I heard sometime Saturday that singer/songwriter John Klemmensen had died, but found almost nothing on FB about his passing or that he was even sick. It wasn’t until late last night that the tributes began pouring in, remembering John and his music and friendship.
He was a mountain of a man with a high, sweet voice that belied his size. I spoke to him at a show a month or so ago, where he said he was working on new music that he was excited about, and I was, too.
Candy Boys at O’Leaver’s July 13, 2018.
His 2015 album with his band The Party was a career benchmark for a guy who had been playing music for more than two decades, dating back to rock band Reset and up to and including his role in Landing on the Moon. The last time I saw him on stage was with the Candy Boys (Vern Fergesen on bass and Daniel Dean Leonard on drums) at O’Leaver’s in July 2018, a set of music that vacillated between Motown-flavored pop and Black Sheets of Rain-era Bob Mould rock. The content could be dark and often was, but John was always fun and funny and great to hang out with at shows.
I know he had a family and my thoughts are with them and his many friends who are missing him today. He made an indelible mark on the Omaha music scene that won’t be forgotten.
I found out late yesterday afternoon that members of the David Nance Group would be backing last night’s opener for Destroyer at The Waiting Room — a performer who goes by the name Rosali. And sure enough, on stage playing to a crowd of less than 50 was Rosali (a.k.a. Rosali Middleman of the band Long Hots) with local heroes David Nance on bass, Jim Schroeder on lead guitar and Kevin Donahue on drums. Colin Duckworth joined them later in the set on pedal steel and banjo.
Turns out that Rosali’s 2021 album, No Medium, was recorded by Schroeder sometime during the pandemic with these guys backing her in the studio (along with contributions by Daniel Knapp, Simon Joyner and Conor Oberst). I’m listening to the album as I write this via Spotify (I wanted to buy a vinyl copy last night, but no one was manning her table and the Destroyer merch person wouldn’t sell it to me, so what are you gonna do? I’m betting I can pick up a copy at Grapefruit).
Rosali at The Waiting Room, April 28, 2022.
Her singing reminded me of just about every female vocalist on my list starting with Aimee Mann, followed by Joni Mitchell, Mary Timony, Natalie Merchant and Linda Thompson. Her at-times thin but tender voice was held in the finest contrast by this band, which still managed to blaze even when holding back in the quietest moments. The set really showcased Schroeder’s guitar work — beautiful, soaring solos that hissed and moaned at every turn. Gorgeous stuff, and just as gorgeous on the album that’s bound to be on my favorites’ list (though it came out last year).
By the time Destroyer came on stage at 9:15 sharp, the room was filled but nowhere near capacity, maybe 150 like the last time the band came through in 2018. Unlike that night, when Dan Bejar looked bored and listless, last night he was in top form (though never looking as if he was having fun, but maybe he never looks that way).
Bejar fronted one of the finest collections of musicians I’ve heard perform at The Waiting Room, at every position. The standouts were (again) that trumpet player, who continuously mixed his sound with effects pedals that turned his trumpet into an echoing dream corridor. That trumpet is so central to Destroyer’s sound that I can’t imagine these songs without it.
Just as remarkable was the band’s rhythm section – rarely does a bass player grab my attention, but this guy was just fire, as was the drummer. Add to that two fantastic guitarists and a rollicking keyboard player and you’ve got an amazing collective whose dreamy sound was like listening to a midnight stroll down an empty city street.
The set opened with a couple songs off side one of the new album, Labyrinthitis, before dipping into the Destroyer’s catalog. Set highlight for me was a killer version of “Times Square” from 2015’s Poison Season, as well as set closer “Kaputt,” which is becoming something of a greatest hit for Bejar. Great night!
Destroyer’s partial set list from the April 28, 2022 show at The Waiting Room.
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I’m happy I went out on a school night for Destroyer/Rosali because there ain’t squat going on this weekend show-wise.
The only thing of interest is goofy pop act Mile High Club, a band that (to me) sounds like modern yacht rock for a new generation (and in some ways, would fit right in next to Destroyer). The band rolls into The Slowdown Sunday night supporting their latest, Going Going Gone (2021, Stones Throw). Also on the bill is quirky JW Francis (Sunday Best Recordings). Omaha rockers Garst open at 8 p.m. $25.
That’s all I got. If I missed your show, put it in the comments section. Have a great weekend.
Today, the Sydney in Benson is announcing a large slate of shows over the next couple of months that primarily features local indie/punk acts. This used to be the sweet spot for O’Leaver’s pre-pandemic. Now that we’re on the other side of COVID (hopefully), O’Leaver’s rarely hosts shows (though they have a scorcher planned with Wagon Blasters May 14).
