Press releases are provided to Yellow Scene Magazine. In an effort to keep our community informed, we publish some press releases in whole.

Media contact: Nick Dobreff, 303.308.2477, ndobreff@coloradosymphony.org

Partnership continues shared commitment to music education, artistic excellence, and nurturing Colorado’s next generation of musicians.

Jun. 29, 2026 – Denver, CO – The Colorado Symphony and the Denver Young Artists Orchestra (DYAO) today announced the renewal of their longstanding strategic alliance, extending the partnership through June 30, 2028. Effective July 1, 2026, the renewed agreement reaffirms both organizations’ shared commitment to providing exceptional educational and artistic opportunities for young musicians throughout Colorado.

Established in 2018, the alliance formalized a relationship that dates back nearly five decades. Founded in 1977 with the support of the Denver Symphony — now the Colorado Symphony — DYAO has become one of the nation’s leading youth orchestra programs, serving hundreds of young musicians from across the Rocky Mountain region.

“At the Colorado Symphony, we believe music has a unique power to inspire, connect, and bring people together across generations and communities,” said Colorado Symphony President & CEO Daniel Wachter. “Our renewed alliance with the Denver Young Artists Orchestra reflects our commitment to that vision by investing in young musicians, expanding access to meaningful artistic experiences, and strengthening the future of symphonic music in Colorado. Together, we are not only nurturing the next generation of artists and audiences, but also advancing our mission to inspire and unite humanity through live symphonic music.”

The renewed agreement preserves the programmatic collaboration that has defined the alliance since its inception. Key initiatives include the annual Side-by-Side Concert featuring Colorado Symphony musicians performing alongside DYAO students, sectional coaching opportunities with Colorado Symphony musicians, complimentary student tickets to select Colorado Symphony performances, and the Colorado Symphony’s continued provision of ticketing services for DYAO performances at Boettcher Concert Hall. DYAO will also continue its role as an Artistic Affiliate of the Colorado Symphony.

“Renewing our Alliance partnership with the Colorado Symphony is an investment in the young artists who call DYAO home,” said Michael Williams, Executive Director of the Denver Young Artists Orchestra. “From sectional coaching to the annual Side-by-Side concert, our students learn in real time alongside extraordinary CSA musicians, and that mentorship leaves a mark that lasts far beyond any single rehearsal or performance. That is the power of community in music education, and we are thrilled to carry this work forward together.”

The renewed agreement also reflects the natural evolution of both organizations, with several structural updates designed to support their continued growth while maintaining each organization’s independent operations and governance.

DYAO has appointed Michael Williams as its permanent Executive Director, effective July 1, 2026, following his service in the role on an interim basis. Williams has worked closely with Colorado Symphony leadership throughout the alliance and will continue to guide the collaboration between the two organizations.

As part of the renewed agreement, DYAO will also independently engage its own Music Director beginning with the 2026/27 season.

“The Colorado Symphony is proud to continue our alliance with the Denver Young Artists Orchestra,” said Colorado Symphony Chief Artistic Officer Tony Pierce. “Over the past eight years, this partnership has created inspiring opportunities for young musicians to learn directly from professional artists, perform on Colorado’s premier stages, and deepen their connection to the symphonic art form. Together, we are helping to ensure a vibrant future for music in our community.”

The relationship between the Colorado Symphony and DYAO has strengthened through years of artistic collaboration, including annual Side-by-Side performances and mentorship opportunities. DYAO alumni have gone on to perform with the Colorado Symphony — including current CSA musicians Larisa Fesmire, Marsha Holmes, Paul Naslund, and John Hilton — as well as other leading orchestras throughout the country, including the Atlanta Symphony, Boston Symphony, Chicago Symphony, Cleveland Orchestra, and Metropolitan Opera.

Founded in 1977, Denver Young Artists Orchestra provides rigorous orchestral training, performance opportunities, and after-school programs for more than 300 students ages seven to twenty-three from over 100 schools across Colorado. Through its orchestras, and educational programs, DYAO inspires and prepares young musicians to pursue excellence both on and off the stage.

DYAO continues to transform young musicians by giving them the inspiration, support, and skills to be tomorrow’s great musicians. This is accomplished through peer monitoring within and between ensembles, yearly concerto and composition competitions, and educational assistance through regular coaching sessions with professional musicians, including members of the Colorado Symphony.

For more information about the Colorado Symphony, visit coloradosymphony.org or call 303.623.7876. For more information on the Denver Young Artists Orchestra, visit dyao.org.

