SLUG’s Anniversary Party Celebrates 35 Years of Covering Utah’s Diverse Music Scene

If you needed a reminder that Utah’s music scene is as diverse and eclectic as ever, you should’ve been at SLUG Magazine’s 35th Anniversary Party on Saturday, February 10. The event featured 35 bands and artists—ranging from hardcore and indie rock to pop and techno, hip-hop and R&B to funk and bluegrass—performing one song each. 

This is the second year that SLUG has done this event format for their annual anniversary party, in which sets took place both at Urban Lounge and Blue Gene’s, the bar next door, from 8 p.m. to 1 a.m. The theme for this year’s event was “futuristic SLC,” which aimed to provide a snapshot of the Salt Lake music scene from old to new, focusing on what’s coming next in the scene for the next 35 years. “[This] theme just came naturally because it seems like a really fun way to celebrate the past as well as where we’re going,” says SLUG Executive Editor Angela H. Brown.

Russ Alphin, guitarist in the most well-known and very last artist on the bill, Dad Bod, said the anniversary party was the perfect opportunity for people to see all the best acts Salt Lake City has to offer. “It’s not that often you’re gonna get folks in from the punk, hard house, R&B, indie rock and DnB scenes all together under one roof—it’s gotta happen more often, damnit!” Alphin says. Alexandra Moran, lead vocalist for garage rock band Dolï, said her favorite part about the event is that it brought so many new people to one place to meet and laugh with. “I believe SLUG engenders community togetherness, and this event fosters such a melting pot experience with genre bending and coalescing that is not often seen elsewhere,” Moran says.

“I believe SLUG engenders community togetherness, and this event fosters such a melting pot experience with genre bending and coalescing that is not often seen elsewhere.”

Early in the night at Blue Gene’s, Kid Kawali (aka Brady Flores, co-founder of local record label Uphere Records!) sang the energetic rock song “I Don’t Wanna Kiss Right Now” that he says is about “consent and personal boundaries.” His stage presence, passionate performance and a backing track featuring a catchy, high-pitched electric guitar ignited the crowd that set the tone for the night. Several electronic and techno acts performed at Blue Gene’s too, including Fezmaster, who uses a custom-built synthesizer that displays fun and colorful graphics (nicknamed the “fez5000”) along with a live trombone to create lively, ambient music that stands apart.

On the Urban Lounge stage, Lady Infinity played a fun pop song featuring a trap beat and standout vocals—hers was the only set with backup dancers that added to the performance. Several old-school Salt Lake artists, who probably remember being covered by SLUG in the ‘90s and oughts, also played—including Endless Struggle, The Numbs and Swarmer, who was the best hard rock/hardcore band of the night with nasty guitar lines that you can’t help but bang your head to. “SLUG is a participant in the culture, rather than just an observer,” says Swarmer drummer Andrew Drechsel, who wrote for SLUG for a few years. “No other publication has maintained its punk rock ethos while still maintaining professionalism and thorough coverage of genres and cultures in SLC.” Three-piece psychedelic rock band Musor never disappoints when they play live—during their song, they displayed an atmospheric sound that included guitar effects such as fuzz, reverb and wah-wah as well as highly reverbed vocals.

“No other publication has maintained its punk rock ethos while still maintaining professionalism and thorough coverage of genres and cultures in SLC.”

One of my favorite sets came from Bad Luck Brigade, whose fresh jazz rap sound featured thick bass lines, groovy keys, complementary bongos and plenty of bars. If you haven’t checked out their 2023 debut EP, EVERYTHING’S A FUCKING MESS, you’re missing out. Dolï impressed me with a vibrant stage presence while playing a song with sludgy guitars and crisp, confident vocals that made me want to check out the rest of their catalog immediately. Theoretical Blonde, a young four-piece bluegrass band who all gathered around an old-timey microphone, changed the vibe for a song that included a melodica (which their keyboardist was playing for the first time), mandolin, a couple of guitars and harmonious vocals. With one of the biggest cheers of the night, the crowd would’ve happily heard a couple more songs from them. Lead singer and mandolin player Peter Cain says SLUG plays a vital role in giving small, underground bands of all genres publicity. “[The] event brought together a bunch of artists who likely wouldn’t otherwise be on a bill together, and brought together a whole bunch of different communities,” Cain says.

“[The] event brought together a bunch of artists who likely wouldn’t otherwise be on a bill together, and brought together a whole bunch of different communities.”

SLUG Mag’s 35th Anniversary Party is probably the most convincing way to get across that Salt Lake’s music scene has been—and continues to be—vibrant, diverse, inventive and always-growing. It would be easy to let that fly over your head, but an event that has this much talent on display forces you to realize these truths. You couldn’t really ask for more out of such a unique event because it perfectly encapsulates and celebrates what SLUG has been about for 35 years—highlighting Salt Lake’s eclectic and alternative art and culture with thoughtful media coverage for the betterment of the local community. 

Read more coverage of the Salt Lake City music scene:
Local Music Singles Roundup: February 2024
Transfeastival 11.19 @ The Beehive