Alex Orange Drink, a.k.a. Alex Zarou Levine — best known as the singer/songwriter behind The So So Glos — last Friday dropped the single, “The Future’s a Riot,” on Conor Oberst’s new record label, Million Stars.
The track is his first solo music since 2021’s Everything Is Broken Maybe That’s OK LP. The song’s inspiring video features footage chronicling Levine’s 2023 diagnosis of Adenoid Cystic Carcinoma and writing and recording during his first week of treatment. Check it:
Levine has been super busy, having co-written seven songs on the new Bright Eyes album, Five Dice, All Threes, and adding guest vocals to BE track “Rainbow Overpass.”
The new Alex Orange Drink single is the second release on Million Stars following the release of The Felice Brothers’ full length, Valley of Abandoned Songs, this past June. In addition, Yayo Trujillo of Las Cruxes told me last week his band’s new album, which is currently being recorded at ARC Studios with Taylor Hollingsworth as producer, also will be released on Million Stars in the U.S. Las Cruxes’ past recordings were distributed by Sony Music Entertainment US LATIN.
Million Stars isn’t Oberst’s first foray in the music biz. He helped get Saddle Creek Records off the ground back in the ‘90s and also formed Team Love Records (Tilly and the Wall, High Up, Jenny Lewis and the Watson Twins) with Nate Krenkel back in 2003.
. 0 0 0 .
Omaha post-punk band Bokr Tov also dropped a new single last week, “(You Too Can Have) A Body Like Mine,” via Bandcamp. It’s a prelude to the band’s next full length, The Way a Tree Shakes, which is due Nov. 16. Nate Van Fleet of See Through Dresses produced the recording, and also produced the new LP by Seattle band Funhouse (featuring post-Omaha star, Carl Miller), called Invasive Species.
. 0 0 0 .
You might remember singer/songwriter Max Holmquist from his work with Oquoa and The Great American Desert. His new project, Dream Ghoul, just dropped its first single, “Qualitative Blue, 1991.” The track was produced by Jim Schroeder (Mesa Buoy, David Nance Band, Rosali, UUVVWWZ), who worked on the album, which is slated to come out this December.
. 0 0 0 .
There’s no Omaha connection to this new Mogwai video, which dropped this morning. I included it just because it features the band’s dogs (and Manhattan). Mogwai also announced their next album, The Bad Fire, will be released Jan. 24 on Temporary Residence Ltd., as well as a massive world tour next year, whose closes pass to Omaha will be the ol’ Minneapolis/Denver/Chicago twist in April…
Here’s the latest list of touring indie shows coming to Omaha through February. Your eyes do not deceive you – there currently are no shows scheduled for December. Let me know if I missed something…
Oct. 31 – Lunar Vacation @ The Slowdown\
Nov. 3 – Chat Pile @ The Waiting Room
Nov. 3 – quickly, quickly @ Reverb
Nov. 7 – Pedro the Lion (w/City and Colour) @ The Admiral
Nov. 8 – The Ivory Claws @ The Sydney
Nov. 10 – The Sufrajettes @ Reverb
Nov. 11 – Dusk @ Reverb
Nov. 12 – Modest Mouse @ Steelhouse
Nov. 12 – The Rev. Horton Heat @ Waiting Room
Nov. 13 – Sorry Mom @ Reverb
Nov. 29 – VIAL @ Reverb
Feb. 5 – Guster @ The Admiral
Feb. 6 — Real Estate @ The Waiting Room
Feb. 24 — Molchat Doma @ Steelhouse
* * *
Last minute show announcement: Chicago post-punk band Edging is playing tonight at The Tavern with Trees with Eyes, Las Cruxes and a special set by Darren Keen. Darren said Edging has opened for Amyl and the Sniffers and Lambrini Girls, who count them as fans. The Tavern is located in the heart of downtown at 514 So. 10th Street. 9:30 start time, donations suggestioned.
