER
An elderly woman who flirts shamelessly and has a sharp, sarcastic wit. She often jokes about dating much younger men (like AGT judge Simon Cowell) and provides adult-friendly humor in Darci’s shows.
Behind the curtain, the work is precise. Every puppet has its own wardrobe fittings. Each joke is timed. Every musical transition is rehearsed to land in just the right place. Even after all these years, Darci still handles every detail with care.
What stands out most in this new show is her voice. Her actual singing voice, not the ones she throws into her characters.
“People know the puppets, but I’m using my vocals in a bigger way now,” she says. “I want fans to hear more of me.”
This tour gives her that space. She is not stepping away from ventriloquism. She is simply showing more of who she is, both on stage and off. Her fans are showing up for it. Colorado Springs and Casper are already sold out. When she brings the tour to the Union Colony Civic Center in Greeley on December 19, it will be one of the last chances to catch her live before the season ends.
Darci has always worked in motion. Before AGT, she was performing at county fairs, talent shows, and banquets. After the show, everything became larger. National tours. Press runs. Long stretches on the road. That kind of momentum can overwhelm a young performer, but she has learned how to manage the pace.
“I used to try to do everything at once,” she says. “Now I work in seasons. Touring in blocks. Acting when it fits. Writing songs when I have space. Balance helps me stay healthy.”
That approach shows up in her work. The humor is smart and clean. The writing is aimed at adults first, with the understanding that kids will come along for the ride. She wants families to feel like they shared something real togeth-
er. On the Up Close & Personal tour, she’s seen families drive seven to ten hours, with kids packing their puppets for the trip and the postshow meet and greet.
“That meant a lot,” she says. “That’s the kind of thing that makes it all worth it.”
When she is not on the road, Christmas at home is simple. Loud conversations. Homecooked food. Gifts opened too early. The usual chaos, but without the stage lights. On tour, she keeps small rituals close. A favorite blanket. Familiar songs. A phone call home before showtime. It helps her stay grounded.
“My parents always told me to find my worth in God’s love, not in people’s approval,” she says. “I’ve carried that with me into everything I do.”
Once the tour wraps, Darci is already looking ahead. A full music project is next. She wants to create something that stands on its own, where the songwriting and vocals are center stage. Broadway is still in the back of her mind too. Theater was always her original dream, and it is one she has not let go of.
When asked what she would add to a future holiday tour if there were no rules, she does not miss a beat. “If there were truly no rules, I’d have a different guest star each night, Kristin Chenoweth one night, Chris Stapleton the next, maybe Lainey Wilson in a sparkly holiday jacket. The surprises would be half the fun.”
At 21, Darci Lynne is still doing what first made her famous. But now she is doing it with more clarity, more voice, and more control than ever before.
“I’m still the same performer people met,” she says. “Just with more layers now.”
This holiday season, those layers come wrapped in music, puppets, and the kind of joy that lingers long after the curtain closes.
You can see Darci Lynne and Friends: Up Close and Personal –Christmas Tour on Friday, December 19th at 7:30 PM at Monfort Concert Hall in Greeley’s Union Colony Civic Center. This is her firstever live Christmas tour, and one of the last remaining chances to experience it in person. Her performances at Phil Long Music Hall in Colorado Springs and the Rialto in Casper are already sold out.
You can still hear the echo of boots on boardwalks, but now they’re headed downtown for happy hour.
Today in Cheyenne, murals pop, cocktails clink, and makers turn grit into something downright gorgeous.
STAY AWHILE. WE CLEAN UP NICE.
Royce
Lead Singers of Rock
TURNING UP THE FUTURE:
HOW THE FORD AMPHITHEATER IS REDEFINING THE CONCERT EXPERIENCE IN COLORADO SPRINGS
BY JED MURPHY
It’s no secret the concert industry is changing. Generating almost $19 billion in the United States in 2024, it is a long way from becoming a dying industry but the ground is shifting. As audience tastes change and ticket costs go up, small venues find themselves struggling, while at the other end large scale arena concerts are doing better than ever. This has created a gap industry veterans have scrambled to fill, with many desperate for fresh ideas.
Enter JW Roth, CEO of Venu, the brains behind Colorado Springs’ newest outdoor venue, Ford Amphitheater. Prior to the construction of the Ford, Roth knew there were some boxes that needed to be checked to satisfy modern audiences; premium seating, state-of-the-art audio and visuals, better bathrooms, more parking lots, wider seats, high end green rooms for the artists, easily accessible seating (here’s looking at you Red Rocks), and higher quality food and beverage.
Knowing that ticket and alcohol sales would not be enough to cover the costs, Roth applied the novel idea of fractional ownership, something not regularly explored in live music. Roth included an array of fire pits in the construction of the amphitheater; those fire pits are then able to be purchased by fans and local businesses. “It’s not unlike owning a condominium,” says Will Hodgson, President of Venu. “You physically own the space and you can resell it if you want. Essentially,
you make the up front investment, which varies depending on the fire pit’s location and how many people can fit in the fire pit, and you get access to those tickets to every for-profit show at the venue.”
This concept of fractional ownership was a big part of Hodgson’s decision to leave an impressive career as the president of the House of Blues division of Live Nation, one of the largest ticketing companies in the world. But also, he saw a chance to have input on the future of concert going experiences in an industry in desperate need of updating. “The accommodations, both from a guest and artist perspective of most outdoor amphitheaters are not great. If you really look at the average age of an amphitheater of 10,000 capacity or more, it is thirty or forty years old with very little reinvestment,” states Hodgson. “You’re starting to see that a lot of acts that size are playing arenas and stadiums and arenas have been upgraded.”
