FAT TIRE PRESENTS TOUR de FAT feat. CAPITAL CITIES, WILDERADO
Fri Aug 25
Doors: 6:00 pm / Show: 6:00 pm
$12.00 - $15.00
This event is 21 and over
Ages 21+ NO EXCEPTIONS
All tickets are non-exchangeable and non-refundable following purchase
Listed price does not include tax and service charge
Price is the same online, over the phone, or in the Box Office.
Welcome to the Fat Tire Tour de Fat, a 33-city tour of beer, bikes, and bemusement. Costume up and party down with high-flying acts focusing on fun, music, dance and the American craft beer icon, Fat Tire. Did we mention that Tour de Fat benefits local nonprofits? (It does. In fact, we have raised more than $4.5 million for nonprofits in Tour de Fat's lifetime.)
Ready your eyes and ears for a mix of musicians, vaudeville acts, magicians, comedians, and mind-blowing provocateurs. Costumes are highly encouraged (and a mindset to party is mandatory). Benefitting: Community Cycles. Click here for more info.
1. Put no means of transport before thy bike: Come by bike because not only are bikes fun, but they help stave off some of our most wicked ills: Traffic, laziness, and pollution. Tour de Fat has a solution: ride this day, every day, and definitely when Tour de Fat heads your way.
2. Honor all other bikes: All bikes are good bikes, and all those who ride them are good people. This is the one Bike Festival that cherishes bicycle diversity on our Cruise-ade through town.
3. May every generation come forth: This is a family friendly event. Costumes, bikes and a parade? We were thinking like kids when we created Tour de Fat.
4. Thou shall come as a participant not a spectator: It's a costumed celebration of human-powered transportation. Muscles not motors, coasters, v-brakes and rotors. Come in your favorite alter ego, because when everybody's weird, no one is.
5. Thou shalt not bring booze; But enjoy the supplied malted adult refreshments responsibly: Please do not bring any outside alcohol on the ride or into the park. It could result in getting the event shut down...don't be that guy. And when you imbibe in our tasty brews, remember this is a Bicycle Festival with beer, not the other way around.
6. New Belgium shalt not profit: Our goal is to raise money for bicycle and environmental charities. New Belgium Brewing Company does NOT retain any of the events' proceeds. Please think of your $5 beer tokens as donations to a worthy cause. All sales are final; beer tokens do not expire and will be accepted next year (does not include TEXAS).
7. Remember the purpose, and bring not your pooches: No canine friends allowed this year. We're a dog-loving Brewery, but sadly not all municipalities and parks are. Please leave your best friends at home for their safety and the safety of others. Besides, it's not much fun for dogs with all the noise and crazy people around.
8. Keep the day true with thy good juju: The ride is free, but we suggest a $5 donation to the good bike advocates who are putting it on for you (does not include TEXAS). If you give more, you will not incur flats, mechanical troubles, or dry skin for a while…maybe. This is a celebration of the bike, not an anti-car rally. All tools have their place.
9. Thou shall rise early: We sometimes get more folks than we can accommodate. Once we're full, we will handle overflow like a restaurant or bar: one in, one out. We reserve the right to determine the appropriate crowd size in the name of safety and enjoyment for those inside.
10. Thou shalt not steal thy neighbors' bike: Don't even think of leaving with a bike that doesn't belong to you. Modern-day horse thieves will be dealt with by angry mob, pitchforks, and torches.
Built on silken grooves, warped effects, and glossy guitar tones, “Vowels” delivers wordless sing-song harmonies that put a brilliant twist on the deep frustration at the heart of the lyrics. “When you can’t express yourself with words, sometimes you just want to scream to get it all out,” says Simonian. “You need vowels to do that!”
With its melancholy undertones and shimmering feel, “Vowels” reveals a complex emotionality shaped in part by Capital Cities’ equal passion for the breezy joy of the Bee Gees and moody introspection of Jeff Buckley. The band also explored that intersection of hope and darkness on “Safe and Sound,” a song conceived as “an antidote to the human tendency to think in apocalyptic terms and not really look at the logic of the world around us,” according to Merchant.
First appearing on the band’s independently released self-titled EP in 2011 and later featured on their 2013 debut album In a Tidal Wave of Mystery, “Safe and Sound” ultimately proved irresistible as the track reached no. 1 on alternative radio and no. 2 on Billboard’s Mainstream Top 40 chart. Meanwhile, its video—a glorious celebration of dance crazes from across the eras—earned a Grammy Award nomination for Best Music Video and won the Best Visual Effects prize at the MTV Video Music Awards.