Prior to last Friday’s Porches show I knew very little about the band other than the brief research and listening needed to write the preview earlier that morning. I spent a few hours with their last couple albums, wherein I found their latest, Shirt, more to my liking than the previous album, if only because it was, well, less focused. Even then, frontmat/singer/songwriter Aaron Maine’s scratchy voice – augmented by electronics or autotune (or something) – often came off as meandering and twee.
What Porches presented to a crowd of around 50 Friday night at Reverb Lounge was completely different. Playing as a traditional four-piece (two guitars, bass and drums – no synths in sight), Maine and his cohorts reinvented themselves into a modern slacker-indie rock band, revving up Porches’ bedroom songs into rock anthems.
No longer tied to an auto-tuner or electronic effects (or if there was a pedal doing something, I couldn’t tell), Maine’s usual gravel whisper shifted into a full-blown growl. The comparison musically and vocally is possibly Car Seat Headrest, with Maine sounding like an adult Will Toledo if Will had grown up listening to Kurt Cobain (which he probably did).
The 16-song set (plus a three-song encore) was highlighted by rock versions of songs off the latest album (including opener “Rag,” “Joker” and “Bread Believer,”) but also drew from older material (a ripping version of “Range Rover” from 2020’s Ricky Music and crowd requested “Underwater” from 2016’s Pool were set highlights).
A live recording of Friday night’s set definitely would be on heavy rotation in my earbuds/VW car stereo if one existed. I had a similar pleasant-surprise experience when Spirit of the Beehive played at Slowdown a few years ago. That band’s albums are hard-to-swallow audio experiments to my ears, but live, they transformed into a rock-hard indie band unrecognizable from their recordings. More of that, please.
Side note: This also was one of the loudest shows I’ve seen at Reverb – my Apple Watch sound meter kept going off, warning me of high dBs. Happy I had my earplugs…
Tonight (Friday) there’s a sort of reunion of classic ’00s-era indie act Mal Madrigal at Pageturners lounge. Stephen Bartolomei and Mike Saklar, two of the band’s original members, have worked up 12 Mal Madrigal songs for tonight’s set. Will they do my favorite, “A Broken Window”? Headlining tonight is Wedding, a new project by Anna Schulte that includes Bokr Tov’s Colby Jenkins on bass, and Zachary Roland on percussion. Wedding will be recording at ARC next month with Nate Van Fleet (See Through Dresses) behind the knobs. Poet Alina Nguyen also is on the bill. 9 p.m. Donations encouraged.
How about a night at the theater?
Tonight I’ll be checking out Ghost Brothers of Darkland County, the new production at the Benson Theatre. I think it’s a musical? I’m not sure, but apparently the play’s music and lyrics are by John Mellencamp based on a book by Stephen King. This is the last weekend for the show. Tix are $25, 7 p.m. curtain.
On to Saturday…
This week’s big touring indie show is Porches at Reverb Lounge. It’s a project by New Yorker Aaron Maine, whose latest album, Shirt, was released on Domino in September to mildly positive reviews. Maine went out of his way to rough things up this time and it’s a welcome improvement over the borderline emo-pop of his previous album, All Day Gentle Hold! (2021, Domino). Dreamy New Yorker sweet93 (very Mazzy Star) opens at 8 p.m. $30, 8 p.m.
Meanwhile across town, fabulous O’Leaver’s is hosting their big Halloween show Saturday night headlined by tractor punk mavericks Wagon Blasters with In Tongues and Frankie Chiaro. Costume are “highly recommended!” This $10 party starts at 9 p.m.
Back in Benson Saturday night, Chicago musical comedy duo Griefcat headlines at The Sydney. Music Connection described them this way: “Super hilarious lyrics coupled with very nice music and great vocals is a recipe for success.” You be the judge. $10, and no opener for this early 6 p.m. show.
