by Tim McMahan, Lazy-i.com

A friend of mine met me at O’Leaver’s last Friday night for the Scout Gillett set. The show was scheduled to start at 10 p.m. with Anna McClellan, but by the time I arrived a little after 10, McClellan had already wrapped up her set, so they must have moved her start time.

There was my friend with his beer. While I hadn’t been to O’Leaver’s in at least six months or more, he hadn’t been there in a number of years. 

“Were those booths there before?” he asked, pointing at two sets of black leather booths installed along the south wall, directly in front of “stage right.” No, those are new, at least new post-Covid, when O’Leaver’s changed their business plan to become more of a burger joint and less of a rock club. 

“What’s with the projector screen behind the band?” he asked. I told him once upon a time, O’Leaver’s installed a big screen TV that was behind bands, and then created some sort of cover-up for it and then took it down. Now it appears they’re using a projection TV and no longer lift the screen, giving the staging area an office party vibe. Not sure why they’d leave the screen down unless they were watching the women’s Final Four game before the set and forgot to close it. 

The wall of electronic candles also was new, as were a couple beer signs I didn’t recognize, and every so often someone would emerge from where the Tiki Bar used to be with baskets of French Fries, but all in all, O’Leaver’s hadn’t changed much. I told my friend how despite its tiny size and lack of a real stage The Club used to be one of the most important — and fun — places to see a band, and some pretty remarkable bands at that. 

You can still relive some of those crazy O’Leaver’s nights at http://www.liveatoleavers.com, where high-quality soundcloud files of sets are still stored and playable online, including by bands like Johnathan Rice, Xetas, Head of Femur, Dolores Diaz & the Standby Club (Conor Oberst project), Speedy Ortiz, Cursive, Bob Log III, Orenda Fink, Mike Schlesinger, Simon Joyner, Matthew Sweet, Iska Dhaaf, Digital Leather and tons more. 

Anyway… Scout Gillett and her band kicked off their set at around 10:30. Playing as a four-piece, the Brooklyn crew sounded more straightforward and less hazy and moody than what’s heard on their delectable No Roof No Floor (Captured Tracks) album, more like a bar band than shoe-gazers, surrounded by around 30 people in the half-filled club as the Iowa women’s team celebrated their Final Four victory on the overhead TVs. 

The highlight was Gillett’s lead guitarist, whose name I didn’t catch and who isn’t listed on her Bandcamp page. He played some soaring fills and solos over a band that you could tell has the fire power to fill a big stage when/if the situation calls for it, unlike Friday night when a more subdued rhythm section was the state of play. At one point late in the set Gillett walked through the main floor area playing her guitar, the only thing missing was a basket of Fries. 

O’Leaver’s has yet another show coming up May 6 with David Nance & Mowed Sound and French rockers En Attendant Ana. Oui Oui!

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Pageturners has another of their sneaky Monday night shows tonight with Chicago singer/songwriter Maria Elena Silva. “Sweet, spacious songs sung in English and en español that evoke endless prairie,” says the Viking Choice Guide to Bandcamp 2021.  Omaha ambient artist Phill Smith opens at 8 p.m. $10 suggested donation.

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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

About three times as many people were on hand at Slowdown Jr. last night for Protomartyr than the previous evening’s Titus Andronicus show. Someone who read yesterday’s blog asked how the band has changed since I first saw them in 2014, and the answer: very little. Protomartyr’s sound and style, which is combination of influences from The Fall to Gang of Four to The Pixies, is centered around a post-punk energy created by drummer Alex Leonard, bassist Scott Davidson and guitarist Greg Ahee.

At the center is vocalist Joe Casey, looking a little older, a little rounder than I remember from the last decade. Casey is at once a magnetic figure who demands your attention while at the same time looking like an everyday guy. 

Glancing at my notes from last night: “He looks like an Irish Gandolfini, he looks like my accountant, he looks like my lawyer, in that black sports jacket he could be mistaken for a priest. He looks like my shop teacher, he looks like an angry plainclothes detective, he looks like Alfred Hitchcock, like every umpire in Boston, like a very upset  neighbor.” 

