Big Head Todd and The Monsters: Winter Tour 2018 - The Wilbur

Big Head Todd and The Monsters

No upcoming concerts for Big Head Todd and The Monsters

Other Upcoming Shows

An Evening with Matty in the Morning

Wed Oct 10th - 7:30PM tickets parkingFri Oct 19th - 7:30PM tickets parkingSat Oct 20th - 7:00PM tickets parking
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PRICE: $32 - $102

Gad Elmaleh: The Dream Tour

Tue Oct 16th - 7:30PM tickets parking
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PRICE: $38 - $52

The Milk Carton Kids

Wed Oct 17th - 8:00PM tickets parking
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PRICE: $31.50 - $127

The Moth

Thu Oct 18th - 7:30PM tickets parking
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PRICE: $57

It’s Me Again: An Aparna Nancherla Tour

Fri Oct 19th - 7:30PM tickets parking
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PRICE: $27 - $77

SHOOK ONE: Anxiety Playing Tricks on Me by Charlamagne Tha God

Wed Oct 24th - 7:00PM tickets parking
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PRICE: $37 - $57

An Evening w/ Girl with No Job

Thu Oct 25th - 7:30PM tickets parkingThu Oct 25th - 9:55PM tickets parking
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PRICE: $35 - $75

Old School Game Show

Fri Oct 26th - 10:00PM tickets parking
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PRICE: $26 - $37

Hari Kondabolu

Fri Oct 26th - 7:30PM tickets parking
Openers: Liz Miele
SEAT TYPE: Fully seated
PRICE: $30

The Revolution

Sat Oct 27th - 8:00PM tickets parking
SEAT TYPE: Partly seated
PRICE: $50 - $65

Jenny Slate

Mon Oct 29th - 7:30PM tickets parkingTue Oct 30th - 7:30PM tickets parking
PRICE: $39

Live Dead ’69 & New Riders of the Purple Sage

Wed Oct 31st - 8:00PM tickets parking
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PRICE: $30 - $33

UB40

Thu Nov 1st - 8:00PM tickets parking
SEAT TYPE: Partly seated
PRICE: $35 - $127

Gary Gulman

Fri Nov 2nd - 7:30PM tickets parking
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PRICE: $35

Jimmy Carr: The Best Of, Ultimate, Gold, Greatest Hits Tour

Sun Nov 4th - 7:00PM tickets parkingSun Nov 4th - 9:45PM tickets parking
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PRICE: $29

Team Coco Presents: Conan & Friends

Tue Nov 6th - 7:30PM tickets parkingTue Nov 6th - 10:00PM tickets parking
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PRICE: $53 - $850

Lucia Micarelli

Wed Nov 7th - 7:30PM tickets parking
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PRICE: $35 - $50

David Bromberg Big Band w/ special guest Loudon Wainwright III

Thu Nov 8th - 7:30PM tickets parking
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PRICE: $35 - $65

LeVar Burton Reads Live!

Fri Nov 9th - 7:30PM tickets parking
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PRICE: $37 - $102

Danity Kane DK3 feat. Dawn & Dumblonde

Sun Nov 11th - 8:00PM tickets parking
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PRICE: $27 - $37

Jeff Tweedy Book Tour: LET’S GO (SO WE CAN GET BACK)

Wed Nov 14th - 7:30PM tickets parking
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PRICE: $45 - $72

Don McLean

Thu Nov 15th - 8:00PM tickets parking
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PRICE: $40 -$65

Boz Scaggs: Out of The Blues Tour 2018

Fri Nov 16th - 8:00PM tickets parking
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PRICE: $43 - $179

The Dollop

Sat Nov 17th - 7:00PM tickets parkingSat Nov 17th - 9:45PM tickets parking
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PRICE: $32 - $57

Jackson Galaxy

Sun Nov 18th - 7:00PM tickets parking
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PRICE: $35 - $55

Mike Epps

Fri Nov 23rd - 7:30PM tickets parkingFri Nov 23rd - 10:00PM tickets parking
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PRICE: $45

Joan Osborne’s DYLANOLOGY : feat. Special Guests Anders Osborne & Robert Randolph * All Dylan * Full Band * Two Sets *