For all its undeniable appeal, “Safe and Sound” came to life before Merchant and Simonian even had any intention of forming a band together. The two first crossed paths when Merchant—then seeking a producer for a solo project—responded to a Craigslist ad posted by Simonian. After meeting up at Simonian’s studio, they felt an immediate bond that had much to do with their shared tastes and near-lifelong immersion in music.
Born in Syria to Armenian parents and raised in Southern California, Simonian began playing piano at the age of three and later sang in school choirs and formed a rock band in his mid-teens. He studied music in college and eventually turned down an opera scholarship to pursue a career in pop music. Merchant, on the other hand, grew up in San Francisco and got his start playing piano when he was 10. “From an early age I wasn’t really interested in becoming a proficient player—I just had this impulse to mess around on the piano, to play chords and make up lyrics and melodies,” says Merchant, who picked up guitar at age 12 and drums in high school.
Once they teamed up, Merchant and Simonian began collaborating on each other’s solo projects and soon formed a music company that quickly saw them working on major commercials, including one that required a cover of David Bowie’s “Space Oddity,” which was approved by Bowie himself. “In the meantime we were writing all these cool songs together, and that included an early incarnation of ‘Safe and Sound,’” Merchant recalls. “People kept telling us, ‘You need to do something with that song,’ so after a while we decided to start performing it live as a band, and everything kind of took off from there.”
Initially an underground hit that scored massive blog attention, “Safe and Sound” prompted the duo to launch a self-financed radio campaign and head out on a self-booked tour throughout Europe and South America. By the end of 2012, with their fanbase rapidly expanding across the globe, Capital Cities had inked a deal with Capitol Records and set to work on their full-length debut.
In working on “Vowels” and new material, Capital Cities stripped down their creative approach by honing in on a selection of songs and focusing on refining each arrangement. “We spent a month just sitting down at the piano and hammering out the songs, and not even touching a computer or thinking about production,” says Merchant. “We try to write what feels cool and what feels good to sing—it’s this very intuitive thing, where if something pops out or has an interesting spark, you’ve got to see where it goes.” Adds Simonian: “It’s all about the words and melody.”
Now gearing up for a string of live dates, Capital Cities have recently added a jazz vibraphone player and classical guitarist to the lineup for their notoriously dazzling live show. Whether performing live or crafting new material for their second full-length effort (set for 2017), the duo aims to create an emotionally charged experience that’s transportive for themselves and for the listener. “When you either listen to or perform music, it’s a meditation” says Simonian. “It affects you on so many different levels and allows you to experience all these different emotions. It’s therapeutic.” And when it comes to making music, that process can sometimes take on a transcendent quality that Merchant describes as addictive. “When you’re writing and you have a moment where something magical happens, it’s like a drug,” he says. “You stumble upon something that feels so good and just validates what you’re doing, and it gives everything this bigger sense of purpose. I want to just keep that going and constantly create good music.”
Latigo, due July 22 on IAMSOUND Records, was produced by James McAlister (known for his work with Sufjan Stevens), mixed by The Shins' Yuuki Matthews and recorded in the band's own studio, set up in a dilapidated house in Latigo Canyon in Malibu, CA.
Of the new music frontman Maxim Helmerich explains, "A lot has happened since we wrote and recorded these songs in Latigo. Still, the songs carry the sound of that canyon, the memories from that house and the people we will always love. This EP is an ode to all of that."
In support of the new EP, the band has confirmed new tour dates with Jamestown Revival this August. See below for details. The band has been touring extensively for the past year including support slots for Wild Feathers and Ryan Bingham, and festival appearances at BottleRock Napa and SXSW.
Wilderado is Maxim Helmerich (vocals, guitar), Tyler Wimpee (guitar, vocals), Colton Dearing (percussion, keys, vocals) and Justin Kila (drums). Two band members hail from Tulsa, OK while two grew up in Dallas, TX. They all came to L.A. around the same time and reconnected serendipitously.
Impressive harmonies..." - NME
"It's this South-Central Americana-meets-Laurel Canyon vibe that first grabs your attention listening to these songs." - Paste
The most meaningful relationship of his life was dying, and so was the band to which he’d given his everything. Rudderless in self-doubt, Cowles narrowed his focus to zero in on his music – moving into his truck for five months, reevaluating his artistic pathos and surrounding himself with community in his adopted hometown of Denver.