With a low-boy can of Budweiser in one hand and the microphone in the other, Casey spat out lyrics – mostly yelling, sometimes talking, sometimes chanting – his voice cut through the throbbing punk like a blunt-force instrument through a skull. Most of it was undecipherable, which is a shame because Casey’s lyrics are like blank verse observations of the messed up world we live in, often dark and pessimistic and the perfect match for this music. 

The well-mannered crowd mostly stood and bobbed their heads but one small knot of energy frantically danced to every song and sometimes added their own rants, which were welcome.

I tried to imagine what this music would sound like with a traditional vocalist singing traditional rock melodies and of course it wouldn’t work; it would be something different, something I wouldn’t like. 

Throughout the set Casey politely thanked the crowd between songs, reminding us that the band is from Detroit and that they’ve been here many times. Later in the set he spoiled the plot to Cocaine Bear, saying actor Ray Liotta (“who is now dead”) gets torn apart, and then explained the plot to 2014 film The Identical, also starring now dead Liotta, about a guy who looks like Elvis. It was weird, and strangely appropriate. Here’s hoping they come back soon. 

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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

What to say about Patrick Stickles a.k.a. Patty Stax and his band, Titus Andronicus, who played a crushing set last night at Slowdown Jr.? In the four times or so that I’ve seen them, this was my favorite set. It also was their shortest set. Titus Andronicus sets used to be notoriously looooong; so long, in fact, after 90 minutes or more I would find myself hoping the next bludgeoning ballad was the last, but no, there was always another…

Performing last night as a five-piece, Titus Andronicus played a tight one-hour set that included a few new songs off their latest album along with a handful of their classics, which they packaged at the end in a sort of medley that included “Four Score and Seven,” “A More Perfect Union” and “Titus Andronicus Forever.” Those fist-pump almost-Celtic-flavored anthems were in stark contrast to the songs from their new album, The Will to Live, which had more in common with the Stones or Cheap Trick, complete with scorching guitar solos. 

And as much as I liked the three-song epic closer, my favorite moment was a rousing version of “Tumult Around the World” off 2019’s An Obelisk, which sounded like a hyper-active version of “Sweet Jane” played by Thin Lizzy.  Actually, every song felt like a high-voltage energy buzzsaw, with Stickles lighting the fuse from one explosive rocker to the next, backed by a rock solid band of brothers. I get a sense that, from one town to the next, whether playing in front of 50 like last night or 500 or 15, Stickles and Co. always bring the same manic perfection and will from now until the end of time. 

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Tonight, it’s back to The Slowdown for the return of Detroit post-punk legends Protomartyr. Their last full length was 2020’s Ultimate Success Today (Domino Records), but they’ve got a new one waiting in the wings called Formal Growth in the Desert, slated for a June 2 release on Domino. 

According to the one-sheet, “Formal Growth In The Desert is a testament to conflicting realities — the inevitability of loss, the necessity of finding joy through it and persisting — that come with living longer and continuing to create. It begins with pain but endures through it, cracking itself open into a gently-sweeping torrent of sound that is, for Protomartyr, totally new.”

I’m not sure what they’re talking about, although it might have something to do with frontman Joe Casey’s “period of colossal transition” that took place with the death of his mother.  The band just wrapped up four days at South by Southwest, where (like Titus Andronicus) I first saw them play in 2014, where I described them this way:

“The Detroit-based punk band is fronted by a guy who looks like an insurance salesman, complete with a sensible haircut and full-on business attire, but who has a singing style akin to Husker-era Mould or The Fall’s Mark E. Smith. Deadpan anger, straight-faced disgust, like an upset father with a controlled rage and a back-up band that is pure Gang of Four post punk.”

Hopefully nothing has changed. Opening tonight at Slowdown Jr. is Dan Brennan’s band Healer, a local supergroup that includes two members of Noah’s Ark Was a Spaceship — Andrew Gustafson on guitar and John Svatos on bass — and two members of UUVVWWZ — David Ozinga on drums and Jim Schroeder on bass VI and Rhodes. Or at least it did the last time I saw them. 

Show starts at 8 p.m., $22, and you may want to get tickets now because this one could sell out. 

