Those who have been following this website over the course of the past decade (and longer) know that The Grasshopper Takeover Saga has been well-documented. The story begins here in 1998, and runs through 2004 (here) with stories in between (You can navigate between all four parts from the ’04 story). Grubb is one of the most controversial figures that I’ve had the good fortune to interview. And GTO is/was one of the city’s most popular bands, despite being ridiculed by an indie music scene that the band itself ridiculed (or at least seemed to. Grubb would disagree).

Needless to say, we had a lot of catching up to do during last weekend’s interview, and a lot of the conversation didn’t make it into the column below. Among the more lively exchanges was a discussion about the so-called “indie music scene,” and Grubb’s contention that it is scribblers such as myself that perpetuate the concept and its resulting divisions.

“Those kinds of stereotypes and stigmas can create a certain aspect of ignorance and inability for younger musicians coming up, who don’t know and don’t care about a scene until someone tells them they ‘shouldn’t be hanging out with so and so.'” Grubb said. “I think it should be more open.” No one would argue with that, though I think young musicians are apt to follow whatever muse that guides them, whether it’s metal or punk or country or R&B or indie, regardless of what their friends (or a review) tell them is “cool.”

But with that in mind, Grubb implied that my suggesting that an indie band like Landing on the Moon and a guy like Grubb, who’s known for his pop-rock tendencies, are “Odd Bedfellows” is somewhat reckless, if not irresponsible. And I would agree with Grubb if I held his views of the local music scene. I don’t. Divisions do exist and always have (and always will).

GTO began to define its role in that scene when the band decided to head to Los Angeles to try to land a major-label record deal. “I remember when we first started, I thought I was going to conquer the world,” Grubb said, “but outside of that, I remember telling you that you had to get a deal, and if you didn’t, what was the fucking point. Now I couldn’t be further away for that.

“Where I am now is a matter of development, maturity. The fact that I’m not so centralized in that scene any more, I have a better perspective on what music means to me and what I think the value of music is. I value creativity and total and complete dedication. That’s what I want out of my (studio) clients, too — to do whatever it takes to make themselves happy.”

Column 242: 2001: A Grubb Odyssey
From GTO to Saturn and beyond…

It was only a few minutes into the interview for last week’s Landing on the Moon article that his name came up, and then we proceeded to talk about him for the next hour: Curtis Grubb.

I hadn’t thought about him in years, and hadn’t talked to him since 2004, when I did my last interview with Grasshopper Takeover, the trio Grubb fronted with James McMann and Bob Boyce. I knew that he’d opened a studio, Grubb Inc., but whatever happened to GTO?

I had been writing about the band since ’98, right around the time GTO decided to follow their dreams to Los Angeles with the hopes of landing a big record deal. Instead, they found themselves living on the road touring for more than two years. Albums were recorded and released. Bones were crushed. Equipment was stolen. The fan base grew. And eventually they found themselves playing arena-sized gigs opening for Incubus and pals 311. And then they came back home, to Omaha, and that’s where I lost track.

Their last gig was two years ago, opening a show for Better Than Ezra at one of the Council Bluffs casinos. “To be honest, part of the reason is due to me,” said Grubb sitting behind the console of his new basement studio located in his West Omaha home. “I was just getting a little tired of doing it. Nothing against it at all. I love playing live, I love the band and the music, I stand by everything and every choice we made. It was never a conscious decision, I always let the music guide me every step of the way.”

Two years ago, it guided him to Saturn, in the form of creating music for a national television commercial featuring the car maker’s 2007 models. Grubb said he landed the gig through his Los Angeles connections. “I got a call to be a candidate to write the music, so I wrote like fucking crazy for two weeks straight.”

That led to commercial work for Comcast and Sprint and the NBA finals. “That first one opened a whole new concept for me and my career,” Grubb said. “It cut that tie that bound me, so I just started running with it. I bought all the equipment, set up a studio and started learning everything I could.”

Along with the commercial work, Grubb began recording bands, and figured out that he loved inspiring other people to make the best music that they could “and I was good at it, too.”

And as all that was happening, GTO just got further and further in the rear-view mirror. “It wasn’t a conscious decision, it seemed like a natural progression of my life’s path as it relates to music,” Grubb said. “I never thought (GTO) wasn’t working; I just wanted something new. That was it. It never didn’t work. We weren’t on any kind of a downhill slide. We were still packing the house and selling out shows and touring religiously. The bubble was still big and getting bigger, but it was a fragile thing, and it’s like some external force stuck a pin in it and let the air out a bit.”

