This Tinnitist story captured in my Google Alerts web caught my attention: A reposting of that publication’s 2004 review of Statistic’s Leave Your Name, an album released on venerable label Jade Tree Records on Jan. 20, 2004. Omaha was in the middle of its second indie golden age with Saddle Creek Records gaining global notoriety and Omaha being hailed as the next Seattle. What better time for Denver Dalley to venture out from his role as guitarist in Desaparecidos to release a solo album?
Re-listening to the CD promo copy I received from Jade Tree 20 years ago, I think Leave Your Name holds up pretty well, certainly right up there with the Saddle Creek stuff released during the same era. A number of Creek regulars took part in the recording (and is that an uncredited Conor Oberst adding the vocal to “Accomplishment” or is Denver just trying to sound like Conor?). Not to be outdone, here’s the Lazy-i review of the album from 2004, with the obligatory pull-quote: “Though this is far from where he wants to be, it more clearly defines his position on the musical map.”
Check out Leave Your Name on Bandcamp, below:
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A couple things happening tonight in Benson:
Tonight our art gallery, Ming Toy at 6066 Maple St., is hosting an artist reception for Kim Darling’s Unleashed show. Kim was out of country when the show opened March 2, but she’s back and will be on hand tonight for this special reception that runs from 6 to 8 p.m.
Also tonight, Netherlands-based psych-rock group Dream Machine headlines at Reverb Lounge. They’ve released stuff on Castle Face Records, though their latest, Living the Dream, was self-released. It’s throwback synth-prog. Joining them tonight is Cole Eisenmenger of Wyrmwood and Doom Lagoon. 8 p.m., $15.
Size Queen is a new LimOma band whose members include drummer Sam Crisler – one of the bookers of this year’s Lincoln Calling Festival. Last night I sat in The Sidney and watched Sam meticulously build his drum kit for a half-hour, wondering when the band would actually start playing. In the pre-Covid days, everyone knew an 8 p.m. start time meant a 9 p.m. start, but post-Covid most clubs have been insistent about start times, especially during weeknights. And yet, here we were at 8:30 as Crisler slowly placed one half of a high hat on the pull rod, then the next, then slowly tightened the clutch. I can’t say’s I blame them – the longer you wait, the bigger the crowd, right?
But the plan was to watch Size Queen play at The Sydney and then race across Benson and catch the show at Reverb, which was happening at the same time. Sure, I’d miss Heavy Clippings, but I just saw them last weekend at Goatfest but figured I could still catch The Dirts. Well, you know what they say about plans…
Size Queen at The Sydney, March 18, 2024.
Size Queen finally took the stage a little after 9 p.m. The only other person’s name I know in the band is guitarist Sam Lipsett, who also plays in Cat Piss. I’ve also met the bass player Jessy Hunt before, but knew nothing about the front person (who I’ve come to find out is Rosemary Ellis).
The band’s sound was feral and combative, aggressive but controlled. I guess you’d call it post-punk, but much heavier and faster, bordering on hardcore, though Crisler’s drumming (thankfully) was more creative and interesting than the usual straight-four hardcore rhythms that seem only designed for moshing. Crisler’s drum work has a definite hard-rock persona that blended well with Lipsett’s feedback-driven, heavy-ass riffs and the solid bass lines.
Above it all was the whirling-dervish front person who spewed undecipherable yell vocals, struggling to be heard above the rest of the noise. I’ve seen noise-rock bands who tried doing this style of music without a vocalist, and (for me) it rarely works. You’ve got to have someone out front screaming something, whether you know what they’re screaming or not — it adds a necessary counter to everything else going on. It’s risky, and Size Queen’s vocalist pulled it off.
The band’s 15-minute set was a nod to ‘90s post-punk, more so, say, than grunge, though I was reminded of Skinyard, and the guy next to me (a legend in his own right) referenced Royal Trux. Plucinski’s Cat Piss has a similar but more focused bombast, and no doubt Size Queen will get there, too – remember, this was only their second show (and their first time in Omaha).
Heavy Clippings at Reverb Lounge, March 18, 2024.
