311 circa 1993. The band plays tonight at The Astro Amphitheater.

by Tim McMahan, Lazy-i.com

Get ready for the last hot weekend of the year…

Over at The Waiting Room tonight, Oklahoma City noise band Chat Pile headlines. A metal band at their core, I usually wouldn’t mention them on this blog, but there are times when something beyond the usual goon-rock growling slips through in their recordings that makes me think they might actually have a sense of humor. Frontman Raygun Busch is at his best on tracks like “grimace_smoking_weed.jpeg” and “Mask,” where he vacillates between spoken word and screaming over rhythm-heavy head banging, reminscent of Ross Farrar (Ceremony) or our old pal Tim Moss (Ritual Device). Their latest single was released on metal label The Flenser. Heavy stuff. Nerver and Nightosphere also are on the bill. $25, 8 p.m.

Meanwhile, tonight The Astro Amphitheater kicks into high gear with 311. I am shocked (shocked!) that this concert has not sold out… yet. Listen, since the band got its start in the early ‘90s, there has been a love/hate relationship with the Omaha music scene. I’ve always thought part of the animosity stemmed from their success prior to moving to Van Nuys (or wherever they live in California these days).

That animosity is captured in this 1993 cover story from The Note with the headline: “Sometimes it Pays to be an Asshole,” which you can still read online right here.

My take: They are/were a talented bunch of dudes, that SA was a better frontman that Nick, that P-Nut really can “beat that thang.” In recent years, drummer Chad Sexton has been under fire for being associated with various online right-wing conspiracies, which is more of a lessen about keeping your bandmates off social media. Do I listen to their music? No. But I did have fun at one of their Ranch Bowl shows around the time that article was published, or as the article goes:

I asked the guy next to me what he thought of the band. “I hate this kind of music,” he yelled, hurting my ear. “but I’ve got to admit, this is a blast.”

I wish them only the best. I hear Nick is now a part owner of the Omaha Union soccer club. AWOLNATION and Blame My Youth also are on the bill. 7 p.m. start time? Tickets range in price from $49 to $129 (and higher for VIP stuff). More at The Astro website. The Astro keeps its momentum front and center with The Gaslight Anthem tomorrow night.

Also tonight, local band Fox headlines at Reverb Lounge with Peach Paw and Matt Whipkey (joined on stage with guitarist extraordinaire Mike Friedman). $7, 8 p.m.

That’s not all. Tonight over at B-Bar, 4330 Leavenworth, NYC guy from Omaha, Stathi, is playing a “home team gig” that starts at 8 p.m. No price listed.

Pickings are much slimmer Saturday. The only show on my radar is Mesa Buoy at Pageturners Lounge. Mesa Buoy is a project led by guitarist James Schroeder, whose Covid-era debut album featured a plethora of the city’s finest talent including Kevin Donahue, Patrick Newberry, Megan Siebe, Colin Dockworth and Michael Overfield. Leaves Brown also is on the bill and the show is a benefit “to support Kupo’s daughter,” so no cover but $10 donation is suggested. Starts at 8 p.m.

Finally, Sunday is the annual Porchfest event held in the Gifford Park neighborhood at 33rd and California streets. The event is as it’s described — a series of performances hosted on porches throughout the neighborhood, but also with the Omaha Mobile Stage set up at Yates Illuminates. Every year the schedule and assortment of acts gets more diverse. This year includes Las Cruxes, Mitch Gettman, B.B. Sledge and a ton more. The full schedule and details are available at the Porchfest website.

And that’s all I got. If I missed your event, put it in the comments section. Have a great weekend.

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Read Tim McMahan’s blog daily at Lazy-i.com — an online music magazine that includes feature interviews, reviews and news. The focus is on the national indie music scene with a special emphasis on the best original bands in the Omaha area. Copyright © 2023 Tim McMahan. All rights reserved.

