Big Head Todd and the Monsters
Big Head Todd and The Monsters have quietly become an American institution following three and a half decades of writing, recording, and touring (totaling over 3,500 performances). After countless sold out shows in amphitheaters and on the high seas, beaming their tunes to outer space (literally), earning the endorsement of everyone from Robert Plant to The Denver Broncos, and tallying tens of millions of streams, Big Head Todd and The Monsters cite the friendships formed in the crowd among their proudest accomplishments. Fast forward to 2021 and the Colorado quartet—Todd Park Mohr [vocals, guitar, keys, sax, harmonica], Brian Nevin [drums, percussion], Rob Squires [bass, vocals], and Jeremy Lawton [guitar, keys, vocals, steel guitar]—continue to unite audiences.
Big Head Todd & The Monsters served up their independent debut Another Mayberry in 1989 and Midnight Radio in 1990 to critical acclaim, setting the stage for their seminal 1993 breakout Sister Sweetly. Powered by staples “Broken Hearted Savior,” “It’s Alright,” and “Bittersweet,” it eventually went platinum, and they supported Plant on tour. At the time, Variety hailed Todd as “a soulful singer and nimble lead guitarist,” while The Los Angeles Times claimed, “Mohr, who has a voice like smoke, writes great songs that incorporates blues, folk, rock and country, which sounds sort of like, well, Big Head Todd and the Monsters.”
Throughout the next decade, the group presented fan favorites such as Strategem  and Beautiful World . The latter yielded the cover of “Boom Boom” [feat. John Lee Hooker], which famously served as the theme to NCIS: New Orleans. In 2005, they exceeded our atmosphere altogether. Friends with connections to NASA encouraged Todd to write a song for NASA, so they ignited 2005’s “Blue Sky.” In 2011, Big Head Todd and The Monsters played “Blue Sky” live from the middle of Mission Control to awaken the astronauts aboard the shuttle. 2017 saw them release New World Arisin’ to fan adoration and critical acclaim. Glide Magazine claimed, “such tracks, like most of this music, radiate a sense of optimism and purpose ever so welcome in these fragmented times.”
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