Lazy-i

Live Review: Eagle Seagull, It's True, North of Grand, The Third Men; Dr. Dog tonight...

2010-02-08T10:38:00.001-08:00

It was a strange, mopey night at The Waiting Room Saturday, or maybe I was the mopey one. The crowd seemed restless for a good time and you'd figure they'd get it from Eagle Seagull, who announced from stage that their full length is finally coming out March 28 (but they didn't say who was putting it out, maybe they're doing it themselves?). Edit: A reader pointed out that I reported back in December (in this blog entry) that the record is coming out on [PIAS] Recordings.

If the band seemed a bit listless it might have something to do with not having one of their guitarists -- has there has been a personnel change that I wasn't aware of or was he just under the weather? Or maybe their rather detached performance had something to do with violinist/keyboardist Carrie Butler, who looked sullen bordering on upset throughout their entire set (Or maybe that's just her way). No matter. The music was the usual good stuff, despite the band looking bored and distracted (They say Fleetwood Mac's best album was borne out of conflict.)

The chatter in the crowd focused on It's True, who has announced that its having a CD release party for their debut full-length at TWR April 30. No one, however, knows who is releasing it, and now people are speculating that the band will release it themselves.. No one understands why this band doesn't have labels nipping at its heels, be they local or national imprints. Here's a band with a solid collection of songs that seems willing to do whatever is necessary to get the music in front of a larger audience. What more could a label want? Then again, it's getting harder for bands to figure out why they need to be on a label at all, other than the bank and the marketing that goes with it (and certainly they'd like someone to pick up the tab for their recording). Distribution, which was a key advantage in the old days, is losing its value as more people quit buying CDs altogether.

By now, the story of Eagle Seagull's multi-year constipation in releasing their material is well documented, which doesn't make it any less unfortunate. They were a rocket left on the launching pad, bogged down with too many delays until people began to wonder whether the darn thing could ever get off the ground. If nothing happens with their new record, it'll be another in a series of tragedies that seems to characterize Nebraska bands these days. No one wants to see what happened to ES happen to It's True, which is why if the band decides to put out the record themselves that it makes all the sense in the world, especially in an era where patience is often mistaken for indifference. It's True has to push forward right now, and should a label suddenly take interest in them, they can always release the album again. In the meantime, they're hitting their stride, growing with every performance, which means there's never going to be a better time to get out and share it with the rest of the world. (See photo).

Friday night was spent at O'Leaver's with The Third Men and Des Moines rock band North of Grand. My take on The Third Men: Just about any bar or venue would be better off having them perform in some sort of residency capacity, say every second Thursday or the first Friday of the month. The Third Men play good-time rock music for smart people who recognize well-played good-time rock music. There's something comfortable and familiar with their sound, which is probably due to the fact that the band grew up -- and continues to -- love good, unpretentious (and fun) rock music. It also helps that they roll out a few covers with every set. This time they unveiled a snarling version of Warren Zevon's "Poor Poor Pitful Me," along with "Next Time Round," an Elvis Costello chestnut off of 1986's Blood and Chocolate (That's right, that record came out 23 years ago).

Chatting with North of Grand's drummer Pat Curtis before their set, I was expecting a full-on punk attack, but in fact NoG has more in common with post-punk power rock than straight-up punk (and to me, that's a good thing). Despite being hard with their guitars, the band isn't afraid of hooks or cranking up white-knuckle backbeat rhythms right after a break. For whatever reason, I was reminded of post-punk acts like Bad Religion, Fugazi and Husker Du. But that's just me. With four albums under their wing -- all apparently self-released -- it's bands like this that epitomize the DIY business approach that every band will have to adopt sooner or later. Just ask It's True. (See photo of North of Grand).

* * *

Briefly, Mastodon announced its spring tour this morning, and Omaha's Sokol Hall is on the list for May 14.

* * *

Alt country band Dr. Dog returns to The Waiting Room tonight with The Growlers. $12, 9 p.m. I'm told TWR is one of their favorite venues. Since they haven't been here since Sept. 2008, they're in for a surprise.

--Got comments? Post 'em here.--

Live Review: Blue Rosa, Dim Light; The Third Men, Twilight Hours tonight; It's True Saturday...

2010-02-05T15:22:00.000-08:00

It was a pseudo "goth night" at The Waiting Room last night, which meant plenty of the expected costuming (heavy eyeliner (men and women), dyed-black hair, the usual). None of it got in the way, and to be honest, the style of music for the first two bands didn't really fit the vibe.

Opening band Blue Rosa's lead singer had sort of a Lilith Fair lilt to her voice, which either compliments or clashes with their post-neu-wave-ambient style depending on your expectations. It was kind of like listening to Sarah McLachlan front The Cocteau Twins with a cello accoutrement (and I could have used more of that cello in the mix). It was pleasant, but not particularly threatening. Not bad, but these guys need to turn it up. See photo.

Dim Light played as a four-piece and sounded like a leather burlesque show held in an anonymous Manhattan basement club; there's something dirty and decadent about their brazen swing that teeters so close to out of control. One fellow patron told me that he thought frontman Cooper Moon was trying to channel Nick Cave. Maybe so. I've compared him to Mark Lanegan before, and I stand by it, though last night's performance seemed more lucid and coherent than anytime I've seen them in the past. They're ready for prime time. (See photo)

Strap On Halo didn't go on until about a quarter to midnight, so I only caught a couple of their songs, which sounded like attempts at throbbing industrial meets metal played to a drum machine. Lots of lights and smoke; I guess this is where the goth came in.

* * *

Lots going on this weekend. Tonight you have Matt Wilson from Trip Shakespeare reinventing himself as The Twilight Hours at The Waiting Room. Matt Whipkey is opening. $10, 9 p.m. Me, I'll be getting my drink on at O'Leaver's where The Third Men are headlining tonight with North of Grand and At Land (ex-Fizzle Like a Flood). $5, 9:30 p.m.

Tomorrow night, It's True headlines at The Waiting Room with amazing Lawrence band Cowboy Indian Bear and Lincoln heroes Eagle Seagull. $7, 9 p.m. Meanwhile, there's a solid punk show down at The Hole, 715 So. 16th St,. headlined by Dead Town Revival and including Redo, Cordial Spew, Officially Terminated, The Upsets and The Brigandines. $5, 7 p.m.

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Mynabirds, UUVVWWZ to play Saddle Creek SXSW showcase; Dim Light tonight…

2010-02-04T10:34:00.000-08:00

It's only the beginning of February, but I'm already making plans for the South by Southwest Music Festival in Austin, which isn't until March 17. Yesterday, Jason Kulbel at Saddle Creek Records told me that his label will again host a showcase at the event. The deets:

Location: Maggie Mae's Gibson Room
Thursday, March 18

10 p.m. The Mynabirds
11 p.m. UUVVWWZ
12 a.m. Miles Benjamin Anthony Robinson
1 a.m. The Rural Alberta Advantage

SXSW has filled in the earlier part of the evening with the following Nicodemus Agency bands:

7:30 - 8:00 p.m.: Common Loon
8:15 - 8:45 p.m.: Unwed Sailor

Last year I missed the Creek showcase as I was making a concerted effort to avoid all the bands that I see on a regular basis 'round these parts -- what's the point of going to Austin if you're going to see bands that always play in Omaha? In the end, I still saw Cursive play a couple times at other day shows. Without a doubt, all of the Creek bands will be playing numerous times throughout this year's four-day foray. Seriously, can you ever get too much of The Mynabirds?

Other Omaha acts confirmed for SXSW this year include Thunder Power, Digital Leather and It's True, though I don't know where any of them will be playing. More details as I get them.

* * *

It's an evening of dark wave/goth/gloom tonight at The Waiting Room with Strap On Halo, Dim Light and Blue Rosa. $7, 9 p.m. Don't be afraid of the snow.

--Got comments? Post 'em here.--

Column 257: You're not getting older, the Grammys are getting younger…

2010-02-03T10:40:00.001-08:00

This week's column is a look back on Sunday's Grammys -- three-plus hours of my life that I'll never get back...

Column 257: Child's Play
The Grammys get younger...

Oh my, The Grammys. There was a time when they meant something to me. But that was a long time ago, back when I was working at K Mart and sneaking (underage) into The Depot in Council Bluffs. Back when bands like The Police and Michael Jackson dominated the awards. All these years have led up to last Sunday night's Grammys, where I realized, to my chagrin, that I didn't know most of the acts that were nominated (and I bet you didn't, either).

Had I finally become what I've always dreaded becoming: An adult who doesn't like music; an old fuddy-duddy who's "out of touch"?