Grubb said all three grasshoppers remain “great and fantastic friends.” He’s seen Boyce and McMann’s new band, Two Drag Club, a number of times. “I think they’re fantastic.” He also hasn’t closed the door on working with them again.

In fact, GTO has never really “broken up,” Grubb said. “As soon as you have the ‘break up’ tag on you, than your next show together is considered a ‘reunion show,’ and those never seem to work.” So even though they haven’t practiced together for over a year, Grubb said he and the rest of GTO feel like they have another album to write. And his days behind the microphone are far from over.

“I don’t miss it in the form of any kind of regret that I’m not doing it now,” Grubb said of performing. “I know that I’ll be back there at some point. If I couldn’t, I’d miss the shit out of it. I love the stage, man, and I believe I’m pretty damn good at being a frontman and an entertainer.”

He’s also still making music, though exclusively in the studio. His latest project is a “musical reimagination” of the last 35 minutes of 2001: A Space Odyssey — a modern rock rescoring of the last portion of the film that starts right as Dave begins to dismantle Hal and is thrown into the “star gate” to die and be born again.

“I’ve been working on it for two years and it’s almost done except for a couple sync points,” he said. “I have a vision that if every star in the universe lined up perfectly, that the owner of the movie would accept it as a true sync, and then have the studio license it to planetariums around the world.”

Grubb screened it for me, and the work is indeed impressive. Musically, it’s a “giant leap” forward from his GTO work. At the very least, Grubb said he intends to release it digitally, and is beginning work on another secret film-sync project while he continues working with bands, including Cass 50 and Rock Paper Dynamite.

And there’s an even bigger project in the making, something that will impact everything he does moving forward. Ah, but that’ll have to wait until the next article.

“I’ve had a lot of people tell me how lucky I am,” Grubb said. “I subscribe to the idea that luck isn’t thrown on you, it’s created by you. I think a lot of luck is created by following your heart.”

* * *

It seems like yesterday that I was telling you that Cloven Path were hanging it up and moving to Texas for reasons that couldn’t be explained in this blog. Well, now they’re back, or at least a new incarnation of Cloven Path is back, performing tonight at their old stomping grounds of O’Leaver’s. Opening the show is local punk-rock phenoms Hercules, Portland’s Prize Country and Denver’s Git Some (ex-Planes Mistaken for Stars). $5, 9:30 p.m.

Meanwhile, across town at The Sydney, Portland band System & Station is playing with Fromanhole, Comme Reel and Nicole Le Clerc. $5, 9 p.m.

–Got comments? Post ’em here.—

The sound-explosion freak-out that was last Friday night’s Yo La Tengo show at The Slowdown was absolutely epic. Like the last time they came through, this will be on my list of the best shows of the year. The trio was on fire playing nearly two hours of songs from their new album, Popular Songs, as well as a collection of their “greatest hits” that reached as far back as Painful (see photo). After they opened with the 15-plus minute instrumental noise odyssey called “And the Glitter Is Gone” from the new album, the band settled into a selection of the more jazzy, dancey, poppy songs from albums gone by. I thought it was going to be a laidback evening, but by the beginning of the second hour, it was one noise anthem after another. About half-way through, I began to have a new “understanding” of a band that I’ve been listening to for more than a decade. It’s as if guitarist Ira Kaplan was creating a wall of painful noise and distortion designed to counteract the pretty melodies and straight-forward, streamlined rhythms created by bass player James McNew and drummer Georgia Hubley. All three have quiet, almost dour voices (Hubley is Nico to Kaplan’s Lou) that chirped pretty melodies while Kaplan systematically tortured his guitar, at times pulling the strings from the neck with both hands — shoving objects between the strings and the fretboard — blasting out a sharp, anguished howl (After each song, a guitar tech would hand Kaplan a different guitar to play while he was back stage presumably repairing the damage). So that balance — the pretty and the painful — almost put me in a trance, as songs rose and fell and regurgitated themselves following a pulsing thread of McNew/Hubley rhythm. It was exquisite.

