Insert A Clever Pun About Sam Having “Tallent” Here

“I just flew in from Vegas and boy are my arms tired.” Sam Tallent is killing it. The Colorado-based stand-up comic has become a source of pride for many of those who witnessed his rise to the top of the comedic mountain—and likely the source of childish resentment from his peers in the comedy scene […]

Built To Spill: On Tour

Paranoia to Peace Doug Martsch is somewhere in Little Rock, Arkansas mid-tour with Built To Spill. He hasn’t ventured outside of the bus yet, but he hears it’s really hot. As the frontman for the Idaho-based band, the seasoned pro is used to the various elements thrown his way. After all, he’s been touring the […]

xDeadBeatx Ignites a Hardcore Punk Resurgence in Fort Collins

“When I moved to Fort Collins, I didn’t want to have to drive to Denver to go to hardcore shows,” Billy Fabrocini tells BandWagon. “Now people will drive up here to go to shows. That’s what DeadBeat was always about. DeadBeat was about showing people, ‘yeah, we can do it ourselves. We can do it here.’”
In addition to being a hardcore band, xDeadBeatx is “straight edge,” a label that arose from the hardcore scene in 1981, after the seminal band Minor Threat released a 46-second track by the same name that disparaged drug and alcohol abuse. Since then, straight edge has evolved, morphed and splintered into its own genre and subgenres. A strict set of ethical guidelines come along with the musical characteristics — no drinking, smoking, drugs, promiscuous sex or addictive behaviors of any kind for life. 
Each member of xDeadBeatx has his own reason for embracing the straight edge ethos. Each of those reasons can be traced back to long before the band was founded in 2019.

Treaty Oak Revival: An Alliance Between Punk and Country

Treaty Oak Revival didn’t really have a choice but to be a country band. They grew up in West Texas, a market that practically demands bands play country, and, well, it’s also hard to escape your roots. 

“I have an accent,” said Sam Canty, the band’s lead vocalist, in an interview with BandWagon – and for the record, he sure as heck does.

Even so, all that Texas red dirt country the band seemed destined to play couldn’t bury their love of rock and roll, especially in a world of modern crossovers. Canty is unafraid to proclaim his love of big punk acts such as Sum 41 and Blink 182 and Treaty Oak Revival finds themselves with their feet in more than one arena.

Album Review: Trash. – Ghosts

Let’s face it. For many, the past couple of years have been pretty garbage, in a lot of ways. However, for Colorado’s progressive pop-punk outfit Trash., it would seem the past two years have been about growth and preparing a sophomore release that, in every sense of the word, is quite the opposite of what the band’s moniker projects.

Nothing to Hide Behind: Wheelwright’s Jared Kolesar After The Mill

“I think there’s an element of a lonely cowboy out on the trail,” Jared Kolesar of Wheelwright tells BandWagon. “There’s many songs now with a story that is best told while I’m alone with my guitar.”

The reworked songs give his Jared & The Mill fans a chance to preview his new sound, one he calls more sonically interesting, with more synth and more effects to his vocals to go with some new hip-hop vibes. He calls the sound Neo-Western and compares it to a mix of 80’s futurism and Americana. Or, in his own words, “like Blade Runner with more cowboy vibes.” 

Birth, Death and Time In The Sun: SUSTO’s Justin Osborne Finds new Dimesion

“There were ravines growing between me and people in my life,” Justin Osborne tells BandWagon. “And with COVID, everybody got pushed back together. Some of those changes had to be faced head on.”

Osborne is the commandant of North Carolina’s Susto and he’s just gone through some of the most intense years of his life.

“If humans are dimensional,” he says, “there’s a whole new dimension of myself that was awakened.”

Susto’s sound sits between Americana, psych-pop and the indie-rock church of rootsy folk. A mix of satire and earnestness adds a roughness; a raised eyebrow setting it apart from rural radio. Its dark, drug-influenced sentimentality and staunch idealism is, at its heart, just barefaced American songwriting.

“There were a lot of attempts at reconciliation – my own beliefs with how I was raised,” he says. “I’m trying not to disrespect,” he says, “but to participate in these big life events.”