R.Ring at The Waiting Room, July 12, 2012.

by Tim McMahan, Lazy-i.com

Most of the 50 (maybe) who were on hand for last night’s R.Ring show at The Waiting Room stood right next to the stage throughout a performance that felt as intimate as a house show. It helped that Kelley Deal, half of R.Ring with guitarist/vocalist Mike Montgomery of Ampline, was as unpretentious and approachable as any other member of the local music scene. In fact, she spent most of time playing pool while the opening bands burned up the stage.

Deal looked and sounded no different than the last time I saw her perform in Omaha more than a decade ago as a member of The Breeders, opening for Nirvana at Aksarben Coliseum. Her new band carries on the sonic themes that The Breeders were known for back in the day, albeit as a two-piece with no rhythm section. And for the most part, I didn’t miss it, though I wondered what some of the songs would sound like built on top of a solid rock foundation. Deal did a good job filling in the spaces with her frenetic guitar drenched in effects and delay, along with her voice, which shimmered between straightforward beauty to shrill energy to whispered ghostly hush.

Opener InDreama launched their set with a shotgun-blast rock song before shifting into full acid-trip mode. This band is starkly different than frontman Nik Fackler’s other project, the dance-synth-freakout known as Icky Blossoms, but is just as good in its own way. They were at their best in full trance mode, with bassist/keyboardist/vocalist Dereck Higgins channeling whatever mystic spirit guides him and this band to their sonic netherworld. They ended with “Reprogram,” the song that appears on the Icky/Touch People/Conduits/InDreama split from last year. Every time I hear it live, Fackler and Co. take the song to different places, creating ambient landscapes that are easy to get lost in. I found myself tapping out a beat toward the end of the song before I noticed that drummer Craig D had already quit playing — the rhythm deeply locked into my head. Hypnotic and Floydian. If there’s a gripe, it’s that their set was too short. InDreama needs more material, and then needs to head back into the studio.

Sandwiched between R.Ring and InDreama was Atlanta (by way of Omaha) band Hollow Stars and a sort of homecoming performance for Coyote Bones’ David Matysiak. Maybe it was all their green floor lights or just the vibe following InDreama, but something about Hollow Stars reminded me of Bauhaus — their minor-key rock grooves also had something to do with it. Their sound felt distinctively gothy, enhanced by frontman Colin Mee’s mono-tonal vocals. They closed with a song fueled by a staccato guitar riff that absolutely blazed.

All in all, a terrific night of music.

* * *

There’s a full docket of shows slated for this weekend:

Tonight at the Waiting Room it’s the Lynden Lyme Benefit. Lynden’s got Lyme Disease and money generated from this benefit show will help cover some of the expenses associated with its treatment. I have no idea who Lynden is, but I do know she has some super-talented friends, all of whom are performing tonight: UUVVWWZ, Dim Light, Solid Goldberg and Dads. $7, early 7 p.m. start time.

NE Pop Fest continues tonight at The Barley Street with Thunder Power (Omaha), Saara Norris (Germany/Finland), Well Aimed Arrows (Omaha), Claire and the Crowded Stage (Kansas City), Appropriate Grammar (Kansas City) and Field Club (Omaha). $7, 7:30 p.m.

Saturday night, Digital Leather returns to fabulous O’Leavers with Worried Mothers and an act with one of the best band names I’ve heard in recent memory: Serenghetto. $5, 9:30 p.m.

All Young Girls Are Machine Guns headlines a show at Slowdown Jr. Saturday night with Edge of Arbor, Sarah Donner and Tara Vaughan. $7, 9 p.m.

And the NE Pop Festival continues Saturday and ends Sunday at The Barley Street Tavern. See full schedule here.

Finally Sunday night Liars plays at The Waiting Room with Cadence Weapon. $13 adv/$15 DOS. 9 p.m.

* * *

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 © 2012 Tim McMahan. All rights reserved.

Eli Mardock and his band at The Waiting Room, July 5, 2012.

by Tim McMahan, Lazy-i.com

I hate to start this review with a downer, but the draw at last night’s Eli Mardock EP release show at The Waiting Room was disappointing — maybe 30 people? I guess everyone either was completely bushed after their 4th of July festivities or were down the street at The Barley Street Tavern for Outlaw Con Bandana, Sam Martin and Jake Bellows, who turned out to be John Bellows and further evidence that I need to start wearing reading glasses. Apologies to those who went there expecting Jake, but at least I’m told you still got to see a helluva show.

