The Whore Moans are a Seattle punk band that records on former Omahan Mike Jaworski's Mt. Fuji Records -- the same label that released the first two albums by our very own Little Brazil. They're playing tonight at The Saddle Creek Bar with The Shidiots and The Upsets, and there's no cover. Show starts at 9.

Also tonight, Slowdown is hosting its Sixth Annual "Goth Ball" with Cloven Path, Army of In Between, Strap On Halo, and Janus. I don't know the specifics, but something tells me you may want to swing by Hot Topic beforehand and pick up some goth apparel. $15, starts at 9 and is 21-over only.

Tomorrow night, of course, is Halloween, and what better way to spend this fun-loving holiday than by heading down to Slowdown Jr. for a rousing set by David Bazan. If his website is any indication, it looks like the former frontman to Pedro the Lion will be backed by a full band. Opening is Omaha's current "It" band It's True and Say Hi. $10, 9 p.m. If I go out at all Saturday night, this is probably where I'll end up seeing as I generally don't partake in annual lets-get-fucked-up-in-costumes festivities.

There's also a punk-flavored bash going on at The Brothers Saturday night featuring 138 and Cordial Spew. $5, 9 p.m. And Cat Island is playing at The Barley St. with Spiders for Love. $5, 9 p.m.

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

Last night the "poets of our time" were up against the Yankees, and they didn't stand a chance.

In their defense, there was more than a little uncertainty helping the Yankees in this battle. I'd had a conversation a few weeks ago with Monsters of Folk's publicist about that Conor interview that never happened. At the time, the publicist said she was putting me on "the list" for the show, but it was spoken almost as an aside. I emailed her yesterday morning asking for confirmation, but never heard back.

Late in the afternoon I stopped down to the Holland Box office to see if I was on the guest list, but they said they wouldn't know until an hour before the show, and that I could call down and find out. But when I did, the grunt on the other end of the phone said the only way I was going to find out was to drive downtown. A side note: I've had three bad experiences with The Holland box office. Every time I've gone down there they've treated me like shit. Good thing I rarely attend shows there.

Anyway, while I was on hold with The Holland, the World Series had already begun. So: Do I drive downtown and possibly get turned away at the Will Call window, or do I stay home and watch the Yankees in Game 1 of the World Series?

It didn't take long to decide. The Monsters of Folk record is somewhat boring. The thought of sitting in Holland's pine-box seating for three hours listening to yawn-inducing singer-songwriter fare just wasn't appealing -- that is, if I got inside the concert hall at all. But even had I made it in, I probably would have been glued to my iPhone the whole time keeping track of the score, and hoping they'd just wrap it up so I could at least catch the last inning. And that wouldn't be fair to Conor and his pals.

Probably the only other person down at the Holland who gave a damn about the game was drummer Will Johnson. Johnson, who also fronts Centro-matic, is a huge baseball fan. We talked baseball before he played a solo set at The Ranch Bowl back in 2004. Johnson described sneaking into baseball parks after hours and running around the bases. One of his other talents is painting baseball stars from the past. You can check out some of his work at http://www.willjohnsonart.com/ You won't find any Yankees in his collection, however.

The Yankees lost, by the way. They (probably) won't be keeping me from seeing Little Black Stereo (who I've yet to hear) and Lawrence band Cowboy Indian Bear at The Sydney tonight. The show is $5 and starts at 9.

There's also a big show going on at Slowdown tonight featuring Oh Possum, Carl Weathers Co-Operative, Conchance, & Sam Martin (Capgun Coup) with Sean Pratt. $7, 9 p.m.

Also tonight, Broken Truth plays at The Barley St. with Mitch Gettman. $5, 9 p.m. ; and Platte River Rain plays O'Leaver's with Theodore and The Travelling Mercies. $5, 9:30 p.m.

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

Simon Joyner's official CD release show for Out Into the Snow is slated for Nov. 13 at Slowdown...