The Sydney’s calendar is dominated by new bands I’m not familiar with (and a few that I am). Consider this a changing of the guard? The one advantage O’Leaver’s had pre-pandemic was booking more touring indie shows – a pool that The Sydney is just beginning to tip their toes into. O’Leaver’s had the advantage of having the Cursive guys as a magnet for those tours, often bringing in acts that they met on the road. The Sydney, on the other hand, has connections with 1%, the biggest local show promoter hands down.
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Tonight, Dan Bejar and Destroyer return to The Waiting Room. The band is on the road supporting their latest release, Labyrinthitis (2022, Merge), which earned a whopping 8.5 and “best new music” designation from Pitchfork. I’m not sure who will be performing alongside Bejar tonight. The last time through, trumpeter JP Carter stole the show. Bejar always surrounds himself with the finest musicians, so be prepared to be impressed. Opener is Philly act Rosali. $22, 8 p.m.
I was reading the liner notes to Simon Joyner’s new yet-to-be-released album, Songs from a Stolen Guitar, and the writer, James Jackson Toth, said that Joyner recently turned 50, which was a head-spinner. I remember seeing a curly-haired Simon play at the Howard Street Tavern way back in the early ‘90s. It literally seems like yesterday. He was a young gunslinger back then with a rep for being a rising star of national proportions, at least amongst those of us who shopped at The Antiquarium.
There were two things that stood out on his first cassette, Umbilical Chords, which came out in ’92. First, he was one heck of a songwriter in the Bob Dylan vein, a real coffee-shop crooner who could bang out a song on an acoustic guitar with a punk-rock intensity. The second was that he could not give two shits if his voice was off pitch or out of tune, as long as he could convey whatever was on his mind. That Peter Brady-at-puberty singing style followed him through a lot of albums and a lot of live shows and I never knew if he was doing it on purpose or if that’s just the way he sang. And I still don’t know.
But what I do know is that seven years ago, around when he recorded Grass, Branch & Bone, his 13th studio album, that off-pitch warble faded away, and Simon began singing mostly on pitch, on key, rarely stepping in the vocal pot-holes I remembered from his early days. And maybe I’m just imagining things, but his songwriting structures became more concise. Songs that may have had five verses in the past now only had three, and were better for them (to me, anyway), almost as if he was writing pop songs instead of folk songs — tunes like “You Got Under My Skin” and “Yellow Jacket Blues” and the just-released “Tekamah” off the new album are short and sweet, with clever hooks.
And maybe I’m dreaming this, but Simon’s arrangements on his recordings also seemed more straightforward or certainly less complicated than the densely packed, layered sounds heard on 2006’s Skeleton Blues, for instance.
That’s a long-winded way of saying it’s been fun listening to Simon’s style evolve over the past 30 years. Through it all, the songwriting and the lyrics never lacked in depth, incisiveness, heart and soul. That was underscored Monday night at Grapefruit Records as Simon, accompanied only with his guitar, played a selection of songs that spanned from ’94 up to tunes from that new album.
Here’s the set list (that I was there for; I don’t know if he played an encore):
“Three Well-Amed Arrows” from Heaven’s Gate (1995)
“Carolyn’s Got a Secret” from Songs from a Stolen Guitar (2022)
“You Never Know” from Pocket Moon (2019)
“Nocturne” from Hotel Lives (2001)
“Old Days” from Grass, Branch & Bone (2015)
“Javelin” from The Cowardly Traveller Pays His Toll (1994)
“Don’t Tell Bobby I’m Through Singing These Blues” from Low Fidelities & Infidelities (2019), but also likely a new version that’ll be on the new album
“Evening Song to Sally” from Lost with the Lights On (2004)
“Parachute” from Songs for the New Year (1997)
“Yellow Jacket Blues” from Pocket Moon
“The Actor” from the new album
“My Life is Sweet” from Hotel Lives
The solo acoustic versions of these songs were so good I forgot what the recorded versions sounded like. Based on the audience reaction, a lot of folks in addition to me count “Javelin” as among their favorites. I was lucky to hear him sing it live. I think the last time I watched it performed was at the Cowardly Traveller album release show at Howard Street Tavern.
There were a lot of fellow Omaha musicians scattered among the 50 or so patrons who either sat in chairs or stood among the album racks. I said yesterday this was his first show in four years when in fact it was his first Omaha show in four years — a warm-up for a tour that begins in Europe next week. The new record comes out May 20. I’m hoping he’ll have a formal album release show at some point to give everyone there last night a chance to compare and contrast how those new songs sound played with a full band.
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Speaking of solo acoustic shows, Will Johnson of Centro-matic fame is playing a solo acoustic house show Thursday night in Omaha as part of an Undertow tour (Undertow is a website/company that helps artists book house show tours). Tim Kiefer is the host. For more information (including location) go here, where you can also purchase tickets.