I contemplated this unfortunate fate as the Black Eyed Peas -- a band that does little more than bleep out meaningless five-word phrases followed by "Yeah!" on top of aerobics soundtracks -- received yet another award for best something or other for a song that we won't remember a year from now. And than it occurred to me that I haven't stopped liking music, I stopped liking popular music.

"Pop music" has always been the stuff that appeals to the great unwashed masses. But these days, those masses are comprised mostly of 15 to 19 year olds, the majority of the population that still buys new music, preferably online or at Wal Mart. It's these consumers of the mass bile that, in the next five to 10 years, no longer will listen to music at all. That pleasure will have been replaced with watching television, listening to talk radio and following sports when they're not keeping an eye on their kids.

Yeah, most people "grow out of" music, or more accurately, they grow out of the shitty kind of music that the mass media seem to embrace. They certainly lose the ability to listen to new music, forever lost in the soundtrack of their adolescent years.

I contemplated that unfortunate fate while shopping at Homer's Saturday afternoon, where I picked up new CDs by Spoon (just okay) and Los Campesinos! (amazing). A few years ago, Homer's end caps would have been filled with only the most mainstream, commercial-appealing fluff -- i.e., what's heard on the radio. These days, those end caps are stocked with CDs that you won't hear on the FM, lazily categorized as "indie music" (that Spoon album, for example, released on indie label Merge Records, was listed as Homer's No. 1 best seller).

Now out front, Homer's "indie section" used to be a few feet of shelf space in the back, dedicated to bands whose music and lyrics were more challenging, more personal, and consistently better than whatever won the top prizes at The Grammys, but that rarely sold as many CDs throughout their lifetime as a Black Eyed Peas album sells in a single day.

Anyway, my conclusion: When it comes to pop music, I haven't grown older, the music has grown younger, and dumber and more youth-oriented than it ever was when I was "their age."

There was very little no adult content at The Grammy's this year, unless you count the adult language used in the hip-hop medley. Watching the telecast was like watching The Nickelodeon Awards or some other kids' show. The fact that powder-perfect Barbie Doll Taylor Swift, whose off-pitch voice sounds like she's struggling through puberty, could be honored with the "Album of the Year" was amusing since her music could only appeal to girls in their late teens, and their parents who have to put up with it. It's kind of like giving an Oscar to a Twilight movie, while "Tetro" goes ignored.

Pop music has once again been defined as being kid's stuff. So what else is new?

But imagine this: A Grammy Awards broadcast that opens with Yo La Tengo performing alongside Beck, where Brother Ali and Atmosphere do a medley with Ludacris; where The xx and Phoenix front a huge production number with Lady Gaga and Depeche Mode, where Annie Clark sings a duet with Antony Hegarty and Kris Kristofferson, where Mastodon humbles Metallica, where Mogwai performs with the San Francisco Symphony, where Wilco shares a tune with George Strait. And where the winners' music will be remembered 10, 20, 30 years from now, let alone next year.

* * *

One local guy watching The Grammys last Sunday had some skin in the game. Arguably the area's most talented mastering engineer, Doug Van Sloun, watched as Rhonda Vincent's Destination Life, released last June on Rounder, was up for Best Bluegrass Album. Doug mastered the record, his first project to be nominated for a Grammy. Alas, the award went to comedian Steve Martin (yes, the arrow-through-the-head guy) and his album The Crow / New Songs for the Five-String Banjo, which shouldn't be a surprise since Martin performed songs off the album on just about every late-night talk show. Still. It's honor just to be nominated, right Doug?

* * *

Now for something completely different: Next week, the star city celebrates its best and brightest at Lincoln Exposed 2010. The event, which is held at Duffy's, The Bourbon Theater and The Zoo Bar, runs from Feb. 10-14 and features 60 performances from some of Lincoln's finest musicians including Charlie Burton, The Machete Archive, Darren Keen/The Show Is the Rainbow, Triggertown, Ember Schrag, Her Flywaway Manner, Mercy Rule, The Mezcal Brothers and Pharmacy Spirits. Your $6 per night gets you into all three venues. For a full schedule, search for "Lincoln Exposed 2010" in Facebook.

--Got comments? Post 'em here.--

Live Review: Perry H. Matthews, Her Flyaway Manner; Grammys…

2010-02-01T11:10:00.000-08:00

The Waiting Room is a whole different -- and louder -- animal when it's not packed to capacity, as evidenced by last Saturday night's show, which drew fewer than a 100 people. Walking toward the bar down Maple St. at 10:30, I could hear the noise coming from the venue as far away as Jane's. Imagine how loud it was inside -- but it was nothing earplugs couldn't control.

On stage, Perry H. Matthews tore through songs from their upcoming full-length (to be released by start-up label Doom Town Records). This is loud, propulsive noise rock that chugs along with with serious, pounding riffage. I don't remember if I've ever seen them as a five piece, with a dedicated frontman/vocalist. The guy looked the part, with a striped, sleeveless T-shirt and suspenders. Throughout the set, however, it felt like he was holding back. Though he could be heard above the band (barely), he needs to turn it loose if he's going to keep up with what's happening all around him.

There was no holding back Her Flyaway Manner, who I haven't seen in years. The trio fronted by Brendan McGinn on guitar and vocals was spot on. Their post-hardcore sound reminded me more of Fugazi than the last time 'round -- good, brutal stuff from one of Lincoln's best. (See photo)

A few more thoughts on TWR: They adjusted the stage camera, so that the monitors around the bar are sharper, and are now in living color. While the room does seems semi-empty with only 100 people in the audience, it still feels less empty than, say, Sokol Underground or Slowdown's big stage with a similar-sized crowd. This could be another advantage TWR has over other larger rooms -- small shows don't feel sadly unattended, though just having a crowd that gets off their asses and stands by the stage (as we did Saturday night) always helps.

* * *

If you didn't watch The Grammy's last night you didn't miss anything. I watched only because I intend to mention the telecast in this week's column. It's amazing just how far American popular music has fallen from any resemblance to adult content (unless you count the adult language used in the hip-hop medley). It was like watching The Nickelodeon Awards or some other kids' show. The fact that Taylor Swift, whose off-pitch vocals sound like she's struggling through puberty, could be honored with the "Album of the Year" among other awards, is amusing since her music could only appeal to girls in their late teens, and the parents who have to put up with it. It's kind of like giving an Oscar to a Sponge Bob movie. During her performance with Stevie Nicks, Taylor could have used some auto-tuner action, and believe me, there was plenty to go around.

--Got comments? Post 'em here.--

Live Review: Haiti Relief Concert; Conchance, more Haiti tonight; Her Flyaway Manner Saturday…

2010-01-29T11:23:00.000-08:00

What more could you ask for than Conor Oberst singing "Lua" backed by Nate Walcott on flugelhorn? It was one of the highlights of last night's sold out Haiti Relief Concert at Slowdown. For this rendition of Bright Eyes, Oberst had Walcott on keyboards and assorted brass, Mike Mogis on guitar, Matt Maginn on bass and someone on drums who resembled a young Winona Ryder (at least from my vantage point across the room). Whoever that drummer was, she was amazing.

The crew played a couple new songs (that, or I simply didn't recognize them) that will fit nicely in the Bright Eyes oeuvre. The best of them was the encore that roared to a crashing, epic finish. When will we be hearing this new material? Something tells me it won't be until sometime during the latter part of the year.

I didn't arrive at Slowdown until around 11, when Simon Joyner was on stage with his band playing a rather low-key set. In fact, most of the evening had a distinctly low-key feel, which I guess was appropriate for a benefit for such a grim situation. Tilly and the Wall's set was less rousing than relaxed, especially since Jamie Pressnall no longer tap-tap-taps out the hits, one assumes because she's still feeling the effects of giving birth to her and husband/guitarist Derek Pressnall's first child.

That said, one band did manage to pry the roof off the joint. It's True has never played a better set, taking their sound to uncharted waters. They were the band that had the most buzz among those I chatted with in the crowd. The consensus: They just keep getting better. They knew they were on one of the biggest stages of their careers (thus far), and they took full advantage of it. Wonder who is putting out their upcoming album?

An aside: I haven't seen Oberst play "Lua" in a long time, and to his credit, he attacked it with the same intensity as he ever has, spitting out the lines almost with poetic disgust. Despite being his "hit," the woman next to me had never heard the song before, and commented on how freakin' sad it is.