By the time I got to Reverb, I’d already missed The Dirts, who played first (not how the bill was listed). On stage in front of a full room was Heavy Clippings sounding louder and more aggressive than at Goatfest/Scriptown last weekend. The band has a handful of singles available on Bandcamp that you can check out here. Those Bandcamp tracks sound more like demos, and one can only hope they’re leading up to a proper LP release in the near future.
There is (and has been for years) an undercurrent of a “scene” going on in Omaha associated with the record stores The Antiquarium, Almost Music, and now Grapefruit Records. At the heart is Simon Joyner, who continues to produce amazing, vital records and seems to always be on the road touring. While Joyner is globally recognized by a niche audience, another Grapefruit Records regular, David Nance (and his current band, Mowed Sound), has probably garnered the largest fan base, thanks to a catalog of solid recordings, lots of touring, and a recent release on Jack White’s Third Man Records. Heavy Clippings also is part of this scene – a band fronted by Noah Sterba with Jeff Sedrel on bass — their sound fuses singer/songwriter Americana with a unique Midwestern flair.
Others that fall into this Omaha record store scene include Sean Pratt, Nathan Ma, Megan Siebe, Jim Schroeder, I’m sure many more. The group has been around for years – stretching back to the ‘90s – making their own DIY recordings and playing DIY shows. When anyone asks about an “Omaha Sound,” this is what comes to mind more than anything (including early Saddle Creek Records artists, who never had a central, common thread soundwise).
Though they’re from Los Angeles, Color Green has a connection to this scene via one of the band’s two core members – Noah Kohll — a former Omahan and fellow record store hanger-outer who likely has played alongside all these Antiquarium/Almost Music/Grapefruit folks at one time or another. With fellow guitarist Corey Madden, Kohll has taken that Midwestern sound and fused it with something akin to Allman Bros./Derek and the Dominos-style blues rock to create something both new and familiar, and strikingly beautiful.
At the heart of it is the gorgeous, intricate guitar play between Kohll and Madden that last night was spotlighted in intros that gracefully led into the songs, some sang by Kohll, others by Madden, harmonized sparingly by the band’s female drummer and bass player (whose names I don’t know but who were spectacular).
Playing in the dark with only overhead stage lights, Color Green’s hour-long set consisted mostly of songs off their gorgeous 2022 self-titled album, released by ORG Music. And while that record is something you should seek out immediately, it doesn’t hold a candle to the band’s live performance, which took it all to the next level — the best guitar interplay I’ve heard in years (and that includes recent Nance/Schroeder slugfests). The band’s dynamics ranged from heavy riff-rock to bluesy mellow balladry that sounded like The Allman Bros. playing a cover of Led Zep’s “The Rain Song” – a comparison that I’m sure will make the Grapefruit Records folks cringe.
Toward the end of the set, Kohll talked about his Omaha roots and even pointed out his parents in the crowd, saying the show was kind of a homecoming. That being the case, welcome home, Mr. Kohll. And please, don’t be a stranger.
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Tonight at The Waiting Room, Atlanta-based self-described emo/indie punk Michael Cera Palin headlines a four-band bill that includes locals Trees With Eyes, Valley Street and Dullparty. $15, 8 p.m.
Just getting to O’Leaver’s has become something of a nightmare with all the friggin’ road construction. Once through the maze of barricades along Leavenworth and Saddle Creek Saturday night, I found a parking lot chock full on both sides of the volleyball courts and almost expected to be turned back at the door. Inside, O’Leaver’s was comfortably filled but not cram packed (So where were all those people who own all those cars?).
Ione at O’Leaver’s, March 16, 2024.
Ione was already halfway through her set playing in front of a woman-heavy crowd (a rarity for O’Leaver’s). Fronting a three-piece band, Ione stood alone with microphone in hand, a true pop crooner. There’s no denying she has a killer voice, polished and radio-friendly with all the familiar nuances heard on modern pop records, and I have no doubt if she keeps at it we’ll be seeing her on television one day singing a style of pop music that isn’t my cup of tea.
Interestingly, “Ione” has second persona — a side-act called Safe Space, which is a duo with her guitarist whose songs border on modern indie music a la Phoebe but not quite. She appears to be trying to cover all the bases with Safe Space, which is admirable and curious considering how much time she’s invested in her Ione brand. I was told months ago Ione was moving to Chicago. Better see her while you still can — her and he band are opening for Wyrmwood March 29 at Benson Theater.
