City Weekly July 16, 2026

A deep dive into the people and places of Utah's music scene.

BY CW STAFF

S AP

BOX

The Day America Died

Don McLean’s 1971 song “American Pie” lamented about “the day the music died”—the plane crash deaths of three rock ‘n roll icons, as well as the turmoil that America was going through in many areas of life.

From Vietnam, a wrong war that tore apart our common soul. Even recovering from Tricky Dick.

(Note: Richard Nixon, a Republican, law-and-order, false preacher, who claimed, “When the President does it, that means that it is not illegal.”)

We recovered because we had enough good people in our government and an honest Supreme Court majority to prove Nixon was wrong! Though a criminal, he was not a traitor.

Now, 55 years later, we must mourn the day America died.

January 20, 2025, the first day of Donald Trump’s second administration, when the greatest traitor in American history pardoned 1,500 fellow traitors.

And Trump has been adding nails to our nation’s coffin lid every day since— destroying democracy, shredding the Constitution, flouting our laws, stealing money, selling out our national interests, destroying our international relationships and threatening our allies, destroying our physical, spiritual, moral, ethical and factual infrastructure.

He’s gone so far as to try to use our national treasury to pay off his gang of violent insurrectionists!

To do this, Trump has deluded many by accusing federal agencies of being “weaponized” to track down and convict these criminals.

But our agencies, before Trump turned them into his personal gangs of revenge, were intended to be our weapons against enemies of our nation.

Going after the traitor’s violent supporters was their job. And they served America well.

The Reflecting Pool is a perfect representation for what has happened to America.

Lying at the feet of Lincoln, cracked and polluted, it’s an insult to one of the greatest leaders of all time—just like Trump, the worst person in American history, who is the one who has vandalized it, our democracy, our legal and political systems (by chasing away all the good people) and our Constitution, all for his own ego and monetary gain.

So I’ll listen to “American Pie” and sadly understand it with new meaning as a dirge for the death of America, murdered by Trump on 1/20/25, his first day this term, pardoning some 1,500 traitors.

DAVID HORN Salt Lake City

“A Food Dude Farewell,” July 9 Dine

All the best, Alex! Have enjoyed your coverage of SLC’s ever-evolving culinary scene. Seems like it would be “a piece of cake” to write about food, but it’s actually a bit of a high-wire act! And you made it happen on the weekly for what—like 8 years? Kudos!

JERRE WROBLE Via Facebook

I’ll miss reading your reviews, Alex. We were lucky to have you eating food and telling us about it.

AMANDA ROCK Via Facebook

Loved reading Alex’s coverage, and enjoyed his company at restaurant openings.

KIMVILLARR Via Instagram

Care to sound off about a local concern? Write to comments@cityweekly.net or post your thoughts on our social media.

THE WATER COOLER

Do you have any personal goals?

Paula Saltas

To not be hauled off in a black SUV and never be seen again over my Instagram posts. And also to try to eliminate my midnight online shopping sprees.

Scott Renshaw

I started trying to learn Japanese earlier this year, but then got distracted by [gestures to everything] and would more or less need to start all over again. So I guess my goal is really not to let life distract me from my goals.

Zach Abend

My personal goal is to write a rock opera about Neil Diamond in Aramaic.

Gavin Dahl

I’m taking swimming lessons to keep up with my amazing 7-year-old daughter.

Wes Long

Finish my manuscript. By the end of this year, I’ll have doubled my current output. At that rate, completion will be in about . . . 3-4 years. *shudder*

Katharine Biele

To stay healthy and positive enough to survive this administration.

Benjamin Wood

My COVID wardrobe got really casual so I’m trying to dress like an adult again.

PRIVATE EYE Shrinking Man

LBY JOHN SALTAS

ast week, I spoke at the annual convention for the Association of Alternative Newsmedia (AAN). City Weekly became a member of that organization in 1989, when we were considered to be the “ugliest paper I have ever seen” by at least one person adjudging our membership worthiness. True, dat.

We were indeed ugly. But we balanced it with enough spit and vinegar that, 37 years on, I was presented with a Lifetime Achievement Award by the organization, hence the speaking.

AAN was gathered at a complex of historic theaters, where a food truck staff prepared a variety of tacos. It struck me right away that, despite all the tough times wrought over these decades, not a single day was worse than it must have been grill-cooking tacos in the 106 degree heat of Palm Springs, California.

My son, Pete—now publisher of City Weekly—gave the audience a wonderfully nice introduction. I had no idea he was going to do that and his words are now a locked-in happy memory.

The situation demanded I wear my cleanest (least sweaty) dirty shirt, so I grabbed a gifted shirt from the kind folks at Fisher Brewing Company. Throughout the speech (which was mostly about my dead industry buddies) I was continually reminded that my living-good buddy Colby Frazier is a co-owner of Fisher.

Colby was one of the finest writers and reporters in our paper’s history, winning a plethora of awards, including Utah’s Best Reporter.

Meanwhile, in the AAN audience sat Colin Wolf. Colin was a member of the same City Weekly editorial staff as Colby, focused more on emerging digital best practices, a

topic that remains quite misunderstood, industrywide.

Wolf is now a co-owner of the newspaper Creative Loafing Tampa Bay. I reminded myself that time is the measure of good things—not thoughts, not in-the-moment experiences. Both of those fellas—and so many, many more—are part of the positive legacy and the cultural and political impact of City Weekly. Thanks to everyone who ever set foot in our doors.

Pete and I drove to Palm Springs. If you ever have the yen, follow this worthy advice: Once you get to Barstow, keep going. Do not hang a left on CA-247.

Take any route besides that one. Walk if you must, but do yourself a favor and skip what I now believe is the ugliest stretch of highway in the USA, possibly even the motivation for the flick, The Hills Have Eyes

Amidst the brown desolation were occasional patches of alfalfa. Those fields are irrigated by pumping water from the aquifers that lie deep below the Mojave Desert. Those aquifers are not fully threatened, yet, but the day will come.

Utah’s alfalfa growers also consume more water than is justified, enough so that our Great Salt Lake and its surrounding reserves of fresh water are on the edge of disaster. More than three-fourths of Utah’s water is dedicated to agriculture, while nearly half of all Utah farms grow alfalfa—just under 7,500 farms in all. Those alfalfa farms employ fewer than 20,000 people, and those people are paid just over $350 million annually for seasonal farm work that lasts about 150 days in all—about $25,000 per farm employee.

A typical tech employee earns around six figures. That’s not to begrudge farming, it’s a reality of a lifestyle and career choices.

But that tech employee also pays a higher price for water usage—the fees applied to an acre-foot of municipal water are nearly a factor of 10 over that of farming. Water is, therefore, an undervalued commodity and giving it away is MAGA socialism.

That’s all fine and dandy—until there’s a water shortage, as there is now. Everyone has a pliable lane. But the glitch is that Utah always proclaims to be run by the best

and brightest, who know a good business deal when they see one.

Then why do they invest so heavily, with our water as currency, in a singular economic category that generates just 0.2% of Utah’s GDP, and while exporting 30% of all alfalfa to foreign buyers.

Is that really an “America first” outlook?

To be fair, alfalfa growers are not as heavily subsidized in the form of cold hard cash as the wheat and corn growers are—the inequity being on the water side. However, you wouldn’t know it when driving past so many giant Trophy farm houses that reside just feet from Utah’s rural highways.

Still, even those numbers don’t speak to individual misuse and greed. That’s a political lane. Farmers are doing the best they can, and we need farmers. No one should trust our politicians. Not even farmers.

This week, President Donald Trump once again reduced—by more than 90%—the size of the Bears Ears and Grand Staircase-Escalante national monuments. What was previously 3 million acres is now roughly the size, at just over 300,000 acres, of the two largest fires burning forest land in Utah.

Trump’s promise—and that of the Cheshire Cat-grinning Utah politicians beside him—assured economic gain and local enterprise.

That’s a lie. Utah’s tribal stakeholders were left in the dust, and the money ain’t there.

The area yields virtually no potential for logging, nor for geothermal and wind industries. Gas and oil growth is low to moderate. There is no coal.

Potash mines may see a gain—a field smaller than 1,000 employees statewide. Wow.

The winners are a small pocket of inside players: the new ATV trail pioneer; the lawyers; and those who call winning “sticking it to the libs.” Great. The cuts are destined to provide less upside than does the water-sucking medicago sativa.

Gov. Spencer Cox is Utah’s shrinking machine. He is to water and forests what a hot dryer is to a cotton shirt. CW

Send comments to john@cityweekly.net

City Weekly’s Best Of Utah

Where there are booming music scenes, there must be music stores that locals can trust to service their gear or find replacements. Summerhays has locations in Orem, Layton and Murray, allowing for great availability and access across the Wasatch Front. They help with purchasing, repairing and renting, and have lists of private tutors for those who are just starting out. They’ve been around since 1936—a testament to their skills and ability to work with musicians.

BEST MUSIC INSTRUMENT STORE

STAY TUNED FOR THE 2026 BEST OF UTAH BALLOT THIS AUGUST!

Each week, City Weekly will publish, email to our Best of Utah list and post on our socials an expanded version of our beloved Best of Utah issue. With over 400 categories to choose from, we selected our favorites to post from now til the Best of Utah issue in November. Remember, always support local!

2025 BEST OF UTAH WINNER 16 WINS SINCE 2015

HITS & MISSES

BY KATHARINE BIELE |

MISS: Arch Rivals

THANKS FOR VOTING FOR US IN BEST OF UTAH!

WE SELL YOUR PRE-ROCKED STUFF, YOU KEEP 50% CASH!

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855 S STATE STREET, SLC

MON-SAT: 10AM - 8PM

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414 EAST 300 SOUTH, SLC

MON-SAT: 11AM - 8PM SUNDAY: 11AM - 6PM 385-432-3600

Let’s talk about Donald Trump’s Triumphal Arch and the bad taste it leaves for America. We know the president envies the French and their historically golden vision of life. That has been a main motivator in his push to build a bigger and better arch in Washington, D.C. So why is another arch reportedly coming to Utah, a state where gold is less important than coal and where premium open space is revered? No doubt the sculptor, Sabin Howard, was dumbstruck by the pushback from the Capitol Hill neighborhood, and perhaps the larger Salt Lake community. The proposed Grand Liberty Arch and its companion tomahawk-waving statue have just given Howard grief, in the way the Box Elder data center did for officials there. Not that the two projects are the same—except that both lacked significant public input. With the emphasis on autocracy, public input is anathema—even as the sculptor himself insists that people just don’t understand art. That may be true, but it’s also condescending.

MISS: Hot Topic

It was just the wrong headline in The Salt Lake Tribune: “Utah is headed for year’s hottest weekend. Here’s where you can go to escape the heat.” Sure, let’s just ignore the elephant in the room and head for cooler climes. Rather than running away, people might just prepare for the worst, stay hydrated and stay mad. Great Salt Lake is drying up and may not recover, which means neither will the state. Climate change is real, but it seems no official wants to face that reality if it’s going to take decades to fix. Lawmakers, fearing the truth, have made laws to shield the fossil fuel industry. This despite a clear consensus that the public wants action—and alternative fuels. Maybe just a quick call to our state reps to say, hey, it’s not just the weather. And do something meaningful.

HIT: Full Ride

You might ask yourself why, if the average cost to homeschool one student is $1,500, the state of Utah is spending $8,000 per child. Well, according to The Salt Lake Tribune, it’s because of “a $6,000 Apple MacBook Pro, a $4,800 Trek mountain bike, and a $2,000 Crate & Barrel bookshelf.” Oh well, it’s not like the Legislature created any real limits on how voucher money can be spent. And of course, it’s not just for homeschooling, although that’s most of it. The Utah Fits All Scholarship is meant to free up parents to decide how, where and when their kids get educated. During the first, anything-goes year, auditors found about $2 million in purchases that are now prohibited. Guidelines changed and are changing, even though the program has been deemed unconstitutional, pending the outcome of appeals. While $120 million has already been allotted for this next year, the public is right to wonder if, without test scores, students are actually being educated. The state auditor is highlighting these questions because the public money has been going into a deep, dark hole. CW

Poetry Built This

“L

ove Letter From the Afterlife” at Colorado’s Red Rocks Amphitheatre wasn’t just an event. It felt like a gathering—a giant reminder that art can still bring thousands of people together and leave them all a little softer than they arrived.

Sundance helped bring this “Love Letter” into the world. The evening was extraordinary, with Sara Bareilles, Chris Pureka and the Colorado Symphony backing a film of the late Andrea Gibson, Colorado’s Poet Laureate, who recorded a performance before their death from ovarian cancer in 2025.

Every artist, every musician, every person behind the scenes seemed to understand the assignment—honor Andrea, and hold all of us while we did the same. Gibson used to tell their spouse, Megan Falley, “Poetry built this.” Standing in those red rocks, it felt like poetry really had.

I’m not sure it was one of those nights you can put into words. But what I’ll remember most happened outside the spotlight. Earlier that day, I met a woman named Lisa. She had decided, on her own, that she was coming to the event. She didn’t know anyone, she just knew she’d find her people when she got there. She did.

We tailgated with our Salt Lake City friends and local business owners Elisa and Amber Noel. They welcomed us— and Lisa—like family. They were the kind of hosts who make everyone feel like they belong, even while carrying the worry of a beloved dog who’s going through a rough health patch (we love you Murphy). That’s community.

And Salt Lake was everywhere. Every few minutes we’d spot another familiar face. We hugged our friend Moudi, who many Salt Lakers know from his years at Laziz before moving to Boulder. Seeing him felt like running into an old friend on your favorite street.

In the amphitheater, I completely lost it when I saw Andrea’s face on the screen beside these words: “We have to create. It’s the only thing louder than destruction.” Those words are tattooed on my body. Then came the mourning doves, Andrea’s boots, the full moon. The night hadn’t even started, and I was already crying.