* * *

I had to do a bit of driving Saturday night. First stop was O’Leaver’s for the world stage debut of Well-Aimed-Arrows, the new band by Koly Walter and Clayton Petersen, formerly of the legendary Omaha post-punk band The Protoculture. Considering that Koly wrote most of the songs for both bands, W-A-A sounded like Protoculture Pt. 2. The Arrows (let me be the first to call them that) had Protoculture’s same dissonant song structures propelled by punchy rhythms and Walter’s flat vocal howl. Petersen’s wife Michelle provided the necessary counter vocals (a la Erica). The difference for me was bassist Brian Bird (of The Antiquarium) whose hot dog style took the music to a groovier level. The band only played five songs, but it was more than enough to get the crowd’s blood pumping. What’s that they say about “leave them wanting more”? (see photo).

I skipped out right afterward and headed to The Waiting Room where I caught the last half of Noah’s Ark Was a Spaceship’s ferocious set. (see photo). These guys have emerged as thee band to carry on Omaha’s ’90s post-punk noise-rock tradition. They sound influenced by early Nirvana, Sonic Youth, Unsane, Surgery, Helmet, Cop Shoot Cop and a host of other bands that (considering their age) they may or may not have heard of.

Landing on the Moon bought everyone in the crowd of about 150 a glass of champaign and kicked off their set by having a toast to a new LP that took them two years to complete. Their set was the usual rock-solid performance, highlighted by a screaming guitar solo from Matt Carroll during “She Wants,” and a new song — perfect set-closer “California,” a simple, upbeat pop tune that seems to be pointing the direction in which the band is heading for their next album — very encouraging indeed. (see photo)

* * *

Well, that Mousetrap reunion that I mentioned back in July has become official. One Percent announced that the reunion show will take place Dec 23 at The Waiting Room. The line-up will include original members Craig Crawford and Pat Buchanan. On drums is a new guy. “The drummer’s name is Mike Mazzola,” Crawford said via Facebook. “He played in a band called ‘The Lost’ with Patrick. Pat thinks that he will be perfect for the show. We’ve all been working individually on our parts and will start rehearsing as a group shortly. Should be good and loud!” Opening the show is the reunited Mercy Rule and Beep Beep. I’m told this will be the final performance for Beep Beep, and the band’s line-up will include original member Chris Hughes. Tickets for this show aren’t available until Oct. 17, when they’ll be $8. This will sell out, so I suggest you get online or in line the day tix become available.

* * *

It’s a busy Monday night for shows. At The Waiting Room, a 6-band line-up has been announced for tonight’s Nebraska Humane Society/Lindahl benefit show. Your $8 cover will go to the NE Humane Society, while tips (and presumably a separate donation box) will help cover costs for necessary eye surgery for Lindahl, a Jack Russell terrier that I’m told is no stranger to the local bar/music scene. The line-up of performers is impressive: Fortnight, Lincoln Dickison, Reagan Roeder, Sarah Benck, The Wagon Blasters, and Kyle Harvey. Show starts at 8 p.m.

Meanwhile across town at The Brothers Lounge (3812 Farnam), Digital Leather is playing with Box Elders and the Fresh & Onlys. Chris Aponik has a feature on DL in this week’s issue of The Reader, which you can read online here. Tix are $5 and the show starts at 9.

–Got comments? Post ’em here.—

And so, the weekend…

Tonight’s mega-show is Yo La Tengo at The Slowdown. For all of us who lived through Matador’s heyday in the 1990s, YLT is a can’t-miss concert. And for you young-ens who weren’t around in those golden days, YTL also is a can’t-miss show if only for the strength of their latest album, Popular Songs. Every time they release a new record I say it’s their best one yet, and every time I’m right. It is almost three years to the day since the last time they came through Omaha, and that show ended up being in my top-five for the year (read that review here). As of this writing, tickets are still available for a mere $17. Opening band is Tennessee garage/punk trio Cheap Time, whose full length was released on In The Red. Cheap Time has toured with garage band legend (and Matador labelmate) Jay Reatard. Get there at 9.

Also tonight, Simon Joyner will be at O’Leavers playing songs off his new album, Out Into the Snow. Joining him is Grotto recording artist Samuel Locke Ward & The Boo, Mr. Wizard and Data Gun. $5, 9:30 p.m.

Saturday night’s marquee event is the Landing on the Moon CD release show (read about them here) at The Waiting Room with Noah’s Ark Was a Spaceship, Ideal Cleaners and Fortnight. $7, 9 p.m.