Are these early shows going to become a thing? Sunday’s Bazile Mills show at Reverb Lounge starts at 5 p.m. with a set by Straight2Munich. $12.
Anyway, that’s all I got. If I missed your show, put it in the comments section. Have a great weekend!
Bright Eyes’ frontman and Omaha native son Conor Oberst blitzed the indie music media yesterday with news that he’s recovered from his reported “vocal problems” that forced the band off the road a few weeks ago.
In a video posted on the @brighteyesofficial Instagram account, Oberst, wearing a Tracks Lounge T-shirt (world class chicken!), thanks people who “reached out,” said he’s “feeling a lot better” and that the band plans to resume touring in 2025 “if all goes well as planned.” Still no date for a rescheduled Steelhouse Omaha show, but something tells me that’s pending…
On the cusp of the release of her fourth studio album, yesterday Anna McClellan dropped a video for the single “Omaha,” described as “a complex tribute to her Nebraska roots.”
“Omaha is smoking cigarettes and drinking beers on the porch until 4 am any day of the week,” mused when asked about the song. “Omaha, at least to me, is being so completely known and utterly lonely. Omaha is driving around. It’s a beautiful thing really.”
The track, written during her move to Los Angeles, concludes with the line: “Wilting ‘til I rot / Is it me or is it Omaha?” One must look inside for the answer to that question. See if you can spot your favorite Omaha hangout in the video. McClellan’s Electric Bouquet LP drops tomorrow via Father/Daughter Records.
. 0 0 0 .
Doug Kiser of seminal Omaha punk band fromanhole has a new band, Housewares, that’s making their stage debut Nov. 16 at The Sydney.
In addition to Doug on bass, the band is rounded out by a lot of familiar faces (to those of us who went to shows in the ’00s): Doug’s brother, Daryl Kiser (also ex-fromanhole) on guitar, Jason Koba of Thunder Power on drums, Scott Klemmensen of Reset on vocals, and Andy LaChance on keyboards.
Says Kiser about the band: “It’s melodic, probably technical, with elements of post whatever, jazz, blues and maybe some country. There is a lot of counting, that’s for sure.” We’ll see about that Nov. 16!
. 0 0 0 .
Speaking of new songs, Lincoln act Vempire released a cover of The Ramones’ “Pet Sematary” last Friday. The single is the first from their upcoming EP, Fumes, slated to drop on Halloween. Check it:
. 0 0 0 .
Here’s the latest list of touring indie shows coming to Omaha through February (just so I could include the just-announced Real Estate show (We have to have something to look forward to)). This list gets shorter and shorter…
How does The Astro in La Vista — the city’s newest large-scale concert hall — compare to Steelhouse Omaha, the downtown music venue that is The Astro’s direct competition? Let’s start at the beginning…
We didn’t get to The Astro for last night’s Psychedelic Furs/Jesus and Mary Chain (JAMC) show until about a quarter to 8, knowing we would likely miss all of opening act Frankie Rose. Despite entering “La Vista City Centre” through the wrong entrance, we managed to find the parking garage and navigate the electronic-only payment system (just $5!), where we found a spot on the third floor.
The garage was a five-minute walk to the venue, whose “Astro” signage was turned off — maybe it’s already broken, which would be a shame since it just opened this past December.
Security and drink wristbands were handled outside the venue, and this is where we hit our first speed bump. Having not read the venue’s “fine print,” we discovered too late that they only allow purses measuring 4.5 inches by 6.5 inches. Teresa’s purse was 6.51 inches wide, barely over the limit but enough for security to tell her to take it back to the car (without asking to look inside for a concealed bomb or hidden shiv). Welp, security is security, and Teresa hoofed it back across City Centre. I waited outside, next to three or four other people whose spouses also had been turned back.
Ah, but once she returned, we got right in. You enter on the balcony level, so we were immediately directed to a stairway that led to the main floor (there must have been an elevator somewhere, though we never saw it). Down, down, down we went through the Astro’s concrete esophagus that opened to the venues bright, glistening bowels.