Column 244: Roll On
This time, Simon Joyner's music is as strong as his words.

I stole some words from Simon Joyner for this review of his latest album, Out Into the Snow. I figure his words are better than mine, since he has a way of saying things as only a poet or a dreamer (or a realist) could. Lines like this one from the song "The Arsonist":

"I look for you in the dye of cancelled stamps / In the panic of sirens / In the vanishing kite strings of airplane exhaust"

I'm never going to come up with anything like at. When it comes to talking about his records, your best bet is to use his words rather than your own, because nothing you're going to say is going to describe his music better than his music, or his lyrics. All the high-brow analysis or references to literary or musical giants of the past only reveal a reviewer reaching for something that isn't there.

Joyner strings together revealing metaphors throughout his new album that, taken as a whole, create an indelible portrait, a landscape of his broken horizon that is a crystal-clear snapshot of our time.

See, that just doesn't work. When you over think it, it just sounds forced. And nothing on his records sound forced. From the title song:

"Verse from the bible memorized in childhood / Fell from your tongue to the car keys / You asked me if it mattered / Everything had a pattern / You can't stand far enough back to see it."

It's just like he's done for the last 11 albums over the past 15 years or so. Like his literary progeny, Conor Oberst, few people recognize the brilliance of his melodies, but everyone respects the quality of the words he chooses. Joyner's lyrics are dark, lonely poems or stark observations of the every day tied together in a folk-rock-country melody that all the young indie kids are in love with these days.

Also like Oberst, his wobbly croon is not immediately embraced -- or by some, never embraced. And that's okay. While Joyner's music was made for mass consumption, I don't know if that's ever going to happen, at least not with his purposely off-balance, uncertain voice singing those painful, lovely words. I suppose somebody said that about Dylan and Cohen, too and just look what happened to those two kids.

Released on Team Love Records last month, Out Into the Snow is the most streamlined, most easy to embrace album of Joyner's career. If you thought he was trying to chase you off before, well, he sounds like he's trying to call you back with this one. Or at least coax you to give it a try.

Backing him up is Alex McManus (Lambchop, Bright Eyes, The Bruces), Ryan Kennedy, Mike Friedman (The Movies), Michael Krassner (Boxhead Ensemble), and Chris Deden, along with vocalists Sarah Gleason and Pearl Lovejoy Boyd (Outlaw Con Bandana) and string arrangements by violinist Laraine Kaizer.

Joyner was backed by a full band for his last full-length, Skeleton Blues, an album that seemed to point the way toward this one. But on that record, only one song came in under four minutes, while the rest were reckless, bluesy folk-jams that were comfortable stretching out over six, eight, ten minutes.

Only the opening song, "The Drunken Boat," feels epic in length at over nine minutes, and even then, you don't really mind because Joyner keeps it moving along with lines that you don't see coming, like "Memories drank from the horizon as my eyes dried in the breeze." And he does it at his most controlled -- i.e., he's not noticably off key, at least not that often. It's as if he's decided to try to sound, well, normal.

Adding to the musical emphasis are unique instrumental touches seldom heard on a Joyner record. Toward the end of that epic opener, he shares the melody with a floating trio of violins. Halfway through "The Arsonist," the crooning and piano pause for a brief flute interlude before the drums come back in and Joyner gets back to "penny arcade portraits of Lauren Bacall." All in under three minutes.

Still, like the others, it really is the words that drive this record. Certainly it's the words you're going to remember.

"It's fading, it's fading / So what are you gonna do now? / You're either laying low or chasing smoke or thinking of throwing in the towel / So roll on, roll on..."

If I close my eyes, I think I can hear that one on a jukebox somewhere, standing shoulder to shoulder with the Stones and Dylan and Leonard and Lou. And some young kid listening, and thinking to himself, "That's a good line." That's a good song. And this is a good album. Roll on indeed.

