What more could you ask for than Conor Oberst singing “Lua” backed by Nate Walcott on flugelhorn? It was one of the highlights of last night’s sold out Haiti Relief Concert at Slowdown. For this rendition of Bright Eyes, Oberst had Walcott on keyboards and assorted brass, Mike Mogis on guitar, Matt Maginn on bass and someone on drums who resembled a young Winona Ryder (at least from my vantage point across the room). Whoever that drummer was, she was amazing.

The crew played a couple new songs (that, or I simply didn’t recognize them) that will fit nicely in the Bright Eyes oeuvre. The best of them was the encore that roared to a crashing, epic finish. When will we be hearing this new material? Something tells me it won’t be until sometime during the latter part of the year.

I didn’t arrive at Slowdown until around 11, when Simon Joyner was on stage with his band playing a rather low-key set. In fact, most of the evening had a distinctly low-key feel, which I guess was appropriate for a benefit for such a grim situation. Tilly and the Wall’s set was less rousing than relaxed, especially since Jamie Pressnall no longer tap-tap-taps out the hits, one assumes because she’s still feeling the effects of giving birth to her and husband/guitarist Derek Pressnall’s first child.

That said, one band did manage to pry the roof off the joint. It’s True has never played a better set, taking their sound to uncharted waters. They were the band that had the most buzz among those I chatted with in the crowd. The consensus: They just keep getting better. They knew they were on one of the biggest stages of their careers (thus far), and they took full advantage of it. Wonder who is putting out their upcoming album?

An aside: I haven’t seen Oberst play “Lua” in a long time, and to his credit, he attacked it with the same intensity as he ever has, spitting out the lines almost with poetic disgust. Despite being his “hit,” the woman next to me had never heard the song before, and commented on how freakin’ sad it is.

There was a movie that came out sometime in the early ’80s that starred Paul Simon called One Trick Pony. Simon played Jonah, a guy on the downside of his career, balancing various relationships, trying to make a comeback. Anyway, late in the film, an award show based on The Grammy’s asks Jonah to appear at their ceremony and perform his famous war ballad “Soft Parachutes,” which is just the type of nostalgia trip that Jonah was trying to avoid. In the end, he does the performance, walking onto an empty stage with just a guitar. It’s a pretty song, a strong song, the kind of simple melody that Simon did so well and seemingly effortlessly (before Graceland). I think of that scene every time I see Oberst perform “Lua.” It would be easy to say that “Lua” is Conor’s “Soft Parachutes,” except that after all these years, he looks like he still loves playing it, as if he knows what a jewel he has in that song.

* * *

Weekend’s looking busy.

Tonight at O’Leaver’s, OEA Award winner for best hip-hop, Conchance, opens a show at O’Leaver’s with godshamgod and Pharmacy Spirits. 9:30, $5.

There’s another Haiti Benefit Concert tonight down at The Hole, 715 So. 16th St. The line-up is Eastern Turkish, Cordial Spew, Living Victim, Youth & Tear Gas and Straight Shot. $5, 7 p.m.

Meanwhile, down at Slowdown Jr., The Killigans have their CD release show with Parting Shot and Cave Kids. $7, 9 p.m.

Saturday night’s main event is Her Flyaway Manner at The Waiting Room with Perry H. Matthews, This Life Is a Scarecrow and Bazooka Shootout. $7, 9 p.m.

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According to Slowdown major domo Val Nelson, here’s how tonight’s Haiti Benefit Show is going down: The first band starts at 8:30 sharp, and to facilitate eight bands in four hours each band will play a 20-minute set. The line-up again: Tilly And The Wall, Bright Eyes, It’s True, Simon Joyner, The Mynabirds, Bear Country, McCarthy Trenching and Brad Hoshaw. Val says that all money raised from ticket sales will be donated to Doctors Without Borders — http://doctorswithoutborders.org/. Of course, if you don’t have tickets, you’re out of luck as the show has been sold out for a few days.

Also happening tonight, Sarah Benck is headlining a show at O’Leaver’s with Adam Robert Haug, Pennyhawks and Mumfords. $5, 9:30 p.m. The amazing Blue Scholars are playing at Lincoln’s Bourbon Theater; $10, 7 p.m. And DJ Kobrakyle will be running a victory lap at The Waiting Room, celebrating his OEA award for best DJ. $5, 9 p.m.