Mike Watt, circa 1998. His current band, Mssv, plays tonight at Reverb Lounge.

by TIm McMahan,Lazy-i.com

We seem to be lost in a time warp here in Omaha. Earlier this week, a swath of concert announcements brought back memories of the Civic Auditorium and listening to Z-92 in my ’79 Ford Fiesta. We’re talking new shows from up-and-coming acts Journey, REO Speedwagon and Steve Nicks. Can Styx, Kansas and whatever is passing as Van Halen be far behind? I’m keeping my fingers crossed for an April Wine reunion.

Ah, but not tonight. Tonight hot new punk trio Mssv is playing at Reverb, a band that consists of Mike Watt, best known as the bass player for early ‘80s punk band Minutemen and 71-year-old drummer Stephen Hodges, whose credits include playing with Tom Waits on his Raindogs album. The trio is rounded out by veritable youngster, guitarist Mike Baggetta. Watt always brings the noise, and joining them is our very own Bad Bad Men. $18, 8 p.m. 

Since its Throwback Thursday, check out this 1998 Lazyeye interview with Mike Watt – one of the funnest dudes there is to interview: You just hit the record button and let him go! From the interview:

“D Boon’s mom taught me how to play bass,” Watt said. “When we first started playing together, we tried to cover the big rock songs, like ‘American Woman’ and ‘Black Dog.’ Then we saw these punkers one night in LA, and they couldn’t even play their instruments. Some of them weren’t even musicians; they were artists, but it didn’t matter. Right then we knew that we could do our own thing and not have to play the other stuff.”

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Read Tim McMahan’s blog daily at Lazy-i.com — an online music magazine that includes feature interviews, reviews and news. The focus is on the national indie music scene with a special emphasis on the best original bands in the Omaha area. Copyright © 2023 Tim McMahan. All rights reserved.

by Tim McMahan, Lazy-i.com

After spending decades writing a column, it was strange not having a deadline to meet this month. That’s because the September issue of The Reader is its last issue, as most of you know. 

And while there have been a few online tributes (most notably, this lengthy write-up in the Flatwater Free Press), to say the reaction has been “muted” is an understatement. 

John Heaston is the patriach of The Reader. His illness was a shock when first revealed; his fight to overcome it, an inspiration. That ongoing battle is the most important thing. I have no doubt John will win that battle and will be with us for decades to come. But it’s funny how something you assume will always be around, like The Reader, can go away so quickly. 

What’s the old saying: Life is what happens when you’re busy making other plans. Those who know me know that my column and other writings for The Reader and this website are merely side hustles, and that I make a living working at Union Pacific, which has been sending me a paycheck since 1988. My “plan” was to devote my time to The Reader as a freelancer after I retire from the railroad, whenever that day would come. But here we are. 

So I wrote the following column, which was published in the final issue and which went online here yesterday morning, to gauge interest in creating a new, more focused arts and entertainment weekly; a publication that unlike The Reader, would have no hard news or investigative reporting — The Flatwater Free Press provides that along with the Nebraska Examiner and what’s left of the Omaha World-Herald. 

Some (or many) might argue the idea of a printed publication is outdated in the smart phone/social media/digital era, and they may be right. Certainly the industry trend would point that way. Still…

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A Goodbye and a Modest Proposal

An argument for a weekly, printed arts and entertainment publication.

by Tim McMahan

So this is it, my last column written for The Reader.

The first installment of this column was dated Dec. 2, 2004. It focused on a young singer/songwriter named Willy Mason who few if any people remember. More than 600 (700? 800?) installments followed in different iterations, all with the same common denominator — they were published in newspapers run by John Heaston.

John is an Omaha hero, there is no other word for it. No single individual has done more for independent journalism than John. He’s kept this beautiful paper going longer than anyone thought he could. The Reader is now being put to rest for all the right reasons. Thank you, John, for everything you’ve done for this city and for journalism. Now it’s time to focus on a more important fight, which everyone knows you’ll win.