No doubt a large portion of the crowd Saturday was there for Ione as the place thinned out for Ojai. A trio fronted by guitarist / songwriter Michael Hulstein, their set was marred by an audio mix that put the bass way out front above all else. Bassist Micah Renner indeed has awesome bass-playing chops but I doubt even he would want his bass to be so prominent in the mix – it overpowered everything on stage.
Meanwhile, Tanner Rogerson has one of the lightest touches of any drummer I’ve heard behind a kit. I kept checking to see if he was playing with brushes. Hulstein’s chiming, surf-style guitar parts were kind of great when you could hear them above the bass. His approachable vocal style is right on for songs I think I’m going to like when I hear them recorded and properly mixed. In fact, he said much of his set consisted of material from an upcoming EP. I was reminded me of Dave Doughman of Swearing at Motorists, a band I’m sure no one remembers or has even heard of, and a band that’s a lot weirder than Ojai.
Long story short, I need to see Ojai again when they don’t sound like they’re playing in a bass competition. As for O’Leaver’s — it was hot, it was smelly, it was just as I remember it from the last time I was there. Here’s hoping it never changes.
Get a load of this: The best shows of the weekend are actually next Monday night.
Briefly, there are (again) no touring indie rock shows in Omaha this weekend.
Only one show is worth your attention tonight and it’s in Lincoln: The Speed! Nebraska “Winternationals” showcase at The Zoo Bar, featuring Bad Bad Men, Wagon Blasters and Pagan Athletes. If you’re in the Capitol City, it’s definitely worth your time. $10, 9 p.m.
Tomorrow night (Saturday), Omaha indie band Ojai headlines a free show at fabulous O’Leaver’s. I know very little about this act, other than they’ve been around for a long time. Maybe it’s time I catch their set? Joining them is singer/songwriter Ione (Who also performs around town as Safe Space — I’m not sure why she oscillates between the two names – maybe it has something to do with whomever is accompanying her?). Like I said, FREE, and starts at 9 p.m.
Also Saturday night, local rock band Safari Room plays Reverb Lounge with Bad Self Portraits and Steady Wells. 8 p.m., $18.
Sunday is, of course, St. Patrick’s Day, which just happens to be the lousiest day to have St. Patrick’s Day. i think we need to make a command decision and forever make St. Patrick’s Day the second Friday of March. My usual go-to on this national holiday (for us Irish folk, anyway) has always been The Dubliner, who this year features “three fantastic sets of live Irish music.” The main act on St. Patty’s Day always plays in the afternoon, and this year Lincoln act Out of the House gets that honor from 1 to 5 p.m.
And that’s it for the weekend, so let’s talk about Monday. I generally wait until Monday to tell you about Monday, but considering the lousy weekend, here’s something to look forward to:
Top of the list Monday night is Los Angeles indie band Color Green at Reverb Lounge. The band features Noah Kohll, who has been involved in a number of local indie acts over the years, including Staffers and Nathan Ma. He’s been doing Color Green with Corey Madden for a few years. Their latest is a self-titled album released in 2022 by ORG Music and Aquarium Drunkard that sounds like a modern version of Allman Brothers crossed with The Byrds. Also on the bill are up-and-coming Omaha bands The Dirts and Heavy Clippings (who we saw last weekend at Goatfest). This one’s jam-packed and starts at 8 p.m. $15.
Meanwhile, just down the street Monday night at The Sydney, Atlanta psych/electronic/noise act Chew headlines. Their latest is 2022’s Horses (Stolen Body Records). Opening for Chew is a new LinOma band Size Queen, whose members include Lincoln Calling booker Sam Crisler. I don’t think they’ve played in Omaha before, so consider this their Omaha debut. 8 p.m., $10.
And that’s all I got. If I missed your show, put it in the comments section. Have a great weekend.
I was among those who thought “This is a passing thing, like flu season or an outbreak of the chicken pox. Give it a month, maybe two, things will get back to normal.”
Little did we know.