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If you didn’t get your ticket to Thursday night’s Haiti Benefit concert at Slowdown featuring Tilly and the Wall and Bright Eyes (among others) you’re out of luck. The show is now sold out.

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Well, the bad news is I only got four of my OEAA predictions right. The good news is that about half of the artists I voted for won awards. As I say in the official review that will be printed in The Reader Thursday, last night’s OEAAs were a nod to performers who spent most of ’09 playing in local clubs rather than the hard-core touring acts trying to make a name outside of our little burg.

Gone are the days when Saddle Creek Records artists — arguably the most successful and influential bands in the area (and playing the best music) — dominated these awards. This year, only four Creek-related bands were even nominated, and none took home a prize, despite national and international tours for Cursive and Oberst, along with plenty of road work from the forgotten Ladyfinger. In the end, does it matter if a local band does something like play at SXSW? Apparently not to the OEAA voters.

Taking just over two hours for the entire evening’s production, emcee and chief yuckmeister Ethan Stone, part of the morning team at 96.1 The Brew, joked endlessly about the fact that you could actually drink alcohol in the Mid America Center ballroom — something unheard of at The Holland Center where the event had been held over the past three years.

A small army of wait staff delivered hot-plates of pork and potatoes to the well-groomed nominees as Stone rattled through the list of winners. Only a handful was allowed to come on stage to accept their awards Oscar-style. The rest had their crystal statues delivered to their tables, just like their pork and potatoes, where they proudly lofted their prizes overhead before the attention moved on to the next honoree.

The ceremony was quick and efficient, which was fortunate as some of the year’s worst road conditions lay ahead for the trek back over the river.

The evening kicked off with performances by Hot Topic-style emo band After the Fall and what would be the night’s big winner, Brad Hoshaw and the Seven Deadlies, who is down to just three “deadlies” these days. While the room lacked the sparkling acoustics of The Holland Center, it was more than adequate for an audience busy downing dinner rolls and Bud Light.

The evening’s first highlight was the “Lifetime Achievement Award” bestowed to legendary promoter and entrepreneur Matt Markel. Pacific Street Blues host and former head of Homer’s Records Rick Galusha, along with 89.7 The River Program Director Sophia John, recapped the highlights of Markel’s career, which included running Omaha nightclub The Ranch Bowl, launching radio station 93.3 K-ROCK, and creating BJM Studio and Get-Go Records. Markel, 58, took the stage in front of a standing ovation. He thanked his wife, Dana, all the bands that had played at the Ranch Bowl over the years along with “all the workers,” including those he fired. Despite having suffered a stroke in 2002, Markel looked and sounded in good health. “The stroke has been a blessing to me,” he said. “It’s calmed me down a lot.”

Then it was back to the awards, most of which went to a cadre of bands and performers known for their appearances on Benson stages. Brad Hoshaw and his band took home the lion’s share of top honors, including awards for Album of the Year for their debut LP, along with Artist of the Year and Best Singer/Songwriter/Adult/Alternative. Like a good son, Hoshaw went out of his way to thank his mother.

The night’s other big winner was It’s True, a band led by singer/songwriter Adam Hawkins, which picked up crystal obelisks for Best New Artist and Best Indie / Alternative.

The OEAAs ventured off the Benson reservation only a few times, most notably for the Best Rock award, which went to Goner Records artist Box Elders, and Best Hip Hop, which went to I’m Drinkin’ This recording artist Conchance.

One of the evening’s bigger surprises was the Best DJ Award, which went to Kyle Richardson a.k.a. DJ Kobraklye, who is probably most well known for spinning tracks at Gunk nights at The Waiting Room in Benson.

So was the lack of Creek representation this year a sign of a pull-back in Saddle Creek output (the label released nationally distributed albums by four local artists in ’09) or have the OEAAs’ voters simply become more focused on local bands that play regularly at local clubs?

Only one winning act — Box Elders — has spent more than a month on the road touring in ’09. The rest of the winners — either by choice or due to the financial realities involved with touring — spent most of last year close to home.

