We visted Blucifer’s on Friday, July 24 and The UMS on Saturday, July 25, to capture some of the hot summer music.

But you can only go to one of them.

That’s not just because music fans may only be able to afford one or the other. Rather, one is already sold out, and the other is counting on last-minute ticket sales to shore up its revenue. Each includes a dozen or so official venues, in a walkable neighborhood format, and are expecting thousands of attendees.

But music fans would be forgiven for wondering why the festivals are taking place on the exact same weekend.

“A year ago we thought The Underground Music Showcase was going away forever,” said Mike Young, co-lead organizer of the new Blucifer’s First Rodeo festival.

He’s talking about The UMS’s formerly uncertain fate after its owners said they were pausing the festival, leading many to believe The UMS had shuttered permanently. “It was a sad day, and it was disappointing,” said Young. “But it’s this summer music holiday people have gotten used to, and it’s too important for the scene, so it felt like the decision of when to do it was out of our hands.”

Instead, the UMS, which has run on South Broadway for the last 20 years, was revived and will take place this year in the River North Art District. Organizers expect about 10,000 people per day to crawl the district’s venues, boutiques, craft breweries, and restaurants. And that’s entirely to the benefit of music fans, said Terry Madeksza, executive director of the RiNo Business Improvement District, which spent $250,000 to buy a 50% stake in The UMS.

“We have 60, 70 businesses asking to be a part of this and investing in it, and that’s meaningful,” she said. “It says a lot for how far this district has come.”

Back on South Broadway, however, the upstart Blucifer’s First Rodeo (which begins Thursday, July 23) has already sold out its full-fest and day passes — about 2,200 in individual tickets, and another 800 complementary passes for artists.

The narrative that the two events are competing is false and unhelpful, organizers from both said, especially given the slight overlap of performers. But with about 20 Denver acts playing both, thanks to the lack of contracts that guarantee exclusive performances (also known as radius clauses) and valuable, grassroots community programming at both, the weekend may be an unfortunate, zero-sum game for two otherwise worthy events, said UMS co-founder John Moore.

“It¶¶Ňőap just inconsiderate to core local music fans who might naturally want to attend both,” he said. “Blucifer’s really seems to be tapping into the spirit of the original UMS. But I do think strategically they’re making a mistake. Why wouldn’t you want everybody at your festival, and what’s the point of sticking it to The UMS? Nothing good can come out of them happening at the same time.”

Is competition healthy?

Multi-stage music fests often produce feelings of FOMO (fear of missing out), as music fans rush from one stage to the next so as to miss their favorite or want-to-see acts. But it’s hard to fault a band for playing both events, since they need to get paid, and community-centric organizers and bookers are hoping the fests will be complementary.

“The UMS has been a part of my professional life for a decade. Let’s see what this next iteration looks like,” said Alicia “Bruce” Trujillo, a talent buyer for The UMS for the last four years, in describing her thought process for returning to the rebooted event. “I myself had reservations after seeing the Westword Music Showcase and others flicker out in (RiNo) because it’s so sprawling, but I do think that the festival map will keep things tight.”

Trujillo programmed showcases and parties for both festivals, in fact, featuring women and queer artists. That includes UMS events and a Blucifer’s kickoff promoted by her own nonprofit in Aurora. Having a hand in both supports her mission, which extends to an all-women UMS show that will feature the and nonprofits.

“I really like the (UMS) lineup for the Babes at Beacon (Saturday, July 25), which has a lot of different genres represented,” she said. “Both organizations (Girls Rock Denver and Book More Women) emphasize that creation from women, femmes, trans and non-binary music isn’t contained to one musical type, even if Girls Rock sprouted out of the Riot Grrrl movement, their Camp explores a lot of sounds,” she said.

The UMS has gotten far more diverse over the years from its dude-rock-heavy lineups, but adding some sense of accountability in the booking process helps local music fests in general, said Heather Goodrich, Girls Rock Denver storytelling and engagement director.

“Combining at this event with Book More Women is a huge moment for us,” Goodrich said. “That’s because Girls Rock Denver’s mission is to turn up the volume on confidence to empower girls and trans kids and gender expansive youth with the tools to make friends — and lots and lots of noise.”

“You can’t always quantify the impact of being part of these events,” added Book More Women founder Abbey Carbonneau. “Partnering with Girls Rock Denver is important for us because we need these smaller festival spaces, and they’ve been leading that work.”