The demise of another printed newspaper shouldn’t be a surprise to anyone who has followed the industry’s eradication over the past 20 years with the rise of social media. U.S. newspapers die at a rate of two per week, according to a 2021 report by Northwestern University’s Medill School of Journalism. According to the report, 360 newspapers have shut down since the end of 2019, all but 24 of them weeklies serving small communities.

In addition to losing The Reader, we’ve all watched as the once mighty Omaha World-Herald continues to dwindle into a thin ghost of its formal self. And while its Husker football coverage remains first rate, among its casualties is its arts and entertainment reporting.

The irony, of course, is that Omaha’s arts and entertainment community is enjoying a much needed renaissance. We’ve seen hundreds of millions of dollars invested in new performance venues, including Steelhouse, The Admiral and The Astro. There are more music venues now than ever before. Omaha’s arts scene also is in full bloom with new art galleries opening monthly, not to mention the millions of dollars going into a remodeled and expanded Joslyn Museum. On top of that, Omaha is becoming renowned for its culinary offerings. Restaurants new and old are getting the attention of national food critics.

Now, maybe more than ever, Omaha needs an arts and entertainment publication to not only cover what’s happening, but also to provide a critical voice to tell us what’s worth seeking out.

And so, with apologies to Jonathan Swift, here’s a modest proposal for keeping critical journalism alive in Omaha:

We need a weekly, printed arts and entertainment publication. This free paper would cover music, art, film, food and theater. Each issue would include a feature for each section as well as reviews and a curated show/events calendar. In addition, a page would be dedicated to commentary and letters to the editor, because, let’s face it, it’s one thing to see your comments on Facebook and quite another to see them printed in a newspaper.

The paper would be funded by advertising from all these new and existing performance venues, galleries and restaurants (and anyone else willing to fork over some cash), which would also serve as distribution points for the paper, along with other businesses.

The editorial content would be powered by freelance contributors, including some of the writers, critics and photographers who wrote for this very paper. That team would split whatever money is left after printing and distribution costs were covered.

The paper would start small and only grow as needed. OK, but a printed paper?

The key to making it work is to provide content so compelling that people would seek it out and pick it up. But even then, in an age when you can simply scan news on your smartphone, why would people want to read old-fashioned printed words?

The fact is, folks are returning to analog media in droves. The growth in vinyl record sales, for example, is no secret, even though music is freely available online. Sales of printed books also is on the rise despite novels being available digitally. Heck, Barnes & Noble recently announced it’s opening 30 new book stores in the wake of record U.S. book sales in 2021, according to NPR.

So in addition to those analog examples, what would it take for people to also value a printed weekly publication? Are there enough readers and businesses left to support such a bold initiative? You tell me.

Honestly, a big part of this idea is purely selfish. As a writer, there’s something special and permanent about seeing your words printed on paper. It represents an investment in your ideas much more than seeing those words on a website or in the transient, noisy world of social media.

But more than that, the loss of The Reader is a gut punch to an arts culture that desperately needs an honest critical outlet not only to guide consumers but to provide feedback to the artists, musicians, chefs, thespians and filmmakers who make it thrive. AI and ChatGPT may someday replace news reporting, but it will never replace honest critical writing. Only a human can tell another human what s/he liked or didn’t like, and why.

So goodbye, Reader. Thanks for the memories. Here’s hoping something rises like a phoenix from your ashes for all of us to see, read and hold in our hands.

You can read Tim McMahan’s music and arts writing at his blog website, www.lazy-i.com. Email Tim at tim.mcmahan@gmail.com.

First published in The Reader, September 2023. Copyright © 2023 Tim McMahan. All rights reserved.

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Read Tim McMahan’s blog daily at Lazy-i.com — an online music magazine that includes feature interviews, reviews and news. The focus is on the national indie music scene with a special emphasis on the best original bands in the Omaha area. Copyright © 2023 Tim McMahan. All rights reserved.

by Tim McMahan, Lazy-i.com

It’s another ho-hum Husker weekend, but there’s one touring indie show tonight…

Tonight at The Admiral Explosions in the Sky headlines. There was a time in the 2000s when ambient indie all-instrumental bands were the thing. Who remembers Tristeza, who folded in 2010, and The Album Leaf, who are still going strong? Explosions in the Sky were part of that movement, releasing How Strange, Innocence in 2000 and really peaking in 2003 with The Earth Is Not a Cold Dead Place that included their most popular track, “Your Hand in Mine,” which has more than 66 million plays on Spotify.  The band got lucky and broke through to a large audience after writing the soundtrack to 2004 film Friday Night Lights. 