The best way to describe The Astro: It kind of feels like a giant-sized Slowdown. Whereas Steelhouse is long and somewhat narrow, Astro is stubby and wide, with a huge tiered main floor surrounded by a walkway. Drink bars are located on either side and in back (the back bar was closed). Everywhere you looked, it was shiny and new with the space dominated by the enormous, eye-popping stage.
From in front of the stage looking toward the Astro’s balcony.The Close Encounters of the Third Kind Astro stage.The Astro’s Q*Bert floor tiles near the back bar.Booze. The Astro has plenty. See above for prices. Odd that there are no oz in the beer list. My Modelo was a tall boy, whereas Teresa’s Fairy Nectar was 12 oz. Astro is cashless and the POS system worked great.The Astro’s soundboard area, minus the drunk lady.
We had “table tickets,” whatever that meant. Did they include chairs? They did – big, white high stools. We were led to our table, where one of Astro’s ushers quickly gave us a second wristband. Look, you can’t beat these seats if you don’t want to stand for three hours. They only cost a few bucks more than general admission, but are cheaper than balcony seats (We were never allowed upstairs, so I can’t vouch for the balcony, but it looked cushy up there). We must have been close to an exit, because cigarette (and pot) smoke wafted through all evening.
Sight lines from our seats were nothing less than spectacular, but the sight lines throughout the entire concert hall were pretty great. Maybe because only about 1,000 people were in attendance, but getting around was easy.
The Jesus and Mary Chain at The Astro, Oct. 22, 2024.
And so, the show itself. Like I said we missed the opener, who must have went on at the stroke of 7 p.m. The Jesus and Mary Chain hit the stage at 8 and played most of the set without front lights, so they were mostly shadows against back lighting. I guess the Reid brothers don’t want people to see their wrinkles.
When I saw JAMC at SXSW a decade ago, the feedback-fueled set was intense, loud and frenetic, at times chaotic and threatening to cause a riot in the packed outdoor venue (The Belmont). Last night’s JAMC set was the opposite – the band rifled through the same set list they played the night before in St. Louis, barely stopping between songs, while the crowd stood and watched, motionless. It had all the energy of an industry mixer.
To the uninitiated, all JAMC songs kind of sound the same, and three or four tunes into their set folks seemed to return to their conversations, albeit at louder volumes — a very chatty crowd. Sound-wise, the mix seemed “boomy,” and when Reid said something to the audience between songs it was nothing but booming echo. Still, the actual songs’ vocals were pretty good and cut through the mud.
During the set I got up and took a stroll to check out the sound and sight lines, making my way back to the soundboard in the back center of the floor. While a couple dudes did their thing lit up by the enormous soundboard, I noticed what I thought was a gaffer lying on his stomach with his arms outstretched working on wiring at the back of the sound area. “Good on you, bub, get in there and fix whatever’s broken,” I thought.
But when the guy rolled to his side I discovered it was actually a lady apparently passed out, her red hair soaking in a puddle of ooze. One of the sound guys noticed at the same time and took off, and within seconds a dozen cops and first-aid people surrounded the lady, who by then had come to, and I assume was rushed off to the “chill-out tent” or wherever they take people to recover. Ah, rock concerts.
JAMC wrapped up their set with no encore (neither band is playing encores on this tour), the lights came up and the stage guys immediately went into action for the switch over. The between-set drone soundtrack was indistinguishable rumble noise.
Psychedelic Furs at The Astro, Oct. 22, 2024.
Like JAMC, The Psychedelic Furs played the same set as they had the previous night in St. Louis. Frontman Richard Butler was in perfect voice, strolling the stage, leaning into the two young guitarists or his brother, Tim, playing bass. Again, the mix felt boomy, but the vocals were spot on and the zombie-like, mostly middle-aged crowd seemed to appreciate the hit-filled set.