Also Saturday night is the world premiere/stage debut of Well-Aimed-Arrows, a new band that features Koly Walter and Clayton Petersen of The Protoculture as well as Brian Bird (Antiquarium co-owner) and Michelle Petersen. Well-Aimed-Arrows (the name was derived from the Simon Joyner song “Three Well Aimed Arrows”) opens for Private Dancer at O’Leavers. $5, 9:30 p.m.

Also also Saturday night, Cowboy Indian Bear makes a trip up from Lawrence to play at The Sydney with Shiver Shiver. $5, 9 p.m.

–Got comments? Post ’em here.—

Just posted, an interview with Landing on the Moon (read it here). The band talks about the making of their debut full-length, We Make History Now, and working with engineer/producer Curt Grubb (yes, that Curt Grubb). They also talk about finding and signing with fledgling New York label Young Love Records. It’s a fun read, so check it out, and then get ready for their CD release show this Saturday at The Waiting Room.

* * *

Tonight at O’Leaver’s, It’s True is scheduled to play after the Husker game, along with The Photo Atlas and Epilouges. With the game starting at 8:05, we could be waiting until 11:30 until someone actually takes the stage. How is O’Leaver’s going to figure this one out? $5.

Also tonight, everyone’s favorite ’90s-scented punk band The Coffin Killers is playing at The Sydney with TBA (you remember those guys, right?). Will the Husker football game also influence when this show starts? I highly doubt it. 9 p.m., $5.

–Got comments? Post ’em here.—

It’s been a busy year for festivals. The ones I can remember: OEA Summer Showcase, Lincoln Invasion, MAHA, RatFest, Nebraska Pop Festival and last weekend’s Lincoln Calling Festival, which is the subject of this week’s column. And it’s not over yet. The OEA Fall Showcase is Nov. 13 in Benson.

Column 241: Turning the Corner
Best year ever for Lincoln Calling…

After word got out that a reunion of legendary ’90s-era rock act Mercy Rule was going to replace Domestica last Saturday night at Lincoln Calling, I knew that I was going to make my first excursion to the festival after writing about it for the past six years.

Jeremy Buckley, Lincoln Calling organizer and “A-No. 1 Ass-kicker” (as designated from stage by Mercy Rule’s Jon Taylor) had texted me with the details. Ron Albertson — Mercy Rule’s drummer who had moved to Brooklyn all those years ago — was back in town to stay, and Mercy Rule was a band again. In Ron’s absense, Taylor and his wife, bassist/vocalist Heidi Ore, had formed Domestica with drummer Boz Hicks. I guess Boz simply stepped aside, understanding the obvious historical implications.

They were scheduled to play at 9 p.m., so we left Omaha at 7:30 in the Cooper. I can’t remember there being so much construction on I-80 — the speed limit shifted from 55 to 65 to 75 to 55 and so on, which didn’t matter since I was driving 85 anyway, and still almost missed the show when we flew past the 9th St. exit, not realizing our mistake until we got to Crete with the city in the rear-view mirror.

For many, Mercy Rule would be the highlight of the five-day festival. But not for Buckley. “The best thing I saw was Ideal Cleaners doing ‘Go, Go Big Business,’ a song that I always ask for but they never play,” he said.

It was the cherry on top for Buckley. This is the year that Lincoln Calling “turned a corner” from being a nice weekend of shows put together for the locals who probably would have been at the bars anyway, to an “event” that drew new blood in the form of people completely outside of the Lincoln/Omaha music scene.

Buckley called Monday night after spending the entire day in bed recovering from the weekend. He reported that total Lincoln Calling attendance was 3,590 patrons, a thousand more than the 2,500 he had been shooting for. Cash from the event’s ticket sales totaled $9,063 — an average of about $2.50 per patron. “(I) should probably try and figure out how to get that ‘per person figure’ higher next year,” he said.

Regardless, everyone that performed got paid — something that’s unheard of for most local music festivals. The worst-paying night was Sunday, where the light draw meant each band only pocketed about $15. For the rest of the weekend, “a couple solo artists got $30, and the rest of the bands got between $50 and $200,” Buckley said, explaining that their take was based on door splits. Every performer also received a free $30 all-access pass that let them into every show throughout the festival.

In the end, Buckley said most bands were happy with the way things turned out, except for Eagle Seagull, who had a “melt down” on the The Bourbon Theater stage on the festival’s opening night. Buckley said Eagle Seagull frontman Eli Mardock “left the stage in the middle of the third song and watched from the side. I think he made it through four or five songs total. People were in a bad mood afterward and talked about it all weekend. Eli said he was sorry, and that they would do a makeup show in December in Lincoln for free. Other than that, there were no major disasters.”

