Top of the list is Lydia Loveless at Reverb Lounge. The Columbus, Ohio, singer/songwriter has been compared to Loretta Lynn, Stevie Nicks, Patti Smith and Liz Phair, among others. She’s on the road supporting her new album, Somewhere Else (Bloodshot Records). Local hero Kait Berreckman opens. $10, 9 p.m.
Also tonight, Portland electronic act STRFKR (Polyvinyl, Badman) plays at The Waiting Room with Shy Boys & Fullbloods. $17, 9 p.m.
Over at fabulous O’Leaver’s it’s a singer/songwriter showcase featuring Anna McClellan (Howard), Mike Schlesinger (ex-Gus & Call), Phantom Canyon and Noah Sterba (Yuppies). $5, 9:30 p.m.
The Good Living Tour continues in West Point tonight at the Nielsen Community Center featuring Rock Paper Dynamite, John Klemmensen and the Party and Dustin Prinz. It’s free and starts at 8. You think Andy Norman of Hear Nebraska is getting road weary yet?
If I could, I’d go to the Natalie Prass show at Vega in Lincoln tonight. Prass’ self titled debut (on Spacebomb) is rich, acoustic-driven singer/songwriter stuff, like Jenny Lewis singing Joni Mitchell playing jazzy pop music. Really gorgeous stuff and terrific live (as witnessed at this year’s SXSW). Those of you going are in for a treat. The show is only $10 and you also get Son, Ambulance and Chicago band In Tall Buildings. 9 p.m. start time. I’d go but the drive back from Lincoln means home after 1 a.m. which doesn’t sit well with a 5 a.m. wake-up call.
Here’s a new one by Prass not on the debut:
Also tonight, The Love Technicians, who I’ve never heard before, play their farewell show at Reverb tonight. Opening is John Klemmensen and the Party and Lincoln’s Life Is Cool. $7, 9 p.m.
I typically don’t write about upcoming shows, but there are a few that have just been announced that are under the radar.
First among them is a house show featuring Jeremy Messersmith Tuesday, Aug. 4, at a “midtown” location (You’ll find out where presumably when you buy your ticket). Messersmith is calling this his “Supper Club Tour.” Says Messersmith: “I want you to bring the food. But not just any food! I want to try your best, most mouthwatering dishes; the kind passed down through battered cookbooks, the kind that you’ve sworn to keep secret. I want to provide a soundtrack while you sample a feast the likes of which will never be seen again.” Mmmm. You can purchase your $20 tickets right here. I gotta believe space is limited…
Also announced today:
Sufjan Stevens is returning to Omaha, this time to the Orpheum Oct. 28. The last time he came through town with his band was way back in September 2005. From the review of that show:
Sufjan Stevens at Sokol Underground, Sept. 20, 2005.
Packed it was last night at Sokol Underground. It was sold out, and we’ll leave it at that. Packed from stage to the merch table, wall to wall, a mass of humanity come to see Sufjan Stevens and his 8-person band of cheerleader musicians dressed in their Big “I” T-shirts, some holding pompoms, all playing a myriad of instruments, most singing. The pompoms weren’t mere props. Stevens and crew began four or five songs with well-choreographed cheers, complete with arm signals and spirit fingers. It was that kind of set, a goodhearted rah-rah for ol’ Illinois, all in celebration of his second “state LP,” this one dedicated to The Prairie State.
Seriously, at times it was like listening to a choir led by a little guy in a Cubs hat with a voice that was a morph of Art Garfunkel and Ben Gibbard singing lullabies to Jacksonville, Decatur and Chicago. I didn’t know what to expect from the arrangements, I knew Stevens would be hard-pressed to recreate the lushness heard on the CD. But by God, he captured the majesty thanks to the glockenspiels and brass (especially his trumpet player) and keyboards and battery of percussion and those four female cheerleaders whose angel-voices made the whole thing float. Listening to Come on Feel The Illinoise as I write this after the show, I think everything was a tad funkier live, especially “Decatur,” which sported a nice bass riff and finger snaps and probably some sort of synchronized cheer-dance. After playing high school pep-rally standard “Varsity,” the band came back and did a one-song encore that nicely rounded off the hour-long set.
