by Tim McMahan, Lazy-i.com

A year and a half after its grand opening and Steelhouse Omaha has lost its new-car smell. It’s been replaced with a dank, moist, pot stench that permeated the venue’s foyer and area around the bathrooms at last night’s Modest Mouse concert. 

I’m told by someone “in the know” that Modest Mouse is popular with pot smokers. This is news to me, but then again, isn’t all rock music popular with pot smokers? The pot-funk disappeared once inside Steelhouse’s main hall, but the skunk eventually arrived during the band’s second set. I guess all of us non-tokers who go to concerts better get used to the scent. Imagine how bad it’ll get once grass is legalized? 

That pot musk was the only thing different about Steelhouse since last July’s Fleet Foxes show. Same metal-barn atmosphere; still no place to sit down, though it appears they added new reserved seating off stage left (or I never noticed it before). The section was filled, as was most of the balcony last night, while the main floor was far from sold out (guestimate: 1,200?). 

I caught the last two very low-key songs by opener Black Heart Procession. No earplugs were needed for those guys. That would change when Modest Mouse took the stage. 

Playing as a six-piece with a drummer, percussionist, two guitarists, bass and keyboardist who also played cello (actually, everyone was a multi-instrumentalist), the band was razor sharp and workman-like throughout the evening. As mentioned yesterday, Modest Mouse played their breakthrough album, Good News for People Who Love Bad News, in its entirety and in track order, stopping only once to acknowledge the audience. 

They followed the material note-for-note, rarely swaying from the recorded versions. Frontman Isaac Brock, looking like an older version of Roman Roy from Succession in his blue poly suit, was in perfect voice last night on songs that required more rant than range. His guitar-work was exceptional, but he really shined when he switched to banjo on a few songs starting with “Bukowski” and “The Devil’s Workday.”

I admit to never giving this album the credit it deserves, due mainly to the single “Float On,” which became the soundtrack to a million television commercials. I re-listened to the album while making dinner before the concert and realized, despite being 20 years old, its angst and paranoia has never felt more appropriate as we enter the next Trump Dark Age. Good News marked a shift from MM’s weird, chaotic, uncomfortable noise (that I loved) to more streamlined, commercial rock you might hear over the PA while shopping at your local Kroger’s. Festival gigs followed.

A stirring version of personal fave “Blame It on the Tetons” was the evening’s highlight, along with set-closer “The Good Times Are Killing Me,” which had part of the mostly-staring-still crowd singing along. 

Following a 10-minute intermission, the band returned for an 8-song, proggy second set, with many songs taken from the band’s weird 2009 EP No One’s First and You’re Next, including “Satellite Skin,” “The Whale Song” and “History Sticks to Your Feet.” Unlike the previous night’s audience, we got no songs from my favorite MM album, The Lonesome Crowded West, which was a bummer. 

Another bummer: I guess bands that headline these large-venue shows don’t do encores. I know, I know… in most cases encores are three-song pre-meditated extras tacked on to the main set that the band was going to play no matter what, but there was always something charming about the guys and gals walking back on stage to give a cheering crowd just a couple more. Not in this cyincal age, eh? 

. 0 0 0 . 

Tonight at Reverb Lounge, New York-based “queer punk” band Sorry Mom headlines. Among their most popular songs are “I Fucked Yr Mom” and “Molly Sells Molly by the Seashore.” Funny, fun, more pop than punk. Sonya Luxe and Gemini Luxe open at 7:30. $18.

* * *

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 © 2024 Tim McMahan. All rights reserved.