Like The Album Leaf, Explosions in the Sky never really went away. and can count themselves among other top touring instrumental-only indie acts like Sigur Ros, Mogwai, Godspeed You! Black Emperor and Caspian. The song formula for these acts is all very similar – each song starts out quiet as a whisper and slowly builds for seven or eight minutes into a crashing, orgasmic conclusion. Expect to hear this formula on repeat tonight.

Explosions is touring their latest album, End, released just last week on Temporary Residence Records.  Opening is Glow, who is virtually invisible on the internet. Tickets are $40 ($50.15 with fees). 8 p.m. 

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According to their website, The Astro Theater amphitheater in La Vista opens (with little fanfare) tonight with C&W artist Casey Donahew and then tomorrow is hosting The Goo Goo Dolls and Fitz and the Tantrums. The facility was supposed to opened weeks ago, but was delayed, presumably due to construction issues. Some shows were moved to other venues. I see no indication that shows tonight and tomorrow are being moved, so I guess this is it. Congratulations!

These are reserved seated shows, so, for example, for that Goo Goo Dolls show tomorrow, if you wanted to sit up front, tickets wouild run you a cool $145 plus fees. Whereas a ticket in the back section is $44 plus fees, according to the Ticketmaster website that’s handling tix sales. Fitz opens at 7:30.

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Finally, Saturday night at The Sydney in Benson industrial-ambient act Lunacy headlines. They describe themselves as “a dystopian shadow figure located in Rural Pennsylvania, which is a character set in the empty corroded future that focuses on themes of loneliness, emptiness and mental illness. A character that often fits the description of late ‘80s and early ’90s post-apocalyptic films.” Fun! Llora opens at 9 p.,m. $10. 

And that’s all I got. If I missed your show, put it in the comments section. Have a great weekend.

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Read Tim McMahan’s blog daily at Lazy-i.com — an online music magazine that includes feature interviews, reviews and news. The focus is on the national indie music scene with a special emphasis on the best original bands in the Omaha area. Copyright © 2023 Tim McMahan. All rights reserved.

Queens of the Stone Age play tonight at Steelhouse.

by Tim McMahan, Lazy-i.com

Alt rock royalty is in town tonight in the form of Queens of the Stone Age at Steelhouse. If you’re not familiar with the Seattle band, they’re the natural evolution of grunge, releasing albums initially on Interscope before switching over to Matador about a decade ago. Their heyday was at the turn of the century with the release of Rated R (Interscope). They’ve got a sort of macho cock-rock strut to their sound, and past members include Dave Grohl, though the main dude has always been Josh Homme. 

I’m told there was a bidding war of sorts for this show and that Live Nation — and Steelhouse — won.  That said, you can still buy general admission floor tickets for $59 plus fees. 

More interesting than QOTSA are the opening acts. Punk Swedes Viagra Boys play a chug-a-lug style rock with a frontman (Sebastian Murphy) doing his best Iggy impersonation. A fun band that is a natural compliment to the headliner. Opening is Savages front person Jehnny Beth, who has performed with the likes of the XX, LCD Soundsystem, Gorillaz and Primal Scream. Her debut solo album, To Love Is to Live, was produced by Nine Inch Nails’ Atticus Ross and FLOOD.  Of the three acts, Jehnny Beth is the one that’s the most interesting (to me, anyway). The show has a 7 p.m. start-time according to the Steelhouse website. (I’m not sure that’s a real start time and just a door time, as going to Steelhouse is akin to going to an airport.)