Statistically speaking, the highest grossing show was Sarah Benck’s Saturday night performance at The Zoo, which she had announced would be the swan song for her band. The room was a crush mob, and after only a few minutes of being in everyone’s way, we left with claustrophobia setting in.

From a pure attendance standpoint, Buckley said Friday night’s UUVVWWZ show at Duffy’s or The Killigans show at the 12th St. Pub took the prize. Each drew well over 300.

But forget about the numbers. Buckley pointed to other signs that Lincoln Calling is growing into a real festival: He watched as someone actually scalped an all-access pass outside of Duffy’s. Like Austin’s South by Southwest Festival, an “unofficial Lincoln Calling show” was held after hours at a nearby house for Bandit Sound. And two radio stations and a local TV affiliate approached Buckley to cover the event — another first.

Buckley said the seventh annual Lincoln Calling Festival would be “the year of sponsorship and board of directors and volunteers.” He missed too many of the shows this year because he was constantly being texted to put out fires along O St. Next year he wants to place a volunteer at every venue to handle flare-ups. He also is fielding offers to help with the event’s marketing.

For me, the festival’s highlight was that Mercy Rule show — something I never thought I’d see. But there they were on Duffy’s famous stage, Jon, Heidi and Ron, illuminated in the glow of their trademark floor floodlights, tearing into four classics (including “Summer” and “Tell Tomorrow”) and pointing toward their future with four new songs that were as loud and angry as anything in their crowded oeuvre. Taylor’s homemade guitar was still ringing in my ears as we made the long drive back home.

* * *

Tonight at The Waiting Room, Skypiper opens for Nickel Creek’s Sara Watkins. $12, 8 p.m. Matt Whipkey opens for The BoDeans at The Whiskey Roadhouse/Horseshoe Casino. $23.50, 8 p.m. And Sarah Benck is playing solo at The Barley St. with PennyHawk and Adam Faucett. $5, 9 p.m.

–Got comments? Post ’em here.—

A complete recap of Lincoln Calling is the subject of this week’s column, which will be online tomorrow. The short version is that the festival drew 3,590 people — about a 1,000 more than organizer Jeremy Buckley had hoped for. In other words, it was a success. More data and quotes tomorrow.

I actually went down for one night of Lincoln Calling this year, to catch the Mercy Rule reunion and the final show of Sarah Benck and her band (the band formerly known as The Robbers). Mercy Rule brought the goods to Duffy’s stage, playing four old songs (including “Summer” and “Tell Tomorrow”) and four new songs that absolutely ripped. It was fun to see Ron Albertson behind a drum set again, and to see the band lit up in their trademark floor-floodlights (see photo). The question now is when will a new Mercy Rule album be released (presumably on Speed! Nebraska)?

The Sarah Benck show at The Zoo Bar was a mob scene, crazy packed, overheated, insane (see blurry photo). We made it through one song before we had to get out of there as the walls seemed to be closing in. It has been pointed out to me by a couple folks in other bands how ironic it is that Benck and her band are breaking up as it is one of the few non-Creek Omaha bands that consistently makes money (and good money at that).

Anyway, more tomorrow. Also this week (Thursday), look for a sweet interview/feature with Landing on the Moon.

* * *

Tonight at Slowdown Jr., it’s the return of Brad Hoshaw and the Seven Deadlies with The Matt Cox Band and Kyle Harvey. $6, 9 p.m.

–Got comments? Post ’em here.—

Last night’s show at Slowdown Jr. was the first-ever performance by The Mynabirds, though you’d never have known it by the way they played. The band is fronted by Laura Burhenn — half of the late, great Georgie James. Burhenn apparently just moved here from Washington, D.C., so I assume the other four Mynabirds are from around here. In fact, on bass was singer/songwriter Dan McCarthy, and I recognized the guitarist, but can’t for the life of me tell you who he was.