It was one of the best shows I’ve ever seen. Considering the overall glumness of his new record, Carrie & Lowell, I don’t expect the Orpheum show to be as light-hearted. Still, this is must-see stuff. Presale tickets available here beginning tomorrow at 10 a.m.
Another must-see show announced today, Low plays Reverb Lounge Nov. 12.
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If you haven’t seen it, the Wall Street Journal chimed in on Wilco giving away digital downloads of their latest album, Star Wars. You can download the album for free from here. Says the WSJ: “The popularity of the surprise album release—and Wilco’s decision to offer theirs for free—shows how much less album releases matter to many major artists relative to touring and other revenue streams.” and “… for acts such as Wilco, whose albums sell well but aren’t massive industry blockbusters, touring is the bigger part of the equation.”
This brought up a discussion last night at a dinner, where it was suggested that bands giving away digital versions of their music would become “the norm,” and that bands would rely on a combination of performance income, publishing rights sales (i.e. TV / commercial / movie use) and vinyl sales (and other merch) for the majority of their income. This may be work for established bands like Wilco, but it would likely mean hard times for up-and-coming acts…
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One show of note tonight: Minneapolis four-piece Author plays at Reverb Lounge. Their most recent release, Of Brighter Days, came out this past January (listen to it below). Kind of Washed Out meets Owl City, sort of. Opening is KC’s The Author and The Illustrator and EKLECTICA. $8, 8 p.m.
Also, the Good Living Tour rolls into North Platte tonight for a show downtown on “The Bricks,” (whatever that is). On the bill: A Ferocious Jungle Cat, Brad Hoshaw and the Seven Deadlies and M34N STR33T. Oh my, what those railroaders are in for… The free show starts at 8 and is all ages.
Sweatfest was indeed sweaty. And messy. I didn’t get there until 6 p.m. Saturday evening where I found Gordon playing outside behind the Sweatshop Gallery in the white-rock parking lot that had been cordoned off with bright orange plastic fencing.
Sweatfest had three stages — one outside, one in the gallery and one in the performance garage — with sets scheduled to overlap. Gordon continues to be one of my favorite local bands, frontman Aaron Parker channeled Jim Morrison and/or Nick Cave on music that is brutal and beautiful and full of dread.
Bloodcow at The Barley Street Tavern, July 18, 2015.
As 7 p.m. rolled around, I escaped the fest momentarily to catch the Bloodcow CD release show at Barley Street Tavern. Interestingly, the Barley doesn’t open ’til 7 p.m. on Saturdays — when the band was scheduled to be on stage. I found them a half-hour earlier standing by the back door with their gear, trying to contact someone who could let them in. By a quarter to, the Bloodcow “party bus” arrived, disembarking holiday revelers onto the sidewalk dressed in colorful Hawaiian shirts and leis.
The doors opened a little after 7 and the band loaded in, but there was no soundguy on the premises. Keep in mind, Bloodcow had a schedule to keep. After their Barley show they were headed to O’Leaver’s for an early gig and then to T’z Lounge in CB for their third show of the night. Band members huddled around the darkened soundboard with their phone flashlights ablaze looking for some way to turn on the equipment, to no avail.
It looked like the first stop of their tour would end in disaster until someone found the power switch. With one microphone working and no stage lights, the band lit into a short set at around 7:45 while their fans threw devil horns from the dance floor. As always, Bloodcow snatched triumph from defeat. Before the set ended, a soundguy showed up and turned on the stage lights, though the band sounded just as good in the dark.
By the time I got back to Sweatfest at around 9, the Sweatshop parking lot looked like a post-apocalyptic beach movie with a few hundred sweaty, stinky people wandering around in the dark as the violent power of Dumb Beach’s music blared through the open overhead garage door.
Sam Martin in the Sweatshop Gallery at Sweatfest, July 15, 2015.
Round 3 of the Spaghetti Wrestling Tournament at Sweatfest, July 18, 2015.
