A screencap from the WOWT-TV report that shows how The Slowdown could be configured once it reopens.
You will begin noticing (if you haven’t already) a heavy push to write your congressmen and ask them to co-sponsor or support pending legislation designed to help save the live entertainment industry through the COVID-19 pandemic.
As I mentioned last week, the National Independent Venue Association (NIVA) along with a ton of musicians and promoters are pushing for a couple pieces of critical legislation, and need to get something passed before The Hill’s the August recess, which begins Aug. 7.
First thing’s first: Go to https://www.saveourstages.com/ and voice your support for the Save Our Stages Act (S. 4258, introduced by Sens. Cornyn and Klobuchar) and the RESTART Act ( S. 3814/H.R. 7481, introduced by Sens. Young and Bennet in the Senate and U.S. Reps. Golden and Kelly ). Adding your voice involves filling out a simple form (or writing your own heartfelt text in the space provided) that automatically goes to your respective senator/representative based on your zip code.
Gotta do it TODAY, as in RIGHT NOW, as in it will only take a minute. If you’ve already done it, do it again.
And here’s a bunch of venue owners talking about being on the verge of going out of business.
As The Slowdown says in a grim Facebook post: “There is no way we want Slowdown to end. It is too soon. It is also not too late.”
People are making this sound like end-of-the-world stuff, because quite frankly, it is. You are going to be shocked at the number of venues that will shutter as a result of the pandemic, and then you’ll wish you’d have done something about it. Here’s your chance.
The above picture was posted on the Reverb Lounge Facebook page last week and shows that there no longer is a wall separating the venue’s music performance space from the bar. The remodel is one of the reasons why Reverb hasn’t reopened yet.
Marc Leibowitz, who runs Reverb along with business partner Jim Johnson, said the wall coming down is the biggest part of the venue’s remodel. “We are doubling the PA that covers the whole space, but not many other changes really,” he said. “Reverb will now be a full-time venue. It will only be open when there is an event.”
While Reverb’s separate performance room was unique, it was also strangely antiseptic, almost clinical in nature, as if you were entering an examination room, whereas the rest of Reverb felt like a (clean) lived-in corner bar. Making the venue one large room will be as dramatic a change as when The Waiting Room “opened up” its stage area a few years back — a huge improvement. With the wall down, Reverb’s performance-space capacity will increase, which could mean larger, more popular bands playing its stage.
Leibowitz said Reverb will reopen sometime in August. Now what about The Slowdown?
Jason Kulbel, who runs The Slowdown, said the reopening date for the downtown venue is still up in the air, as the club is in the process of moving all its scheduled August shows. “The two touring shows we had postponed late last week, so that forced the hand,” he said.
Touring appears to be dead. Just glancing at band promo materials in my in-box, there are no national tours going on this year; in fact, I’m not seeing anything for 2021, either.
And beginning late last week I finally began seeing a few impassioned pleas by artists for people to write Congress to get on board with the RESTART Act (S. 3814), legislation being pushed by the National Independent Venue Association (NIVA). I was going to write a column about it for next month’s issue of The Reader, until I found out from NIVA that would probably be too late.
“We need to have legislation passed by the August recess or we can expect hundreds of independent venues across the country to fold,” said Audrey Fix Schaefer, NIVA’s communications director. The Senate’s August recess begins Aug. 7, and the weasels aren’t scheduled to return until Sept. 8. Never mind that the country is suffering from a 100-year pandemic.
Schaefer said the list of co-sponsors “grows every day,” which is another reason for an all-out push to send a letter to our congressmen. Unfortunately, we live in Nebraska, where our red politicians could give a shit about art, culture and the future of live music.
But that shouldn’t stop you from going to the NIVA “Take Action page” and adding your name to the list of those who sent a letter urging Fischer, Sasse and Bacon to support and cosponsor S. 3814/H.R. 7481, the RESTART Act. If you’re gonna do it, do it now. It takes less than a minute to fill out the form.
You may get back the same form letter I got from Deb Fischer, which boasts about the Paycheck Protection Program (PPP), designed to provide a direct incentive for small businesses to keep their workers on the payroll.
But PPP loans are only fully forgivable if companies keep all of their employees on the payroll or rehire them within eight weeks of receiving the loan, which most venues can’t do.