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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

Was it the first-time novelty of the event or a reflection of an actual thirst for Saturday afternoon rock shows? Whatever the reason, Saturday’s GoatFest was a marvelous success judging by the crowd and the good times. When I arrived at a little past 3 p.m., punk-trio Bad Bad Men was already playing in the back corner of Scriptown Brewery, hidden behind a crowd that ran along both sides of the enormous bar all the way to the entrance. From the looks of it, as many people were there to sample a pint of Scriptown’s tasty, just-released Goatsmack Helles Bock as enjoy the music. 

Like I said last week, GoatFest had the potential to provide that same warm party vibe as I remembered from South By Southwest day parties. Anyone who’s been to SXSW will tell you the day parties are the best part of the festival – super laid-back events where you can listen to great bands while enjoying some much-needed day drinking. The only difference: It’s usually 80 degrees and sunny at SXSW, whereas it was 30 degrees and snowing in the Blackstone. But that didn’t slow anyone down. 

Someone told me that Blackstone was considering more daytime rock shows on weekends. It’s something the district could become known for — or that Scriptown could corner the market on if so inclined. Would the crowds continue to show up if they hosted rock shows every weekend? 

To me, it depends on the bands. SXSW day shows, for example, involve the best original indie bands in the country. I wouldn’t go if it featured cover bands or blues acts. Still, plenty of serious beer drinkers like both of those “genres,” and  regardless of the band I could definitely see a regular weekend afternoon series catching on, especially if another venue in Blackstone also got into the act — part of SXSW’s appeal is stumbling from one venue to another and back again to listen to bands all afternoon. 

And Blackstone is tailor made for hosting weekend day shows, more so than Benson, whose stages are dedicated to supporting that district’s robust nightlife, or the gentrified Dundee and its vibrant restaurant scene, or the Old Market that despite its hip brick buildings still feels like a tourist scene. 

What more to say about Bad Bad Men that I haven’t already said? They’re a super-fun hard rock band that verges on post-punk, fronted by Omaha legend John Wolf, whose rapid-fire guitar riffs scorch above a rhythm section powered by a Siebken/Hug powertrain. I don’t know what John was singing through that PA and it didn’t matter. Folks not used to this style of music had to wish they brought their ear plugs (as I always do). 

The music only got louder when Those Far Out Arrows took over shortly after 4. They stand side-by-side with David Nance Group as the best full-on psych-rock guitar band in this region. Both bands have a knack for finding a deep, guttural groove and playing it out for all its worth. The differentiator is how the Arrows stand closer to traditional, pure ‘60s garage rock, taking that sound and modernizing it in their own midwestern way. 

Amost forgot to mention — what would a GoatFest be without real goats? Two were stabled out back in a small trailer parked near the patio area, no doubt wondering who all these drunks were stumbling out of the building, gawking at them. 

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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

Can’t tell you the last time The Machete Archive played in Omaha, but it was years ago.  I was told band members had moved away and returned to Nebraska, which had something to do with this reunion show Friday night at The Sydney in Benson. The last time I did see them play, their sound was thick, fuzzy and furious. Friday night’s version of the Lincoln trio sounded tighter, leaner and more aggressive; a cleaner, more refined prog sound that boiled with intensity as it raced through a set of stutter-rhythmed (don’t ask me what that time signature was) instrumental art rock. Saber Blazek doesn’t kick as high as he used to but you can tell there’s plenty of power behind those squat thrusts. 

The evening began with a set by Pagan Athletes, the drum/keyboard duo of Nathan and Griffin Wolf. Nathan’s stick work has never sounded better or more technically precise, while Griffin’s keyboard/organ tones were as haunting and weird as ever. I noticed a few more yell vocals thrown in here and there, a welcome addition. The act’s charm comes from being a duo – adding a bass or guitar would only clutter a unique sound that is prog-punk at its heart but has an improvisational feel, even though we all know every note, every sound is intricately calculated.

Sidenote: I walked by The Waiting Room at around 9:30 and Nathan Ma’s set already was in full swing, so I kept on walking, having no interest in seeing Militarie Guns. What I heard from the sidewalk across the street (must have been “Blue Bird”) sounded great.

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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

Prior to Friday night’s in-store CD release show by the Wagon Blasters for the release of the In Frontier We Trust singles compilation CD I asked the originator of both bands, Gary Dean Davis, why he was having the show at a record store. I attended a Simon Joyner performance at Grapefruit last year (Simon runs the place) and found it quaint, cozy and more than a little cramped.

