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Discover Salt Lake magazine’s Arts & Culture section. Here you’ll find stories and reviews about local arts, music, film, theater and great events to help you explore the vibrant arts & entertainment communities along the Wasatch Front and Wasatch Back and across Utah.

From our music writers, you’ll find local show previews, festival reviews and interviews with artists. We are also your premiere source on all things Sundance Film Festival. Peruse our archives for film reviews, event roundups and more!

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This Denver Band Wants to Be Your New Bestie

By Music

When Horse Bitch returns to Salt Lake a few days from now, it wants another shot at gaining new friends here. Because they didn’t make enough last time; this counts as a do-over.

The honky tonk emo boys and girls from Denver play at The DLC (Quarters) on Monday, Sept. 15, along with locals Baby Ghosts and Tampa Chess Club. Doors are at 7pm.

I got to sit down with Horse Bitch guitarist Riley Merino and lead singer/guitarist David Knoble at Dougherty’s a few weeks back in The Mile High City. In the midst of a lot of conversation and a little pizza, both shared their goals for touring. Spoiler alert? It’s all about expanding their growing circle of buddies. 

“It feels like a cheat code, the chance we get to tour the country, the chance to go to new places and make money as we do so,” Merino says. “I get to make friends everywhere I go.”

The math checks out: the more cities they play, the more friends they’ll make. With a band name like theirs, though, it’s not easy to advertise. That said, they try. The fact they’ve made it this far — playing in faraway Nebraska and Kansas, or even dissecting the origins of their name presently — was never the expectation. With three albums to their name and six years of playing shows behind them, they’re eager to see where their journey will lead.

Knoble calls Horse Bitch “a COVID band” as it came together in 2020, amidst weeks of Mario Kart competitions, emptying beers and writing songs. What started as a haphazard band of two has ballooned to now include seven, which includes a just-added horn section of exactly one saxophone player. Having over-the-top performances all across Colorado has either made locals want to join their ranks or make sure they don’t miss their gigs.

“Our shows allow for a lot of audience participation that comes naturally. I’ll see people singing along to our songs, or they’ll have little dances they do,” Noble says. “And I think it would be cool to create that same environment in other cities, to throw music out and find friends through it. I hope we end up being a magnet for people who want to connect.”

Speaking of connecting, Noble’s sister Sierra was more or less responsible for the band forming. She introduced David to her friend and coworker Ashley McKinney, who became fast friends with David. Ashley then became the second band member to join after David, and now sings and plays tambourine in Horse Bitch. In fact, the band got its name from Ashley’s nickname for Sierra, who earned awards as a one-time rodeo queen and barrel racer. 

And because that was too good a story to let slip by, I reached out to his chemist sister for specifics.

“Ashley and I were best friends for a year before she sent me a screenshot of something I’d said. I was surprised to see that the contact at the top read: Horse Bitch,” Sierra shared via e-mail. “She said, ‘That’s you! I couldn’t remember your name when we first met, but you said you rode horses a lot” and, after a lot of laughing, the placeholder in her contacts stuck.

“When David heard about the interaction he said, ‘That would be such a sick band name,’” Sierra wrote. Without much more thought, he added, “It has to be a band name.”

Sierra once managed the band and says everyone should get to experience the so-called “mountain punk” band sometime in their lives, even if they don’t know a single song in their catalog yet. Liking songs can come later, but it might have to be seen to be believed. Just imagine a lot of barely bridled chaos — dogpiles on stage while instruments are still being played, for example — that sometimes comes with a little blood, too.

Merino busted his arm mid-performance last time they played Salt Lake but, instead of taking a pause to get bandaged, someone attempted to do so for him, while he was still moving. There was blood, but there was no time to take a knee. Ask him about it. Chances are he’ll tell the whole story.

“I would die for this shit,” Merino says with a grin.

And he will, too, but not before he and the rest of the band make a few new friends first.  

Get your tickets now.


Read more of our music coverage and get the latest on the arts and culture scene in and around Utah. And while you’re here, subscribe and get six issues of Salt Lake magazine, your curated guide to the best of life in Utah.

OK Go Tim Norwind Red Butte Photo by Piper Ferguson

Interview: OK Go’s Tim Nordwind

By Music

Bassist Tim Nordwind talks new music, singing alongside the Muppets and filming in zero gravity.

When Los Angeles-based quartet OK Go visits Salt Lake City’s Red Butte Garden on Sunday, Sept. 14, 2025, it’ll be their first time playing in the state in nearly a decade. Bassist and founding member Tim Nordwind spoke with us from California a couple of weeks ago and said he’s excited to return to Utah.

And if the band’s name doesn’t ring any bells, chances are good you’ve seen their music videos. An early one was dropped in the first days of YouTube, featuring a few treadmills and a lot of precision. It cost $5 to create and has earned over 68 million views on the channel.   

True or false: The dancing on treadmills video helped put OK Go on the map.

