Legend of Rock—a guide to Denver's Red Rocks Park & Amphitheatre
From Bono and Bonnie Raitt to The Beach Boys and The Beatles, world-class performances are part and parcel of the small sandstone outcrop on the edge of Colorado's Rocky Mountain foothills. Set in a red landscape of high-desert and sheer cliffs 15 miles from Denver, the 9,525-capacity Red Rocks Amphitheatre has won Pollstar's award for best outdoor venue so many times that the award was renamed the 'Red Rocks Award'. And while Red Rocks found fame in the 20th century as a music venue, the area's storied past spans millennia. Though nothing can compare to catching a live show, paying a visit to Red Rocks in the daytime offers a whole other experience, with the surrounding Red Rocks Park offering 738 acres of spectacular mountain scenery, ripe for exploring on foot, mountain bike or horse. You can also get a taste of the venue's star power at the Red Rocks Hall of Fame. Here's four reasons to pay a visit to this remarkable destination.
The structure of Red Rocks is 300 million years old, and long before recording artists belted out tunes this area was home to the Ute, Cheyenne and Arapahoe peoples. It was the Ute who discovered the area's natural acoustics, and when the amphitheater opened in 1941, the opening event began with a ceremonial Eagle Dance and a Zuni melody. The Native American history in the area runs deep, and a ponderosa pine under which the Ute chiefs hosted tribal councils — the Inspirational Tree — still stands at the foot of Dinosaur Ridge, northeast of Red Rocks.
The first major rock concert at Red Rocks was in 1964 by the biggest band in the world: The Beatles. Amazingly, it was the only concert on the Mop Tops' first US tour that didn't sell out, with around 7,000 tickets sold (at $6.60 a pop).
The Beatles are just one of the many big names who've graced this stage, including the likes of Bruce Springsteen, Neil Young, Bob Dylan, Carlos Santana, Diana Ross and Pearl Jam. When Jimi Hendrix appeared in 1968, ushering in the psychedelic era, he proclaimed, 'that was groovy'. And perhaps the single most famous Red Rocks moment came in a fortuitous way — a combination of rainy weather, a blood-red mist, giant flames bursting from on top of the rocks and U2's Bono waving a white flag in the air as the band belted out Sunday Bloody Sunday.
You can find out about all the historic stories and celebrated artists in the Visitor Center, the highlight of which is the Red Rocks Hall of Fame, where performers have been inducted nearly every year since 2003. The space is due to reopen after a renovation in March 2025.
Before a show at Red Rocks begins, you can head to the nearby town of Morrison and join locals at restaurants and bars like the Hungry Goat Scratch Kitchen and Wine Bar for steak and fries, or Red Rocks Beer Garden serving freshly made burritos and Colorado-brewed beer. Those in the party mood can make their way to the venue's parking lots for a tailgate, as concert-goers gather two hours ahead of showtime to eat, drink and revel in the atmosphere. You won't find a better car park view than this — with panoramic vistas of the amphitheatre, the distant mountains and the Denver skyline. And when you take your seat for the concert, you get two shows: the live music blasting from the stage and the city lights below, twinkling against lavender and tangerine clouds.
Within 738-acre Red Rocks Park, a number of hiking trails weave their way under the shadows of outlandish stone formations. The short Geologic Overlook Trail features a picnic spot and beautiful views, while the longer Red Rocks Trail at the east side of the park — merging into Matthews/Winters Park — forms a six-mile loop with the Dakota Ridge Trail. Although challenging in parts, the trail takes in wide meadows and the park's rust-hued towering monoliths. Its rolling terrain is also accessible to experienced mountain bikers and horse riders. The nearby town of Golden — located near head of the Dakota Ridge trail — has numerous bike rental stores, while Bear Creek Stables in Morrison offers guided rides with panoramic views of Red Rocks Park and Amphitheatre.
This paid content article was created for Red Rocks Park and Amphitheatre. It does not necessarily reflect the views of National Geographic, National Geographic Traveller (UK) or their editorial staffs.To subscribe to National Geographic Traveller (UK) magazine click here.(Available in select countries only).
Hashtags

Try Our AI Features
Explore what Daily8 AI can do for you:
Comments
No comments yet...