There was a movie that came out sometime in the early '80s that starred Paul Simon called One Trick Pony. Simon played Jonah, a guy on the downside of his career, balancing various relationships, trying to make a comeback. Anyway, late in the film, an award show based on The Grammy's asks Jonah to appear at their ceremony and perform his famous war ballad "Soft Parachutes," which is just the type of nostalgia trip that Jonah was trying to avoid. In the end, he does the performance, walking onto an empty stage with just a guitar. It's a pretty song, a strong song, the kind of simple melody that Simon did so well and seemingly effortlessly (before Graceland). I think of that scene every time I see Oberst perform "Lua." It would be easy to say that "Lua" is Conor's "Soft Parachutes," except that after all these years, he looks like he still loves playing it, as if he knows what a jewel he has in that song.

* * *

Weekend's looking busy.

Tonight at O'Leaver's, OEA Award winner for best hip-hop, Conchance, opens a show at O'Leaver's with godshamgod and Pharmacy Spirits. 9:30, $5.

There's another Haiti Benefit Concert tonight down at The Hole, 715 So. 16th St. The line-up is Eastern Turkish, Cordial Spew, Living Victim, Youth & Tear Gas and Straight Shot. $5, 7 p.m.

Meanwhile, down at Slowdown Jr., The Killigans have their CD release show with Parting Shot and Cave Kids. $7, 9 p.m.

Saturday night's main event is Her Flyaway Manner at The Waiting Room with Perry H. Matthews, This Life Is a Scarecrow and Bazooka Shootout. $7, 9 p.m.

--Got comments? Post 'em here.--

Benefit for Haiti at Slowdown (sold out), Sarah Benck tonight…

2010-01-28T10:59:00.001-08:00

According to Slowdown major domo Val Nelson, here's how tonight's Haiti Benefit Show is going down: The first band starts at 8:30 sharp, and to facilitate eight bands in four hours each band will play a 20-minute set. The line-up again: Tilly And The Wall, Bright Eyes, It's True, Simon Joyner, The Mynabirds, Bear Country, McCarthy Trenching and Brad Hoshaw. Val says that all money raised from ticket sales will be donated to Doctors Without Borders -- http://doctorswithoutborders.org/. Of course, if you don't have tickets, you're out of luck as the show has been sold out for a few days.

Also happening tonight, Sarah Benck is headlining a show at O'Leaver's with Adam Robert Haug, Pennyhawks and Mumfords. $5, 9:30 p.m. The amazing Blue Scholars are playing at Lincoln's Bourbon Theater; $10, 7 p.m. And DJ Kobrakyle will be running a victory lap at The Waiting Room, celebrating his OEA award for best DJ. $5, 9 p.m.

--Got comments? Post 'em here.--

Haiti Benefit show sold out…

2010-01-26T10:45:00.001-08:00

If you didn't get your ticket to Thursday night's Haiti Benefit concert at Slowdown featuring Tilly and the Wall and Bright Eyes (among others) you're out of luck. The show is now sold out.

--Got comments? Post 'em here.--

OEA Winners & Sinners; Bright Eyes added to Haiti show…

2010-01-25T10:39:00.000-08:00

Well, the bad news is I only got four of my OEAA predictions right. The good news is that about half of the artists I voted for won awards. As I say in the official review that will be printed in The Reader Thursday, last night's OEAAs were a nod to performers who spent most of '09 playing in local clubs rather than the hard-core touring acts trying to make a name outside of our little burg.

Gone are the days when Saddle Creek Records artists -- arguably the most successful and influential bands in the area (and playing the best music) -- dominated these awards. This year, only four Creek-related bands were even nominated, and none took home a prize, despite national and international tours for Cursive and Oberst, along with plenty of road work from the forgotten Ladyfinger. In the end, does it matter if a local band does something like play at SXSW? Apparently not to the OEAA voters.

Taking just over two hours for the entire evening's production, emcee and chief yuckmeister Ethan Stone, part of the morning team at 96.1 The Brew, joked endlessly about the fact that you could actually drink alcohol in the Mid America Center ballroom -- something unheard of at The Holland Center where the event had been held over the past three years.

A small army of wait staff delivered hot-plates of pork and potatoes to the well-groomed nominees as Stone rattled through the list of winners. Only a handful was allowed to come on stage to accept their awards Oscar-style. The rest had their crystal statues delivered to their tables, just like their pork and potatoes, where they proudly lofted their prizes overhead before the attention moved on to the next honoree.

The ceremony was quick and efficient, which was fortunate as some of the year's worst road conditions lay ahead for the trek back over the river.

The evening kicked off with performances by Hot Topic-style emo band After the Fall and what would be the night's big winner, Brad Hoshaw and the Seven Deadlies, who is down to just three "deadlies" these days. While the room lacked the sparkling acoustics of The Holland Center, it was more than adequate for an audience busy downing dinner rolls and Bud Light.

The evening's first highlight was the "Lifetime Achievement Award" bestowed to legendary promoter and entrepreneur Matt Markel. Pacific Street Blues host and former head of Homer's Records Rick Galusha, along with 89.7 The River Program Director Sophia John, recapped the highlights of Markel's career, which included running Omaha nightclub The Ranch Bowl, launching radio station 93.3 K-ROCK, and creating BJM Studio and Get-Go Records. Markel, 58, took the stage in front of a standing ovation. He thanked his wife, Dana, all the bands that had played at the Ranch Bowl over the years along with "all the workers," including those he fired. Despite having suffered a stroke in 2002, Markel looked and sounded in good health. "The stroke has been a blessing to me," he said. "It's calmed me down a lot."

Then it was back to the awards, most of which went to a cadre of bands and performers known for their appearances on Benson stages. Brad Hoshaw and his band took home the lion's share of top honors, including awards for Album of the Year for their debut LP, along with Artist of the Year and Best Singer/Songwriter/Adult/Alternative. Like a good son, Hoshaw went out of his way to thank his mother.

The night's other big winner was It's True, a band led by singer/songwriter Adam Hawkins, which picked up crystal obelisks for Best New Artist and Best Indie / Alternative.

The OEAAs ventured off the Benson reservation only a few times, most notably for the Best Rock award, which went to Goner Records artist Box Elders, and Best Hip Hop, which went to I'm Drinkin' This recording artist Conchance.

One of the evening's bigger surprises was the Best DJ Award, which went to Kyle Richardson a.k.a. DJ Kobraklye, who is probably most well known for spinning tracks at Gunk nights at The Waiting Room in Benson.

So was the lack of Creek representation this year a sign of a pull-back in Saddle Creek output (the label released nationally distributed albums by four local artists in '09) or have the OEAAs' voters simply become more focused on local bands that play regularly at local clubs?

Only one winning act -- Box Elders -- has spent more than a month on the road touring in '09. The rest of the winners -- either by choice or due to the financial realities involved with touring -- spent most of last year close to home.

Here's the list of this year's winners:

Best Rock -- Box Elders
Best Hard Rock -- Paria
Best Alternative/Indie -- It’s True
Best Singer-Songwriter/Adult Alternative -- Brad Hoshaw & The Seven Deadlies
Best DJ -- Kyle Richardson a.k.a. DJ Kobraklye
Best Folk/Roots/Americana/Bluegrass -- Filter Kings
Best Soul and R&B -- Satchel Grande
Best Hip-Hop/Rap -- Conchance
Best Gospel -- Salem Baptist Voices Of Victory
Best Blues -- Matt Cox
Best Jazz/Standards/Easy Listening -- Luigi Waites
Best Ethnic/World Music -- The Turfmen
Best Cover Band -- Secret Weapon
Album Of The Year -- Brad Hoshaw & The Seven Deadlies, self titled
Best New Artist -- It’s True
Artist Of The Year -- Brad Hoshaw & The Seven Deadlies

* * *

Bright Eyes has been added to the line-up for this Thursday Haiti Benefit show at Slowdown. The already-packed line-up includes Tilly and the Wall, The Mynabirds, It's True, Simon Joyner, Bear Country and McCarthy Trenching. Tix are still available here for $15. Get them while you can.

* * *

Hey, there were a couple updates over the weekend, including a detailed review of the newly remodeled Waiting Room, so scroll down!

--Got comments? Post 'em here.--

Live Review: The (newly remodeled) Waiting Room; OEA's tonight…

2010-01-24T08:03:00.000-08:00

Though there (probably) have been bigger crowds at The Waiting Room, there's something about the new, wall-less/ceiling-less design that makes the crowd seem bigger and, strangely from a getting-around standpoint, denser as if the room is smaller. Or maybe more people were there last night to see NOMO than I thought.

First off, the overall vibe: More modern; it feels like a completely different club. I've heard people describe it as "Austin-like," or like a venue you'd find in a different city. I didn't quite get that. It does, however, feel more cosmopolitan, and now has more in common with Slowdown than it did before the remodel. It is, hands down, a better club.