To a certain degree, that’s true. We started in ’98 in Chicago, and have had so many moments since then that have felt like, ‘Whoa. That’s the moment.’ Our first concert felt like the moment for us. But then getting signed was another moment. Going on an international tour felt like a third. When the video for “Here It Goes Again” with the treadmills came out, it was a big moment for us, and a big one for the internet. New creative spaces were opening up, and we happened to make something that fit perfectly in what was pitched to us as a user-generated content site (aka YouTube). We were already making our own videos, so it was a perfect fit.

As the public’s awareness of the videos we were creating grew, we got the opportunity to make a music video with The Muppets, who we all grew up with. To me, that felt really absurd.

It also feels like another ‘I’ve made it’ moment, right? I mean, it’s The Muppets.

For sure. I remember that week so clearly, because it was filled with bucket list moments. We made a video with The Muppets, flew to Chicago to play Lollapalooza, and then played at Barack Obama’s 50th birthday party. I was thinking, ‘What a crazy life we’ve developed for ourselves!’

One of the scariest things we’ve ever tried is making a video in zero gravity for “Upside Down & Inside Out.” [Editor’s note: That video has over 29 million views.] Others in the band were less scared than I was to do that. We flew on 21 airplane flights and did 15 parabolas each time, which meant flying 30,000 feet up and taking a free-fall dive for 20 seconds, dropping us 20,000 feet down. I’m still recovering from that.

Doesn’t doing that make you pass out at a certain point?

It can. Thankfully, I never did. Our singer, Damian (Kulash), passed out briefly while shooting, and it was caught on camera. That’s scary to watch. The first time I saw it, I didn’t think it was funny. It was more like, I didn’t like watching that happening to my friend.

Do you think there’s an expectation for people to see similar feats like you do in your videos when you play live? Does that ever become a regular part of your live show?

Our main goal for performing live is to connect. We have performed with video before, but if you put something on a screen, everyone watches the screen. It feels counterproductive. We look at our shows as throwing a party for everybody. And if I were throwing a party at home, I certainly would not then play a movie. We have a similar philosophy for our shows: we are here with you. We do have an awful lot of confetti that we shoot off; it feels like we’re creating an environment of joy that we can all be in for a couple of hours. That’s the hope.

You released your new album, And The Adjacent Possible, earlier this year. Where are you and the band musically now? What’s changed over the past 25+ years?

We’re a lot less self-conscious. We’ve been at this long enough now that we feel like we have planted a flag. We know who we are, but we want to keep ourselves challenged. In prior records, we’ve always tried to stay in one sound. But we decided to give that up and embrace the music nerd side of ourselves, genre blending and bending to make more of a mix tape.

I’ve stopped paying attention to current trends and that’s allowed me to make music from a new place. I don’t care what’s popular. I don’t care if the next song I write sounds anything like the last one. I want to write whatever comes out of me today. So we have a record that is fun to listen to, but it sounds like a Frank Sinatra song next to an early Bowie song next to a tune Nile Rodgers might have produced next to a song that sounds like Phil Spector. We travel a wide distance on this record in a way we haven’t before.

And that’s what music should be about anyway: exploration.

Scene breaking, yeah. We kind of love scene changes within records and even within songs. The production completely turns at the drop of a hat within one song. And, yes, it does feel like it should be about exploration and experimentation, constantly trying to reach for sounds that feel just outside of what we’re able to grab.

Tell me who was cooler for you to meet: Barack Obama or Kermit the Frog?

Oh, God. That’s hard. As far as who’s been in my life longer, it’s got to be Kermit the Frog. I feel like I’ve known Kermit since I was two years old. But meeting both was equally wonderful.

Want to see the show? Tickets are still available.


Read more of our music coverage and get the latest on the arts and culture scene in and around Utah. And while you’re here, subscribe and get six issues of Salt Lake magazine, your curated guide to the best of life in Utah.

Gregory Alan Isakov Utah - Photos by Natalie Simpson of Beehive Photography.

Gregory Alan Isakov sang his lullabies for Utah

By Music

Gregory Alan Isakov played a sold-out concert at Salt Lake City’s Red Butte Garden last Thursday (9/4/2025), one of the final shows remaining there this year.

As luck would have it, his visit ushered in appropriate weather for a change in seasons (cool, never cold). The moon was appropriately high and full. Thousands of resident crickets chimed in, too. Beauty and relaxation were constants, and the night felt like a finally let-out sigh at the end of a long week. It got the best of Salt Lake magazine’s Executive Editor Jeremy Pugh, who quipped that Isakov “orchestrated songs built to make your tiny Grinch heart swell so much, it might pop.”