Eli Mardock was pretty good, too. The former frontman of Lincoln band Eagle*Seagull played a number of songs off his new EP, NE Sorrow is Born as well as a tune or two off an upcoming LP that he said will be released later this year. How to describe Mardock these days: How about: ‘What you’d get if Neil Diamond fronted Pink Floyd.’ We’re talking mid-tempo drone-groove songs that border on shoe-gaze, with the stellar Carrie Butler adding the necessary “ahh’s” and cool keyboard lines. “Cut Me Open,” my favorite from the new EP, sounds like classic Neil if Neil had spent the bulk of the ’60s strung out on smack — a pretty, dreamy, slow-skate of a song.

Most of Mardock’s rather short set was locked in mid-tempo — semi-slow and done in shades of dark blue. I wondered what a couple of his songs would sound like at twice the BPM. And just as I was thinking that, the band closed with a cute tune with a sweet Flock o’ Seagulls synth line and dueling vocals between Eli and Carrie that came off like a New Wave version of Neil and Babs. Next stop: The Maha Music Festival.

* * *

There’s a wealth of shows going on tonight and virtually nothing slated for Saturday. What’s up with that?

Most of the shows are in Benson tonight, which is also celebrating its second First Friday event, so good luck parking. Oh, it ain’t that bad. Surely you can walk a few extra blocks to the venue of your choice.

Among the events is the return of Lincoln punk band Domestica to The Sydney. Heidi, Jon and Todd will be playing songs off their latest self-released EP, simply called Domestica 2, which you can check out in its entirety at their Bandcamp page. Classic. Also on the bill is Chromafrost. No idea on cost, but it’s probably around $5, and starts at around 10.

Meanwhile, the King of Surf Rock, Dick Dale, is playing down the street at The Waiting Room. Don’t know who Dale is? Check out my vintage 1998 interview

with the man himself. Opening is The Blacktop Ramblers. $20, 9 p.m.

If that weren’t enough, there’s a solid lineup tonight at The Barley Street headlined by John Klemmensen and The Party with Under Water Dream Machine, Family Picnic and Knife Fight Justice. $5. According to the Barley Street website, it starts at 6 p.m., but the Facebook invite says 9. Do as you will.

The sleeper show of the night (and maybe the best) is Fat Possum band Youth Lagoon down at Slowdown. If you haven’t heard Boise singer/songwriter Trevor Powers’ stuff, it’s catchy but kind of downcast, tuneful but depressing. Kind of reminds me of Perfume Genius but a tad more upbeat. Curious? Check out “Cannons” below:

Opening is Father John Misty. $14, 9 p.m.

I’m having a hard time finding anything to recommend for Saturday night. If you know something that’s good that I’m missing, put it in the comments section.

I’ve been notified that our friends in Well Aimed Arrows will have their television debut Sunday morning on KETV, performing as part of a package that’s promoting the upcoming Nebraska Pop Festival. Tune in at around 8:40 a.m.

Sunday night, Eisley plays at The Waiting Room with Merriment and Skypiper. $13, 8 p.m.

* * *

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 © 2012 Tim McMahan. All rights reserved.

by Tim McMahan, Lazy-i.com

So much for the Red Sky Festival — or, more accurately, the Red Sky Concert Series… Kevin Coffey reported today that the MECA mind trust has given up on trying to book a fourth day for the so-called festival, which means it’ll take place July 18, 20 and 21 — Wednesday, Friday and Saturday. So for all of you music fans flying in for this mega event, you’ll just have to find something else to do on that empty Thursday night, like maybe going to the free Future of Maha Showcase at The Waiting Room for Lightning Bug, Millions Of Boys, and Snake Island!

I know it’s only Year 2 for the “festival,” but maybe it’s time that Meca think about dropping the Red Sky concept and focus instead on booking two or three (or more) stadium-filling concerts throughout the year rather than target a string of days (that aren’t even a string anymore). If they untether themselves from a festival concept and just look at booking available days at the ballpark one would think the odds would be better of booking stellar acts for a facility that (according to Wiki) has capacity for 24,000 people with the ability to expand to 35,000 spectators.