Uneasy bedfellows with the same mission

Blucifer’s also has grassroots, nonprofit partners and a diverse lineup. But because it’s artist- and volunteer-run, and not reliant on profit, attendees and musicians get to feel like they’re part of a big, collective art project, said Gillian Pasley, co-lead organizer of Blucifer’s.

“I’m surprised by the bravery of hundreds of people being willing to step up and try something new,” she said.

Whatever the result, a post-mortem may discover that the best thing for both fests is to take place on separate weekends, provided they both survive.

“This is about music discovery and supporting local artists and exploring neighborhoods,” UMS festival director Keanan Stoner said. “After the dust settles, I’d like to talk to the Blucifer’s folks and see how we all did. It may be that we move weekends. But I can’t deny that I wish it was on a different weekend.”

PorchFest, a concept that’s found success in cities across the country, is coming to Denver with a simple pitch that’s familiar to many music fans from the COVID pandemic: bands playing on porches and temporary stages, socially distanced from listeners, in a walkable format.

Of course, there’s no social distancing in effect now, so people can get closer to the music during the event, scheduled to take place from noon to 7 p.m. on Saturday, Oct. 3, with about 50 acts playing 15 or so neighborhood sites.

Organizer and Capitol Hill resident Bradley Schwartz, who plays bass in the indie rock band Five Minutes Out, hopes to draw between 5,000 and 10,000 people to the festival, which is not officially connected to other PorchFests in cities such as Atlanta and Seattle, he said. Rather, the independent events copy each other’s formats and operate as a grassroots ecosystem that supports local music.

His band played Atlanta’s PorchFest once, given that his lead singer is from there, which planted the seed for Denver.

“We were joking around: ‘What if this was a real thing?’ and then it eventually became reality,” Schwartz, 28, said. “By mid-March, I was poking around to see what other cities did it. I’m a doer person, and I like to make stuff happen, because I love the music community around here.”

Schwartz is working with five other volunteer supervisors to run the fest, with 50 more people having already applied for various duties via Denver PorchFest’s website (). Given the grassroots format and slim production costs, tickets will largely be donation-based, Schwartz said. He’ll canvas the neighborhood, making sure folks are in the know, and warn residents before any street closures or other disruptions the festival may cause.

Fees for this “great opportunity to meet your neighbors, discover local artists and spend the day outside,”  will support artist pay, neighborhood operations, and event-day logistics, according to Denver PorchFest’s site. The goal is to pay each member of a band $100 — meaning a 4-member band would make $400 total.

They’ll also be donating any money on top of that to , a nonprofit that helps children with autism by providing art and music therapy, Schwartz said.

Nearly 350 bands have already applied to play the event, which means Schwartz and his organizers have a lot of listening to do. PorchFest also happens to be debuting a few months after the first iteration of Blucifer’s First Rodeo, a July 23-26 event that’s taking place on South Broadway. It’s also the same weekend as The UMS, the 25-year-old local-and-national music fest that’s mounting its first RiNo-based event this year, having held its final South Broadway event in 2025.

Can Denver support three large, local-music festivals — or specifically two, brand new ones that overlap in their footprints?

“Blucifer’s and The UMS are on the same weekend, so people might be choosing between them, but I would hope we’re not competition for either of them,” Schwartz said, adding that he’s been in touch with the Blucifer’s organizers and is drafting their strategy in some ways. He hopes to rope in local businesses as sponsors and hold other promotional events with organizations that share his enthusiasm for supporting the neighborhood.

“I think we have the same mission as Blucifer’s, which is to lift up the local music community and get people to see that, ‘Hey, you can go to a show and it doesn’t have to cost a ton of money and be a big thing. It’s not only Taylor Swift,'” he said.

Schwartz wants to get as many bands on the bill as possible, with a wide variety of genres represented, from bluegrass and punk to cumbia and Afrobeat — all genres of bands that have already applied.

“The short answer is: it’s going to be impossible to choose,” he said with a laugh. “The longer answer is that we’ll probably sit in my backyard on a Sunday afternoon and get a 12-pack and just sit and listen to all the music.”

Schwartz expects to release the first wave of bands in mid-July, with more to follow in rolling announcements that continue until the festival, and sponsored lead-up shows around the metro area. He’ll provide perks and branded merchandise to people who donate.