Many of us in the audience had also been at The Paramount, where Andrea filmed their final live performance. To have been at both events felt like being entrusted with something we will carry for the rest of our lives. On the flight back to Salt Lake, nearly half the plane seemed to be filled with familiar faces from the night before. We exchanged tired smiles that said everything we couldn’t quite put into words. We had all shared something sacred.

I keep coming back to Andrea’s words: Poetry built this. Not just a film, not just an evening at Red Rocks. A community. The kind where someone can buy a ticket alone, trusting they’ll find family when they arrive. The kind where you leave Utah and somehow end up feeling even closer to it.

If there was one thing louder than the grief we all carried into those red rocks, it was love. And if poetry built that, I hope we never stop creating. CW

@kathybiele

BY CAY PALMER

Making a Splash

In the peak of summer, find a spot to cool down in the water.

BY SCOTT RENSHAW scottr@cityweekly.net @scottrenshaw

As the temperature in the Salt Lake Valley crept into the triple-digits last week, you might have found yourself wondering, “Why?” or “What now?” or variations on those thoughts punctuated by salty epithets. Mostly, you probably found yourself immersed in a single-minded focus on how to cool down, whether you were thinking only of yourself or of an entire family.

Utah may be struggling with drought, but there are still places where one can enjoy the cooling refreshment of water for a few hours—or even longer—of soaking entertainment. Here’s a reminder of where you can get your splash on as we hit the peak of summer.

WATER PARKS

Lagoon A Beach (375 Lagoon Dr., Farmington, lagoonpark.com): Lagoon Park definitely pops in the summer season with its roller coasters and other amusement park attractions, but the adjoining Lagoon A Beach water park might be an even more appealing draw this time of year. The 6-acre space, originally opened in 1989, features 10 water slides, the everpopular lazy river, and a splash play area for younger kids. The river surrounds both the Bongo’s Bay play area and the Blue Lagoon open swim pool that features waterfalls and secluded coves. You can stake out loungers, but those in shady areas tend to get claimed early in the day. Coolers and outside food and drink are not permitted inside. Operating hours are 10 a.m. – 7 p.m. daily through Aug. 19, and weekends only after that through Labor Day week-

end. Prices are steep, since there is no Lagoon A Beach-specific ticket, and access is included with regular daily park admission of $99.95 - $76.95 plus tax, with tube rentals an additional $5 daily. Season passports are also available.

Cowabunga Bay (12047 State St., Draper, cowabungabay.com/draper): First opened in 2009, this South Valley park presents an impressive profile from the nearby main roads. Attractions include nine major water slides (including the 800-foot, enclosed Mondo), the Cowabunga Beach zero-depthentry pool, lazy river and Kids’ Cove. Operating hours are 10 a.m. – 2 p.m. & 2:30 p.m. – 6 p.m. daily (there’s a closing for an afternoon cleaning break, though you can get a return pass) through Aug. 16, and weekends only through Labor Day weekend. Daily admission price is $25.99 for adults, $21.99 for children under 48” and $12.99 for seniors (60+); admission includes parking, free tubes and free life jackets for those who need them; season passes are $129.99 per person. You can also reserve a shaded VIP cabana for $150, which includes table-service food and beverage ordering, but reservations must be made by phone (801-553-1000).

Splash Summit (1330 E. 300 North, Provo, splashsummit.com): The long-standing water park formerly known as Seven Peaks became Splash Summit in 2020 after a change in ownership. Attractions include multiple slides at a variety of heights and thrill levels, rope swing, lazy river, wave pool and Cascade Falls pool. Operating hours vary throughout the summer, but are generally 10 a.m. – 7 p.m. Monday –Saturday (closed Sunday), with early closure on July 24; check the online calendar for hours through the rest of the summer. Single-day ticket prices vary between weekday ($24.99 adult/$19.99 child under 48”) and weekend ($29.99 adult/$24.99 child under 48”); season passes are $59.99 ages three and up. Cabana rentals are available at levels from $150 - $250 per day. Parking and tube rental are extra.

The water park activities are only part of this resort attraction, which also includes a camping area, minigolf, laser tag, playgrounds and more. The water park features include several slides like the two-person Harbor Hopper “boomerang” slide and Double Dragons, kidfriendly racing slides, Pirates Cove activity pool, lazy river and more. Regular operating hours through Aug. 19 are 10:30 a.m. – 8 p.m., Monday – Saturday. Daily rates begin at $36 weekdays/$41 weekends for just the water attractions, or King of the Hill passes (including access to the water park plus several other attractions) with prices $41 weekdays, $46 weekends, and discounted rates available for later entry, online purchase and seniors; infants and toddlers (0 – 3 years old) are just $3. For a $10 add-on, you can get one half-hour of

PUBLIC SPLASH PADS

If you need to be more budget-conscious, several public parks and malls through the Wasatch Front include water features, generally for all ages. Salt Lake County locations include the Olympic Plaza at Gateway Mall (10 N. Rio Grande St.); North Salt Lake Legacy Park (1140 W. 1100 North); Mountview Park in Cottonwood Heights (1651 Fort Union Blvd.); Sandy Amphitheater Park (1245 E. 9400 South); Millcreek Common (1354 E. Chambers Ave.); Midvale City Park (425 6th Ave.); and Valley Fair Mall (3601 S. 2700 West). All are free to the public, but operating hours may vary. Visit municipal websites for more details. CW

Cherry Hill (1325 S. Main St., Kaysville, cherry-hill.com):

early access beginning at 10 a.m. Pavilion and cabana rentals also available.

theESSENTIALS ENTERTAINMENT PICKS, JULY 16-22

Ballet West Summit Festival

While most artistic companies take the summer off from their usual seasons, this season often provides an opportunity to see those companies in unconventional venues. That’s true this week when Ballet West heads over to Park City for three unique events making up the Ballet West Summit Festival.

On Wednesday, July 15, Ballet West teams up with Kamas-based Ballerina Farm (1476 W. 200 South) for a farm-totable dining experience—with a menu by chefs Micheál “Tiffin” Griffin” and Avery Jensen—that also includes a tour of the working dairy and an intimate live ballet performance. Thursday, July 16 features an evening of dance-based film in coordination with Park City Film beginning at 7 p.m., with screenings of the documentaries About Face (focusing on challenging Asian stereotypes in the ballet world) and Ten Times Better (a profile of pioneering Asian ballet/Broadway dancer George Lee), with filmmaker Q&A and discussion. Then, on Friday, July 17, Ballet West at the Summit offers a wonderful outdoor performance at the Amphitheater at Canyons Village (4000 Canyons Resort Dr.) at 7 p.m., featuring Ballet West dancers Jenna Rae Herrera (pictured), Katlyn Addison, Adrian Fry and David Huffmire performing three works, plus world premieres performed by students of the Frederick Quinney Lawson Ballet West Academy.

Spaces for the Ballerina Farm event begin at $365 per person. The July 16 film screenings are free to the public, with registration requested. Tickets for the Friday Ballet West at the Summit performance are $35, plus applicable fees, for open lawn seating. Visit balletwest.org/events/bwsummitfest to purchase tickets and for additional event information. (Scott Renshaw)

Milk & Mayhem

@ King’s English

It seems preposterous that breastfeeding should have been a controversial subject. But then again, puritanical America gonna puritanical America, and as recently as 2021, it was still illegal in some states to breastfeed in public without sometimes onerous parameters. Advocates successfully pushed for the 2023 PUMP Act supporting workplace milk pumping, and much more has been achieved in recent years—a topic that will be celebrated in a special event at The King’s English.

The “Milk & Mayhem” event brings together two women at the forefront of the movement to decriminalize and demystify breastfeeding. Attorney Daphne Delvaux (aka “The Mammatorney), author of the 2026 book Moms in Labor, shares her expertise on what breastfeeding parents can expect and demand from their workplaces. She will be joined by Lindsay White, Utah-based founder of Little Milk Bar, a company creating and selling specialized breastfeeding products and fashions, and pushed for Instagram and Facebook to end their categorization of breastfeedingrelated content as “sexual content.” For one night only, these two visionary women come together to share stories about their mission to help #dropthecover, and let women know their rights, how much has changed in the culture with regard to breastfeeding and how much work still needs to be done.

Join Daphne Delvaux and Lindsay White on Thursday, July 16 at 6:30 p.m. at The King’s English Bookshop (1511 S. 1500 East). This ticketed event is $35.22 (including fees), and includes a signed copy of Moms in Labor. Visit kingsenglish.com to purchase tickets and for additional event information. (SR)

The Sting & Honey Company: The Far Gaze

Javen Tanner, artistic director for The Sting and Honey Company, understands that it might not be easy to get people to come out for a play like The Far Gaze based on a Biblical story, and one that is told in verse, to boot. But that’s no deterrent to the creator of pieces like the annual This Bird of Dawning … holiday piece, who has been fond of theatrical masks and movement-based work. “I think I have a knack for things that are a ‘hard sell,’” Tanner remarks with a laugh. “That will probably be on my gravestone.”

Working from a script by J. Scott Reynolds, an old theater friend from Tanner’s days in New York, Tanner takes a unique approach to a tale that might be somewhat familiar: that of King David and his affair with Bathsheba, who was married to the soldier Uriah. “I feel like often when you hear the story of David and Bathsheba, it’s about how David is God’s golden boy who falls,” Tanner says. “And that’s part of the story, but we tend to not hear Bathsheba’s perspective. [David] does what he does, then tries to cover it up; all of that is in there. But we also get her feelings.”

The Sting & Honey Company’s production of The Far Gaze plays at the Regent Street Black Box of the Eccles Theater (144 Regent St.) July 17 – Aug. 1, with performances Fridays at 7:30 p.m. and Saturdays 2 p.m. & 7:30 p.m. Tickets are $18.50$30; visit saltlakecountyarts.org for tickets and additional event information. (SR)

Kahve Talk

Kahve Café’s blend of authentic Turkish traditions with a welcoming atmosphere makes every visit feel like coming home.

BY LILY SPRINGER Comments@cityweekly.net

On most occasions when I head out for coffee or a bite to eat, I’m looking for a breath of fresh air or a change of pace from the day-to-day of working out of my home office. Every so often, though, I’ll find a place that manages to feel both like an escape and a home-away-from-home.

Perhaps the most exemplary of these places would have to be Kahve Café, an oasis of tranquility nestled away in a charming Victorian house just outside the heart of downtown Salt Lake City. The old home—brimming with plants, photos and cozy boho furniture—captures the feeling of visiting a beloved grandparent’s house where one never manages to leave without being more than well-fed.

Authentic Turkish coffee is Kahve’s specialty. Newcomers will be guided through the process, selecting from various sugars and spices (the saffron sugar is my personal weakness) to be added to the fine coffee grounds.

Even watching the process of brewing Turkish coffee is meditative. The coffee is guided through hot sand in a coppery cezve—a small, long-handled pot—and brought just to the point of boiling before it’s poured into porcelain. The brewing of the coffee is unrushed by nature, a chance to actually catch your breath before getting your day’s dose of caffeine. Served unfiltered, the coffee itself is richer and more velvety than standard espresso, bold and bittersweet, but with a pleasantly low acidity.

Kahve also boasts the broadest, most indulgent menu of uncaffeinated, noncoffee options I’ve ever encountered at a café. Their array of plant-based “Moon Milks” is colorful, frothy and creamy, managing to feel indulgent without the same blood sugar spike of a syruped steamer. With flavors ranging from subtle spices of turmeric, cardamom and cinnamon to the brightness of strawberry, blueberry or butterfly pea flower tea, every Moon Milk feels like a grown-up, lifegotten-together version of what a child might think a unicorn would drink. I’ve never been disappointed by any choice of Moon Milk, but my favorite has to be the Pinky Rose, a comforting blend of almond milk, dried rose petals and pink pitaya.

Though the unique array of beverages alone warrants a visit to Kahve, I’d be remiss if I didn’t also recommend visiting with an empty stomach. Kahve’s glass display cases are laden with freshlymade baklava, plant-based salads and other rotating cast members from the café’s Turkish-inspired recipe book. If you visit on a Friday and catch a generous plate of dolma up for grabs, make certain to stake your claim. These grape leaves are stuffed with warmly-spiced rice, rounded out with flavors of sautéed onion, currant, pine nuts and diced tomato.

All of Kahve’s salads, too, are fresh, light and nourishing—the kind of dish that makes one feel better in mind, body, and soul after eating. The Quinoa Beet Tabbouleh Salad, containing darkly sweet, earthy beets, dried apricots, quinoa, fresh parsley and a pomegranate balsamic dressing, happens to hold the title as my favorite salad of all time. Frankly, if I were given the entire gigantic serving bowl of this salad, it would be gone in less than an hour. That timeline may even be generous.

If you’re selecting nothing else to accompany your beverage of choice, though, Kahve’s small-batch baklava is a can’tmiss. With both traditional and plant-

based options to choose from, you can taste the love for this cultural delicacy in each flaky, buttery bite. There are flavors for every palate, ranging from old-world classics like walnut and pistachio to imaginative specials like coconut cashew matcha. The quality of the ingredients shines in Kahve’s freshly-made baklava, from the delicate phyllo to the organic Turkish nuts and spices.

If you’d like to get just a little more decadent, then ask for a big fat slice of baklava custard and ascend to crispy, gooey heaven. Definitely pushing itself even more firmly into dessert territory, this treat strikes a transcendent sweet spot between baklava, cake, and custard. Ruffled, baked phyllo acts as a vessel for a sweet, eggy custard, with weekly selections accented by flavors like Nutella, raspberry, or fig and goat cheese. I brought a few friends from out of town on a visit to Kahve a few months ago and when I dropped them back off at the airport, I think the tearful goodbye was for this baklava custard more than anything else. One of them still longingly texts me about it.