TICKETS:

Tickets to Colorado Symphony events are available online at coloradosymphony.org/tickets, by phone at 303.623.7876, and in person at the Boettcher Concert Hall Box Office, Denver Performing Arts Complex, 1000 14th Street. The Box Office is open Monday – Friday, 10 a.m. – 5 p.m., Saturday, noon – 5 p.m., and two hours prior to each performance.

ABOUT THE DENVER YOUNG ARTISTS ORCHESTRA: 

Founded in 1977 with the support of the Denver Symphony Orchestra, the award-winning Denver Young Artists Orchestra has been the premier option for aspiring young musicians in the Front Range for over 45 years. Now operating as an educational affiliate to the Colorado Symphony, the organization’s four orchestras, educational workshops, and after-school Tune Up violin classes train over 300 students, ages seven to twenty-three, from more than 100 schools across Colorado.

DYAO performs throughout the Denver metro with large-scale, collaborative, and outreach performances. Members of the orchestras graduate into conservatories and universities across the country, including Brown University, The Eastman School of Music, Harvard University, The Juilliard School, Stanford University, and Yale University. Alumni who continued on to professional music careers are found in many major orchestras across the country, including the Atlanta Symphony, Boston Symphony, Chicago Symphony, Cleveland Orchestra, Colorado Symphony, and Metropolitan Opera. To learn more, visit dyao.org.

ABOUT THE COLORADO SYMPHONY: 

One of the leading orchestras in the United States, the Colorado Symphony Association is a not-for-profit 501(c)(3) organization performing more than 150 concerts annually at Boettcher Concert Hall in downtown Denver and across Colorado. Led by Peter Oundjian as its Music Director as of the 2025/26 season, the Colorado Symphony is home to eighty full-time musicians representing more than a dozen nations and regularly welcomes the world’s most celebrated artists from across musical genres. The orchestra celebrated its Centennial during the 2023/24 concert season and now serves more than 340,000 people each year through live performances at Boettcher Concert Hall, Red Rocks Park & Amphitheatre, and other venues throughout Colorado’s Front Range.

Boettcher Concert Hall, which opened in 1978, was the first in-the-round symphonic venue built in the United States. In November 2025, voters passed the Vibrant Denver Bond, which allocates $20 million to a future renovation of the concert hall. Guided by a vision to inspire and unite humanity through live symphonic music, the Colorado Symphony is a living heartbeat of the state — expressing its beauty, creativity, vitality, and inclusive spirit.

Through unmatched artistry and bold innovation, the Symphony inspires Colorado and audiences everywhere while expanding access, fostering education, and creating lasting memories through meaningful personal connections. Recognized as an incubator of innovation, creativity, and excellence, the Colorado Symphony listens to and learns from its diverse communities, musicians, and staff; composes and creates with curiosity and versatility; and leads with empathy, collaboration, and responsible stewardship. The Symphony continually expands its reach through in-person and virtual education programs, community partnerships, and programming that celebrates achievement, honors diverse voices, and infuses joy on and off the stage. The Colorado Symphony partners with leading musical artists, cultural organizations, corporations, foundations, educators, sports teams, and individuals to connect people, uplift communities, and inspire everyone to feel part of something greater.

###

The post Colorado Symphony And Denver Young Artists Orchestra Renew Strategic Alliance Through 2028 appeared first on Yellow Scene Magazine.

Photo courtesy of Jay Strausser, Telluride Bluegrass Festival

This June, as folk fans and bluegrass pickers gather for the Telluride Bluegrass Festival, there’s something unmistakable in the sound. It’s not just the music, it’s the feeling of legacy — a rhythm passed down like heirlooms, something more lived-in than performed. But while some festivals in Colorado are holding fast to their identities, others have slipped quietly off the calendar. As the state’s cultural map keeps shifting, its music festivals offer a window into how Colorado holds on to its soul — and where it’s letting go.

In a state known for hosting everything from intimate songwriter circles to multi-day, laser-lit electronic blowouts, the idea of a “Colorado music festival” is hard to pin down. But if you ask the people who build their summers around these events — or the artists trying to break into their lineups — you’ll start to see a story of community, tradition, and connection no matter the genre.

What makes these festivals more than just lineups and stages is their roots in people’s lives. They’re traditions, destinations, escapes, and in many cases, the emotional cornerstones of Colorado summers.

Decades ago, Telluride was a sleepy mining town with a population barely scraping a thousand. Then, in 1974, a group of dreamers brought fiddles, banjos, and guitars to its Town Park, and the Telluride Bluegrass Festival was born. Today, under the careful curation of Planet Bluegrass, Telluride remains a pilgrimage site for “Festivarians” who time their lives around the summer solstice to sit in the sun, dance barefoot in the grass, and welcome another season with music.