Here’s the list of this year’s winners:

Best Rock — Box Elders
Best Hard Rock — Paria
Best Alternative/Indie — It’s True
Best Singer-Songwriter/Adult Alternative — Brad Hoshaw & The Seven Deadlies
Best DJ — Kyle Richardson a.k.a. DJ Kobraklye
Best Folk/Roots/Americana/Bluegrass — Filter Kings
Best Soul and R&B — Satchel Grande
Best Hip-Hop/Rap — Conchance
Best Gospel — Salem Baptist Voices Of Victory
Best Blues — Matt Cox
Best Jazz/Standards/Easy Listening — Luigi Waites
Best Ethnic/World Music — The Turfmen
Best Cover Band — Secret Weapon
Album Of The Year — Brad Hoshaw & The Seven Deadlies, self titled
Best New Artist — It’s True
Artist Of The Year — Brad Hoshaw & The Seven Deadlies

* * *

Bright Eyes has been added to the line-up for this Thursday Haiti Benefit show at Slowdown. The already-packed line-up includes Tilly and the Wall, The Mynabirds, It’s True, Simon Joyner, Bear Country and McCarthy Trenching. Tix are still available here for $15. Get them while you can.

* * *

Hey, there were a couple updates over the weekend, including a detailed review of the newly remodeled Waiting Room, so scroll down!

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Though there (probably) have been bigger crowds at The Waiting Room, there’s something about the new, wall-less/ceiling-less design that makes the crowd seem bigger and, strangely from a getting-around standpoint, denser as if the room is smaller. Or maybe more people were there last night to see NOMO than I thought.

First off, the overall vibe: More modern; it feels like a completely different club. I’ve heard people describe it as “Austin-like,” or like a venue you’d find in a different city. I didn’t quite get that. It does, however, feel more cosmopolitan, and now has more in common with Slowdown than it did before the remodel. It is, hands down, a better club.

The high points: Amazing sight lines from anywhere in the room. I tried to remember how it used to be, with those walls blocking the stage when you stood by the entrance. You can now effectively watch a band from all the way back in the pinball machine area. And now the stage looks like it belongs where it is instead of being an afterthought.

The sound was very good. I think they still need to work some bugs out with the mix, which felt a bit thin, flat and un-dynamic, but overall, balanced (maybe too balanced, as I was having a tough time separating the players). It was earplug loud from everywhere, which tells me that all that sound buffering from the old lowered ceiling is obviously gone. Before the remodel, you could lean back against the bar and take out your earplugs — that thought never crossed my mind last night.

The lighting was striking, with the new “moving lights” in full motion. They’re not as impressive as Slowdown’s light curtains — probably because there are fewer moving lights, and they’re still figuring out how best to use them.

New high-table seating along the north wall is a nice touch. I wasn’t able to actually sit down and try them, but it looks like a good vantage point for a show. The low tables in the center of the room are pushed back even with the front of the relocated soundboard — useless during a show with the crowd standing right in front of you blocking your view (though I would have taken a seat there last night if I could).

New plasma video monitors have been mounted throughout back bar area, all are connected to a video camera pointed at the stage, so that when you’re getting a drink or playing pool, you can glance up and see what’s going on up there. The mounted, motionless camera needs to be adjusted for the dim lighting. The picture was dark and grainy, like 7-11/convenience store robbery footage, the light level is too low to adequately capture color imaging. Still, it’s cool, and I assume the monitors can be switched to a game during pre-show or Saturday afternoon boozing.

In the “needs improvement” category:

The room is now too dark. It looks like they have plenty of directed overhead halogen lighting, it just wasn’t on or being used. It’s much darker back by the bar than it used to be, which makes digging through your wallet a chore (Is that a 10 or a 20? It’s a 5?!).

Though they probably haven’t changed the table arrangement, it was difficult to walk across the room back by the bar. As I said before, though the room feels bigger, it seems more crowded, or at least it did last night (again, I have no idea what the actual crowd size was, though it wasn’t sold out at 11 when I arrived). The soundboard in the middle also adds to the crowding effect when navigating closer to the stage.

Again, maybe it was the crowd size, but I gave up on getting a beer a couple times after waiting in the mob for (Edit: What seemed like) 15 minutes (but was probably more like five). I did get served later in the evening. The bar service was too small to support a crowd as big as last night’s. Like Slowdown does for its sold-out shows, they need a second horse-trough beer station where people can just pay cash for a bottle (preferably, Rolling Rock). There is a perfect spot for this right by the entrance (where there are now tables for people to place their bottles when they go out to smoke). It took six months for Slowdown to finally get its hands around its service problems. The new Waiting Room has only been open for three days. They’ll get it figured out quickly.