The band wrapped up with the hit “Heaven,” and again rushed off the stage sans encore. The lights came up, we headed back up those stairs and were immediately ushered out of the building. What about band merch? I want my $50 T-shirt! I never saw a merch booth and didn’t try to get back in find it.
Final stages: Exiting the parking garage was a breeze. Organizers must have put a lot of thought into avoiding logjams – in and out and on your way. City Centre itself at night was desolate. While there were a few businesses aglow (a pub/restaurant, for example), we passed a lot of unoccupied buildings. One brightly lit interior exposed mounds of dirt and naked cinderblocks.
So, back to the original question: Which is better: Astro or Steelhouse? Hands down I’d rather see a show at The Astro. Its smaller size makes for a more intimate experience while still providing a big, impressive stage with great sight lines and seating options. Sound wise, it’s hard to compare the two especially based on these bands. The Astro had a boomy, auditorium sound vs. Steelhouse’s bright, shimmery hall quality. More research is needed.
Unfortunately, based on both venues’ previous bookings, that isn’t likely to happen. This was the first (and only) show booked at Astro that attracted my attention. Let’s face it, indie music geeks are neither venues’ target audience.
. 0 0 0 .
Speaking of indie geeks…
Tonight at The Slowdown, Brit-award winning singer/songwriter Kate Nash headlines. Her most recent album, 9 Sad Symphonies, was released this past summer by Kill Rock Stars. Her “breakthrough” was 2010’s My Best Friend Is You (Fiction Records), that Pitchfork called “thrillingly schizophrenic.” New Hampshire act Revenge Wife and Kill Rock Stars label mate Joh Chase open the show at 8 p.m. This one’s in the main room, I assume because Nash also starred in the Netflix lady wrasslin’ series GLOW, where she played “Rhonda “Britannica” Richardson. Sorry I missed that one. $30.
Tonight marks my first visit to the new Astro Theater in La Vista.
The venue actually opened last December, but tonight’s show – headlined by The Psychedelic Furs and The Jesus and Mary Chain — is the first concert that caught my attention enough to buy a pair of tickets.
I can’t imagine shedding any shrewd, technicolor observations on either band’s performance. Instead, look for detailed reporting and an assessment of “my Astro experience” in tomorrow’s blog (with photos!).
Looking over last night’s set lists from both bands’ gigs at the Stifel Theatre in St. Louis (here’s Psych Furs, here’s JAMC), expect a mostly “greatest hits” set, especially from the Furs. JAMC don’t have nearly as many popular/well-known songs, and are kind of a weird choice for this tour. A lot of the Furs’ fans are going to get bored and anxious waiting for their heroes. That said, I saw JAMC over a decade ago at South By Southwest and they were intense.
Frankie Rose opens tonight’s show at 7 p.m. Her claim to fame is as a member of the bands Vivian Girls, Crystal Stills and most recently Dum Dum Girls. Her latest album, Love as Projection, was released by Slumberland Records in 2023.
Tickets are still available, ranging in price from $59 to $99. See you there…
Ambitious fans of the band Cursive who attended both nights of their two-night stand at The Waiting Room this weekend were rewarded with two very different sets.
In addition to playing (only) four songs from the new album, Devourer, (including personal fave “Dark Star,”), Saturday night’s 19-song set spanned the full Cursive catalog, reaching back to their ’97 album Such Blinding Starts for Starving Eyes (“Downhill Racers”), through 2018’s Vitriola (a sublime rendition of “It’s Gonna Hurt”) as well as the usual hits (“The Martyr,” “Dorothy at Forty,” “From the Hips”).
Cursive’s Matt Maginn, left, and Tim Kasher.
