My Morning Jacket, Death Cab For Cutie, Tash Sultana Elevate Denver’s Outside Days Festival

Sometimes, music can be an awesome addendum to other activities without being the whole raison d’etre for a festival.

In 2019, Amazon put together a spectacular lineup for Intersect—with Foo Fighters, Beck, and Kacey Musgraves among the biggest names—which was essentially an extension of the e-commerce giant’s company conference in Las Vegas. In Arizona, Innings Festival and Extra Innings Festival have emerged as tentpole events in the desert by using live music to draw in baseball fans visiting the area for spring training. In Las Vegas, SEMA Fest has treated motorsports lovers to large-scale rock concerts, in between thrilling scenes of car and bike stunts.

Over the last three years, Outside Days has begun to make its mark in the category of not-just-a-music-festival festivals. In this case, the three-day event is built on top of Outside Magazine’s professional conference, which brings together brands and companies from the outdoors industry with active-lifestyle enthusiasts and those either working therein or looking to break into the field.

This year, all of those same brands—from REI and The North Face to Capital One, Jeep and many more—got additional exposure via marketing activations and booths spread across Auraria Campus in downtown Denver, while the previous location (Civic Center Park) underwent renovations.

Though film screenings and panel discussions were also part of the proceedings, the vast majority of the 30,000 attendees seemed rightly focused on the acts performing on the stage that dominated the Tivoli Quad at Metropolitan State University of Denver. From one day to the next, there were no misses; only superb sets played (nearly) perfectly for a citizenry that’s turned Denver into one of America’s great hubs for live music.

Friday’s lineup brought more of an indie bent to the air, thanks in no small part to Death Cab For Cutie. Ben Gibbard and company leaned into their new album, I Built You A Tower, with an opener of “Riptide” and the live debut of “Trap Door.” Those songs, as well as “Punching The Flowers,” “Stone Over Water,” and the title track from their latest release, fit seamlessly alongside tried-and-true Death Cab classics like “The New Year,” “I Will Follow You Into The Dark,” “Crooked Teeth” and “Soul Meets Body.”

Japanese Breakfast and Goth Babe both did their part to warm up the crowd for DCFC. The former peppered the populace with indie pop favorites like “Paprika,” “Picture Window,” “Everybody Wants To Love You” and “Be Sweet.” The latter followed that up with feel-good songs like “Mexico,” “Encinitas” and “Weekend Friend,” as well as a cover of Weezer’s “Undone – The Sweater Song.” That is, when they weren’t busy encouraging fans to crowd surf on camping mattresses or doling out household appliances as prizes for cheering.

Saturday took a decisive turn toward jams—a prime pivot, given the Mile High City’s proclivities for musical improv. My Morning Jacket certainly seemed to understand that assignment. The outfit’s sprawling, two-hour set incorporated seemingly every highlight from their discography, starting with “Wordless Chorus” and ending with “Touch Me I’m Going to Scream Pt. 2.” In between, the Louisville-based group broke into “Off The Record,” “Anytime,” “Gideon,” “One Big Holiday,” “Circuital”, “Victory Dance,” and a version of “Spring (Among The Living)” that included a sprinkling of The Beatles’ “Dear Prudence.” Even with a setlist so jam-packed, lead singer and guitarist Jim James managed to squeeze in not one, but two callouts of the full moon that was on brilliant display in the Denver sky.

That all came as a thrilling finale to a day that saw Karina Rykman take her bass out for much more than a walk in the park, Eggy egg on the jams with “Laurel,” “Waiting Game” and “Through The Mist;” and Dawes put an L.A.-style spin on jam rock with “Time Spent in Los Angeles,” “When My Time Comes,” “Most People” and “All Your Favorite Bands.”

The only fly in the ointment on Saturday showed up at the start of The Flaming Lips’ allotted time. Lead singer Wayne Coyne announced that a piece of the band’s equipment had blown out, prompting a 15-minute delay. That didn’t stop them from pulling out most of their usual theatrical stops, from the towering inflatable robots for both parts of “Yoshimi Battles the Pink Robots” and giant eyes and lips for “The Yeah Yeah Yeah Song (With All Your Power)” to an American flag cape for a cover of Black Sabbath’s “War Pigs,” a blowup rainbow during “Do You Realize??”, a bubble for Wayne on “A Spoonful Weighs a Ton,” and various other stage toys along the way.

(Perhaps, though, the technical difficulties were a bad omen for The Flaming Lips’ hometown team, the Oklahoma City Thunder, whose NBA title defense came to an end that night, while most of the band wore the team’s jerseys onstage.)

Sunday at Outside Days was tailor-made for those seeking an edgier approach to rock music. Girl Tones gave the audience an early taste of Bowling Green, Kentucky’s punk spirit, courtesy of sisters Kenzie and Laila Crowe. GROUPLOVE infused the day with a bit of pop sensibility by way of a well-tested combination of “Tongue Tied” into a Beatles-esque cover of The Top Notes’ “Twist and Shout.”

Tash Sultana stepped up as, arguably, the single most talented musician to take the stage at Outside Days. The Australian multi-instrumentalist emerged with a full band for a cover of The Wailers’ “I Shot The Sheriff” before eventually shifting toward their usual solo show, with loops of drums, keys, bass and synths laid behind vocals, guitar riffs, bits of trumpet and saxophone to form songs like “Milk & Honey,” “Notion,” and “Jungle.” At one point, Tash took a moment to acknowledge a rainbow in the distance, speaking about it as a sign of her recently departed dog looking out from the heavens.

As much as Outside Days knocked it out of the proverbial park with marquee acts, the festival and its organizers also did well to create time and space for local artists and bands. On Friday, that slot fell to Wildermiss, a Phantogram-esque indie rock band led by Emma Cole on vocals and synth bass, Joshua Hester on guitar, and Caleb Thoemke on drums. Saturday saw The Brothers of Brass—who bill themselves as Denver’s only New Orleans-style brass band—add to the ambiance with brassy covers of Michael Jackson’s “Rock With You,” Bill Withers’ “Just The Two of Us,” Aaliyah’s “Try Again” and Destiny Child’s “Survivor,” both onstage during their main set and during some interstitial busking on the festival grounds. Come Sunday, the lineup included spots for both the indie rock of The Mañanas and the edgy pop provisioned by N3ptune.

Those acts, in particular, lent additional heart and soul to an event that, while very much corporate in nature, didn’t leave attendees drowning in a sea of brand marketing. If anything, the music of it all made it more than held its own as the strongest gravitational force on the grounds. (Save for, perhaps, the Cotopaxi booth and the Capital One lounge, both of which had perpetual lines that seemingly extended into infinity.)

Still, in the grand scheme, it was impressive to see Outside Days not only put together a top-flight event in just its third year, but also draw such a substantial crowd given the competition in town—between Morgan Wallen at Empower Field and FAN EXPO Denver at the Colorado Convention Center.

With any luck, Outside Days will continue to grow in both scope and lineup strength in the years to come. And even if it doesn’t, it’s always worthy of being a staple on anyone’s live music calendar, especially for those who call the Rocky Mountains home.

Below, check out a selection of photos from the 2026 edition of Outside Days via Josh Martin.