Actually, most of my whining won’t apply to non-sold-out nights. Last night was a mob scene, and what a strange mob it was. It was unlike any other crowd I’ve seen at the Waiting Room — one guy described it as being filled with “West Omaha hippies.” In fact, I saw more than my share of backwards ball caps — definitely not the usual TWR crowd. Maybe it was NOMO. Was there ever a band more suited to go on tour with Phish or WSP? The six-piece all-instrumental afro-beat band is slick, well-rehearsed (as in tight) and a lot of fun. Too bad there wasn’t enough room for people to dance. As much as I liked them last night, it still didn’t hold a candle to their red hot June 2006 show at O’Leaver’s (reviewed here).

But all that said, with this remodel, I do believe that The Waiting Room is going to attract a new, more suburban crowd that may have ignored the venue in the past because of its “old school” feel. The new Waiting Room is as sleek and modern as any bar west of 120th St. If a new suburban crowd does begin to show up, it could mean a whole new audience for the quality bands that have been playing at TWR all along. Here’s a photo from last night.

* * *

Tonight: The Omaha Entertainment and Arts Awards at The Mid America Center. Show starts at 6. Look for Twitter updates (follow me here) as winners are announced.

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A reader pointed out on the Webboard that I forgot to include my pick and prediction for Artist of the Year in yesterday’s blog entry. Oops. The nominees are Black Squirrels, Brad Hoshaw & the Seven Deadlies, Cursive, It’s True and Little Brazil. My guess is that Little Brazil will squeak by with the win, mainly because they weren’t nominated in many other categories despite making the best album of their career. I voted for Cursive, who had a breakthrough year with their new album, their ongoing national (and international) tour and their appearance on Late Night with David Letterman. We’ll find out Sunday night.

I didn’t make it out to The Waiting Room grand re-opening last night as I’m still on the mend and the idea of standing up for more than an hour didn’t seem like a good one. I’ll get my introduction to the new room tonight when NOMO takes the stage with Satchel Grande. Tix are $10, show starts at 9.

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This Sunday is the Omaha Entertainment and Arts Awards at the Mid-America Center in Council Bluffs. There has been a bit of muttering about moving the event to Iowa, but you won’t hear it from me. The Holland, while regal and impressive, is anything but fun. During past year’s award ceremonies, most of the crowd spent the evening in the lobby drinking, because they wouldn’t let us bring our booze back to ours seat for fear that you might stain one of their blonde-wood seats. No one cares about such things at the MAC Center, and the organizers have all but promoted the award show as some sort of drunkfest. Good for them. It certainly will be more laidback, if not chaotic.

Anyway, I’ll be there again this year. But before I go, here’s my list of who will win and who I voted for (or who should have won). As I’ve said before, the OEAAs are now considered by most folks in the scene as a “Benson thing,” which is great for Benson but not so good for the rest of the city (and Lincoln). Oh well, onto the awards:

Singer/songwriter Alternative: I voted for Brad Hoshaw and the Seven Deadlies based on the strength of their debut album, which came out at the beginning of ’09. A year later and most folks have forgotten about it, unfortunately. The winner will be It’s True, because Hawkins and his crew are red hot right now, and are about to put out a new album.

Alternative/Indie: It’s True will win this one as well. I’m telling you, folks, the “It Band” of the moment. I voted for Conor Oberst and the Mystic Valley Band, a local guy with national presence, and even though I didn’t care for their last album, Conor and his boys clearly eclipsed anyone else locally.

Blues: Kris Lager Band seems to be the favorite here. I voted for Son of 76 & the Watchmen, a band that I discovered last year through the OEAA showcase series.

Folk/Roots/Americana/Blue Grass: Black Squirrels will win this easily. They have a large fan base and voting block. I voted for Outlaw Con Bandana, whose songwriting style is more to my liking.

Hard Rock: Very likely Emphatic will win since news of the band’s deal with Atlantic Records broke during the voting period. I voted for Bloodcow.