But we quickly found out. And I have to admit that, at first I didn’t mind it that much. Sure, it meant the world was going to close down, but it also meant I didn’t have to go into the office every day. We still had food and the internet and our dogs. I was one of the lucky ones: No one close to me died. In fact it would take many more months before anyone I knew even caught it. That would come later.
Instead, March 2020 was like living in a science fiction short story that would become a novella that turned into a novel that stretched into a trilogy. And though we’ve mostly come back from it, the scars are still visible. Businesses, restaurants, venues closed forever. “Remote work” lingered and office buildings continue to be half-empty (and I quickly realized I don’t like working in half-empty buildings). And a few million people died. But we didn’t see that coming in March 2020. Little did we know…
Psst… this was only four years ago…
Sign o’ the times?
When the party’s over… O’Leaver’s, Sydney among those closed for COVID-19…
You know shit’s getting real when they close down O’Leaver’s. That’s exactly what the club announced on its Facebook page today, and what choice did they have if they’re limiting gatherings to 10 people?
Slowdown already cancelled shows through the month of March, though all indications are the venue is still open (for now). One Percent Productions’ clubs still appear to be open as well, though their next scheduled event isn’t until March 24. No doubt you’ll continue to see show cancellations as bands cancel tours.
The Brothers also appears to still to be open. Their next scheduled event is the big March 28 Bad Bad Men gig. But The Sydney has closed its doors for the time being.
And that about does it for live music, at least for awhile. How long it’ll really last, who can say? It’ll definitely be longer than the end of this month and probably well into next month and maybe the month after that.
Next up is enforced curfews. Social distancing is kind of like what happens when the power goes out. The first night it’s fun; it’s like camping out! You discover new and interesting things to do in the dark. The second night without power, it becomes somewhat annoying. By the third night you’re ready to kill someone.
It’s going to be tough to expect folks in their 20s to be good little girls and boys, especially as the weekend rolls around. If the bars are closed (or limiting occupancy), that just means someone else is going to have to host the party. And that’s when the cops get involved.
Not being able to go out on St. Patrick’s Day — my favorite holiday — definitely hurts. But I have plenty of Guinness at home and my favorite Waterboys album to keep me in the Irish spirit.
We’ve got enough doom and gloom online to go into any more other than to say this too shall pass. And the rock shows that happen on the other side are bound to be epic.
According to my records (glances at the Lazy-i Archives), it’s been about a decade since singer/songwriter Willy Mason came through town. The last time was opening for First Aid Kit at The Waiting Room back in June 2014.
From that review: “Mason’s brassy voice has deepened dramatically since he emerged a decade ago. As proof, he played the standout track “Oxygen,” from his Team Love debut, the Ritalin-referenced lyrics betraying his lost youth. Last time Mason came through was as a solo artist, too. I’d like to see him with a band.”
I’d still like to see him play with a full band, though that’s not going to happen tonight at Pageturners.
Those of you who were around at the dawn of Saddle Creek Records 20 years ago might remember a then-high-school aged Willy Mason played a tangential role as one of the first artists signed to Conor Oberst’s and Sean Foley’s fledgling record label, Team Love (along with Jenny Lewis and Tilly and the Wall, among others).
The story behind that signing is also in the Lazy-i Archive, right here. Since then, Mason’s been on a bunch of labels and these days his music is licensed to Cooking Vinyl, including his last EP, Bok Bok Hill. Tonight Mason plays at Pageturners Lounge, along with our very own Sean Pratt (sans Sweats?). 8 p.m., $10 suggested donation (Why not just charge a cover?).
Maybe Willy’s record label pal, who also owns Pageturners, will show up tonight for old times’ sake…
This year’s honorary Goatfest goat, Linda, was a sort of goat-ette — a miniature version of a goat whose cuteness was amplified by the diaper it proudly wore as it walked around the room adjacent to Scriptown brewery’s main room. A steady stream of parents hurriedly led their own “kids” to see Linda, forced to walk in front of the bands, the childrend with their tiny hands over their tiny ears.
Goatfest could become one of those quirky events that cities boast about in their Chamber of Commerce write-ups – a combination beer bust, rock show and livestock display, hosted annually just before St. Patrick’s Day. Or even better, they should hold it monthly on every Second Saturday as part of the new Blackstone pseudo event, that, by the looks of the crowds in the streets, is off to a roaring start.