Related Articles

Yahoo
a day ago
- Yahoo
Sly Stone: influential funk pioneer who embodied the contradictions at the heart of American life
There's immense variety in popular music careers, even beyond the extremes of one-hit wonders and the long-haulers touring stadiums into their dotage. There are those who embody a specific era, burning briefly and brightly, and those whose legacy spans decades. Straddling both of those, and occupying a distinctive space in popular music history, is Sylvester Stewart, better known as Sly Stone, who died at the age of 82 on Monday June 9. A pioneer of funk whose sound spread far beyond the genre, his band Sly and the Family Stone synthesised disparate strands of American popular music into a unique melange, tracking the musical and social shifts as the 1960s wore into the 1970s. Looking for something good? Cut through the noise with a carefully curated selection of the latest releases, live events and exhibitions, straight to your inbox every fortnight, on Fridays. Sign up here. A musical prodigy and multi-instrumentalist from a young age, Stone was born in Texas in 1943 and raised in California, in a religious Pentecostal family. He had put out his first single aged 13 – a locally released gospel song with three of his siblings, who would later join him in Sly and the Family Stone. A record producer and DJ by his early twenties, he imbibed the music of British acts like The Beatles and Rolling Stones, and applied his eclectic tastes and musical versatility to producing local psychedelic and garage rock acts in the emergent San Francisco scene. By the time commercial popular culture had flowered into a more exploratory 'counterculture' in 1967's Summer of Love, the ebb and flow of personnel across local bands had coalesced into a line-up including the Stone siblings – Sly, Freddie, and their sister Vaetta, with their other sister Rose joining in 1968. Pioneering socially, as well as aesthetically, Sly and the Family Stone had diversity at its core – a mixed sex, multi-racial and musically varied band. This was notable for a mainstream act in an America still emerging from the depths of segregation, and riven with strife over the struggle for civil rights. While their first album in 1967 A Whole New Thing enjoyed comparatively little traction, 1968's Dance to the Music presaged a run of hits. Their sonic collision of sounds from across the commercial and social divide – psychedelic rock, soul, gospel and pop – struck a chord with audiences simultaneously looking forward with hope to changing times, and mindful of the injustice that was still prevalent. Singles like Everyday People, Stand, and I Want to Take You Higher, melded a party atmosphere with social statements. They were calls for action, but also for unity: celebratory, but pushing the musical envelope. While the band wore its innovations lightly at first, their reach was long. Bassist Larry Graham was a pioneer of the percussive slap bass that became a staple of funk and fusion. And their overall sound brought a looser, pop feel to the funk groove, in comparison to the almost militaristic tightness of that other funk pioneer, James Brown. Where Brown's leadership of his group was overt, exemplified by his staccato musical directions in the songs, and the call and response structure, Stone's band had more of an ensemble feel. Musical lines and solos were overlaid upon one another, often interweaving – more textured rather than in lock-step. It was a sound that would reach an almost chaotic apogée with George Clinton's Funkadelic later in the 1970s. The party couldn't last. As the optimism of the 1960s gave way to division in the 1970s, Stone's music took a darker turn, even if the funk remained central. The album There's A Riot Going On (1971), and its lead single It's Family Affair contained lyrics depicting social ills more explicitly. The music – mostly recorded by Sly himself – was sparser, the vocals more melancholic. The unity of the band itself was also fracturing, under pressure from Stone's growing cocaine dependency. The album Fresh (1973) featured classics like In Time and If You Want Me To Stay, but they were running out of commercial road by 1974's Small Talk, and broke up soon after. Periodic comebacks were punctuated by a troubled personal life, including, at its nadir, reports of Stone living out of a van in Los Angeles, and arrests for drug possession. By the time he achieved a degree of stability, his star may have faded, but his legacy was secure. Stone embodied the contradictions of American popular music – arguably even America itself: brash and light-hearted on the one hand, with a streak of darkness and self-destructiveness on the other. The handclaps and joyous shouts harked back to his gospel roots, but his embrace of electric instruments aligned soul with rock and pop. He was a funk artist who played at the archetypal hippie festival, Woodstock, and a social commentator whose party sounds were shot through with urgency. He paved the way for the likes of Prince and Outkast, but also informed jazz and fusion. Jazz pioneer Miles Davis acknowledged Stone's influence on his own turn towards electric and funk sounds in the late 1960s and early 1970s on landmark albums like Bitches Brew. Sly Stone's joyful provocations may not have lasted at the commercial centre, but his mark was indelible. His struggles were both personal and social, but his sense of groove, and of a collective voice, demonstrated the value of aligning traditions with new ideas – a musical America that was fractious, but still a family affair. This article is republished from The Conversation under a Creative Commons license. Read the original article. Adam Behr has received funding from the Arts and Humanities Research Council


Forbes
a day ago
- Forbes
Bono Charts His First No. 1 Hits Without U2
Bono is one of the most immediately recognizable rock stars on the planet, thanks to his signature look, which has included shades for decades, but he's known almost entirely for his musical endeavors with his groupmates in U2. The Irish frontman rarely strays from the band that made him a global superstar, but this week in the United Kingdom, he earns his first hit songs under his own name, without the help of his groupmates. The track, however, is a U2 classic. Bono debuts his updated version of 'Desire' on a trio of rankings in the U.K. The tune is an instant top 10 on all three tallies, becoming a quick bestseller across a variety of formats. 'Desire' launches at No. 1 on both the Official Physical Singles and Official Vinyl Singles charts at the same time. It also arrives at No. 7 on the all-encompassing Official Singles Sales list. In each instance, 'Desire' earns Bono his first placement as a soloist, as he opens at No. 1 on his first try on two of the three tallies. Bono released 'Desire,' which he has titled in some instances 'Desire (Stories of Surrender Version),' to coincide with the release of his new documentary Bono: Stories of Surrender. The film follows in the wake of his bestselling memoir Surrender: 40 Songs, One Story. The tune is featured on an EP that accompanies the documentary, which is exclusive to Apple TV+. Just a trio of tracks — 'Desire,' 'The Showman,' and 'Sunday Bloody Sunday' — are included on that short project, and 'Desire' has become the standout success. U2 released the original version of 'Desire' in 1988 as a single from the group's album Rattle and Hum. Written by Bono, the tune was a huge hit around the world, topping the main singles list in the U.K. and peaking at No. 3 on the Hot 100 in America. It earned U2 the Grammy for Best Rock Performance by a Duo or Group With Vocal and is still regarded to this day as one of the band's biggest smashes.