Fischer, Sasse and Bacon know this, but do they care?
Every year, more and more talented people, musicians, artists and young professionals are moving out of Nebraska to places like LA, Portland, Seattle and New York, and politicians are left scratching their heads wondering why-why-why?
You have efforts like Blueprint Nebraska, whose “vision” is: “Our people, land, and location will propel Nebraska to be the most welcoming Midwest state for youth, talent, investment, and commerce and a national model for continuous growth and prosperity.“
What a joke. The number one reason young people are leaving this state is its political and social environment. They’re tired of living in a red state that doesn’t care about anything but its perceived “family values,” and which views the arts as some sort of frivolous, childish novelty that has no intrinsic value. The lack of support by our representatives for the RESTART Act is proof of this. Once the young artists, musicians and professionals begin to realize that things will never change, they start looking for a better place to live, a place that values what they can offer. And who can blame them?
Young Jesus at O’Leaver’s, Oct. 28, 2018. The band has a new album coming out on Saddle Creek Aug. 14.
The COVID-19 pandemic doesn’t seem to be slowing down Saddle Creek Records. My inbox is filling with news of new releases from our hometown record label despite the inability for bands to tour.
Top of the list is the new one by Canadian rockers Land of Talk, Indistinct Conversations, which drops July 31 (It was originally slated for release in May). This is the fourth album for the trio fronted by Elizabeth Powell, coming 12 years after their 2008 Saddle Creek debut, Some Are Lakes.
Last week the band released the fifth single from the album, a video for the song, “Now You Want to Live in the Light.” Check it, and preorder the album here.
Perhaps the label’s most way-out-there project, Young Jesus, announced Welcome to Conceptual Beach will drop Aug. 14 on Saddle Creek.
From the hype sheet: “This is Conceptual Beach, a place John Rossiter, vocalist/guitarist of Los Angeles-based Young Jesus, describes as his long-time mental refuge, where he imagines himself living—like a medieval, stigmata-wrought hermit—all his needs for okay-ness finally met. But for the first time, he’s opening up and inviting others to join him there.”
The first single, “Root and Crown,” is a gorgeous track that hopefully points toward where the band is headed on this album. Check it and order pre-order the album here.
Finally, the next installment in Saddle Creek’s Document singles series is the label’s first foray into drone metal.
The band, Divide And Dissolve, is “a heavy two-piece utilizing drums, guitar, saxophone & live efx music designed to decolonize & dismantle white supremacy,” according to their Facebook page. The duo from Kulin Nation (Melbourne) is “Takiaya Reed (Black & Tsalagi [Cherokee]) and Sylvie Nehill (Māori),” according to the one-sheet.
“RVR” b/w “8VA” drops Aug. 7. Check out the A-side below and pre-order here.
What else does Saddle Creek have up its sleeve for 2020?
And who else has been keeping busy?
Well, today local indie band Uh Oh released yet another video off their 2019 album Stay Close, this one for the song “True Blue.” Check it out below and download the album from their bandcamp page.
Digital Leather’s Shawn Foree enjoys a cold beverage in what looks like either a market in Bangkok or a taco stand in Tekamah, NE.
The last time we heard from Benny Leather was last fall when the mysterious digital-fueled punk act with links to Omaha and Antwerp released a couple singles destined for a full-length release later that year that never materialized. Well, the wait is over.
Temporary Insanity, an 8-song LP, is slated for release Oct. 1 on Philly label FDH Records, though you can pre-order it now right here (the full digital release drops Oct. 1 while the vinyl release won’t ship until last December).
Recorded in bedrooms and basements in Portland, Omaha, Bentonville, OR, Raleigh/Durham, NC, and Phuket and Krabi Southern Thailand between 2018 and 2020, the album was mixed by Omaha’s Benny Leather and Antwerp’s Modus Ponens, and features guest vocals from Modern Love’s Chandra Moskowitz (yes, the world famous chef!), and Thick Paint’s Sarah Bohling.
The album was mastered by sound engineer/genius Ian Aeillo at ADSR (A Dark Sun Room) studios.