Amidst all the hustle and bustle of city life, Kahve Café feels almost like a place out of time. By the time you leave the little Victorian house, it’s hard not to feel like you’ve borrowed a little of its unhurried rhythm. Whether you came for an expertly brewed cup of Turkish coffee, a vibrant Moon Milk, a plate of rustic Turkish fare, or simply an excuse to linger somewhere beautiful, Kahve offers a chance to slow down and enjoy the ritual of sharing good food and drink just as much as the food and drink itself. CW

Among the many delights served at Kahve Cafe

2 Row Brewing

73 West 7200 South, Midvale

2RowBrewing.com

On Tap: Total JamnationFruited sour

Avenues Proper

376 8th Ave, SLC avenuesproper.com

On Tap: Drop Top - English summer ale (collaboration with Salt Flats)

Bewilder Brewing

445 S. 400 West, SLC BewilderBrewing.com

On Tap: Pink Boots - Pink Pony Pilz

Bohemian Brewery

94 E. Fort Union Blvd, Midvale BohemianBrewery.com

NEW Releases: Kölsch, Dusseldorfer “Alt” Bier

Bonneville Brewery

1641 N. Main, Tooele

BonnevilleBrewery.com

On Tap: Peaches and Cream Ale

Chappell Brewing

2285 S Main Street, SLC chappell.beer

On Tap: Pie Hole - Strawberry Rhubarb Tart Ale

Desert Edge Brewery

273 Trolley Square, SLC DesertEdgeBrewery.com

On Tap: Edge’s Special Bitter ESB

Epic Brewing Co.

825 S. State, SLC EpicBrewing.com

On Tap: Sake Barrel Aged Rice Lager

Etta Place Cidery

700 W Main St, Torrey EttaPlaceCider.com

On Tap: Orange Creamsicle Session Mead

Fisher Brewing Co.

320 W. 800 South, SLC FisherBeer.com

On Tap: A rotation of up to 17 fresh beers!

Grid City Beer Works

333 W. 2100 South, SLC GridCityBeerWorks.com

In a Can: Extra Pale Ale

Heber Valley Brewing

501 N. Main Street, Heber City hebervalleybrewing.com

Freshly Canned: Litha - Double IPA 7.9% ABV

Helper Beer

159 N Main Street, Helper helperbeer.com

Hopkins Brewing Co. 1048 E. 2100 South, SLC HopkinsBrewingCompany.com

On Tap: Sicilian Lemon Shandy

Kiitos Brewing

608 W. 700 South, SLC KiitosBrewing.com

On Draft: Bliss IPA (Extremely Small Batch)

Kiitos Brewing Sugar House 1533 S. 1100 East, SLC KiitosBrewing.com

On Draft: Bliss IPA (Extremely Small Batch)

Level Crossing Brewing Co. 2496 S. West Temple, SLC LevelCrossingBrewing.com

On Tap: Nitro Sinday Pale Ale

Level Crossing Brewing, POST 550 South 300 West, Suite 100, SLC LevelCrossingBrewing.com

On Tap: Helles Munich Pale Lager

Moab Brewing 686 S. Main, Moab TheMoabBrewery.com

On Tap:  “Big Drop” West Coast Pilsner

Mountain West Cider 425 N. 400 West, SLC MountainWestCider.com

On Tap: Island Orchard Punch (Strawberry and peach cider)

Offset Bier Co 1755 Bonanza Dr Unit C, Park City offsetbier.com/ On Tap: DOPO IPA

Ogden Beer Company 358 Park Blvd, Ogden OgdenBeerCompany.com

On Tap: 11 rotating taps as well as high point cans and guest beers

Park City Brewing 1764 Uinta Way C1 ParkCityBrewing.com On Tap: America Hefe YeahAmerican Wheat

Prodigy Brewing 25 W Center St., Logan Prodigy-brewing.com On Tap: 302 Czech Pilsner

Proper Brewing/Proper Burger 857 & 865 So. Main properbrewingco.com  On Tap: Concerning HopsWest Coast IPA

Proper Brewing Moab 1393 US-191, Moab properbrewingco.com  On Tap: Concerning HopsWest Coast IPA

A list of what local craft breweries and cider houses have on tap this week

Red Rock Brewing 254 So. 200 West

RedRockBrewing.com

On Tap: Gypsy Scratch

Red Rock Fashion Place 6227 So. State Redrockbrewing.com

On Tap: Grand Bavaria

Red Rock Kimball Junction 1640 Redstone Center Redrockbrewing.com

On Tap: Bamberg Rauch Bier

RoHa Brewing Project

30 Kensington Ave, SLC RoHaBrewing.com

On Tap: Bramble Brown

Roosters Brewing

Multiple Locations RoostersBrewingCo.com

On Tap: Hibiscus Sour

SaltFire Brewing 2199 S. West Temple, SLC SaltFireBrewing.com

On Tap/Canned: Monachus Adriatic Pilsner 5%

Salt Flats Brewing 2020 Industrial Circle, SLC SaltFlatsBeer.com

On Tap: OPEN ROAD SERIES #3 - Barrel Aged Grand Cru

Scion Cider Bar 916 Jefferson St W, SLC Scionciderbar.com

On Tap: Smokeshow 9% ABV

Second Summit Cider 4010 So. Main, Millcreek secondsummitcider.com

On Tap: Honeycrisp

Single Varietal

Shades Brewing 1388 S. 300 West, SLC ShadesBrewing.beer

New Batch: Raspberry Pistachio Sour Ale

Shades On State

366 S. State Street, SLC Shadesonstate.com

On Tap: Six Wheat Under Hefeweizen

Silver Reef 4391 S. Enterprise Drive, St. George SGBev.com

Squatters Brew Pub

Sugar House 2110 S. Highland Drive, SLC squatterspubs.com

On Tap:  Salt Lake Brewing Co. Big U Pilsner

Squatters Brew Pub West Valley

3555 Constitution Blvd, West Valley City squatterspubs.com

On Tap: Salt Lake Brewing Co. Acapulco Gold Mexican Lager

Squatters Pub Brewery / Salt Lake Brewing Co.

147 W. Broadway, SLC squatterspubs.com

On Tap: Salt Lake Brewing Co. Emigration Amber Ale

Strap Tank Brewery, Lehi 3661 Outlet Pkwy, Lehi StrapTankBrewery.com

On Tap: “Virgil the Guide” (Italian Pilsner); “Smiles und Sunshine” (German Leichtes Weizen)

Strap Tank Brewery, Springville

596 S 1750 W, Springville StrapTankBrewery.com

On Tap: “Orange Hopsicle” Hazy Pale; “Trouble” American Sour with Mango and Passionfruit

TF Brewing

936 S. 300 West, SLC TFBrewing.com

On Tap: Twelve taps and high point cans available.

Talisman Brewing Co. 1258 Gibson Ave, Ogden TalismanBrewingCo.com

On Tap: Pucker? I Berry Know Her! (Lemon blueberry sour); The baskin (Tigers blood seltzer)

Thieves Guild Cidery 117 W. 900 South, SLC thievesguildcidery.com

NEW: Seaside CitadelPineapple and passion fruit cider with a hint of sea salt | 6.5%

Uinta Brewing 1722 S. Fremont Drive, SLC UintaBrewing.com

On Tap: Was Angeles Craft Beer

UTOG 2331 Grant Ave, Ogden UTOGBrewing.com

On Tap: Bar Down IPA

Vernal Brewing

55 S. 500 East, Vernal VernalBrewing.com

Zion Brewery

95 Zion Park Blvd, Springdale ZionBrewery.com

BEER NERD

Offset, But Balanced

A trip to Park City finds creativity in beer form.

BY MIKE RIEDEL comments@cityweekly.net

@utahbeer

Offset Bier - NZH - 109: Offset’s latest Single Hop Pale Ale showcases the third release in its experimental hop series, and it’s an exciting glimpse at what could become a standout New Zealand variety. Pouring with inviting aromatics, this beer sets itself apart with a vibrant bouquet that’s surprisingly fruit-forward. Rather than leaning into the classic dank, diesel-heavy profile often associated with punchy New Zealand hops, this experimental variety delivers stone fruit right up front, followed by bright layers of ripe strawberry and zesty grapefruit.

The palate is equally impressive, balancing juicy fruit character with a pleasantly chewy body. A subtle dankness provides depth without overwhelming the beer, creating the impression of an assertive dry-hop addition while remaining clean and approachable. The restrained resinous character allows the fruit to shine, making each sip feel fresh and expressive.

Verdict: At an easy-drinking 5.0%, this pale ale is dangerously crushable while still offering plenty for hop lovers to appreciate. It’s the kind of beer that leaves one hoping this experimental hop earns a permanent place in future releases. Unfortunately, Offset was only able to secure a handful of bags, making this a limited opportunity. If you come across it, don’t hesitate—there’s a good chance you’ll be waiting a while before this unique hop returns.

Offset Bier - Thoils, Terps and Love: This IPA brings together an impressive lineup of New Zealand hops—Southern Cross, NZ Cascade, Riwaka, Nelson, and Motueka—to create a beautifully balanced, fruit-driven drinking experience. Rather than chasing an intensely resinous or terpene-heavy profile, this beer leans into vibrant fruit character, allow-

ing each element of the hop bill to shine without overwhelming the palate.

The use of a thiol-enhancing yeast takes the aromatics to another level, amplifying the juicy fruit expression from the hops. Bright melon leads the way, supported by layers of tropical fruit and subtle citrus that develop with every sip. One of the biggest surprises is the restrained character of the New Zealand varieties, with little to no diesel or pungent resin notes typically found in modern NZ-forward IPAs. Instead, the result is clean, expressive and approachable.

Verdict: At 6.0 percent, it strikes a sweet spot between flavor intensity and drinkability. There’s enough body to support the lush hop character while remaining crisp enough to keep you reaching for another pour. This is the kind of IPA that proves you don’t need aggressive dankness to make a memorable hop-forward beer.

Offset Bier - Spagett: Sometimes all it takes is a simple twist on a classic to create something completely memorable, and that’s exactly what Offset has done with this inventive beer cocktail. It starts with Silver Dagger, the brewery’s crisp, refreshing lager, served in the only clear bottle you’ll find in their lineup. The concept couldn’t be easier: Take a sip (or two) to make a little room, hand it to the bartender, and they’ll top it off with a shot of Aperol and finish it with a fresh lime wedge.

The result is far greater than the sum of its parts. The dry, clean lager provides the perfect canvas for Aperol’s signature bittersweet orange and herbal character, while the squeeze of lime brightens everything with a refreshing citrus snap. Each sip delivers just the right mix of crisp beer, gentle bitterness, subtle sweetness and zesty acidity.

Verdict: At only 4.5 percent ABV, it’s incredibly easy to enjoy, especially on a warm afternoon or whenever one craves something outside the usual pint. If you’ve found yourself in a beer rut, this playful hybrid is exactly the kind of change of pace that reminds you how much fun drinking craft beer can be. It absolutely hits the spot.

You’ll only find Spagett at the brewery to enjoy (while bottles last). The other two may be in Salt Lake City already.

As always, cheers! CW

OPENING SOON!

the BACK BURNER

BY LILY SPRINGER

Deer Valley Fire & Flavor Festival

Deer Valley’s Fire & Flavor Festival (deervalley.com), one of the resort’s marquee summer events, returns July 18-19 with another weekend dedicated to cooking over open flames. Hosted at Silver Lake, the festival brings together regional chefs, live-fire cooking techniques, local breweries, beautiful mountain scenery and, perhaps most importantly, an eight-foot paella pan. This weekend’s lineup features Matilda & Gozney Pizza serving signature wood-fired Neapolitan pizzas, and guests can also explore additional food vendors, beverage offerings, and chef demonstrations throughout the festival. With its combination of outdoor dining, mountain views, and culinary programming, Fire & Flavor has become a popular summer tradition for both local food enthusiasts and visitors. Admission is included with summer lift access.

Utah Asian & Anime Market

The Utah Asian & Anime Market will take place at the Viridian Event Center (8030 S. 1825 West) in West Jordan, July 17-19. Equal parts food festival, pop-culture convention and local maker market, the free event brings together dozens of vendors serving ramen, takoyaki, bao, desserts, boba and other Asian specialties alongside cosplay, artists and collectibles. One of the more distinctive additions to Utah’s summer festival calendar, the market highlights local creators while offering visitors the chance to sample a wide variety of Asian cuisines in one place. In addition to food vendors, attendees can browse handmade goods, artwork and specialty merchandise, making the event as much a community gathering as a culinary destination.

20 Region Wine Dinner

For diners looking for something a bit more refined, Veneto Ristorante (venetoslc.com) is hosting its 20 Region Wine Dinner on July 20. The evening is designed as a culinary tour of Italy, featuring 20 regional dishes paired with 20 wines representing each of the country’s wine-producing regions. The multicourse dinner showcases the diversity of Italian cuisine and winemaking, offering guests the opportunity to experience flavors from across Italy without leaving Salt Lake City. Reservations are $275 per person, and seating is limited.

Troy Weight

Christopher Nolan’s The Odyssey attempts to give mythology a sense of moral consequence.

BY SCOTT RENSHAW scottr@cityweekly.net @scottrenshaw

By every normal standard of measurement, Christopher Nolan’s movies should not be among the most successful blockbusters in cinema history. At heart, Nolan is a philosopher, using his genre films as heady explorations of moral consequences, the nature of time and reality, and who we should honor as heroes. His movies, conventionally satisfying though they may often be, actually require an audience to think; even the logo for his production company, Syncopy, is a maze. So when he manages to turn something like a biography of physicist Robert Oppenheimer or an adaptation of Homer’s centuries-old verse chronicle The Odyssey into a bona fide event, you know that something unusual is going on.