* * *

Tonight at The Holland Performing Arts Center its Monsters of Folk featuring Conor Oberst, M. Ward, Jim James and Mike Mogis, with special guest Will Johnson (Centro-matic) on drums. When Oberst/Ward/James played at Joslyn's Witherspoon Concert Hall way back in 2004 it was considered a landmark performance that would likely never happen again. If you missed it (like I did), you were kicking yourself for the rest of the year. Who would have thought that the same trio of indie music royalty -- along with Omaha guitarist/producer/genius Mike Mogis -- would ever grace an Omaha stage again (at least without Obama in tow)? Yet here they are, this time as The Monsters of Folk, promising more than two hours (more like three) of music that will include not only songs off their new self-titled album, but also nuggets from each of their personal musical projects. Lost in the event's hub-bub is the fact that $1 from every ticket sold will go toward Omaha's Octopuses Garden Art Alliance -- a 501(c)(3) non-profit organization dedicated to strengthening community interaction through visual, literary and performance arts. Find out more at octopusesgarden.org.

Three hours in the Holland is almost inhumane, especially if the bar is closed. That said, I don't know how they'll keep the lobby bars open and not expect people to congregate there during the show (who remembers the OEA Awards show, where there were more people in the lobby than in the aud?). Tickets are still available at $47 a pop. Show starts at 8 p.m. sharp.

There's also a hip-hop show going on at The Waiting Room tonight featuring P.O.S., Eyedea & Abilities and Plain Ole Bill. $12, 9 p.m.

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

Tickets are still available for tonight's Dinosaur Jr. show at Slowdown. I went the last time J. Mascis and Co. came through town, and can tell you it was plenty LOUD -- which means it was plenty GOOD. How loud was it? "So loud that halfway through the set, I wondered what damage I was doing to my hearing (and I wore earplugs). I could feel my clothes rippling across my body, moved by the shockwaves of noise (think of the famous Maxell poster where the guy sits in front of a loudspeaker, holding onto the arms of his easy chair to keep from being blown backwards by the volume). Crazy, excessive, pure, necessary loudness." Read the full review of that 2007 show here.

In case you're wondering, the new Lou Barlow album, Goodnight Unknown, is plenty good, and the show would be worth $20 (or at least $12) just to see him. Also in tonight's line-up is Aussie band Violent Soho (signed to Ecstatic Peace! Records, owned/operated by Thurston Moore). $20, starts at 9.

Also tonight, The Chinese Stars play at The Waiting Room with Sensitive Hearts. This is being billed as a "Goo Presents" event, which means Goo will be DJ-ing the show. $10, 9 p.m.

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

I posted on Twitter/Facebook Friday night that Brimstone Howl's set at The Barley St. had made me reconsider the band. Someone quickly asked in a comment if I meant that "in a good way."

I've always liked Brimstone and thought they were a fun band to see live, but like a lot of other so-called "garage bands" all their songs generally sound the same to me. You could step outside the club, come back in and hear a song that sounded just like the one that was playing when you left. It's a common criticism, and in the end, does it matter? Isn't that part of the reason why so many people like the Ramones? You not only want but you expect all their songs to sound the same. It's not so much about the music as it is about the energy. And if you're not drunk, a little goes a long way.

That wasn't the case with Brimstone Friday night -- their set was was their most musically varied that I've ever heard them play. I point to the new album, Big Deal, What's He Done Lately, which combines elements of garage with '60s psychedelic and straight-up vintage rock balladry. It's easily my favorite among their catalog thanks to how it combines styles and sounds that compliment each other, making each song even more interesting. And that's what we got Friday night.

So the short answer was, yeah, I meant it in a good way. Brimstone Howl is dragging itself to the next level, whether they're trying to or not.