Says Mr. Leather: All non vocal instrumentation created from scratch on the following analog synthesizers: — Moog Spectravox Vocoder hand built by Benny Leather at MoogFest 2019 (Raleigh/Durham, NC) — Moog Sub Phatty (a personal gift from Digital Leather’s Shawn Foree and Todd Fink back in 2014) — ARP Odyssey — Sequential (fka DSI) Prophet Rev 2 — DSI Tempest analog drum machine (all drums/percussion made from scratch from raw white, pink and green noise signals processed through various analog filters, VCAs, envelopes and augmented by pitched analog oscillators). — Reverb/delays: Earthquaker Devices Avalanche Run
Also announced this week: Digital Leather’s new 18-track LP, New Wave Gold, will drop Sept. 15 on No Coast Records. Digital Leather is Shawn Foree, who’s been creating some of the country’s most intriguing modern rock under the Digital Leather moniker for 20 years.
From the press release:
“Recorded in Foree’s apartment in Nebraska over the last couple of years, during which time Shawn also travelled the country doing environmental work, New Wave Gold is its own genre; something uniquely wonderful. Lyrically, each song is crafted of deceivingly simple lines, but the words soon reveal their true identities: culprits to a dazzlingly moody manifesto. It’s a mid-life crisis and a global crisis smashed together and thrown onto tape. Scattered with analog synths, acoustic guitars and a fully operational DIY approach, New Wave Gold is also reminiscent of work from groups like Sebadoh and Psychic TV.”
Looks like the video got pulled by YouTube! Methinks someone didn’t get permission to use those vintage film clips. Well, here’s the track at bandcamp:
The last live concert I saw before COVID-19 struck with all its dreadful glory was PUP at The Waiting Room way back on March 5. I didn’t know at the time it would be the last live show I’d attend for the foreseeable future. I anticipated a big spring and summer of live shows with lots of new music on the horizon.
But as we all know, by the end of March one-by-one the clubs began to close and show cancellations piled up like cord wood, and by the end of April about everything was cancelled. Now we’re in July and Slowdown and Reverb are still closed, O’Leaver’s and Brothers have reopened but aren’t scheduling live music, and while The Waiting Room is hosting shows, they’re few and far between and mostly cover bands. Almost all national touring bands aren’t on the road right now.
Despite this, new music has continued to be released, including some pretty amazing recordings by Fiona Apple, Perfume Genius, Run the Jewels, Phoebe Bridgers, HAIM, Waxahatchee, Porridge Radio, Yves Tumor, Lanterns on the Lake, Destroyer, Christian Lee Hutson, Nation of Language, Car Seat Headrest and Stephen Malkmus. While some artists are holding their releases until they can tour again, others, like Bright Eyes and Sufjan Stevens, are planning releases in the coming months without any idea of whether they’ll be able to support them on the road.
Most of the above-mentioned acts are easy to keep up with, and if you’re tuned into Sirius XMU or college radio, you’ll have a hard time missing them. It’s the smaller, new bands — the yet-to-be discovered acts — that are getting especially crushed by COVID.
The No. 1 way I discovered new music — or for that matter, checked out new music — was by researching upcoming (and attending) live shows. And with no one out touring, it’s suddenly become harder to discover the new talent. Or a better way of putting it: It’s becoming harder to get motivated to listen to unknown acts.
Like anyone who writes about music, every day I get dozens of pitch emails from labels, promoters and artists telling me about upcoming releases. In the pre-COVID days, I’d zip down to the bottom of the emails and see if the band was headed to Omaha or Lincoln, and if so, would check out their music. No question, this was how I discovered most of the cool new stuff I’ve heard in the past.
The same process held for club calendars — I’d go through calendars scanning upcoming shows and making a point to research indie bands scheduled to appear, check out their music, etc.
But now that no one is touring, I rarely even open those emails or check calendars. What’s the point? As a result, a lot of music being releases is flying under my radar. For the first time since I started writing about music, I’m starting to feel disconnected to what’s going on with regard to new music.
So yeah, I really miss going to rock shows, I miss seeing people I know at the various clubs, but most of all I miss discovering new music the way I used to. The way things are going, it may not be until this time next year before we get anywhere close to where we used to be.
The brand-spankin’ new SPEED! Nebraska T-shirt available at their Bandcamp page.
Once again, Bandcamp is waiving its fees today on all sales to help artists trying to get through the COVID-19 pandemic. So today your purchases at Bandcamp mean even more to your favorite bands. Saddle Creek Records and a lot of other labels are also passing along digital revenue to their artists.
