Disco Floyd

It started as an idea for a single show in 2007: why not do funky disco remix take on pink floyd? after pulling off the first experimental show, the demand from the people instantly arose to keep going! after 9 years of consistently amazing psychedelic and funky shows, the band has arrived to its most solid and talented lineup in its history. with the addition of a fat horn section and soulful female vocal sectio Disco Floyd has evolved into a contagiously positive dance vibration that is larger than life!

Mingo Fishtrap

It’s been quite the rollercoaster ride, but the eight members of Austin’s criticallyacclaimed soul collective Mingo Fishtrap have found their sweet spot. Now four albums deep, the eight-piece outfit has honed its sound, rubbed shoulders with musical idols, and delivered powerhouse live shows to crowds of thousands in the years since the band’s inception in a tiny dorm room in Denton, Texas. “We’ve experienced a lot of milestones and challenges in our lives together,” says founder Roger Blevins, Jr. “It’s easy to reminisce, even about moments that have just happened, but you reach a place in your life where you finally feel comfortable that that’s where you’re supposed to be.”

Mingo’s fourth full-length record, the aptly-named On Time (due June 3 on Blue Corn Music) blends punchy horns and gritty Memphis grooves with New Orleans funk to create sounds steeped in both modern pop and sixties soul sensibilities, that transcend both era and genre. “My first love is classic sixties soul, funk, and Motown,” says Roger. As the band has grown, this early love affair has become a bigger part of Mingo’s musical landscape. “There was a time early on when we were really into these crazy, bombastic arrangements,” he explains. “Now it’s more the song, the groove and the overall feel.”

The infectiously catchy “End of the World” gets the record off to a sizzling start with buttery vocals, dance-floor-ready drums, and the plaintive refrain — if tomorrow never comes, “would you love like it’s the end of the world?” Muted drums segue into swirling vintage keys and sax on “Mason Jar,” while title track “On Time” serves up saucy Motown grooves. “Sugadoo” keeps the good times rolling as Blevins belts, “Sugadoo, what you gonna do? Have yourself a slice of my pie, too,” atop smoldering vocal harmonies and funky brass arrangements.

“Our first couple albums were made more traditionally, in that we went into the studio for a couple of weeks and did everything in one place, under one set of ‘rules’,” says Roger. “On Time was made more guerilla style as we’ve gotten busier with touring in the past few years. About half the songs are ones we’d been living with on the road for a while, and others we haven’t played live once since the studio.” The result is a record that feels simultaneously familiar and fresh — a sound the band also strives for in their dynamic live shows.

Audiences can always expect spontaneity and heart from a Mingo set, where the band intermingles fresh takes on songs from their extensive catalog with their twist on a few select soul standards. “When something feels a little a stale, we’ll change up the arrangement to keep it feeling new,” says Roger. “You don’t want to change so much about a tune that it becomes completely unfamiliar, but folks who are a part of our musical world also expect some experimentation. We don’t want a solid wall of sound; we want to create a whole night of music, with a natural ebb and flow.”

Mingo Fishtrap are Roger Blevins, Jr. on lead vocals and guitar; Dane Farnsworth on vocals, organ, and keyboards; Chip Vayenas on vocals and drums; Mikel Urdy on percussion; Roger Blevins, Sr. on bass; Steve Butts on trumpet; Dan Bechdolt on tenor and alto saxophone; and Zol Waterhouse on trombone. “Folks that come from a big family can probably relate,” says Roger of the experience writing, recording, and touring with such a big, diverse group. “There are lots of mouths to feed, but also so much talent and so many resources.”

Mississippi native Roger first formed Mingo while studying music at the University of North Texas in Denton, Texas. Despite the band members’ impressive musical résumés and technical prowess, Roger emphasizes that what really makes a song meaningful is its ability to connect with listeners of varied backgrounds. “We’re not trying to play music just for musicians,” he explains. “You can listen to a great orator speaking in a different language, and while you may not get all the details, you can still feel the passion if he really emotes. If you’re passionate about the idea of a tune, it’ll come across.”

What started as a casual jam session with friends blossomed over time into an impressive eight-piece ensemble that evoked fond memories of listening to soul music as a kid. “Pops [Mingo’s bassist, Roger Sr.] always had soul and R&B on the stereo, and then he was playing those tunes every night. So that was what I grew up with. Then, when I was maybe eight or nine and living on an Air Force base, all my little friends used to go to Catholic Sunday School on Sunday mornings, so I’d tag along. After that let out, we heard this gospel music wafting from the chapel,” explains Roger. “The deacon saw our raggedy jeans and cut-off shorts and said we weren’t really dressed for an audience with the Lord, but he let us watch from the balcony. That became our regular stop. It was really moving, even though I didn’t fully understand it at the time.”

While the band’s name comes from a crossroads just outside of Denton, Mingo has long since extended its reach onto the national music scene, sharing stages with the likes of Trombone Shorty, Parliament, Sting, Little Feat, Earth Wind & Fire, Robert Randolph, Galactic, and MOFRO — but they still experience their fair share of humbling moments. After playing a show at MusikFest in Bethlehem, Pennsylvania, they noticed an oddly familiar-looking gentleman dancing in the crowd. “We got offstage, and when he walked up, he handed me his business card,” recalls Roger. “It was Bernard Purdie, one of the session drummers with James Brown. He’d recorded some of the very songs we’d just played. And he was dancing… Those kinds of moments are hard to beat.”