Meanwhile, across town at The Waiting Room, Swans headlines. Emerging from the so-called ‘80s No Wave scene in LES NYC, the band plays a brutal, gothy, post apocalyptical style of rock that has influenced a couple generations of noise bands including Napalm Death, Neurosis, Nirvana, Melvins, Isis and even little ol’ Car Seat Headrest (though I can’t spot the influence in that band’s music). Their sound is dark and can even meditative, with a typical song running well over seven minutes. You’re in for a long, gloomy night. Worth it just to see frontman Michal Gira, who will be 70 in February and is a living legend. 

Opening is Norman Westberg, a long-time member of Swans who’s not currently listed in their roster, but I wouldn’t be surprised if he sat in on a few songs.  His latest, After Vacation (2018), is a collection of ambient sound collages. Enjoy. $35, 8 p.m. 

But wait, there’s more.

Portland (Maine) indie trio Weakened Friends headlines at Reverb Lounge. On their latest, Quitter (2023, Don Giovanni Records), the band plays a bombastic style of indie that melds singer/songrwriter tropes with Weezer-esque powerchords. Opening is Omaha band OJAI. 8 p.m., $18. Take a wild guess which show I’ll go to (if I go out at all)…

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Read Tim McMahan’s blog daily at Lazy-i.com — an online music magazine that includes feature interviews, reviews and news. The focus is on the national indie music scene with a special emphasis on the best original bands in the Omaha area. Copyright © 2023 Tim McMahan. All rights reserved.

Mitch Gettman at The Slowdown, Sept. 16, 2023.

by Tim McMahan, Lazy-i.com

Mitch Gettman and his band played most (but not all) of his new double-CD Tilde to a crowd of less than 100 Saturday night at The Slowdown. He kicked off the set with Track 1 from CD 1, “Someday,” and then went right into Track 2, “PS,” and so on, but eventually changed it up. In the end, he didn’t play it all but did play all my favorites from the 90-minute audio tome.

Backed by a rhythm section of bassist Kevin Sullivan and drummer Adam Stoltenberg (who also co-produced the album), along with a guitarist whose name I didn’t catch, Gettman filled out the dense sound heard on the record playing either keyboards or guitar (using a repeater pedal to give him even more coverage). He seemed at times to be a reluctant frontman, as if he didn’t want to get in the way of his own songs. This makes for an enigmatic performance, with Gettman looking focused, earnest, not wanting to miss a single note (which he didn’t). 

I guess you’d call it a tight performance. He did loosen up on his R&B send-up, “Adore You,” which included some righteous rapping and a rhythm that got the crowd moving. Not one of my favorites from the album, it translated much better live than on record, likely because Gettman knew he has to really throw himself into it to make it work. 

That was the case with most of the guitar-driven numbers (versus the more retrained keyboard tunes), including the night’s centerpiece, a gorgeous rendition of “Empire,” my favorite track from the album, which Gettman held for his encore. I wish he would have instead launched his set with it. The other big standout was an extended version of “Goldie,” a track that, if this album was released by a label, would be the primary single despite its nearly 12 minute run time. 

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Uh Oh on the Omaha Mobile Stage at teh Little Bo Backyard Bash, Sept. 16, 2023.

Earlier in the day I swung by the Little Bo Backyard Bash, the third-annual “festival” held in the parking lot across the street from the old Bohemian Cafe on 13th St. If the intent was to get people to rediscover this new, vital district, it worked, for me at least. I haven’t been down along this street in years and was pleasantly surprised by the cool, new little shops and restaurants (including Fizzy’s, a hip diner/bar that took over part of the Bohemian Cafe). 

In addition to the usual art and beer tents, the Omaha Mobile Stage was on hand to host the music. Uh Oh played a full set in front of an intimate gathering of neighbors, families and their pets (lots of dogs!).

David Nance at the Little Bo Backyard Bash, Sept. 16, 2023.

David Nance closed out the day with a solo acoustic set. He’s one of the only performers who can hold my attention with only his guitar and his voice. Despite the small crowd (by then, the Husker game had started), Nance looked content sitting on stage and singing his stories. 