Here some other great Bandcamp pages to check out and buy-buy-buy stuff:
— SPEED! Nebraska — Home to recordings by the likes of Wagon Blasters, Mercy Rule, Frontier Trust and The Mezcal Brothers, among others, as well as a ton of super-cool merch like the brand new SPEED Nebraska T-shirt shown above.
— Max Trax Records — Home to Little Brazil, Leafblower, Pro-Magnum and a ton more, as well as more sweet, sweet merch. Omaha’s third biggest label? Probably not, but pretty cool.
— 15 Passenger — Home to Cursive, Criteria and campdogzz as well as the wee lad Tim Kasher. Lots o’ digital and vinyl and cool merch, because you need something cool to wear to O’Leaver’s.
— Simon Joyner — Simon always has special deals on Bandcamp Fridays. This time it’s a CD of Hotel Lives Demos from 1999-2000, limited to 100 copies, and a CD of an unreleased 6-song EP collaboration with The Bruces called A Pleasure Then, from 2003, limited to 75 copies. Tons more.
— Dereck Higgins — The Omaha legend has a mountain of music available, including his just-released 4-song EP STRENGTH.
— Digital Leather — Shawn Foree is nothing less than a diabolical genius if not a musical one, and you can’t go wrong by buying any of his releases.
— Flight School — Did I use the word “genius”? It’s a word I reserve only for the truly gifted, like Einstein, Picasso and Flight School. Don’t get lost down this rabbit hole of a website without spending some money.
— Matt Whipkey — I think it’s safe to say Matt not only is talented but also prolific, based on this page. Tons of music reaching back to his days with The Movies and Anonymous American all the way to his latest project, the incendiary Unexplained Death.
— David Nance — Including David Nance Group, a ton here from his ground-breaking Peaced and Slightly Pulverized to his take on Beatles for Sale. Weird fun!
I’m sure I missed someone/something. If I missed your Bandcamp page, put it in the comments section…
* * *
Tonight is what I’m guessing to be the first Benson First Friday during these Days of COVID. A number of Benson galleries are giving it a try using capacity limits, mask requirements and basically no food and drink inside the galleries.
Among those participating is The Little Gallery, 5901 Maple Street (the east bay below the Masonic Lodge building), which tonight is hosting the opening of Silent Spring, a group show featuring new work created under quarantine by Joe Addison, Alex Jochim, Caitlin Little and Trudy Swanson. The opening runs from 6 to 9 p.m. If you go, you might find this masked man sitting outside somewhere.
That’s it for the weekend. Hard to believe it’s July and we still don’t have live rock music, but that’s just the way it goes. Keep wearing a mask when you go in public and we may get live music back on our stages sooner!
Xiu Xiu performs via live stream from Low End at The Bemis tomorrow night.
This morning 1% Productions published an apology via Facebook for statements reported in the Omaha World-Herald after the Aug. 8, 2019, shooting death of Michael Rowell, Jr., outside The Waiting Room Lounge, a club owned and operated by Marc Leibowitz and Jim Johnson, the duo behind 1%. Rowell reportedly had come to watch a performance at the club the night of the shooting.
Arguably Omaha’s most important concert promotion company, 1% books The Waiting Room, Reverb Lounge and other venues around town, and has lined up the acts for the the annual Maha Music Festival for the past decade. In the Aug. 20, 2019, OWHarticle, Leibowitz said 1% no longer would book local rap artists at The Waiting Room or Reverb Lounge.
“In the wake of last year’s tragic murder of Michael Rowell Jr., we made statements to the Omaha World Herald that were hurtful to the local hip-hop community. We want to publicly apologize for the impact of our statements,” the statement reads. “Music, and specifically hip-hop music, has long been a platform for expressing the inequities in society. Now, more than ever, we need to take time to listen to what those voices are saying. As we strive to create a better future, we wanted to officially clarify that we do plan on booking more hip-hop in Omaha. Whether it’s national or local artists, we want to continue our support for the community by trying to provide a safe environment for this critical genre to perform and to be celebrated.”
The Waiting Room, which had been closed since March due to COVID-19, reopened a couple weeks ago after Gov. Ricketts relaxed COVID-related restrictions to music venues. Reverb Lounge likely will reopen in August, Leibowitz said, as the venue is undergoing some upgrades.