“I suppose punk rock has always been about doing things in unconventional ways and places,” Gary said. “Over the years many of my favorite shows were in unconventional places. Many of which were at record stores: Firehose at Homer’s during a blizzard in ’87, Brimstone Howl also at Homer’s, Man or Astroman at Drastic Plastic, the Almost Music shows (a long defunct record store in Benson/Blackstone), along with a multitude of basement and even apartment shows I’ve played at or seen. I supposed the best reason is that people are there to listen to music.”

And thus was the case Friday night at Grapefruit. A small PA was set up in the corner of the store and the crowd of around 40 or 50 listened either standing or sitting among the bins of vinyl records. Yes, it was cozy and cramped, but it was also a lot of fun. 

Gerald Lee, Jr., a.k.a. Lee Meyerpeter, the frontman of a score of bands from the ‘90s through today (including Cactus Nerve Thing, Bad Luck Charm and Filter Kings) played a solo set with electric guitar that included tunes from all these bands (yes, including Cactus). Lee drops a slight country twang into everything he sings, whether it’s a punk song or a whiskey-fueled ballad. He closed his set with Filter Kings’ classic “100 Proof Man,” a song that was always destined to be covered by The Highwaymen but never was.

That was followed by a short set by Gary Dean Davis and Bill Thornton on acoustic guitar – playing as “Half Trust,” – tunes from Frontier Trust. Both seated, Gary explained that the CD was made so his kids could listen to their dad’s Frontier Trust songs in their cars, which is exactly what I did after the show. Mastered by Doug Van Sloun, the songs on In Frontier We Trust never sounded better. I think I own all of the 45s in which the CD was derived and can attest that the mix is brighter and more urgent than the vinyl. Gary, I’m sure, will be disappointed to hear that as he believes vinyl is the perfect medium, and maybe he was right… 20 years ago. 

You can order a copy of the CD directly from the Wagon Blasters’ Bandcamp page for a mere $10.

Finally, the rest of the Wagon Blasters took the stage, plugged in and played a rousing set of fan favorites with Gary providing his trademark stage jumps and between-song “Thanks!” Oh, what a night. 

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The rock continues tonight as psych-pop band Vinyl Williams headlines at Slowdown Jr. The band’s last album, Cosmopolis, was released last year on Requiem Pour Un Twister.  Chicago indie band Dendrons co-headlines the bill, which also includes Omaha’s own Cat Piss and The Dirts. That’s a lot of music for $15. Show starts at 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.

by Tim McMahan, Lazy-i.com

One reason I ventured out to Reverb Lounge in the crippling cold last night — on a school night no less! — was to see Vera Devorah, the eponymously named Lincoln trio. Because if there’s one thing missing in our music scene (and let’s face it, there are lottttts of things missing these days), it’s female-fronted indie bands.

While the rest of the indie music world has been dominated by female-led bands for the past 10 years or so, Omaha has very few. Ones that come to mind include See Through Dresses (who haven’t played out recently and haven’t released any new material in five years), Megan Siebe (who also rarely plays live, though her 2021 album Steady Swaying is gorgeous), Anna McClellan (who I’m not sure lives here anymore), and the legendary Domestica (no new music since 2015)…

Then there’s Vera Devorah, who according to her online bio, has performed as a solo violinist, but this night played as a full-on rock trio, backed by bass and drums. Her electric guitar work, strong in basic riffage, is merely functional compared to her voice, which is as pure and perfect as any national indie vocalist, singing lines written from the heart, capturing whatever life challenge, moment, revelation or sadness that has come her way.

Set highlights included one about a dumpster fire, another written while lying in the middle of a George Floyd protest staring up at the sky, and her earnest cover of Leonard Cohen’s “Suzanne” — one of her favorite songs, which she said she played on repeat throughout 6th grade. Terrific set.

I’m beginning to wonder if Lincoln’s indie music scene is on the verge of eclipsing Omaha’s (or already has). I keep discovering amazing new Lincoln bands (some who have been around for years). And as marvelous as Petfest was last year as a showcase of local talent, Lincoln Calling dwarfed it. With only 50 miles separating us, more research is necessary… when it gets warmer.