Photo Courtesy of Anthony G Verkuilen, Telluride Bluegrass Festival

“Our overarching goal is to always be improving the festival, as many things have changed in the world since its inception,” Grace Barret, a Planet Bluegrass marketing director, shared. “We do everything we can to embrace long-held Festivarian traditions while being open to feedback. Many of our attendees have had this tradition since before I was alive.”

But the landscape isn’t what it was in the ’70s. “When Telluride Bluegrass started, there were very few other music festivals in the country,” Barret added. “Now, people have more options than ever. The influx has changed everything.”

That explosion of options has been a double-edged sword. On one hand, it’s allowed boutique festivals like the Bluebird Music Festival in Boulder to find loyal audiences, with its intimate singer-songwriter showcases feeling almost like private performances. On the other, not every festival could survive the swelling tide.

Photo Courtesy of Lauren Hartmann, Bluebird Music Festival

Take Sonic Bloom, once a fixture for electronic and experimental music in Colorado. After years of unpredictable weather, shifting locations, and a fiercely competitive festival market, Sonic Bloom has all but disappeared, joining the fate of Vertex, an ambitious multi-genre festival launched in 2016 that collapsed after just one year. Organizers blamed logistical challenges and low ticket sales, but festival insiders pointed to a larger truth: in a state packed with summer distractions, even the best ideas can get lost.

But for those who went, Sonic Bloom wasn’t just a festival — it was a revelation. “My wife and I went to Sonic Bloom on its tenth anniversary,” said Colorado resident Casey Kirkpatrick. “Ever since, we say: ‘I wish every Saturday was a Sonic Bloom Saturday.’ We met some of the most giving and nice people in that desert.”

Every year, the Sonic Bloom Orchestra took the stage — a one-time-only ensemble of improvisational musicians who blurred every line between genre and tradition. “Its whole point was to continually break the barriers of what defined ‘electronic music,'” Kirkpatrick said. “I hope to whatever heaven is there that I can go back one more time, and even if I do, I will still feel like that.”

Photo by Bradford Watkins via Facebook

Held near the Spanish Peaks, where the mountains rise like a myth from the high desert floor, Sonic Bloom thrived on contrast — between landscape and sound, solitude and community. “Its specialty was showing how electronic music could be a fully breathing live experience,” Kirkpatrick said. “Sure, you had DJs, but you also had people that worked with live loopers, instrumentalists, full bands.”

While Sonic Bloom may be gone for now, it left behind something real. It proved that festivals don’t have to fit inside a box — that electronic music could feel raw, intimate, or even spiritual under the Colorado sky. It’s the kind of memory that sticks with people, not just because of the music, but because of how it made them feel. And while some festivals like Bloom have faded, others have found their footing by going in a different direction entirely — leaning into tradition, precision, and a different kind of awe.

Still, the success stories are worth savoring. Bravo! Vail, launched in 1987, has carved out an entirely different niche, presenting world-class orchestral music under the soft hush of Vail Valley evenings. Where Telluride echoes with mandolins and harmonies, Bravo! Vail lets strings swell and timpani rumble, drawing a different kind of audience.

Meanwhile, Planet Bluegrass has expanded its empire with events like RockyGrass and the Folks Festival, keeping the spirit of collaboration alive. RockyGrass, in particular, remains a crown jewel — and this year, the appearance of bluegrass giants such as The Infamous Stringdusters promises to anchor the festival’s roots even deeper. For Jeremy Garrett, a founding member of the Grammy-winning band, it’s more than just another gig.

“RockyGrass is one of the coolest festivals in the country,” Garrett said. “I personally have been playing this festival since I was a teenager, and the Stringdusters have done this show several times. It’s held at an amazing festival grounds in Lyons, Colorado, along the St. Vrain River. The camping is excellent, and there’s even a school of music the week prior to the festival so that people can study almost any bluegrass instrument that they want along with even learning how to build an instrument. […] The lineup is always stellar and closer to something that you would see at a huge festival, but Rocky Grass keeps it down home, close-knit, and has a small festival feel.”

Photo Courtesy of Planet Bluegrass, RockyGrass Festival

It’s that balance between legacy and intimacy that seems to secure RockyGrass’ place in the future of live music.

“Bluegrass audiences have grown a lot over the years,” Garrett shared. “There’s something special about the roots music vibe of bluegrass in particular that draws people in. With a little practice, anyone can join a bluegrass jam circle, and that can be around a campfire or next to the river and there’s no need for electricity. People are captivated by the song and the history in the music.”