The high points: Amazing sight lines from anywhere in the room. I tried to remember how it used to be, with those walls blocking the stage when you stood by the entrance. You can now effectively watch a band from all the way back in the pinball machine area. And now the stage looks like it belongs where it is instead of being an afterthought.

The sound was very good. I think they still need to work some bugs out with the mix, which felt a bit thin, flat and un-dynamic, but overall, balanced (maybe too balanced, as I was having a tough time separating the players). It was earplug loud from everywhere, which tells me that all that sound buffering from the old lowered ceiling is obviously gone. Before the remodel, you could lean back against the bar and take out your earplugs -- that thought never crossed my mind last night.

The lighting was striking, with the new "moving lights" in full motion. They're not as impressive as Slowdown's light curtains -- probably because there are fewer moving lights, and they're still figuring out how best to use them.

New high-table seating along the north wall is a nice touch. I wasn't able to actually sit down and try them, but it looks like a good vantage point for a show. The low tables in the center of the room are pushed back even with the front of the relocated soundboard -- useless during a show with the crowd standing right in front of you blocking your view (though I would have taken a seat there last night if I could).

New plasma video monitors have been mounted throughout back bar area, all are connected to a video camera pointed at the stage, so that when you're getting a drink or playing pool, you can glance up and see what's going on up there. The mounted, motionless camera needs to be adjusted for the dim lighting. The picture was dark and grainy, like 7-11/convenience store robbery footage, the light level is too low to adequately capture color imaging. Still, it's cool, and I assume the monitors can be switched to a game during pre-show or Saturday afternoon boozing.

In the "needs improvement" category:

The room is now too dark. It looks like they have plenty of directed overhead halogen lighting, it just wasn't on or being used. It's much darker back by the bar than it used to be, which makes digging through your wallet a chore (Is that a 10 or a 20? It's a 5?!).

Though they probably haven't changed the table arrangement, it was difficult to walk across the room back by the bar. As I said before, though the room feels bigger, it seems more crowded, or at least it did last night (again, I have no idea what the actual crowd size was, though it wasn't sold out at 11 when I arrived). The soundboard in the middle also adds to the crowding effect when navigating closer to the stage.

Again, maybe it was the crowd size, but I gave up on getting a beer a couple times after waiting in the mob for (Edit: What seemed like) 15 minutes (but was probably more like five). I did get served later in the evening. The bar service was too small to support a crowd as big as last night's. Like Slowdown does for its sold-out shows, they need a second horse-trough beer station where people can just pay cash for a bottle (preferably, Rolling Rock). There is a perfect spot for this right by the entrance (where there are now tables for people to place their bottles when they go out to smoke). It took six months for Slowdown to finally get its hands around its service problems. The new Waiting Room has only been open for three days. They'll get it figured out quickly.

Actually, most of my whining won't apply to non-sold-out nights. Last night was a mob scene, and what a strange mob it was. It was unlike any other crowd I've seen at the Waiting Room -- one guy described it as being filled with "West Omaha hippies." In fact, I saw more than my share of backwards ball caps -- definitely not the usual TWR crowd. Maybe it was NOMO. Was there ever a band more suited to go on tour with Phish or WSP? The six-piece all-instrumental afro-beat band is slick, well-rehearsed (as in tight) and a lot of fun. Too bad there wasn't enough room for people to dance. As much as I liked them last night, it still didn't hold a candle to their red hot June 2006 show at O'Leaver's (reviewed here).

But all that said, with this remodel, I do believe that The Waiting Room is going to attract a new, more suburban crowd that may have ignored the venue in the past because of its "old school" feel. The new Waiting Room is as sleek and modern as any bar west of 120th St. If a new suburban crowd does begin to show up, it could mean a whole new audience for the quality bands that have been playing at TWR all along. Here's a photo from last night.

* * *

Tonight: The Omaha Entertainment and Arts Awards at The Mid America Center. Show starts at 6. Look for Twitter updates (follow me here) as winners are announced.

--Got comments? Post 'em here.--

Addendum: OEA Prediction: Artist of the Year; NOMO tonight…

2010-01-23T08:22:00.000-08:00

A reader pointed out on the Webboard that I forgot to include my pick and prediction for Artist of the Year in yesterday's blog entry. Oops. The nominees are Black Squirrels, Brad Hoshaw & the Seven Deadlies, Cursive, It's True and Little Brazil. My guess is that Little Brazil will squeak by with the win, mainly because they weren't nominated in many other categories despite making the best album of their career. I voted for Cursive, who had a breakthrough year with their new album, their ongoing national (and international) tour and their appearance on Late Night with David Letterman. We'll find out Sunday night.

I didn't make it out to The Waiting Room grand re-opening last night as I'm still on the mend and the idea of standing up for more than an hour didn't seem like a good one. I'll get my introduction to the new room tonight when NOMO takes the stage with Satchel Grande. Tix are $10, show starts at 9.

--Got comments? Post 'em here.--

OEA Predictions; The Waiting Room's Grand Re-opening tonight…

2010-01-22T10:58:00.000-08:00

This Sunday is the Omaha Entertainment and Arts Awards at the Mid-America Center in Council Bluffs. There has been a bit of muttering about moving the event to Iowa, but you won't hear it from me. The Holland, while regal and impressive, is anything but fun. During past year's award ceremonies, most of the crowd spent the evening in the lobby drinking, because they wouldn't let us bring our booze back to ours seat for fear that you might stain one of their blonde-wood seats. No one cares about such things at the MAC Center, and the organizers have all but promoted the award show as some sort of drunkfest. Good for them. It certainly will be more laidback, if not chaotic.

Anyway, I'll be there again this year. But before I go, here's my list of who will win and who I voted for (or who should have won). As I've said before, the OEAAs are now considered by most folks in the scene as a "Benson thing," which is great for Benson but not so good for the rest of the city (and Lincoln). Oh well, onto the awards:

Singer/songwriter Alternative: I voted for Brad Hoshaw and the Seven Deadlies based on the strength of their debut album, which came out at the beginning of '09. A year later and most folks have forgotten about it, unfortunately. The winner will be It's True, because Hawkins and his crew are red hot right now, and are about to put out a new album.

Alternative/Indie: It's True will win this one as well. I'm telling you, folks, the "It Band" of the moment. I voted for Conor Oberst and the Mystic Valley Band, a local guy with national presence, and even though I didn't care for their last album, Conor and his boys clearly eclipsed anyone else locally.

Blues: Kris Lager Band seems to be the favorite here. I voted for Son of 76 & the Watchmen, a band that I discovered last year through the OEAA showcase series.

Folk/Roots/Americana/Blue Grass: Black Squirrels will win this easily. They have a large fan base and voting block. I voted for Outlaw Con Bandana, whose songwriting style is more to my liking.

Hard Rock: Very likely Emphatic will win since news of the band's deal with Atlantic Records broke during the voting period. I voted for Bloodcow.

DJ: Brent Crampton is recognized as the guru of local house/club music, and he'll win it again this year. And I voted for him.

Ethnic / World Music: It'll probably go to Rhythm Collective, whose name seems to pop up a lot these days. I voted for The Turfman, which has been one of the best ethnic (and true folk) bands in Omaha for decades.

Gospel: Either Salem Baptist or Sacred Heart choirs will win, as they should. I voted for Salem Baptist.

Hard Rock / Metal / Punk: A poorly named category since there already is a Hard Rock category, Emphatic will feel stupid picking up two trophies for the same category. I again voted for Bloodcow, who wouldn't mind at all picking up two trophies.

Hip Hop / Rap: Could go to El Genius. I voted for Conchance, who emerged last year as one of the most creative musical acts in the area.

Jazz/Standards/Easy Listening: It's sad that anyone would include "Jazz" with "Easy Listening" in a category name. But because they did, Heidi Joy will win, thanks to her immense fan base. I voted for Luigi, Inc.

Soul and R&B: Considering that he's playing at the OEAA ceremony, it will probably be Lucas Kellison. I voted for Son of 76 & The Watchmen.

Rock: Again, a shitty category name. Is it supposed to mean "generic rock"? Regardless, I voted for Box Elders since they had the biggest growth last year. I also think they'll win as people will ignore Cursive due to their success (I know, it makes no sense).

Cover Band: The dumbest category of the OEAA's. You don't see the Grammy's handing out awards to cover bands. Regardless, Secret Weapon will win this. I voted for Zeppelin tribute band The Song Remains the Same.

Best New Artist: It's True will win and It's True got my vote.

Album of the Year: Based on their fan base and the fact that they open for just about every other band's CD release show last year, Black Squirrel's Paying for your Pleasure will win. I voted for Cursive's Mama, I'm Swollen, which was one of my favorite albums of '09.