Nolan’s The Odyssey is in many ways very clearly his own, yet it’s also extremely faithful to its source material. Like so many Nolan pictures, this one weaves its way back and forth in time as it addresses all the key pieces in this tale: the king of Ithaca and military leader Odysseus (Matt Damon), stranded on an island far from home with Calypso (Charlize Theron), trying to regain his memory of how he got there; the perilous journey undertaken by Odysseus and his crew to return home after the end of the Trojan War; the events bringing that war to a conclusion, including the legendary “Trojan horse;” and the intrigues at Odysseus’ castle, as Odysseus’ wife Penelope (Anne Hathaway) and son Telemachus (Tom Holland) deal with the

many suitors trying to occupy Ithaca’s throne after Odysseus has been 20-yearsgone and presumed dead.

Along the way, you get a tremendous sense of spectacle, as Nolan plays all the greatest hits of Odysseus’ journey, from the encounter with the giant cyclops Polyphemus (Bill Irwin), to the dangerous meeting with the enchantress Circe (Samantha Morton), to visiting the land of the dead, to navigating Scylla and Charybdis. Nolan nails the moments that involve a grand scale, including a terrific sequence on the storm-tossed ship as darkness occasionally engulfs the screen, light only reappearing to reveal the latest felled crewman or sundered piece of the craft.

It’s everything you’d ask of an old-fashioned big-screen adventure, dusted with a sensibility that emphasizes the failings of Odysseus’ crew by having them perpetually fleeing for their lives to their moored boats, like Arthur’s knights in Monty Python and the Holy Grail after being implored to “run away!”

Yet this is also one of Nolan’s tales about a man wrestling with his conscience, and it’s not always quite as successful on that

level. The narrative builds to revelations about what Odysseus unwittingly unleashed with his deception-fueled victory over the Trojans and the accompanying sacking of the city, and it’s fairly meaty material—not just a trite “war is hell” diatribe, but a reflection on abandoning core principles in the pursuit of victory. The problem is that this subtext doesn’t flow naturally from the majority of what Nolan is portraying on screen.

Damon tries to embody the weariness of someone who believes himself to be lost spiritually as well as literally, but the performance never hits the level required for the messages to land hard. It also doesn’t help that Robert Pattinson appears to be having much more fun going full villain mode as one of Penelope’s calculating suitors, or that Ralph Fiennes played Odysseus’ homecoming with considerably more gravitas in 2024’s The Return

You don’t have to squint particularly hard to spot the similarities between Oppenheimer’s protagonist and Odysseus, with stories focusing on men haunted by the possibility that their actions, however well-intentioned in the moment, have for-

ever changed the world for the worse. It’s always interesting to see how Christopher Nolan chooses to drop his truth bombs into his complex narratives, and you’ll never leave one of his movies believing he’s asked you to—in the parlance of so many lovers of empty-calorie entertainment— “turn off your brain.” That doesn’t mean those movies are universally successful at mixing the stuff that gets people to buy tickets with the stuff that might have them pondering on the way out the door. Nolan’s Odyssey puts the “epic” in “epic poem” in a way you won’t regret experiencing on the largest screen possible. It’s a bit shakier at sneaking his ideas in through the gates as a kind of … give me a minute, maybe an appropriate metaphor will occur to me. CW

Trying to be a creator of any kind has always been a risk— whether it’s taking a chance on familial opposition to an artistic career, putting your rawest emotions out into the world for people to potentially reject, or just trying to make ends meet. Yet, while technology has certainly bridged the gap somewhat between creators and potential audi ences, all those risks still remain. And it feels like it’s ever harder to turn the act of creation into a living.

Part of the reason for City Weekly to local music is an effort to help connect artists with those who might be looking for exactly what they offer. That pragmatic side is only part of the equation, though, because when it comes right down to it, art matters not because it can help drive the economy— although, make no mistake, it totally does—but because creation matters for its own sake. In a time when governmental acts are reducing people to their use value, making music becomes an act of rebellion. It says that shouting from the soul—not from an AI prompt—is the essence of being human.

For our readers, we hope you use this information to connect with artists who might be new to you, whether it’s going to an open-mic night, buying a concert ticket or downloading a fresh and exciting new song. For the musicians, keep doing what you’re doing, even when it’s hard, maybe especially when it’s hard. We’re never going to stop supporting the unique flavor you bring to Utah. To all who sing out about this crazy human experience: We salute you.

MUSIC

ISSUE ISSUE

DJ SPAZ

THE “IT” LIST

Willöh, Queenadilla, P.S. Destroy This, OrcaMind and more Utahbased artists to watch for.

BY EMILEE ATKINSON eatkinson@cityweekly.net

It’s the most wonderful time of year—and no, I’m not talking about Christmas. I’m talking about our yearly music issue! We of course bring you music news year-round, but it’s exciting to have an annual issue dedicated solely to music.

It’s difficult to narrow down the incredible local music talent for this “It List,” but here it is for 2026. Shout out to all local bands/musicians/solo artists for making the local scene great.

Willöh: This trio sounds like if you gave Nancy Sinatra a bass and introduced her to punk music. Since their debut last summer, Willöh has quickly been gaining a fanbase—and rightfully so, with their energetic, badass punk sound. Their riot-grrrl sensibilities mixed with their go-go dancer aesthetic is excellently fun and adds a delightful sprinkle of uniqueness that can’t be found anywhere else.

This year, they won JRC Events’ Battle of the Bands competition and released their latest hot track, “Better Off Dead,” complete with a cool music video shot in the Utah desert. Look no further for immaculate punk vibes.

Queenadilla: Queenadilla refer to themselves as “riff-heavy rock ‘n’ roll played from the soul,” and upon hearing them, one can tell that such an assertion is true. They also have a satisfying bluesy vibe, and in their latest single, they incorporate intriguing electronic elements that add some great spice.

The soloing on their newest track “Clock In” is plentiful and rocks so hard. Their music is an easy listen, but that doesn’t mean it’s simple. They also amuse listeners online with their video antics; one of the best bits features frontman Chase McKnight dressed as Fred Durst. “Clock In” is just the latest from a new album due at the end of the month, so keep your eyes peeled for more headbanging rock still to come.

P.S. Destroy This: If you hear the album title Glitter Pussy 3,000 and you don’t want to listen to it, what are you even doing with your life? Joking aside, P.S. Destroy This is a badass punk/hardcore/riot grrrl group who “turn conversations into songs,” according to their BandCamp page. The aforementioned album was released last year, and can be greatly appreciated for its punk sound alone, but the songs are incredibly relatable to the average person in the Year of Our Lord 2026.

It starts with a quick 21-second track called “I.B.S.,” which the girlies with upset tummies will know all about. Non-male-centered punk groups are important for listeners as well, with one user noting on BandCamp, “No one in SLC is doing it like this. Literally cried the first time they played live because it felt so good to see them shredding after years of annoying and abusive men dominating the music scene.”

P.S. Destroy This makes music you can break your neck to, and that’s awesome.

OrcaMind: Those who enjoy a good video-game soundtrack will feel right at home with OrcaMind. Duo Michelle Heafy and Josiah Everhart have been streaming live music on Twitch for a long time, but started releasing recordings in 2022. Inspired by games like The Legend of Zelda and Earthbound, they drop elements of the games of yesteryear in their music, but their sound is their own.

With a mixture of indie/electronic/dream pop sounds, it’s hard to ever get bored with OrcaMind’s music. Their latest track, “Sea2Sea,” sounds less like a retro video game, but has a beautiful sweeping sound, like a crashing wave. Whether you’re listening to their latest track, or one of their earliest (and one of their best) like “Midnight Clover,” OrcaMind will make you feel comfortable and peaceful with their gentle sound.

MARISSA DELAYNE FILLYAW

ERICA RASCON

Queenadilla

Stella Standingbear: Rapper/singer Stella Standingbear is on an upward trajectory, and nothing will be able to stop her. She gained popularity quickly with her debut single “Home Runs” back in 2022, dedicated to the Missing and Murdered Indigenous Women movement (MMIW).

An indigenous woman herself, she brings a lot of references to indigenous culture into her music, but that doesn’t mean it’s not enjoyable to the masses; Standingbear’s talent shines no matter what she’s rapping about. She and rapper/DJ Paul Mall recently remixed her 2025 track “Mmhmm,” bringing together different cultures, styles and generations of hip-hop.

Standingbear has been on an extensive “Off the Rez” tour, which continues in Canada well into the fall, dazzling audiences across the continent.

Cactus Tree: Delightful and delicate, Cactus Tree crafts lovely indie/folk tunes that make you feel like you’re walking through the forest on an adventure—and who doesn’t like a little woodland walk? Cactus Tree (Tori Smith) released her debut EP at the beginning of the year, titled Walks & Gardens, and it fits perfectly with the woodsy, fairy-like vibe.

Although the sound is soft and calming, it still has impact. Accompanied by acoustic guitar and subtle orchestral instruments, Smith’s voice rises above and captivates. If life is chaotic and you need a break, Cactus Tree is an excellent remedy.

ElderSister: All the way down in Southern Utah among the beautiful red rocks, indie/folk/alt/ country group ElderSister can also be found. They

make tunes perfect for sitting around the campfire—perhaps while among the red rocks with a group of friends.

The group put out their first album in 2017, and after a lull that lasted until 2024, they’ve released more of that cozy campfire music. One single off of their new album, “Triple A’s,” is a nostalgic track that makes one think back to moments in life when things weren’t so certain. Their second album Dark and Blue is out soon, so be sure to tune in and add it to your summer playlists.

Mowth: Mowth is not a punk band to give listeners the same-old same-old—they’re a womxnfronted alt/punk group that sticks it to the man, because that’s what punk is all about.

“Mowth calls out BS, is loud, rebellious and gives injustice a what’s up,” their Subvert profile reads. “We are a queer, femme-fronted alt punk outfit with catchy pop hooks, studded in riot girrrl grit.”

Their newest track “Animals” is an absolute romp. It starts with pumping bass, adding fierce vocals, crunching guitar and alluring lyrics. The song comes with a rad music video that emphasizes the monotony of life and rioting your way out of it. This new track is immaculate, and hopefully we’ll hear more from them soon.

Boxed Hair Dye: What’s the first thing that comes to mind when you hear “boxed hair dye?” A dye job not so well done because you did it on your own? Teen angst? A mental crisis you thought could be solved by making a drastic change to your look? Some of these thoughts may be ones

you want to replace, and that’s where Boxed Hair Dye (the band) comes in.

While their online streaming options are limited, they make up for it by hitting the town and playing exciting, pumped up shows.

“Together we wanna make the scene a place where everyone feels welcome, no matter who they identify as,” the group has said. “We want to help the community thrive through peace and unity and love.”

Elowyn: The sound of indie/rock singer/songwriter Eloywn has a sheen to it. It’s hard to describe if you don’t listen yourself, but it sounds shiny, bright, alive, sparkling.

Elowyn’s ’90s/Amy Winehouse sound is refreshing and nostalgic all at once. She has an ethereal voice, but since she’s also a bassist, the bass tracks also push through to the forefront of her music, making it that much more unique.

“Throughout the process of making Dreaming Of You, I learned a lot about myself and where I want to be as a musician,” Elowyn said of her latest EP. “No matter how hard things get or when I doubt myself, I seem to carry on and continue to make music or involve myself in it. Then the magic really happens when you get to share it with other passionate and talented people. Reminding me that the possibilities are endless and the feeling of creating in this world is unlike anything else.”

Dreaming Of You is full of soul and heartfelt tunes, allowing the listener to engulf themselves in Elowyn’s passion project. CW

CASEY TAYLOR

Cactus Tree

Mowth

Boxed Hair Dye

Elowyn

Continued from page 20

THE SOUNDS OF THE CITY

Local musicians speak on why the Salt Lake City scene is the best.

BY MARK DAGO comments@cityweekly.net

Not all American towns and cities look and feel the same, and they most definitely do not sound the same. Some might argue that regional distinctions in music are a thing of the past, due to the disturbing amount of mono-cultural creep. However, even as technology continues its invasion and disruption—a copy of a copy of a copy—the scene in Salt Lake City continues to be different.

It’s the type of place where you’d see something small unfold before your eyes and then become a phenomenon, “overnight.” The counterculture has not been completely erased, as the DIY ethos of those who came before still permeates the local landscape today. It’s certainly a weird voodoo as the individuals here are not working with the same blueprint.

“The sound of the city is incredibly eclectic,” said Halee Jean, of Hypha Productions (Instagram @hal_o_jean). “There are huge, vibrant scenes of punk, country, bluegrass, rap, experimental, ambient—you name it. SLC has a whole party of folk doing it and doing it passionately.”

DIY musician Josaleigh Pollett (@brosaleigh) added, “It’s hard to say we have a specific sound, but I’d say it has a lot of character. So much talent and unique stuff happening in every corner.”

There are lots of “scenes” that have sprung up

and are building now, and just because most people don’t know about them doesn’t mean they’re not there. Salt Lake excels at providing artists with a platform to showcase unique sounds and play the kind of stuff many can’t do elsewhere.

Whether it’s at an all-ages venue, a 21+ dive bar or a home-brewed, community-driven space, there’s a plethora of stages to experiment on and show the work.

“The growing bond of having to hold back in everyday life makes us give it our all. I think that everyone in Utah has had in some way a rough time of having to hide themselves, or even find themselves due to the expectations of those around,” said Jaide, of the band Ceedu (@little_weirdo_detective). “I have seen insanely talented people who are from here and I don’t think they even know how inspiring they are.”

Having a sense of “place” is powerful for both audience and performers. If you feel welcome and that you have permission to make and perform your art, then great things happen.

It’s probably why so much of the world wants to get a piece of our gold.

“Being in a general alternative space, you tend to hear or overhear events and things going on,” Jaide noted. “I also believe that the younger generation is looking at ours seeing that we truly adore music and creativity so there is a good community for shows and events.”

Jean affirmed this: “House shows are the past and the future—they’re not only pivotal for under-21’ers to see shows, but they’re vital for artists that aren’t looking for the transactional experience offered by a venue. A house show is much less transactional financially, but rather dependent of respect and relationships—someone is inviting a bunch of people, likely a bunch of strangers, to come to their house, and this requires collective trust, respect and that everyone does their part to make the space safe and fun.”

