Look for a review of last Friday's Tilly and the Wall/Conor Oberst concert as part of this week's column, which means it'll be online Wednesday. Until then, feast on a couple photos taken at the event via my iPhone:

Here's Tilly doing their thing in front of the rather huge mob. I didn't get the numbers, but it seemed like the crowd was as big or bigger than last year's Conor Oberst Anchor Inn show. Though they hadn't played since last August, Tilly sounded as tight as I've ever heard them.

Here's a shot of Conor and Co. Conor's the one wearing the crazy oversized Amish hat, which made him look like the boy Samuel from the film Witness. Where's Harrison Ford when you need him?

More later.

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Our friends from Speed! Nebraska sent out a message this morning reminding folks that the race registration deadline for the Speed! Nebraska Adult Soapbox Derby at Seymour Smith Park is Wednesday, July 1.

Race details and registration materials are located here. The actual race is July 18 starting at 11 a.m. All proceeds benefit The Special Olympics.

And to commemorate the event, Speed! Nebraska is releasing the Soapbox Riot 10", featuring racing songs by Wagon Blasters, Filter Kings, Mezcal Brothers, Domestica, The Third Men and Ideal Cleaners. The vinyl will drop July 18, and likely will be available at the race or at the after-race concert at O'Leaver's that evening. That show will feature Filter Kings, Wagon Blasters, The Third Men, Domestica and The Sons of Soapbox Derby. More details at the Speed! Nebraska website.

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I hate to be the bearer of bad news, but Michael Jackson died yesterday.

Even in an indie haunt like The Slowdown, there was an underlying buzz about MJ's passing last night. The discussion: Will another music performer ever reach the same heights of global deification as Jacko? In this new world of multi-media multi-channel multi-message communication, the answer is no. You've seen the last King of Pop. There is no room for royalty in a musical democracy where anyone can listen to anything anytime.

Jackson first and foremost was a performer. Unlike Springsteen or Prince or The Beatles, he wasn't known as a musician and he only wrote about a third of his songs (which included some of the best tunes on Thriller). Elvis was a performer. Sinatra was a performer. And though American Idol is designed to generate more and more performers, we'll see fewer and fewer, and none that will equal the stature of those who came before them.

So here's my question: When Dylan's time comes, will he get as much attention as Jacko is now? I doubt it.

Actually, there is a new King of Pop, and his name is The Stay Awake. I'm sort of kidding (really?), though last night's set by The Stay Awake in front about 50 at Slowdown Jr. was the closest this trio has come to making pop music. Their typical style is a ferocious wall of guitar, bass, drums, feedback and screaming, delivered with all the subtlety of a knee to the groin. The music is throbbing, jittery, staggering, at times hypnotic, but always ballistic and rarely boring. But last night there was even more of a throbbing vibe to their set; it seemed less random, more organized. It's as if they've begun to evolve from a rhythmic, mathy noise collage band to something more…musical. And I like it. Kings of Pop indeed. (see action photo).

Deleted Scenes, a four-piece from the District of Columbia (see photo), played songs from their new album, Birdsheed Shirt, none of which I recognized. In fact, the band didn’t sound anything like their record, which is much more mannered and straight-forward than what I heard from stage. Part of the problem was the sound mix -- it was way too bottom-heavy, too bassy, and that bass crushed everything in its path. Still, an interesting set, but not as interesting as their quaint, trippy pop record.

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Tonight Conor Oberst and the Mystic Valley Band play again at The Anchor Inn. Those of you wondering whether it's worth it, here's a detailed review of when the band played at the Anchor Inn last September. It was a blast, and it's likely going to be a blast tonight even if there aren't any fireworks. Opening the show are Tilly and the Wall, Deep Sea Diver and Michael Runion. We all know Tilly. I have no idea who the other two are. Show starts at 8 and is $20.

Of course, also tonight is the annual concert in Memorial Park, this time featuring The Guess Who, Grand Funk Railroad, and the main attraction -- fireworks. The show starts at 6 and please don't park in front of my house. Thanks.

Afterward, you may want to swing down to The Sydney for a punk rock extravaganza featuring Pornhuskers, Blood Cow and Coffin Killers $5, 9 p.m.

Also tonight, O'Leaver's is hosting No Blood Orphan with Matt Whipkey and Ashley Raines. $5, 9:30 p.m.

Tomorrow night (Saturday) Brooklyn band White Rabbits is playing at Slowdown Jr. The band's new album was produced by Britt Daniel of Spoon. Also on the card, The Subjects and Little Black Stereo. $8, 9 p.m.

The Dinks return to O'Leaver's Saturday for an eclectic show that includes The Lonely H and Western Electric. $5, 9:30 p.m.

The Sydney has Mal Madrigal and the horribly named Box of Baby Birds (from Chicago). $5, 9 p.m.

And Led Zep tribute band The Song Remains the Same returns to The Waiting Room with rock karaoke band Girl Drink Drunk. Here's your chance to climb on stage and do your best MJ impersonation. $7, 9 p.m.

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

The following appears in the current issue of The Reader. The best song on the album, btw, is the second to last one: John's ode to Amy Winehouse...

John Klemmensen and The Party, Advanced Hedonism (Slo-Fi Records) -- Klemmensen is a staple of the Omaha music scene, both for his solo work and work with bands such as Landing on the Moon and Satchel Grande. Once you've see him, you'll never forget him. On this solo effort, Klemmensen channels his inner-Dave Matthews (or Van Morrison) for an album's worth of songs that dissect a relationship from start to finish, but mostly finish. Klemmensen has no qualms about letting you peak inside his broken heart, but all too often his words are taken from arm's reach instead of digging from a darker place. We know you loved her, John; now tell us what really happened. Musically, this is warm, acoustic singer/songwriter fare with vocal lines that tend to follow the chord progressions rather than their own path. Horns (from Klemmensen and Satchel bandmate James Cuato) add some much-needed swing, especially on acoustic rocker "Dotted Line" and the loungy "Late at Night." Lazy-i Rating: Yes. The Reader Rating: 3 stars.

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There are three pretty solid shows going on tonight. On top of the list for me is DC band Deleted Scenes at Slowdown Jr. Their latest record, Birdseed Shirt (on What Delicate Recordings), got a nice little 8.0 rating from indie tastemakers (for better or worse) Pitchfork. The band is indeed distinctly indie in that their style is all over the place but clearly rooted in solid, groovy songwriting. Check out some of their stuff on their Myspace page. They've also got a tape out on Omaha label I'm Drinkin This. Your $5 cover charge will also get you music by two of Omaha's best post-punk/noise rock bands: The Stay Awake and Techlepathy. Show starts at 9.

Also tonight, God Sham God (formerly Prostitute America) plays at O'Leaver's with Daughters of the Sun. $5, 9:30 p.m.

Finally, a band that sneaked in under the radar but that's beginning to make an impact -- The Answer Team -- is opening for Paria at The Sydney. $5, 9 p.m.

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Brief culinary detour: Last night I went to Wohlner's for dinner (for the first time) and had what easily was the best French Dip sandwich that I've ever eaten. I'm not kidding. Look, over the years I've eaten a lot of French Dip sandwiches from literally all over the world. They all paled in comparison to the delicacy that was served to me at Wohlner's last night. 5 stars.

Now, back to the music...

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

Mystic Valley Band bass player Macey Taylor said among his options after this summer's touring is rejoining his sister, Maria, on the road. "I'm still hoping to do some more stuff with her in August," he said. "Yeah, I miss her. I recorded on her last record (Ladyluck) and am going to go back and play with her when I can." What a nice brother...

Column 227: Knowing Conor
Mystic Valley Band's Macey Taylor talks Oberst.

Conor Oberst isn't doing interviews these days, at least not with me or other small writers at small publications like The Reader.