“If it were up to me, we’d have 50 houses, but I don’t know if that¶¶Ňőap a realistic thing,” he said. “We just want to include as much as we can.”

Producers of these multi-artist, music discovery events have seen record-high costs and ticket prices for fans, which have led to cratering sales and, in some cases, outright closures. Some beloved events have already disappeared from the calendar this summer — see Grand Junction’s Country Jam Colorado, which is absent in 2026 despite a solid, 33-year run.

But even as that and other such as Pitchfork Music Festival have disappeared, been paused, or faced an alarming decline in ticket sales, like Coachella did in 2024, a new festival scene is rising in Colorado.

This summer sees the first version of the DIY Blucifer’s First Rodeo, while Trinidad’s ambitious Fancy Spider is back for Year No. 2. Most of Colorado’s marquee fests have also managed to hold on year after year, despite major pandemic disruptions; see also Telluride Bluegrass Festival, Rockygrass, and Bravo! Vail Music Festival. And events such as Fort Collins’ jam-packed, highly diverse and smoothly run have even, against the odds, grown.

That’s partly because small fests are becoming both more attractive to music fans and easier to put on for producers, especially in this era of $5 per-gallon gas and creeping inflation. Big fests tend to have big prices, due to their need to pay for both the household names and the infrastructure, ranging from site rentals to insurance and security guards. Passes to at Snowmass Town Park, for example, start at $224 for a single day, with three listed acts per date (Benson Boone, Tim McGraw and Red Clay Strays are overall headliners). A full-fest pass starts at $400.

With 3 acts per day, that comes out to about $75 per act. By contrast, multi-stage fests offer performances that overlap so you’re not likely not likely to see all of them, but you’re also not likely to get bored. The annual , Sept. 11-12 at the National Western Center, charges $165 per day but offers more than two dozen acts including Kygo, Troyboi, TiĂ«sto and Sidepiece. (It’s the same venue where the Unhinged metal-and-tattoo festival announced — and then canceled — its inaugural event last year.)

It’s not just about the math, of course, as there are no extra points for seeing the most acts — unless that’s your thing — or saving the most money. The idea is to be joyously surrounded by music, not constantly clocking your journey like a fitness app. To wit: in Snowmass, home of the aforementioned JAS Aspen Labor Day Experience, you can find the free Mountainside Music Festival, June 11-13 on the Fanny Hill (ski hill) Stage, “featuring folk, pop, country and alternative acts performing against the destination’s stunning vista backdrop,” organizers said. It’s hard to beat that deal if you’re looking for stunning mountain scenery.

In that spirit, here are five smaller, more affordable summer music festivals on the Front Range that offer an alternative to big events — and possibly the most bang for your buck.

Indiewood Street Festival

Denver’s nonprofit Swallow Hill Music debuted this outdoor event last year in a street-party format with a focus on local indies such as Barbara and Rootbeer Richie & the Reveille. It sold out, encouraging another version in Englewood with national and local acts Sam Burchfield, Bluebook, the Animeros, the Crooked Rugs and Frail Talk. Tickets for the event at South Broadway and West Hampden (just north of Highway 285 in Englewood) are $20-$25, with reduced prices for kids 4-12. Free for kids under 3. (June 6; )

The UMS and Blucifer’s First Rodeo

One weekend, two major local music festivals. That’s the deal with the overlapping Underground Music Showcase and upstart Blucifer’s First Rodeo. The UMS is Denver’s long-running indie music fest that’s being rebooted in the RiNo Arts District, July 24-26 at various venues, after closing up shop on South Broadway last year. It features more than 200 shows for a full-fest price of $110, which is a killer deal by any standard, and national headliners such as 54 Ultra, slenderbodies, Goldie Boutilier, Kaash Paige, Tommy Newport, Charlotte Sands, MAVI, Twin Shadow, King Mala, Deb Never, The Droptines and Bad Nerves. Tickets and a full lineup are available at .