Pollett added, “Young folks need places to go to see live music. It’s when being exposed to new sounds and outlets for self-expression are the most impactful—life-changing even. I wouldn’t be who I am today if I hadn’t been able to go to shows as a young person. We are really lucky to have such dedicated adults who are incredible musicians and people committed to making shows happen all over the city for everyone.”

Nothing stays the same. Cities change and most art, of whatever kind, comes as a response. Established musicians and up-and-comers alike should always think about the future, pushing forward a city that in the past has been guilty of letting SLC Punk nostalgia overshadow the new.

Find time to practice and enjoy playing music together, with or without any “gigs” or the necessity to compromise your self-expression. The overall point is: Do creative things and have fun. There are thriving artists here, and the sage wisdom they offer might be the inspiration one needs to take that first step to playing music with others and making harmonious noise together.

“Make friends; all of music is a relationships thing,” Jean advised. “Help others, get helped: help someone book a show and they’ll likely help you book one.”

Jaide had further counsel: “Genuinely just throwing yourself in a band could help you with getting better. Just be yourself and be respectful and enjoy the community. I would have never known I would be decent at stuff until I genuinely pushed myself.”

Pollett echoed the above statements.

“Go to shows! We have sooooo many shows happening always,” she stressed. “Go to them, learn about new bands, see who you admire or like and ask them to set up a show with you! Follow Hypha and Yardwork and Joz Presents on social media and follow bands that they work with! I truly believe there is something for everyone.”

Jaide, of the band Ceedu

Josaleigh Pollett Halee Jean, of Hypha Productions

DIY MUSIC SCENE CREATORS

Love of music and mutual support leads to innovation in venues for live music.

BY LANEY HANSEN comments@cityweekly.net

From house shows to one-off festivals, curators, agents and musicians alike have been closely involved in creating a cohesive, tight-knit and familial community in Salt Lake and the Utah Valley since the post-grunge era. They’re doing it here, now and—most of the time—in their backyards.

David Payne, a local musician and venue curator, has been involved in the scene since the 1990s, allowing him and his friends to play music and share a communal space. He has continued to support the local scene by providing a space to play, either in a warehouse, at a local bar … or on his own lawn.

Since then, however, he says the community has experienced both highs and lows, and that now, there’s been a reinvention of the term “DIY” and a cultural shift in Salt Lake’s arts infrastructure. One such change includes one-off festivals, like the recent Pogo Fest, featuring more than 20 bands across the downtown area.

“That idea that you’re going to do a one-off festival, it’s not the same as having an infrastructure, it’s in response to not having an infrastructure,” Payne said.

But for many local booking agents and production curators—like Joz Presents, Yardwork Presents (a project of Chaz Prymek) and Hypha Productions (a project of Halee Jean)—“one-off festivals” are a big contribution to this new wave of DIY music. A few events that these people have curated includes Far Out Fest, Hypha Fest, Hallapalooza and additional concert series hosted at Fellowship Hall, The International Bar and the Twilight Lounge.

They all work together to build a

stronger community and a higher bar for the DIY scene.

“I get the opportunity to network and coordinate with all these local businesses that then also benefit from the presence of live music in their space,” Jean said. “It builds a deeper community and networking amongst a demographic of people who enjoy live music. So, if you have a coffee shop or a brewery, here’s this whole demographic of musiclovers that maybe wouldn’t have gone to that location, but now have a chance to experience that local business, because they were drawn there for a DIY show.”

Joz, likewise, remarked on this. “The wealth of knowledge about local music between all of the local promoters is one of the coolest things I’ve ever seen,” she said.

A lot of that wealth has come from their own experiences playing in a band or being too young in the scene, unable to see their favorite show. To facilitate that, then, much of what comes out of the DIY scene is an accessible way to hear and share music.

Some makeshift venues that have allowed this include house venues Fairyland and The Cellar, as well as small businesses like 801 Labs, Fellowship Hall, Church & State and One Love Coffee. And for “weird” bands like the Salt Lake Synth Society, with members Matthew Driggs and Parris Humphrey, it has allowed them to break through to new and even larger audiences.

“It’s given us space to evolve our events,” Humphrey said. “We have approval to get weird and use it as a laboratory for how far we can push live, electronic music.”

The music, venues, audience growth and months of planning all come from a love for the work and the way it allows art to grow in Utah.

“If ‘labor of love’ was a more socially acceptable culture, then I think there would be a lot more DIY stuff,” Payne observed.

“All of this is interaction. No show you’ve ever been to has been put on by one person,” Prymek added. “Everyone who has ever hosted a show has done so with the hope of folks coming out, right? That’s a lot of it.

To get folks in a room to experience something together … trying to make music and art and coming together accessible.”

Small shows can help local bands and businesses to expand their reach.

said DIY shows are a laboratory for experimentation.

“All of this is interaction,” said Chaz Prymek, (not pictured).

A DIY concert presented by Hypha Productions in October 2025.

Parris Humphrey

FUN OPERATING BASE

Ranger Soundcar’s converted military vehicle becomes a mobile venue for fun and community.

BY ARICA ROBERTS comments@cityweekly.net

Just when you think you’ve seen and heard it all, Salt Lake City’s artists continue to surprise the world with their creativity. At the top of any music fan’s list should be experiencing Ranger’s mobile, military-style art car and rave stage, known as Ranger Soundcar.

Founded by the serial entrepreneur Scott Haslam, it was created to deliver high-quality underground electronic music experiences in unique locations while remaining small, community-focused and non-commercial.

While their main focus is on these smaller, local events, Ranger recently partnered with major promoter Insomniac (famous for EDC Las Vegas) for John Summit’s Experts Only Festival. They are set to appear as the second stage at the Gorge Amphitheatre this October.

“All of the artists that are on [the] Experts Only Label are going to play on the truck. It’s going to be really wild,” said Ranger’s talent buyer and event and marketing manager, Sarah Lies (a.k.a. Sarah Liebrecht).

This summer, Ranger was also invited by Insomniac to participate in a new “World Party” parade on the Las Vegas Strip to kick off EDC’s 30th anniversary, after being connected through Jeremy Moreland from V2 Presents. Insomniac initially downplayed expectations, unsure whether the event would draw 5,000 people or be shut down for overcrowding, and only revealed late in the process that Kaskade, deadmau5 (debuting as Kx5 for the festival) and vocalist Natalie Jane— performing the official EDC Las Vegas anthem— would play on the Ranger truck.

For the parade, Ranger had to structurally adapt the truck to safely move with large crowds following behind, creating a moving sound system reminiscent of European street parades, like the “Techno Viking” video from Berlin. During the event, they estimate that up to 10,000 people followed behind their truck alone, leaving Haslam and Liebrecht “speechless” as they watched what their once-small junkyard project had become.

Military Truck to Music Stage

Haslam is the founder and CEO of Kingbee Vans, a commercial fleet company based in Utah that specializes in nationwide work-ready van rentals. Having also previously played in punk, hardcore and indie electronic bands, he found a unique way to blend his business with his passion for music through Ranger.

The idea began after attending the small Lost River Disco festival in Idaho in 2021, where

Haslam was inspired by the intimate, high-quality sound and the sense of deep escape, and wanted to recreate that feeling in a mobile format. Using his experience in upfitting, Haslam bought a large military vehicle and converted it into a street-legal mobile stage with integrated Void Acoustics speakers, and a top deck for crowd immersion.

While monthly, 500-person events take place at Haslam’s junkyard in West Valley, the truck is able to travel to mountains and salt flats, where Ranger plans to host future pop-up raves.

Early events included a small show in Sun Valley with LP Giobbi, DJ Tennis and Chloe Caillet for about 100 people, followed by a similar-sized afterparty in Utah with Sidepiece during the Get Funky festival. But Haslam soon realized he needed a team to help him run it all—from logistics to sourcing sound engineers—eventually relocating a trusted engineer from Washington to Utah to ensure consistently tuned, high-end sound.

Over time, the focus expanded from just sound to crafting an overall environment where people can disconnect from daily life, connect with others and experience thoughtful visual and artistic elements—such as hanging an old airplane from a crane—to enhance the sense of wonder.

Booking World-Class Artists

Liebrecht says she first encountered Ranger as a DJ and attendee, playing the truck a few times and attending nearly every party, because she loved the consistent music quality and atmosphere enough to show up alone to a “random junkyard in West Valley.” Now, as the person who books Ranger’s artists, Liebrecht sees Ranger as a passion project and a “home” within the underground scene.

“The underground music scene for me has just been like a home since I was a teenager,” Liebrecht remarked. “It’s just been somewhere I can go where I am always going to see people I know make new friends.”

In the past year, nearly every headliner at Ranger has been international—primarily from

the U.K., South America, Amsterdam, France and across Europe. Many of these artists had never considered Utah, viewing it as a “flyover” state, and are typically expensive to book, but they will agree to play because Ranger offers them creative freedom and a unique experience.

International artists are also drawn to the novelty of a U.S. military-style art car—something they usually only see at Burning Man and occasionally in Europe—making Ranger a distinctive stop on their tours.

Building Community

Artists are also encouraged to treat Ranger as their party, playing what they truly love rather than what promoters dictate, which contrasts with typical touring experiences where they’re thrown into a green room and tightly controlled. Ranger’s approach has led to artists staying and hanging out until sunrise, reinforcing the sense of shared ownership and community. Word of mouth among artists has grown to the point where some say they’ve been waiting to be invited because friends who played the truck recommended it.

Utah’s underground music scene is unusually strong and “secret,” driven in part by restrictive liquor laws and city regulations that push the best events into underground spaces.

“You got to know somebody to know about it,” Leibrecht noted. “But it’s the best music you can find and the coolest people.”

While the project leans heavily into a military aesthetic, Haslam said it is not from a veteran background but as a deliberate repurposing of decommissioned military hardware for “forward operating base”–style pop-up party camps.

“I love the idea of taking something that was designed for war, pain and suffering and turn it into something that is designed for fun, love and community,” he said. “We want to take this thing that generations before us intended to use for nefarious purposes and convert it into something meaningful and valuable for a community.” CW

The Ranger Soundcar in action

THE MOTHER LODE

Coffee by day and dance club by night at Mother SLC on Main.

BY ARICA ROBERTS comments@cityweekly.net

In September 2025, Mother SLC opened, shortly after the major fires on Main Street. The area became a sort of wasteland, until neighboring businesses like White Horse rebuilt quickly and helped restore stability.

Mother is located above the bar Quarters, near venues like Green Room, Bodega and others, many of which were closed or under construction during that difficult post-fire period. The neighborhood has become active and lively again, with Mother functioning as a coffee shop by day and bar/dance club by night. It includes a European-style café open from morning through late night, where people can have coffee and food on the patio and then transition into a DJ-driven club environment. It’s a seamless progression from daytime coffee to evening dining to late-night dancing, with guests sometimes spending many hours as the space slowly shifts around them.

Co-owners Camille Fiducia and her fiancé Sawyer Carpenter, along with Chase Worthen and Josh Edgar, all have their areas of specialization. For Worthen, this includes decades of hospitality experience as one of Salt Lake’s long-standing bar pioneers. A founding partner of Alibi Bar & Place, and also behind The Pearl and Neighbors, he gives Mother its nighttime backbone: bar intelligence, flow and atmosphere. Carpenter, meanwhile, is especially focused on the music side due to his connections in the local industry, while Fiducia handles decor, vibe and “softer touches.”

“The name Mother is intended to evoke ancestry … not as an archetype or a gender role,” Fiducia explained. “But as an archetype of nourishment and care.”

At night, the bar is transformed into House of Mother, inspired in part by House of Balloons, the breakout project by The Weeknd. It’s a reference to the vibe you feel going in where it’s more that you’re inside a house party, where music, emotion and environment become inseparable.

It’s a space where sound is central, the room feels intimate and the energy of the night is shaped as much by what is being played as by the people gathered inside it.

Mother’s Resident DJs

SPAZ (Genesis) and Sauvignonmami (Jessica Hughes) are two DJs with residencies at Mother. They described their experiences there and the community that has been established through the owners’ efforts and passion. One highlight they noted is the Void Acoustics sound system, a distinctive feature of the space. On busy summer nights, guests who arrive after about 10 p.m. can expect to wait in a line that can stretch toward

Quarters; they intentionally avoid overpacking the interior to keep it safe and comfortable while they are expanding patio capacity.

SPAZ noted the boiler room vibe of the sets, where the DJ is surrounded by the crowd.

“You really feed off of people’s energies because everyone is just right next to you,” she said. “I know there’s other DJs that are watching your transitions. I think it keeps the DJs on their toes.”

As an open-format, multigenre DJ, SPAZ feels her ability to fit many different “rooms” makes her stand out. While she’s become one of the DJs at Utah Royals events and threw her own “Spaz and Friends” day party at Bodega after the Pride parade, she feels like House of Mother is particularly special.

“I don’t see as many phones as other places,” SPAZ observed. “I played there one Thursday … and literally did not see anyone on their phones.”

SPAZ says the owners of Mother trust her taste, within bookings where she plays experimental mixes of house, Jersey club, ghetto tech and baile funk, aiming to offer sounds people wouldn’t hear elsewhere. She notes that Mother’s crowd is very music-focused, expecting fresh sounds and that she has never had a bad experience there.

“People came to have a good time, and it was a busy Thursday,” she says. In the intimate, high-energy environment, “attendees understand the assignment.”

A monthly night at Mother called “Joyride” every third Saturday is co-hosted by Hughes and her fiancé, where they play back-to-back; he focuses on club music, hard house and dance, while she brings her own distinct style, making the night a dynamic exchange between their different tastes.

Outside of Joyride, they each maintain individual residencies and together they also run “Slipstream,” giving them four residencies in total and treating them as opportunities to bring in a new DJ, giving others a platform and strengthening the local DJ community.