While I was gone someone showed up with the spaghetti and poured it onto a couple old mattresses set out in the parking lot as a makeshift wrestling ring. A masked female wrestler stomped on the wet noodles as if crushing grapes for wine. With an emcee calling the action, opponents (half of them women) were doused with cooking oil and set ablaze (just kidding). Once greased down, they went at it. Best two out of three falls — whoever pushed the opponent out of the “ring” was the winner. Gross, sloppy, decadent fun. By the end of the rounds, limp spaghetti hung from the overhead power lines.
By all accounts, Sweatfest was a success; I’m told bands played into the wee hours. The fest reminded me of the fun, small-venue gigs that take place on the east side of Austin during SXSW, backyard summer shows where people bring their own booze, kick back and enjoy the music. Here’s to Sweatfest 2016.
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As FYI, here’s the new video by Krill. Someone needs to book these guys here.
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Tonight at Pageturners its Super Ghost and Lincoln band Tie These Hands. The free show starts at 9 p.m. What a way to start off your week…
Also tonight, the Good Living Tour continues in Valentine, NE, with The Kris Lager Band, All Young Girls Are Machine Guns and Oketo at Bull Market Beer & Grill. Free and 7 p.m. and all ages.
A busy music weekend ahead. Let’s get right to it.
Tonight The Appleseed Cast plays in the intimate confines of Reverb Lounge. Opening are Adjy, Annabel and Coaster. $12, 9 p.m.
Meanwhile, on the other side of the 1% Entertainment Complex (i.e., at The Waiting Room) Melt Banana returns with Torche and Hot Nerds. $15, 9 p.m.
Local dudes Oh Uh are celebrating the release of their new EP, In the Glow, tonight at The New BLK (1213 Jones St.) with The Derby Birds and Eric In Outerspace. 9 p.m. start time and no cover listed, but you can check out the new album for free below:
And fabulous O’Leaver’s has Dan Tedesco tonight with 24 Hour Cardlock and The Willards. $5, 9:30 p.m.
Saturday Sweatfest is happening all afternoon and evening at the Sweatshop Gallery. For a mere $10 you get performances by Conchance/Black Jonny Quest, Universe Contest, Dumb Beach, Stomach, Dave Nance, Gordon, See Through Dresses, Solid Attitude, Sam Martin, Nathan Ma & the Rosettes. Shy Boys, Dirt, Ebony Tusks, Sean Pratt, Calm Fur, Navy Gangs, Little Ripple, No Thanks, Ian Aeillo, Dead Flowers Preservation Club Band. Lineman’s Rodeo, No Getter and Captain Crud. Not to mention spaghetti wrestling.
Don’t ask me what the schedule is ‘cuz I don’t know, but maybe they’ll post it here.
Also Saturday night, the long-awaited CD release shows for Bloodcow’s new album, Crystals and Lasers, are finally happening, all three of them.
Show 1 is at The Barley Street Tavern at 7 p.m. No cover listed. Show 2 is at O’Leaver’s at 8 p.m. with Members of the Press and Westside Proletariat. $5. Show 3 is the grand-daddy of them all in Council Bluffs at T’z Sports Pub, 128 West Broadway. Joining them are Wet Radio and Coupe De Villain. $5, 9 p.m.
Go to one, better yet, GO TO THEM ALL!
Also Saturday night Say Anything headlines at The Waiting Room with Modern Baseball, Cymbals Eat Guitars and Hard Girls. $20 now / $23 tomorrow, 7:30 p.m.
And the second summer camp showcase for Omaha Girls Rock! is happening Saturday at The Slowdown. This start early at 5:30 and a $5 donation is suggested. See tomorrow’s stars today.
Last but not least, The Good Living Tour, sponsored by Hear Nebraska, kicks off this weekend. All shows are free and all ages and begin at 8 p.m.
Show No. 1 is tonight in Imperial (home to Hear Nebraska Exec Director Andrew Norman) at The Imperial Country Club and features The Talbott Brothers, See Through Dresses and The Bottle Tops.
Show No. 2 is Saturday night in Ogallala at Rendezvous Square and features Twinsmith, Freakabout and Lloyd McCarter.
Show No. 3 is Sunday night way out in Scottsbuff / Gering at Five Rocks Amphitheater and features McCarthy Trenching, Both and blet.