The slight isn't a personal thing, it's just the way he's handling the press for this Mystic Valley Band project. If you've seen One Of My Kind, the hour-long documentary about the making of the band and their first album, you know that Mystic Valley was a spur-of-the-moment attempt to break free from the way he'd been doing things for years as Bright Eyes. The results are obvious to anyone who's followed both of bands. Mystic Valley is looser, more direct, less introspective. It's like a long drunken weekend spent with your old high school buddies vs. Bright Eyes' trip to the confessional where Oberst's sins are spoken to a stranger through a mesh screen while his family stands right outside the door.

So when it came time to write something in support of the Mystic Valley Band show this Friday at Anchor Inn I was told by his publicist, "No Conor, but you can have Macey."

Macey is Mystic Valley Band bass player Macey Taylor who also performed with Bright Eyes on the Cassadaga album and tour, and who just happens to be the brother to Oberst's former girlfriend Maria Taylor. It was through their relationship that Macey first met Oberst.

"He was visiting my family with Maria and we were just hanging out," Macey said from the pool in the back yard of his mother's house in Birmingham, Alabama. "We just sat on the floor and started playing some songs with Maria."

Macey said Bright Eye's '07 tour was like "being asked aboard this big, huge warship."

When I did the Bright Eyes tour, it was such a huge body of work that they chose from and played," he said. "The first time on tour with (Mystic Valley Band) we drew from 10 songs Conor wrote, and we only played that stuff. That's what set it apart in a lot of ways."

The other difference with Mystic Valley was the lack of Mike Mogis. "Obviously Mike's presence is one of the strongest parts of Bright Eyes," Macey said. So who fills the Mogis void? "In the studio, Andy Lemaster is a huge help, though we all kind of try to help produce. So in that sense, Andy is. But on stage, I wouldn't say that someone is filling the void of Mogis. That's another main difference between the bands."

So far the Mystic Valley tours have seen mostly highs, but there have been some lows, especially in the beginning. "We had our best show and worst show back to back," Taylor said. "We played this private thing in Los Angeles because Jason (Boesel, drummer) and Nik (Freitas, guitar) live there and set up a show for their friends at the R Bar. It was a clusterfuck, just too many people. We played late and got drunk and ended up hiding in the bar's kitchen. The next day we played at The Troubadour and that was really our first good performance. It was still very early on in the band."

If spontaneity defines the Mystic Valley Band, it also defines its future. Taylor said they have plans together throughout the summer, but nothing after that. "It's casual where it wouldn't be a big deal if we wouldn't do anything or if we did," he said. "It wasn't a big deal to start it. It just happened, and that's the attitude to have. I'd say we most likely will continue to try to do something. It depends on what's going on. We could play here and there, but it would never be a busy, main thing. Both Taylor (Hollingsworth, guitarist) and Jason have records coming out this year."

Then there's the just-announced Monsters of Folk project that will reunite Oberst with Mogis along with M. Ward and Jim James of My Morning Jacket. Their new album is slated for release Sept. 22 on LA label Shangri-La Music.

And what about Bright Eyes? Interestingly, Taylor said there "could be a crossover" between Bright Eyes and Mystic Valley. In fact, the grinding psychedelic headtrip and centerpiece of their current live show, "Roosevelt Room," originally was a Bright Eyes song.

"We played it with Bright Eyes," Taylor said. "When we recorded it for Outer South (Mystic Valley's new album), we were interested in getting Mike (Mogis) to come down and record the guitar part on it, but he was busy and didn't really want to. When we played it, it wasn't that much different than how Bright Eyes did it. Mogis added a different attitude, but Tayor (Hollingsworth) goes crazy on it. It's kind of a jammer song, where toward the end everything could fall apart."

As our phoner came to a close, Taylor described Oberst as an everyday Joe who just happens to be a helluva songwriter. "He's never really gone past what's in his heart and gut," Taylor said. "He's stayed with the people he's worked with, the team players -- not the big music industry people, and that's different.

"Conor exists in his own bubble, and he doesn't play attention to a lot of this. He doesn't listen to critics and businessmen and whatnot, and it's the same way for the people that surround him. And that's a good way to stay."

Conor Oberst and the Mystic Valley Band plays this Friday, June 26, at The Anchor Inn with Tilly and the Wall, Deep Sea Diver and Michael Runion. Tickets are $20.

Tonight at O'Leaver's it's Fromanhole with Chicago band Bear Claw and Italy's Three Second Kiss. The out-of-towners will be joining up with Shellac on tour after this O'Leaver's gig. (Come on, Brendan, don't tell me you couldn't get Shellac to play here). $5, 9:30 p.m. Across town at The Barley St., John Klemmensen and The Party headlines a show that also features Bright Light Forever and By Sunlight. $5, 9 p.m. Finally, at The Waiting Room Black Squirrels play with Sarah Benck and the J.J. Wills Band. $5, 9 p.m.

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

Here's a little something I wrote for The Reader about the Au Revoir Simone show tonight at The Waiting Room:

The new album by Au Revoir Simone, Still Night, Still Light, was sent to me via the interweb. There was no artwork save a picture of the album sleeve. No photo of the trio's members -- Erika Forster, Annie Hart and Heather D'Angelo. But as I listened to their sad, sweet music -- a swirl of keyboards, synthesizers, sequencers, drum machines and their heavenly voices -- a picture formed in my minds' eye. I imagined not three girls, but one -- rail-thin, not a super model, but still remarkably pretty in a way that every guy thinks was designed especially for him. Quiet, smart, unassuming, unpretentious, funny when she decides to speak up, but saving the best stuff for when she's alone with you, in the back of a taxi cab, standing in line to get into a show, flipping through album bins at the record store, her eyes cutting right through you, breaking your heart, because in the back of your mind, you know it will never last.

Opening is UK singer/songwriter Findlay Brown. Tix are $10, show starts at 9.

Also tonight is the return of Matthew Sweet, this time at The Slowdown. Last time I talked to Sweet was way back in October 2004, when he was playing at Sokol Underground supporting his then-new album Living Things. Since then, he's worked with Susanna Hoffs of The Bangles on an album of covers as well as 2008's Sweet Sunshine Lies on Shout Factory. My hats off to him for doing what he's done all these years. Opening is the golden pop stylings of The Third Men. $15, 9 p.m.

Tomorrow: Macey Taylor

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

The organizers of last weekend's Lincoln Invasion festival have to be somewhat satisfied with the way the event went down. LI organizer Jeremy Buckley said they sold around 150 wristbands on the first night. Ultimately, bands probably took home around some cash. Friday night seemed more crowded than Saturday night. Neither night was a crush mob anywhere, though there was at least 50 people in Barley Street during Triggertown and around 75 in PS Collective during Columbia vs. Challenger.

Here's a recap of both nights:

For me, the best performance Friday night was the first one of the evening -- Triggertown at The Barley Street Tavern. I love this band, and so did Teresa, who would have been happy to just listen to them all night (She wasn't happy when we had to leave before their set ended to catch another band). I don't know how you define "traditional bluegrass," but Triggertown must come pretty close. The band includes an upright bass, a couple guitars, fiddle and a guy sitting playing what looked like a lap steel guitar (I couldn't see what it was). There was no drummer, which I guess follows the bluegrass rules. Still, Triggertown's sound isn't buried within bluegrass conventions. They have an infectious, twangy, acoustic rural style, with gorgeous harmonies and a sassy little fiddle player that would make anyone smile. Here's a blurry photo of the action.

Like I said, I hated to tear myself away from their set, but I didn't want to miss The Machete Archive at TWR. I tweeted Friday night that their sound was "electric prog rock instrumental power trio w/amazing hair solos," and that about sums it up. I wouldn't call them "metal" as their sound isn't evil enough for that sort of thing. Instead, their music was all about rhythmic precision, violin-like guitar tone and that crazy-ass bass player and his amazing afro (Whipkey now has competition in the "best hair" department) who was impossible not to watch. He also was the featured "whistler" on a song that was the highlight of their set. See pic.