If you didn’t hear your favorite Saturday night, you might have heard it Friday night, when the band switched things up and played hits “Staying Alive,” “Sink to the Beat” and “The Lament of Pretty Baby,” among others. In all, the band performed 30 different songs over two nights, and still left off some favorites (“The Casualty,” “Big Bang,” “Remorse” (my personal favorite, anyway)).
I’m not surprised frontman Tim Kasher can remember all the words to all those songs; however, I can’t understand how drummer Pat Oakes remembered every fill, flourish and slight rhythm change, especially since he’s relatively new to the band. Ah, but Oakes — like most of us in the audience — grew up listening to Cursive. Still… that’s a heavy lift, and Oakes was a standout Saturday night.
So was cellist Megan Siebe, who provided vocals whether the songs called for them or not, singing along throughout the entire set with eyes firmly shut, head a blur hidden beneath her long hair that hung down over her strings. If Kasher is the busiest person in show business (He just sold a feature film that he wrote and directed), Siebe is the second busiest as a full-time member of Neva Dinova (fantastic new album!) as well as writing and recording her own material.
Cursive veterans Matt Maginn and Ted Stevens remain the band’s bedrock (Ted was in fine voice and had me wondering about the next Mayday performance). Versatile Patrick Newbery seamlessly switched between trumpet and keyboards all night, and killed, as per usual.
At the heart of it all was the ageless Kasher, who put his soul into every song whether howling out a classic like “The Martyr” or a new one like “Botch Job.” He, along with this band, hasn’t lost a step in all the years I’ve been watching them – and it’s been a lot of years.
Criteria’s A.J. Mogis, left, and Stephen Pedersen at The Waiting Room Oct 12, 2024.
Stephen Pedersen and his band, Criteria, also has been at it for a long time. Despite an impressive catalog of songs that stretches back more than 20 years (Debut album En Garde was released in 2003), the band has their eyes firmly focused on the future, as evidenced by having played seven new, unreleased songs when they opened for Cursive Saturday night.
Each song sounded like classic Criteria, many of them swinging on an iconic 3/4 or 6/8 waltz time that forced listeners to sway to the beat as if balancing on a ship’s deck in rough waters. The new songs are love-inspired anthems, with lines like “My head / your heart,” “You make me whole” and “Stay, at least today.” Pedersen’s songs of devotions were quite a contrast to Kasher’s angst-filled midlife confessions.
When Criteria finished auditioning the new material, they switched back to an older number that, quite frankly, felt stodgy and flat in comparison. Ah, but the energy returned by the time they got to perennial crowd-pleaser and (let’s face it, theme song) “Prevent the World,” which sounded much like it did the first time I heard them sing it nearly 20 years ago.
So what will become of this new Criteria material? One assumes it’ll be recorded and released, but by which record label? Cursive, whose new album was released by Run for Cover Records, seems to have walked away from the label they run – 15 Passenger Records – who released Criteria’s last LP. Could a return to Saddle Creek be in the making for Criteria? The Creek could be so lucky…
Gladie opened Saturday’s show at The Waiting Room.
A common questions being bandied about by indie music fans this weekend: Which Cursive show are you going to?
Omaha legends Cursive are playing two shows – tonight and tomorrow night — at The Waiting Room in support of their new album, Devourer (2024, Run for Cover), which is (imho) their best album since 2009’s Mama, I’m Swollen. Full review here.
Playing both nights are tour mates, Philly post-punk band Gladie, whose last full-length, Don’t Know What You’re in Until You’re Out, was released in 2022 on Plum Records. The four-piece is led by ex-Cayetana member Augusta Koch and includes Pat Conaboy (ex-Spirit of the Beehive). Definitely worth getting there early.
Tonight (Friday), Little Brazil has the honors of opening the show. For Saturday night, that honor falls on Criteria, who I’m told will be trying out a handful of new songs during their set (along with their usual greatest hits).
Both shows start at 8 p.m. and will run you $30. Neither has sold out as of this writing. Choose wisely, or better yet – go to both!
. 0 0 0 .