This is a pivotal debut for the event in RiNo, whose Business Improvement District is supporting it with a $1 million investment over the next few years. With 160 local bands on tap, it’s a mostly-Denver music fest that continues the event’s 25-year legacy of supporting the music scene here.

and with a no-less-impressive local lineup, is the July 23-26 event Blucifer’s Favorite Rodeo, a brand new music-fest that’s filling The UMS hole on South Broadway and elsewhere. With another 160 Front Range bands at multiple independent venues, it’s a great excuse to discover and celebrate Denver acts such as Pink Hawks, Colfax Speed Queen, and Team Nonexistent. All-access passes ($69) are already sold out, but you can buy 2-day wristbands for the South Broadway-centric dates for $59 (covering 150 acts at 15 or so venues) and buy a DIY-pass (including all-ages shows and Saturday’s D3 satellite festival) for $39. ()

The funny thing? Some metro area acts are playing both, given that artists would be crazy to turn down a paying gig at a music-discovery event, even if it appears to be competing with another one. (There are no hard feelings from either fest, organizers have told The Denver Post). Can both survive, or even thrive? We’ll find out next month.

Youth on Record Block Party and Youth Music Festival

Can’t get enough local music? Check out the Youth on Record Block Party, which is operated by the so-named student music-education nonprofit. The 12th annual event is set to return Sept. 19, outside at Youth on Record (1301 W. 10th Ave. in Denver), with a free, all-ages celebration of local culture. That includes “hundreds of all-ages music lovers each year for a day-long festival,” organizers said. “Join us for powerful performances from emerging artists, food trucks, community vendors, and free activities.” Lineup to come. Learn more about the all-ages event at .

Mountain Music Festival

Evergreen is again hosting this student-run fest with some celebrity shine on its headliner, and a bevy of performers that reinforce Colorado’s identity as a roots-music haven. This year features The Bacon Brothers — longtime actor Kevin and sibling/Emmy-winning composer Michael — with performances from Alex Hagar, Grady and the Hootin’ Bandits, Michael Morrow and the Culprits, Christie Huff, and Neoni. The one-day event, presented by the Wooden Hawk Foundation, takes place at Buchanan Field (32003 Ellingwood Trail in Evergreen). Tickets range from $32.46 (early bird) to $42.85 for adults, $10 for youth 6-18, and free for 5 and under. (Aug. 16, )

Fancy Spider Music Fest

Downtown Trinidad’s walkable Fancy Spider Music Fest is run by some folks in the know — founders Curtis Wallach and Suzanne Magnuson also own and operate the Trinidad Lounge, and Wallach co-owns Denver’s legendary Hi-Dive — and it’s expanding in its second year. Expect indoor and open-air shows from more than 50 local and regional acts in diverse genres, organizers said, from punk and hip hop to folk, metal and jazz. Tickets for the event, taking place across various venues in this southern Colorado border town, are $100 for full-fest access. Single-day passes, if capacity allows, and other options will go on sale later. (Oct. 9-11, )

The 25-year-old festival, which last year left the Baker neighborhood on South Broadway and is setting up in the River North Art District for the first time, will feature more than 200 performances across multiple indoor and outdoor stages in RiNo, said festival director Keanan Stoner.

It’s one of the festival’s largest lineups to date, according to Stoner, who’s also co-founder of Two Parts, the company that co-owns The UMS with (as of earlier this year) the RiNo Business Improvement District. The BID’s board has also pledged $250,000 annually for UMS title sponsorship for the next three years, which will shore up the fest¶¶Ňőap estimated $1.4 million budget — and which brings the BID’s overall investment to $1 million, including an additional $250,000 stake in the UMS’s ownership.

Weekend passes for the July 24-26 event start at $95 and are on sale at , with presale passes currently at $88.50 online. The event is ADA accessible, and some shows (i.e., the ones not at 21-and-up bars) are all ages. Five dollars of each ticket’s fees go directly to the RiNo Business Improvement District to support creatives within the district, organizers added.

This year’s lineup includes 160 local bands, and national headliners with sizeable followings, including 54 Ultra, slenderbodies, Goldie Boutilier, Kaash Paige, Tommy Newport, Charlotte Sands, MAVI, Twin Shadow, King Mala, Deb Never, The Droptines and Bad Nerves.

A full lineup is available on The UMS website (see above).

“RiNo has always had a really strong connection to Denver’s independent music culture, so bringing UMS into the district feels natural in a lot of ways,” Stoner wrote in an email to The Denver Post. “The neighborhood already has this mix of longtime venues, creative spaces and underground energy that aligns really well with the spirit of the festival.”