Wed Nov 28th - 8:00PM tickets parking
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PRICE: $37 - $59

The Beach Boys – Reason for the Season Christmas Tour

Thu Nov 29th - 7:30PM tickets parking
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PRICE: $54 - $70

Chris D’Elia

Fri Nov 30th - 7:30PM tickets parkingFri Nov 30th - 10:00PM tickets parkingSat Dec 1st - 7:00PM tickets parkingSat Dec 1st - 9:45PM tickets parking
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PRICE: $30 - $75

Craig Ferguson: Hobo Fabulous Tour

Sun Dec 2nd - 7:00PM tickets parking
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PRICE: $39 - $52

Crash Test Dummies

Tue Dec 4th - 8:00PM tickets parking
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PRICE: $40 - $65

Lindsey Buckingham

Wed Dec 5th - 8:00PM tickets parking
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PRICE: $41 - $300

Chris Botti

Thu Dec 6th - 8:00PM tickets parkingFri Dec 7th - 8:00PM tickets parkingSat Dec 8th - 8:00PM tickets parking
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PRICE: $50 - $79

A Conversation with Bob Woodward

Tue Dec 11th - 8:00PM tickets parking
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PRICE: $49 - $79

Small Town Murder Presents: Shut up and Give Me Murder!!

Thu Dec 13th - 7:30PM tickets parking
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PRICE: $47 - $67

Paula Poundstone

Fri Dec 14th - 7:00PM tickets parking
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PRICE: $39

Blood, Sweat & Tears – 2018

Sat Dec 15th - 7:30PM tickets parking
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PRICE: $39 - $69

The Tenors “Home for the Holidays: Christmas Classics & the Hits”

Wed Dec 19th - 8:00PM tickets parking
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PRICE: $43 - $175

Start Making Sense

Fri Dec 21st - 8:00PM tickets parking
Openers: Jocelyn & Chris Arndt Band
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PRICE: $23 - $25

Michelle Wolf

Sun Dec 30th - 7:00PM tickets parkingMon Dec 31st - 7:00PM tickets parking
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PRICE: $37

DC Young Fly

Fri Jan 4th - 7:30PM tickets parking
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PRICE: $27 - $35

Carlos Mencia

Sat Jan 5th - 7:00PM tickets parking
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PRICE: $29

Fortune Feimster

Fri Jan 11th - 7:30PM tickets parking
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PRICE: $27

Orny Adams

Sat Jan 12th - 7:00PM tickets parking
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PRICE: $25

It’s Not You, It’s Me, The Second City

Sun Jan 13th - 7:00PM tickets parking
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PRICE: $25

DeRay Davis

Fri Jan 18th - 7:30PM tickets parking
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PRICE: $32

Amazing Johnathan

Sat Jan 19th - 7:00PM tickets parking
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PRICE: $39

Bert Kreischer: Body Shots Tour

Sat Jan 26th - 7:00PM tickets parkingSat Jan 26th - 9:45PM tickets parkingSun Jan 27th - 7:00PM tickets parking
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PRICE: $39.50

Countess and Friends

Wed Jan 30th - 8:00PM tickets parkingThu Jan 31st - 8:00PM tickets parking
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PRICE: $39 - $125

Ron White

Fri Feb 1st - 7:30PM tickets parking
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PRICE: $45 - $240

And That’s Why We Drink Podcast

Sat Feb 2nd - 7:00PM tickets parking
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PRICE: $25 - $65

Rob Schneider

Sat Feb 9th - 7:00PM tickets parking
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PRICE: $32

Ronny Chieng

Sat Feb 9th - 9:45PM tickets parking
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THE LONDON AFRICAN GOSPEL CHOIR performs PAUL SIMON’s “GRACELAND” with special guest THE DUKE OF NEW YORK DJ set of “GRACELAND – THE REMIXES”

Wed Feb 20th - 8:00PM tickets parking
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A Bowie Celebration: The David Bowie Alumni Tour

Sun Mar 3rd - 8:00PM tickets parking
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PRICE: $37 - $199