Hughes noted that Mother’s owners have invested in one of the most expensive sound systems of any bar in the state and allow DJs significant autonomy in curating their nights, including inviting friends without heavy gatekeeping. She recounts how Carpenter rented a V10 mixer—commonly used in large settings—and let her practice on it alone at Mother while the bar was closed so she could prepare for a major show at Mutiny’s Boxpac Project.

“Sawyer [Carpenter] was like, ‘Oh, I’ll just rent it for you. You can come to Mother and you can practice on it when we’re closed.’ And I was literally in Mother alone and they just left me in Mother to practice.” Hughes recounted. “That’s the kind of people they are.”

Overall, Hughes stresses the importance of community presence in spaces like Mother SLC and mutual support in getting booked. She believes that to be part of the scene, DJs must show up in person, support others’ sets even if the sound or genre isn’t their personal preference, underscoring that success comes from consistently putting in the work and showing up for oneself.

“You have to be a part of the community to play in the community,” she reiterated. CW

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DJ Sauvignonmami (Jessica Hughes)

THIS AI-N’T IT

Local artists sound off on AI-generated art.

BY MARK DAGO comments@cityweekly.net

Often, when I see a piece of art these days, I find myself examining it to try to determine if it is actual art or an AI-generated image. The fugazis are easy to spot—bad hands, extra fingers, lifeless eyes, repeated textures/ patterns, etc. It bothers me that I have to do this, because I shouldn’t have to. It’s only because of the theft of “training data” that LLMs have become capable of such facsimile images at all.

AI is to art what Strawberry Hill is to wine: No one with any taste or discernment of any kind would count it as “good,” but those who can’t tell or don’t care about the difference are certainly welcome to it. “AI artists” do not exist. An artist creates work with time, skill, patience and, above everything else, humanity.

I don’t want to cough up “art” based on a mashup of work stolen from others. These garbage disposals largely rely on the theft of intellectual property. If you need art to train your model, pay artists to supply it. Period. For those who see value in cheaper and faster: Hooray, your time has come to find out where that may lead. I interviewed a few nationally recognized local artists about this tech to get their perspectives on AI’s impact on “art.”

“When I received these questions, Google formulated an entire response to EVERY question, including nuanced opinions on AI,” responded singer/songwriter Scott Lippitt (@scott_lippitt_music). “I immediately deleted that and started thinking on my own. I know that if I had even entertained some of its responses, two things would have happened. First, I would have been influenced by its responses, even if I think I would never let that happen. Secondly, I would have stopped thinking for myself.”

“The creative process asks us to draw upon our memories, experiences, emotions, values, beliefs and everything that makes us human,” Lippitt continued. “Then, we transform, transmute and relay ourselves in the creation itself. Generative AI steps in and just creates which entirely wipes ourselves out of the picture.”

Animator Mickey Miles (@mickey4miles) added further: “Art should challenge the creator and observer. It takes time to build up the skillset to create something, but that’s not bad. It only makes you feel more confident in yourself when you reach that point. Running a marathon feels triumphant because it’s a hard thing to do. You wouldn’t feel that level of accomplishment if someone ran it for you. Art is the process, not the end result.”

“A.I. is sloppy corner-cutting for efficiency’s sake alone,” artist Robin Banks said (@ramenbanks). “If capitalism didn’t demand efficiency in every facet of life, there would be no interest in its use to create art. It doesn’t help us achieve

personal fulfilment; it hinders it. A.I. is cold, unfeeling, non-empathetic and has no viewpoint of its own. Why are we letting it interject into something so distinctly human as art then? For efficiency’s sake. Because when our humanity is stripped in the name of efficiency, there’s nothing left for us to do but work to survive.”

It stinks that economics will likely always be the deciding factor, and unfortunately slop apologists will move toward the lowest-cost solutions—that being the random sludge created by bots and fine-tuned for the algorithms that promote it. Valued by people who don’t value craft; who know the price of everything and the value of nothing.

Even though the ethics of “all content should be free” is flattening everything, human creativity is still good for business. We all lose when everything starts looking the same. The artist’s style, voice and vision remain supreme.

“It’s frustrating when a client approaches you with an AI mockup of what they think you should create for them. What a great way to stifle an artist’s creativity,” Banks noted. “I’m stuck trying to find a way to either replicate what AI has conjured up for them—because at that point they’ve liked it enough to show you it as a ‘good’ example—or, I am tasked with trying to convince them to let me pursue my vision for the project, which is nearly impossible because they’ve already become attached to their own. Or I have to try to find a way to merge the two and, even when I’m able to, I am left feeling gross about the final product because I know that it’s been steered by a bot with no thoughts or feelings.”

“There’s a mutual trust between me, my clients, and my audience,” Miles added. “From the beginning I’ve been very clear about not having any interest in AI. It’s becoming harder to be certain whether something is AI-generated, which is why I have always encouraged every artist I know to have nothing to do with AI at the risk of losing integrity. If you use it once, it creates uncertainty about everything that follows.”

He continued: “One thing AI has inspired me to do is to work more often in analog mediums. As a frame-by-frame 2D animator, I’ve tried to

keep my process as traditional as possible while using modern tools like an iPad, Apple Pencil and Procreate [a digital art application]. Every frame is drawn by hand. However, even digital art has felt more sterile and bodiless. Physical, tangible artwork has become way more exciting to me. I started creating paper animations and it’s been so rewarding to feel the weight of my work. I eventually plan on exhibiting my animation frames to share the experience.”

Do we forever crow about our humanity and our brilliant creative minds, no matter what fresh hell we unleash? Not saying we should hate on ourselves, just honestly appraise what we do as a whole. Seems we’re intent on crashing all systems, including the creative wiring inside our own heads.

At the cost of what, convenience? To outsource this is to misplace our own identity.

I would rather we remain a sucky, imperfect mess than become so efficient we miss the forest for the trees, in a race to the bottom of bland similarity—ending up in a world of beige.

“In my lifetime, I’m sure I’ll be deeply moved by art that was created by AI. It has maybe even happened already and I didn’t know,” Lippett cautioned. “However, even if AI can create indistinguishable art, I will always take a personal stand against it because I value human-made art. As AI advances, I will go to more in-person shows, I’ll get to know and trust artists in a more personal way, and I’ll find artists that similarly reject AI. I will not be passive in this era of technological takeover—these corporations need consumers to fund their projects.”

“I don’t have a lot of power as a single consumer,” he added, “but I’m going to use every bit of it to create human art and support other human artists.”

Miles echoed that sentiment. “I’ve been really encouraged by the overwhelming rejection of AI from the general public and working artists alike,” he said. “It has made me genuinely hopeful, but a lot needs to be done on the legislative level to protect artists.”

“We are too focused on art defined by product, rather than process,” Banks said. “Plenty of artists throughout history have tried to reframe that conversation, and I think we would be wise to listen to them. Once the emphasis lies squarely on the product itself, art’s humanity is lost and it becomes just another thing to buy and sell. People still want small-run hand-printed shirts, even though they could get something cheaper at Walmart. People still dig for impossibly rare records, even though they could stream the song online. People want to touch and feel things that came from other humans. It makes us feel connected to something bigger than us.” CW

Robin Banks is currently working on a bunch of commissions and gearing up for their booth at Craft Lake City this August.

Mickey Miles is working on a music video for Ghost Funk Orchestra.

Scott Lippett is active as an independent musician.

A vinyl sleeve cover designed by Robin Banks

MUSIC VENUE GUIDE '26

BY: EMILEE ATKINSON

MUSIC VENUES: INDOOR SPOTS

Aces High Saloon: 1588 S. State Street (aceshighsaloon.com)

If you want to hang out in the biker bar of all biker bars, come on by. It’s a small venue, but it packs a punch, with great cocktails and food, including vegan options. As a showcase for heavy metal, rock and punk acts, this is a venue that will have you headbanging all night. Bands often sell out the venue, so be sure to keep an eye out for acts you want to see and get your t ickets.

Pearl on Main: 7711 S. Main, Midvale (thepearlonmain.com)

This cool venue offers old-school theater vibes, but the building itself is beautiful with great acoustics. They have snacks, drinks and a limited bar for those who are of age, but that’s not the main reason you come—it’s for the great variety of local acts and intimate size. Coming to a show at the Pearl feels like you get to experience a cool part of history while still enjoying a slice of modernity.

The Commonwealth Room: 195 W. 2100 South, South Salt Lake (thestateroompresents.com)

The State Room’s sister venue is a bit further south, but is a perfect place for accessibility right off the Central Pointe transit hub. With a capacity of 650, it hits a sweet spot for mid-level touring acts as well as some great locals, and raised viewing platforms offer terrific viewing. A full bar is available for 21+ events.

The Complex: 536 W. 100 South (thecomplexslc.com)

The Complex is where you’ll head for your mid-level touring acts— not a huge stadium-like venue, but not a small and cozy local spot, either. It’s the perfect inbetween for your favorite bands who have a bigger, passionate fanbase, spacious enough for moshing and featuring big sound and great ADA accessibility. They do have a bar with a few options, but you won’t really be coming to The Complex for a drink; you’ll be coming for the good vibes.

The Depot: 13 N. 400 West (depotslc.com)

Great touring acts hit The Depot on the regular, and its location at the Gateway—just a block away from a Trax stop—makes it one of the most convenient spots to see a show. The viewing experience is generally a good one, with upstairs suites available for VIP experiences and 21+ access to some great cocktails.

Eccles Theater: 131 S. Main St. (live-at-the-eccles.com)

This downtown venue might be better known as the spot for touring Broadway shows, but its arrival also established a great theater venue to catch national music acts when the vibe is for a seated experience rather than a wild generaladmission one. Sightlines are good whether from the floor level or the balconies, and it’s easily accessible via the Blue and Green Trax lines.

Funk ‘n Dive: 2550 Washington Blvd., Ogden (funkanddive.com)

Funk ‘n Dive is another must-see venue when you’re bar-hopping in Ogden or want to catch a favorite local act. They provide great happy hour food, cocktails, and have a great variety of bands coming through. The staff are always top-notch.

The Great Saltair: 12408 W. Saltair Dr., Magna (thesaltair.com)

The one-time resort and amusement park advertises itself as “Utah’s First Entertainment Venue,” and it continues to live up to that history. Year-round, the venue on the edge of the Great Salt Lake can host indoor shows, but also has the capacity to get expansive in its amphitheater for the warm-weather months and festivals like Das Energi. Access is tricky at the remote location, so plan accordingly.

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Eccles Theater

Aces High Saloon

Hog Wallow: 3200 E. Big Cottonwood Canyon Road (thehogwallow.com)

Not only does the Hog Wallow sound like a pub in a Lord of the Rings-type setting, it also has everything you’d expect from a good pub: delicious food with huge portions, an excellent bar and great shows. You’ll be able to catch a wide variety of musical acts, from funk to folk to reggae— a little something for everyone.

The International: 342 S. State Street (internationalbarslc.com)

With plenty of room for bands to play, pool tables, great drinks and a cool atmosphere, every Friday and Saturday night promises great shows and a crowd who is ready to jam out and have a good time. They have locals on all the time, plus fun events like their Goth Nights or other dance parties.

Johnny’s SLC: 165 E. 200 South (johnnysslc.com)

Great vibes, reasonably-priced drinks and tasty food is what you can expect during a night out at Johnny’s. Plus, great music, obviously. This low-key downtown spot is ideal for bringing a group of friends, listening to tunes and shooting some pool. There’s plenty of room to hang out—and in the winter, you can head out to the heated patio for fresh air. A night at Johnny’s is a night well spent.

Kilby Court: 741 S. Kilby Ct. (kilbycourt.com)

What is there to say about Kilby that hasn’t been said before? The legendary venue has had plenty of notable artists pass through, and it’s almost like a rite of passage for locals to play at Kilby. It may be on the smaller side, but when a crowd gathers to have fun together, it feels like the space is limitless. If you have the chance to go to a show at Kilby, do it!

Liquid Joe’s: 1249 E. 3300 South, Millcreek (liquidjoes.net)

This cozy spot offers great drinks and a fun, welcoming atmosphere. Access can be a little tough, so consider getting there a little early or using public transportation or ride-shares. A big focus at Liquid Joe’s is open mic nights, for which they will actually provide instruments. This is another great spot with variety and unique vibes if you’re looking for something new on a weekend night.

Maverik Center: 3200 S. Decker Lake Dr., West Valley City (maverikcenter.com)

The Maverik Center is where you’ll come to see big, big shows, with past acts including George Strait, Elton John, Carrie Underwood and Tool. It’s always worth it to keep an eye on their calendar, lest you miss an act you really love. The multi-purpose indoor stadium is huge, so you may want to plan on taking Trax via the Green Line in order to circumvent the parking and major traffic after the show.

Metro Music Hall: 615 W. 100 South (metromusichall.com)

This mid-sized venue features a lot of great locals as well as acts who are passing through town. It boasts a unique atmosphere, great staff and an excellent variety of shows. One night you could be moshing to a great metal band, and the next, singing to your favorite folk acts. They also host drag shows aplenty, and offer some booth reservations, but Metro is primarily a standing venue.

Quarters/DLC: 5 E. 400 South (quartersslc.com)

For lovers of music and retro gaming, Quarters Arcade Bar is absolute heaven. Their show space, The DLC, is a cozy setup that allows locals to thrive on stage, as attendees are able to be right up in the action with not a lot of space separating them. The uniquely intimate setting helps you feel like you’re getting up close and personal with the performers, while the wall of lights illuminates the performers in the background.

Soundwell: 149 W. 200 South (soundwellslc.com)

Here’s yet another mid-sized venue in the heart of downtown SLC that offers a huge variety of artists. It’s a great place to feel comfortable, but where you can also let your hair down and enjoy. Soundwell can feel small and intimate, but it’s big enough to have a fun time with a crowd of equally-excited concertgoers. Plus, many visitors have commented about the cleanliness of the bathrooms, so you can quiet your anxieties at this venue.