Next it was down the street for Lucas Kellison and the Assembled Soul at the PS Collective. Buckley said they forgot to hire a sound guy for that room, and it showed -- it sounded bouncy and hollow for music that was more "lounge" than "soul."

I strolled back over to TWR for about 15 minutes of Ideal Cleaners -- they sounded big and huge and angry. Very nice. See photo.

Then it was back to Barley Street for Pharmacy Spirits. I'm listening to the band's self-released album of demos called Teen Mindwash right now, which I picked up at the show for $5 (get one if you can). They remind me of Boys-Don't-Cry-era Cure mixed with New Order and a smidge of Pixies. I point to their bouncy bass style/ tone, which sounds as if it was lifted directly from the British Isles circa 1980. I like frontman Jim Reilly's voice better here than in Beep Beep, but I wish he'd sing closer to the microphone -- I was having a hard time hearing him. In fact, I could have used a ton more of both guitars in the mix. While I'm making suggestions -- don't do a thing to the drums, they're perfect -- simple, crisp, the epitome of '80s post-punk percussion. I want to see this band on a larger stage, with a larger set-up -- it will either ruin their sound or take them to the next level. One more thing about Pharmacy Spirits -- they do something that no other bands seem to do these days -- they find a groove and exploit it for two, three, four minutes per song, and I could listen to it all night. (Another crappy photo)

The first night ended with The Show Is The Rainbow at TWR -- Darren Keen, his guitar, his laptop and his video, playing to around 75 dazzled fans. He said he had to cut his usual set short due to computer problems, and instead ended with three or four songs sung only with guitar. Among them was a new one designed to be a comment about his recent dealings with Saddle Creek Records, which (in the end) turned out in his favor, though that wasn't exactly reflected in the lyrics. There was a couple others that he said were about moving into a house with his girlfriend -- sweet/cute. (a blurry photo).

Saturday night began with singer/songwriter Manny Coon at TWR, playing to a somewhat sparse crowd -- hey, it was early. MC's style was traditional story-teller folk done up on acoustic and damn good. See photo.

Next was Once a Pawn at PS Collective (with Jon Taylor of Domestica handling the soundman chores!). Last time I saw them they were a trio. Saturday night they were just a guitar-and-drum duo with more than enough fire power to fill out their sound (though I do miss that bass). The music was loud and punky and a lot of fun, though only about 20 people were there to hear it. (See creepy pic)

Did I say loud? Well, it was nothing compared to Domestica at The Waiting Room, which was the highlight of the festival's second night. The band always sounds enormous, but was particularly epic on that stage. I don't know if they were playing new material or if I just didn't recognize it in this setting, either way it was mega-good, and mega-loud as all good Domestica shows should be. See pic.

Finally, it was back to PS Collective for the farewell set by Columbia vs. Challenger. Actually, the band repeatedly told the rather large crowd that they played their "real farewell show" a few weeks earlier in Lincoln. This one, apparently, was a bonus round, though you wouldn't have known it by all the technical problems they suffered. They were supposed to go on at 10:10 but didn't actually start until about a half-hour later, and then kept having even more problems. After their first song, they discovered that their keyboards weren't working, which delayed the show for another 10 minutes. They ended up playing only four or five songs to a crowd that was hungry for more. (see photo)

And that, my friends, was the end of my Lincoln Invasion experience. Overall I thought it was a lot of fun, and again proved that Benson is great place for festivals (We've got two more coming in the months ahead). The only disappointment was the lack of the usual Benson crowd at the shows. Where were all those Benson musicians and singer/songwriters? I did see plenty of other musicians in the house -- including a contingency of Saddle Creek folk, Speed! Nebraska pit crew and a few other local legends. Now we wait and see if Buckley and Dub do it all again next year...

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This just in, a last-minute update from Buckley himself:

"Hey Tim, looks like we had about 330 paid for the weekend -- 164 and 165 respectively. Each band made about $35 a piece after the expenses were taken care of (which was about 1/2 of the door when all was said and done). From the communications I've had with the bands I know some of the obvious things we'd like to improve on for next year, but overall (bandwise) everyone expressed how much fun they had over the weekend, getting out of town, seeing faces new and old, etc. The venues were all pretty easy to deal with, the bands and Lincoln fans who drove up all were into the spirit of the event and the faces I didn't know seemed genuinely excited to be trying something new. The goal for now is to build on this initial venture and work out the kinks to make an even better Lincoln Invasion 2.0. Here's to seeing who else can invade where!"

And here's an update on Box Awesome, also from Buckley:

"…had our second court date this morning. We are out of the current Box Awesome location by July 6 and our last show will be on June 30 featuring Somasphere, Triggertown and Plack Blague. We're hoping to get up and running by the end of the year at Box Awesomer. Now we get to figure out who's moving in. :)"

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Telekinesis kicks off a very busy week of music in Omaha. The Seattle band that's signed to Merge Records is playing at Slowdown Jr. with Brisbane's An Horse and Our Fox. Amazing line-up for a mere $8.

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

The keynote event of the weekend is the Lincoln Invasion festival in Benson. The details/background/schedule is here. Like I said the other day, I intend to see as many bands as possible (thanks to staggered scheduling), but my don't-miss suggestions for tonight are Twiggertown, The Machete Archive, Pharmacy Spirits, Ideal Cleaners and The Show Is the Rainbow. For Saturday night, it's Columbia vs. Challenger, Domestica, Once a Pawn and Strawberry Burns.

Bands that I didn't mention are bands that I haven't seen before, and there are a lot of them. You're not going to find a better festival value than Lincoln Invasion -- $5 per night gets you into all three venues all night long.

But it's not the only thing going on tonight. Down at Slowdown Jr. it's the debut of Boy Noises with Sweet Pea, AM Revival and In the Spring. $7, 9 p.m.

Meanwhile, O'Leaver's has a sweet show tonight featuring The Stay Awake, Gold and Anatomy of a Riot. $5, 9:30 p.m.

Saturday night's other hot events include Blood Cow and Black Skies at O'Leaver's, $5, 9:30 p.m.; and Shiver Shiver, Goodbye Sunday and Black Squirrels down at Slowdown Jr., $5, 9 p.m.

Then on Sunday, Chicago instrumental band Russian Circles is playing at Slowdown with Coliseum and The Answer Team. $10 adv/$12 DOS, 9 p.m.

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

When I arrived at The Slowdown last night at around 9:15 I discovered that there was a third, unannounced band on the bill, added as an opener. I have no idea who they were, other than they weren't from around here (Bear Country would have been a terrific opener, btw). So my hopes for an early evening were quickly dashed. Ah well, it only meant that I would be skipping Jenny Lewis' set altogether as I had an early wake-up call this morning. I've seen Lewis in her various configurations at least a dozen times, so I knew I wasn't missing anything I hadn't already seen before. The band I came to see was Deer Tick anyway, who didn't get on stage until around 11. I was surprised at the number of covers they played, considering they have two albums-worth of material to select from. The covers included a weak version of John Mellencamp's "I Fight Authority," which I could have done without. The highlight was a duet with Liz Isenberg on "Friday XIII," which I had told frontman John McCauley during our interview was my favorite song off their new album Born on Flag Day. He had told me that it was unlikely that they'd be playing it in Omaha since he doesn't do it without Isenberg, and she wasn't coming along. Well, there she was. From stage McCauley also apologized for his voice, saying he was just getting over a cold. He sounded just fine to me. As fun as the band was last night, I have to think they'll be even more fun to watch tonight in Lincoln when they play in the intimate confines of Box Awesome with UUVVWWZ and Manny Coon. Here's a really fuzzy action photo.