In the short time it has been open, Ford Amphitheater has received glowing reviews from music lovers and artists alike for the amenities and attention to detail, drawing crowds from Colorado Springs, the Denver metro area, and beyond. This influx of money being spent in the area has made Ford Amphitheater a driving force in the local economy. Hotels and restaurants are springing up around the amphitheater, with the Venu team leading that charge and leveraging some im-
pressive partnerships opening Bourbon Brothers Smokehouse & Tavern, Phil Long Music Hall, Brohan’s Cocktail Lounge, and Roth’s Sea & Steak, which they brought in a Michelin Star chef and general manager for.
“People are extremely happy. We’re in year two and we’re still developing a really strong reputation. Every band, every agent I talk to is just blown away,” muses Hodgson. “It’s a really attractive place to play, and we have already quadrupled the amount of pending offers for the next season.”
Looking ahead, Hodgson is excited for the two similar amphitheaters Venu is opening in Broken Arrow, Oklahoma and Gainesville, Georgia as their business model builds steam. In the short term Hodgson hopes to open the space up year round to host community events like high school graduations and wine festivals. He also sees it becoming a hub to develop small musicians, something reminiscent of his early days booking bands in dive bars in San Francisco.
“One of the pre-interview questions I got was, why is it important to support local musicians?” recalls Hodgson. “We’re trying to create a vibe (in Colorado Springs) for live music. The city has its venues but it’s not top of the mind for people. And I think the amphitheater provides a tent pole for a greater burgeoning music scene down here.”
WILL HODGSON
JW ROTH
BY ZACH VISCONTI
The music venue at the corner Linden Street in Old Town Fort Collins has gone through many changes over the past several years. Formerly The Coast (prior to that it was The East Coast Bar, and prior to that the Artery), what hasn’t changed is its importance to the Fort Collins music community. Now rebranded as Sound Bar, the latest owners of the business say they plan to keep it that way.
While the name is fresh, it’s been a long transitional period for owners Gabe Torres and Manley Feinberg III, who launched the new name this fall after starting to take over the venue in January 2024. Housed in the building that draws on a long history as a music hub, and the owners say the community here hasn’t skipped a beat amidst the latest transition.
Just as a band started loading in for the evening, Feinberg and Torres spoke to BandWagon inside the venue about how the idea for Sound Bar came about, what challenges they’ve faced in keeping the space afloat, and how the community has remained strong through the years-long process.
“It really started when we met each other at CSU,” Torres says. “We were just two really driven guys, and our freshman year we were like, ‘Are business degrees it? Is that what we want to do with our lives?’”
Feinberg says the two were having “an ethical dilemma,” and ended up having a long conversation about the woes of capitalism, leading them towards music. As they asked themselves how they could help make the industry better, Torres went on to found and become the first president of the CSU Music Business Collective, and as freshmen, the two developed the Music by Masses app.
“Our intentions have always been to change the industry on a big scale, but we have to learn how to make a change locally first,” Fein-
BEHIND SOUND BAR,
THE NEWEST MUSIC VENUE IN OLD TOWN FORT COLLINS
berg says of what was behind some of those initial conversations.
Music by Masses started as an app and competition that let users vote on bands, the winners of which would receive cash prizes. At its peak, they say it had nearly 2,000 bands involved, and as many as 3,000 users and fans. They started asking the bands what they wanted out of the app, and many replied that they wanted more shows, ultimately leading Torres and Feinberg to start throwing Music by Masses shows around town.
They eventually connected with the owner of The Coast Billy Chelales, who brought them onboard to promote shows, and later asked them to partner on ownership of the bar. Feinberg and Torres agreed, and shortly thereafter put together a plan for buying 100 percent of the business over time, which was finalized by early January 2024.
Still, it has taken almost two years for the owners to get to this point with full ownership and a new name, and they’ve faced multiple hurdles in that time, including the suspension of their liquor license for almost a month over financial misunderstandings with the city. According to Torres and Feinberg, they narrowly made it through that time as bar sales dropped to almost nothing, and it was again the community and music overall that helped them pull through to the other side.
Torres recalls when Jack Van Cleaf came through in August near the end of the suspension, describing it as a particularly moving show as the two thought there was a good chance they might go out of business.
“That show, just his songwriting, it really brought out like, ‘Hey, don't be so hard on yourself. And you’ve got to believe everything will be okay. You just gotta trust the process,’” Torres explains.
“We were both crying,” Torres continues. “He went on tour with Zach Bryan, opened up Red
Rocks, and came and played over here. We didn’t have any liquor, but it was basically a sold out show.”
The two note that, even at this low point awaiting the reinstatement of their liquor license, the show was yet another testament to the community that had brought them to that point, and Torres says that was a really beautiful and memorable set despite the circumstances.
“Everybody was quietly just sitting there, it was kind of cool,” he adds. “And it made me realize, like, ‘Wow, there’s so much community here.’”
Having made it through that time with the help of the community and an amazing team, the two say they now have their sights set on 2026, and they’re expecting a big year. They’re already booking into the late Spring for some of the touring bands planning to come through, and they also say that, for the first time ever, the venue is slated to have two stages for FocoMx—one outside and one inside.
The day-to-day remains busier than ever for the owners, with six different shows going on the same week we spoke. Even with the future looking up and staying busy, the owners say they’re more focused on community than ever, adding that it’s a regular reminder of why they’ve been on this road for so long.
“Sometimes I'll get all down in the trenches, or we'll be worried about finances or something like that, and then we'll have a show that reminds us of why we started,” Feinberg says. “And it's just bringing people together at the end of the day. You're getting to impact these people for a couple hours and change a little bit of their life, you know?
“I remind myself when I'm up in the sound booth sometimes and I see a room full of people, ‘Okay, this is why we're doing it.’ And then all the stress and everything doesn't matter in those moments.”