DJ: Brent Crampton is recognized as the guru of local house/club music, and he’ll win it again this year. And I voted for him.

Ethnic / World Music: It’ll probably go to Rhythm Collective, whose name seems to pop up a lot these days. I voted for The Turfman, which has been one of the best ethnic (and true folk) bands in Omaha for decades.

Gospel: Either Salem Baptist or Sacred Heart choirs will win, as they should. I voted for Salem Baptist.

Hard Rock / Metal / Punk: A poorly named category since there already is a Hard Rock category, Emphatic will feel stupid picking up two trophies for the same category. I again voted for Bloodcow, who wouldn’t mind at all picking up two trophies.

Hip Hop / Rap: Could go to El Genius. I voted for Conchance, who emerged last year as one of the most creative musical acts in the area.

Jazz/Standards/Easy Listening: It’s sad that anyone would include “Jazz” with “Easy Listening” in a category name. But because they did, Heidi Joy will win, thanks to her immense fan base. I voted for Luigi, Inc.

Soul and R&B: Considering that he’s playing at the OEAA ceremony, it will probably be Lucas Kellison. I voted for Son of 76 & The Watchmen.

Rock: Again, a shitty category name. Is it supposed to mean “generic rock”? Regardless, I voted for Box Elders since they had the biggest growth last year. I also think they’ll win as people will ignore Cursive due to their success (I know, it makes no sense).

Cover Band: The dumbest category of the OEAA’s. You don’t see the Grammy’s handing out awards to cover bands. Regardless, Secret Weapon will win this. I voted for Zeppelin tribute band The Song Remains the Same.

Best New Artist: It’s True will win and It’s True got my vote.

Album of the Year: Based on their fan base and the fact that they open for just about every other band’s CD release show last year, Black Squirrel’s Paying for your Pleasure will win. I voted for Cursive’s Mama, I’m Swollen, which was one of my favorite albums of ’09.

Tickets to the OEA Awards Show are $20, or $30 with dinner, and are available via Ticketmaster or at the MAC box office. The reception starts at 4:30, the actual show starts at 6 p.m. this Sunday, Jan. 24.

* * *

As I wrote about (here), the Waiting Room will have its true Grand Reopening tonight with a free show featuring Little Brazil, Little Black Stereo, Ground Tyrants and Kyle Harvey. Show starts at 9. Prepare to be amazed.

Tomorrow night the first touring band will perform at the newly remodeled Waiting Room, and it’s a doozy — afro-beat dancemasters NOMO with Satchel Grande. $10, 9 p.m.

There’s a ton of other stuff going on this weekend:

Tonight at The Barley St. Tavern, Our Fox (Jake Bellows & friends) take the stage with Ember Schrag. $5, 9 p.m.

Tomorrow night, fIREHOSE tribute band Brave Captain plays at The 49’r with Dragon Vomit. $5, 9:30 p.m.

The Life and Times are playing Saturday night at Slowdown Jr. with Techlepathy and At Land. $8, 9 p.m.

Spiders for Love are at O’Leaver’s Saturday with The Sharks and The Biotomic Point. $5, 9:30 p.m.

–Got comments? Post ’em here.—

Just placed online (right here), a feature story about — and photos of — the newly remodeled Waiting Room Lounge. Marc Leibowitz talks about what went into the refurb and why he and partner Jim Johnson did it. I can tell you with all certainty that if you’ve been to the Waiting Room before you’re going to be impressed with what you see when they reopen tomorrow night.

My only gripe: The new curtaining system effectively takes away my favorite spot to watch a show — from off stage left. You’ll no longer have access to that area, as the new curtain (which doesn’t arrive for a couple months) will cover the floor from the stage all the way to the green room door. The area off of stage right also will be covered. Leibs says bands don’t like people standing off the edge of the stage (or as he said, they hate to “play in the round.”). The curtain will also cover all the equipment that’s usually stacked off to the side. It’ll also make the stage seem bigger, though it isn’t. I was surprised to hear that The Waiting Room’s stage is larger than Slowdown’s stage, but smaller than Sokol Underground’s stage — just more evidence that I could never be a structural engineer. Anyway, read the article and check out the new Waiting Room yourself tomorrow night or Saturday when NOMO takes the stage.