The 18-song set probably had most of the songs fans liked, including “Amsterdam,” “Chemicals,” “San Luis,” and (my favorite of his) “Second Chances.” There’s a line from that final song of his encore that always echoes like a long reminder in my mind: “If it weren’t for second chances, we’d all be alone.” So they were often sad songs, yes, but they were lovely and hopeful, too. No matter how many times you witness Isakov do all he does so well (and that includes all his bandmates, each a master of their own realm), it’s hard not to be grateful for all he gives, and for the consistency in quality he’s developed. It’s been a couple of long years since he released his last album (2023’s Appaloosa Bones), but nobody cared.

Instead, we flocked to Isakov like we do crunchy fall leaves, temporary autumnal rainbows of oranges, yellows and reds. We sold out the side of a mountain because we wanted gentle lullabies to cure what ailed all of us, if only for a little while. Mission accomplished.   

Photo gallery by Natalie Simpson. Instagram: @beehivephotovideo.

Gregory Alan Isakov performed his Americana lullabies in Salt Lake City last Thursday, Sept. 4, 2025, at Red Butte Garden, part of its 2025 Outdoor Concert Series. Photos by Natalie Simpson of Beehive Photography.


Read more of our music coverage and get the latest on the arts and culture scene in and around Utah. And while you’re here, subscribe and get six issues of Salt Lake magazine, your curated guide to the best of life in Utah.

Review: Bright Eyes, Full Hearts

By Music

Bright Eyes brought all its favorite songs to The Depot last Tuesday (9/2/2025).

And for everyone who gathered to see Conor Oberst and his band of 30 years share both old and new favorites, it felt so much more like catharsis than it ever did wistful nostalgia. The band is a collective of motion and progression. Oberst will always feel like one of the hardest working musicians still giving everything he does an average of 150%. After all, he’s been doing this song-and-dance long enough to perfect his craft and all stripes gained along the way have been earned. Devotion feels like a natural cause of events at this point.

While the band didn’t disappoint in giving us what we’ll largely claim as the band’s tried-and-true hits by singing proudly along (“We Are Nowhere and It’s Now,” “First Day of My Life,” “At The Bottom of Everything,” “Land Locked Blues”), we still got songs like “1st World Blues” that felt like a happy nod to The Clash. A new classic. One we can already sing along to. And because Oberst is never shy about sharing his political leanings, having the words UNMASK ICE across the front of his acoustic guitar felt, if not expected, entirely appropriate. 

At the band’s most energetic, the 21-song performance felt like an explosion of happy energy, a defiance that comes with a lot of joy. It meant a combination of blasted horns and Oberst happily spinning himself around dizzy over and over again. It meant unhidden smiles and finding a lot of familiar friends in the audience, people who still understand what a good band feels like. And when you know what Bright Eyes can do (and most always does), you clear schedules immediately. You respond by showing up.

Photo gallery by Nate Christianson. Instagram @npcplus


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Public Art Project Wake the Great Salt Lake Addresses Environmental Crisis Through Art

By Arts & Culture

Measuring in at an average depth of little more than 10 feet deep, Utah’s capital city namesake is shrinking toward a quiet demise. Each year, the Great Salt Lake loses an average of 1.2 million acre-feet of water, and is 6.9 million acre-feet short of minimum levels considered healthy. The fallout of a vanished lake ripples across every corner of Utah life—from city dwellers who will breathe toxic lakebed dust, to skiers who will recall powder days only as fading memories, to the 12 million migratory birds forced to seek new places to refuel on their long journeys. Some experts suggest the Great Salt Lake could dry up within the next five years. And so we ask: How do we, as a community, rise to meet this moment? How can each of us enact real change? How do we save the Great Salt Lake? These are the questions that Salt Lake City Arts Council’s public art project, Wake the Great Salt Lake, is aiming to answer. 

Wake the Great Salt Lake (WGSL) is one of eight programs awarded a $1 million dollar grant by Bloomberg Philanthropies, joining cities like Atlanta, Orlando, Phoenix and Houston. Each grant recipient selects an urgent civic issue to address through a series of temporary public art projects, this year’s topics include inequality in healthcare, perceptions of homelessness, and rising temperatures in urban environments. For the Salt Lake City Arts Council, responding to the persistent drought threatening to dry out the Great Salt Lake became a driving force. But instead of approaching the issue through a lens of fear and dread, Wake the Great Salt Lake focuses on values of hope, and unity. “When you’re presented with a great existential issue like the decline of the lake, it’s really easy to lose hope,” says WGSL Project Lead Andrew Shaw. “But artists help us to imagine positive futures. They help us see not only what we’re losing, but what we’re saving—what we’re restoring.” 

Nick Pederson’s “Here Today, Gone Tomorrow,” consisted of giant billboards displaying photorealistic depictions of two different outcomes for the Great Salt Lake. Photo credit
Courtesy of Bloomberg Philanthropies

To inspire such positive visions, WGSL has spent the last year collaborating with local and international artists on a series of 12 temporary installations. “We wanted to focus on maximum diversity by representing as many artistic mediums as possible, artists of all stages of their careers and from all geographic locations across Salt Lake,” Shaw explains. Each local activation engages with the viewer in its own unique way; some invite the spectators to physically interact with the installation, while others use the power of storytelling to connect with audiences from the stage. 