Ol’ Reverb was beginning to fill up nicely when Breakers got cranking. The band is a trio of scene veterans, two of whom I already knew well. I’ve been watching bassist Robert Little play in bands for decades, all the way back to The Mariannes in the early 2000s. Same with drummer Matt Focht, who I remember from Head of Femur shows at Sokol Underground (and playing drums with Bright Eyes). But frontman Chris Yambor was new to me, and I take it from stage comments (and the fact the band hasn’t any recorded music (that I could find)), that this might be a fun side project, though they just played a show in September at O’Leaver’s.

Their music was fun and upbeat, and Yambor (unapologetically wearing an Eagles T-shirt) belted out the lines like a lounge singer fronting a jazzy version of Pavement or GBV. The lounge really came out when he was seated behind a keyboard for a couple numbers. I had forgotten about Little’s virtuoso bass skills, and Focht is a trip-wire rock drummer of the highest order. Alas, with an early morning call, I left the ever-crowding Reverb before the close of their set…

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Tonight at The Slowdown local rockers Garst top a three-band bill, with Problems — a.k.a. Darren Keen — a one-man dance party who alone is worth the price of admission, and Cable Network. $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 © 2022 Tim McMahan. All rights reserved.

by Tim McMahan, Lazy-i.com

The weekend went like this…

From all reports, I missed the best show of the weekend by about an hour. Head of Femur opened the Sydney Saturday night showcase and I wasn’t able to get there in time for their set but was told it was an absolute scorcher from four people who were there. I got to the bar just after it ended and walked into a crowd that looked like a scene from Sokol Underground circa the early 2000s. Head of Femur goes way back with a lot of the Saddle Creek crew. 

Lincoln emo-punk band The Obsurants were up next and played a solid set of high-energy emo-punk songs performed seamlessly one after the other with no break in between. Frontman Eric Maly has the right voice for these anthemic power-punk tunes. A few times during the set when he wasn’t playing his guitar he appeared to be doing America Sign Language while he sang, which was strangely affecting. 

Headlining band Dead Letters, who were celebrating the release of their new album, Songs from Center, were slightly Omaha’d (hey, that’s what you get when you let a legend like Femur open for you). All three members of the band yelled out their lead vocals while the other two yelled out harmonies on these endearing, short, sharp jangle-punk songs that had as much in common with Violent Femmes as they did R.E.M. And when I say short songs, the album’s 9 songs only span a total of 19 minutes — so do the math. You never have a chance to get tired of any of them. 

The best part about this band is that, unlike so many acts I’ve seen lately, it’s obvious all three members were having the time of their lives, and so was the audience.

Sunday night it was off to Reverb Lounge. Less than a dozen people were in the audience when Water from Your Eyes began their set at 8 p.m. sharp. The duo of vocalist Rachel Brown and guitarist Nate Amos were joined by a third person on guitar and were backed by some thumping rhythm tracks. If you’d fallen across the duo’s past recordings, like 2019’s Somebody Else’s Song (Exploding in Sound Records) or even 2021’s artier Structure (Wharf Cat) you would have been ill-prepared for the sound barrage of last night’s set. 

At the heart of it was deep, blaring pre-recorded synths joined by Amos’ acidic, feedback-drenched guitar that interlaced with Brown’s untouched, unprocessed vocals that sounded like your little sister singing along to art-damaged post-punk. Harsh, throbbing sonic textures repeated trancelike with the second guitar providing counter riffs. 

The evening’s highlight was a brittle interpretation of “Adeleine,” a track from Somebody Else’s Song, reinterpreted with rough synths and guitar, barely recognizable compared to the original, but a better fit in what turned out to be one of my favorite sets I’ve seen this year. 

I wasn’t sure how closely headliner Palm would follow the song structures heard on their new album, Nicks and Grazes. Would they change it up like Spirit of the Beehive did when they played at Slowdown earlier this year? The answer was no. 

The new record is rife with odd time changes, hard-to-grasp repeated musical structures, and flat, atonal vocals that are more accoutrement than melody. Call it modern indie prog for lack of a better description, well played (a fantastic rhythm section) but hard to listen to if you’re someone who enjoys melodies. It didn’t help that both vocalists were buried in the rhythm-dense mix. At its best, Palm is an intricate rhythmic puzzle box that can be fun to try to solve… for awhile, and then gets tiresome. That said, the 40 or so on hand for their set were into it. 