Or maybe they don’t care…

* * *

Speaking of mammoth crowds, according (again) to the OWH, there were 70,000 people at Friday night’s Huey Lewis concert at Memorial Park, although most of them weren’t there for the anonymous opening bands. I caught the last three or four Huey Lewis songs as I waited for the fireworks to begin. The old boy still sounds pretty good for a 61-year-old. Sure, the top end has been shaved off of his range, but none of his songs really demand much range-wise to begin with. It’s as if ol’ Huey knew back in the ’80s that he was going to be doing this heading into his twilight years and that he better not record anything that would be too trying for withered vocal chords. Smart guy. Smarter still is having one of the better backing bands I’ve heard in a long time. No, the music isn’t terribly interesting, but it’s probably just what the doctor ordered for a free outdoor family event.

BTW, whatever happened to the city’s “youth concert series” that used to be held at Memorial? Was Feist the last one?

* * *

Tonight at The Slowdown it’s the return of DeVotchKa with The So-So Sailors and Pony Wars. $15, early 8 p.m. start time.

* * *

ADDENDUM: Oops. Forgot to mention that Brad Hoshaw and the 7 Deadlies is opening for Lucero tonight at TWR…. $17, 9 p.m. I have no idea who Lucero is, but Brad and his band is always worth checking out.

* * *

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 © 2012 Tim McMahan. All rights reserved.

Blue Bird at The Waiting Room, June 16, 2012.

by Tim McMahan, Lazy-i.com

Night Pirate, Omaha’s latest mix-and-match post-punk combo, debuted Saturday night at The Barley Street Tavern to a full room. So new is this band that they had lyrics taped to their microphones, having (apparently) just come up with the words. Turns out they didn’t need the cheat sheets as no one could understand what frontman vocalist/guitarist Jason Ludwick (of Bombardment Society fame) was yelling anyway, nor did they care. Theirs isn’t the kind of music that lends itself to intense cerebral examination. Rather, it’s all about angle and rhythm, riffage and beats and where the breaks lie. So yeah, this was as abrasive as anything that these guys have done before. Bassist Tim Feelger of Latitude Longitude pounded it out and even threw in a tasty vocal lead that was a tad closer to actual singing than Ludwick’s Gary Dean Davis-esque bark. Overall, the difference between this and the band members’ other projects were the songs, which more closely resemble something that could reasonably be mistaken for “rock” thanks to the riffage, as brutal as it was. As for drummer Steve Micek (of The Stay Awake), I will simply add that he’s probably the best drummer in Omaha. Will these guys ever play again? Who knows. Hope so.

Kite Pilot followed. Playing as a power trio, they continue to mix in proggy/arty material with the usual proto-punk scorchers, to ill effect. Artists must be artists, I suppose. That said, the band will always be known (and loved) for their five-song pop EP from earlier in the past decade, which they no longer play live (which is a pity). They still managed to roll out a few pop numbers that showcase frontwoman Erica Petersen-Hanton’s kickass guitar and bass chops. It’s called giving the people what they want, and we do want more.

Afterward, it was up the street to Blue Bird’s CD release show at The Waiting Room. Nice crowd of more than 100 were on hand to see this rather large ensemble whose primary focus is frontwoman Marta Fiedler. One guy turned to me and said “What do you think of the Jenny Lewis tribute band?” That description doesn’t necessarily fit, but I can understand why the comment was made, especially when Fiedler and the band strolled through some twangier numbers. Still, with her added C&W lilt, Fiedler has more in common with Loretta than Jenny. She has a good voice, along with two backup singers that know their way around a harmony. The highlight for me didn’t come ’til the end of the set, however, when Fiedler and the band played a couple songs that were less heartland and more rhythm-based, making me wonder what she would sound like if she stepped away from the Americana / C&W stuff and headed toward an indie sound. Just imagine the Jenny Lewis comparisons then…

* * *

There have been rumors the last couple weeks that Morrissey was headed to Nebraska, this time to Lincoln. Today it was announced on his pseudo homesite True To You that he’ll be performing at the Rococo Theater Nov. 1. Having seen Moz play the Orpheum last time through, more than five years ago, I fully endorse this ticket purchase, especially with rumors of his impending retirement (though he’s doused those rumors as wishful thinking from music journalists (but not this one)).

* * *

Tonight at The Waiting Room it’s the return of Maps & Atlases. The band came through last year in support of Perch Patchwork. Now they’re touring their latest release on Barsuk, Beware and Be Grateful. Opening is The Big Sleep and Suns. $12, 9 p.m.

* * *

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 © 2012 Tim McMahan. All rights reserved.

