Jess Nelson On June 10, 2026, Lord Huron took the stage at Red Rocks Amphitheatre in Morrison, Colorado, with FIGHTMASTER opening. Lord Huron’s cinematic, Americana-tinged indie folk felt right at home against those towering red sandstone walls and that wide-open Colorado sky, while FIGHTMASTER brought a genre-bending, rock-and-roll edge that set the perfect contrast before Lord Huron took over.
FIGHTMASTER
If I’m being fully honest, FIGHTMASTER is the reason I wanted to cover this show in the first place, and I fell completely in love with them. FIGHTMASTER is the project of E.R. Fightmaster, an actor and musician who spent a season on Grey’s Anatomy playing Kai, the show’s first nonbinary character. I have had the biggest crush on E.R. since that role, so when I found out, through another PCD contributor who’d covered a Fightmaster show out in LA, that they were also making music, I started waiting for them to come to Denver.
The connections kept stacking up from there. I later learned E.R. is from Cincinnati, Ohio, which is where I went to college. By the time the show rolled around, I hadn’t actually listened to their music yet. Between covering so many shows, I can’t always get to every artist beforehand, even ones I already know I’ll love, so I went in wanting to experience it live for the first time instead. I was thoroughly, thoroughly impressed. FIGHTMASTER more than lived up to the crush.
I loved the live music, and I loved their music in general once I finally got to hear it. Onstage, they had so much charisma, magnetic in a way that just pulled the whole crowd in and held it there. Oh, and I got to meet them after the set, too. I’m still fangirling about it.
Lord Huron
Lord Huron closed out the night, fronted by Ben Schneider, and one of my favorite parts of their live show is the opening bit: Schneider steps into an old-school payphone booth set up onstage, picks up the receiver like he’s answering a call, and sings straight into a camera inside the booth as it’s projected for the crowd. It’s such a distinct way to open a set. The stage design carries that same style through the whole show, with the band perched up on a mountain-like riser and that phone booth planted right in the middle of it. It’s one of the more memorable stage concepts I’ve seen.
From that opening stretch, the crowd was already on its feet, dancing, swaying, singing along. The moment that’s stuck with me most is “Ends of the Earth.” It’s such a vibey song to begin with, and hearing it live, with Schneider’s wispy, deep voice carrying out over the crowd, made it even better. And of course, Red Rocks being Red Rocks, the whole setting was a vibe in itself. There’s a reason that venue elevates every show that comes through it.
If any information in this coverage is incorrect or needs to be fixed, please email PCD Editor at jessica@postconcertdepression.com. Thank you!
Interested in purchasing photos from this coverage?
All coverage content belongs to the party covering the show and requires payment for use. If you want to use any of these photos, contact us, and we’ll connect you with the right person.
Struggling with Post Concert Depression?
Read our tips!
Get new content delivered directly to your inbox.