Brimstone was the late show. Earlier that evening I listened to a set by The Answer Team at The Waiting Room and was underwhelmed. My enthusiasm was probably dampened by having to wait what seemed like a half-hour for them to take the stage after their pre-set soundcheck. Oh well. They were opening for Honey & Darling, who in a very short time have managed to generate nice crowds to their shows. There were about 100 on hand for their CD release party for their new EP, What Became of What I Love. The trio of Sara, Matt and Robert sounds like a cross between a riot grrrl band (Dresch/Huggy Bear) and Sebadoh, and aren't afraid of drenching songs in feedback. Check out the EP if you can find it.

* * *

Tonight at The Waiting Room it's Pennsylvania folkie Langhorne Slim with Dawes and the amazing Bear Country. LS, a.k.a. Sean Scolnick, just released a new album on Kemado called Be Set Free. $8, 9 p.m.

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

Thanks to everyone who entered the first-ever Lazy-i Twitter tickets giveaway contest! We had 37 entries, and the winner, whose name was drawn from an electronic hat, was @k_to_the_t. Thanks to everyone for playing!

* * *

The OEAA (I always forget to add the last "A," which stands for "Awards," as in "Omaha Entertainment and Arts Awards," a name that implies that Arts and Entertainment are two always separate things)(and that they needed to make "Awards" an official part of the name)(screw it, I'm just calling it the OEA Awards) announced their list of nominees for the 2009 season. The full list has been posted on the Lazy-i webboard, here.

The list is derived from a public nomination process where first, anyone can nominate a musician/band for consideration. That list is then whittled down by the OEAA Academy (the OEAAA?), who picks three from the list for each category. The public nominee that got the most public votes in each category also makes it onto the final ballot.

For the sake of full disclosure, I've posted my own official ballot submission beneath the official nominees list. Some of my choices made it, some didn't. Some weren't even nominated on the public ballot, but I added them anyway. OEAAA members also were asked to nominate someone for induction into the Hall of Fame (have to be dead to be considered) and Lifetime Achievement Award. Both of my choices are included.

One other note about the OEA's -- I'm not the event's organizer, nor am I responsible for its existence. I'm merely an "academy member." Please do not stroll up to me at O'Leaver's and complain about it. It's not my fault, and I do not care. I've made my position very clear about the OEA's from day one -- I think it's a fun diversion that means absolutely nothing, just like the annual Reader list of the Top 20 best in Omaha/Lincoln, which, btw, will be published in early December.

* * *

Hot show of the evening is the Honey & Darling CD release show at The Waiting Room. I've been listening to the EP, titled What Became of What I Love, and dig it mucho. Also on the bill are The Answer Team, Everyday/Everynight, and Adam Robert Haug. All for $7, starts at 9.

Also tonight, The Third Men are playing at O'Leaver's with Des Moines band North of Grand and Dead Girls from Lawrence, Kansas. $5, 9:30 p.m.

Over at the Barley St., Brimstone Howl will be tearing it up with JAIL, Mojomatic and Christopher Wright. $5, 9 p.m.

And finally, Michael Lee Firkins is down at Slowdown Jr. tonight with Gerald Lee, Jr. (Filter Kings). $8, 9 p.m.:

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

My first foray into the world of Twitter contests has been rather lackluster -- only a dozen people have entered the drawing. That means the odds of you winning a pair of tickets to next Wednesday's Monsters of Folk concert at The Holland Center are pretty good. To enter, go to Twitter and retweet the following message:

"http://www.lazy-i.com Enter a drawing for two Omaha 10/28 Monsters of Folk tix. Just retweet this, and follow @tim_mcmahan"

It's that simple. Entries will be received via Twitter through tomorrow (Friday) noon, after which a name will be drawn from all the retweeters. That person's name (plus one) will be added to "the list" for the Oct. 28 Monsters of Folk show. Tickets are being provided by Shangri-La Records and Filter Magazine/Creative Group. These tickets cost $47 each! So get on Twitter and and retweet. The winner's name will be announced Friday afternoon.

* * *

There has been a mini-lull in shows this week. Not much going on until next week, however there is a show tonight at The Slowdown -- a band called Lotus that one of The Reader's photographers told me is sort of a cross between a jam band and electronic rock show. He loves them. I've never heard of them. Opening is The Egg. $15, 9 p.m.