Sirius XM Presents: KATHLEEN MADIGAN – HOT DOGS AND ANGELS TOUR

Sat Mar 9th - 7:00PM tickets parking
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PRICE: $32 - $39

Brian Regan

Fri Mar 15th - 7:30PM tickets parking
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PRICE: $47 - $69

Natalie Merchant and Lunasa

Tue Mar 19th - 8:00PM tickets parking
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PRICE: $49 - $82

Norm Macdonald

Sat Mar 23rd - 7:00PM tickets parking
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PRICE: $27 - $37

Nils Frahm

Wed Mar 27th - 8:00PM tickets parking
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One Night of Queen

Tue Apr 16th - 8:00PM tickets parking
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PRICE: $35 - $45

Tom Segura

Sat Apr 27th - 7:00PM tickets parkingSat Apr 27th - 9:45PM tickets parking
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Bio

Big Head Todd and the Monsters New World Arisin’photo credit: Jason SiegelBig Head Todd and the Monsters are not that big on anniversaries, so there won’t be any big hoopla over the fact that the band is officially crossing the three-decade mark this year. Thirty years would seem like something to commemorate, especially with the same core lineup, an achievement few other name-brand bands can boast of. Yet right now they’re less about celebrating stability than volatility, in the form of their eleventh studio album, New World Arisin’, which makes good on its forward-facing title with what might be the brashest rock and roll of their career. The old world can’t rest on any laurels, and neither will they.

“We’re in a real exciting part of our career right now,” says co-founder Todd Park Mohr.  “We’re a viable band with a great audience and we’re able to work at a very high level. It’s a career that’s getting more and more interesting, rather than less, which is remarkable,” he says, chuckling at the unlikelihood of anyone being this cheerfully all-in, this far in. “I mean, 30 years into it, I really feel like: Wow, this is getting fun. I’m learning more about music and about my instrument, and it’s just really engaging in every way. We also dovetail well with the times, I think; I feel like we have something to say

.”That desire to communicate and connect is very much reflected in a new album that explores a variety of subgenres, from the funky (“Trip”) to the unexpectedly punky (“Detonator”), with stops along the way for raging country-rock (“Damaged One”), expansive storytelling in the Van Morrison/early Springsteen mode (“Wipeout Turn”), a Jimi Hendrix cover (“Room Full of Mirrors”), and, in the title track, “New World Arisin’,”a Charley Patton-inspired tune that ended up having what Mohr describes as “a heavy metal/gospel feel.”

He doesn’t feel these musical zigzags will give fans musical whiplash. “The fact is, most people, like myself, listen to multiple genres of music, so I don’t think people have a problem with variety. I love it.”

But if there’s a dominant musical motif to New World Arisin’, it’s “straight-up rock-pop,” says Mohr. That contemporary approach might come as a slight surprise to hardcore fans that saw the Monsters take a seriously rootsy turn or two in the last 10 years. The band embarked on a side project, dubbed Big Head Blues Club, that saw them paying homage to Robert Johnson and bringing in venerable guest collaborators like Charlie Musselwhite and the late B.B. King. The heavy blues influence that dominated their alter-ego band carried over some into the last actual Big Head Todd and the Monsters album, 2014’s Black Beehive. That element isn’t altogether missing in New World Arisin’; you’ll certainly hear it recur in “Long Coal Train.” But this time the blues take a definite back seat to the unapologetically mainstream instincts that had Big Head Todd going platinum in the mid-’90s with the album Sister Sweetly, which spawned the rock radio hits “Broken Hearted Savior,”“Bittersweet,”and “Circle.”

“Commercial success is still a goal for me and for our band,” Mohr says, “as far as the sense of communicating to, or striking a chord with a large number of people. We feel like we have something to say and something to offer the culture.” Plus, a true confession: “I’m interested in the pop song! And I think ‘Damaged One,’ for one, is a classic pop song. Our label would have killed for that song, back then,”in the wake of those mainstream radio hits that established the band. “They begged me to write it! So there’s a lot of irony in our coming back to that.