* * *
Saddle Creek Records artist Disq today released a cover of Jeff Tweedy’s “I Know What It’s Like” via Bandcamp.
Said Disq’s Isaac duBroux-Slone: “I sped up the original recording a decent amount so I’d have something to play along to and off I went. We decided it’d be fun to present the finished product as an interim release; post-Collector and pre-whatever’s next.” Check it out below…
* * *
Even though these are just “virtual” concerts, I get the feeling things are starting to pick up performance-wise around here.
Tomorrow night (Wednesday) Low End at The Bemis is having yet another virtual concert, this time featuring San Jose experimental act Xiu Xiu (Polyvinyl, Kill Rock Stars). I would have loved to see them play live at Low End; this is the next best thing. The stream, free via The Bemis’ Twitch account, starts at 8 p.m.
And then Thursday night is Essential Festival, a live-streamed concert from the stage at The Slowdown featuring a plethora of local acts, including:
And How Clarence Tilton DVH Recordings (Dereck Higgins) Keith Rodger (Kethro) Matt Whipkey Mesonjixx McCarthy Trenching Nathan Ma
The Good Reverend Kasher from a screen shot of the new Mountain Time video.
Some Tim Kasher news.
First off, Kasher has a new film script called “I Have to Have You,” which is being pimped by SXSW at Fantastic 7, a pitching session held yesterday at Cannes Marche du Film Online.
“It’s being repped by SXSW this year in a ‘genre’ section for the Cannes Film Festival,” Kasher said. “I’m working with Travis Stevens / Snowfort Pictures, we are looking for funding to shoot it.”
The script’s description inVariety, tinsel town’s trade publication: “Tim Kasher’s U.S. horror thriller, “I Have to Have You,” produced by Travis Stevens, focuses on a heavy metal rocker obsessed with a young woman. Kasher explains that the pic is about the male gaze, voyeurism, objectification and surveillance society.”
And then today the Austin band Mountain Time premiered a video for the single “Rosemary, Etc.,” off the band’s just released full-length Music for Looking Animals (Spartan Records). The video was directed by Tim Kasher, who also plays the role of a shifty preacher. And look for some other familiar faces who make cameos throughout the video. Mountain Time is the latest project by Chris Simpson of classic emo bands Mineral and The Gloria Record.
* * *
Adding to the COVID misery, Stir Cove today announced it’s cancelling its summer 2020 concert season.
“This is the first time in its 17-year history of entertainment in Council Bluffs that the Summer Concert Series will take a hiatus,” said Regional VP Missy Hardersen. “The health and safety of our fans, artists, partners, staff and community is always our highest priority, therefore; we have decided to cancel the series normally scheduled throughout the summer season.”
Gonna be a long summer…
* * *
Saturday night Lincoln folk country act Jack Hotel tonight celebrates the release of its new album, A Town Called Hesitation (Sower Records) via Facebook live. The show starts with an album listening party at 6 p.m. More info here.
Also Saturday night, electro-prog act Glow in the Dark opens for Flux Amuck at The Waiting Room. This is an actual live event. Live and Obey opens at 8 p.m. It’s $7. The minimum 4-ticket purchase requirement has been dropped, but you still have to sit at a table.
A screen cap from last night’s Bright Eyes performance on The Late Show with Stephen Colbert.
It was a busy day for Bright Eyes yesterday. The outfit led by Conor Oberst announced a new single, “Mariana Trench” and the name and tracklist for their new album, Down in the Weeds Where the World Once Was, out Aug. 21 on Dead Oceans.
And the band performed sort of live on the Late Show with Stephen Colbert, which you can watch below. See Conor sporting what looks like strangler gloves, Mike Mogis in a seed cap and Nate Walcott splitting time between keyboards and trumpet. It’s the band’s first performance in 10 years. Like I told you, they never broke up.
From the press release: “As a title, as a thesis, Down In The Weeds Where the World Once Was functions on a global, apocalyptic level of anxiety that looms throughout the record. But on a personal level, it speaks to rooting around in the dirt of one’s memories, trying to find the preciousness that’s overgrown and unrecognizable.”
After hearing the first four tracks, it sounds like this is going to be another doomsday album from Bright Eyes, which will make a nice bookend with the new one by Conor’s partner in crime, Phoebe Bridgers, which came out last Thursday: Punisher, also on Dead Oceans (poor Saddle Creek).