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Read Tim McMahan’s blog daily at Lazy-i.com — an online music magazine that includes feature interviews, reviews and news. The focus is on the national indie music scene with a special emphasis on the best original bands in the Omaha area. Copyright © 2023 Tim McMahan. All rights reserved.

by Tim McMahan, Lazy-i.com

The weekend’s upon us, but first, a record review…

Mitch Gettman, Tilde (2023, self-released) — It’s hard not to look at this double-CD 20-song collection as anything less than a culmination of where the Omaha singer/songwriter has been heading since he began his musical journey more than a decade ago. Tilde is a mish-mash of styles, an audio resume, as if Gettman was trying to prove he can play anything your heart desires. He goes from somber piano ballad to Beatle-esque pop to shoe-gaze to Americana to indie to funk to hip-hop, and that’s all on the first CD. 

In fact, Gettman said he’s been working on Tilde since 2018, starting as a single-disc project that eventually expanded to single disc plus EP and then double album. Listeners would be hard-pressed to understand the rhyme or reason behind the song order. Gettman says disc 1 (the first 10 tracks, for those who will be downloading/listening via Bandcamp/Spotify) “is more akin to my past releases — singer-songwriter, alternative, indie rock-type stuff; while disc two is more experimental and suggests where I might be going from here on out as a musician and a songwriter.”

The line of demarkation between the two collections is faint. Disc 1 feels more like a song-o-matic pick-your-style conglomeration, but also contains some of his best work, including the epic rockers “Outside the Lines” and “Empire”; shoe-gaze killer “Must Be Killing Me,” the Wilco-esque “Still Hold On” and gorgeous keyboard-driven lovesong “Heroine.” But Disc 1 also includes various and sundry experiments in hip hop and funk as well as curious cover of The Carpernters’ “Sing.” 

DIsc 2 (tracks 11-20) are more cohesive as a collection, as Gettman leans into heavier territory with songs that range from psych to traditional rock to gorgeous, cinematic tracks (“Foraging in Torus,” “Atilla the Hun”) where he gives his musicians room to stretch atop the repetitive arcs. It’s hard not to play “spot the influence” as you go. The FM-ready “Daily Routine” and “Pitfalls Ahead!” are so reminiscent of Fleetwood Mac you wonder if it’s a tribute, while the softer indie tracks feels like a nod to Alex G and the rhythm-fueled stuff could be influenced by Tame Impala. 

It culminates in the final track, the 11+ minute “Goldie,” that shifts from a standard indie rock song with a funky bass line into something you might find on a Khruangbin album. Again, Gettman gives himself and his sidemen room to roam with great effect. The album is a showcase of Getmann’s musicianship as he handles guitar, bass, keys and an assortment of soundmakers throughout, with help from drummers Nate Van Fleet and Adam Stoltenberg, who are central to the album’s success, along with contributions from Paul Jensen, bass; Skye Junginger, tenor saxophone; Ryan Call, upright bass; and Blake Deforest, trumpet. Gettman and Stoltenberg get production credits and the whole thing was recorded at various Omaha and LA studios. 

As a whole, the record is something of a marvel and one of my favorite albums produced locally (or elsewhere) from the past year. The nature of modern music listening allows fans to pick and choose and make their own album out of 90-plus minutes of tracks that have no real central theme or concept (lyrically, Gettman sways between the usual lovesong stuff and reflections on the mundane nature of life – his life – Gettman is the everyman trying to get through his day, and the only thing keeping him going is that special someone – not groundbreaking stuff, but pop lyrics rarely are). I could whittle my choices down to a single, 12-song album but my choices would no doubt differ from yours.

With literally thousands of albums being dropped on Bandcamp every Friday, the odds Tilde will be “discovered” and heard by the audience it deserves is rather slim. When asked (in this day and age when anyone can record and release music online) why record labels are essential, I will point to this as an example. Had this album been released on any small or mid-sized indie label, it would at least get heard by critics, tastemakers and influencers. Self-released albums are doomed to be heard only by a friends-and-family audience. If that becomes the case with Tilde, it would be a shame.