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Yes, it’s rare for me to go out on a “school night,” but I knew this would be among the last touring indie shows coming through town until next spring. In fact, the only upcoming One Percent Productions show on my radar is the Feb. 23 Unsane show at The Admiral. Virtually no indie shows are currently booked on the 1% calendar. 

The Dec. 15 Bartees Strange show at The Slowdown is that venue’s last touring indie show until the Feb. 25 Rural Alberta Advantage gig, and then Titus Andronicus way out on March 28. 

Yep, it’s slim pickings if you’re an indie music fan. I’ll talk more about that when I post my Year in Review column in The Reader (get a sneak peek in the printed edition, which is already on newsstands). Looks like it’s going to be a long, cold winter…

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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 © 2022 Tim McMahan. All rights reserved.

by Tim McMahan, Lazy-i.com

Very much like every other year was last Wednesday’s holiday concert at The Waiting Room, the eighth such event (according to Criteria frontman Stephen Pedersen, who celebrated this winning streak from stage). Lots of old, familiar faces were on hand to wish glad tidings as well as they could through the 100+ dB din (even between bands, it was loud).

Uh Oh kicked it off with a solid set and what appeared to be the evening’s largest crowd (a crowd that slowly, slightly waned throughout the night). The more I hear Joe Champion live the more I’m reminded of Tim Quirk of Too Much Joy, thought Uh Oh’s music is played straightforward lyrically vs. TMJ’s snarky humor, and that’s OK. While the entire band is solid, lead guitarist Mari Crisler is a standout on solos that leave the histrionics for the fretboard (which is a nice way of saying the band doth not emote much on stage, but few indie bands do).

Little Brazil followed with their best performance in recent history driven by frontman Landon Hedges. Always solid instrumentally, for me LB shows depend on how well Landon handles those high notes. Get him on a bad night and your best best is to lean back and enjoy guitarist Shawn Cox’s amazing fretwork. Get Landon on a good night (or in this case, a great night) and you’re flying above the crowd alongside him on that vocal tight rope.

LB has been kicking it for decades but their latest album, Just Leave, is a career highlight thanks to risk taking on song structures and the guitar interplay between Cox, Hedges and the rest of the band, held down firmly by a rhythm section of LB co-originator Danny Maxwell on bass and larger-than-life drummer Austin Elsberry. That said, Hedges’ unique, high vocals make LB a standout in a city full of standouts.

There were times Wednesday night when I cringed waiting to hear if Landon was going to make that note. He almost always did, though a couple times he seemed to forget the words at the beginning of songs. No matter. He always caught up in the end.

Finally there was Criteria. What to say that I haven’t already said the last seven times I’ve seen them play this holiday show or all the other times in between? The band continues to wield the ridiculous guitar-fueled power that made them an indie-music staple in the emo-powered aughts when Omaha was a global music brand. I am here to report that frontman Pedersen can still shred the high notes as well on songs that are nothing less than endurance tests for any vocalist over the age of 30 (which he most definitely is).

The band is sheer power at every position, tight as a tick and tour ready as they’ve ever been, though they’re unlikely to play again until next November. No doubt some of the reasons for that involve the three little boys who ran around stage prior to the set — Pedersen’s personal roadies (the youngest of which wore sound-dampening headphones and ran wild in the crowd during the set). In just a few years maybe they’ll be opening for dad’s band, at a show held sometime around Thanksgiving at The Waiting Room…

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The holidays cavalcade of local shows rolls on this weekend.

Tonight at Reverb Lounge, Saddle Creek Records band Twinsmith headlines with up and comer Bug Heaven who I’m told is a must see (though I somehow keep missing them). This one starts at 9 p.m. and is $12.

Also tonight, singer/songwriters Stathi and Mitch Gettman are playing sets at The B. Bar, 4330 Leavenworth (right next to Barrett’s Barleycorn). Mitch goes on at 8, Stathi at 9 and then headliner, Sweetstreak, who describe themselves as East Omaha garage Rock, at 10. No price listed for this one, so you’re on your own.