From legends like Tony Rice and Hot Rize to new-school innovators, RockyGrass has remained grounded in community. “It’s like playing for your friends,” Garrett said. “In fact, I probably know most of the crowd personally. A lot of people have been coming to the event for many years in a row, and it is a sought-after hot ticket. All of that, yet the energy feels fresh and intense.”

Photo Courtesy of Planet Bluegrass, Telluride Bluegrass Festival

“We put a lot of effort into our family area and activities for kids,” Planet Bluegrass added in regards to their festivals. “It’s not just an oasis for adults. Those wild festival babies grow up and do the same with their children.”

If there’s a secret to longevity, it might be exactly that: not clinging to nostalgia, but weaving it into something sturdy enough for the next generation to climb.

Of course, not every young Coloradan is packing a mandolin. Denver’s rise as the “Bass Capital” has shifted the energy dramatically, especially among younger crowds. EDM shows now flood the city, filling spaces from underground warehouses to legendary venues like Red Rocks Amphitheatre.

“The rave community in Colorado is way more inclusive and accessible than the traditional festival scene,” said Ava Candelaria, a CU student who regularly attends EDM shows. “There’s this really respectful, established culture here that draws people in. It feels more about freedom and self-expression.”

Compared to something like the Outside Festival or even Bluebird, she says, “The atmosphere is totally different. Festivals like Outside tend to attract a laid-back, maybe older crowd. Raves are more intense, expressive — it’s about the whole experience, not just the artist.”

But not all EDM festivals have found firm footing. Some, like Global Dance Festival, have faced critiques of poor planning and underwhelming lineups. “It makes me want to explore more festivals around the country,” Candelaria admitted.

This growing divide between the grassroots, often acoustic-centered festival traditions and the newer, high-energy electronic scene reflects deeper shifts in how Colorado’s younger residents view community, accessibility, and artistry. Still, both worlds continue to coexist, if sometimes uneasily, painting a fuller picture of Colorado’s musical identity.

Photo Courtesy of Planet Bluegrass

Despite the challenges, optimism threads through the state’s festival organizers. Planet Bluegrass, for instance, is venturing into new territory this year with “Camp Alderwild,” a two-night electronic show set in Telluride Town Park — a surprising, but perhaps strategic, move.

“Planet Bluegrass has made a commitment to doing things right, both for our attendees and for everyone living in Telluride,” they said. “Even if it takes longer or is harder, we will do everything in our power to provide the best possible experience. Our relationship with the local community is integral to our long-term success.”

That relationship, built over decades of trust, may be exactly why Planet Bluegrass survives while others fold. It’s not just about the music; it’s about the land, the people, and the messy, complicated dance between tradition and change.

“It’s such a joy to play in the state of Colorado,” Garrett said. “Backstage, the vibes are always good and everyone is there to make you feel comfortable and at home and wish you the best performance you could possibly have.”

For now, Colorado’s music festivals remain what they’ve quietly become: a meeting place for restless spirits, from the bass-heads dancing until sunrise in Denver warehouses to the folk lovers chasing the last light in mountain valleys. Their form keeps shifting, but the pull stays the same. As long as there are songs worth sharing and ears willing to listen, Colorado festivals will keep finding new ways to belong.

Photo Courtesy of Planet Bluegrass, Folks Festival

Like journalism like this? Support the local press that’s been telling the truth for 25 years. Become a sustaining member and get our monthly print edition at home. We’ve weathered 9/11, floods, fires, economic crashes—and some deeply chaotic years. With your support, we’ll keep going. Because democracy still depends on journalism.

The post The Past, Present, and Future of Colorado’s Music Festivals appeared first on Yellow Scene Magazine.

Joshua Radin & Ron Pope @ Boulder Theater

Iconic indie folk/pop artist, Joshua Radin is coming to town with Ron Pope on November 2nd. In the past, this artist has described his music as a conglomeration of his journal entries, making it personal and captivating. Tickets start at $46. Visit AXS for more information.

Of The Trees @ Red Rocks

Enjoy two days of electronic music at Red Rocks with Denver-based artist, Of The Trees on November the 9th and 10th. Best known for up-beat soundscapes and creative beats, Of The Trees creator, Tyler Coombs takes listeners through a series of sensory journeys. Doors open at 5:00 pm on both days, with the show beginning at 5:30 pm. Single-day tickets start at $80. Two day passes run $172.50. Book tickets at Red Rocks.

Modest Mouse @ Mission Ballroom

Washington-born band, Modest Mouse, is coming to Mission Ballroom on November 11th to share some of its best-known tunes. $1 from each purchased ticket will be donated to charity. Doors open at 7:00 pm, and the show starts at 8:00pm. Tickets can be purchased for people aged 16 and up, and they start at $68.92. Visit Mission Ballroom.