RiNo, formerly known as the warehouse district, spans the Five Points, Cole and Globeville/Elyria-Swansea neighborhoods with a mix of more than 100 breweries, restaurants, galleries, venues, boutiques and other businesses. Even before its revival, the gritty area in the early-to-mid 2000s began hosting the Larimer Lounge, Meadowlark Lounge, The Walnut Room, Rhinoceropolis and Orange Cat DIY spaces, and other venues that laid the groundwork for its current incarnation.

The RiNo BID and Stoner are promoting RiNo as a highly walkable area, just like the fest’s former South Broadway corridor. The UMS is set up like a music festival, such as South by Southwest, where a day or weekend pass gets you into everything.

“We’re working hard to keep the footprint navigable and the experience recognizable to longtime UMS fans, while also building in more opportunities for exploration and surprise throughout the weekend,” Stoner said. “People are going to discover a lot of spaces, venues and experiences they may not have encountered otherwise.”

The UMS faces competition this year in the form of featuring more than 200 local bands that will launch at former UMS venues along South Broadway, July 23-26. While some local music fans and artists have cast it as the anti-UMS, Blucifer’s organizers have said it’s not meant as counter-programming, but rather another place to discover and celebrate new music.

Their weekend will feature “decentralized support and promotion of cool events happening that weekend, whether we’re booking them or not,” organizers wrote online. (See for more.)

“We absolutely think Denver has room for more than one multi-venue music festival because every neighborhood and every event brings a different energy and experience,” Stoner said. “UMS has evolved a lot over the years, but the core idea has always stayed the same — connecting people through live music, whether that¶¶Ňőap in a packed club, a DIY venue or a larger outdoor stage setting.

“We’ve seen festivals come and go over the years, but ultimately, more opportunities for artists to perform, get paid and grow audiences is a good thing for the scene as a whole,” he added. “There are always more great local acts than we can fit into one lineup, so more platforms for artists only strengthen Denver’s music community.”

The UMS this year was booked by artists, venue owners and programmers who come from different corners of the music world, such as Dan Segal, Bruce Trujillo, DNA Picasso, Ariadnee Ziady and Cass Ivey, Stoner said.

Two Parts has owned The UMS for several years, and last year produced its final event with nonprofit partner Youth on Record (YOR), which owned a 30% stake. As a music education organization, YOR ultimately said costs were too high to sustain the festival, forcing it to divest and refocus on its core mission, according to executive director Jami Duffy.

Stoner estimates up to 10,000 per day could attend this year’s UMS.

Previously held along South Broadway in the Baker neighborhood, the multi-day music fest known as The UMS will take over the River North Art District, July 24-26, said Keanan Stoner, owner of the Denver-based Two Parts marketing and production company. It announced before last year’s event, however, that 2025 would be its final iteration in its longtime, South Broadway location.

The RiNo Business Improvement District will purchase a 50% stake in the event, Stoner said, valued at $250,000. That follows monthslong negotiations that began when the BID approached Two Parts early last fall about acquiring the fest. The BID’s board has also pledged $250,000 annually for UMS title sponsorship for the next three years, which will shore up the fest’s estimated $1.4 million budget — and which brings the BID’s overall investment to $1 million.

After the purchase, Stoner will transition from CEO of Two Parts to director of The UMS this year — a contract job, he said.

The festival is valuable not only for its artistic discovery but also for its commercial potential, said Terry Madeksza, executive director of the RiNo BID. She was up front about the organization’s interest in the event as an economic engine that promotes RiNo’s businesses and promotes its cultural offerings, but that remains affordable for fans, and reliable in paying bands, artists and venues what they’re worth.

She expects a number of public and private partners, from big promoters to independent businesses, to take part, but has yet to start that process of reaching out to them. BIDs are private-public partnerships that collect money from local businesses in a particular area to fund services, improve public areas, and develop economic opportunities.

“Yes, it is about the music and the festival (experience),” Madeksza said. “But it’s also about the businesses and venues that will participate, or be adjacent to music venues. If we can involve people and engage visitors while also showcasing and celebrating the arts, it can provide more exposure for RiNo.”

Two Parts has owned The UMS for several years, and last year produced its final event with nonprofit partner Youth on Record (YOR), which owned a 30% stake. As a music education organization, YOR ultimately said costs were too high to sustain the festival, forcing it to divest and refocus on its core mission, according to executive director Jami Duffy.

The retooled event is scheduled to return on its traditional weekend and with a , Stoner said. That includes welcoming an estimated 10,000 people per day and hundreds of mostly local and regional bands on multiple indoor and outdoor stages.