Tomorrow night (Saturday) our old friends Las Cruxes headlines a free show at fabulous O’Leaver’s. Joining them are (kind of) new band The Rare Candies (Josh Medlock, Mitch Gettman, Ryan Menchaca and a fourth dude who’s probably pissed because he’s not listed anywhere on the band’s websites) and Kelroy. Just like the old days, this one doesn’t start until 9:30.

Also Saturday night, The Waiting Room is hosting a reunion of Omaha ska band Jimmy Skaffa. Joining them is Stick Figures and Plastic Presidents. $15, 8 p.m. Lotta people will be at this one (including on stage, if I remember this bands properly).

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 © 2022 Tim McMahan. All rights reserved.

by Tim McMahan, Lazy-i.com

I checked out Marisa Anderson’s music prior to going to last Friday night’s God Speed You! Black Emperor show at The Admiral. Actually, I listened to her recordings most of the night before knowing I was going to write a preview for this show. Anderson plays solo guitar, mostly unaccompanied and her records, but totally alone Friday night. Prior to the show I thought it was a strange opener for what would likely be an orchestra-level wall-of-sound experience, but I was wrong.

Anderson stood on stage with just an electric guitar and played gorgeous, mostly somber instrumentals, slightly over-amplified, a wee bit overblown at times, making them sound stark and haunted. No question the music would have been completely different on an acoustic guitar (but just as good). Anderson introduced each song with a story or an explanation, my favorite being one about a man who came up to her after a show and asked why all her songs were sad. Her response: It’s what I play. Making you happy is not my job. After which, she wrote the happy sing she performed next (which was more majestic than happy).

She closed with another happy number — a song about the hummingbird who rules over her back yard. It turned out Anderson was the perfect opener, because the last thing you need before experiencing bombast is more bombast.

And bombast was what we got with God Speed You! Black Emperor. The band came on at the stroke of 9 p.m. to an audience of what looked like around 400 crowded on the floor in front of the stage. The ensemble’s eight members were spread out almost in a semi-circle so each could see the others clearly.

As the opening tones began to rise, I noticed next to me in the back of the room a woman standing on a riser behind four film projectors. Behind her, loops of film hung from a rod like black spaghetti. She began to feverishly look closely at pieces of the film with a red light that hung around her neck, and upon finding the right piece, threaded it through one of the projector’s top sprockets, leaving the rest to hang limp as the film spun in a loop. On the enormous screen behind the band glowed a jittering, scratched-out word – “HOPE”.

Throughout the night she created projected effects, mostly black-and-white looped films of airplane acrobatics, wheat harvesting, ‘70s New York Stock Exchange trading floor, swans, and so on. When the band performed “First of the Last Glaciers,” the film loops were of enormous glaciers floating in an ocean. The band could have created a digital version of what was being projected, but there was something warm and human knowing this woman was back there creating the visuals by hand.

The band sounded as spectacular as ever, playing mostly compositions from their 2021 album G_d’s Pee AT STATE’S END! God Speed’s compositions generally start with a rhythm or noise, quietly and slowly building to a central looped melody with enormous electric guitars and acoustic instruments (violin, stand-up bass, percussion), before crescendo-ing and fading either to nothing or straight into the next number.

Their music has always been cinematic, but rarely felt so Western or traditional, with most songs falling into a 6/8 double-waltz time, lilting and building and splashing about like the deck of a ship in the middle of an ocean during a squall, beautiful and terrible, the audience staring up mesmerized by the spectacle.

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Yesterday it was reported Mimi Parker from the band Low died after her long battle with ovarian cancer.

Low has long been one of my favorite bands, dating back to Things We Lost in the Fire in 2001, when I first interviewed the band. I would have that pleasure a number of times over the years, including interviewing Mimi in 2005 upon the release of The Great Destroyer and in support of their show at Sokol Underground. We talked mostly about her kids, Hollis and Cyrus, and the joys and challenges of touring with them and without them. They are who I’m thinking about today, along with her husband and band mate, Alan Sparhawk, and everyone whose lives were touched by Mimi and her music. She will be remembered, and missed.

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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 © 2022 Tim McMahan. All rights reserved.