Molly Higgins Band is a dynamic trio whose diverse background and dedication to their craft captivates audiences with renditions of traditional Celtic Music.

Marcos Hanech is a self-taught guitarist who began his musical journey spending hours practicing at his childhood home in Brazil. Inspired by his favorite heavy metal bands, as well as traditional Brazilian music, he brings contagious energy, rhythmic drive, and a wide range of texture to Molly Higgins. Fiddle player and Boston native, Sam Cole grew up playing music alongside his father in the Cole family band. He draws from a broad musical background that includes Irish, bluegrass, gypsy jazz, and classical music. Rounding out the trio is classically trained oboist Andrew Jacobson. He has performed with symphonies around the world and now brings that highly trained expertise to the tin whistle.

Within Molly Higgins, a rich tapestry of influences converge to honor the heritage of traditional Celtic Music. Radio appearances and live performances across the Front Range have garnered a dedicated following as they engage audiences with their passion, polished musicianship, and musical camaraderie.

Join the movement @MollyHigginsBand

Andrew Jacobson - tin whistle

Marcos Hanech - acoustic guitar

Sam Cole - fiddle

made with bandmates, among them, Louis Cato (of Jon Batiste and Stay Human, house band for Stephen Colbert, Marcus Miller, Snarky Puppy, and Bobby McFerrin). She worked with the same group for her 2015 release “The Bargain” which charts her recovery from a serious illness with songs that move from darkness to light. In 2013 she released “In Good Company: The Colorado Sessions” a collaborative album of co-writes with Colorado bands including SHEL and Covenhoven.

December 2019 marked the 10th year Megan performed throughout the Pennsylvania state maximum security prison system with her band.

Megan has toured as a headlining artist, and as support for acts including Gregory Alan Isakov, Mark Cohen, Brett Dennen, Glenn Phillips of Toad The Wet Sprocket, Lissie, Stephen Kellogg and Leanne Rimes. In 2015 she collaborated with the Colorado Symphony Orchestra as a featured artist.

For over a decade, Jeremy Mohney has led one of Colorado’s most popular Swing Bands. His Spirited renditions of Jazz classics as well as original compositions in the swing style give him a unique and authentic dimension. Whether playing for a jam-packed ballroom for dancers, or playing for lovers of music in an intimate club, Mohney has the charm to capture the attention of any audience.

Mohney has performed at beloved venues such as Denver’s Mercury Cafe, Boulder’s Chautauqua and NYC’s famed Back Room, the original 1920s Speakeasy. He’s also graced the stage at Festivals like Colorado’s Evergreen Jazz Fest, Nederland Jazz and Wine Fest and FoCoMx.

Mohney’s band consists of a core trio of Bass, Guitar and Mohney on Sax and Vocals. Brass and/or Drums can be added to make a quartet or quintet. This is called Jeremy Mohney and His Orhestra. He also offers a 9-piece Big Band of Drums, Bass, Guitar, three reeds and three brass. This is called Jeremy Mohney and His Orchestra.

The Glass Hours are American songwriters Megan Barbera and Brad Armstrong. Combining influences from Megan’s Colorado mountain roots and Brad’s Birmingham, AL southern roots, the Americana/Country Folk duo met in New York’s Hudson Valley in Summer 2022 and began writing and performing together immediately. They recorded their first album the following spring.

Their self-titled debut album was released by Cornelius Chapel Records in March 2024, and several songs from the album were featured by Americana UK, The Bluegrass Situation and Americana Highways. The duo was invited to play NYC’s Underwater Sunshine Festival, an annual music showcase curated by Adam Duritz, lead singer for Counting Crows. From there, they self-booked two national tours in 2024 and began writing their second album while on tour in the West.

The Glass Hours' second album, Chapel Glass, was recorded in November 2024 at Dial Back Sound in Water Valley, MS (release date TBA). Chapel Glass was co-produced, engineered and mixed by Clay Jones (Al Green, Modest Mouse) and includes Matt Patton (Drive-by Truckers, Laura Jane Grace) on bass, Jason Lucia (Blue Mountain, Galactic Engineers) on drums, Baxter Arender on keys, and a guest appearance by Taylor Hollingsworth (Dead Fingers, Conor Oberst and the Mystic Valley Band).

Like much of the work they’ve done in their respective solo careers, both albums dance between this and that, drinking from the wells of Gram Parsons and Emmylou Harris, Steve Earle and Lucinda Williams. The songs go where they want to go; Brad and Megan simply try to stay out of the way. Although it is nearly impossible, in this new world of niche artistry, not to pick a genre camp and pitch a tent, The Glass Hours seem intent on trying. Yet, there is a thread that ties the whole thing together, and that is the constant tension and tapestry of their voices harmonizing. Every song on both albums was written with the idea of this harmony and interaction, point and counterpoint, between two voices trying to come together as one.

Prior to this project, Megan and Brad have written, performed and recorded for various independent projects. Their solo work has been recognized and reviewed by Pitchfork, San Francisco Bay Guardian, Paste, No Depression, Vice Magazine, International Songwriting Competition, John Lennon Songwriting Contest, among others. Megan’s songs have been licensed worldwide to brands such as Naturalizer Shoes and San Miguel Beverage Co. Brad was a member of Alabama’s Dexateens, 13ghosts and Maria Taylor’s touring band and has supported Jason Isbell, Alabama Shakes, Drive-By Truckers, John Moreland, Meat Puppets, Magnolia Electric Company and Azure Ray among many others.