Tonight at Sweatshop Gallery, amazing San Francisco singer/songwriter Sarah Bethe Nelson (Burger Records) headlines. As uplifting as she is somber, her track, “Paying” is startlingly beautiful (check it out below). Joining her is Sean Pratt & the Sweats and All Young Girls Are Machine Guns. $5, 10 p.m.
Also tonight, Columbus Ohio band Nervosas (Dirtnap Records) plays at West Wing with The Ridgways and Video Ranger (for what’s being billed as their last show). $5, 9 p.m. More info here.
I’ve been interviewing members of Desaperacidos since the band first formed way back in 2001. The guys have a new album called Payola, which came out on Epitaph last month, that just happens to be No. 14 in the College Music Journal top-20. With a show coming up Sept. 10 at The Waiting Room (which, btw, is bound to sell out, so if you want to go, you better get your $20 tix now), it would seem like an opportune moment to interview the band again.
However, I’m not sure what I’d ask the band that didn’t get covered in technicolor in this Noisey interview with Dan Ozzi that dropped today with the headline ‘Desaparecidos didn’t give a fuck back then and they don’t give a fuck now.’ In it, Conor Oberst and Matt Baum give candid, straightforward answers to questions that I probably would have asked, such as “Why did you go with Epitaph instead of Saddle Creek?” “What’s wrong with journalism these days?” and “Why has public opinion (in this case, Pitchfork) about Desa changed over the past 12 years?”
Perhaps the most controversial answer in the interview involves Saddle Creek:
You guys are so strongly associated with Saddle Creek. Why did you decide to go with Epitaph on this one?
Conor: Well, the Saddle Creek thing has been kind of unraveling for a long time. They’re still our friends, and I’ve definitely got no ill will. When the label started when we were all kids, it was very much a collective thing. I’m talking way back in like, ’93, ’94. The record label honestly started with me and our friend Ted Stevens, who plays in Cursive, and my brother Justin, and we started in my parents’ attic making Kinko’s copies of record sleeves. Anyway, the collective aspect sort of fell to the wayside and it became more of a regular business and certain peoples’ names ended up on the paperwork and other people’s didn’t and it… I don’t know. After years, it kind of soured a little bit and we happened to go our own way. I wish all of them the best, but we knew we weren’t gonna do it with them and we started talking about what label would make sense with our band, and what’s the label we respect, and can get it out there, and Epitaph was the very first one that…
OK, wow. There’s no question that Saddle Creek V.2015 is a lot different than Saddle Creek V.2001. The only artist from the label’s original “crown jewels” that’s stuck around is Cursive/Tim Kasher. Not sure what “certain peoples’ names ended up on the paperwork and other people’s didn’t…” means, but I can venture a guess, especially if things “soured a little bit…” Certainly Oberst and Co. didn’t go to Epitaph because it’s some sort of “collective” (’cause it ain’t).
Anyway, after I read this interview (and there have been countless others recently) I wondered what’s the point of pursuing an interview of my own? What could I ask that hasn’t already been asked? Just read these ones if you want to know what’s happening with the band.
That said, if anyone from the band wants some press in ol’ Lazy-i (and thereader.com), I’d love to shoot the shit with them…
BTW, Desaparecidos starts their next tour tomorrow in Indianapolis. Digital Leather opens that show along with the show the following night in St. Louis.
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Speaking of crown jewels, here’s yet another new song off The Good Life’s upcoming album, Everybody’s Coming Down, out Aug. 14 on Saddle Creek Records.
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We all know MarQ Manner, even some of you readers who don’t live in Omaha. MarQ is sort of the ex officio mayor of Benson and a strong supporter of bands that haunt Maple Street’s liquor corridor. While MarQ and I don’t always share the same taste in music, I pay attention when he goes ga-ga over anyone other than Prince (to which I’m already a fan). Kind of like he did with Sturgill Simpson.
