U2 at The Grammys back in 1988. They returned last night.

by Tim McMahan, Lazy-i.com

I had the Grammys on while I was making dinner last night (chicken penne pasta soup, in case you were wondering). I’m of the tired opinion that awards are meaningless when it comes to the arts. I understand that they provide a chance to hype artists and their releases, and by god the music industry needs all the hyping it can get these days.

That said, the artists they hype on their broadcast need the least hyping. They already make their millions. But thus is the way of the world when it comes to awards….

None of the categories of interest to me were broadcast, and the collection of winners was, at times, awkward. For example, any opportunity to give credit to the late, great Leonard Cohen is welcome, but “Best Rock Performance” for You Want It Darker? Odd. That said, I’d never heard of a couple of the category’s other nominees: Kaleo and Nothing More, so…

War On Drugs’ A Deeper Understanding took home the Best Rock Album award (no doubt to Mark Kozelek’s disapproval).

LCD Soundsystem’s “Tonite” won for Best Dance Recording. I love this track. I can’t believe it beat out a host of R&B artists (such as Bruno Mars), which I guess the Recording Academy doesn’t consider “dance music”?

Kraftwerk’s 3-D The Catalogue won Best Dance/Electronic Album. A real surprise (I figured this was Sylvan Esso’s year). Love to see Kraftwerk get some love.

The National’s Sleep Well Beast was Best Alternative Music Album. I think the record’s a real snooze, but at least it’s an indie record.

Aimee Mann’s Mental Illness won for Best Folk Album — a great record, though not a folk record. Oh well…

I was going to say there was a time in the 1970s and ’80s when rock bands dominated the Grammys broadcast, but that’s just not true. Looking back at photos from The Grammys during that era, the talent on the show was as middle-of-the-road as anything we saw last night. Will rock ever make it’s way back to the Grammys? Does it matter?

* * *

Speaking of rock music, Champagne, Illinois’ The Poster Children have a new album coming out this spring, their first in 14 years. The first single was released Jan. 19 to coincide with the year anniversary of the Trump presidency. Check out “Grand Bargain!” below… Now can someone please get to work on getting Poster Children to play here? Thanks in advance…

* * *

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 © 2018 Tim McMahan. All rights reserved.

by Tim McMahan, Lazy-i.com

The final count on my Omaha Entertainment and Arts (OEA) awards predictions: 5 for 15. Not bad. Actually, that’s appalling, but it accurately reflects my knowledge of the Benson music scene. Last night’s big winner was Galvanized Tron, who took home the Artist of the Year and Best Hip-Hop awards. I’ve never heard GT’s music before. In fact, I haven’t heard seven of the 14 winners’ music. Pleasant surprises were Conduits (best indie) and Icky Blossoms (best DJ/EDM), two bands whose music I have heard (and enjoyed) and who recently signed big fat record deals with a couple national indie labels we’re all familiar with. Least surprising: That Bright Eyes’ The People’s Key took home Album of the Year. To the best of my knowledge, Conor skipped the ceremony. Here’s the rest of last night’s OEA Award winners:

Best New Artist: Snake Island
Best Artist: Galvanized Tron
Best Cover Band: Yesterday & Today
Best Ethnic: The Bishops
Best Progressive/Experimental/Funk: Satchel Grande
Best Jazz: Jazzocracy
Best Blues: Kris Lager Band
Best Hip Hop:  Galvanized Tron
Best Soul/R&B Gospel: Lucas Kellison
Best Country/Americana: Matt Cox
Best DJ/EDM: Icky Blossoms
Best Indie: Conduits
Best Hard Rock: Broken Crown
Best Adult Alternative/Songwriter: AYGAMG
Best Album: Bright Eyes, The People’s Key

* * *

In other awards show news, legendary Omaha producer Tom Ware of Warehouse Studios went home empty handed from last night’s Grammy’s, as his work with Lady Gaga was overlooked by an academy that was “gaga” for Adele. It was fun watching Bon Iver’s Justin Vernon awkwardly accept the award for best new artist. Said Vernon at the podium: “It’s also hard to accept because when I started to make songs, I did it for the inherent reward of making songs, so I’m a little bit uncomfortable up here.” So were we, Vernon.

A still from the Chipotle commercial.

The rest was business as usual. I watched every second of last night’s Grammy’s broadcast and the most impressive moment was an animated Chipotle commercial about organic farming featuring Willie Nelson singing a cover of “The Scientist” by Coldplay. I “rewound” and watched the commercial three times.  You can check it out here.

The broadcast had an amusing ending when KMTV cut off the evening’s big finale featuring Paul McCartney and a stage filled with famous guitarists (Bruce Springsteen and David Grohl among them) so we could get an accuweather update. Apparently no one at the station pays attention to their own programming. Yet another shining example of KMTV’s rock solid commitment to becoming the worst network-affiliated TV station in Omaha. Keep it up, guys, you’ve got KPTM and the run!

* * *

If you weren’t up at the crack of dawn Sunday morning you missed NPR’s feature on Simon Joyner that aired as part of Weekend Edition. The piece featured Simon talking about his music and his life in Omaha, and included comments from Conor Oberst and myself. So if you’ve ever wondered what my voice sounds like, here’s your chance to find out as the audio story is now online. Nice work, Clay, though there’s the issue about the spelling of my last name…

* * *

Denver’s Westword has a review of Sunday night’s Cursive show at the Larimer Lounge online here. From the review:

“‘I don’t know why we don’t come here more often,’ Kasher chuckled and complimented the crowd. The rock elder statesman looked genuinely bashful as he paid his audience the largest possible compliment. ‘You guys are awesome. You should go to Omaha and teach those guys how to rock!‘” 

Really, Mr. Kasher? REALLY?

By the way, you can now hear Cursive’s latest, I Am Gemini, streamed in its entirety right here at rollingstone.com.

* * *

Tonight is officially metal night at The Waiting Room as ’80s thrash metal band Testament takes the stage with Omaha’s own metal masters, Bloodcow. $25, 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.