Tickets to the OEA Awards Show are $20, or $30 with dinner, and are available via Ticketmaster or at the MAC box office. The reception starts at 4:30, the actual show starts at 6 p.m. this Sunday, Jan. 24.

* * *

As I wrote about (here), the Waiting Room will have its true Grand Reopening tonight with a free show featuring Little Brazil, Little Black Stereo, Ground Tyrants and Kyle Harvey. Show starts at 9. Prepare to be amazed.

Tomorrow night the first touring band will perform at the newly remodeled Waiting Room, and it's a doozy -- afro-beat dancemasters NOMO with Satchel Grande. $10, 9 p.m.

There's a ton of other stuff going on this weekend:

Tonight at The Barley St. Tavern, Our Fox (Jake Bellows & friends) take the stage with Ember Schrag. $5, 9 p.m.

Tomorrow night, fIREHOSE tribute band Brave Captain plays at The 49'r with Dragon Vomit. $5, 9:30 p.m.

The Life and Times are playing Saturday night at Slowdown Jr. with Techlepathy and At Land. $8, 9 p.m.

Spiders for Love are at O'Leaver's Saturday with The Sharks and The Biotomic Point. $5, 9:30 p.m.

--Got comments? Post 'em here.--

Inside the remodeled Waiting Room (sneak peek tonight); The Mynabirds sign to Saddle Creek; Fortnight tonight…

2010-01-21T11:00:00.000-08:00

Just placed online (right here), a feature story about -- and photos of -- the newly remodeled Waiting Room Lounge. Marc Leibowitz talks about what went into the refurb and why he and partner Jim Johnson did it. I can tell you with all certainty that if you've been to the Waiting Room before you're going to be impressed with what you see when they reopen tomorrow night.

My only gripe: The new curtaining system effectively takes away my favorite spot to watch a show -- from off stage left. You'll no longer have access to that area, as the new curtain (which doesn't arrive for a couple months) will cover the floor from the stage all the way to the green room door. The area off of stage right also will be covered. Leibs says bands don't like people standing off the edge of the stage (or as he said, they hate to "play in the round."). The curtain will also cover all the equipment that's usually stacked off to the side. It'll also make the stage seem bigger, though it isn't. I was surprised to hear that The Waiting Room's stage is larger than Slowdown's stage, but smaller than Sokol Underground's stage -- just more evidence that I could never be a structural engineer. Anyway, read the article and check out the new Waiting Room yourself tomorrow night or Saturday when NOMO takes the stage.

Can't wait that long? One Percent just announced that it's having a "soft opening" tonight featuring It's True. The doors open at 8 pm. and It's True plays sometime after 11 p.m. And it's free (21+ only).

* * *

Saddle Creek Records announced its first new signing for 2010 yesterday. The label will be releasing on April 27 the full length debut by The Mynabirds, What We Lose in the Fire We Gain in the Flood. The Mynabirds is a new project by Laura Burhenn (ex-Georgie James) whose members also include Dan McCarthy of McCarthy Trenching.

* * *

Other shows tonight include Fortnight at Slowdown Jr., as part of their free Thursday night showcase series. Joining them are The Answer Team and John Klemmensen and the Party. Starts at 9. Also tonight, Fine Fine Automobiles (a.k.a. Landon Hedges of Little Brazil) is playing at The Barley St. Tavern with Watching the Trainwreck, The Gasams and Above the State. 9 p.m., $5.

--Got comments? Post 'em here.--

Column 255: Jay Reatard & The Niner; It's True heads to SXSW, new full-length on the way; Beep Beep b-bye…

2010-01-20T10:54:00.000-08:00

The following column was written last week. I'm feeling much better now, thanks for asking.

Column 255: The Letting Go
Jay Reatard and the 49'r

I write this at 4 a.m. coming off Percocet and poor sleep after crossing a hill of agony that was abdominal surgery last week.

Three stories burned with controversy in the haze of my midweek absence. First there was Haiti. But that was simply too big to put my feeble mind around. Then there was The Tonight Show Controversy -- Conan O'Brien being laid to rest in the path of a greedy Jay Leno. In the end, who cared? Both would wind up at 10:30 somewhere.

Then there was The 49'r Situation.

There actually were four stories that happened during my sleep. Jay Reatard died somewhere in Memphis. His death was one of the first things I tweeted about after surgery; I felt I needed to since no one was talking about it on the intergoogle. Reatard, who recorded on Matador but has roots in Memphis labels like Goner and In the Red was a fresh new hope for rock 'n' roll, a guy who embraced the simpler style of garage rock; his noisy, shambolic sound somehow made everything new again.

In his wake he pulled along a lot of people, including local folks like Box Elders and Digital Leather and Brimstone Howl and The Shanks. I thought his death was maybe a hoax -- from stories I heard about the guy, it sounded like something Reatard would do. But there is no hoaxing The New York Times, who, in his obituary, called Reatard, real name Jimmy Lee Lindsey, Jr., "a Force in Punk Rock," dead at age 29.

For some reason I thought Reatard's death would spur some sort of Kurt Cobain outcry in the art/music world until I remembered that no one really knew who he was. Let that be a lesson to all of you local rockers who have made a mark (of sorts) nationally. Who will talk about you after you're gone?

Certainly the people who went to -- and go to -- The 49'r don't know who Jay was. Reatard was more of a Brothers Lounge or O'Leaver's sort of guy, though I think he would have liked The 49'r, too.

The bar's demise became public early last week on Facebook via The 49'r Facebook Page (of course), where someone (no one really knows who runs those "fan pages") posted the message: "The rumors you're hearing are true. The 49'r, and surrounding property, has been bought to make way for a CVS Pharmacy. Our doors will close, permanently, next January. Please make this next year the best year the 49'r has ever had."

It was met with an immediate outcry heard low and long over the Internet. Close the Niner? It simply cannot be! It's an Omaha music landmark. Hell, it's a national landmark that has acted as a cornerstone of the Dundee neighborhood!

One fan of the Niner, musician Greg Loftis currently of Montana, Facebooked me asking if its demolition could be stopped. Like a doctor telling a parent that his child has passed, I told him that I thought there was nothing anyone could do. I added that, ironically, it was The 49'r where I had first met Loftis so, so many years ago.

"Yes it was...and yes we did. lllooonnng time ago," Loftis replied. "That is where I learned everything I know about music, learned the rules of seedy underground behavior, made almost every friend I have in Omaha (and some that were just passing through)... I loved that place. I remember the old days (before they took out the juke box and when Dana was in charge) when you could walk down the steps in the afternoon on a summer Monday (when the music kids hung out there), a beer would already be waiting, Landon would ask for a shot (he was 19) Marq would be on the desk computer researching right wing politics and Prince, Kasher would tell you about this new record, The Ugly Organ, he was working on, Bob Thornton would be drinking vodka and explaining to someone why he was smarter than them, Kyle Harvey was losing money working there because he was buying too many drinks... everybody knew everybody and if someone showed up we didn't know they got drunk for free... I once went 47 straight matches undefeated in shuffle board... it was the reason it took Greg Edds like 7 yrs to get out of college, Minturn fell off the roof into the dumpster, I fell off the roof and missed the dumpster, the tattoo shop guys would scare away any frat boys that wanted to come in... Mindy welcomed me to Omaha the first night...Christ that was amazing (get your mind out of the gutter)... I could go on for weeks... this is very sad...the place had changed but I always held out hope it would return to it's glory days... I never dreamed it would close its doors."

Now a new Facebook page has launched, titled "Save The 49'r." Something tells me that the person behind it hasn't talked to owner Mark Samuelson, who will likely see a nice payday for his property, a property that he's owned and operated and poured money into for a long time.

In the end, it's just a bar, like a thousand other bars in Omaha. It just happens to have sat at an epicenter where so much was going on around it. The Niner's glory days from a music standpoint were a long time ago. And while it still hosts bands on weekends, it's nothing like it used to be.

No, we don't need another pharmacy. There is one literally a block away from the Niner right now. But what realistically can be done to stop it? Have the building declared a "national landmark" so it can sit empty and be another blight on Dodge St.? Convince Samuelson to not sell it? Why shouldn't he?

I say, take this final year and enjoy it, remember it, then let it go. In the end, it was just a bar. It wasn't a person.

* * *

It's True has received an official invitation to the South By Southwest Festival in March. This is looking to be a strong year for Nebraska band participation in Austin. In addition, It's True announced that a split 7-inch with Lawrence band Cowboy Indian Bear is being released on Kansas City label The Record Machine. The Nebraska release shows for this vinyl-only outing are Feb. 5 at Duffy's and Feb. 6 at The Waiting Room with Cowboy Indian Bear and Eagle Seagull. That's not all -- the band also said that it secured The Waiting Room on April 30 for a release show for their debut full length. They don't mention who is putting it out, however...