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Metro Music Hall

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The State Room: 638 S. State (thestateroompresents.com)

The State Room is a little different from your typical venue. You’ll want to come here if you’re interested in a more cozy, intimate experience. It’s still fun, of course, but those who aren’t able to stand for hours on end will enjoy it here. It’s got an excellent bar with theater seats and a dance floor for those who want to get up and move a little.

The Urban Lounge: 241 S. 500 East (theurbanloungeslc.com)

With performances almost every night, the intimate venue allows for good times and even better shows featuring local favorites, smaller national acts and even unique events like the recent Sapphic Factory: A Modern Queer Joy Dance Party. Trax and several high-frequency bus routes are nearby. If you do drive, be sure not to park in the IHC lot south of the venue, because you will be towed.

Velour: 135 N. University Ave., Provo (velourlive.com)

Velour’s great reputation for longevity and for offering a place for locals to flourish is well-earned. Neon Trees have credited Velour for launching their career, and it’s truly a fun place to come enjoy shows. It doesn’t have seating, and is on the smaller side, but that’s all part of the charm. Velour has fantastic staff, ambiance and decor. It’s a little music haven in Utah county.

MUSIC VENUES: OUTDOOR SPOTS

Ed Kenley Amphitheater: 403 N. Wasatch Dr., Layton (davisarts.org)

This Davis County venue offers a great way for folks to have fun outside while enjoying killer shows. This 1800-capacity venue offers seats and a lawn where you can bring your own chairs, coolers and strollers to enjoy the show (check the policy page for restrictions). There are also great accessibility options for wheelchairs, and ASL interpreters available with some notice. The location, smack dab in the middle of beautiful Layton Commons Park, makes it even more fun for the whole family.

Gallivan Center: 50 E. 200 South (thegallivancenter.com)

While this multi-purpose venue provides a spot for everything from outdoor festivals to free movies, it’s also a terrific spot for live music, like the Excellence in the Community Concert Series showcasing local artists. You can also enjoy live performances on select weekdays during lunch hour in the summer months.

Granary Live: 742 S. 500 West (granarylive.com)

It may be a newer venue to SLC, but it has brought some great acts to town so far: The Roots; Ludacris; Tyga; and the Utah is For Lovers Festival. It’s always a good idea to keep an eye on what great acts will come through, because Granary is an excellent outdoor venue with a lot of space, allowing artists to customize the stage. Plus, you can’t beat seeing a gorgeous sunset above while you listen to your favorite music.

Red Butte Garden: 2188 Red Butte Canyon Rd. (redbuttegarden.org)

Every summer, this already-beautiful location comes alive with an exceptional season of performances from some of the world’s best music artists. The views are spectacular, and you can bring along a picnic and blanket for the lawn seating to catch your favorite bands. Be ready for the season announcement each spring, because shows tend to sell out quickly.

Sandy Amphitheater: 1300 E. 9400 South, Sandy (sandyamp.com)

The Sandy Amphitheater is one of the best places around for a show and a view. You get the stage with a stunning backdrop, and are able to watch the sun set between sets while you hang out and enjoy. There are plenty of seats and great acts who come through. This is an excellent place for the whole family, but they do serve alcohol to those of age. This is a must-see venue for those who are obsessed with the natural beauty Utah has to offer.

Utah First Credit Union Amphitheatre: 5150 Upper Ridge Rd., West Valley (utahfirstamp.com)

When you think “arena rock,” this is probably the place you’re going to go to get your fix. The biggest acts in the world hit this newly-rebranded spot during the warm-weather months, so expect to share your experience with several thousand of your soonto-be-closest (at least in physical proximity) friends. Logistics for attending aren’t always ideal, but you won’t find the A-list headlines anywhere else.

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Sandy Amphitheater

The State Room

MUSIC PICK S

Freddie Gibbs @ The Gallivan Center 7/17

Most rap is written from a certain perspective and if your life is punctuated by violence, how could you make music without those episodes permeating your tone and lyrics? Gary, Ind.’s Freddie Gibbs is the voice of an entire segment of society that has had little other outlet for their message. Over two decades in the game, Gangster Gibbs constantly hits the mark. He tells it how it is, for far too many, without pulling punches. “I think I get better every project. I think being consistent is better than peaking. So many guys have peaked and they’re just trying to get back to that spot again.” Gibbs told Paper Mag. “We’re in the business where guys chase big records and big hits. I ain’t never have to do that to be ‘good.’” I really respect the effort he puts into his music, performances and videos, especially as it is about quantity rather than quality in the current zeitgeist. I appreciate that he stays true to himself and the type of music he likes. It’s nice to see there are still artists who care about preserving and pushing the art form. And if you haven’t seen him live (yet), get in line. The energy, enthusiasm and participation of the audience at his live shows are on another level. Amie Blu and Roo Nostalgia open. Catch these artists at the 39th annual Twilight Concert series in downtown Salt Lake City on Friday, July 17. Doors open at 6 p.m. Tickets for the all-ages show are $24.23 and can be found here 24tix.com. (Mark Dago)

UPCOMING SHOWS

7/16 7/17 7/18 7/20 7/21 7/23

Danbert Nobacon

The Drought “Single Release Summer Shindig”

Local Benefit Show for Utah Wildfire Funds

Stil Runnin

Odder

Transgender Menace & Her Funny Friends: A Comedy Show

Freddie Gibbs

TUESDAYS

WEDNESDAYS

MUSIC PICK S

Fiddlehead, Narrow Head, Knumears, Destiny Bond @ Church and State 7/17

For those not in the know, Fiddlehead is a post-hardcore supergroup that features (or has featured) members from bands Have Heart, Basement, Big Contest, Death Injection, Sweet Jesus and Verse. It’s always cool to see artists from other groups gravitate toward each other to form a new, awesome project. Fiddlehead’s music is highenergy, fun and reminiscent of the early ’00s punk/post-hardcore sound that many millennials love. They’re celebrating the release of their newest EP, Baby I’ll Change, their first release since 2023. No matter what you play in their library, though, you’re sure to have a good time. Their 2015 debut EP Out of the Bloom is heavy and exciting, the punk vibes shining bright. Their 2019 single “Get My Mind Right” has incredibly relatable lyrics like “Help me find a way to lose / Old friends with better things to do / Family who doesn’t have the time / Hope and my collapsing mind.” Fiddlehead will be joined by Texas rockers Narrow Head, Knumears and Destiny Bond. Don’t miss out on a night of angsty post-hardcore sounds on Friday, July 17 at 6 p.m. Tickets for the all-ages show are $39 in advance and $42 at the door. Grab yours at 24tix.com. (Emilee Atkinson)

Fiddlehead

MUSIC PICK S

The Avett Brothers @ Maverik Center 7/17

When brothers Scott and Seth Avett launched the Avett Brothers with Bob Crawford in 2000, the Concord, N.C. group sported a sound and style that combined the most compelling elements of punk and folk. The resulting stylistic mix won the Avett Brothers an Emerging Artists of the Year award in 2007 from the Americana Music Honors. It would be the first of much recognition to come: a signal of the group’s stature that the same organization awarded the Avett Brothers a Lifetime Achievement Award for Performance in 2023. With 11 studio albums, four live sets and five EPs to their credit, the group has blurred any perceived lines between Americana and rock, making music that often pleases fans of both styles. A measure of the Avett Brothers’ ambition can be found in Swept Away, a stage musical (based on a lurid and real-life historical tale) that ran on Broadway in 2024. Swept Away ’s book drew from songs across the band’s two-decade-spanning body of work. The group’s latest release is a critically-favored 2024 self-titled album produced by Rick Rubin. The Avett Brothers come to the Maverik Center on Friday, July 17 at 7:30 p.m. Tickets are $53 and up at ticketmaster.com. (Bill Kopp)

Hurtado @ Kilby Court 7/18

Self-proclaimed SLC jangle-pop-punk band Hurtado is back at Kilby Court. Following their West Coast tour with California natives Slinger, the band invites local listeners and ravers to their homecoming show with support from local acts AUXO and Earlybird. Comprised of members Sam Hurtado, Will Washburn, Simon Griffen and Rhett Murdock, the band has been creating the new-age indie sound in Salt Lake City for over three years, and they don’t plan on stopping. They’re consistent live musicians with surprises at every show, from energetic stage production to the unchanging efforts of audiences and fans. From the likes of modern Midwest emo bands Jank and Modern Baseball, to the early punk and jangle sounds of the late 1980s and ’90s, Hurtado takes inspiration from all spectrums of the scene, making them their own. From the sounds of lonely afternoons locked in one’s bedroom to reaching for distant days of ease, the band hits all of the corners of angst to suit any situation. And the 2025 EP Cavalier has a track for every emotion; from the upbeat synthesizers of “Foam Finger” to the melancholy guitars of “East Canyon,” you’ll be dancing, crying and laughing along with them. So take your Hazmat suit and foam fingers to Kilby Court on Saturday, July 18 at 7 p.m., and celebrate the return of Hurtado. Tickets are $13; you can find yours now at 24tix.com. (Laney Hansen)

Riot Ten @ The Portal 7/18

For the perfect summer night out, grab your friends to see Riot Ten at the new west side venue The Portal (623 S. 600 West), run by local company MASV Music. The Paso, Tex. native, Christopher Wilson, goes by Riot Ten because he brings a riot up to a 10 every time. Wilson’s hard-trap style like “Hype or Die: Ballistic” shows his signature dark and heavy sound and has set him apart even from big names in the electronic music industry he’s toured with, like Yellow Claw, Adventure Club, Steve Aoki, Kayzo and Excision. The past few years have been full of milestones for Wilson, such as debuting on the iconic label Monstercat with his remix of the song “RIOT” by Öwnboss and Selva. This year, Wilson dropped his highly anticipated ELEVATE EP. The project features heavy-hitting 2026 singles like “VOLUME,” “WONKY SHIT,” “GTFU,” and “Dominator.” While his songs usually contain short lyrics with one word repeated (like “Dominator”), it’s the high-energy build ups and the aggressive drops that really make his live shows worth it. This one is for the dancers who like to headbang at the rail. Wilson is one of the most sought-after dubstep artists in the world, so seeing him in an intimate space like The Portal will be a special treat. This is a 21+ show and doors open at 9 p.m. Tickets cost $32.11. Buy your tickets and get concert information by going to tixr.com. (Arica Roberts)

free will ASTROLOGY

BY ROB BREZSNY

ARIES (March 21-April 19)

In honor of the intensive homecoming phase of your astrological cycle, I have homework for you. 1. Make a prediction about how old you will be when you know precisely who you are. 2. Forecast the day when you will look in the mirror and recognize your face as an intricate portrait of every experience you have ever loved. 3. Imagine the dawn when the b oundary between your own longing and life’s longing will dissolve, revealing they’ve always been the same current. 4. Predict when your heart will be as wild and free and brave as you have always wanted it to be.

TAURUS (April 20-May 20)

Ornithologists studying migration know that some birds don’t fly directly to their destination. They follow “leading lines.” These are geographical features like coastlines and mountain ranges that provide orientation. Even when this means taking a longer route, the certainty of having a guiding landmark outweighs the efficiency of a straight line across nondescript terrain. I recommend the birds’ approach to you in the coming weeks, Taurus. Follow your own leading lines: practices and intuitions that provide lucid orientation even when they don’t offer shortcuts. The indirect path offers the surety you need.

GEMINI

(May 21-June 20)

What’s an important truth you keep forgetting about? Maybe it’s a promise you once made to yourself, or an understanding that your younger self knew, or a wisdom your body keeps trying to communicate while your mind ignores it. What truth returns again and again in different guises: through synchronicities, seemingly random comments from friends, recurring dreams or the same lesson repeating in new situations? What crucial insights about life do you remember during crisis or ecstasy, only to abandon them once normalcy returns? Now is a favorable time to fully recover this lesson and install it firmly at the heart of your life.

CANCER

(June 21-July 22)

Make a list of your five greatest pleasures. These are experiences that stir your senses, steady your pulse and remind you why you love being alive. Write them down as if they were sacred prayers. Sing a spontaneous song of praise for them. Then set out on a quest to discover pleasure number six. This is a delight you have never tasted, touched or imagined before. Maybe it will come from saying yes to a possibility you usually decline. Treat this experiment as a form of worship and a way to boost your devotion to your healing life force.

LEO (July 23-Aug. 22)

According to neuroscientists, the “default mode network” is the area of your brain that lights up when you’re daydreaming, drifting through thoughts and feelings, and letting your imagination roam around. This is when your deep self does crucial work: weaving memories into stories, making creative connections, rehearsing possible futures, and forging your sense of identity. I mention this, Leo, because the coming days will be prime time for you to indulge lavishly in this healing and restorative activity. Don’t let a task-obsessed world shame you out of your reveries. Your genius will bloom from their slowly swirling flow.

VIRGO (Aug. 23-Sept. 22)

Here are three gentle nudges: 1. One of your trusty tools or assets still seems to be working fine, but I suggest you look into the possibility that it will soon need repair; 2. Unless you act proactively to ease the strain on your system, a minibreakdown could be on the horizon; 3. The monster hiding in your closet is hibernating, which makes this the perfect time to summon an exorcist before it rouses. Here’s the very good news, dear Virgo: Because you are reading this oracle, you are now armed with all you need to stave off turmoil and head in the direction of an exciting renaissance.

LIBRA (Sept. 23-Oct. 22)

Researchers who study improvisational jazz have found that master musicians often anticipate each other’s ideas milliseconds before anyone actually plays the notes. Their brains b ecome exquisitely synchronized through deep listening rather than rigid planning. Maybe more than any other sign, you Libras possess a similar aptitude in managing your intimate alliances and social connections. In the coming weeks, this superpower will be even more necessary and available than usual. I’ll provide a reminder: Pay less attention to what people claim to mean and more attention to the rhythms beneath their words. Let your intuition guide you. The subtly shared timing will generate elegant cooperation.