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Speaking of Lincoln, The Lincoln Journal Star published its story on this weekend's Lincoln Invasion festival in Benson. Check it out here.

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I have been told by at least three different people not to miss tonight's show at O'Leaver's featuring Portland band Vanishing Kids. The music I've heard on their Myspace page is lush, trippy, brash, post-punk, and pretty darn good, too. The show's line-up includes Honey and Darling and Noah's Ark Was a Spaceship. $5, 9:30 p.m.

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

In addition to filling me in on Lincoln Invasion, Jeremy Buckley updated me on the status of Lincoln's Box Awesome, which is being forced from its current home by its landlord who hoped to have them out well before the end of their lease (Oct. 31). The issue already has gone to court and the case has been continued to June 22, with hopes that both parties can reach some sort of agreement/settlement. In the meantime, he and Box Awesome owner Jeremiah Moore have been scouting new locations for the venue. "We're going to be picky and make sure the situation is something we can sustain for a long time," Buckley said.

He said they know they'll be able to host their shows through the rest of the month, but will likely be gone shortly after that. In the meantime, they're looking at ways to make the new Bourbon Theater "smaller" for smaller shows -- this could involve some strategically placed curtains. "We're not going to do shows where we know no one is going to show up," he said. "Shows that draw 50 or less won't be happening at The Bourbon."

The ultimate goal, however, is to find a new location for Box Awesome. "We want to get this all figured out and have something up and running by the end of this year," he said.

Right now, though, Buckley's focus is on Lincoln Invasion. Someone asked me the other day which bands I'll be most eager to see at this weekend's festival. Buckley said he staggered each venue's band schedule so that "theoretically" you could see some of every band performing at all three venues. So my answer is: All of them.

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Column 226: The Lincoln Invasion
2 nights, 22 bands, 3 venues

Let's start by clarifying that I don't really have anything to do with this weekend's can't-miss event, Lincoln Invasion. We're talking two nights of top-flight musical entertainment -- 22 bands by way of Lincoln, Nebraska -- at three of Benson's finest clubs. For just $5 each night you'll get into all three clubs all night. It's a veritable smorgasbord of entertain direct from the Star City to you -- the easiest way you'll ever have of experiencing the best of Lincoln without having to truck 50 miles south by southwest on I-80.

My only role in this amazing extravaganza is coming up with the idea. Years ago, before there was an OEA Showcase or a Mid-America Music Festival, I was chatting with Jeremy Buckley, who's organizing this weekend's event along with Duffy's booker Jeremy "Dub" Wardlaw. Buckley had just held his first Lincoln Calling Festival (which you'll hear more about in the coming months), and I suggested that instead of me having to drive my lazy ass down to Lincoln, that he pull together a handful of Lincoln bands and have them play in Benson, where folks could walk from club to club all night long.

Jeremy let that idea steep in the back of his mind until this year when, after graduating from the esteemed University of Nebraska-Lincoln, he realized he was about to have a lot of time on his hands. "I was freaked out and had to find something to do," Buckley said. So he contacted the folks at The Waiting Room, PS Collective and The Barley Street Tavern, found an open weekend in their crowded schedules, and with Dub's help started contacting bands. The rest, as they say, will be history this Friday and Saturday night.

Buckley said his motivation other than filling a hole in his social calendar was to get Lincoln bands into the Omaha spotlight. In a sordid effort to help hype the event, I tried to get Buckley to say that Lincoln Invasion was really a chance for him to once-and-for-all prove that Lincoln bands were far superior than Omaha bands. But he just wasn't biting. "That's just a weird notion," he said. "Both (cities) have fantastic bands that will go to the other city and play for 10 people, and that sucks -- everyone involved (in those shows) feels like shit afterward because they know that the bands deserve more."

Lincoln Invasion is a chance to get the broadest Omaha exposure to the largest number of Lincoln bands in the shortest span of time. "It gets Lincoln bands out of town and (afterward) gives Omaha people a reason to drive to Lincoln," Buckley said. "The cities aren't that far away from each other."

It's also a chance for the bands to make some money. Unlike some other local music "festivals," bands will actually get paid for playing, that is if enough people show up. Buckley said total costs for printing fliers and posters, and paying the sound guys, is only around $500 to $600. "Every band splits what's left after covering expenses," he said. "All bands get an equal share -- from the band who might be playing to 10 people at the Barley Street to another playing to 100 at The Waiting Room. The entire pot is split evenly."

That's all very magnanimous, but really, why should anyone go? Buckley points to acts like Machete Archive. "They're beloved in Lincoln, but Omaha people don't know them at all," he said. Machete Archive plays instrumental math rock along the lines of Mars Volta and "are fun to listen to live. Everyone in the band is talented, but everyone fixates on the bass player, who is just all over the place. They're one of the most entertaining bands in Lincoln."

Buckley also mentioned Manny Coon, a singer/songwriter in the Wilco vein. "He tells amazing stories with his songs. It's easy to get fixated on what he's doing."

And then there's Columbia Vs. Challenger, a band that's been kicking around Lincoln for years. One of the band's members is about to move to Honduras, making the Lincoln Invasion gig the band's last show ever. "That'll be bittersweet and awesome and sad," Buckley said. "It'll be interesting to see how the band handles it on stage."

Buckley said he has no expectations on the success of Lincoln Invasion. "Whatever happens this first year will help us decide if we should try it again," he said. "The answer should be obvious. I think we'll be looking at ways to improve it for next year, with more bands and more venues, and figure out how to do an Omaha Invasion in Lincoln."

In fact, Buckley and Dub have even talked about doing a cross-border exchange. "We should have a Nebraska Invasion in Kansas and have 20 bands from Omaha and Lincoln take over Lawrence for a weekend, and then get 20 bands from Lawrence to come up here," he said. "The options are limitless."

Here's the schedule. Just $5 each night will get you into all three venues.

Friday, June 19

PS Collective: The Allendales (9:30); Lucas Kellison and the Assembled Soul (10:40); Andrews Ave. (midnight).

The Waiting Room: The Machete Archive (9:40); Ideal Cleaners (10:50); The Show Is the Rainbow (11:55)

Barley Street Tavern: Triggertown (9:20); The Amalgamators (10:20); Pharmacy Spirits (11:20); The Big Gigantic (midnight).

Saturday, June 20

PS Collective: Gooses (9:10); Once a Pawn (10:10); Columbia vs. Challenger (11:10); Knots (12:10).

The Waiting Room: Manny Coon (9:40); Crush the Clown (10:20); Domestica (11:20); Somasphere (12:20).

Barley Street Tavern: AM Revival (9:00); Jodie Loves Hinkley (10:00); Orion Walsh (11:00); Strawberry Burns (midnight).

* * *

Tonight at The Slowdown, it's Jenny Lewis with Deer Tick. This show sold out a few days ago, so no tickee no luckee. It starts at 9 and I suggest you get there early for Deer Tick.

Of course if you're in Lincoln tonight, check out Cursive at Box Awesome with Ideal Cleaners and Box Elders.

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

I'm quoted in a Daily Nebraskan article regarding Lincoln Invasion. You can read it here. I suspect there will be tons of press about this weekend's festival. And you'll be able to read my take on Lincoln Invasion right here in tomorrow's column.

* * *

Looks like Saddle Creek has finally released the new Beep Beep video. Check it out here. It's as weird as you'd hope and expect it to be. What's going on with this band? I'm told that bassist Darren Keen no longer is a Beeper.

Cursive also has a new video online for "I Couldn't Love You More," right here.

Does it still make sense to make videos these days? I guess probably more so in the past few years with the advent of YouTube.

