Upstate, Morning Bear
3131 Walnut St.
Denver, CO, 80205
Doors 7:00 PM / Show 8:00 PM
This event is 21 and over
Upstate is an acoustic septet drawing inspiration from every corner (and decade) of America's musical heritage. Based in New York's Hudson Valley region, the band has spent years cultivating its sound, and continues to grow by the tune. The instrumentation includes Harry D'Agostino on upright bass, Ryan Chappell on mandolin, Dean Mahoney on cajón, and Christian Joao on flute and alto/baritone saxophone. The dynamic rhythm section supports a three part vocal harmony powerhouse of founding members Mary Kenney and Melanie Glenn with recent Nashville-transplant Allison Olender.
Over its six year history, the band has played in more than thirty states, from intimate house concerts to prominent festival stages, including Mountain Jam, Frendly Gathering, Green River Festival, and Otis Mountain Get Down. The band has shared the stage with Cory Henry, Phox, Marco Benevento, The Felice Brothers, Commander Cody, Marcus King Band, and many others.
Otis Mountain Get Down captures the heart of the matter:
"Pulling from the greatest corners of American music, this group has the power to get feet moving with or without amplification. Like fresh-farmed vegetables, their music is as organic as it is good for you. From foot-stomping bass, highlighted by the slap of a cajon, to the familiar strums of the mandolin over a wailing saxophone – there’s so much going on instrumentally that when the harmonious lead vocalists chime in, the result is nothing short of a homegrown hurricane of sound."
After two years of silence, Morning Bear is overjoyed to finally release the single "You're Right" at the Walnut Room in Denver! The song's creative roots were sprouted in a tiny room in Reykjavik, Iceland. Exploring themes of stubbornness and acceptance, "You're Right" continues in Morning Bear's tradition of cinematic arrangement, vocal harmonies, and lush string arrangement.
Singer/songwriter Sampson has the kind of 3:00am voice
that's equal parts chain-smoke and liquid vicodin. The
enclosed EP displays a weariness that, thankfully,
does not inspire weariness in the listener, but
instills a welling sense of release. Laconic vocals
brush against guitars and banjos; simple melodies
belie a complex tension. In the world of Paloma,
cadence is a key instrument—weighed as heavy as the
strum of a weathered six-string.