Meanwhile, down at The Saddle Creek Bar, it's Wichita indie band Japanese Game Show -- check out their myspace page and drop by. The show is free, so what do you have to lose? Starts at 9.

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

First, the ticket giveaway -- those who follow me on Twitter (twitter.com/tim_mcmahan) already have seen the tweet:

"http://www.lazy-i.com Enter a drawing for two Omaha 10/28 Monsters of Folk tix. Just retweet this, and follow @tim_mcmahan"

It's that simple. Entries will be received via Twitter through Friday noon, after which a name will be drawn from all the retweeters. That person's name (plus one) will be added to "the list" for the Oct. 28 Monsters of Folk show at The Holland Performing Arts Center. Tickets are being provided by Shangri-La Records and Filter Magazine/Creative Group. These are $47 tickets, folks, so it's a nice haul for a show that likely will go down as one of the best of 2009. So get on Twitter and and retweet. The winner's name will be announced Friday afternoon. Fun!

* * *

As described below, Column 243 was to be a diatribe about my inability to land an interview with Conor Oberst for a cover story in support of the Monsters of Folk show. I actually wrote the column, but after showing it to a couple people, shelved it and replaced it with a column that draws from items from the past week's blog. I feared the original column, which outlined the paper trail to attempt to get the interview as well as my history of interviews with Oberst and speculation as to why he no longer is doing interviews with the local press, sounded too harsh or petty. My "editors," however, didn't think that was the problem. They simply reinforced a comment that was echoed in the actual 243: Who cares? Why is this relevant? And so on.

One editor asked why I thought Oberst would ever do an interview with me or anyone locally again when he clearly doesn't need us anymore. Maybe he won't. Another asked how much a local artist who has "made it" really owes the local press. My answer: Not much, if anything. A musician's or band's success depends entirely on his/her/their talent. Period. If a musician is making great music, an audience will find him/her regardless of the press or circumstances.

Anyway, I haven't given up on one day interviewing Oberst again. I think he hasn't done interviews since Cassadaga because he feels his current projects are true team efforts and he doesn’t want to take the spotlight from the other members or generate a perception that the projects are Oberst solo efforts. I also think he hates doing press, and looks for any excuse to not have to do interviews. I can't say that I blame him.

So, for posterity's sake, here's what we ended up printing in The Reader as Column 243, which regular Lazy-i readers already have seen most of:

Column 243: Monsters of News
Ragged Company, Cursive, Ladyfinger, Conor...

This week's column is a real grab bag, so stay with me...

* * *

People ask me why I go to so many shows every year, a number that's just north of 100 (that's a lot of late nights, folks). Part of the reason is to see bands I know and love do their thing, but just as enticing is the chance to discover something altogether new and special -- something that's become more and more rare these days. That said, the highlight of the past weekend was finding the four-piece folk-rock act The Ragged Company, who played a show at The Saddle Creek Bar Saturday night with Cass Fifty and the Family Gram.

While the entire band swung bravely with its twangy Americana story-telling folk-rock, the centerpiece was Dave Downing a.k.a. Cello Dave -- one of the most talented guys I've seen on an Omaha stage. You may remember Downing from his work in Midwest Dilemma, Tomato a Day and who knows how many other ensembles. He's becoming something of a local legend, elevating every band he performs with as he did Saturday night, pouring his heart out leaning over his instrument, his hair hiding his eyes from the crowd of around 50 -- one of the larger crowds I've seen the Saddle Creek Bar, which, by the way, is officially for sale once again.