I made one Record Store Day stop at Homer’s Saturday afternoon after lunch. The crowds had subsided, but it was still plenty busy. Homer’s dude and Omaha man-of-action MarQ Manner said it was the most successful RSD he can remember, with a lot of stock having already been sold.
I flipped through the bins and had to decide between three albums – Joni Mitchell, Blue Highlights, Iggy Pop Live in Berlin, but ended up buying Lou Reed – I’m So Free: The 1971 RCA Demos. I only have one Lou Reed album (New York). I wanted something I could put on and just play in the background when I work, something I intend to play a lot.
I haven’t been inside Homer’s in at least a year and was surprised at how crammed it was with stuff. I remember the store being a lot more open, bright and orderly. These days every square inch is occupied with something, probably because they no longer have a warehouse (I can’t imagine having to do an inventory of all that stuff).
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Legendary Omaha singer/songwriter Simon Joyner performs for the first time in four years tonight at his record store, Grapefruit Records, 1125 Jackson Street in the Old Market. His latest single, “Tekamah,” is one of my recent favorites. He’s got a new album coming out May 20 called Songs from a Stolen Guitar (co-released by BB*Island and Homeless) and is headed to Europe next week on tour.
Joining Simon tonight is Lonnie Methe, who I haven’t seen perform since a gig he played at O’Leaver’s back in 2011 with David Kenneth Nance and Ember Schrag. I didn’t even know Lonnie still lived in Omaha until someone told me last week at O’Leaver’s that he’s actually lived here for years!
Why the sudden uproar against Record Store Day? “It’s a money-grab!” “It’s white privilege!” “It’s nothing but old guys with too much money to burn!”
Maybe it’s only on my Facebook news feed, but a lot of people are suddenly complaining about Record Store Day, as the next installment takes place this Saturday. I don’t get the angst.
RSD started as a promotion by independent record stores to get people into their shops at a time when people weren’t coming to their shops. Now post-pandemic (or pretty close, hopefully), record stores seem to be doing pretty well. I read an interview with Homer’s Mike Fratt where he said business was great last year and looked like would be even better this year. If you’re a music fan, you should be thrilled.
I have only a modest collection of records — maybe 500? — consisting of stuff I’ve purchased beginning in 1976. I bought Boston’s debut album at age 10, and thought it was so cool when my older brothers asked to borrow it. Of course I still have that album, along with all the others, though I rarely have time to play them. Like the vast majority of music listeners these days, I do most of my listening via streaming, either from my phone, my computer, or my car’s satellite radio. So, it’s been awhile since I bought any vinyl.
When RSD started, it seemed like more of a nerd convention for music collectors who had a day dedicated to their vinyl fetish needs. But as this Axios story indicates, a lot of people are buying vinyl these days, bringing in over a billion dollars in revenue last year vs. just $119 million 11 years ago.
Now it’s not just the nerds buying “collectable” copies of limited-edition vinyl releases, it’s a broad swath of music fans. And just like everything else, once the unwashed masses get involved, it’s no longer “cool.” I highly doubt Fratt cares if it’s cool as long as it brings people to his store.
I will make it a point tomorrow to buy at least one album. I don’t know what it will be yet, but I’ll go home with something and let you know Monday. I’m sure it won’t be as cool as that first Boston album…
Check out the RSD titles here. Most stores open their doors at 10 a.m. And if you’re headed to Homer’s tomorrow morning, Fratt and Manner will have coffee and donuts for you to enjoy as you wait in line, nerd.
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BTW, wouldn’t it be cool if an artist released something on vinyl that does not and will not ever be available online? I know that goes against this whole we-are-the-world music-is-for-sharing mentality, but man, it would really give you a reason for buying that album.
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Tonight at The Sydney in Benson LA post-punk synth band System Exclusive headlines. The duo consists of Ari Blaisdell and Matt Jones, the guy behind Castle Face Records. This is pure ‘80s first wave synth pop at its finest. Opening is Specter Poetics and Omaha’s best DJ, Tyrone Storm. $10, 9 p.m.
Believe it or not, that’s it for the weekend. If I missed your show, put it in the comments section. Have a great one.
Nice little mid-week show with Ty Segall’s heavy-metal band Fuzz tonight at The Slowdown. The band’s last formal album, III, was recorded by Steve Albini and was released on In the Red Records in 2020. This is the kind of music I would have loved to listen to back in high school driving up and down Dodge St. on a Saturday night in my best friend’s Maverick. It would have fit right in with my Montrose, Steppenwolf and Rainbow cassettes.
Opening is our very own psych-rock mastermind, David Nance and his band. I know they’ve been working on new material and no doubt you’ll get a taste of it tonight. $25, 8 p.m. Bring your ear plugs because you’ll need them.