Past UMS Denver acts have included Nathaniel Rateliff (pre-Night Sweats), DeVotchKa, Dressy Bessy, and Slim Cessna’s Auto Club, as well as acclaimed national headliners such as Blonde Redhead, Amyl and the Sniffers, The Beths, Real Estate, Lord Huron, and many more.

RiNo’s BID already had money set aside for a “signature event” for 2026, Madeksza said, but didn’t have an idea for what that would be until The UMS announced its final event of South Broadway last year. Harnessing the name recognition and overall experience of the 25-year-old UMS could boost local breweries, restaurants, performance venues, galleries and boutiques in the area northeast of downtown Denver, she said.

RiNo includes large and small music venues ranging from promoter AEG Presents’ Mission Ballroom to rock clubs such as the Larimer Lounge, the jazz-forward Nocturne, Two Moons Music Hall, The Meadowlark, and others. Stoner said he did not commission an impact report on South Broadway visitation or spending during its time there, but that he hopes to do so in RiNo to gather more data.

“We have some wonderful outdoor, public spaces like Denargo or the Art Park, not just for the festival but in general, and we have the stages, so there’s an enthusiasm to tap into that naturally built infrastructure,” Madeksza said.

Those who tearfully waved goodbye to The UMS last year might be surprised by how quickly it roared back, Stoner said. But that was never the plan.

“Some people might think this was our mischievous master plan the whole time,” he said. “It was not. Truly, that week after the festival, I remember sitting there and being like, ‘It’s a coin toss if this thing ever returns. I hope it does because I still have a lot of heart in this thing, but I’m tired, and it’s not working, and we don’t have a path forward.’

“But when the (RiNo BID) approached a month or two after the fest, they said, ‘Let’s have a conversation, because we’re curious if this thing is really over,’ ” he added. “From there, we had many conversations and realized, yes, finances are a huge part of this, but it’s not just a big check from a corporate sponsor.”

At first, it felt like just another weekend commitment.

It was an important weekend, too: It was to be the 25th — and final — installment of the Underground Music Showcase, in which more than 200 local and touring bands take over multiple venues along Denver’s South Broadway corridor for three days.

My wife approached me after the UMS lineup was announced a while back with something on her mind. “Let’s have a show in our backyard one day during the festival,” she said. Her band could play, friends could join in, and the music would end before the nearby UMS festivities began.

We spent the next few weeks solidifying the bill for what we dubbed “Jorts Fest,” sorting through the mountain of logistical tasks that needed to be conquered. It required the support of our friends and neighbors in Lincoln Park, a TikTok post and heaps of yardwork.

In the end, it all came together. The fact that we were able to do it spoke to the appetite people have for neighborhood-centric events, and of the potential to bring people together around music.

These aren’t profound realizations. Many people I’ve spoken to have said they miss the imperfect human interactions that were lost when the coronavirus pandemic started. Finding people who felt the same wasn’t difficult. My wife posted about the party on TikTok. It ended up gaining traction, and in addition to the guests we invited, a handful of fans of her band showed up.

We told our next-door neighbor about the event, and he quickly got on board, offering his yard to hold the crowd and even hosting a silent auction. A week before, I texted the landlord of the house on our other side; she loaned us chairs and a table for the occasion.

We set up a water cooler and filled a blue plastic kiddie pool with ice, seltzer and a keg of beer. Since the party was during the day, in our yard rather than a public space, and we had the cooperation of neighbors, we weren’t too concerned about noise complaints. (I later consulted the city’s , which limits amplified sound levels during the day to 85 weighted decibels — of city traffic.)

The day of the show, all we needed were the bands, the audience and a borrowed set of speakers, plus an emergency trip to the hardware store to pick up extension cords. With the summer sun beating down, we tied a canvas tarp to some tree limbs for added shade.

The music did the rest. One act brought a bag full of percussion instruments for audience members. We rattled tambourines and clattered drumsticks to the beat of his strumming banjo. And we hosted some 40 people for the fun.

That it was the final installment of the UMS added some poignancy to what otherwise felt like the start of something promising. Denver used to have a house-show culture, musicians tell me. If there was a larger network, it was before my time here. One of the last house shows I attended was years ago in Seattle, at which a man crouched over a piano and guests sat quietly on the living room floor.