As Cowles reordered his headspace, his music began to fall in line. A poignant shared moment with a respected friend and colleague helped point Cowles in a new direction, and it wasn’t long before he traded his acoustic guitar for an electric and charged forward with the renewed sense of purpose and energy found on Cold Times, Cowles’ amped-up solo debut for Dine Alone Records (out April 28 and produced by Joe Richmond of Churchill).
But before choosing to release music under his own name, Cowles and his profoundly soulful voice wooed audiences and industry alike as frontman of indie folk troubadours You Me & Apollo. The band’s buzz and timely aesthetics made them a top draw throughout Colorado rock clubs, and it wasn’t long before they were being booked by The Lumineers’ agent at Paradigm Talent Agency and opening multiple gigs for Brandi Carlile and touring with Nicki Bluhm & the Gramblers.
But as that chapter slammed shut, 27-year-old Cowles not only went electric for the songs that would become Cold Times, he dug deep into his vocal chords to find a new persona – that of the rare rock ‘n’ roll frontman whose nuances behind the mic still allow him to create a genuine connection to his fans.
Cowles had already felt himself veering away from the country-tinged folk music of You Me & Apollo, and advice from a good friend helped seal the deal.
“I was talking with Nathaniel Rateliff after a Night Sweats show, and he told me, ‘Listen, man. There have been a lot of guys with acoustic guitars who have been a huge influence on me, but get an electric guitar – and start a band.’ Ever since then that rock ‘n’ roll side has been pouring out of me, and it feels right.”
While the Cold Times referenced in the raucously soulful title track are intensely personal, the song’s sentiment has taken on an entirely new and expanded meaning in a post-Trump America.
“I feel like we’ve been forced to choose sides, and that’s creating this wall between a lot of people – people who I’ve had relationships with for a long time, and there’s now this rift between us that wasn’t there before,” Cowles said. “It has a lot to do with what’s going on in our government and around the world, because of course there’s more happening than just what’s in our backyard.
“It feels like the times are cold. And the only way to get through a period like that is to feel cold together and acknowledge that it feels bad and things need to improve. How else can you get to the next step if you’re not talking about it?”
For the first 16 years of his life, Cowles spent three or four days a week at his pastor father’s nondenominational churches – an experience that left him cold on organized religion but inspired by the many church hymns that surrounded him. It’s a backstory that helps make sense of songs like lead single Lift Me Up, a roadhouse rager that tips a hat to Cowles’ long-held stubbornness – “My Mama said I’m unavoidable,” he snarls several times – before erupting into a gospel-inspired bridge that takes you straight to church before diving back into the grit.
The song was revelatory for Cowles. It marked the first time he had ever connected with that musician-specific desire to make people move.
“I remember thinking, ‘I can make this loud as shit, and people are going to want to move to it’,” he said. “And that’s not something I’d ever thought about before.”
Elsewhere on Cold Times, Cowles experiments with dynamics and levels. In Maybe We’re Fine, Cowles and his otherworldly vocal gymnastics are anything but unsure. Cowles shows a tender, more vulnerable profile in 9th and Lafayette, which intimately documents a break-up that taught Cowles to love himself. When he sings “I’ve come to live and die at 9th and Lafayette,” he’s talking about a tumultuous rebirth – set inside an apartment he shared with his ex in Denver’s Cheesman Park neighborhood.
“One of the things that influenced this record the most was Honky Château, that Elton John record, because it’s just so groovy – especially that first song (Honky Cat),” Cowles said. “There’s just something about that record. I listened to it on repeat for a long time when I first started doing this rock ‘n’ roll stuff.”
You can feel that jittery, revisionist groove in Hold Up, a song that evolves into a chorus of hallelujahs that push hands to the air and hairs to stand on end. While Cowles isn’t a believer in his father’s faith, they still share a deeply close friendship – and the singer-songwriter clearly feels the spirit of rock ‘n’ roll music.
Happily, it’s a mutually beneficial relationship.
“Music has definitely saved my life before – a few times,” Cowles said. “I struggle with a lot of things, the kinds of things everybody struggles with, and if you can’t talk about those things in some capacity it can be detrimental.”
Brent Cowles and his four-piece band will play at South by Southwest in Austin, Texas, and Treefort Music Fest in Boise, Idaho, in March before setting out on a West Coast tour behind Cold Times, which will be released April 28 with a show at the Hi-Dive in Denver, Colo.
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