Also tonight, Portland’s Typhoon plays at The Waiting Room with CARM. $23, 8 p.m.
Pretty quiet weekend for shows. As has always been the case, we get a lot of touring indie bands during the week as they head to bigger cities for the weekend. Woe is us. That means weekends are typically dedicated to local band shows, and that’s cool, too.
The only one on my radar this weekend is tonight at fabulous O’Leaver’s headlined by new band Violenteer. About the band:
“Hailing from the fertile musical heartland of Omaha, Nebraska, informed by numerous local projects, recordings, and national tours, and by time spent jamming in the Portland music scene, band founder Randy Cotton joined with his brother and long-time creative collaborator Barry Cotton (Members of the Press) and drummer Eric Ebers (Ritual Device, Ravine) to create Violenteer during the COVID global pandemic. As a permanent three piece who occasionally fold-in other acclaimed musicians to add mod-synth, samples, lap-steel, and guitar layers for recording and live shows, Violenteer collectively posit an innovative musical take on this often dark, violent, confusing, and sometimes beautiful world.”
The band will be opening for classic ’80s-’90s grunge band Mudhoney at The Slowdown May 4. Here’s your chance for a sneak preview. Also on the bill is Mike Saklar’s The Sun-Less Trio, and Lincoln metal band The Fatal E’s. It’s a free show. In fact, next month’s show at O’Leaver’s with Wagon Blasters also is free. I’m sure there’s a story behind that. The fun starts at 9 p.m.
That’s all I got for the weekend. If I missed your show, put it in the comments section. Have a great weekend.
Yesterday The Admiral Theater — formerly known as Sokol Auditorium — posted on Facebook a video of flood waters in the building’s basement (which they say had since been cleaned up) along with an apology for having to move shows due to falling behind on construction targets. They blamed supply chain issues and constructions hurdles.
Among the shows that have been moved from the Admiral to other venues or rescheduled are Mat Kearney, Tech N9n3, Dance Gavin Dance, Alec Benjamin, Ashley McBryde, and Rainbow Kitten Surprise. I’m keeping my fingers crossed that they’ll finish construction before the May 28 Belle & Sebastian show, which is slated to be my reintroduction to the remodeled venue…
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Speaking of upcoming shows at the Admiral, did you catch Bright Eyes last night on Stephen Colbert? Can we expect Conor to lay down these funky dance moves when he comes to the Admiral July 2 and 3?
Cursive’s Tim Kasher yesterday dropped another video single from his upcoming new album, Middling Age, out tomorrow on 15 Passenger Records. Here’s “What Are We Doing”…
Three shows tonight.
Mogwai brings its tour to The Waiting Room in support of their latest, As the Love Continues (Temporary Residence, 2021). The Scottish band is known for their mind-bending (and ear-bleeding) feedback-drenched instrumentals. According to previous setlists from this tour, expect to hear half the songs from the new album along with a few chestnuts (like “Like Herod” from their debut album during the encore). Opening for Mogwai is LA chamber folk artist and label mate Nina Nastasia, whose latest, Riderless Horse, was produced by Steve Albini and is slated for release in July. $28, 8 p.m.
Also tonight, country singer/songwriter Hayes Carll headlines at The Slowdown. Caleb Caudle opens at 8 p.m. $25.
Meanwhile, over at Reverb, LA by way of Boston pop-punk/emo act Mom Rock headlines. Honey Creek opens at 8 p.m.
Three shows this weekend, all featuring local acts. Don’t worry, there’s a boatload of tours coming through in the coming months.
Tonight at Reverb Lounge it’s a 4-act bill headlined by Cat Piss, a noise rock trio featuring Nate Wolf (Pagan Athletes), Sam Lipsett and Casey Plucinski. I’ve yet to catch these “cats.” Maybe tonight. Opening is Nate’s dad, the legendary John Wolf, and his latest heavy rock project with Chris Seibken and Jerry Hug called Bad Bad Men. Also on the bill are Nowhere and DJ Beatlebitch. 9 p.m., $10.
Tomorrow night (Saturday), Specter Poetics a.k.a. Jack McLaughlin, headlines at The Sydney in Benson with Rare Candies and Thee Bots. $5, 9 p.m.
And finally on Sunday, the one-man party machine of Solid Goldberg (a.k.a. Dave Goldberg) opens for Ghanian hip-hop artist Ata Kak at Reverb Lougne. 8 p.m., $15.
That’s it for shows. In the new music category, former Omahan now LA dude Nate Van Fleet (who you remember from See Through Dresses) released a new track today under his Big Nope moniker called “Golden.” The track’s sound was influenced by Big Star and early Matthew Sweet (as well as Teenage Fanclub). Check it out and have a great weekend.
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