San Francisco Chronicle
a day ago
- San Francisco Chronicle
Exclusive: Entertainment complex to land in this S.F. waterfront neighborhood
A 'multi-sensory playground' of geodesic domes — imagine a trio of mini Las Vegas Spheres — will bring an immersive entertainment complex to San Francisco's Pier 70, enlivening a waterfront development site that has been stalled since the pandemic. The domes will feature live music, movies, educational programing like nature documentaries and wellness-oriented offerings like sound baths and yoga. Elevation XR, which operated a similar venue in Los Angeles during the pandemic, has signed a five-year lease to put four structures (the three domes and a pyramid) on a site between the bay and a historic building that was recently renovated and opened to the public. The four structures, which range from two-and-half to four and a half stories, are being built in Eastern Europe and will be shipped to San Francisco. The project will cost about $7 million and open early next year on the three-acre site. The four structures combined will accommodate about 2,500 people. There will be parking for 200 cars to the south of the park. As it did in L.A., the park will feature productions inspired by The Beatles, Pink Floyd, The Grateful Dead and Daft Punk, with top-notch cover bands playing live along with immersive visuals. The group has also built temporary domes at Coachella, SXSW and Burning Man. Elevation XR CEO Sean Ahearn said that the goal is to 'build a cultural hub that celebrates innovation, creativity and the incredible local talent that makes San Francisco so special.' 'In an age where so much of life is spent online, we're inviting the community to step away from the everyday, look up, and engage with immersive experiences that spark wonder, reflection, and connection,' he said. The project comes as developer Brookfield Properties has paused most of the work at Pier 70, with the exception of the restored historic Building 12, which has been filling up in recent months with tenants including Standard Deviant, Sven Ceramics and Breadbelly. There is a paper artist, a florist, a motorcycle dealer, a pickleball and padel complex, a sneaker designer, a metalsmith and other tenants. The Pier 70 development is approved for nine acres of waterfront parks, up to 2,150 homes, up to 1.75 million square feet of commercial office and lab space, a waterfront arts building, light industrial space for local makers and rehabilitated historic buildings. The property is next to the former Potrero Power where a developer is planning to build 2,600 units and recently announced plans to put an interim park and amphitheater on a site eventually slated for a hotel. The developer is unlikely to break ground on a new structure at Pier 70 in the next year, said Brookfield Vice President of Development Tim Bacon. The three parcels that will accommodate the domes are scheduled for later phases of development, so the dome park is unlikely to cause any delays. 'We feel like the market is slowly recovering but there is still a need for more growth and more momentum,' Bacon said. 'These ground-up projects are still very complicated. High construction costs and uncertainty over tariffs are adding to the uncertainties we have experienced in the last five years.' With Building 12 filling up, Bacon said 'it felt like a great moment to bring more people down here.' 'Fifteen years ago no one thought we would be building a bunch of domes out on the waterfront,' said Bacon. 'Brookfield is a strong believer that interim activations are one of the tools to help advance development. You build momentum.' Ahearn said he had hoped to open a dome park seven years ago but city officials and the real estate community didn't embrace the idea. 'Before Covid, … San Francisco wasn't friendly toward it.' This time it has been different Brookfield and Mayor Daniel Lurie both embracing the concept. Lurie said in a statement that 'projects like this help us reimagine what's possible in our city while creating new opportunities for residents, artists, and local businesses alike.' Susan Eslick, a longtime resident of Dogpatch and board treasurer of the Dogpatch Business Association, called the project 'thrilling.' 'Elevation Sky Park will be an extension of Dogpatch's expansive creative community and a venue for the arts,' she said. 'We want kids and students to feel welcome here,' said Ahearn. 'We don't want anyone to feel like they can't get in because they can't afford a ticket.'