Other than those Cursive shows, there ain’t a shit-ton going on tonight or tomorrow, though Saturday, Indiana alt-rock band Houndmouth plays Slowdown’s main room. They’re big festival draws (or so I’m told) and this one’s already sold out. 8 p.m.
Ah, but Sunday night, Los Angeles band Color Green plays at Grapefruit Records. One of the band’s two core members – Noah Kohll – is a post-Omaha veteran of the Antiquarium/Almost Music/Grapefruit Records scene. They played a knockout gig at Reverb this past March.
Opening for Color Green Sunday night is Simon Joyner, whose new band, Simon Joyner and The Bells, includes some very familiar names: James Maakstad, Sean Pratt, Margot Erlandson and Tanner Rogerson.
Joyner’s new album, Coyote Butterfly, which drops Nov. 22, is his first collection of new material in two years. He’ll be playing a couple dates in Arizona and LA in November before he heads to Europe for a tour in 2025. Here’s a chance to get a sneak preview of the new album (and band). 7 p.m., $10.
Also Sunday night, Wilco’s Jeff Tweedy Is headlining at The Admiral with Elizabeth Moen. $40-$75. This is a seated show and starts at 7:30.
One last show of note: Singer/songwriter Taylor Hollingsworth, who you might remember from Conor Oberst and the Mystic Valley Band, is in town recording the new Las Cruxes album at ARC. He’s taking some time away from the knobs to play a show Sunday night at Pageturners Lounge. Jack McLaughlin opens this FREE show at 8 p.m.
And that’s all I got. If I missed your show, put it in the comments section. Have a great weekend.
Superchunk plays tonight at The Waiting Room, and it’s not their first Omaha appearance. Like I said in this 2010 interview with guitarist Jim Wilbur written in support of their 2010 appearance at The Maha Music Festival, anyone who grew up loving college rock in the ’90s has a Superchunk album in his/her collection. My first was 1993’s On the Mouth, whose opening track, “Precision Auto,” with its chugging guitar, crash-bash rhythms and barked out lines: “Do not pass me just to slow down / I can move right through you,” fueled way too many reckless two-lane passes in my ’78 Ford Fiesta.
In the article, Wilbur talked about the band’s history and future and even provided some “Wilbur Wisdom” about touring, technology and having never played Omaha up to then. Back then, the band was on the road in support of Majesty Shredding – at the time, their first album in nine years.
For this go-’round, Superchunk is celebrating the 30th anniversary of Foolish, and tonight will perform a set peppered with favorites from the classic 1994 LP.
That said, the band hasn’t been sitting on their asses for the past 30 years. This past January, Superchunk released the “Everybody Dies” b/w “As in a Blender” 7-inch, followed hot on the heels of last year’s Misfits & Mistakes: Singles, B-sides & Strays 2007–2023.
When they played at Chicago’s Lincoln Hall Tuesday night, Superchunk performed a 16-song set with five encores. Check out that setlist here. Tonight’s opening band, Merge label mates Quivers, hails from Melbourne, Australia, and dropped their latest album, Oyster Cuts, this past August. $30, 8 p.m. and surprisingly not sold out… yet.
Picking through some newsy bits I missed in the in-box:
The Fizzle Like a Flood Kickstarter campaign for the new album, Black Walls (which I wrote about here), met its fundraising goal in just 15 days – impressive. The campaign continues through the end of the month, however, so go there and check out the rewards and/or order your copy of the new album.
I’ve always liked Kickstarter as a pre-sales program, though it must be a pain in the ass for the artists who have to do fulfillments!
. 0 0 0 .
Yesterday Neva Dinova, the project from post-Omaha singer/songwriter Jake Bellows, announced a 6-date West Coast tour for December. The band’s latest, Canary (2024, Saddle Creek), stood at No. 154 on the latest College Radio Charts. If you haven’t checked it out yet, you really should. It’s their best album to date (imho).