Béla Fleck Plays Gershwin’s Rhapsody in Blue @ Colorado Symphony Orchestra  

Banjo master Béla Fleck will sit in the spotlight with the Colorado Symphony Orchestra to play George Gershwing’s Rhapsody in Blue on November 16th and 17th at 7:30 pm and 1:00 pm respectively. The classic work turned 100-years-old this year, which is one reason why Fleck aims to explore this particular tune. Tickets can be purchased at Colorado Symphony. They start at $12.80 a piece.

Fiddler on the Roof @ Jesters Dinner Theatre

Fiddler on the Roof tells the story of a milkman, and his five daughters in a pre-revolutionary Russian town. The musical navigates traditional values and anti-semitism amidst a changing climate. The show runs on weekends now until December 1st. Tickets start at $32 for the show. Visit Jesters Theatre.

The post Scene Stealers | Oct-Nov 2024 appeared first on Yellow Scene Magazine.

Press releases are provided to Yellow Scene Magazine. In an effort to keep our community informed, we publish some press releases

Littleton, CO — The Symphony of the Rockies is thrilled to announce its inaugural concert under its new name, following a celebrated 70-year legacy as the Arapahoe Philharmonic. Our season opener, “Beethoven, Brahms, & Brittany,” promises an unforgettable evening of classical music, blending timeless masterpieces with contemporary innovation. Join us on October 26th, 2024, at the Newman Center for the Performing Arts, where acclaimed pianist Lorraine Min will perform Brahms’ profound Piano Concerto No. 1, under the baton of our charismatic conductor, Devin Patrick Hughes.

The program features three captivating works, Brahms’ Piano Concerto No. 1, a towering work of deep emotional resonance and technical brilliance, brought to life by the celebrated Lorraine Min, praised by The Globe and Mail for her “breathtaking” interpretations. Beethoven’s Symphony No. 1, a landmark piece that launched Beethoven’s symphonic legacy, marking the dawn of the Romantic era in music and finally, Brittany Green‘s “In the Beginning,” a contemporary exploration of creation and emergence, offering a fresh and evocative experience for modern audiences.

“We are honored to begin this new chapter as the Symphony of the Rockies with a program that so perfectly represents our mission – to celebrate the great traditions of classical music while embracing bold, new voices,” said Devin Patrick Hughes, conductor. “This concert brings together the timeless genius of Beethoven and Brahms with the thrilling originality of Brittany Green, creating a truly dynamic and unforgettable evening.”

Lorraine Min, a highly sought-after concert pianist, is known for her virtuosic skill and emotional depth. She has dazzled audiences worldwide, and her performance of Brahms’ Piano Concerto No. 1 is sure to be a highlight of the evening. “Lorraine’s ability to convey both the power and poetry of Brahms’ music is nothing short of extraordinary,” said Bess Scully, Executive Director. “She brings a passion and grace that will resonate deeply with our audience.” Critics have echoed similar praise: “Lorraine Min commands the stage with a presence that captivates from the very first note.” (Calgary Herald).

Opening the evening is Brittany Green’s “In the Beginning,” a piece that explores creation and the origins of existence through bold and evocative musical language. Green’s work has been hailed as “a powerful expression of contemporary thought,” and “a composer who bridges the intellectual and the visceral in her music” (The New York Times).

“With this program, we are offering something for everyone – from the great masters of classical music to the innovative voices of today,” said Scully. “It’s the perfect introduction to what we believe will be one of our most exciting seasons yet as the Symphony of the Rockies.”

Tickets for “Beethoven, Brahms & Brittany” are now on sale. The Symphony of the Rockies is proud to offer discounted pricing for students, children, and seniors. Don’t miss this extraordinary opportunity to experience an evening of musical brilliance in one of Denver’s premier concert halls.

Event Details:
Date: October 26th, 2024, 7:30 PM
Venue: Newman Center for the Performing Arts, Gates Concert Hall
Tickets: Available at here | Discounts for students, children, and seniors.

About the Symphony of the Rockies
Founded in 1953 as the Arapahoe Philharmonic, the Symphony of the Rockies has a rich history of presenting exceptional orchestral performances. Under the visionary leadership of Music Director Devin Patrick Hughes, the Symphony of the Rockies continues to inspire and engage audiences with a commitment to artistic excellence and innovative programming.

The post Symphony of the Rockies Presents Season Opener: “Beethoven, Brahms, & Brittany” Featuring Pianist Lorraine Min appeared first on Yellow Scene Magazine.