I don’t follow country music, but I must say Simpson puts a modern face on a traditional approach to C&W that is hard to resist, even on first listen. Which is a round-about way of saying MarQ is right about this guy; he is special, and he’s playing tonight at Sokol Auditorium. So dust off your cowboy boots and scoot on down at 8, when opener Cody Jinks starts things off. Tix are $25.
When the first New Music Friday happened last week — forever changing release date for new albums from Tuesdays to Fridays — I asked Homer’s General Manager Mike Fratt for his take on the change. Here’s what he had to say, via email:
“I fought very hard against this while on the Music Business Association board. The idea came from Universal’s Global head of digital sales. There was no research to support this move and when we pushed back they presented this trumped up nonsense they called research. Funny to see it mentioned in the NPR piece as it was total bullshit.
“I am against removing a traffic driver from the middle of the week to the weekend. As the face of the fight against this I was on the cover of the Wall Street Journal back in November of 2014.
“It is stupid to move the dependency to just the weekend and to move away from the release date we shared with books, movies, comics, video games, etc. Doing so creates logistics issues for our suppliers, who ship all the products to stores together. Now they will have to manage new release shipments twice a week to accommodate music separate from the other categories.
“There is also concern about sales. Currently, if a new release blows up stores can easily restock for the weekend. Now, if something blows up on Friday there will be no restocking ’til Tuesday at the earliest. Dumb.
“We were for a global release day, just not Friday. We (U.S. retail) and the trade association for music retailers in the UK (ERA) agreed to both use Monday in an effort to keep it during the week but align to one day.
“Universal threatened to leave the Music Biz Association if the board approved the move to Monday as they were invested in it being Friday. I had the votes on the board lined up to approve Monday. That threat would have crushed Music Biz Assoc as Universal is the largest member and pays the largest dues. I was so disgusted by this unprofessional action that, after nine years on the board, I resigned.
“Soundscan has yet to get all retailers to alter their reporting of sales dates (during the week) to reflect this move to Friday through Thursday from the current Sunday to Saturday, so the first eight weeks’ sales numbers will be royally fucked up and very likely just made up.”
I asked Fratt, in this new streaming age does the release date matter to anyone except brick-and-mortar stores? Are we headed toward an age when music is released digitally whenever? His response:
“Regarding your question about digital, this aligns digital and physical even more so. So, I don’t see digital going rogue and releasing on different days than physical. But pay for digital album sales are falling faster than physical. And if all indie stores sales were actually counted (only 60 report to soundscan) we would see physical sales are actually pretty healthy.
“Streaming is the new radio, as you so often write. It creates awareness for releases, artists, music. We’re seeing it positively impact physical sales.”
A post script to all of this:
Last Friday the Saddle Creek Shop, located in north downtown in the Slowdown complex, announced it no longer will stock non-Saddle Creek Records titles, and that the store will only be open one day a week — Friday from 10 a.m. to 6 p.m.
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In other news, Protomartyr released the first song from their upcoming album, The Agent Intellect, out Oct. 9 on Hardly Art. Check it out.
They don’t call it The Sweatshop Gallery for nothing. Saturday night’s show in the converted garage behind Sweatshop’s art gallery in Benson was easily the most uncomfortable concert experience in memory. If you thought it was hot outside Saturday, you should have stepped foot into that concrete stink oven Saturday night. I felt like a chicken in a rotisserie or a hippie in Southwestern sweat lodge. Within minutes after stepping inside the bunker sweat dripped off my elbows and ran down my legs in salty streams. My shirt, my shorts were drenched, stuck in a layer of warm moisture against my skin, sweat broiling off my forehead and into my eyes. Stifling, suffocating. It was awful, but it was worth it.
Ceremony is a West Coast band that made their nut playing what has been described as “power violence” music, which is a form of hardcore punk. What made them stand out may have been their guitar work or frontman Ross Farrar’s vocal approach, which was a bit more “arty” than the usual hardcore screaming. Anyway, the band started as a hardcore act in ’05. Then slowly eased off and became more post-punk-ish after their album Rohnert Park came out in 2011. Then they signed with Matador and turned their back on hardcore altogether with the release of the somewhat boring Zoo in 2012.
