Big Head Todd and the Monsters 40th Anniversary Tour

with Glen Phillips (of Toad the Wet Sprocket)

INFORMATION | TICKETS

Doors 6:30pm | Show 7:30pm | 18+

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Big Head Todd and the Monsters

In this life, very few friendships withstand the test of time. Naturally, people go their separate ways and chase their own dreams. As rare as it may be for friendships to last a lifetime, it might be even rarer for a band to stick together for the long haul. For close to four decades, the members of Big Head Todd and The Monsters—Todd Park Mohr [vocals, guitar, keys, sax, harmonica], Brian Nevin [drums], Rob Squires [bass, vocals], and Jeremy Lawton [keyboards, lap pedal/steel guitar, vocals]—have continued to both throw down in the studio and light up stages worldwide. Rallying around a core vision, the platinum-selling Colorado quartet kick out the kind of blues-drenched rock ‘n’ roll bangers that make you want to rev the engine a little louder, sing along like no one’s looking, and live a little freer.

This holds true on their 12th full-length offering, Her Way Out.

“To me, my band means four people who listen to each other, work hard, and share a goal,” Todd observes. “The goal has to do with reaching out to people, catching their ears, and sharing a story we hope they relate to. Our fans have given us an incredible 40-year career, and we hope they’ve gotten great songs and performances in return.”

They’ve most definitely delivered on both fronts…

As the story goes, Todd, Brian, and Rob unlocked their musical partnership during high school when they started jamming in the early eighties. Fast forward to 1986, they adopted the moniker Big Head Todd and The Monsters. BHTM released 2 successful independent records on their own BIG Records, Another Mayberry (1989) and Midnight Radio (1990) before drawing the attention of music industry titans and signing with Irving Azoff, Chuck Morris, and Frank Barsalona in 1992. They broke nationally  with the platinum-certified staple Sister Sweetly (1993) which yielded four top 10 rock radio hits. They continued to progress with Strategem [1994] and Beautiful World [1997] which yielded several more rock radio hits including Boom Boom featuring John Lee Hooker. The band is continually touring and recording and has continued to put out albums that have received critical acclaim from both fans and press.

Among other milestones, their music literally reached the heavens when they played “Blue Sky” live at NASA Mission Control, delivering a celestial wakeup for astronauts aboard the International Space Station. They’ve toured and recorded with many rock and blues legends including B.B. King, Neil Young, The Allman Brothers, Hubert Sumlin, David “Honeyboy” Edwards, Dave Matthews Band, The Eagles and their personal favorite Robert Plant. Not to mention, they attained hometown hero status by headlining Red Rocks Amphitheatre 35 times in addition to earning induction into the Colorado Music Hall of Fame in 2023.

Her Way Out came to life organically. For two years, they hosted “Monster’s Music Monthly,” serving up either a new song or a new version of a classic online.  Working out of Jeremy’s home studio, they parlayed this momentum into their latest LP.

“It had been almost seven years since our last album release, but we wanted to put the same energy of ‘Monster’s Music Monthly’ into a full-length,” Todd notes. “We have a very distinct personality as a band. I write to the sensibilities of each member, because they’re going to have to dig playing it. We’re a benevolent democracy. If one guy isn’t connecting with a certain song, that song is out. As an uncomplicated rock band, we like to do things that are ‘proper’—loud guitars, drums, big bass, and well-placed organ, keys, and lap steel. We road-tested every song on the record before recording a lick. All of that helped us dial in the arrangements, ditch tunes that didn’t work, and grow a strong sense of what our individual parts should be.”

Glen Phillips

During his years as lead singer and main songwriter of Toad the Wet Sprocket, Glen Phillips helped to create the band’s elegant folk/pop sound with honest, introspective lyrics that forged a close bond with their fans. When Toad went on hiatus, Glen launched a solo career with his album Abulum, and stayed busy collaborating with other artists on various projects including Mutual Admiration Society, with members of Nickel Creek and Remote Tree Children, an experimental outing with John Morgan Askew.

“Until recently, I’ve seldom stayed in one place for very long,” Phillips says, explaining the genesis of his new album, THERE IS SO MUCH HERE. “I was lucky during the COVID lockdown to move in with my girlfriend, now wife, and to be home for the longest stretch I’ve had since the birth of my daughter, 20 years ago. I began noticing the little things. After a life of travel and seeking out peak experiences, I began to appreciate sitting still, watching the paint dry and loving it.

“I’ve been playing a songwriting game with Texas folk singer Matt The Electrician, for about ten years. Every Friday, he sends out a title. We have a week to write a song that includes it. The process allows me to write songs I wouldn’t write on my own. I’m always surprised at what comes out.”

“When my friend John [Morgan Askew] invited me to come up to his studio and make music, I said, ‘Yes’, as I collected a bunch of the new songs and headed up to Bocce Studios, in Vancouver, WA. John invited drummer Ji Tanzer and bass player/multi-instrumentalist Dave Depper along. When we started playing, I wasn’t sure we were aiming for, but as the process unfolded, the songs began to make sense together.”

Phillips’ previous solo record, SWALLOWED BY THE NEW, was about grief, a post-divorce outing while THERE IS SO MUCH HERE finds Phillips writing love songs again focusing on gratitude, beauty, and staying present. “With this batch of songs, I noticed I was writing hopeful music again. I’d turned the corner and was more interested in curiosity and play than I was in gazing at my navel. I was finally in a state of being that wasn’t about grief and loss. Things felt doable and even exciting again.”

“As I sat still during the lockdown, I realized how much is always here – in the space around me, in the sensations of my body, in the sounds and smells and tastes and thoughts that emerge and drift away. It’s not a new concept, but it is a novel experience when you’ve spent your life running from one thing to another.”

Ultimately, as Phillips reflects on the album, he shares: “This is an album about showing up for what is and letting it be enough.”