Heavy Clippings was already deep in their set when we arrived, playing behind a large crowd bunched in the back and circling Scriptowns enormous bar. The band consists of two former members of the band Yuppies — Noah Sterba and Jeff Sedrel — along with Vince Franco and Tanner Rogerson, or as one person described them, “guys who used to hang out at Almost Music.” Stylistically, they play hypnotic post-punk, a sort of Midwestern version of Lewsberg or The Feelies with Sterba providing just the right amount of coffee-shop folk drawl.
I don’t believe the band has any recordings, or at least any online, which is a shame (Sterba, btw, has a cassette out on Chris Fischer’s Unread Records). They sound like they should be playing either at Grapefruit Records downtown alongside Simon Joyner or on the soundtrack to your favorite just-discovered indie film. Either way, I’d see them again tomorrow if they were playing somewhere…
Head of Femur at Goatfest, March 9, 2024.
On the other hand, you’ll be seeing a lot more from Head of Femur. Frontman Matt Focht announced that the band was playing a ton of new songs from their upcoming album, and I have it on good authority that the record will be released on a long-standing, proper indie label in the very near future.
Playing as a five-piece with Focht in the frontman pocket, the band ripped into a fresh set of proggy post-punk rock songs that were equal parts tuneful and challenging. Focht has a lilting, mewing voice that rides atop the sometimes complicated rhythms and melodies that are unafraid to take a quick left turn in the middle of a jam. No doubt these songs will sound completely different when heard through headphones.
Highlights included “Tomato Party” and “Gravitational F’s,” whose names I only know because the band had their boldly printed setlist lying on the floor in front of where they played. Focht is a long-time Linoma indie music veteran, known as much for his work playing drums with Bright Eyes in the early days as for his Head of Femur output. When will this new album be released? I’ll let you know when I know.
As for Goatfest, like I said, I’d love to see Scriptown make live music a regular weekend-afternoon thing. This gig always feels like a South By Southwest day party (in the best way), with the crowd enjoying good music along with Scriptown’s delectable beers and now also smoked meats from Lazy Buffalo BBQ. After meeting Linda, here’s hoping the BBQ place keeps goat off the menu.
Tonight (Friday) at The Sydney in Benson, Indian Caves headlines with Better in Eleven and Midwest Dilemma. The listing says 8 p.m., which is early for a Sidney show, so plan accordingly. $10.
The weather should turn around in time for Goatfest tomorrow afternoon (Saturday) at Scriptown Brewery in The Blackstone District. Great beer goes well with rock music, this time from the legendary Omaha/Lincoln/Chicago project Head of Femur. Joining them is a local indie supergroup Heavy Clippings that includes Noah Sterba and Jeff Sedrel of Yuppies with Vince Franco and Tanner Rogerson. I include my favorite Yuppies track below for reference purposes only. And, like last year, there will be goats! As well as smoked meats from Lazy Buffalo BBQ. Music runs 3 to 5 p.m. and the whole dang thing is free.
Than later Saturday night, DIY venue The Blindspot, is hosting Rapid City “country band for the gays and theys,” Diaphane. The project of singer/songwriter Kyle Blessing wasn’t always a cowboy outfit. 2022’s Portraits (Bathtub Records) was a stylistic indie record, which is why I include two clips from these folks. Also on the bill is Lincoln “alternative garbage roots” band Wicked Bones. Des Moines indie duo Munk Rivers opens at 7:30 p.m. The Blindspot is located at 619 So. 20th St. Isn’t it time you checked it out? Tickets are $10.
And that’s all I got. If I missed your show, put it in the comments section. Have a great weekend!
We all know Jenny. She’s been coming through Omaha for more than 20 years, either as part of Rilo Kiley or The Postal Service or as a solo performer. The last time I saw her was at the 2019 Maha Music Festival, where Lewis took the stage dressed all in gold lamé, touring in support of On the Line (2019, Warner Bros.).