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And you have a chance to hear Mitch Gettman and his band play songs of this marvelous album Saturday night at the release party at The Slowdown. Also on the bill is Matt Whipkey. Goodview opens the show at 8 p.m. in the front room. $12.

That same night, there’s a Speed! Nebraska showcase at fabulous O’Leaver’s. Lincoln super group Domestica tops a bill that includes Wagon Blasters, Bad Bad Men and Clarence Tilton. It says it starts at 8 p.m., but this is O’Leaver’s after all. Here’s hoping it starts late so I can swing by after the Gettman show. Oh yeah, it’s also free.

Saturday is busy. Saturday afternoon is the Little Bo Backyard Bash – the 3rd annual Little Bohemia Bash on the corner of 13th and William in the Dundee Bank parking lot. This year includes live music, art, activities, food trucks, beer, cocktails and many other surprises. All proceeds go to the Little Bohemia Business Association. Among the live music is Dave Nance Band (7 p.m. set time), Uh Oh (6 p.m.) and the Polka Police. It’s free (I think). More info here.

What about tonight? The only thing on the radar is a weird little show at Reverb featuring Nashville indie band Safari Room. The band’s frontman, Alec Koukoi, reached out to say he grew up in Omaha. Joining him is Bad Self Portraits. Sazcha opens this show at 8 p.m. $18.

And that’s all I got. If I missed your show, put it in the comments section. Have a great weekend! 

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Read Tim McMahan’s blog daily at Lazy-i.com — an online music magazine that includes feature interviews, reviews and news. The focus is on the national indie music scene with a special emphasis on the best original bands in the Omaha area. Copyright © 2023 Tim McMahan. All rights reserved.

Not Dip Tet but a photo I found on their Facebook page.

by Tim McMahan, Lazy-i.com

No indie shows this weekend. Is this the Cornhusker effect? No, it’s been pretty much like this all year. Should have gone to the Diners show on Wednesday night, eh. Like I said, when you have a chance to go to a touring indie show — any touring indie show — do it. You never know when the next one will be coming through…

That said, there is one show happening tonight…. at Bodega’s Alley in Lincoln.

Dip Tet is a noise-rock trio that consists of Lance Fiedler (F.A.C.E., Halfwit, Gripping), Mike Keeling (Ideal Cleaners, Wondermonds) and Dan Jenkins (Ideal Cleaners, Halfwit, Gripping).

Jenkins reached out earlier this week, saying the band has been together for a little over a year after the dissolution of Gripping. Their first show was in July 2022, and tonight is only their 7th show — a tape release show for their self-titled debut album. 

Joining Dip Tet is Lincoln old school rockers Dirty Talker and The Credentials. Show starts at 9 p.m. at Bodega’s Alley, 1418 O St. in Lincoln. No price listed, so who knows, maybe it’s free (but I doubt it). 

I typically don’t list Lincoln shows, but hey, it’s the only show in the state this weekend, except for this one at The Slowdown tonight…

The Buttertones are headlining at Slowdown, Jr. These guys used to tour with The Rev. Horton Heat on occasion. According to Wiki, members of the band were connected to the Burger Records sex misconduct scandal of 2020, which led to half of the band splitting. They have a new line-up as of 2022. Tucson duo New Misphoria are touring with them and may be worth the price of admission alone. 8 p.m., $20.  

That’s all I got. Unless I’m missing something, like your show. If so, put it in the comments section. Have a great weekend!

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Read Tim McMahan’s blog daily at Lazy-i.com — an online music magazine that includes feature interviews, reviews and news. The focus is on the national indie music scene with a special emphasis on the best original bands in the Omaha area. Copyright © 2023 Tim McMahan. All rights reserved.