Anyway, Burhenn and her band came on at around 10:30 and played a short set of well-crafted indie rock songs that sounded like a cross between Jenny Lewis (the upbeat, strutting stuff) and Azure Ray (thanks to a terrific harmony vocalist). The band rocked like it’d been around for years — very tight with only one noticeable miscue (To start off their last song, the drummer did a 4/4 count-off. Laura turned around with a “no” look, and da-da-da’d a waltz-time beat that the drummer mimicked to get them started). Burhenn’s voice is indie gold, and I could see any number of labels clamoring to get he band on their books, but I have to believe that she’ll end up at Saddle Creek, where she’d be a perfect fit. Nansel would be a fool to let this one go… (See photo)

When I got to the bar, Jake Bellows had already begun his opening set of solo electric lonely-guy ballads that we’ve all come to love. I’m starting to think he has a million of these lovely, sad songs filed away in the back of his mind, enough to perform a set that would last an entire weekend, and no one would mind. Bellows is a crooner; on stage he looks like an everyday Joe who woke up one day to discover that he had this dreamy, heart-breaker voice, the kind of voice that would have made him a star in the 1950s, bigger than Bobby Darin. Instead, he’s slowly edging his way into the indie foreground, sneaking in under the radar. It’s just a matter of time, and considering that Neva Dinova’s been around since the ’90s, time is something Bellows seems to have plenty of.

The crowd of around 70 was oddly mannered — everyone was seated and no one talked at all. Dead silence between Bellows’ songs, it was awkward. People were afraid to get up and get a beer while he was playing. I felt strange standing up at the edge of the bar, like I was out of place. The odd behavior carried over to the Mynabirds’ set, and toward the end, Burhenn pleaded to the crowd to get up and walk toward the stage, which about a dozen people did.

I didn’t stick around for These United States. Instead, I high-tailed it across town to The Waiting Room where I caught most of the set by Tortoise. The show wasn’t a sell-out, but the crowd was pretty good, maybe 150 (I’m guessing), a majority filling in the main room, staring up at the five-piece as they traded off turns on drums. Tortoise’s instrumental-only music is intensely rhythmic (at times, brutally so) at once hypnotic and groovy and unpredictable in its changes and sounds. It’s like ’50s beatnik jazz-lounge infused with a post-punk attitude and a touch of art/prog. Which makes me wonder why the band appeals so much to the neu-hippie culture. When the band came through a couple years ago, I don’t remember seeing so many white-guy dreads, so much hurdy-gurdy dancing, I expected to find someone back by the pinball machines making tie-dye t-shirts. I bet the only ones more perplexed by the onslaught of hippie nation was the band itself, who looked like a bunch of very cool, aging Chicago artists who grew up listening to really good college music, music from bands like Tortoise. (See photo).

* * *

This Saturday’s Lincoln Calling performance by Sarah Benck and the Robbers will be the last for the band, as they’re breaking up afterward. Benck said the decision to end the band came about quickly, and that she’s disappointed by the situation but realizes that people’s lives change. “My bandmates are all great friends, and I’m sure that will remain. Six years was a great run, and that’s what makes it so bittersweet,” she said.

Moving forward, Benck said she intends to play solo shows until she decides if, when or with whom she’d like to play again. I don’t think she’ll have much trouble pulling together another band. For me, the real question is whether she’ll keep creating music in her current style or use this crossroads as a touchstone for moving in a different direction. Time will tell.

The Benck/Robbers Lincoln Calling show is slated for 10 p.m. at The Zoo Bar. If you want to catch it, you may want to show up early.

* * *

Speaking of Lincoln Calling, festival organizer Jeremy Buckley texted me to say that attendance has been strong for the first few days. Wednesday attendance was 395 while Thursday drew 690. Tonight should be just as strong and Saturday should be crazy, with the Benck/Robbers farewell and the Mercy Rule reunion at Duffy’s.

Here’s tonight’s schedule:

Duffy’s Tavern
Early — 6-9 p.m.
Women of Music First Friday featuring art and photography from:
Teal Gardner
Courtney Nore
Alexandra Matzke
Natasha Richardson
Kayleigh Speck

Late — 9 p.m., $3 suggested donation, 21+
9-9:45 Honeybee
10-10:45 Sat in What
11-11:45 Flowers Forever
12-12:45 UUVVWWZ

Zoo Bar
Early — 5 p.m., $5 for 21+
5-7 p.m. Tijuana Gigolos

Late — 9 p.m., $8 for 21+
9-9:45 The Bellflowers
10-10:45 Brad Hoshaw and the Seven Deadlies
11-11:45 Frontier Ruckus
12-1245 The Allendales

12th St. Pub — 9 p.m., $3 for 21+, $5 for 18-20
8:30-9:30 Triggertown
9:45-10:30 Cowboy Dave Band
10:50-11:30 The Filter Kings
11:45-1 The Killigans