What would that person, 21 at the time, have thought of the show we put on in Denver? Probably that the music was loud and captivating, the jorts funny and irreverent, and the house itself accommodating but desperately lacking food of some kind.

And that it was all worth the sunburn, even a week later.

Instead of taking place at the National Western Stockyards on Saturday, July 26, and Sunday, July 27, the outdoor music-and-tattoo event has been replaced with a pair of shows featuring some of the fest’s biggest names.

That includes The Dillinger Escape Plan, Converge, Sanguisugabogg, Khemmis and Suicide Cages at Mission Ballroom on July 26, and Power Trip, Gatecreeper, 200 Stab Wounds, Castle Rat and Nailed Shut MA at the Ogden Theatre July 27.

, organizers blamed the cancelation on “unforeseen events” and specified that the festival was being scuttled “in its current form.” The “extreme music experience” was originally sold with now-absent headliners Lamb of God, Knocked Loose, In This Moment, The Garden, Body Count and others.

It was announced in March with perks such as a craft-beer tasting ticket, and in April added a tattoo experience presented by Ink’d and Amp’d. Tickets started at $75 per day or $125 for the weekend, with VIP weekend passes starting at $390 before fees.

Envisioned as a destination festival, Unhinged was also booked up against the final Underground Music Showcase on South Broadway, which will feature dozens of diverse, local and national indie acts playing multiple stages, July 25-27. While the audiences are largely different for each event, they no doubt overlapped as notable local bands such as Khemmis were also scheduled to play Unhinged.

All festival tickets will be automatically refunded at the original point of purchase, said California-based organizer Brew Ha Ha Productions and promoters AEG Presents Rocky Mountains.

Still happening, at least at the moment: Brew Ha Ha’s also-massive Punk in the Park outdoor festival Friday, July 18-Sunday, July 20, at the National Western Stockyards, with headliners Bad Religion, Descendents, Dropkick Murphys, Pennywise, Streetlight Manifesto and more.

Even with sold-out tickets and capacity crowds, the math just doesn’t make sense, said nonprofit producer Youth on Record, which has run the festival since 2022 with co-owner Two Parts.

“When you have a cultural legacy like The UMS, people deserve a ceremony of goodbye,” said Jami Duffy, executive director of Youth on Record, which owns a 30% stake in The UMS — as the South Broadway event has long been called.

“We didn’t want to rip something away from people, and then send a sheepish email in September about it,” she said. “We wanted to give them time to celebrate and remember.”

The 25th UMS, scheduled for Friday, July 25 though Sunday, July 27, at venues, clubs and shops along South Broadway in the Baker neighborhood, will feature more than 200 local and national independent acts from diverse backgrounds and genres. That includes All Them Witches, Flyna Boss, DeVotchKa, La Luz, El Ten Eleven, The Velveteers and dozens more.

The event has hosted more than 10,000 performances over the years and had millions of dollars of economic impact along its business corridor, Duffy said, while introducing countless thousands to local and national bands.

She noted the event is ending only “in its current form,” meaning she’s open to another organization restarting some version of it. However, The UMS’s $1.4 million budget is still too much for Youth on Record to sustain, given that the entire organization only has a $2.2 million budget for next year, Duffy said.

“We’re a small independent business, just like any of the ones on South Broadway,” Duffy said. “But the larger question is: how much of economic development in a neighborhood should be on the shoulders of a cultural festival? What’s the role of city and state subsidies? We don’t want to skimp on our mission of supporting up-and-coming artists. Mission costs money.”

With rising costs for security and public safety; artist fees (The UMS prides itself on its high artist pay, Duffy said); pricey permits and weather insurance due to climate change; and other newly urgent issues, it’s just not sustainable, she said. She pointed to a sharp drop in music festivals in the U.S. last year — — and noted that 40 or so festivals have been canceled just since the start of 2025.

Event organizers cited similar reasons as Duffy, such as newly high production costs, as well as safety and security concerns. But competition from single concerts, declining ticket sales, and other logistical challenges are weighing on events ranging from Bonnaroo, which was partly canceled this year, to Coachella and Burning Man, which both failed to sell out.

“We’ve poured our love, sweat, and tears into this festival. Year after year, giving it everything we’ve got,” said Casey Berry, co-owner of The UMS, in a statement. “The 25th Anniversary will be no different. No regrets, no pity parties — just a celebration for the ages!”