This new Bright Eyes track is the best one so far, certainly the most upbeat, and along with “Forced Convalescence” sounds like a natural progression post-Cassadaga had the band not gone wandering for a decade, certainly more so than the wooden, folky stuff Conor released on Ruminations/Salutations…
No word on a tour yet. Imagine a Bright Eyes / Phoebe Bridgers / Better Oblivion Community Center joint tour. I think my head just exploded…
Josh Hoyer and Soul Colossal play tonight at Falconwood Park.
Well, Saddle Creek Records lost again (this time to Sacred Bones) for Label of the Year (Medium) at last night’s Libera Awards, streamed live in what was a pretty efficient program. Big Thief, who flew the coop from Saddle Creek to 4AD, won Album of the Year for U.F.O.F., an album that probably would have been released on Saddle Creek had the band not skipped the label.
A few other notable winners: IDLES won for Best Live Act; Fontaines D.C.’s Dogrel (Partison) won for Best Alternative Rock Album; Weyes Blood’s Titanic Rising (Sub Pop) was named Best Indie Rock Album; Cigarettes After Sex’s Cry (Partisan) won Best Mainstream Rock Album (though it’s hardly a rock album); Amyl and The Sniffers’ self-titled album (ATO) won for Best Punk/Emo Album; and Orville Peck took home Breakthrough Artist and Best Country Album (though it’s not really a Country album) for Pony (Sub Pop).
The program kicked off with a lengthy Black Lives Matter video and testimonials from artists, which was well done. And though there were plenty of mentions of COVID 19’s impacts on the industry throughout the program, the overall tone was somewhat muted rather than desperate. Strangely, there were no mentions of efforts by the National Independent Venue Association (NIVA) to get legislation passed to financially support the live music industry. Odd.
I typically don’t write about cover bands or tribute acts, but tonight’s Shoot to Thrill AC/DC tribute is different because it marks the return of live music to The Waiting Room.
As explained a couple weeks ago, tickets are $15 but you have to buy a minimum of four tickets, which gets you a table. Remember, due to COVID-19 restrictions, you have to be seated at all times at these kinds of events, with people six feet apart at your table and tables six feet apart, etc.
Beginning June 22, those restrictions change again as we enter “Phase 2,” but I’m not sure how that will impact venues except apparently allowing for eight people per table instead of the current limit of six.
As mentioned before, if tickets are still available at the door the day of the show, they might sell some singles/doubles, if possible. The show starts at 8 p.m.
By the way, that July 3 Good Life show at The Waiting Room (still listed on the 1% website) has been postponed until later this year.
* * *
Josh Hoyer doesn’t have to worry about any stinking table restrictions. His show tonight with his band Soul Colossal is a drive-in concert, which means you drive your ass there and stay in — or around — your car for the duration of the concert, held at Falconwood Park, 905, Allied Road, Bellevue.
It looked like about 100 people were tuning in to watch Dereck Higgins last night while I was watching his virtual concert streamed from Low End at The Bemis.
Low End is doing it again tomorrow night (Saturday), this time with Thrill Jockey / Matador Records act Matmos. The Baltimore-based ambient/electronic duo has released 10 albums since their start in the late ‘90s, including last year’s Plastic Anniversary on Thrill Jockey.
Tonight’s free stream starts at 8 p.m. and you can find it via the Low End Facebook page or their Twitch account at twitch.com/bemiscenter.
* * *
Finally, this year’s Under the Radar Festival is also a virtual affair. Sunday night’s concert starts streaming at 6 p.m. Here’s the line-up:
6:00 – Kristin Jonina Taylor 6:30 – Anna Elder 6:50 – Adam Marks 7:20 – Cubby Philips 7:50 – Aaron Allen Jr 8:10 – Stacy Busch 8:40 – Mesonjixx
And that’s all I got for now. Seems like we’re getting closer and closer to returning to real live concerts, but we’ve still got a ways to go. If you go out, don’t forget to wear a mask. It’s not only healthy, it’s pretty cool.
Comments Off on Libera Award winners; live music returns to The Waiting Room; Josh Hoyer tonight, Matmos Saturday (virtual), Under the Radar Sunday (virtual)…
Recent Comments