* * *

Mike Fratt dropped me and the rest of Omaha's music journalism establishment an e-mail yesterday announcing that Homer's is now celebrating "Vinyl Saturdays" every third Saturday of the month, starting this Saturday. The promotion promises "a new monthly unveiling of limited special vinyl pieces." This month's offerings include limited edition vinyl by Wilco, Scarlett Johansson/Pete Yorn and Green Day. Homer's does have a shit-ton of vinyl these days. Check it out.

* * *

Lez Zeppelin is tonight at The Waiting Room. The name sez it all. Other than The Song Remains the Same, the only Zeppelin "tribute" band that I've ventured to see is good ol' Dread Zeppelin, featuring Elvis impersonator Tortelvis and a boxing ring. Fun stuff at the old Ranch Bowl. That band eventually got signed by Miles Copeland and IRS Records (Un-Led-Ed), and according to Wikipedia, is still touring today, somewhere. Will there be a boxing ring tonight at TWR? I hope so. Find out. $12, 9 p.m.

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

Is Bear Country the best band to emerge from the Slumber Party Records' roster? Judging from last Friday night's show at The Waiting Room, the answer is an obvious "yes."

That Friday night show was a veritable Slumber Party showcase. Darren Keen opened with a solo performance (which I missed) and was followed by Conchance, an MC that doesn't have an actual line placement on the Slumber Party artists page, but seems to be tacitly affiliated with the label. I'm a tough critic when it comes to hip-hop, and a large percentage of white-guy rappers fall either into the Eminem or Beastie Boys category to me. Conchance seems to be in the former group, but even though he had his share of miss-starts on stage, he sounded better than the last time I saw him a year or so ago at Slowdown. There was nothing groundbreaking going on -- it was the usual shtick we've seen before. At times he crowded his lyrics a tad much, but still sounded better than, say, Rig 1. He saved the best for last, performing a song with three instrumentalists (instead of his prerecorded track). To me, anytime you use live instruments you're going to sound better, and he certainly did.

Up next was the evening's biggest draw, Capgun Coup. Sam Martin and Co. always bring their fans along for the ride. The basic set-up this time included two guys singing into telephone handsets while Martin fronted the songs with a normal mic. Seems like a couple years ago that Capgun was a keyboard-heavy indie spazz rock outfit. These days Martin has stepped from behind the keyboard, exclusively wearing a guitar, and the change is for the better. No one shows jaded disinterest better than Martin, standing behind a mic as if he's played his 10,000th show, wearing an "Oh-it's-you-again" smirk while he flatly yells lines that eventually devolve into literal "blah-blah-blahs." As a whole, Capgun (who's on Team Love these days) has changed into an indie garage band in a similar vein as Titus Andronicus, though not nearly as coherent or straight forward except on a few instrumental-only songs that were the highlight of their set. Martin capped off his portion of the night with a song he introduced as "the punchline to the joke," a shredded, spazzy garage rock song that eroded into anarchy and screaming, with Martin casually knocking over mic stands while the rest of the band squirmed. "I guess no one got the joke," Martin said afterward. "I don't see anyone laughing." Ah, but with the kind of kid-frenzy that Capgun seems to generate, it'll be Martin laughing... all the way to the bank (yuk-yuk).

About a third of the crowd left after Capgun, which is too bad for them because they missed the best performance of the night. If you're a regular Lazy-i reader, you've rarely seen a word about Bear Country in this blog, not because I hadn't seen the band over the years -- I have. I just never cared for their safe, standard take on C&W. It was too formal and too strained and too boring. But that was a year ago. Something's happened to Bear Country, something remarkable.

A band that ebbs and flows throughout their set, at its largest Bear Country is a six-piece that includes guitars, keyboards, drums, bass, the occasional fiddle and three vocalists -- two guys and a girl -- who look like they fell to the stage from a time machine circa 1968. Ah, but their music is distinctly modern -- the comparisons run the gamut from early Mazzy Star to Centro-matic to The Silos -- this isn't in any way traditional C&W, more like "alt country" thanks to the underlying twang. Quiet songs grow into bigger-than-life jams and then fall back down again -- a far cry than the band I saw a year or so ago. Who knows the reason behind their transformation -- maybe it's just the nature of getting older and wiser. I'm told they have a new album in the can, waiting to be released. If I was Saddle Creek, I'd buy them away from Slumber Party before Merge does. Yeah, they're that good.

Saturday night, after pizza at the Pizza Shoppe, we wandered down to the Benson Days street event and were told it would cost $5 for a wrist band. The guy in front of us asked what he got for the five bucks. "Well, you get a wrist band that allows you to buy drinks. The $5 is actually a donation." That guy turned around and left, and so did we. Maybe they should have just given people wrist bands and asked for a $5 donation. Or charged $5 admission. We headed to the Sydney, where we discovered that they were also having a show that night.

Looks like all this talk about only having "the occasional show" at The Sydney is quickly headed out the window. The bar recently launched a website -- thesydneybenson.com -- that includes an "Upcoming Shows" section. They've even made their "stage" platform bigger since that Little Brazil show a few weeks ago. At $5 a show, expect them to feature mostly local acts, which is a good thing. Opening on Saturday night was Jake Bellows, who played a sweet solo set with an electric guitar. Next up was Landing on the Moon, and to prove the new stage's adequacy, all five members of the band fit nicely (and played nicely, too).

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

It looks like the new album by Monsters of Folk (featuring Conor Oberst, Jim James, M. Ward and Mike Mogis) is being released on Shangri-La Music, the home of Amazing Baby, The Pretenders and Band of Skulls, among others. According to Wikipedia, Shangri-La is owned by Steve Bing, the 44-year-old multi-millionaire playboy entrepreneur, who's past projects included financing the films "Get Carter," "The Polar Express" and "Beowulf" (Bing, btw, inherited his wealth from grandpa Leo S. Bing, a New York real estate mogul). While not listed on the label's artist page, Shangri-La's news page prominently features the band. I'm still waiting for an official announcement, though we do know that the record is coming out on Sept. 22.

* * *

Lots of stuff going on this weekend, so let's get right to it.

Tonight The Waiting Room is holding a virtual Slumber Party Records label showcase with Bear Country, Capgun Coup, Conchance and Darren Keen. Capgun crushed O'Leaver's last week. Let's see if they can bring the crowd across town. $7, 9 p.m.

Just down the street at PS Collective, another Slumber Party band, Talking Mountain, is playing a show with Electric Needle Room, Mammoth Life (Lawrence, KS) and Coax from Chuckanut (St. Paul, Minn.). This may be your last chance to see Talking Mountain for a few months. $5, 9 p.m.

Meanwhile, over at O'Leaver's, you're looking at The Curtain Calls, Denver's The Still City and Cat Island. $5, 9:30 p.m.

Saturday starts early with Snow Patrol doing an instore at Homer's in the Old Market at 2 p.m. The band is in town opening for Coldplay at the Qwest. This should be a madhouse.

Later that evening, Dillinger Four headlines a show at The Waiting Room with crazy noise masters Japanther, The Brokedowns, and Speed! Nebraska band The Wagon Blasters. $12, 9 p.m.

O'Leaver's is hosting a singer/songwriter night with Midwest Dilemma, Brad Hoshaw, Kyle Harvey, Cody Wynne Cox and Reagan Roeder. $5, 9:30 p.m.

Meanwhile, over at The Saddle Creek Bar, it's the return of The Upsets with Thad Sands One Man Band. $5, 9 p.m.

One of the most interesting shows of the weekend is Sunday night -- Digital Leather with Private Dancer and Leisure Birds. As I mentioned before, Digital Leather is Shawn Foree, a labelmate of Box Elders on Goner Records, who records songs himself and tours with a band, which this time is comprised of members of Shanks/Dinks/Ric Rhythm. Foree has been involved with bands that included current garage-rock phenom Jay Reatard. I'm also told that Foree just signed with Fat Possum for his next record. $5, 9:30 p.m.

Don't forget to look for band-order information from the shows I attend via my Twitter feed.