Can’t wait that long? One Percent just announced that it’s having a “soft opening” tonight featuring It’s True. The doors open at 8 pm. and It’s True plays sometime after 11 p.m. And it’s free (21+ only).

* * *

Saddle Creek Records announced its first new signing for 2010 yesterday. The label will be releasing on April 27 the full length debut by The Mynabirds, What We Lose in the Fire We Gain in the Flood. The Mynabirds is a new project by Laura Burhenn (ex-Georgie James) whose members also include Dan McCarthy of McCarthy Trenching.

* * *

Other shows tonight include Fortnight at Slowdown Jr., as part of their free Thursday night showcase series. Joining them are The Answer Team and John Klemmensen and the Party. Starts at 9. Also tonight, Fine Fine Automobiles (a.k.a. Landon Hedges of Little Brazil) is playing at The Barley St. Tavern with Watching the Trainwreck, The Gasams and Above the State. 9 p.m., $5.

–Got comments? Post ’em here.—

The following column was written last week. I’m feeling much better now, thanks for asking.

Column 255: The Letting Go
Jay Reatard and the 49’r

I write this at 4 a.m. coming off Percocet and poor sleep after crossing a hill of agony that was abdominal surgery last week.

Three stories burned with controversy in the haze of my midweek absence. First there was Haiti. But that was simply too big to put my feeble mind around. Then there was The Tonight Show Controversy — Conan O’Brien being laid to rest in the path of a greedy Jay Leno. In the end, who cared? Both would wind up at 10:30 somewhere.

Then there was The 49’r Situation.

There actually were four stories that happened during my sleep. Jay Reatard died somewhere in Memphis. His death was one of the first things I tweeted about after surgery; I felt I needed to since no one was talking about it on the intergoogle. Reatard, who recorded on Matador but has roots in Memphis labels like Goner and In the Red was a fresh new hope for rock ‘n’ roll, a guy who embraced the simpler style of garage rock; his noisy, shambolic sound somehow made everything new again.

In his wake he pulled along a lot of people, including local folks like Box Elders and Digital Leather and Brimstone Howl and The Shanks. I thought his death was maybe a hoax — from stories I heard about the guy, it sounded like something Reatard would do. But there is no hoaxing The New York Times, who, in his obituary, called Reatard, real name Jimmy Lee Lindsey, Jr., “a Force in Punk Rock,” dead at age 29.

For some reason I thought Reatard’s death would spur some sort of Kurt Cobain outcry in the art/music world until I remembered that no one really knew who he was. Let that be a lesson to all of you local rockers who have made a mark (of sorts) nationally. Who will talk about you after you’re gone?

Certainly the people who went to — and go to — The 49’r don’t know who Jay was. Reatard was more of a Brothers Lounge or O’Leaver’s sort of guy, though I think he would have liked The 49’r, too.

The bar’s demise became public early last week on Facebook via The 49’r Facebook Page (of course), where someone (no one really knows who runs those “fan pages”) posted the message: “The rumors you’re hearing are true. The 49’r, and surrounding property, has been bought to make way for a CVS Pharmacy. Our doors will close, permanently, next January. Please make this next year the best year the 49’r has ever had.”

It was met with an immediate outcry heard low and long over the Internet. Close the Niner? It simply cannot be! It’s an Omaha music landmark. Hell, it’s a national landmark that has acted as a cornerstone of the Dundee neighborhood!

One fan of the Niner, musician Greg Loftis currently of Montana, Facebooked me asking if its demolition could be stopped. Like a doctor telling a parent that his child has passed, I told him that I thought there was nothing anyone could do. I added that, ironically, it was The 49’r where I had first met Loftis so, so many years ago.