This time Lewis is touring Joy’All , release last year on jazz label Blue Note Records. The album has done pretty well on the strength of singles “Psychos” and “Puppy and a Truck.” A glance at the setlist from last night’s show at The Truman in KC suggests a retrospective show tonight (including “Rise Up with Fists!!”), with new songs sprinkled throughout the set, but no Rilo Kiley songs. Who knows, though, this being Omaha and RK having released their best albums on Saddle Creek Records, she could pull a surprise, but I highly doubt it.
Opening at The Admiral tonight is Amarillo acoustic guitar master Hayden Pedigo, whose instrumentals evoke visions of a wind-blown, barren West Texas. His late album, The Happiest Times I Ever Ignored, was released in 2023 on boutique indie label Mexican Summer. Really pretty stuff.
Pedigo goes on at 8 p.m. Tickets are still availbable for $40 GA and $55 balcony.
Welp, after a day-long delay, Lincoln Calling finally released their lineup . The announcement was supposed to go out yesterday, but five minutes before the “information embargo” expired organizers sent an email pleading for media to hold the presses.
Of all the local festivals (and there’s one fewer this year), Lincoln Calling has the most eclectic lineups. No one genre dominates; instead they throw everything into the mix and this year is no exception.
Slated for May 3 and 4 in venues throughout downtown Lincoln, the 20th anniversary edition boasts 55+ national and local acts. The headliner is pop-rapper Tkay Maidza, whose last album was released on 4AD, a label that used to be renowned for its ambient/indie/post-punk acts. Something tells me the label is making mo’ money from this pop/dance fare.
While LC2024 has a plethora of R&B/DJ/jazz/pop acts, it’s the indie stuff I’m interested in, and the list of touring indie artists is impressive. Among them:
– LA trio Cherry Glazerr (Secretly Canadian)
– New York duo Water From Your Eyes (Matador Records)
– Louisville’s Wombo (Fire Talk Records)
– Nashville punkers Snõõper (Third Man) and
– Chicago’s Friko (ATO Records).
But maybe the most notable act announced is a reunion of influential ’90s Nebraska post-punk legends Ritual Device. I think the last time these guys performed was a holiday show in 2014 with Cellophane Ceiling. Frontman Tim Moss once told me that show was the end. Looks like we’re in for another ride.
The rest of the so-called “regional acts” is just as impressive. Among them are David Nance and Mowed Sound (which, now that they’re on Third Man Records, should have relegated them higher in the LC2024 press release), Universe Contest, Clarence Tilton, The Dirts, PROBLEMS, Bad Bad Men, Pagan Athletes, Plack Blague, Face and, as they say, lots, lots more.
Venues include two outdoor stages along with 1867 Bar, Duffy’s Tavern and The Zoo Bar. Tickets are on sale at lincolncalling.com, with early bird weekend passes priced at $50 – that’s an insanely low price for a festival like this.
Hey, what about a VIP option? Well, as a matter of fact, there is one: The Callers Club. There are four club levels and for $250 you’ll be in the “Immerse Level,” which includes VIP seating, a local meal and drinks. At the $1,000 level you can meet the artists, because let’s face it, everyone needs to meet Tim Moss at least once in their life…
Now all we need is a schedule…
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In the meantime…
Birdie Edge is Alabama instrumentalist Richard Edge. According to an article in The St. Lous Music Report (Why don’t we have an Omaha Music Report?), Mr. Edge was involved in the St. Louis hardcore scene, including in bands Freon and Hippyfuckers. “Surprisingly however, a good chunk of their work has been dedicated to an earthy, rural acoustic solo self-titled project centered around the resonant nature of their steel string acoustic guitar and complex Americana finger-picked patterns,” said the Report.
I have no idea if this information still applies to Birdie Edge, as the article was published two years ago and there’s nothing else online (including at the Pageturrners website). According to Bandcamp, Jinx, the recording linked below, was tape dubbed by David Nance. And tonight’s opener for this show, Jim Schroeder, has played alongside Nance for years.
It all adds up to saying that tonight Birdie Edge Dan McCarthy plays at Pageturners, with Jim Schroeder opening at 8 p.m. No cover but drop some cash in the hat for the bands, please.
Note: Birdie Edge is unable to play tonight at Pageturners. Dan McCarthy is taking his place, and Jim is still on the bill. 8 p.m.
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