Sun Seeker & Duncan Fellows
Add to Calendar
All sales are final. Review your order carefully, there are no refunds for any reason. No tickets are mailed to you, your name will be on the will call list night of show. This show is 16+. Please bring a valid ID to the show.
Sun Seeker has drawn applause for their unhurried breed of Cosmic American Music and with BIDDEFORD (Third Man Records), their long awaited debut EP, the Nashville-based band more than affirm their promise. The “bunch of musical friends” at the core of Sun Seeker have been collaborating in some sense since eighth grade. They formed a loose collective of combos, playing together in each other’s bands, with Sun Seeker officially convening in January 2013. The band became fast favorites on the Nashville scene, earning word of mouth and a fervent fan following via an electric live presence and a striking collection of songs. The band will continue their extensive North American tour this fall, with most shows already sold out before they hit the road. Stay tuned for their forthcoming album release due out in 2019, produced by Wilco’s Pat Sansone.
When trying to nail down their genre, NPR says it best, describing their sound as “Southern whimsy and fuzzy, melodic rock.”
Men’s Journal says, “To date, country-tinged psychedelic outfit Sun Seeker has released a grand total of nine songs. Nonetheless, the group has fast won over critics with its woozy, tuneful pop, anchored by singer Alex Benick’s wistful vocals. After releasing Biddeford, a well-received EP on Jack White’s Third Man Records, in 2017, the Nashville troupe heads into the fall with a number of tour dates and, finally, a proper, debut full-length soon to follow." (Sept 2018 Print Issue)
he music of Duncan Fellows explores multiple vibes, feelings, tempos, and
perspectives—and often in the same song. With the new EP Eyelids Shut, the
five-piece from Austin explores that dynamic balance while concurrently toeing a
similar line in their own lives.
Named for the address of a ramshackle house inhabited by several of the
bandmates in their formative years, they’ve now—with everyone firmly in their
mid-20’s—traded a life of piling into various bedrooms for piling into a tour van,
creating a mobile Duncan Lane of sorts by staying true to that era’s sensibilities of
shared adventure. Fronted by Colin Harman (vocals/guitar) and Cullen Trevino
(guitar/vocals), the lineup is rounded out by Jack Malonis (keyboards/backup
vocals/guitar), Tim Hagen (drums), and David Stimson (bass), with musical input
coming from all corners.
Typically, Harman and Trevino do most of the songwriting—alone or
together—and once a song’s bones are in place they bring it to the larger group to
develop the arrangements and individual parts as a band. The live-in-a-room
collaborating is an integral part of the process, and oftentimes tidbits from other
music the band members are listening to will find their way into the works. But the
sonic details are decided first and foremost by the emotions that push each song
along. As Malonis says, “We believe heavily in trying to serve the spirit of a song,
so when we’re arranging as a band we really want to bring that out as best we can.”
Following the release of two EPs—2013’s Twelve Months Older and 2015’s
Marrow—while the band members were in college, the Duncan Fellows debut
full-length Both Sides of the Ceiling dropped in 2017 and put the band firmly on
the map. Featuring the good-time earworm of a single “Fresh Squeezed” and an
entire album’s worth of upbeat rhythms, head-nodding riffs, and playful, pleasant
harmonies, the record was championed by local radio, leading to a bevy of Spotify
spins. Audiences fell in love with the Fellows’ passionate approach and
charismatic energy, flocking to see them onstage in action with acts like
Houndmouth, Middle Kids, The Drums, Whitney, and Wilderado, as well as at
slots playing festivals like Austin City Limits and SXSW. But while the band
embrace their reputation as a fun-loving band of buddies making feel-good indie
jams, they also acknowledge that this perception only represents one side of their
“We tend towards the deeper stuff you have to chew on longer,” Harman says.
“Our tendency is to sing about the more difficult things we encounter in life, and
as we’ve gotten older we’ve experienced heavy things that have added more
serious layers to what we do. But at the same time our most popular song is largely
about waking up and making breakfast. We definitely talk about straddling that
And with the release of the new Eyelids Shut EP, the band is establishing that
double-edged identity even further. The four songs here are doused in maturity,
both thematically and sonically. “Loss” and “reflection” are the words the band
points to when discussing what the songs are about, and how aging lends fresh
perspective to such topics. “As you get older, your perspective on things like loss
changes but you still live with everything that’s happened to you,” Trevino says.
“Be it the loss of a person, or even the loss of a version of a person,” Harman adds.
“Death is definitely a part of it, but change and a part of someone being lost is
something we are singing about as well.”
Malonis finishes the thought: “I also resonate with losing a version of yourself,
how as you’re experiencing these losses you’re losing the more naive parts of
yourself. A lot of it lines up with the theme of our first album: becoming an adult
and growing wise to the ills and parts of the world that aren’t so pretty.”
Though the sonic spirit of Eyelids Shut varies from track-to-track, and even
moment-to-moment, the songs’ common bonds propel the band to new heights.
The EP begins with “Deathwish Fish,” a somber, steady number that ascends with
its heavy thrum of climbing keys and guitar and a constant, powerful thump. The
song details the journey of pain from a loss throughout the better part of a decade
and the repercussions of that healing process over time. Next is “Cursive Tattoo,” a
two-step stomper that plows through its swinging tempo with chiming, dirge-y
guitars and twinkling piano rolls as Harman sings, “You swore I was everything
you wanted and more/but I’m not quite sure if I’m what you need.” “Aliens” has a
surfed-out, sunny vibe replete with high tremolo tone and a stop-start, clip-clop
beat with matching fuzzy power chords, as if Parquet Courts traded the weed for a
sunrise set of waves. Trevino’s soft vocals turn into aggro howls in the same
breath, and the effect is mesmerizing. The reverb-heavy Vox organ recalls classic
heady garage tracks like “96 Tears” and the whole song has a dark, pushy,
in-your-face feel. The EP ends with the title track, a heavier head-nodder that calls
to mind the tempo and guitar lines of Weezer’s “Undone (The Sweater Song)”
meets the moodier work of Local Natives and serves as a bookend to the record.
Recognizing that the song’s lyrics and story encapsulated the bigger themes
spanning the EP—from the reflection on mundanity it presents to lines like “I
woke up my eyelids shut/Forgot my dream and what I want to be”—they gave the
record its title as well.
“‘Eyelids Shut’ is us saying, ‘Hey, this is life now, I still have to wake up and go
into work on Monday whether I’m changed or not,” Trevino says. “Life goes on
regardless of what has happened.”
Harman echoes, “That concept connected all the songs together; they’re about
reflecting on loss, coming to terms with it, and changing perspective. When you
get older, you realize it’s very chaotic being a human being, so this record is us
trying to make sense of that.”
In all they do, Duncan Fellows strive to be honest in their music and as people,
leaving positive experiences in their wake while expressing themselves and, yes,
having a good time. Driven to evolve and grow as artists while never taking
themselves too seriously, their sense of adventure and commitment to their craft is
sure to serve their spirit well for the long, long haul.
2721 Larimer St.
Denver, CO, 80205