Mitsu Salmon’s “Feathered Tides” took place at the Miller Bird Refuge. Photo credit
Courtesy of Bloomberg Philanthropies

Most of the installations have already happened. Artist Nick Pederson’s May-June installment, “Here Today, Gone Tomorrow,” consisted of giant billboards displaying photorealistic depictions of two very different outcomes for the Great Salt Lake—one with abundant water and a thriving ecosystem, and another marked by toxic dust storms and aridification. Acclaimed interdisciplinary artist Mitsu Salmon presented a site-responsive dance performance at Miller Bird Refuge and Nature Park, blending dance, soundscape and visual storytelling. Taking place over four days, “Feathered Tides” guided audiences through the park as dancers embodied movements of Great Salt Lake shorebirds. Another visual artist, Kellie Bornhoft, consulted with the Great Salt Lake Institute and the Utah Division of Wildlife Resources to identify and illustrate 64 species that depend on the lake. Printed on sheer fabric banners, viewers flipped through the images of birds, insects, plants and more, observing how the transparent material interconnected them. 


The Great Salt Lake Hopeline is a mobile phone booth and dial-in hotline that invites callers to record their memories, hopes and fears for the lake. Photo by KNOWA

An ongoing collaboration between three Salt Lakers, Han Calder, Nick Carpenter and Ben Doxey, the Great Salt Lake Hopeline is a mobile phone booth and dial-in hotline that invites callers to record their memories, hopes and fears for the lake. Marked by bright pink lettering, the phone booth will appear at events across the city throughout 2025, but callers can dial in to 979-GSL-HOPE to leave their messages, and listen to sounds of the lake itself. 

Coming soon, Plan-B Theatre will present two original shows for a range of audiences. Eb & Flo follows a capricious flamingo who longs for adventure, and a pragmatic seagull who frets over the shrinking lake. Together, they find a way to spread word about the Great Salt Lake, and inspire messages of small actions with big effects. Created for grades K-3, this show will tour elementary schools across the state during the 2025-2026 school year, and offer free public performances on select dates in October. Suitable for older audience members, the Great Salt Lake takes human form in Plan-B’s Just Add Water. The climate-fiction dramedy tells the story of nature spirits, open mics, humans, dust and hope. Audiences can catch performances from Oct. 2-19, see planbtheatre.org for performance times. 

As the first phase of Wake the Great Salt Lake comes to a conclusion, Shaw is excited to finish the public art challenge with a bang. The organization has commissioned a notable artist to draw some attention from the international arts community, though Shaw couldn’t announce the partnership at the time of our interview. “It’s going to be a big splashy spectacle,” he teases. “We’re hoping to draw the eyes of the national and international arts and environmental communities to what’s happening at the Great Salt Lake.” 

At its core, Wake the Great Salt Lake invites the community to take part in a conversation. A conversation that isn’t just about what we’ll lose if the lake disappears, but what we will gain if we save it. “I hope everyone who encounters one of these artworks is not only inspired, but also leaves with a sense of purpose. We all have a part in this conversation.” 

Visit Wakegsl.org to learn more about upcoming installations, and follow them on Instagram for the latest updates @wakegsl


Wake the Great Salt Lake recently teamed up with cocktail bar Post Office Place to design a drink with a purpose! Check it out in our 2025 Farm-to-Glass Cocktail Contest.

Get the latest on the arts and culture scene in and around Utah. And while you’re here, subscribe and get six issues of Salt Lake magazine, your curated guide to the best of life in Utah.

8 September Shows You’ll Want To See

By Music

September 5 (Friday)

Who: Japanese Breakfast w/ Ginger Root, Tomper

Where: SLC Gallivan Center

When: 6 p.m.

What: Her music is ethereal. Her writing is exquisite (and that spills over into books; singer Michelle Zauner’s memoir Crying In H Mart is a favorite). It’ll be good to get back to the Gallivan for this one. If it’s anything like the Waxahatchee show we saw there last month, it’ll be the perfect place to experience their music. Fully expecting plenty of unbounded beauty. 

Tickets

September 9 (Tuesday)

Who: Osees

Where: Metro Music Hall 

When: 7:30 p.m.

What: They dominated with their set at Kilby Block Party earlier this year, so why not return for a victory lap? Went down some rabbit holes lately and learned very quickly that Osees are the band your musician friends want to see perform. The band the other bands like and will gladly pony up dough to see. I mean, that’s enough for me to want to see them for my first time ever. There will be unbounded energy. There will be raucous joy.

Tickets

September 12 (Friday)

Who: WITCH

Where: The Commonwealth Room

When: 7 p.m.