Robby Peoples

Robby Peoples may not have a degree in music, but he is certainly a scholar of Rhythm and Blues. Having grown up in Mississippi, Peoples learned to play harmonica and guitar in the traditions of Hill Country Blues and Rock and Roll music on the porches of Oxford. Originally From Jackson, his music career began with a guest appearance with the band Shady Deal, where he joined them on a west coast tour that ended with him playing the High Sierra Music Festival in Quincy, California.

From there, he started his own collaboration with friend Chris Wheeler, Cool Papa Bell. The band enjoyed success at a 2006 battle of the bands winning them a fully sponsored album. The resulting LP, The Good Word, released later that year, can still be found on iTunes.

Since leaving Cool Papa Bell he has relocated to Colorado where he's found an unfilled niche as a "down South" harmonica/guitar player. Since then he has guested with and joined The Congress on tours on both the East and West coasts.

In Denver he is fortunate to have played with many heavy hitters in the rock and roll and blues genres; including Sam Holt, Polytoxic, and guesting in a Thanksgiving Day performance of The Last Waltz.

While Robby's back up band The Bank Walkers' lineup continuously evolves his live performance is rock solid. Compared to the likes of Tom Waits and with the energy and showmanship of Joe Cocker his performances are rare for this day and age. "Fighting the good fight" to keep southern roots rock and roll alive his energetic, lyrical, aggressively edgy, kick-ya-in-the-balls performances are what make this showman a not-to-miss on the rise artist.


The music produced by TNERTLE is a straight-up reflection of the name itself—one-of-a-kind with no hints of what to expect, yet it strikes a chord with your innermost curiosities.

TNERTLE is the concoction of Trent Campbell, a Denver native and Berklee College of Music graduate. Trent took to music at an early age beginning on bass guitar. Like most musicians, he went through the metamorphosis of high school jazz bands to prestigious collegiate ensembles to post-grad rock bands. The experience laid the pavement for a vibrant musical palate, but Campbell yearned to put his Contemporary Writing & Production degree to the utmost test. He sought out to create music that appealed to music lovers from all walks of life while naturally hopscotching around different styles ranging from funk to hip-hop to EDM and beyond. Coming up during the advent of electronic music, Campbell knew the style matched his skill set, but wanted to ensure the live performance element was fully intact.

Thusly, TNERTLE was born. In addition to bass, Campbell began learning the ins and outs of midi controllers to give performances a humanistic approach. Rather than play it safe and trigger different sections of the music by simply pushing buttons, Campbell performs melodies using Machine Controller cradled in snare drum stand and tilted toward the audience. This allows him to captivate audiences by giving them a visual display of his instrumental mastery and improvisation skills.

TNERTLE solo shows are the perfect compliment to Campbell’s original “full band” configuration of the group. Calling upon an up-to-9-member musical squad that includes live drums, horns, guitars and MCs, TNERTLE has a reputation for giving audiences the ultimate audio and visual smorgaspboard. However, TNERTLE solo shows are evolving into a whole different creature as Campbell performs never-before-heard remixes, introduces brand new original material, incorporates live improvisation, and reworks songs played by the full band.

Regardless of ensemble, Campbell’s primary objective has always been to get people dancing to melodic representations that bob and weave through all of life’s intricacies and emotions. Whether it’s utilizing big beats, composing smooth melodies, and working within flowing chord structures, TNERTLE will connect with listeners who want to let loose and have no preconceived notions of how life is suppose to be or where it’s going to take you. Go with the flow and you can ensure that you’ll have the time of your life.

Malai Llama

The Malai Llama is a 5-piece instrumental band that combines genres like jazz, rock, and electronica in a psychedelic fusion . Each show is heightened by the energy and passion they pour into their music. The Malai Llama push musical boundaries by combining the real energy of instrumentation with the electronic exploration of synthesizers, turntables and samples in dynamic song structures. People all around Colorado have been moving their feet to their grooves.

Malai Llama consists of:

Chris Cornwall (drums)
John DeSousa (bass)
Steven Govanlu (keys, guitar)
Matt Flaherty (guitar)
Chris Sterling (percussion, turn tables)


Wonderlic is a funky rock band from Denver that has been playing along the Colorado front range for the past 6 years. The lineup consists of an 8-string electric mandolin, guitar, drums and bass. Their high energy shows focus on original compositions and occasional covers that span a mix of genres including funk, bluegrass and jazz. Whether you like to dance or if you'd rather rock, Wonderlic delivers an entertaining show that appeals to music lovers of all ages.

Big Medicine Gang

Keyboard player and producer A.G. Lunsfjord is a veteran of the record industry, with decades of engineering and producing under his belt. He has worked with greats such as Professor Longhair, Pat Metheny Group, Garcia & Grisman and many more. Recently producing local artists Caribou Mountain Collective, Tim Cook, Benny Galloway and others. Gragg creates an incredible soundscape with the use of a vintage bag of tricks and pianos. These sounds along with his knack for musical direction & arrangements are a corner stone of BMG's foundation.