* * *

Beep Beep is having its last show ever tonight at Duffy's. It seems like only yesterday (instead of more than six years ago) that I was interviewing the band for this feature story. And now... gone. Something tells me we haven't heard the last of Eric Bemberger. Playing with Beep Beep tonight is The Machete Archive and Pharmacy Spirits.

Also tonight, The Lepers are playing a set at The Barley St. Tavern. $5, 9 p.m.

* * *

And hey, did anyone else notice that Monotonix has been scheduled to play at O'Leaver's on April 19?

* * *

Tomorrow: A look inside the remodeled Waiting Room.

--Got comments? Post 'em here.--

And the winners are…; Tilly headlines Haiti benefit…

2010-01-19T12:13:00.000-08:00

Well, we got a heckuva response to this year's drawing for a copy of the Lazy-i Best of 2009 Sampler CD -- and I even made extra copies -- but everyone couldn't win. Here are the lucky folks whose names were pulled from my green-and-yellow Speed! Nebraska farmer's cap:

Emily Hiykel, Omaha
Brian Armknecht, Chicago
Jessica Errett, Omaha
Joe Kmiecik, Brookline, Mass
Kelly Murphy, Omaha
Nic Waddell, Eureka, MO
Judy Coleman, Omaha
Andrew Roger, Des Moines
Gary Rosenberg, Omaha
Bill Latham, Austin

The discs will be dropped in the mail tomorrow (probably). Thanks to everyone who entered!

* * *

If you're like me, you don’t know what to do about Haiti. The catastrophe is just too big to get my head around. In addition to the overall devastation, the earthquake shined a new and unforgiving light on the social and economic conditions that existed in Haiti long before the buildings fell.

Needless to say, there are literally hundreds of ways to give money. But yesterday, Val and the folks at Slowdown came up with another -- a benefit concert for Haiti to be held Jan. 28 (that's a week from Thursday). The lineup has been finalized and includes some of the best talent Omaha has to offer:

Tilly and the Wall
It's True
Simon Joyner
The Mynabirds (ex-Georgie James)
Bear Country
McCarthy Trenching
Brad Hoshaw

Tickets are only $15, and all proceeds go directly to Haiti relief. I suggest you get your tickets right now (right here) as this very likely will sell out.

--Got comments? Post 'em here.--

I'm back; Last day to enter…

2010-01-18T12:40:00.001-08:00

So I'm back from my brief medical hiatus, not at full-speed but getting there. It's amazing how much stuff happens when you disconnect for even a couple days. The death of Jay Reatard disturbed me more than I thought it would. I write about it and the 49'r in this week's column (which goes online Wednesday). I keep looking online for more information about his death, but it just ain't there. Here's a story about his funeral (which was Saturday) that appeared in the Memphis Flyer, including a eulogy written by Eric Friedl of Goner Records.

* * *

Well, today's the last chance to get in on the drawing to win a copy of the Lazy-i Best of 2009 Sampler CD. To get your name in the hat, send me an e-mail (to tim@lazy-i.com) with your name and mailing address. It's that simple. I'll announce the winners tomorrow!

* * *

I picked the right time to be taken off my feet. It's been quiet from a show perspective the last few weeks. Something tells me that's all going to change Thursday night...

--Got comments? Post 'em here.--

A brief hiatus...

2010-01-15T01:34:00.000-08:00

...while I recover from surgery...

In the meantime...

Here's another reminder that you've got a week to enter to win a copy of the Lazy-i Best of 2009 Sampler CD. It's my annual best-of-the-best collection, and this year includes songs by Yo La Tengo, Elvis Perkins in Dearland, Box Elders, Micachu and the Shapes, Cursive, Conor Oberst and the Mystic Valley Band, The xx, Digital Leather, Pete Yorn, Peaches, Ladyfinger, The Avett Brothers, Maria Taylor and more. Full track listing is here. To get your name in the hat, send me an e-mail (to tim@lazy-i.com) with your name and mailing address. It's that simple. And considering the number of people who have entered so far, your odds of winning are pretty damn good. Deadline is Jan. 18.

--Got comments? Post 'em here.--

Column 254: Predictions Pt. 3: The Lightning Round…

2010-01-13T09:44:00.000-08:00

A final word on my music predictions as we move forward into 2010: People love them, which is yet another reason why I stretch them out over three columns. For those of you who prefer the compendium version (all three parts together in one friggin' huge article), it's online here.

Column 254: Predictions Pt. 3: The Lightning Round
Music Visions of 2010

Do we really need three weeks of music "predictions"? I'm afraid the answer is yes. I used to knock this out in one 2,500-word article, but The Reader doesn't budget space for that sort of thing anymore unless you write horoscopes, so here we are. If you're coming in late, Pt.1 was a review of my 2009 predictions. Pt. 2 was predictions based on the theme for 2010: Survival in the Time of Music Industry Cholera. And now, onto the "lightning round":

-- Consider it a raising of the white flag -- a well-known mainstream band will give away the digital download of its next album. You'll simply have to log into the band's website and voila, the files will be transferred to your computer and/or iPod. Though the download will be free, you'll still have to pay for the CD version and the limited edition vinyl (as well as the tickets to see the band on tour).

-- Despite the fact that only old people buy music these days, a new kind of record store will open this year that specializes in just that: Records. This small, boutique-style music store will boast the area's largest selection of new vinyl, but also will sell CDs and music-related merch, such as T-shirts, collectibles and other assorted music-related ephemera.

-- The success of Susan Boyle proves that it doesn't matter what you look like or how well you sing, anyone can be the next American Idol. All it takes is YouTube and a crush of publicity. With that in mind, watch as record labels scour the globe (or reality television) for the next Elderly Idol -- some unassuming, unemployed fat guy or a recently divorced housewife -- anyone with a shred of talent who appeals to aging baby-boomers who still buy CDs.

-- Three years ago, it was MySpace. Then it was Facebook and Twitter. This year, look for yet another new social media service that will eclipse both of those fossils. This one will be optimized to allow for easy, instant (and legal) distribution of online music, revolutionizing how musicians and fans access "music content" on portable devices, while also providing yet another way to tell our BFFs (and anyone else) what we had for breakfast.

-- Omaha dived into music festivals in a big way last year; with every swinging dick putting together a night of shows and calling it "an event." This year you'll see fewer "festivals" in Omaha, with one pushing ahead of the pack. The Maha Festival could finally become the event the organizers dreamed it could be, that is if they get the right line-up. Find out July 24 down at Lewis & Clark Landing.

-- Adding to the annual "Youth Concert" and the July 4th weekend county-fair freedom-rock concert, look for a third major concert event in Memorial Park this year featuring a genuine outside-the-box performer.

-- DJs Rising: Like other big cities, this year you'll begin to see DJs spinning at more and more clubs and restaurants in Omaha. Soon all of us will know at least one person who "spins" somewhere in the metro, even if it's only at Anthony's.

-- Finally, a new all-ages performance space will take hold, becoming this generation's Cog Factory.

-- Who we'll be talking about this time next year: Arcade Fire, Rolling Stones, Radiohead, Liz Phair, Tim Kasher, Of Montreal, Okkervil River, Bright Eyes, It's True, Soundgarden, Prince, Pavement, Ritual Device, Beck, MGMT, Bear Country, Modest Mouse, The Wrens and Sufjan Stevens.

-- Who we won't be talking about: Animal Collective, Susan Boyle, Monsters of Folk, Wilco, Cursive, The Faint, Emphatic, Lady Gaga, Black Eyed Peas, Phoenix, Green Day and Vampire Weekend.

-- UK musician/dope fiend Peter Doherty (Libertines, Babyshambles, Kate Moss) will finally see his problems resolved once and for all.

-- Conor Oberst will break the hearts of thousands of his female (and a few male) fans (I know I said that last year, but it'll actually happen this time).

-- Sick of life on the West Coast and seeing no discernable advantages to living near L.A., a member of a national band we all know will move back to Omaha to be closer to his family.

-- A major national musician will come to Omaha to record his/her new album. But he won't be visiting Mogis' ARC studios; he's headed to Enamel.

-- Watch out SLAM Omaha, a new local online resource will launch in '10 that will act as the definitive arts, entertainment and music information hub, featuring news, reviews and schedules, along with another pointless online discussion forum.

-- Michael Jackson was only six years old when he debuted as a member of the Jackson Five way back in 1964. This year, watch as another 6-year-old raises the eyebrows (and hearts) of an America still mourning the passing of the King of Pop.