What: There’s a lot on this month’s list that points towards flat out curiosity, of getting to hear what hasn’t been heard or experienced live yet. While I don’t know a lot about this band, their name is short for We Intend To Cause Havoc. AND this band was at the heart of Zamrock, the afro-rock genre that became prevalent in southern Africa in the 1970s. Four decades later, the band has resurrected itself and — go ahead and mark my words — this’ll be one of the most exciting bands Utah has seen in a very long minute.  

Tickets

September 15 (Monday)

Who: Horse Bitch

Where: The DLC (Quarters)

When: 7 p.m.

What: This septet of emo honky tonkers is headed here from Denver for its second ever show in the state. It’s wild to witness a band become an accidental Colorado favorite, then see them try to establish that kind of cult following elsewhere. It’s totally possible, even if they know it takes their fair share of due diligence. They’re going for it anyway. I sat down with a couple members of the band weeks back in their hometown and discovered, among other things, that the band name is a tribute to the lead singer’s sister. Because she was a barrel racer in rodeos. Naturally. Watch for that article in the coming days.

Tickets

September 19 (Friday)

Who: Daniel Young w/ Jenny Don’t And The Spurs

Where: Aces High Saloon

When: 7 p.m.

What: In these parts, we trust the sounds of local sanger/twanger Daniel Young. On any given day of the week, you can spot him backing up someone else on drums, waiting to get into a Red Butte concert, or making folks at the Owl Bar all kinds of happy on a Saturday evening. Here’s the best place to see him this month, though, as he’s sharing the bill with Portland’s Jenny Don’t And The Spurs. It’s what you call smart music shopping. It amounts to more cowboy hats on stage, and the more hats up on stage at a time, the better. Promise.  

Tickets

September 20 (Saturday)

Who: The White Buffalo

Where: The Commonwealth Room

When: 7 p.m.

What: There’s a merch girl I know who likes to kid about The White Buffalo being her husband. It’s a small thing, that, but maybe that’s what first put him onto my radar. Then I learned the man could sing far better than many. And that he was also easily hilarious (the music video for “C’mon Come Up Come Out” is ample proof). The band has so many fans, they had to book a twofer in our city. I’ll be at his Saturday show so if I see you before you see me, you’re getting a mostly enthusiastic fist bump.  

Tickets

September 22 (Monday)

Who: Big Thief

Where: Library Square

When: 5 p.m.

What: The timing of this one feels like an incredible gift. Yes, the concert is largely sold out, but can we all agree how cool it is that we’ll be one of the first cities to see Big Thief playing brand new songs off their album dropping THIS WEEK? 2022’s Dragon New Warm Mountain I Believe In You has a staggering amount of songs that are adored and covered and explored, so their brand new Double Infinity is bound to capture and magnify some of that prior magic. It’s kind of a “saved the best for last” scenario for the Twilight Concert Series, and I am so here for it.  

Tickets

September 27 (Saturday)

Who: Black Rebel Motorcycle Club

Where: The Depot

When: 7 p.m.

What: Maybe this show’s the only throwback of the bunch, and that’s never a bad thing. Go back in time and take in their self-titled 2001 debut. Follow it up with Howl and Beat The Devil’s Tattoo. Rinse and repeat. The band can and does combine psychedelia with rock in a way few others can or have. To see them surface at a wholly unexpected moment is less a shock to the system and more of a deliciously needed surprise. Yes and please. 

Tickets


Read more of our music coverage and get the latest on the arts and culture scene in and around Utah. And while you’re here, subscribe and get six issues of Salt Lake magazine, your curated guide to the best of life in Utah.

The Moab Music Festival Entices Nature-Loving Audiences

By Arts & Culture

Staging chamber concerts in nature to celebrate outdoor acoustics is just one element of the celebrated Moab Music Festival. Of course, the main event is the composition itself and the skill and dexterity of the musicians. But the fantastical settings are close rivals.

Take, for instance, a red rock grotto on the banks of the Colorado River accessible only by jet boat, where a Steinway grand piano sits in stark contrast to its desert stage. Or a secluded canyon, scored at the top of a bright morning hike where a couple dozen audience members take in a string arrangement of Bach’s Partita No. 3. Picture red mesas towering over a riverboat, fitted with a woodwind ensemble on the foredeck in a floating Mozart serenade. Or foamy whitewater crests, snaking along crimson towers, where adventurous music-lovers battle waves with raft-mates (a handful of whom might feel more at home in Carnegie Hall than in this heart-pumping Cataract Canyon). Later at camp, a cello will wail in concert with distant coyotes.

“The Moab Music Festival brings world-class musicians into pristine, intimate settings where they perform in concert with the landscape,” says Festival organizer Tara Baker, who describes it as a once-in-a-lifetime experience for audiences, but also for performers. “It’s often a favorite stage for them—playing in these natural amphitheaters and red rock concert halls. So we draw some of the most recognized musicians in the world.”