. 0 0 0 .
What other notable albums are on the latest College Radio Charts?
– Well, Cursive’s latest, Devourer (2024, Run for Cover) stood at No. 74. The band plays two shows this week – Friday and Saturday – at The Waiting Room.
– Bright Eyes’ latest, Five Dice, All Threes (2024, Dead Oceans), currently stands at No. 13 on the charts. The fact that Bright Eyes was taken of the road for the balance of the year due to Conor Oberst’s “vocal problems” no doubt isn’t helping album sales. Bright Eyes’ 2025 tour kicks off Jan. 16 in Phoenix…
– Midwest Dilemma’s self-released album, Searching for the Cure for Loneliness, came in at No. 261, which is impressive considering the band isn’t touring. How does that happen?
. 0 0 0 .
The latest single by Omaha’s favorite alt-country band, Clarence Tilton, features country music icon Marty Stuart on vocals guitar. The song, “Fred’s Colt,” explores the legacy of a Civil War-era Colt Dragoon passed through Tilton frontman Chris Weber’s family.
The band opened for Stuart when he played in Omaha in 2019 and at some point played the song for him. “I loved this song the moment I heard it. It is a breath of fresh air, real writing,” Stuart said in the press release.
Weber said Stuart’s contribution to the song “really blew our minds. What he did was so cool — not just the solo but all the little parts in between. It was a real lesson for us from a real pro who gave our tune his undivided attention.”
The single, which dropped last Friday, will be on Clarence Tilton’s upcoming full-length, Queen of the Brawl, slated for 2025.
. 0 0 0 .
Soak in the next few weeks of shows, because we’re rounding a corner and the road ahead looks rather barren. Like I always said: if you have a chance to catch a touring indie band, catch it, because you never know when the next one will be coming through town.
Here’s the latest and greatest touring indie shows coming to Omaha through the end of November:
Oct. 16 – Mdou Moctar @ The Waiting Room
Oct. 17 – Superchunk @ The Waiting Room
Oct. 18-19 – Cursive @ The Waiting Room
Oct. 20 – Color Green @ Grapefruit Records
Oct. 20 – Jeff Tweedy @ The Admiral
Oct. 20 – Taylor Hollingsworth @ Pageturners
Oct. 22 – Psychedelic Furs/Jesus and Mary Chain @ The Astro
Oct. 23 – Kate Nash @ The Slowdown
Oct. 26 – Porches @ Reverb
Oct. 26 – Griefcat @ The Sydney
Oct. 31 – Lunar Vacation @ The Slowdown
Nov. 4 – quickly, quickly @ Reverb
Nov. 8 – The Ivory Claws @ The Sydney
Nov. 10 – The Sufrajettes @ Reverb
Nov. 11 – Dusk @ Reverb
Nov. 12 – The Rev. Horton Heat @ Waiting Room
Nov. 13 – Sorry Mom @ Reverb
Nov. 29 – VIAL @ Reverb
Am I missing something? Let me know…
. 0 0 0 .
Tonight at The Waiting Room, Nigerian band Mdou Moctar headlines. He’s considered one of the most innovative artists in contemporary Saharan music “His unconventional interpretations of Tuareg guitar have pushed him to the forefront of a crowded scene,” according to his Bandcamp page. The band’s last album, 2024’s Funeral for Justice, was released on indie giant Matador Records and received Pitchfork‘s “Best New Music” designation along with its 8.4 rating. Opening this show is personal fave, Rosali, a band that includes members of our very own David Nance Band. Her sublime new album, Bite Down, was released this year by Merge Records. $25, 8 p.m.
Also tonight, Boston post-punk band Kal Marks headlines at Reverb Lounge (Exploding in Sound Records) with frickin’ four openers: NightoSphere, Missouri Executive Order 44, Nowhere and Western Haikus. Talk about your late nights! 8 p.m. $15.
Recent Comments