The Mynabirds at The Slowdown, June 8, 2012.

by Tim McMahan, Lazy-i.com

So maybe you were right giving me shit about my warnings of Mynabirds’ CD release show selling out. It didn’t, though there were at least 400 people there for Friday night’s show. OK, maybe I was hyping. So what. If you were there, you probably had a good time.

Laura Burhenn came out with her signature dead fox head gear, stood on her box and belted out about an hour’s worth of new and old material. I thought I’d hear at least a little political diatribe to coincide with her album’s perceived political themes (more on that later), but instead Burhenn stayed focused on the music, and wishing Slowdown a happy 5th birthday.

And I have to admit, her new record is beginning to grow on me, which is good since I apparently am the only one in America who wasn’t bowled over by it on first listen. The upbeat numbers (like “Body of Work”) are  fun, but it’s the slower, tonal pieces, such as “Mightier Than the Sword,” that are the real show stoppers.

Whereas most of the her backing band are competent-though-faceless musicians, Burhenn is blessed with an amazing drummer. I have no idea who she is, but her big, dynamic, throaty sound stands out above everything (but Burhenn’s vocals, of course).

My only disappointment was with her set structure — it was as if Burhenn figured out the set list about five minutes before the show. Or maybe I’m just hypercritical about these things, but a good set list is like a great DJ set — it rises and falls, each song blending naturally into the other like perfect transitions in a seamless story taking you for a ride that culminates in a big finish. It’s about dynamics. Burhenn instead merely plays the songs, one after another with little interest in transition. Even the set ender and prerequisite leave-the-stage-followed-by-the-encore moment was more awkward than usual.

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Jake Bellows & Co. at The Slowdown, June 8, 2012.

I caught the last half of Jake Bellows and his unnamed band (I call them “Jake Bellows and the Dying Embers”… think about it). Where Jake solo is interesting, it also can be boring. With a band backing him, Jake’s songs are given new life, new dynamics, new muscle. I understand that this particular collaboration of musicians may never play together again, which is a pity. That shouldn’t stop Bellows from surrounding himself with players for future shows.

Under Water Dream Machine at The Sydney, as part of the OEAA Summer Showcase, June 9, 2012.

Saturday night was Day 2 of the Omaha Arts and Entertainment Awards Summer Showcase in Benson, and yes it was fun but scheduling issues also made for disappointments. The first act I saw was 20 minutes late to start. The second act was more than a half-hour late. That meant missing a band that I otherwise would have caught. But I guess those things are to be expected when you’re juggling five venues and around 30 bands.

Touch People at The Barley Street, OEA Summer Showcase, June 9, 2012.

Highlights of the evening were Under Water Dream Machine at The Sydney and, of course, Touch People at The Barley Street Tavern. UWDM was backed by two musicians, giving his songs the backing meat they need to work on stage. Bret Vovk has a perfect stage voice on songs that feel like upbeat Simon and Garfunkel pop folk. Keep an eye on him. Touch People a.k.a. Darren Keen’s frenetic electronic music is both throbbing and jittery, chaotic and groovy, with the added attraction of Keen’s unique brand of humor. It’s impossible to not be entertained.

* * *

The Sons of O'Leaver's, June 2, 2012.

by Tim McMahan, Lazy-i.com

Before we get started, thanks to everyone who imparted birthday wishes upon me over the weekend, whether in person or via Facebook. The ability to get and receive birthday greetings from legions of people you haven’t seen or talked to, sometimes in years, is an unforeseen benefit to Facebook that we never saw when we joined the online service. The cynics will say it’s just more proof of the ongoing de-personalization caused by the internet — but I say it’s just the opposite.

I got a few “happy birthdays” Saturday night when I dropped in at Omaha’s home of booze debauchery, O’Leaver’s, to catch a set by The Sons of O’Leaver’s and Ideal Cleaners. As is their style, the quartet of Tulis, Maxwell, Loftus and Rutledge (a more fearsome law firm name I cannot imagine) were dressed to the nines for this special event, which also happened to be someone else’s birthday party, judging by the cupcakes stacked on the table along the far wall.