The view from my picnic table at Union Pool in Williamsburg…

by Tim McMahan, Lazy-i.com

Rarely is there anything going on music-wise over the Labor Day weekend in New York City. The usual Lower East Side venues were no exception this year, but after checking a local gig website, I discovered a show at Union Pool, a  venue located in the Williamsburg neighborhood of Brooklyn. With an afternoon to kill, we took the L train over the East River and found a very different landscape than the towering canyons that had surrounded us the past few days. 

Located across from an elevated freeway overpass, Union Pool sits on the corner down the street from a series of low-rise buildings with old-school retail businesses like barber shops, natural food stores and the ubiquitous pot shops that have popped up throughout NYC (and especially Manhattan). Just like how barber shops all have punny names (A Cut Above, Head Office, Heirloom, etc.) these pot dispensaries are destined to be plagued with a similar nomenclature (Magic Puff, Higher Empire, Day Dream, etc.). 

Pot is legal in NYC and the smell of ditch weed is everywhere, much more prominent than cigarette smoke ever seemed to be. People light up walking down the street, in parks, anywhere outdoors and certainly at Union Pool — a former pool supply store (no actual pool or pool tables). The interior had a nice bar and a closed-off (this day) stage area, while their patio reminded me of O’Leaver’s — about the same size but with a permanent taco truck parked on blocks inside its fence. We hung out and drank beers across from the pseudo outdoor stage where band gear sat untouched for the next hour while DJ Rottweiler did his set.

I generally don’t pay much attention to DJ sets but was unable to ignore this one as it consisted of punk and post-punk songs I’ve never heard before by a variety of acts both American and European — all pretty awesome. I Shazam-ed most of the set, though for every two songs Shazam found one remained elusive. Among the ones it could identify:

• – The Scabs, Leave Me Alone
• – Fuzzbox, Love is a Slug
• – Glueams, 365
• – M.A.Z.E., Spread the Germicide
• – U Skripcu, Nove Godine
• – The Bombettes, Amsterdam
• – Joachim Witt, Goldener Reiter
• – Chin-Chin, Stop! You’re Crying
• – Alkalino, Hungry Eyes
• – Ian Dury, Wake Up and Make Love With Me
• – Tee Vee Repairman, Bad Taste
• – Via Talas, Sama
• – Kollaa Kestaa, Kirjoituksia Kellarista
• – Jawoll, Rendezvous
• – Novecento, The Only One

Whether its O’Leaver’s or Union Pool, hipsters are pretty much the same, although while all the dudes wore the usual band-T-shirt-and-jeans combo, a number of women were dressed as if they stepped right out of CBGB’s circa 1977. Very hip indeed. As the afternoon wore on and the place got crowded, the scene became more varied and there was even a few folks older then us eating tacos by the outdoor bar. If I lived in Williamsburg, Union Pool would definitely be a regular haunt. 

Success performing in the patio at Union Pool, Sept. 3, 2023.

We stuck around to catch the the first five or six songs from opening act, Success. I was expecting them to sound like their debut EP, First Edition, from 2021, but instead they played a straight-up hardcore set, which is always fun for about 10 minutes.

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Anyways, we’re back. And the music just keeps on coming…

Tonight at Reverb Lounge, LA act Diners, a.k.a. Blue Broderick, headlines. She’s on the road in support of her 10-song LP Domino, released last month via BarNone Records. The album was recorded by power-pop producer Mo Troper and it indeed sports that classic ’70s style. Also on the bill is Compressed and our very own BB Sledge. $15, 8 p.m.

Also tonight, Winnipeg noise rock trio Tunic headlines at The Slowdown. They call their sound “atonal punk. feedback laden filth.” To me they sound like a proggy version of Protomartyr with lots of yelling, weird chords and time changes. Joining them tonight is The Radical Sabbatical and our very own Healer. $15, 8 p.m. 

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Read Tim McMahan’s blog daily at Lazy-i.com — an online music magazine that includes feature interviews, reviews and news. The focus is on the national indie music scene with a special emphasis on the best original bands in the Omaha area. Copyright © 2023 Tim McMahan. All rights reserved.