-- Back in the day (about 20 years ago) there were a few live music venues located in the midtown/Mutual of Omaha area. Who remembers The Chicago Bar and The Brickhouse? With the development of Midtown Crossing, look for a new live music venue to open among all those restaurants that not only will focus on dance music, but will provide a viable stage for original bands.

-- Forget about Saturday Night Live, Conan, Letterman or network television in general. No one's watching anymore. The next national breakthrough for a local band will come when one of its songs is included on the soundtrack of a major motion picture.

--Got comments? Post 'em here.--

The 49'r's Demise, Box Elders in Buddyhead; The Slowdown's 'Free Thursdays'…

2010-01-11T10:55:00.000-08:00

The big buzz over the weekend was the announcement that The 49'r and its surrounding property has been sold and will be demolished to make way for a CVS Pharmacy, this according to The 49'r Facebook page. The page says that the bar will be open for the rest of the year, and then it's wrecking ball time.

The Niner used to be one of Omaha's primary venues for live indie music, but began ratcheting down the number of live shows back in 2005. It continues to book bands on weekends, and will throughout its final year of operation.

My favorite show at The Niner? There were quite a few. The Street Urchins back in 2004; any show by any of Mike Tulis' bands (The Sons of…, The Monroes, etc.); Gris Gris and The Terminals back in '06; all of the Bad Luck Charm shows... And all of Matt Whipkey's bands had their best shows at The 49'r. The reason: There's no real stage at The Niner, the band plays right up to the tables and that forces interaction, whether the patrons want it or not. It's going to be tough to see this one go, especially for something as unnecessary as another pharmacy...

* * *

Following up on '09, Box Elders' album Alice & Friends made Buddyhead's "Best of 2009" list. Buddyhead has been writing some of the funniest (and meanest) music commentary for a long, long time. Check out their Gossip section.

* * *

The Slowdown is trying out a new "Free Thursdays" showcase, wherein there's no cover charge for an evening's worth of live music. The series kicks off this Thursday with Our Fox and The Mynabirds. Next Thursday Fortnight plays along with The Answer Team and John Klemmensen and the Party.

* * *

--Got comments? Post 'em here.--

Will the real Conor Oberst please stand up?; Another O'Leaver's Weekend (Conchance tonight (canceled))...

2010-01-08T10:52:00.000-08:00

Following up on what was reported here early this morning:

A half-dozen or so online music news sites, including NME and Spinner reported this morning that Monsters of Folk are working on new material. They're making the claim based on a Twitter account titled twitter.com/oberstconor (that shows a profile photo of Oberst smoking a cigarette; the page has just been taken down). None of the sites apparently verified that the Twitter account actually belongs to -- or is updated by -- Conor Oberst. Just a glance at the account and what's been written on it would make anyone doubtful. Then there's the fact that the feeds that @oberstconor is following, such as the @saddlecreek aren't following @oberstconor.

So I contacted Monsters of Folk's publicist Jen Appel of Press Here Publicity and asked if @oberstconor was real. This was her response: "Not him. Also, She & Him are starting to promote Volume Two, thus M. Ward is not working on MOF things at this time."

No surprise here. Anyone who has been following Oberst over the years knows that he doesn't participate in these kinds of thing, preferring to let his music speak for itself. He rarely even does interviews anymore (I haven't interviewed him since Cassadaga came out). Twitter seems out of the question.

What is surprising is that music pubs like NME would run the information without verifying it with: 1) Oberst's or Monster's of Folk's publicists, 2) Shangi-La Records, 3) Anyone.

Twitter has taken steps to try to prevent impostors tweeting under other people's names. Their "verification" checkmark, which you can see @lancearmstrong, for example, is among those efforts.

FYI: As of lunchtime, NME took the story down, but it lives on at sites like clashmusic.com (story here), spinner.com (story here), and strangeglue.com (story here). Ah, the Internet...

* * *

It's looking like it's going to be an O'Leaver's weekend. ~~Tonight at everyone's favorite concrete bunker is Slumber Party artist Conchance with Terrior Bute. $5, 9:30 p.m~~ THIS SHOW HAS BEEN CANCELED.

Then tomorrow night at O'Leaver's, Little Black Stereo takes the stage along with Matt Cox Band, Why Make Clocks and Bazooka Shootout. $5, 9:30 p.m.

Of course those shows are always dependent on weather issues. Last night's Hubble show, for example, was canceled.

This weather is, indeed, wearing thin...

--Got comments? Post 'em here.--

Monsters of Folk BS...

2010-01-08T08:15:00.000-08:00

That Monsters of Folk article in NME (here) that's being picked up by a lot of online music sites is complete bullshit. I just confirmed with the band's publicist that twitter.com/oberstconor is an imposter. More at lunch.

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Who is Doom Town Records?; Hubble tonight...

2010-01-07T11:30:00.000-08:00

I got a bit of a surprise this morning. I checked my e-mail, then checked various websites including the Lazy-i webboard, where I found a new thread titled "Doom Town Records." The message announced the release of a 5-song EP by Baby Tears, the new band that features among its members Ethan Jones (ex-Ladyfinger). Clicking through to doomtownrecords.com I discovered that this new label also will be releasing that amazing new Perry H. Matthews LP that I mentioned a few weeks ago that was recorded by Joel Petersen at Enamel. That's not all. DTR also is rereleasing a couple out-of-print singles by Church of Gravitron.

So who is Doom Town Records? A quick search on whois.net revealed that the site's domain name (i.e., url) belongs to Ethan Jones, which doesn't mean that DTR is his label, only that he purchased the label's domain name. Maybe someone from DTR will let us know the skinny?

* * *

Tonight at The Sydney, space-rockers Hubble will be playing with John Klemmensen and The Party and Agronomo. $5, 9 p.m.

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Column 253: Visions of 2010, Pt. 2...

2010-01-06T11:04:00.001-08:00

Before we get to Pt. 2 of the three-part "predictions" columns, a few words of wisdom: There's nothing wrong with making money. I've said it before and I'm saying it again. It needed to be said before I sent you onto the column, because there are those out there that think that "making money" is a dirty, selfish thing, especially when it comes to anything associated with art and music. It's not. There's nothing wrong with making a living. In fact, there's nothing wrong with making a lucrative living. So when I say that some bands will begin demanding to get paid to play and that venues will start raising ticket prices, the comments aren't "negative" or made out of spite. Commerce is essential for art to exist.

Bands, if you value the music you're making, then you should demand to get paid for it (unless music is merely your hobby). Venue owners, if you feel a band's music can help you make money, you have the option to pay the bands to get them to perform on your stage.

Conversely, if a band feels that its music is worthless, then by all means, play for free. Venue-owners, if you feel a band's music can not draw people into your establishment and/or make you money, then by all means, don't pay them to play on your stage (or, if you like, charge them).

But, if a venue owner is unwilling to pay a band that can draw a crowd, it's the band's perogative to refuse the gig. No one is holding a gun up to anyone's heads.

Column 253: Visions of 2010, Pt. 2
Sage music predictions of the year to come...

The biggest change of 2010 will be in how bands and musicians react to the continued demise of the music industry. Dreams of living off CD sales have become just that -- merely dreams with no bearing in reality. And that means everyone -- including the local high fliers -- have to figure out ways to better leverage their performance income.

So, Prediction No. 1: In 2010, local bands will become more insistent than ever about getting paid for gigs, and it's a long time coming. While the army of hobbyist ensembles who are "just happy to be able to perform on a stage" will continue to roll over and lick their nuts for any venue owner willing to put a microphone in front of their mouths, the real bands and performers who have invested long hours and lots of dollars on the road and in the studio no longer will be willing to "suck it up" and play for free or for next to nothing so that the clubs have something to draw people through their doors to buy their booze. With fans no longer buying their CDs, bands will have little choice but to insist on getting paid to play if they want some sort of income for hanging their asses out on stage every night.

Prediction No. 2: As a result of venues (both locally and around the country) being unwilling to knuckle down to those demands from unproven acts, the number of local bands will begin to dwindle. Many long-time stalwarts of the scene that have been struggling to break through the waves will finally realize that it just isn't worth it, and that maybe it's time to get on with the rest of their lives.

Prediction No. 3: The serious touring indie bands that can draw hundreds to their shows also are seeing their CD sales dwindle to almost nothing. As a result they will either charge venues higher guarantees or bypass towns like Omaha altogether, assuming that not enough people will show up at their gigs to make it worth their while.

Prediction No. 4: Being forced to actually pay the "good" local bands and pay higher guarantees to touring acts will put more strain on venue owners who have been trying to eke out a profit during these tough economic times. As a result, the number of live music venues will continue to dwindle all over the country, including in Omaha, where the serious options will boil down to The Slowdown and The Waiting Room.