Now comes TheL-Shaped Man, which was released earlier this year on Matador and sounds like an Interpol/Joy Division tribute album. Farrar’s vocals went completely Ian Curtis/Paul Banks on top of music that feels like it was developed in a Joy Division/New Order sound incubator. Pitchfork hated it. I love it because I love that style of music, though at times the record is so derivative it’s chuckle-inducing.
How many of the 70 or so kids jammed into Sweatshop were there to see the old hardcore Ceremony vs. the new post-punk version, I do not know, though it didn’t matter when they launched into their Joy Division-fueled set opener that got the sweat-slick crowd jumping. In the heat and darkness, Farrar was in his element saying before he started that the gig already was the best show he’d played in Omaha, and telling the crowd to step right up, which they did. The band fed off the heat and energy, and the set boiled with a goth-dance-punk intensity that Bauhaus would appreciate.
While there were plenty of Factory Records moments during the set, the band — and Farrar — did something wholly unique live, pulling in abstract elements from their past to create a new sound that melded post-punk with something much darker. The crowd loved it and the room became a pit, with youth hanging from the rafters. If Ceremony could tap into this hybrid sound/energy not heard on their album, they’d be onto something that is entirely their own.
Tony Molina at Sweatshop Gallery, July 11, 2015.
It was a varied night of music at ol’ Sweatshop. North Bay punk band Creative Adult was among the openers playing a heavy, rhythmic punk that was brittle and fun. Then came Tony Molina, another Bay-area guy I’d never heard of but who was nothing less than amazing playing pure power-pop influenced by ’70s icon bands like Thin Lizzy and Cheap Trick, but with more than a nod to J Mascis and Teenage Fanclub. Molina and a second guitarist weaved intricate harmonies that were Thin Lizzy taken to an extreme backed by a solid rhythm section on songs that rarely lasted more than two minutes. As badly as I wanted to get outside for some relief I couldn’t get myself to miss any of it. Utterly exhausting and exhilarating.
Yes, this will be in my top-10 (maybe top 5?) favorite shows of ’15, despite losing at least five pounds in water weight.
Gramps at Barley Street Tavern, July 11, 2015.
Between sets I slipped into the Barley Street for Rolling Rock and AC and to catch Gramps, the new-ish band fronted by Django Greenblatt-Seay of Love Drunk Studio fame. A solid four-piece, Gramps’ style of indie sounds influenced by the local scene, specifically acts like Little Brazil and Criteria, but every song has a twist, whether it’s a unique guitar solo or an unfamiliar time sequence. Django and Co. play with a no-shit attitude that says “come along for the ride if, if you want to.”
Another local act seen for the first time this weekend was Mint Wad Willy. Here’s a band I’ve never made an effort to see because of their name. Mint Wad Willy? Sounds like a cover band or a white-guy blues band. Well I wasn’t going to miss them Saturday morning because they played at The Indie 5K/10K run, which benefitted Benson/Ames, and I must say I dug what I heard. Their style wasn’t straight-up rock as much as mainstream garage a la The Black Keys, though something about their sound also reminded me of heavier Big Star or even Silkworm with some Creedance thrown in. That sounds like a mess, but I can’t put my finger on a key influence.
By the way, the band’s name is an old-school reference to a Mary Jane cigarette (a mint-wad willy). And also BTW, I won my age bracket in the 5K (which isn’t so impressive when you realize I was the only one entered).
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Sun-less Trio is a new project that features Mike Saklar (No Blood Orphan, Ritual Device), Marc Phillips (Carsinogents) and Cricket Kirk (Paper Owls). They’re playing tonight at Pageturners Lounge with A Great Disturbance. 9 p.m. and FREE. Great way to start your week…
NPR had a solid feature this morning on New Music Fridays — the shift of release schedules for new albums from the traditional Tuesday to Friday. It began today. I think it’s probably a mistake, but what do I know? Record stores “owned” Tuesdays because there was nothing else going on that day. Fridays are crowded with film releases and the general hub-bub that surrounds the weekend…
But in this new streaming age, does the release date matter to anyone except brick-and-mortar stores?
Are we headed toward an age when music is released digitally whenever? Probably not, at least not while record labels continue to exist because they depend on that bulge of sales/stream traffic that comes with release dates, and market for it.
