When the Indigo Girls come through Boulder this Sunday, June 10, Ray will still be healing after dislocating her shoulder while prepping to go on stage for a solo show. Yet she laughs when retelling the story and insists these things happen when you’re in front of people night after night.

“It’s not a documentary — or it shouldn’t be titled one because it uses footage that happened and footage that was re-enacted to tell a story the director wanted to tell. One that ultimately is a successful story, but is not true. And we’ve suffered from it,” says guitarist Peter Holmström.

Trace Bundy’s evolution from capo-slinging, small-stage local hero (endearingly tagged as “the acoustic ninja” by his Boulder-area fans) to Internet sensation and international soloist has landed the acoustic guitarist in an enviably comfortable place — a well-defined and arrestingly honed technique, a relaxed and technically curious approach to songwriting and a core audience willing to follow his instrumental meditations more or less anywhere.

Ever mutable, the festival is both the same as ever and completely remade. It has all the same ingredients as the past three years: the combination and juxtaposition of musical styles, serious chamber music and folk styles, storytelling with music, and improvisation alongside music that is thoroughly composed.

The Fox’s closing rekindles a conversation Boulder musicians and promoters often have with each other, and that is the lack of venues in Boulder. The Fox and the Boulder Theater — and Chautauqua Auditorium and Macky Auditorium, to a degree — keep a steady influx of national acts coming through town, but there is a distinct lack of a 100- to 200-person venue in town where local acts can stretch their wings and start developing an audience.

Farrell didn’t spell out exactly how Jane’s Addiction will achieve this immersive concert experience, but he said there will be a film component to the show and a specific look that he described as “1920s surrealist twist mixed with a ’60s Warhol pop.”

Robert Olson remembers the first time he conducted Mahler’s Second Symphony. “When you get to conduct your first Second, it’s like your first love,” he says. “You never forget it.” Olson, artistic director and conductor of the Colorado MahlerFest, will be reunited with the Second Symphony on Saturday, May 19, and Sunday, May 20, in Macky Auditorium, conducting the unforgettable score as part of this year’s festival.

It’d be a bit of a stretch to find contemporary points of reference to adequately qualify Pat Grossi’s music; we’ll go out on a limb to suggest a club-tempered melding of Jimmy Somerville-meets-Andrea Vollenweider at a trip-hop rave, and if that sounds improbable, well, that’s about the best we can do.

When the second incarnation of the Boulder Roots & Blues Summit kicks off this weekend at the Boulder Theater and Fox Theatre, audiences will be able to take their pick from a smorgasbord of musical delights.

That’s not a coat that Otis Taylor is wearing on the cover of his latest CD, Contraband, released on Telarc a couple of months ago. Not a Sasquatch costume, not a blaxploitation set piece. “It’s a rug!” Taylor explained to us last week. “They threw it on top of me; it was still too dirty.