* * *

Some old news that just got confirmed: A few weeks ago I was told that Ethan Jones no longer is playing bass in Ladyfinger. Sure enough, he isn't listed on their Myspace page, and last week Saddle Creek confirmed that Ethan no longer is in the band, and that Ladyfinger is working on finding a replacement. It's been a while since Ladyfinger's organized chaos was heard on an Omaha stage, and the band has no shows scheduled in the future. Frontman Chris Machmuller has been splitting his time slinging Cubans at the recently expanded Worker's Sandwich Shop next to O'Leaver's, playing guitar in Dance Me Pregnant, and --rumor has it -- working on a new rock project. Stay tuned...

* * *

Cursive announced last Wednesday that it's headlining Christmas for Pine Ridge - The 6th Annual Lash LaRue Toy Drive Dec. 13 at The Waiting Room.

According to a post on the event's Facebook page, the toys are for the children of the Porcupine District of the Pine Ridge Indian Reservation in South Dakota. "According to the 2000 census, Pine Ridge’s Lakota Sioux community is one of the most poverty stricken communities in the United States," the page says. "The children of the reservation are desperately in need of some sunshine and cheer, especially during a time of cold, harsh winds and immense desolation like winters on the reservation can be."

The annual concert is one of the more successful fundraising shows of the year, but with Cursive on the bill, this could actually sell out in advance. Joining Tim Kasher and his crew will be Brad Hoshaw and Vago. The $14 tickets went on sale last Saturday.

Also on sale last Saturday were tickets to the Mousetrap reunion show Dec. 23 at The Waiting Room. The line-up will include original members Craig Crawford and Pat Buchanan, but on drums will be a new guy. "The drummer's name is Mike Mazzola," Crawford said. "He played in a band called 'The Lost' with Patrick. Pat thinks that he will be perfect for the show. We've all been working individually on our parts and will start rehearsing as a group shortly. Should be good and loud!"

Opening the show is the reunited Mercy Rule and what I'm told will be the final performance of Beep Beep, whose line-up for the evening will include original member Chris Hughes. At $8, this also will sell out, so if you haven't already bought your tickets to either event, you better get in the digital queue before it's too late.

* * *

Speaking of shows that should sell out (but at $47, probably won't), reviews of Last Sunday night's Monsters of Folk show at Los Angeles' Greek Theater report that the indie-folk supergroup played for nearly three hours covering 35 friggin' songs. Featuring Conor Oberst, M. Ward, Jim James and Mike Mogis, the band (which is scheduled to play at The Holland Center Oct. 28) also had Will Johnson of Centro-matic on the drum kit. "In a sense, Monsters of Folk’s live show was like a mini-festival, since the crowd was treated to solo performances by all of the principal players, but it was when all four besuited players were on stage together that they shined the brightest," said critic Craig Rosen on livedaily.com. Three hours seated in the Holland Center? I hope the lobby bar will be open during the performance (something tells me it won't be).

By the way, with the show slated for next Wednesday, where's our interview with Conor? Well, we tried, friends, we tried. Just like we tried so many times before. But Conor ain't talking and hasn't talked to us poor indigent local media since back in his Bright Eyes days, circa Cassadaga. The spigot that ran so robust just two years ago was shut off for reasons we can only speculate. The editors of this fine publication wanted me to write a diatribe about my/our inability to land a Conor interview. But in mulling it over in my somewhat cavernous head, I couldn't muster the necessary anger/outrage. In other words -- I just didn't care.

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

Last Friday night was spent at The Saddle Creek Bar with Cass Fifty and The Family Gram. I heard a few minutes of Cass' new album while out at Grubb Inc. last week (He's recording it) and wanted to hear more. An accordion plays a central role on the recording, but there was no accordion to be seen (or heard) on Friday night as the band decided to instead use the house organ. Not bad, but why not switch between the two instruments throughout the set? Maybe he simply didn't bring the accordion with him. Who knows. Regardless, Cass and the band played a nice set of rustic indie folk that bordered on Americana, fronted by a girl who sounds like a midwestern version of Grace Slick with a touch of Janice Joplin (and maybe some Bonnie Raitt thrown in for good measure).