Singer & guitarist Seth Strickland delivers a visceral rhythm guitar sound developed over a life time of writing songs and chord progressions. Strickland was a surrogate child of the Subdudes family in the 90's, getting his first gigs as a 19 year old with a Subdudes side project called Parlor Sessions headed up by John Magnie of the Dudes. Additionally, Seth's father Steve has been songwriting partners with the Dude's Tim Cook all of Seth's childhood. The three continue to collaborate when time allows.

Drummer Matt Coddel, grew up outside of Chicago & played in a number of projects around the Colorado area until he moved to Breckenridge. Coddel formed the band with Strickland and a former Bassist. Matt's approach to working a drum kit is funktastic hitting a zone between your ears and and your booty. Playing a minimal 3 or 4 piece kit, the amplitude and fervor with which he executes each hit is nothing less than bombastic.

Bassist Otis Lande is the newest addition to BMG. He's a high altitude, groove-gushing, bottom-end-bomb-dropper, known for his crushing knowledge of funk and reggae. His other awesome Colorado bands have included "Rogue Sound", "the Powerlung Rangers" and most recently "Mountain Standard Time" We are very excited for the new energy Otis brings as BMG's family continues to grow!

Trombone and producer Gustav Hoffman joined the line up in June of 2014. Gustav has many credits to his name including playing trombone with George Clintion and Parliament Funkadelic! He is also a recording studio owner/engineer in Denver CO. Gustav's melodic horn has been an incredible addition to BMG/

Alex Schult is the original percussionist. Al's style and taste ad great texture and groove to BMG's stew. Al has played with many great CO bands while maintaining an amazing mountain lifestyle.

Alexandra Schwan brings female soul to the Vocals. She now sings ands leads on guitar with the Sweet Lilies, singing with the gang schedule permitting. You can hear her powerful voice on the tracks "Bring It Home" and "Barley In The Silo" on BMG's debut album.

It's worth mentioning the bands unique elements that create "The Sound". Each member brings their individual interpretations of the music. All effects pedals and amps are analog, true bypass, tube powered, organic awesomeness!!! Digital gear? Nope...

Vine Street Vibes

Vine Street Vibes is the musical perpetuation of positive energy and resounding creativity. The band features six Colorado musicians, all dedicated to delivering a unique performance that pushes the boundary between electro-funk and instrumental dance jams.

VSV originated in the basements and garages of Denver and immediately began building off of common influence like STS9, Lotus, and the Motet. A short six months later, they have rapidly emerged into Denver’s immersive music scene and have begun paving the way towards a new style of organic dance music that strives for an enormous professional sound through heavy instrumentation and advanced incorporation of digital techniques and synthesizers.

The group has shared the stage with Eminence Ensemble, Dynohunter, Whiskey Tango, The Magic Beans, James & The Devil, TNertle, Alixr, Robby Schecter & the Motion Detectors, Ishi, and many more.

Through rigorous experimentation and intense collaboration, VSV strives to create a strong mixture of psychedelic jam music and analog funk, with elements of disco and old-school hip hop, all combined with a blast of instrumental dance music and electronic infusion specifically designed to get audiences out of their chairs and dancing all night.


Though five-piece experimental rock group Genetics calls Denver, Colorado home these days, the band’s roots harken back to Grand Rapids Michigan. There, then-15-year-olds Nathaniel Snow (drums), Jeff Ervine (guitar), and Joel Searls (bass) first began their journey of musical experimentation together. Though they found inspiration in influences like Primus, Rush, Yes, and Frank Zappa, the trio was also firmly immersed in the modern jam band scene, sparking their move to Colorado’s Front Range.
Colorado proved to be a receptive audience for the group’s unique brand of progressive rock. Genetics has spent the past couple years playing shows all over the Front Range (as well as maintaining a presence in Michigan), including opening for the likes of George Clinton and Parliament Funkadelic and Fareed Haque of Garaj Mahal. In 2015, the band released their first full-length album, “Dr Spookymuffin,” which showcases the group’s affinity for intricate, linear songwriting and orchestral progressions. In addition to debuting their first album, last year Genetics added two new members to the lineup: Stanton Sutton (formerly of Mountain Standard Time) on guitar and lead vocals and Phil Johnson (formerly of Jet Edison) on the keyboards. As a result, the band’s already- eclectic sound continues to diversify and evolve with the addition of vocals and guitar harmonies (#guitarmony) as well as searing synth solos to the improvisational mix. The five-piece skillfully melds progressive rock, funk, psychedelic, and metal for a hard- hitting sound that’s hard to describe but always surprising, captivating, and even thought-provoking. Audiences continue to be won over by Genetics’ high-energy compositions and impactful stage presence. In fact, 2016 promises to be the band’s best year yet: As the group nears completion on their very own studio, they’ll be poised to record and release a slew of brand new albums. Keep your eye out for this up and coming group, as they certainly have a promising future ahead.

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