“Yes it was…and yes we did. lllooonnng time ago,” Loftis replied. “That is where I learned everything I know about music, learned the rules of seedy underground behavior, made almost every friend I have in Omaha (and some that were just passing through)… I loved that place. I remember the old days (before they took out the juke box and when Dana was in charge) when you could walk down the steps in the afternoon on a summer Monday (when the music kids hung out there), a beer would already be waiting, Landon would ask for a shot (he was 19) Marq would be on the desk computer researching right wing politics and Prince, Kasher would tell you about this new record, The Ugly Organ, he was working on, Bob Thornton would be drinking vodka and explaining to someone why he was smarter than them, Kyle Harvey was losing money working there because he was buying too many drinks… everybody knew everybody and if someone showed up we didn’t know they got drunk for free… I once went 47 straight matches undefeated in shuffle board… it was the reason it took Greg Edds like 7 yrs to get out of college, Minturn fell off the roof into the dumpster, I fell off the roof and missed the dumpster, the tattoo shop guys would scare away any frat boys that wanted to come in… Mindy welcomed me to Omaha the first night…Christ that was amazing (get your mind out of the gutter)… I could go on for weeks… this is very sad…the place had changed but I always held out hope it would return to it’s glory days… I never dreamed it would close its doors.”

Now a new Facebook page has launched, titled “Save The 49’r.” Something tells me that the person behind it hasn’t talked to owner Mark Samuelson, who will likely see a nice payday for his property, a property that he’s owned and operated and poured money into for a long time.

In the end, it’s just a bar, like a thousand other bars in Omaha. It just happens to have sat at an epicenter where so much was going on around it. The Niner’s glory days from a music standpoint were a long time ago. And while it still hosts bands on weekends, it’s nothing like it used to be.

No, we don’t need another pharmacy. There is one literally a block away from the Niner right now. But what realistically can be done to stop it? Have the building declared a “national landmark” so it can sit empty and be another blight on Dodge St.? Convince Samuelson to not sell it? Why shouldn’t he?

I say, take this final year and enjoy it, remember it, then let it go. In the end, it was just a bar. It wasn’t a person.

* * *

It’s True has received an official invitation to the South By Southwest Festival in March. This is looking to be a strong year for Nebraska band participation in Austin. In addition, It’s True announced that a split 7-inch with Lawrence band Cowboy Indian Bear is being released on Kansas City label The Record Machine. The Nebraska release shows for this vinyl-only outing are Feb. 5 at Duffy’s and Feb. 6 at The Waiting Room with Cowboy Indian Bear and Eagle Seagull. That’s not all — the band also said that it secured The Waiting Room on April 30 for a release show for their debut full length. They don’t mention who is putting it out, however…

* * *

Beep Beep is having its last show ever tonight at Duffy’s. It seems like only yesterday (instead of more than six years ago) that I was interviewing the band for this feature story. And now… gone. Something tells me we haven’t heard the last of Eric Bemberger. Playing with Beep Beep tonight is The Machete Archive and Pharmacy Spirits.

Also tonight, The Lepers are playing a set at The Barley St. Tavern. $5, 9 p.m.

* * *

And hey, did anyone else notice that Monotonix has been scheduled to play at O’Leaver’s on April 19?

* * *

Tomorrow: A look inside the remodeled Waiting Room.

–Got comments? Post ’em here.—

Well, we got a heckuva response to this year’s drawing for a copy of the Lazy-i Best of 2009 Sampler CD — and I even made extra copies — but everyone couldn’t win. Here are the lucky folks whose names were pulled from my green-and-yellow Speed! Nebraska farmer’s cap:

Emily Hiykel, Omaha
Brian Armknecht, Chicago
Jessica Errett, Omaha
Joe Kmiecik, Brookline, Mass
Kelly Murphy, Omaha
Nic Waddell, Eureka, MO
Judy Coleman, Omaha
Andrew Roger, Des Moines
Gary Rosenberg, Omaha
Bill Latham, Austin

The discs will be dropped in the mail tomorrow (probably). Thanks to everyone who entered!

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If you’re like me, you don’t know what to do about Haiti. The catastrophe is just too big to get my head around. In addition to the overall devastation, the earthquake shined a new and unforgiving light on the social and economic conditions that existed in Haiti long before the buildings fell.

Needless to say, there are literally hundreds of ways to give money. But yesterday, Val and the folks at Slowdown came up with another — a benefit concert for Haiti to be held Jan. 28 (that’s a week from Thursday). The lineup has been finalized and includes some of the best talent Omaha has to offer:

Tilly and the Wall
It’s True
Simon Joyner
The Mynabirds (ex-Georgie James)
Bear Country
McCarthy Trenching
Brad Hoshaw

Tickets are only $15, and all proceeds go directly to Haiti relief. I suggest you get your tickets right now (right here) as this very likely will sell out.

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