In a town known for fueling adrenaline junkies on Slickrock Trail and Hell’s Revenge, the classical music palette might seem like a mismatch. Instead, consider the Moab Music Festival a soft landing place for those who don’t regularly patronize the Royal Albert Hall. A writer from the Wall Street Journal once admitted she didn’t know Tchaikovsky from Brahms, but the beauty of the festival was, she didn’t have to. 

“The music seems to articulate something in our souls when we’re in nature,” describes Elizabeth Dworkin, a representative for the event, adding that there is no need to be well-versed in the classical genre in order to enjoy. “People come to this festival to feel something. And then they keep coming back because of what they feel, not what they know.”

Audience members also love the intimacy with the musicians. Sitting in the grotto, one can nearly reach out and touch cellist Jay Campbell’s nimble fingers dancing the length of his fingerboard from neck to bass bar. Or, after a day battling whitewater, one could easily strike up a conversation with Grammy-nominated violinist Tessa Lark, who also happens to be the festival’s new Artistic Director. 


During a float tour down the Colorado, audiences pause for a musician playing riverside. Photo Courtesy of Moab Music Festival

“I take genuine pleasure in personally connecting with folks from all backgrounds,” Lark says of the intimate vibe. “What makes the Festival extraordinary is relishing nature and music all at once, and being able to share that heaven-on-earth with others.”

As you can imagine, the more intimate and remote the setting, the higher the price tag. The 4-day, 3-night Cataract Canyon Musical Raft experience, complete with victuals by celebrated chef Kenji Lopez-Alt, who will “explore the parallels between food and music through curated meals and demonstrations,” comes in at over $5K a pop. 

But not all of the performances over the two-week festival (20 concerts in total) is aimed at the deep-pocketed. Many of the acoustically perfect “stages,” surrounded by buttes, mesas and endless sky, happen at other locales in Moab. 

“Making the music festival accessible to the community is extremely important to us,” says Baker. More modestly-priced offerings take place at a historic hall, a local resort, a café—even a working farm. There’s also a free community Labor Day concert in the park. 

Like the venues, programming is decisively varied, a reflection of Lark’s forward-thinking vision, with new faces like Latin-fusion band People of Earth, bluegrass mandolinist Sierra Hull and singer-guitarist Lau Noah. 

Call it a bucket list item or a religious experience, just make the Moab Music Festival part of your Labor Day plans.  


Photo Courtesy of Moab Music Festival

The 33rd Moab Music Festival: From low $ to high $$$ 

Dipping a Toe $35-90

  • Opening Night
    Program: At historic Star Hall, the program features a night of duos and Schubert’s Trout Quintet. (Wednesday, Aug. 27)
  • Music Hikes
    Program: A chamber orchestra awaits trekkers in a secluded canyon. (Saturday, Aug. 30; Sunday, Aug. 31; Saturday, Sept. 6)
  • Sorrel River Ranch
    Program: Grammy-nominated mandolinist Sierra Hull graces audiences with her 5-piece band. (Saturday, Sept. 6)

Diving In $100-250

  • Floating Concerts
    Program: Explore the Colorado River by morning on a riverboat while taking in an ensemble of woodwinds or strings. (Friday, Aug. 29 or Sunday, Sept. 7)
  • Kin
    Program: Collaborators Andy Akiho (steel pan) and Ian Rosenbaum (marimba) perform in a glass-walled, open-air venue. (Wednesday, Sept. 3)
  • Ranch Benefit Concert: Edgar Meyer—Then & Now
    Program: Set at a private ranch, famed double bassist Edgar Meyer dazzles guests with a Bach Sonata and hand-picked trios. (Friday, Sept. 5)

Cannon-balling $500 +

  • Grotto Concerts
    Program: Delight in the rhythm of a guitar or the tremor of a Steinway grand piano with cozy ensembles in a secret grotto. (Thursday, Aug. 28, Thursday, Sept. 4, Tuesday, Sept. 9)
  • Cataract Canyon Musical Raft Trip with Chef Kenji López-Alt
    Program: Float with artists and an an award-winning chef for a 3-day, 4-night star-studded musical and culinary experience in Cataract Canyon. (Tuesday – Friday, Sept. 9-12)


Get the latest on the arts and culture scene in and around Utah. And while you’re here, subscribe and get six issues of Salt Lake magazine, your curated guide to the best of life in Utah.

The Wallflowers’ Jakob Dylan On The Clash, Radio Hits, Bob Dylan and Refusing to Ever Stop Touring

By Music

I spoke with The Wallflowers’ Jakob Dylan on the phone during some rare downtime for the band in New York City. The Wallflowers will play The Commonwealth Room on Saturday, Aug. 23 2025.

We could have spoken entirely about his dad Bob, and it’d have been perfectly appropriate to do so. Instead, we talked about songs that became radio staples in the late ’90s and never stopped getting played. We agreed that The Clash’s London Calling sounds as fresh now as it ever did. He also shared that it’s best to never, ever stop touring. Lucky for him, he prefers it.     