SCORPIO

(Oct. 23-Nov. 21)

“It’s bad luck to be superstitious!” is a delightful paradox I enjoy playing with. It makes fun of our tendency to believe that forces are constantly keeping score on our behavior. On one level, the phrase pokes at how superstition multiplies anxiety instead of easing it. If you really believed it’s bad luck to be superstitious, your belief about bad luck would itself be a superstition. So you’d have to avoid the very thinking pattern you’re using to feel safer. It exposes how easily the mind c an tie itself in knots trying to control the uncontrollable. On another level, “it’s bad luck to be superstitious” is an invitation to examine which of your little rituals are entertaining and nourishing and which are cages. Keeping a lucky stone in your pocket is fine if it amuses you, but believing you’re doomed if you don’t carry the stone isn’t so fine. My advice: Notice when your charm or taboo is no longer a quirky companion, but starts being a tyrant that shrinks your freedom.

SAGITTARIUS (Nov. 22-Dec. 21)

Are you the type of Sagittarius who pushes open doors with “pull” signs on them? Do you get a secret kick out of opening boxes from the end that says “open other side”? Maybe you even yack on your phone in designated quiet zones. If so, I’d like to suggest channeling your rebellious spark into grander acts. In the weeks ahead, you will be carrying some potent renegade energy. Used wisely, your radiant defiance could topple a stagnant situation that’s overdue for change.

CAPRICORN (Dec. 22-Jan. 19)

Many healers favor the slow-and-steady path. They often meet with people once a week, trusting that even stubborn issues must be unwoven with patience and gentleness. But there are also bold experimenters who work differently. I know an acupuncturist who invites clients to live at her clinic for six days straight, offering a new treatment every two hours during the waking hours. She creates a healing immersion chamber. That’s the spirit I recommend for you in the coming weeks, Capricorn. You’re at the threshold of resolving a long-standing imbalance. What will serve you best isn’t dabbling at it but offering it focused, sustained, wholehearted attention until the shift activates.

AQUARIUS (Jan. 20-Feb. 18)

You can refresh and boost your ambition if you give it a firm, precise adjustment sometime soon. Your raw vitality will surge back if you refrain from indulging in a careless habit that has been draining it. Your willpower and determination have been weakened by the fallout from a misstep, but you have the clarity needed to repair that error. Your libidinous energy is not as clear and potent as it could be, but will be once you get more honest about what truly excites you.

PISCES (Feb. 19-March 20)

You’re like an arrow that has been shot from a bow and is three-quarters of the way to the target. You’re a delicious meal still simmering on the stove, or a pregnancy at seven months, or the last two weeks before a major election. When I tuned my inner vision to you, I glimpsed a honeybee wriggling a dance to show its coworkers where a stand of blooming lilac awaits. Have you ever been on the verge of speaking a new language with ease? That’s where you are now, Pisces: just before true fluency clicks.

urban LIVING

Are We Growing?

It’s about time we looked at the everchanging demographics of our state to see where we stand. According to USAFacts.org, our state grew in population by 35,900 between 2024 and 2025, primarily driven by births outpacing deaths. In the 19 years prior to that, we grew by 17.9%.

We know Utahns like to breed and although our population grew, it’s interesting that birth rates have gone down in the past decade. According to the EPHT Health Indicator Report, Utah had 44,992 live births in 2023, which is a rate of 13.0 per 1,000 residents, down about 26% in the past decade.

CROSSWORD PUZZLE

ACROSS

1. Hibachi residue

4. Awards show hosts

7. “___ Kapital”

10. “___ Don’t Use Jelly” (Flaming Lips song)

13. Part of a repeated dance movement

14. Designation for bands like Bon Iver

16. Calligraphy tool

17. Backpacker’s chain

18. Sorting hub for train networks

20. Formative period

22. Mine extractions

23. Lunchbox sandwich

24. Mata Hari, e.g.

25. Mon. follower

26. South American fruit called “pineapple guava” in some areas

29. June honoree, in cards made by little kids

30. Coffee vessel

Yet, the U.S. birth rate for 2023 was 10.7 per 1,000, making Utah stats way above the national average. And according to UtahBusiness.com, our total fertility rate fell to 1.801 in 2003. We were the 4th most fertile state in the country, but as of 2023 data, we’ve dropped to the 10th highest.

There has been a 15-year trend in Utah’s fertility rate, with the sharpest drops among the 25 to 29 and 30 to 34 age groups. But there was an interesting blip in the birth rate during 2023 and 2024, due to delayed pregnancies from the COVID pandemic.

Utah County has had the largest population increase in the state, as of data from 2025, with Summit County losing 109 residents. But between 2024 and 2025, Tooele County gained 3.1% in population, Washington County was up 2.5% and Iron, Box Elder and Morgan counties were roughly tied for third place, per the U.S. Census Bureau. Our neighbors in Idaho saw a 22% increase in population between 2015 and 2025. Nevada increased by 14.9% during the same period, and Arizona by 13.7%.

In my world of real estate sales, I’m running into an equal mix of people moving in and out of Utah. Given that no city in the world has ever recovered from a saline lake running dry, some locals are leaving because they are afraid of the potential toxic dust— containing arsenic and heavy metals— when the winds blow over the lake. And without our lake, we really won’t have much snow in our mountains, as the lake level and our ski resorts are connected. Lower the lake—less snow.

Yet, I keep working with folks moving here to attend or teach at the U of U medical school. Some are surprised at our cost of living, but that depends on where they come from.

Clients moving here from San Francisco are happy as hell with rental and home prices, given that it’s impossible to find a one-bedroom apartment for rent in San Francisco for less than $4,000 per month, as compared to an average of $1,300 to $1,427 Salt Lake City (per Apartments.com). The techies have discovered our state and many companies have relocated here or are planning expansion offices here.

Our job market is strong and, according to the Department of Workforce Services, our unemployment rate in May of this year was 3.7%, meaning 96.3% of our employable citizens have jobs. The U.S. rate for the same month was 4.3%. ■

31. Liqueur in a Negroni

35. Dairy product that may contain seeds

41. Start of many Italian dance track titles (it means “the rhythm”)

42. Silent assent

43. 1983 Washington-set taxi comedy starring 33-Down

45. Norwegian coast features

48. St. Louis highlight

49. ___ status (oldness, in Gen Z slang)

52. Fig end?

53. “Dude!”, casually

54. She was Maid Marian in “Robin Hood: Men in Tights”

58. It’s extremely high-priced and seaworthy

60. Wolf Man portrayer ___ Chaney Jr.

61. Poem full of praise

62. Pine tree droppings

63. Night before

64. Anderson who directed “The Royal Tenenbaums”

65. “A Midsummer Night’s Dream” animal

66. My Chemical Romance genre

67. Garden droplets

DOWN

1. Farmer’s measurement

2. 1965 Beatles concert stadium

3. Fasteners that lend their name to sharp curves

4. Actress Catlett who voices Mrs. Puff on “SpongeBob SquarePants”

5. Pottery material

6. Pig pens

7. Bridal contribution of yore

8. Word with a sigh

9. Place to see constellations

10. Left undamaged

11. Iconoclasm

12. Airs the final episode

15. Move your wings

19. “Understand?” but beatnik-style

21. JFK’s veep

25. Luau root

26. Pet’s coat

27. Timeline portion

28. Acid-tongued

29. Exactly when an event takes place

32. Singer Grande, to fans

33. “I pity the fool!” exclaimer

34. Dr. Hank ___ (Michael Douglas’s “Ant-Man” character)

36. Peru’s Machu ___

37. Boring

38. Let out, like a garden hose

39. Unit equal to 5 1/2 yards

40. QB’s achievements

43. DJ behind the 2000 hit dance song “Sandstorm”

44. Pivotal points

56. Sheltered inlet

57. Had a feeling 59. “Messenger” material

Last week’s answers

Complete the grid so that each row, column, diagonal and 3x3 square contain all of the numbers 1 to 9. No math is involved. The

46. Kipling’s “___ Stories”

47. Spheroid

49. Hesitant agreement

50. Long-distance swimmer Diana 51. Travel by bike

53. Play the sax 54. Positive votes 55. Throaty attention-getter

NEWS of the WEIRD

In the Heights

A pair of Russian climbers have been charged with burglary, reckless endangerment, criminal mischief, criminal tampering, criminal trespass and disorderly conduct after climbing to the very top of the Empire State Building spire, some 1,454 feet (443 meters) above the ground. Reuters reported that around 12:30 p.m. on July 1, daredevils Angela Nikolau, 33, and Vanya Beerkus (also known as Ivan Kuznetsov), 32, raised a black banner with white lettering that read, “When the power of love beats the love of power the world knows peace.” Their daring feat concluded with Beerkus appearing to propose to Nikolau and the couple embracing. NYPD closed the streets below the building, and the couple was taken into custody. The building has an observation deck on the 102nd floor, and official policy is that visitors are not allowed to go higher than that. How the pair gained access beyond that remains a mystery. An Empire State Building spokesperson called it an “unauthorized incident.” Meanwhile, Nikolau’s father, an acrobat himself, had a more relaxed take on the climb. “I think it is normal to climb up a roof in any country, including the United States, according to any constitution,” he said. “Why should I be worried? I climb up roofs myself.”

Spooky

A company in China is ready to take the next step in robotics: humanoid robots powered by A.I. On July 2, Oddity Central reported that UBTECH plans to massproduce the robots, complete with synthetic skin and humanlike facial expressions. The machines are about 5 feet, 6 inches to 6 feet tall, but weigh half as much as the average human adult. The company says it has received 10,000 orders and that each robot retails for up to $145,000, depending on its features. The humanoids will be delivered in September and are “designed to support a wide range of consumer and commercial applications, including daily companionship, emotional support, lifestyle enhancement, and social assistance, as well as reception and hospitality services, elder care, psychological support, tourism and exhibitions, research and education, and premium domestic service applications,” a UBTECH press release said.

News You Can Use

Two teens in San Mateo were detained by police after their Waymo vehicle reported their unruly behavior, KLTV reported on July 8. The robotaxis are equipped with interior cameras that allow Waymo personnel to observe passengers. A Waymo representative contacted police when they saw a live feed of the 15-year-olds drinking and firing a gun that shot Orbeez gel pellets.

“We got a call from a Waymo rep saying there were two people in their vehicle, and they saw them shooting out of the vehicle,” Jeanine Luna of the San Mateo Police Department said. “And then they also described the passengers maybe being intoxicated as well.” A Waymo rep told the passengers that the car was having trouble and disabled the vehicle until police arrived. The teens cooperated with law enforcement, and no one was hurt. They await charges from the district attorney.

Silly Criminals

■ On July 2, Jalen Godard, 29, of Odenton, Maryland, robbed a Verizon store ... and then promptly called police to report his vehicle stolen. The two robberies were called in separately but within minutes of each other. When officers arrived, they observed blood on Godard’s glasses, hands and shirt, as well as blood on the store’s window, and put two and two together.

“That’s some karma right there, dude,” one officer said in the body cam footage. Godard denied being at the store, but the store’s cameras show him robbing it. No word yet on a suspect in the vehicle theft.

■ A South Korean bank manager stole an unspecified but large amount of money from his bank’s vault by replacing the stolen cash with play money printed with cartoon animals, Oddity Central reported on July 2. As manager, the man ensured he was the only one depositing bills into the vault, pocketing the real money for himself and replacing it with the cartoon copies. Another bank employee eventually reported his odd behavior to the credit union, and the matter was handled internally. The man returned all the money and was fired from the bank, and the theft was never reported to the authorities.

Nature Gone Wild

■ You’ve probably heard of iguanas falling out of trees when it gets cold in Florida, but how about bats stuck on the ground when it’s too hot in Kansas? According to a July 2 report from KCWH, the Kansas Department of Health and Environment says that hot spells stress bats, and they fall, unable to take flight in the intense heat. Experts say not to try picking up the bats without protective gear. “They will try to bite you if you pick them up,” said Blake Nash, an animal control technician. “They’re just going to be scared and try to defend themselves.” He also says to be wary of bats that appear dead. “Even if they’re alive, they can sit there and almost seem like they’re dead, so they may not make any sounds or move until you touch them,” he said. If the bat must be moved, he advises wearing thick, protective gloves and using a bucket or blanket to cover the nocturnal creatures.

■ A different kind of Tasmanian devil is wreaking havoc on the island. Neil, a 2,200-pound elephant seal, has visited Tasmania every year for the last five years, causing destruction to personal property and even stopping traffic in southern towns, UPI reported on July 2. “At the moment, we don’t have a complete understanding of the damage Neil has caused to public infrastructure, but he has obviously knocked over a number of poles and bollards,” one mayor, Brendan Blomeley, said. “He’s broken fences, he’s harassing people’s cars—that’s just a function of his size,” seal expert Jane Younger added. Neil has become a bit of a local celebrity, but officials urge the public to give the seal his space. “I understand that until he completes his molting process, he’ll continue to scratch up against things to help shed his old fur,” Blomeley said. “Until then, I encourage everyone to please give Neil the space he needs and not to attempt to visit him. While he is of great interest, he is also potentially dangerous and does pose a risk to the community.”

■ Customers and employees at a shopping mall at Joint Base Elmendorf-Richardson in Anchorage, Alaska, were surprised when a black bear triggered the automatic doors and wandered in, stole a peach and defecated on the floor before leaving, KTUU reported on July 7. “My coworker, who is cutting hair in front of me, she yelled, ‘Bear!’ And I looked up from my phone, and the bear was walking into the barber shop right in front of me,” barber Kory Godbout said. “And we all ran into the break room and shut the door behind us.” Conservation Law Enforcement officers were able to herd the bear into the woods, away from the mall.

■ Shanghai Daily posted hallway security camera footage of a July 4 incident in Tibet in which a brown bear broke into a locked hotel room that had two guests inside. The guests reported that the bear engaged in a staring contest with them before walking away, and the hotel owner was able to chase it out of the building using a flashlight and other tools.