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

Monsters of Folk is Conor Oberst, Jim James, M. Ward and Mike Mogis. The musicians recorded a number of songs together some time ago (before Mystic Valley?). Now it appears that the long-rumored, long-awaited album is on the verge of release, or at least that's what I'm led to believe by monstersoffolk.com. There's no clue or indication on that one-page website who will be releasing the album (The domain is registered to Micah Taylor). Saddle Creek Records, however, has confirmed that it won't be releasing it. Will it be on Merge? Team Love?

* * *

I've had a quandary lately deciding whether or not to go to specific shows, especially if I can't get to the venue before 10:30. Here's the problem: I have no idea when the band or bands that I want to see will hit the stage. I don't want to go there, drop my $5-$8-$10-$15 only to find out that the band I wanted to see played at 9, and I missed them.

Generally speaking, websites rarely have a show's band-order correct, mainly because often the decision concerning who's going on stage when (i.e., the band order) is made by the bands on the night of the show. So the band you think is opening may get slotted to play last, or the so-called "headliner" might play second, and so on. It's especially a problem with local-band shows (traveling headliners generally are always last).

Assuming others have the same problem, here's what I'm going to start doing with my Twitter feed: When I arrive at a show, I'll find out the band order and who's already played (and who's about to play) and Tweet that information to my followers. It's something venues should do, but they either don't have time or don't want to discourage people from coming out ("Oh, Box Elders already played? Forget it then.").

So if you haven't already, go to my Twitter page and follow me. In addition to band order and set times, you'll also get Twit pics from most performances along with some live comments.

* * *

Speaking of shows, the legendary Sly & Robbie will be at Slowdown tonight with Heavyweight Dub Champion. $25, 9 p.m.

Meanwhile, Chicago art-noise band Eyes is playing at The Saddle Creek Bar with El Diablos Blancos. $5, 9 p.m.

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

This week's column is last Sunday's live review/comment about the Memorial Park Gomez concert fiasco, so if you missed it, read it here. The original plan was to run my interview with John McCauley of Deer Tick as my column, but The Reader wanted the Memorial Park thing in that space and pushed Deer Tick as a separate feature story. The article is written in more of a column style, with McCauley -- a singer/songwriter who spent a few years booking his own tours -- talking about how he stayed with it and got "over the hump," which seems to be the dream of every local singer/songwriter that I know. Read that story here. Deer Tick is opening for Jenny Lewis a week from today at The Slowdown. Tickets are still available for $16, though Val Nelson at Slowdown said in her weekly mailer that the supply is dwindling, so you better get yours now if you haven't already.

Speaking of shows, Outlaw Con Bandana has its album release show for Faeries and Rewards tonight at The Immaculate Conception Church Bowling Alley at 25th and Bancroft. The vinyl-only 14-song opus is being released by Slumber Party Records. Also on the bill are The Praries, Box Elders and Sarah Xiong. For your $10 you not only get a night of music, but free bowling from 9 until 10:30 -- now that's a deal! Something tells me this is going to be a lively crowd.

Also tonight, Leeds funk/soul band The New Mastersounds is playing at The Waiting Room with Moon Taxi. These guys could give Satchel a run for their money. $12, 9 p.m.

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

Jeremy Buckley, who works at Box Awesome in Lincoln, texted me yesterday saying that the court hearing concerning their removal from their current location had been "continued" for at least a couple of weeks. Jeremy also said Box Awesome has found another possible home and hopes to move sometime in July. Meanwhile, benefit events continue to be held to help pay the lawyer, including a comedy show at Duffy's tomorrow night and a rummage sale this coming Sunday at 18th & Washington in Lincoln. If you're in town, you should go.

* * *

After being overwhelmed by the enormous crowd at Memorial Park Saturday, I headed to O'Leaver's to find an even bigger crowd, there to see Jake Bellows and Capgun Coup. I caught about 15 minutes of opener Porlolo and dug it -- a band fronted by a female singer/songwriter that deserves further study. I missed Jake altogether and caught about 20 minutes of Capgun's boisterous spazz rock. This band continues to sound like it's being influenced by classic '60s- '70s garage rock (bordering on low-fi surf), but never lacking their trademark just-about-t0-spin-out-of-control style. Frontman Sam Martin continues to remind me of what Simon Joyner could have become had he followed a punk muse rather than a folkie one. If you missed it, Capgun is playing again Friday night at the Waiting Room, opening for Bear Country with Darren Keen and Conchance -- all for $7.

* * *

Tomorrow: Deer Tick

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

I hate to say "I told you so," but…

My guestimate of the attendance at last night's Gomez concert in Memorial Park: less than 1,000. It was hard to say since people were so widely scattered across the enormous park bowl. The number was probably closer to 600 or 800.

You can't blame the weather. It was gorgeous despite weathermen warning of storms for the past few days. You can't blame the "Taste of Omaha" thing going on downtown. The food orgy doesn't really target "area youth" -- and this was promoted as a "youth concert." Actually, "promoted" is the wrong term. Part of the problem was that the city did such a terrible job promoting the concert. I saw one commercial for it on cable a few days prior, and nothing -- no posters, no billboards -- around town. I think there were a couple mentions in The Omaha World-Herald, but no one (certainly not "youth") reads that anymore.

I heard the same thing over and over when I asked people if they were going to the concert Saturday afternoon: "What concert?" The next question out of their mouths: "Who's Gomez?"

And that of course was the biggest problem of all. Why would anyone know who Gomez is? Because they had a song played on Grey's Anatomy in 2006? Their music isn't played on local radio. At least when Feist played here last year, people were familiar with her "1-2-3-4" song from the iPod commercials (though they may not have known who actually sang it).

So let's do the math. According to this invoice filed by the city which you can view on the internet right here (thanks, Jeremy Buckley, for pointing this out), the performance and booking fees for Gomez totaled $27,750 (not including hotel and hospitality expenses), paid for by the city (i.e., by you). According to the same document, U.S. Cellular pitched in $50,000 I assume to cover staging and sound costs as well as for paying the 400 or so police on hand.

So let's just round up to a total of $80,000. That means if 800 people were there, the concert costs around $100 per person in the audience. Seems a tad pricey.

Adding to the discouraging turnout was the utter lack of "youth" in the park. I guess it depends on how you define "youth." I mostly saw people in their late 20s and early 30s, most of them pushing baby carriages. People in the 40s likely outnumbered people in their teens.

The only successful part of the concert was the performances. Brad Hoshaw and the Seven Deadlies sounded like an arena band from that mammoth stage. The sound quality was the best I've heard at a live outdoor show. Pristine. Too bad there were only 100 people there to see it. As you can see from this photo, I was able to lean against the stage barricade and take a picture unhampered. Even Brad cracked from stage that he'd seen most of the crowd a few weeks ago... at his CD release party.

I missed Mal Madrigal and Sarah Benck, and returned for Gomez. Again, terrific sound, and let's face it, a terrific band whose music is as featureless and forgetful and middle-of-the-road safe as you could find anywhere. Unadventurous pabulum, but very well played.

Look, I think the idea of a free "youth concert" in the park is terrific and essential in a city like Omaha. But you absolutely have to have someone who knows something about music (and "youth") help decide on the headliner. I'm not involved in the music business, but I have to believe that you can get some pretty amazing bands for $30,000 if you begin organizing the event now (or in a few months). I have no doubt that Mayor Fahey had no idea who Gomez was, nor should he know. Instead, he or his staff must have turned the decision over to the St. Louis booking agency hired for the gig, and they decided for him. "Hey, we've got this hot band called Gomez that was originally scheduled to come through The Waiting Room. They'd be perfect for your park concert." A copy of Bring It On was mailed to someone in the Mayor's office, where it was "monitored" to ensure there wasn't anything offensive on it, and then the band was given the green light.