Q: How’s your tour going?

Dylan: It’s really good. My preference is to tour a lot these days. As long as we find places to play, we stay out. It’s good to be busy.

Q: Is that tied to new music at all?

Dylan: I’m hoping I’m past that. The last record came out in 2021, but I want to get to the point where I don’t have to have a new record, just a body of work that allows us to tour anytime we want.

Q: You’ve been at this for a minute, after all. You have plenty of songs.

Dylan: I do, you know? When this band first got really busy, we had one record to play. And records are usually 12 songs long. If you only have a dozen songs to play, you might not want to play every one.

Q: I read you got into music because of The Clash. Any truth to that?

Dylan: When you’re 12 or 13, you discover bands and they have a different power over you. When you’re older, you don’t need it as much, but it still influences you. In my earlier years, I got jolted by what I heard. The Clash are considered a punk band, but I never thought of them that way. They were the best rock and roll band out there, and I haven’t changed my mind about that.

Q: I played The Clash and London Calling over and over. Joe Strummer’s the greatest.

Dylan: They all were, and it’s their writing that sets them apart. They had the best drummer, Topper Headon, and he could play differently from his peers. Listen to London Calling and it does not sound dated. I still can’t believe it was released in 1979. It sounds like a brand new record!

Q: And you think you’re not as influenced by what you listen to as you get older?

Dylan: You’re just not as pliable. You take on information and are always learning. I still do that. But I don’t listen to music the way I used to. I don’t know if anybody does. Our brains are putty, soaking up information differently. My brain still is putty, actually.

Q: Mine, too. I’m curious: when you have a song like “One Headlight” or “6th Avenue Heartache” and you hear it either on the radio 25-30 years later, what’s the reaction?

Dylan: Hearing them played never gets old. Just like that, I’m a kid again. I grew up listening to the radio, so the first time your song gets played, it’s stunning. And 30 years later, it still feels the same.

When people still listened to the radio, everybody knew the same songs. Even if it wasn’t my favorite band playing, I listened. Everyone did. It was a special time, coming up in the early ’90s. The radio was a monster.

Q: And you came up in the MTV era. I constantly wonder how music gets discovered now, but did your having music videos in heavy rotation help?

Dylan: [Music is] a free fall. Anyone can get lucky, and everybody else follows, trying to figure out how they did it. They try doing the exact same thing. Bands I’ve never heard of are playing arena shows. Thirty years ago, there was no way you didn’t know the bands playing those venues.

There’s room for everybody—and I don’t want to be the old man on the lawn and screaming at younger generations—but it’s changed. When I came up, people ahead of me thought it had changed then, and they didn’t know how to make videos for MTV. It keeps evolving, and we keep trying to adjust. What else can you do?

Q: So it’s harder now to be a career musician?

Dylan: Undoubtedly. The only advice I can give is to learn how to play your instruments well and get off the computer. Stop working alone. Tour. Travel. It’s what you have to do. You won’t make a living staying at home and making records. It’s a touring business, and it works for me.

Q: And what is it you like about being a road warrior?

Dylan: Every day is different. I came up touring, so I like waking up in new places all the time, meeting people. Something great could happen daily. That’s the troubadour experience, and it’s been around forever. In your early 20s, it sounds exciting, but in your 40s, you might grow out of it. I’m just one of those who haven’t.

Q: Have you done it long enough for people to stop asking questions about your pops?

Dylan: I never expected that to go away, but there’s not a lot to talk about when you’re a new artist. If you interviewed me 30 years ago, I was well aware of the elephant in the room then. I thought if I put my head down, it would go away after a certain amount of success. But I live with it, and have no complaints. There’s a lot worse baggage you could have strapped to you. It’s complimentary when people mention him, so it’s nothing to be upset about. We won’t get a better artist [than Bob Dylan].

Q: Have the things you liked about playing and recording changed?

Dylan: When you write songs for a living, there’s more than a few exit strategies. Pay attention and you can stop along the way. Plenty do. Those who still do it years later do so because they can’t stop. It’s like anything else you do for 30+ years, though; you keep it interesting.

Sometimes you’re happy to do it and other times you’d like a break, but it’s what you chose to do. Why would I ever stop doing this? Life is hard. You have to get through it doing something you enjoy doing. I have nothing but gratitude for being here this long. It’s joyful.

Q: Is part of that an attempt to chase another colossal hit, on the radio or otherwise?

Dylan: Name me a rock band that’s had a colossal hit recently.

Q: Good point. Maybe The Killers?

Dylan: And how long ago was that? It’s been a while. Am I craving a big hit? I mean, sure. Who wouldn’t want one?

Q: So maybe rock music isn’t exactly thriving right now, is that it?

Dylan: Rock bands are around, but not the way they were when we grew up. The genre is back where it belongs, on the outskirts, like when it started. It wasn’t always popular, and people seem stunned that it’s back on the fringes.