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Yesterday right after lunch the PR folks at Omaha Performing Arts announced that Conor Oberst will be the headliner for the first-ever Holland Stages Festival on Saturday, Oct. 17.
Sez the press release: “The free all-day performing arts event is a celebration of the 10th anniversary of the Holland Performing Arts Center. The festival will be held on five stages inside and outside the building at 1200 Douglas St., with family-friendly performances, followed by a variety of jazz, roots, world and blues artists until 5 p.m., and ending with the Holland Stages ‘After Dark,’ which will include Oberst’s performance at 8 p.m. and a House of Loom dance party afterward.”
It’s free, but you’ll still need a ticket to get in. How they’re going to pull that one off without pissing off a lot of people is anyone’s guess, but we’ll find out how they’ll do it “at a later date.” And if they need an opener, I can think of a certain band from the North Carolina region…
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Tonight’s really big shoe is the Big Wheel CD release show at Reverb Lounge. Big Wheel was born of the musical collaboration of songwriters Jason Churchill and Kevin Hiddleston, who just happen to be sound engineers. Believe me, if you go to shows, you’ve seen these dudes running around making sure everything sounds good. Anyway, they added Bill Nanson on drums and Mike Matsui on bass. “We don’t play emo, we don’t play metal; we play guitar-oriented rock songs with hooks.” That it is. We’re talking traditional rock ‘n’ roll here, and considering the personnel involved, you can imagine how well recorded it is. Opening is The Sons of Reverb Lounge and The Rex Granite Band featuring Sarah Benck. $7, 8 p.m.
Also tonight, Nathan Ma and the Rosettes headlines at fabulous O’Leaver’s with Madison band The Minotaurs and Navy Gang. $5, 9:30 p.m.
And if you’re hanging around downtown early in the evening, check out Matt Whipkey playing at the Bob Kerrey Pedestrian Bridge. Lee Bowes also is on the bill, which begins at 6 p.m.
BTW, the Down Under has moved to where the Side Door Lounge used to be at 3530 Leavenworth. Check out their new stage at a free show tonight featuring Aly Peeler and a bunch of other performers. Starts at 8 p.m.
I realize it’s probably going to be a late night for all of us, but you’ve got to get up early Saturday morning and run in The Indie 5K / 10K race. I’ll be there sweating up a storm. More info here.
Tomorrow night it’s Matador band Ceremony at The Sweatshop Gallery. Read an interview with the band at Hear Nebraska. The band’s new album, The L-Shaped Man, is indeed a departure from their past metal sound. Now they sound like Interpol. Opening is Tony Molina, Creative Adult and FLAK. This will be a packed show. $10, 9 p.m.
Under the Radar Festival is going on all weekend. You can check the schedule at their website, but Saturday night there’s a special performance by Nik Fackler and InDreama at Sokol Auditorium. The entire show starts at 7:30. Check out the line-up and ticket info here.
Also Saturday night, it’s time for another Omaha Girls Rock! concert, this time at The Waiting Room. The non-profit puts on a special concert with all their summer camp participants annually, and it’s always a hoot. Support this great cause and see tomorrow’s stars today. $5, 5:30 p.m.
Also Saturday night, Gramps (featuring Love Drunk director Django Greenblatt-Seay) opens for Thinkin’ Machines and Beth Bombara at The Barley Street Tavern. $5, 9:30 p.m.
While over at O’Leaver’s Saturday night All Young Girls Are Machine Guns headline with High Up (featuring the Fink sisters, Christine and Orenda, and a host of heroes) and Manic Pixie Dream Girls. $5, 9:30 p.m.
Finally, Sunday night at The Lookout Lounge (formerly The Hideout) pop-punk band The Ataris headlines. The band will be playing Blue Skies, Broken Hearts…Next 12 Exists (1999, Kung Fu Records) in its entirety. Also on the bill, local heroes Little Brazil and Low Long Signal and touring act Arliss Nancy. $10, 8 p.m. Never a better time t check out the club under new management?
That’s all I got. If I missed your show, put it in the comments section. Have a great weekend…