Duffy hopes that important conversations about music, sustainability and cultural support will continue at this year’s UMS, both during the festival and its , an industry- and artist-focused event taking place July 25-26. Denver’s music scene has always evolved alongside The UMS, she said, and she doesn’t want to slow anything down.

World-touring, Grammy-nominated act DeVotchKa, one of this year’s UMS headliners, played the second-ever UMS and benefited from Denver’s DIY, underground scene of the early 21st century — of which The UMS was exemplary, said singer Nick Urata.

“I love the full-circle feeling and symmetry of playing the early ones and now this final one,” he said. “We did a lot of slogging and dragging and got a lot of rejections in the early days, and I remember that feeling of playing The UMS and being super excited and super nervous at the same time. Like, ‘This is it! This is our make or break moment!’ ”

Former Denver Post reporter and critic John Moore with a quartet of bands at a one-day showcase at the Bluebird Theater. Denver Post pop-music critic and editor Ricardo Baca in 2006 grew it into a South by Southwest-style festival, where one wristband granted entry into multiple venues. (Full disclosure: I helped out that first year on South Broadway.)

“I sympathize because I can’t really know the full weight of economic issues it takes to pull off a fest of this size,” Moore said. “But I do know that we set up a domino and tipped it purely to raise the profile of local bands in Denver. When you think about all of the beautiful memories and performances that happened as a result of that one domino, it’s really overwhelming. I’m grateful to everybody who had anything to do with it.”

Over the years, The UMS evolved under different managers, with the event turning from a shoestring Denver Post production to a nonprofit event of the Denver Post Community Foundation, then a sole production of Two Parts (starting in 2018), and lately, a Youth on Record/Two Parts event.

Executive festival directors and managers such as Moore, Baca, Kendall Smith, Will Dupree and Two Parts have all left their stamp on The UMS, with Youth on Record in emphasizing artist care, sober and all-ages options, an accessibility guide, and other progressive features that are rare at most music events.

Like South by Southwest, The UMS also spun off unofficial day parties that helped birth major Denver acts such as Nathaniel Ratliff and the Night Sweats (Rateliff was a regular solo artist at the fest), while lending credibility to new faces and voices.

“I do think it’s been a perfect evolution, which leads you to go, ‘Well, then why isn’t it working?’ ” Duffy said. “But I also think that’s a sign of the times. The UMS had been able to outrun this tidal wave of music festivals closing everywhere else, until this year. But I 100% am proud of and stand by what we did with it.”

Visit for this year’s full lineup, venue list and tickets.

Unhinged Fest will play the National Western Stockyards July 26-27, with a roster of metal, hardcore and post-punk bands like Knocked Loose, Lamb of God, In This Moment, The Dillinger Escape Plan, Body Count, Power Trip, and more (full lineup and tickets available at ).

Despite a sleepy period just after the holidays, the Denver festival scene has ramped up in recent weeks with news of Unhinged and other large events debuting in or returning to Denver; see the retooled, three-day Punk in the Park (July 18-20, also at National Western Stockyards) and the 5th annual Deadbeats Backyard Jamboree (Zeds Dead & Friends, July 4 at Civic Center park).

Englewood, which has seen an inflow of Denver businesses over the past year or two, will also host a music festival, Swallow Hill Music’s first on June 7. The day-long party, headlined by Kiltro, will takes place near South Broadway and West Hampden.

The announcements belie a wary festival circuit that has gone increasingly niche to attract crowds. Denver does not have a Coachella or a Bonnaroo — two national festivals that feature a wide range of genres and music lovers — but we do have the 25th, indie-focused , which highlights 200-plus up-and-coming acts (July 25-27 along South Broadway), and further afield, the , with a whopping 420 performances on 40 stages (April 18-19 in Fort Collins).

Denver has not supported many new, mainstream festivals in recent years, with examples such as Grandoozy and Vertex coming and going after only one year. Rolling Stone this week asserted as organizers vowed that the sprawling, Austin event would return in 2026 with a single week of scaled-back programming (instead of two, as usual).

While it appeared that Colorado was facing some festival fatigue, with individual bookings at amphitheaters and venues such as Mission Ballroom, replacing larger events, that may not have been the case as stalwarts such as Telluride Blues & Brews, JAS Aspen Snowmass Experience, Bravo! Vail and Country Jam joining the new(er) events.