Prediction No. 5: Despite having fewer venues, there still will be plenty of good, young, unproven touring bands looking for a place to play. This will spawn an increase in "alternative venues" like we saw in the '90s, when social halls and what were essentially practice spaces became options for one-off shows. You'll also see a rebirth of a serious house-show circuit.

Prediction No. 6: Ticket prices will continue to rise at local club shows. If the $7 ticket became the new $5 ticket three years ago, the $9-$10 ticket will become the new $7 ticket. And $20 to $25 ticket prices for the next-tier acts will become commonplace. Considering what it costs to see a movie these days, $10 is a value for a night's worth of original live music. Besides, someone has to pay those higher guarantees.

Prediction No. 7: Ultimately, there will be fewer indie shows booked in Omaha next year, but they will be better shows.

Prediction No. 8: Conversely, ticket prices for huge national touring acts at arenas like the Qwest Center will actually go down, driven both by the economy and the bands' desire to get butts in seats so they can peddle their $100 T-shirts and other assorted non-CD-related merch.

So, to summarize: there will be fewer bands overall, and all of them will be trying to get paid more to play in fewer clubs that will be booking fewer shows but with better national bands playing at a higher ticket price.

Extend that beyond the clubs and you'll see fewer record labels with fewer bands recording fewer albums. But despite that, I still think local recording studios will be just fine, even though cheap, high-quality home-studio options are more available than ever. There always will be someone willing to invest in serious recording, understanding that it's the price of admission if they want to get to the next level (whether that level exists or not).

Overall, the slow demise of the music industry will continue to impact every community in the country just as it impacts ours. But there is a wildcard that could change everything in a heartbeat.

All it takes is another Conor to break through. Because every scene needs a prophet to lead it; someone to give musicians' hope that it could happen to them, too. Well, it's been about a decade since any Omaha band has broken through the way the core Saddle Creek bands -- Bright Eyes, The Faint and Cursive -- broke through nationally, and people are beginning to give up hope that it'll ever happen again.

If in 2010 another music prophet emerges from the Omaha music scene and becomes a national focal point, everything will change, for the better. Prediction No. 9: It's going to happen. But who will it be?

Next week, the final chapter: Predictions Pt. 3 -- The Lightning Round.

* * *

No shows tonight. Again. Ah, but there's something going on tomorrow, if we're not trapped in our homes...

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Holiday catch-up; Lazy-i on Worlds of Wayne (again)...

2010-01-04T10:28:00.000-08:00

Welcome back to the working week; say 'hello' to 2010. The office has been kind of empty without you. It's nice to have you back. If you haven't been to Lazy-i throughout the holiday, you've got some catching up to do. I'll make it easy for you. You can either scroll down and read all the past entries, or check out these convenient links. We've covered a lot since you've been gone, including:

-- The Year in Music 2009 (complete with various top-10 lists)
-- Visions of 2010, Pt. 1 (a recap of the 2009 predictions)
-- The Best of the Decade (that ain't over yet)

Along with various and sundry live reviews of shows that took place over the past two weeks. Catch up on your reading. We'll wait...

We've also been running a contest in your absence. Enter to win a copy of the Lazy-i Best of 2009 Sampler CD. It's my annual best-of-the-best collection, and this year includes songs by Yo La Tengo, Elvis Perkins in Dearland, Box Elders, Micachu and the Shapes, Cursive, Conor Oberst and the Mystic Valley Band, The xx, Digital Leather, Pete Yorn, Peaches, Ladyfinger, The Avett Brothers, Maria Taylor and more. Full track listing is here. To get your name in the hat, send me an e-mail (to tim@lazy-i.com) with your name and mailing address. It's that simple. And considering the number of people who have entered so far, your odds of winning are pretty damn good. Deadline is Jan. 18.

* * *

Yesterday (yes, just yesterday) I spent the lunch hour at the home of Wayne Brekke talking into a microphone about the year that was 2009 for the latest episode of his wonderful Worlds of Wayne podcast. Wayne's already edited the conversation and placed it online for your listening pleasure, right here. We talked about the best music and shows of '09, and even had a friendly, heated back-and-forth about songwriting rights and the Omaha Entertainment and Arts Awards, though neither conversation may have made it to the final edit. I'll never know because my ongoing phobia regarding hearing my own recorded voice will likely prevent me from ever listening to this specific episode. But you can, and should. Do it.

* * *

With The Waiting Room closed for renovation and bands generally not touring because of the time of year (Who wants to drive a van in sub-zero, ice-packed conditions?), there aren't many shows looming on the horizon. Something tells me it's going to be a long, cold January...

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The Waiting Room's last show ('til Jan. 22), Filter Kings, Broken Spindles tonight; wanna buy a music venue?

2010-01-02T09:26:00.000-08:00

So here's the deal with The Waiting Room, as told to me by the proprietors -- Jim Johnson and Marc Leibowitz: Right after the bar closes after tonight's show featuring Filter Kings, Broken Spindles, Black Squirrels and The Bruces, a small crew will begin clearing out the place in preparation for the venue's interior demolition, which begins tomorrow.

In essence, the ceiling throughout the entire venue will be "raised" to the same level as the ceiling in the main stage area. That means all of the existing ceiling everywhere else -- and whatever's above it (including a small room) -- will be ripped down to expose the building's true ceiling. Some of the interior walls also will be demolished, opening the sight-lines for the entire space from the bar forward. Johnson told me that the demolition will be full effect on Monday.

After everything is torn down, the new opened-ceiling room will be refinished with the necessary electrical and ventilation and everything else that needs to be done to make the room usable. Johnson told me a new drop ceiling will be installed over the entranceway area that will open up to the full room. The bar area also will see some enhancements, and the rest of the venue's walls will either be recovered or repainted. In other words, you're not going to believe what the place looks like when it's done.

Or sounds like. As part of The Waiting Room's "facelift," the stage's PA will be enhanced, with the speakers hung from the ceiling (or "flown") similar to how the PA is hung from the ceiling of The Slowdown's main-stage room. That, along with the removal of the old ceiling, will completely change the venue's acoustics.

The plan is to have the entire project completed by Jan. 22, when the bar reopens with a free, all-locals show featuring Little Brazil, Little Black Stereo, Ground Tyrants and Kyle Harvey. The following night, afro-beat rockers NOMO returns with Satchel Grande.

It's a hugely ambitious plan. So ambitious that I'm afraid they'll be wheeling Johnson out on a stretcher when it's all done. But in the end, he and Leibowitz will have the music club that they've always dreamed of. The renovation of The Waiting Room represents a substantial investment not only in the local music scene but in Benson, helping galvanize the district as the Omaha music community's "ground zero."

In the mean time, it also means slim pickin's in terms of shows throughout most of the month of January. In addition to The Waiting Room being closed, there aren't that many shows booked at The Slowdown. It's going to be a long, cold January, folks, but it'll be worth it.

* * *

Speaking of "closings," my only venture out on New Year's Eve was to The Saddle Creek Bar, where a handful of local punk bands including The Upsets (see photo) took the stage for the venue's "last waltz." Afterward, the bar closed for good. Only the drive-thru remains open as its "going out of business" sale continues. Mike Coldewey, the guy behind The Saddle Creek Bar, is moving to Chicago in a few weeks. Who knows what will happen to the building, which holds a unique place in the history of the Omaha music scene. The property is being handled by NP Dodge, and there's a listing online here that shows an asking price of $350,000, which includes the property, the 9,164 sq. ft. bar and drive-thru liquor store. Or you can buy the business without the real estate for $65,000.

I, for one, will miss the Saddle Creek Bar. Despite being vilified for his perceived role in the creation of Omaha's all-ages music ordinance -- and for his tell-it-like-it-is communication style -- I liked Mike Coldewey and wanted to see his bar succeed. The reasons were strictly personal -- a strong music venue/restaurant would have strengthened a neighborhood that has its share of crime and economic problems. And also because the bar is less than a mile from my house.

But it wasn't to be. The biggest crowd that I ever saw at the Saddle Creek Bar was when The Good Life played there back on Dec. 21, 2006. The rest of the time I rarely saw more than a handful of people in the club, as Coldewey couldn't get the bigger-drawing local bands to play there either because of his reputation or the reputation of the venue's sound system.

I still believe that the bar could be a success due to its location and its size. I've talked to a number of touring bands who said the SCB sort of reminded them of The Bottleneck in Lawrence, and I can see that. My fear is that the property will be sold, the venue will be demolished and storage units or some other abomination will be constructed there. And that will be the end of it.

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