This being their first show in about a year and a half, the band took the occasion to roll out some new material as well as a shift in style. Whatever inherent twang they used to have has been drastically diminished. Maxwell still has that slightly muted, raspy croon on music that now sounds influenced by early Spoon and Blue Sky Blue-era Wilco. Rutledge glowed on lead guitar. He can get lost in the mix in some of his other bands. Not so here, revealing some of the best lead solos from him (or anyone in town), just gorgeous stuff that accents every song. As a whole, this was one of the most satisfying sets of music I’ve seen so far this year. So what’s the future hold for the Sons of…? One hopes we’ll be seeing a Sons of The Brothers or Sons of The Slowdown gig in the near future, along with recording of that new material…?

Ideal Cleaners continues to provide the usual pummeling that only the Lincoln trio can provide. The Bad Religion/Fugazi comparisons still seem to fit but are blurred by how Dan Jenkins and the boys put their own stamp on their abrasive, muscular sound.

* * *

It’s a quiet week for shows, though there is one highlight worth mentioning. Ben Brodin from Mal Madrigal and Our Fox, wrote to say that this coming Wednesday a new Jake Bellows band will be performing at O’Leavers with Simon Joyner.

“The band doesn’t have a name yet, so we’ve been unsure about how to announce this show, but it is a special one in that it will be the first time we’ve performed these songs in public,” Brodin said. The band consists of Bellows, Todd Fink, Ryan Fox, Heath Koontz and Brodin, who said the music they’ll be playing was actually recorded last winter/spring.

“Also, since we live in different cities, this will be the only show in the foreseeable future,” Brodin said. “We’d be stoked for people to hear it while everyone is in town. Swing down if you haven’t got anything going on Wednesday.” Bellows apparently did an interview with Hear Nebraska that outlines what the band is and how it took shape, but the story isn’t online yet. Keep an eye on their website.

* * *

The Rebates at The Brothers Lounge, May 26, 2012.

by Tim McMahan, Lazy-i.com

The Brothers Lounge turned into a punk-rock old folks home Saturday night for the big Rebates reunion, and I can say that without fear of reprisals since I was one of those old folks. Still, even I’m too young to remember The Rebates on their first go ’round circa sometime in the late ’70s. Back then I was busy tipping cows in Ft. Calhoun, listening to Zeppelin and Floyd on The Z and dreaming of Gina Tomasina. Meanwhile, this roughshod trio was injecting high-grade punk into the Omaha biosphere, reportedly for the first time.

I wasn’t the only person in the packed house who was too young to have seen The Rebates the first time, and was there because they’d been told the show would be special. And special it was. Although I didn’t recognize any of the songs (someone who was around during Omaha’s first wave pointed out a Stranglers cover) I recognized the vibe and the energy and can only imagine how it translated in a different Omaha, before punk and Caulfield and Saddle Creek, when the only thing in town was meat markets and cover bands. It was bands like the Rebates that helped lay the groundwork for what Omaha would become.

* * *

It’s back to The Brothers tonight for the Capgun Coup tour send-off show. The band heads to LA for a month of shows. Help launch their tour in style. Opening is Gus & Call. 10 p.m., $?. More info here.

By the way, someone asked the other night how I found out about the Rebates show or any Brothers show for that matter. The only place I’ve seen their shows listed or mentioned was The Brothers Facebook page.  Go there now and “like” ’em.

Also tonight, a little ol’ band by the name of Best Coast plays at Slowdown with JEFF the Brotherhood. $17, 9 p.m.

Before you head to either show, drop by the Shop at Saddle Creek for tonight’s Record Club, featuring Talking Heads’ Remain in Light. The needle drops at 7, followed by friendly conversation. And pick up some vinyl while you’re down there.

* * *

Tomorrow: Maha responds to the comments on this blog entry.

* * *

by Tim McMahan, Lazy-i.com

Last night’s sold out St. Vincent show at Slowdown was spectacular. Show of the year? It is so far. Look for a full review (as part of this week’s column) in The Reader, which will be online at thereader.com tomorrow. Until then, below are a handful of photos taken from my usual perch just off stage left. I fear more people are beginning to discover my secret standing spot. Please, KEEP IT TO YOURSELF.

Not mentioned in the column is show opener Shearwater. This band is a long way from the original that was co-founded by Okkervil River’s Will Sheff. That band was a quiet, introspective indie folk act. Sheff no longer is with Shearwater, and the band on stage last night was anything but quiet. They had a big indie-rock sound that I guess you’d expect from a Sub Pop band (with Americana roots). Nice stuff, though ultimately forgettable in this environment. And a strange pairing for a brash New Wave-esque 4AD band like St. Vincent. I’m sure they had their reasons.