”The history of the group actually stretches farther back from the 1987 point at which they took their name. The core members came together at such an early age that it’s hard to know exactly how many candles to put on their collective cake. “It’s murky,” Mohr says, “because I’ve been playing with Brian (Nevin, their drummer) since junior high school, so the two of us go back to 1982. Brian and I played a talent show with Rob (Squires, the bass player) in 1983, and then we continued to plug at it, at a kids’ pace,”he laughs. They began playing original music in earnest in a nascent Colorado music scene that then consisted almost entirely of cover bands. A debut album,Another Mayberry, arrived in 1989, though it would be another four years before Sister Sweetly made them a national phenomenon. The only personnel change in these three decades has been the addition of a fourth member, putative “new guy”Jeremy Lawton, in 2004.

 

While they enjoy a robust fan base around the country, their success is outsized in Colorado, where they’re practically the unofficial state band. That’s evident in their ability to sell out Red Rocks, the most revered amphitheater in the nation, where they’ve headlined 19 times. It also comes into play when the band gets asked to be a part of commemorative moments: Mohr recently sang the national anthem at a Rockies game, and the entire band took part in the parade through Denver after the Broncos took the Super Bowl.

Their honors extend beyond their home state and even home country… into space. In 2005, they released the single “Blue Sky,” a tribute to the space program, written at the behest of crew members taking to the heavens aboard the space shuttle Discovery; it was performed years later as a live wake-up call to the astronauts on the shuttle. The song had enough appeal back on earth, too, that it was picked up by the Hillary Clinton campaign in 2008 and used to introduce her keynote speech to the Democratic convention.

That campaign usage didn’t come about as a result of any desire on Mohr’s part to take the band in a political direction. He’s not so interested in getting Big Head Todd and the Monsters caught up in that particular fray as looking at the smaller and bigger pictures, wanting to keep the material topical in some far deeper fashion. “Our audience is America, and I’m guessing it breaks down to the same percentages the country itself has,” he says. “We’ve never gotten in the business of polarizing people politically. But at the same time, as artists, it’s our job to observe and to hopefully find some insight. I’ve always been interested in the human condition more than politics. Politics are a part of it, but I always look at conflict as personal before it’s political. And I would consider conflict my dominant lyrical theme now— how people are trapped in it,

and how conflict relates to intimacy and pleasure.” A Big Head Todd show, in any case, is a place where those conflicts might resolve, or dissolve. “In talking about our apolitical-ness, I think unity is an important thing,” Mohr says. “Being a human being, you have a lot in common with other human beings, and why not maximize those things? Music has an incredible capacity to convey other cultures and times, and to create a lot of empathy and togetherness. There’s harmony in it, and it implies oneness — the root.

”There’s an economy to the songs on the new album, most of which clock in around four minutes, and sometimes even closer to three. You’d think this would make Big Head Todd and the Monsters the farthest thing from a jam band. Yet they have a fervent following among that subset of rock fans, lack of noodling notwithstanding. Maybe it’s because of the changing nature of their set lists, since the Monsters are known to take requests, both in person and online. 

“Our focus has always been on serving the song,” Mohr says. “We haven’t historically been that jammy. Which isn’t to say that we don’t have an occasional six-minute number — we do. But having said that, I have a great respect for that audience, which I think is just a music-loving audience. You know, one year I got invited to the Jammies at Carnegie Hall, and I got in a discussion with somebody: ‘Well, how do you define a jam band?’ And he told me, ‘A jam band doesn’t repeat a song for three shows in a row.’ That was the only way that he would define it. I could almost follow that rule, except there are probably four songs I have to play every night. So I guess those four songs are what’s keeping us from ever being a jam band,” he laughs.

What’s clear is that Big Head Todd is one multi-headed rock monster, easily traversing the most accessible hooks and the heaviest grooves. It’s not surprising that they would appeal to any audience or sub-audience that values durability over flavors of the moment. But Mohr has to laugh when he thinks about how little the possibility of long-term perseverance was on the members’ minds 30 years ago. 

“When you form, I think your goal is to make it through the party on Saturday night,” he points out. “In art, longevity isn’t the goal. It’s a happy accident if it happens, and I think ours was one of those convenient accidents that led to a happy marriage. But we happen to get along really well and love being with each other and playing music for a living.” Simple as it may sound, that’s a profound recipe for endurance in both the old world and the new

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