Did anyone bother to ask any area youth who they'd like to see perform in the park? The answer clearly was "no." While I think The Plain White T's is a horrendous band, I can at least see why teenagers might listen to their derivative drivel. No teen is listening to Gomez.

So the question becomes whether there should be a sixth "youth concert" in Memorial Park next year. If the city can't get their shit together and start asking the right questions -- or hire One Percent Productions to handle the gig -- the answer is clearly no. It's a huge waste of money. It's also a huge wasted opportunity.

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

Looks like all the good shows are on Saturday night as I can't find a thing to do tonight (Brothers, here I come).

Tomorrow starts off in the afternoon (4 p.m.) with the "youth concert" in Memorial Park featuring Brad Hoshaw and the Seven Deadlies, Mal Madrigal and Sarah Benck, leading up to the headliner, Gomez. The price is right -- it's free. The current forecast calls for a 70 percent chance of rain Saturday morning with afternoon thunderstorms and a 40 percent chance of rain tomorrow night. Better bring your poncho.

As is always the case, people were bitching the other night at the show about how bad a choice Gomez was for this concert, and how the band is virtually unknown to the so-called "youth" that's being targeted. In fact, among the group of music-loving folks I was talking to, all had heard Gomez music before, but not a single one could name a Gomez song (I was able to name their cover of The Beatles "Getting Better," which was used for a Phillips light bulb commercial way back in 2000 -- their only mainstream claim to fame).

If the weather ends up being nice, people will show up for this concert anyway if only because it's something to do -- not because they want to see Gomez. Even a slight threat of rain could be enough to convince people to find something else to do Saturday afternoon/night. Here's hoping -- with a new mayor in power -- that we have a better headliner next year. As for you opening bands -- better watch your tongues. Remember what happened to Tim Kasher last year when he decided to voice his political views from stage. You don't want the once-powerful Omaha World-Herald to come down on you like a ton of shit, do you? (By the way, judging by the outcome of the election, Kasher got the last laugh).

* * *

After Gomez, head down to Slowdown Jr. for Minneapolis band The Starlight Mints with The Evangelicals. $10, 9 p.m. Also Saturday night, O'Leaver's is hosting Capgun Coup with Jake Bellows, Porlolo and Andrew Ancona. $5, 9:30 p.m.

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

I had a terrific birthday yesterday, thanks to everyone who wished me well (mostly via Facebook). Unfortunately, none of you cheap bastards bought me a single bottle of Rolling Rock at last night's St. Vincent show at Slowdown, Jr. And what a well-attended show it was. I don't know if it was a sell-out, but it looked darn close. Opener Pattern Is Movement came on at around 9:45 (Hey, Slowdown, whatever happened to starting at the stroke of 9?). A keyboard and drum duo, they sounded nothing like their music on Myspace. Instead, the frontman's warbly vocals sounded like a cross between an insecure David Byrne and Adam Sandler's Operaman, stammered over indie prog waterfall keyboards. And it was a short set (which reminds me of the Woody Allen quip, when reviewing a restaurant: "The food was terrible, and such small portions").

St. Vincent (Annie Clark and her band) didn't go on until around 11. After I first heard her perform at The Waiting Room a couple years ago, I declared her "this generation's PJ Harvey." Last night -- and on her new album, Actor -- it would be more accurate to call her this generation's Kate Bush. Backed by four band members -- a violin, bass, drums and a guy on woodwinds (flute, saxophone, clarinet) -- the music was dreamy and theatric, as well as rocking and, dare I say it, funky (see action photo, actually for a better view of Annie, see Dave Leibowitz's action photo). Their secret weapon is that woodwind player -- who added depth and emotion to every song -- and Clark's own gritty guitar work -- stark, hard, efficient, chopping, groovy. And, of course, her sweet voice that at times got lost in the mix. As is the case with any great band, the music sounded more dynamic on stage than on my speakers. Clark and Co. took it to the next level and peaked with the last song of the night -- an amazing version of "Your Lips Are Red," (from Marry Me) -- that put this show on top of my "best of" list (so far this year).

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

As I mentioned yesterday, tonight is St. Vincent a.k.a. Annie Clark at Slowdown Jr. with Philadelphia indie band (in an Arcade Fire/Decemberists vein) Pattern Is Movement, both for just $10. It's also my birthday, so come down and buy me a Rolling Rock. Show starts at 9.

This week's column is a rehash of last weekend's live reviews, so for you regular readers it's (essentially) a rerun, and I include it below for record-keeping's sake. The next three columns over the next three weeks all center around interviews, so quit complaining!

Column 224: It Happened Last Weekend
From the front lines...

Friday night.

It was my first live rock-show experience at The Sydney. I'd been warned that despite lowering the stage to near floor level from Mick's ridiculously high perch that the room still sounded like a noisy ball of shit. Ah, but the crowd was mostly tough guys that embrace such dissonance. It was the first time in a long time that someone pulled a "Nice earplugs" barb at me. I just smiled and adjusted my foam nubs -- I knew I'd get the last laugh.

I like the laidback feel of The Sydney. The room just has a good, friendly drinking vibe that it didn't have before. The folks running the place are super nice; everyone seems to be in a good mood -- what a concept! (Everyone seems to be in a good mood at O'Leaver's every night, too, but that's because they're lost in a NyQuil-like daze after mainlining Rumple Mintz since 4 in the afternoon).

If you saw a show at Mick's, you very likely were sitting down. If not, you were trapped in the crawlspace by the front door, likely in someone's way but still able to see the band on the crazy-high stage. At The Sydney, tables play a secondary role. There's plenty of space near the pseudo-stage, which is so low to the ground that it encourages people to get off their asses and stand right next to the band like any respectable punk and soak in the full force of the amps.

Kansas City's The Life and Times (the opener) was a classic guitar/bass/drums trio, and from their opening song reminded me of '90s-era Chicago band Chavez -- from their mathy compositions to the slurring, rising vocal lines that ironically countered the machine-gun-firecracker drums and counter-melody bass.

Was it loud? Oh yeah. I saw a few frowning fans up front doing the classic fingers-in-the-ears pose. I found the comedian who mocked my earplugs hiding in the back. Silly rabbit -- everyone knows that there's nowhere to hide from the noise in Mick's/Sydney, no escape but the exit.

Saturday night.

Having been to Ireland and having heard authentic tourist folk at its finest, I can say that The Turfmen are the best traditional Irish folk band we have, and as good as anything I heard "over there."

The five-piece features a couple accordions, a bass, an acoustic guitar and Douglas County public defender Tom Riley as the helm. Riley's life is begging to be adapted into an hour-long drama series on NBC -- a short but clearly tough lawyer who defends the innocent during the day and is a fun-loving Irish musician by night whose buoyant fighting ballads have that undercurrent of despair that marks all things from the Green Isle. The acoustic guitarist is his son, Brendan (for the TV show, let's make him a cop); the bass player is Omaha World-Herald reporter (and insider) Paul Hammel. The spiritual guiding light is the band's founder, Peter Brennan, straight from County Louth -- on the TV show, he'd provide wizened advice as only someone from the motherland could. Voiceover for the promo commercial: "From the mean streets of Omaha to the darkened stage, together this band of Irishmen not only play music, they protect and serve. The Turfmen -- Based On A True Story."

Anyway, by 11 the older folks in The Dubliner had been run off, replaced by an army of baseball-cap wearing frat guys and gaggles of prom-dressed girls out hosting giddy bachelorette parties. By 11:30, the place was a mob scene -- the front room a solid block of humanity. Why hasn't The Waiting Room or even Slowdown tried booking The Turfmen?

Which brings us to Sunday night...