Shearwater opens at The Slowdown, May 14, 2012.

St. Vincent at The Slowdown, May 14, 2012.

St. Vincent at The Slowdown, May 14, 2012.

Moments after her stage dive, at The Slowdown May 14, 2012.

* * *

There are no shows happening tonight (that I know of), so why not stop down to the Saddle Creek Shop for a listening party featuring Wilco’s Yankee Hotel Foxtrot? It’s part of the store’s ongoing Record Club @ Shop promotion, where fans get together, listen and talk about a classic album. The needle drips at 7, followed by robust discussion. BTW, it’s free, and a good chance to pick up some new vinyl releases.

* * *

A reminder to all you Omaha peeps, don’t forget to vote…

* * *

The Whipkey Three at Stir at Harrah's, May 12, 2012.

by Tim McMahan, Lazy-i.com

I’m looking over my notes from Friday night’s debut performance by Cooper Moon’s new band, Dark Wave, a band we’ve all heard about for months. Well, the build-up worked, as the Barley Street was respectfully packed with curious music lovers wondering what exactly Cooper and this other band, that includes Tom Barrett (also in DM), Chad Gregerson and Mike Ivers, have been up to.

The answers (for me, anyway) and general impressions were typed into my iPhone in the following order:

Deep, dark well.
Cooper strangling the mic.
Barrett’s keyboard = dark electronic.
First song pure Joy Division.
Bauhaus dance party.
S&M bondage club. Should be played in a black hole bar.
Kill the Christmas lights, kill all the lights.
Goth played by bikers. Biker goth.

Dead Wave at The Barley Street Tavern, 5/11/12.

Any time a new band hits the stage, the first thing anyone does is draw the inevitable comparisons. Mine included Joy Division, Bauhaus, Peter Murphy, The Chameleons and The Church, and on the opening song, Joy Division. I’m not sure why Barrett referenced The Jesus Lizard the other night. After the brief six-song set, one well-schooled local musician/music fan compared them to early Christian Death, which may be too poppy for this rather dark dance stew. That same person pointed out that the one cover song played during the set was a very obscure Echo and the Bunnymen song that Cooper told him had only been played once by John Peel and was never captured on a “session,” but rather was a bootleg recording that Cooper, an avid Bunnymen fan, just happens to have.

That’s enough background to give you an idea where this band is coming from. Other than the post-punk, goth metal inflections, the highlights were Barrett’s keyboard textures and Cooper’s vocals, which were more “musical” than his Dim Light vocals — more range and more sustained moments. Cooper cannot merely bark the lines with this stuff, he has to use his voice to provide another texture layer, and a rather course texture at that. It’s taken almost a year to get them to play one six-song set, which concerns me as other bands in similar situations disappeared after one show. Let’s hope that isn’t the case with Dead Wave.

* * *

As Matt Whipkey said from the Stir “Live and Loud” stage Saturday night, I guess all the press worked, as the club was full during the opening of his two 45-minute sets, when he played many of the songs off his new LP, Two Truths, including personal favorite, “Maria.”

It was your typical Whipkey show, as Omaha’s best haircut made all the right moves to get his crowd of loyal followers (as well as a handful of hardcore gamblers) eating out of the palm of his hand.  In that context, he’s something of a throwback to a simpler time, before the advent of slumped-shouldered, indifferent indie hip-stars who go out of their way to ignore the audience with dollops of you’re-lucky-we’re-even-performing contempt. Whipkey, on the other hand, is the ultimate stage performer, not satisfied if even one crowd member isn’t “into it,” whether it’s on Stir’s tiny lounge stage or at Stir’s mammoth Concert Cove amphitheater. Whipkey was born for an arena, whether he ever makes it there or not.

* * *

Tonight will be the fourth time that I’ve seen St. Vincent. The first time was at The Waiting Room in July 2007, where I said Annie Clark was going “to be bigger than PJ Harvey. Maybe bigger.” Two months later she played a solo set opening for The National on Slowdown’s big stage. The last time was almost two years ago on June 3, 2009, when Clark and her band played at Slowdown Jr. It was fantastic.

Tonight we get her again on the Slowdown big stage, this time with her band. No tix? That’s a shame, because tonight’s show is sold out. Opening is the amazing Shearwater, who has recorded for Misra, Matador and with their latest, Animal Joy (2011), Sub Pop. The fun starts at 9.

* * *