As the snow fell on the night of Thursday, April 3rd, indie pop duo Evening Elephants hit the Bluebird Theater on their “Broken Blinds and Payment Plans” tour. The band has this familiarity about them that pervaded the show, like a best friend showing you their newest favorite song. It was engaging, playful and interactive. Throughout the night, Evening Elephants proved they know their audience as well as the audience knows them, as the band’s magnetic presence created an electricity that unified everyone in attendance.
Evening Elephants combines a blend of hip-hop, indie and pop all into one. The California-based duo Sam Boggs and Brandon “B” Leslie bring a grungier vibe blended with a kindness that this writer found refreshing. Undeniably, this duality is captivating — their grungy aesthetic belies the warmth found underneath.
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It was a night of firsts as two Denver-based artists made their theater debuts opening for Evening Elephants. Up first was BRiNK, who brought a combination of alternative rock with a pop essence. His versatility brought the growing crowd together, where he solidified his presence in singing a cover of “Messy” by Lola Young. Following this, alternative psychedelic rock group Stovetop Gemini made their way to the stage as the venue began to fill to capacity. Lead singer Michael “Mick” Pittman layered his vocals over his group’s intricate guitar riffs in an intentional way that felt both punk and uplifting at the same time. These two artists and their showcases made Denverites proud as they welcomed the excited audience.
When the stage cleared, and as the lights dimmed, the energy inside the Bluebird filled with anticipation. The pit in front of the stage was more crowded than ever as hints of the Evening Elephants began to pour out. Once Boggs and Leslie finally made their way to the stage, the crowd erupted into a cheer not just of excitement, but of reunification, as if they had met with loved ones they had not seen in years. Boggs was adorned in a shirt that, of course, said “Who Pissed My Pants” whilst cracking open his first can of beer. As he did this, he commented to the audience on his shirt, immediately showcasing his laid-back, yet relatable persona that his audience knows him for. He commented on the current state of the world and how it is a “pretty shitty place right now.”
Amidst all of the chaos, Boggs invited the crowd to just feel the love that was already flowing within the Bluebird that night, even just for one moment. It was then that this writer knew that this was the heart of who Evening Elephants are. It goes beyond just music; it is about the shared connection between Leslie, Boggs, and the audience — a force that brings people together.
What immediately stood out to this writer was that Boggs brings a wholly unique stage presence unlike anything she’s ever seen before. Whether it’s remembering certain audience members from his last Denver visit to calling out the cowboy hats seen in the crowd, he knows his crowd and they know him. He is dynamic and engaging, which was especially evident when their newest release “Dead or Alive” came on. The song came in with a fiery spark, a red glow cascading from the stage, illuminating everyone in the room, as a sense of intensity was brought to life through Boggs’ gritty lyrical delivery.
At the same time, Boggs has incredible range. When they played songs such as “De Ja With A View,” he invited the audience to follow him on a journey. He imbued the slower, nostalgic song with a fresh perspective on an emotional space visited before, which the dreamy instrumentals combined with Bogg’s candid vocals captured.
On the other hand, his engagement can also be read as slightly flirtatious, which was especially illuminated as he entered into “Hushfires,” to which the crowd immediately roared into cheers and applause. This song unfolded slowly, with a fine line between vulnerability and strength that Boggs is able to walk, leaving the audience, and this writer, both on the edge yet wanting more.
Appropriately, as the snow continued to fall outside, Boggs sang one of their most popular hits, “Snow on the Bluff,” which he had adamantly promised to play earlier in the night. Similar to the slower and melodic tones of “De Ja With a View, ”the stage glowed in purple and blue tones, with Boggs remaining focused in the stillness that this song evokes in an introspective yet raw way.
After Boggs shared a moment of gratitude while recalling Evening Elephants’ humble beginnings in a friend’s backyard in Los Angeles, the band moved into their first-ever released single, “Life is Swell”. With a quickened pace, lightened heart and brightened lights, the audience followed the breezy and sunny energy this song captures. Boggs became animated on stage, moving from corner to corner whilst making exceptional contact with the audience members he could see. Like the song, Boggs’ presence on stage appeared laid back and effortless, which created an intoxicating vibe that filled the room.
At the concluding moments of the show, Boggs told his audience how “he will play whatever they want to hear as much as they want.” It’s important to note that, according to Boggs, he isn’t one to run off stage and be called back on for an encore. He actually finds that pretty strange. Instead, he was upfront in his demands, knowing exactly what his audience wanted. Unfortunately, it was at this moment that “very nice lady” informed them that they were out of time for more songs. So, instead, Boggs sang their hit “Life Is Swell” one more time to remind his audience that even in the chaos, there is joy and love to be found. As the song wrapped up and the audience quieted, Boggs thanked his crowd one last time before making it clear that he would be at their merchandise table, where he would love to meet everyone. To this writer, that could not have been a more perfect way to end a show where not just music was central, but connection was at the heart of it.
All photography courtesy of Casey Mason.