The last time I saw Willy Mason was at Sokol Underground four years ago. He was a shaggy kid sneaking beers before his Omaha debut, having just signed to Conor Oberst's just-created Team Love Records label. Despite his age and stature, his deep, broad voice sounded like it should come from someone 10 years older. Now four years later, Mason has grown into that voice. No longer the long-haired kid, he showed up on the The Waiting Room stage with a crew cut and a smile that's logged a lot of miles.

Mason's songs have grown up, too. These days his style is closer to traditional folk than what was on his first record. He's a modern-day Woody Guthrie that holds himself on stage like a musical version of Sean Penn -- loose but serious and funny at the same time, singing songs about ex-girlfriends and his constant journey to somewhere/anywhere but home.

As his set came to an end, he announced that it was his last song. Some girls in the audience yelled a request for his most well-known tune -- "Oxygen." Mason smiled and seemed happily surprised. "Oxygen? I guess it is getting kind of stuffy in here," he joked. "I think I know that one." Who knows if he intended to play it during the encore. He probably did, though I like to think that he didn't, that he felt like he'd moved on from the late-teen anthem to individuality (a Tilly and the Wall's forte), with its references to Ritalin and a world that "just keeps on spinning." Sung as an adult, the song takes on a different, sentimental hue, like staring at a Polaroid taken years ago. No matter what he does from now on or how much better his songs become, Mason will never escape "Oxygen," thanks to the role it played in so many young indie fans' lives. How many songwriters wish they had one of those in their back pocket?

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

Yesterday I dropped by Homer's and picked up a copy of Iggy Pop's new album, Preliminaires, after hearing him interviewed by Terry Gross on Fresh Air (You can hear the interview online here). This is a lush, smoky, gorgeous (but relatively short) album by a guy who, at age 62, only gets better. It's the kind of album Bowie should have made a decade ago. Go out and buy it.

I also got a copy of Neil Young's Sugar Mountain: Live at Canterbury House 1968, part of Young's Archives Performance Series. The double album is pressed on 200 gram vinyl (and weighs a ton) by Toyokasei in Japan (whatever that means). It cost $66 and was worth every penny that I didn't spend on it (thanks to my store credit at Homer's).

Finally, I also took home the new one by St. Vincent, Actor. St. Vincent is performing down at Slowdown tomorrow night in the small room, for just $10. You really should go to this. She could be this generation's PJ Harvey. Find out for yourself.

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

First, before we get to today's entry, there was a rare weekend update to Lazy-i. Scroll down below this entry, or just go here and read my review of a night at The Sydney.

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There is nothing indie about The Turfmen, I know. But having been to Ireland and having heard authentic tourist folk at its finest, I can say that The Turfmen are the best traditional Irish folk band we have to offer and as good as anything I heard "over there." I used to get my fix of their music every St. Patrick's Day down at The Dubliner, but the Turfmen quit doing St. Paddy's at The Dub years ago, and I haven't caught them since… until Saturday night.

When we arrived at The Dubliner at around 10 the band already was well into its first set, and the main room was only half full -- a bit disappointing? A few tables were filled with 20-somethings enjoying black-and-tans and "older" couples having a night out. Within an hour the entire complexion of the laid-back audience turned completely upside down.

If you don't know, The Turfmen is a five-piece that features a couple accordion players, a bass, an acoustic guitarist and Douglas County public defender Tom Riley as its frontman (See action photo). Riley is guy whose life is begging to be adapted into an hour-long drama series on NBC -- a short but clearly tough lawyer who defends the innocent during the day and is a fun-loving Irish musician by night, whose buoyant fighting ballads have that undercurrent of despair that marks all things from the Green Isle. The acoustic guitarist is his son, Brendan (for the TV show, let's make him a cop); the bass player is Omaha World-Herald reporter Paul Hammel. The spiritual guiding light is Peter Brennan, the band's founder, straight from County Louth -- on the TV show, he'd provide wizened advice as only someone from the motherland could. Voiceover for the promo commercial: "From the mean streets of Omaha to the darkened stage, together this band of Irishmen not only play music, they protect and serve -- Based On A True Story."

Anyway, by about 11 o'clock the older folks had been run off, replaced by an army of baseball-cap wearing frat guys and gaggles of prom-dress-wearing girls. No, it wasn't an all-ages show. Saturday must have been the city's designated official "bachelorette party" night -- there were three of them going on at The Dubliner, along with what appeared to be the lamest bachelor party in history. By the time we left at around 11:30, the place was a mob scene. The front room was a solid block of humanity -- there were more people in the front room than in the main room listening to the band.

I've often wondered why The Waiting Room or even Slowdown haven’t tried booking The Turfmen. Yeah, I know that technically they're a cover band (if you can call a band that plays traditional music that), but so is The Song Remains the Same and Secret Weapon, who play at those clubs all the time. Could The Turfman get its legions of fans to follow them to Benson? I know I'd be there.

The strangest part of the evening -- the walk back to my car. The streets of The Old Market were packed with young party-goers headed to The Dub or Saki Bombers or 419 or wherever else there is to dance/party downtown. I had no idea that the Market was such a happening place for the young and the restless. It brought back my own days of youth, when The Howard Street Tavern was a central hang-out spot thanks to its live music (and the White Rabbit upstairs), the Crazy Duck had the occasional band along with the basement of the Jones St. Brewery. Will live music ever return to the Market? Unfortunately, it doesn’t seem likely. The club kids ain't having it.
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Which brings us to last night...

The last time I saw Willy Mason was at Sokol Underground four or five years ago. He was a shaggy kid sneaking beers before his Omaha debut, the lucky guy who got "discovered" by Sean Foley while listening to a community radio station out of New England before being put on the roster of Conor Oberst's just-created Team Love Records. Willy was just a kid, though his surprising voice -- deep and broad -- sounded like someone 10 years older. Now four or five years later, Mason has grown into that voice. No longer the long-haired kid, he showed up on the The Waiting Room stage last night with a crew cut and a smile that's logged a lot of miles.

Mason's songs seem to have grown up, too. These days his style seems closer to traditional folk than what we got on his first record. He's a modern-day Woody Guthrie that holds himself on stage like a musical version of Sean Penn -- loose but serious and funny at the same time, singing songs about ex-girlfriends and his seemingly constant journey to somewhere/anywhere but home. In the end, it's his rich and buttery croon that stands out above everything else. (See pic)

As his set came toward a close, he announced that it was his last song. A few girls in the audience yelled out a request for his most well-known tune -- "Oxygen." Mason smiled and seemed happily surprised. "Oxygen? I guess it is getting kind of stuffy in here," he joked. "I think I know that one." Who knows if he intended to play it during the encore or not. He probably did, though I like to think that he didn't, that he felt like he'd moved on from that song that seems almost like a late-teen anthem to individuality (what Tilly and the Wall is still surviving on), with its references to Ritalin and "the world just keeps on spinning." Sung as an adult, the song takes on a different, almost sentimental hue. No matter what he does from now on or how much better his songs become, he'll never be able to escape "Oxygen," thanks to the role it played in so many young indie fans' lives. How many songwriters wish they had one of those in their back pocket? After his real last song, Mason stayed on stage and played three more as an encore before "joining you all in a drink."

Before Willy went on, Jake Bellows did a lively, funny solo acoustic set that was the most relaxed I've ever seen him (see blurry pic). The songs were all upbeat (pace-wise). Jake stopped a few times mid-stream to stare at a lost chord or remember a line and did it in a way that only he could pull off on stage. I wonder what he's going to do with all these songs, few of which I'd heard before. Jake also had the line of the evening. He said Willy Mason was a fine, respectful gentleman, "and he's got a hot mom." What? Now how would Jake know that...?

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Speaking of hotties, there will be four of them on stage at The Slowdown Jr. tonight in the form of The Hot Toddies, a four-piece all-women indie-pop band reminiscent of The Go-Gos that's signed to Asianman Records . Opening is Talking Mountain and Malpais. $6, 9 p.m.

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