Bricktop — 10 p.m., free for 21+
Dr. Zhivago
Tres
Brent Crampton
DJs will decide rotation

Bodegas — 9 p.m., $5 for 21+
10-1 Lazer Wolfe

Duggan’s Pub — 9 p.m., $5 for 21+
9-9:40 Tendead
10-10:40 Hellanova
11-11:40 The Lifeless Design Norfolk
12-1 Deadechoes

Songwriter Power Ranger — 6 p.m., free for all ages
6:30-7 Das Hoboerotica (Spindle)
6:50-7:20 Adam Jameson (Duffy’s)
7:10-7:40 Jonathan Dell (Spindle)
7:30-8 Saint Christopher (Duffy’s)

Marz
Early — 6 p.m., free for 21+
7-9 p.m. Lucas Kellison and the Assembled Soul

Late — 10 p.m., free for 21+
Bookworm
Ol’ Moanin’ Corpse
DJs will decide rotation

* * *

OK, so what’s going on in Omaha tonight?

O’Leaver’s has a nice little post-punk/indie show going on with Ketchup and Mustard Gas, Driftless Pony Club and godshamgod. $5, 9:30 p.m.

Saddle Creek Bar is presenting a much more conventional punk show with Officially Terminated, The Shidiots and Youth and Tear Gas. There’s never a cover charge at the SCB. Show starts around 9 p.m.

The biggest show tonight is The Get Up Kids (read my 2002 interview) with Youth Group and Pretty and Nice. $23, 9 p.m.

–Got comments? Post ’em here.—

Who are The Mynabirds (who are opening tonight’s These United States show at Slowdown Jr.)? Well it’s the new project by former Georgie James member Laura Burhenn. Her yet-to-be-released new album, What We Lose in the Fire We Gain in the Flood, was recorded with singer/songwriter/producer Richard Swift. You can hear a bit of it on the Mynabirds myspace page, or better yet, come down to Slowdown and hear it live. Also opening is Jake Bellows. $7, 9 p.m.

Also tonight, as if you didn’t know, is Tortoise at The Waiting Room. I didn’t think we’d see these guys again after their last show at TWR (in June 2007) didn’t sell out (read my comments here), but here they are, better than ever with a brand new album on ThrillJockey called Beacons of Ancestorship. Opening is Prefuse 73. $15, 9 p.m

O’Leaver’s has Static Static tonight with Noah’s Ark Was a Spaceship and The Prairies. $5, 9:30 p.m.

And then there’s Day 2 of Lincoln Calling. The sched is below. The big LC news, announced just yesterday, is that the reunited Mercy Rule — complete with drummer Ron Albertson — will be performing Saturday night at Duffy’s as part of Lincoln Calling. I just figured out which night I’ll be heading down to Lincoln.

Bourbon Theatre — 8 p.m., $8 for 18+

9:15-9:45 Talking Mountain
9:50-10:20 Capgun Coup
10:25-10:55 Conchance
11-1 Goo DJs

Duffy’s Tavern

Early — 6 p.m., $5 for all ages

6-8:30 Academy of Rock celebrates Banned Book week

Late — 9 p.m., $3 suggested donation for 21+

9-9:45 Techlepathy
10-10:45 Ideal Cleaners
11-11:45 Fromanhole
12-12:45 Masses

Zoo Bar — 9 p.m., $5 for 21+

9-9:45 Mal Madrigal
10-10:45 Loup River Band and Street Choir
11-11:45 Matt Cox Band
12-1 Son of 76 and the Watchmen

12th St. Pub — 9 p.m., $3 for 21+. $5 for 18-20

9:30-10:30 Andrews Ave
10:50-11:30 Jodie Loves Hinckley
11:45-1 Tempo

Bricktop — 10 p.m., free for 21+

Ol’ Moanin’ Corpse
DJ Relic
Jacob Smith

DJs will decide rotation

Duggans Pub — 9 p.m., $5 for 21+

Bandit Sound
Dethmask
To the Grave

Songwriter Power Ranger street corner stomp

6:30-7:00 Jon Wesley Crusher
6:50-7:20 Rebecca McPherson
7:10-7:40 Manny Coon
7:30-8:00 Grant Centauri

Marz Bar

Early — 6 p.m., free for 21+

7-9 p.m. Son of 76 and the Watchmen

Late — 10 p.m., free for 21+

Dr. Zhivago
Conrad

DJs will decide rotation

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