Wellington Bullings adds a soulful touch to everything she sings. Her music is a balance of classic soul, R&B, and Jazz. With a rich sultry voice and soulful presence, it's easy to see why she is making a name for herself in the world of Neo Soul and beyond.

Wellington’s debut album titled, 'because I want to' was released in July, 2020. The project featured all original material touching on themes of empowerment, love, heartbreak, and soul searching. 'Because I want to' received positive reviews from local and national press. In a recent interview, magazine American Songwriter wrote in an article about Wellington;'with the technical skill to bolster her innate talent for music, Bullings is an artist to watch.' Sound In Review called her 'one to watch for creating a pop-jazz sound that is modern, sexy, expressive, and genuinely conveyed', while 303 Magazine has described her voice as 'full-bodied' and 'decadent.'

Recently, Wellington released a single titled ‘flame,’ that explores themes of black excellence and offers a positive narrative to the black community, after the racial injustices that resurfaced in 2020. The project was coupled with an impactful music video that featured collaborations with local black artists and creatives. The song has been placed in a documentary about racism, titled “this is [not] who we are.”The Berklee College of Music alum, Wellington Bullings continues to hone her skills by writing music and performing regularly in her hometown. Her second album will be released in the fall, 2023. She is currently planning an East coast/west coast tour in the early spring 2023.

Liz Barnez was born in New Orleans, Louisiana and grew up inspired by jazz, blues, folk, gospel, R&B, Dixieland, funk, and parade music. She embraced the diversity of her musical and creative upbringing and transformed those into her own eclectic style of music.

Liz Barnez started her musical career in the clubs and festivals in her hometown of New Orleans, Louisiana. She moved to Colorado in the late 1980's and has been a mainstay in that music community since then.

Voted by her peers as the "Best Singer-Songwriter Female" in the FoCoMA (Fort Collins Musicians Association) Peer Awards 2020

Inducted into the Colorado Music Hall of Fame as a member of the Mother Folkers (the most carefully pronounced name in show business)in 2019. The Mother Folkers is a group of women musicians who began in the 1970's with original members Mary Flower, Mary Stribling, Kathi DeFrancis, and Eileen Niehouse. Over the years the members have included Mollie O'Brien, Carla Skiaky, and Vicki Taylor to name a few. Liz joined the group in the early 1990's.

The Bohemian Foundation based in Fort Collins Colorado honored Liz in 2011 by including her in a mural at “Jazz Alley” in Fort Collins. The mural, by artist Terry McNerney, depicts eight musical artists chosen by Bohemian as the founders of the Fort Collins Music Scene

Awarded the prestigious "Lifetime Achievement Award" by FoCoMA in 2012.

Front man, Clay Rose was raised between an outlaw, truck-driving father in the mountains of Colorado and a country song-writing mama in the sticks outside of Nashville, Tennessee. Clay’s penchant for open roads and trouble making are the backbone of the Gas Pops’ sound. The rest of the band consists of Don Ambory, Scott Coulter, “Bad” Brad Morse, and Kevin Matthews who all come equipped with music degrees from Chicago, Boston, Jacksonville, and Denver, respectively. They each add flavors of their own background and heritage, further diversifying the band’s signature sound.

Fresh out of the legendary Dockside Studio in Lafayette, Louisiana, Gasoline Lollipops are promoting their new album, All The Misery Money Can Buy, which pursues happiness and the American Dream to the end of the rainbow and chokes on a pot of gold. Gas Pops collaborated with Clay’s song-writing Mama, Donna Farar (“Last Thing I Needed” recorded by Willie Nelson and Chris Stapleton) to create this politically-charged union of soul music and Southern rock.

Gasoline Lollipops are three-time winners of Colorado Daily’s “Best Local Band” award, and two-time winners of Denver Westword’s “Best Country Band” award. Over the last four years, they have toured throughout the U.S., Belgium, the Netherlands, and Belize. In 2018 they made Billboard’s top 10 Spotify chart, as well as Pandora’s top 10 Trend Setters list. Today, the Gas Pops continue to bend genres and electrify live audiences with ferocious sincerity.

The growl and purr of motorcycle engines. The patter of rain on a tin roof. The twinkle of chimes on a porch in February. The steady, insistent thrum of heartbeats. Maxwell Hughes' playing evokes all of this, and much more. At a time when too many musicians treat their instruments as simple props, he's a total original (and maybe a freedom fighter, too): an artist determined to explore the entire expressive latitude of his acoustic guitar, and to coax as many different sounds and moods from it as he can. In his hands, the guitar is a magic wand, a lightning rod, a stick to conjure the storm.

It was the chase for that distinctive, personal sound that compelled Hughes to leave the Lumineers -- and he's never looked back since. Under his own name, he's put out three collections of his distinctive songwriting -- and a fourth is on the way. He's been busy with other projects, too: his guitar and bass are the bedrock of Edison's acclaimed album Familiar Spirit. And in 2013, he was officially sponsored by Larrivee, the company that manufactures the acoustic guitars he plays. They know what the rest of the country is finding out: there's no better advertisement for guitars, and musicianship, and artistic innovation than the music that Maxwell Hughes has already made. As for the music he's going to make next?, well, watch out.