When I started, a songwriter wrote songs, worked with a band, and tried making a demo tape. They went to a record label. You rehearsed more. You entered the studio and recorded. And, if you were lucky, you landed on the radio. How do bands do it today, though? I wish I knew.

Q: Many want that quicker path to success, no?

Dylan: There’s always an overnight success. We didn’t have that. People considered us a failure at the beginning. But younger people or bands see their peers get so rich, so quickly, just by hitting send on the computer. Telling them about hard work at that point is asking a lot, especially when they see others find success so easily.

Q: And not comparing yourself to others is hard to do.

Dylan: It is. There’s more content to make now, and a lot of space to fill. We don’t all share the same music now. There are younger people who know all the new songs and music and they’re great, but I don’t hear those same songs. Maybe it’s because I don’t sit on a computer all day.

Q: Thanks for taking the time to connect today, Jakob.

Dylan: If you can drag a good line out of our conversation, send it to me. Maybe I can be an overnight success all over again!

Q: I’ll do my best.

Dylan: That’s all it takes.

Come see the Wallflowers do what they do best on Saturday, Aug. 23. Tickets are still available!

  • Who: Jakob Dylan and The Wallflowers
  • Where: The Commonwealth Room
  • When: Saturday, Aug. 23, 2025
  • More info: TheStateRoomPresents.com

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Review: My Morning Jacket at Red Butte Garden

By Music

My Morning Jacket headlined a concert at Red Butte Garden on Monday (8/11/2025).  

Not long before My Morning Jacket was set to begin, something that doesn’t normally happen did: the time the band started was bumped up by about 30 minutes or so, all because they wanted to play longer. So, after nearly two-and-a-half hours of 80s-esque lights and hair blowing in the wind and heart-shaped sunglasses and guitar solos and following each hit in its catalog with another, the band from Louisville offered up 23 songs in all. If there wasn’t a curfew to consider, chances are they’d have sailed right past it. While some showmen are committed to leaving their fans wanting more, MMJ is cut from another cloth entirely: they are fans of giving a lot more than you paid for. A welcome change of pace, that.

After 27 years of doing this, the band’s at the point they could stop creating music if they wanted to. Monday night’s concert proved that point many times over. Having listened to and seen the band throughout its long career of bigger-and-better albums, it’s clearly evident that they’re the best they’ve ever been at this rock band thing. And while favorites are always hard to pick, live takes on “At Dawn,” “Off The Record,” “Mahgeetah” and “Holdin On To Black Metal” were each thrills of their own to hear. Prediction/hope? They could take this exact show to Vegas and make everyone happy about doing so for many sold-out months in a row.

Want my high point of the whole evening? Here’s one: For the encore, lead sing-song-sanger Jim James invited Melt’s Veronica Stewart-Frommer to sing “Golden” with him as all the lights behind them shone like stars (or well-placed fireflies). Golden and beautiful, it certainly was, and the melody’s still ringing in my ears.    

Was it one of the best shows we’ll see at Red Butte this summer? Probably. Does making a grand statement like that one matter in the long run? Not a whit.

Photo gallery by Natalie Haws of Beehive Photography. Instagram @beehivephotovideo


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Langhorne Slim/Rayland Baxter - Salt Lake City Commonwealth Room - Credit Natalie Simpson - Beehive Photo

Review: Langhorne Slim + Rayland Baxter at The Commonwealth Room

By Music

Langhorne Slim and Rayland Baxter co-headlined an unusually intimate concert at The Commonwealth Room on Friday (8/8/25). While it wasn’t a sold-out crowd, it proved to be an immediately devoted one. Langhorne Slim opened the night and immediately fell into his role as a poetic troubadour, offering both stories and songs about the crumbling state of the world, politics, his child (“Song For Silver”), and even the afterlife.

By the time he’d dragged a wooden chair out to the middle of the floor and stood on it, belting out a short burst of music that included “Past Lives,” we were done for. He delivered the latter with an appropriate amount of ferocity (and without needing a microphone); it’s highly possible the crowd collectively fell in love. As far as set finales go, it’s hard to believe he could have left on a higher note.

Baxter offered an incredible 13-song set of originals that included songs like “Strange American Dream,” “Freakin Me Out,” and “Rubberband Man” before inviting Slim back for one more. The two joined forces on Slim’s “The Way We Move”—one and done, leaving the audience wanting infinitely more—but nobody left unhappy. They knew they’d witness something special, and more than one person called it one of the best concerts they’d ever seen. Period. That’s just got to be the exact kind of praise a performer wants to hear. 

Photo gallery by Natalie Haws – Beehive Photography. Instagram @beehivephotovideo


Read more of our music coverage and find all of our Kilby Block Party reviews. And while you’re here, subscribe and get six issues of Salt Lake magazine, your curated guide to the best of life in Utah.