They were followed by the four-piece folk-rock of The Ragged Company, a band featuring Dave Downing a.k.a. Cello Dave -- one of the most talented guys I've seen on an Omaha stage. Downing has become something of a local legend, and I have no idea what's true and what isn't. The only thing I know is that he elevates every band he performs with to another level, and that was evident Saturday night. The guy is amazing, which is not to say that the rest of the band is chicken soup -- this is a band to keep an eye on. Nice stuff all around, played to a crowd of around 50 -- one of the larger shows I've been to at the Saddle Creek Bar (see photo), which, by the way, is officially for sale once again.

The Yankees kept me hostage for 13 innings Saturday night, making me miss Blitzen Trapper at The Waiting Room.

Tonight at The Waiting Room it's the return of Little Brazil with Weatherbox and We All Have Hooks for Hands. $7, 9 p.m.

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

Cursive announced yesterday that it's playing at Lash's 6th Annual Toy Drive Dec. 13th at The Waiting Room -- that's quite a coup for a benefit concert that has really picked up steam over the years. Pollstar is showing Capgun Coup also on this show; I'm pretty confident that it'll sell out. The $14 tickets go on sale this Saturday.

Also going on sale this Saturday are tickets to the Mousetrap reunion show Dec. 23 at The Waiting Room with Beep Beep (their final show ever, and Chris Hughes is playing, too) and the recently reunited Mercy Rule. Only $8!!! Better get in line...

* * *

Some old news that I'm not even sure is newsworthy: A few weeks ago I was told that Ethan Jones no longer is playing bass in Ladyfinger. Sure enough, he isn't listed on their myspace page, and yesterday Saddle Creek confirmed that Ethan no longer is in the band and that Ladyfinger is working on finding a replacement. It's been a while since Ladyfinger played, and they have no shows scheduled. Frontman Chris Machmuller has been splitting his time playing guitar in Dance Me Pregnant, and I'm hearing rumblings that a new project may be afoot. Stay tuned...

* * *

It's another busy weekend for shows…

Tonight at The Waiting Room, Ames Iowa indie band The Envy Corps (Vertigo Records) plays with Anniversaire and Skypiper. $8, 9 p.m.

Meanwhile, down at The Saddle Creek Bar, it's Cass 50 and The Family Gram with Ragged Company and Nick Carl -- all for FREE.

Saturday night's big show is Blitzen Trapper at The Waiting Room with Omaha super group Our Fox (members of Neva Dinova, The Good Life). $12, 9 p.m.

Down the street at The Sydney, Lincoln's Dean Armband (members of Her Flyaway Manner) is playing with Unites Sons of Toil and The Lepers. $5, 9 p.m. After they get done with their set, The Lepers will have to high-tail it down to Slowdown Jr., where they're also opening for Ruskie rock band Mumiy Troll. $12/$15, 9 p.m.

Finally, Baltimore band Le Loup is playing at Slowdown Jr. Sunday night with Nurses. $8, 9 p.m.

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

Looks like it's going to be a long night at O'Leaver's. The four-band bill includes Reagan Roeder's new band Hubble (with a new member debuting tonight), Mt. Fuji Records band Black Whales, completely unknown Minneapolis band Ex-Lover and headlining Omaha super group Our Fox (ex-Neva Dinova). All for $5, 9:30 p.m. Also tonight, Kyle Harvey opens for Minnesota singer/songwriter Chris Koza and Edge of Arbor at The Saddle Creek Bar. Show starts at 9 and is absolutely free.

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

Those who have been following this website over the course of the past decade (and longer) know that The Grasshopper Takeover Saga has been well-documented. The story begins here in 1998, and runs through 2004 (here) with stories in between (You can navigate between all four parts from the '04 story). Grubb is one of the most controversial figures that I've had the good fortune to interview. And GTO is/was one of the city's most popular bands, despite being ridiculed by an indie music scene that the band itself ridiculed (or at least seemed to. Grubb would disagree).

Needless to say, we had a lot of catching up to do during last weekend's interview, and a lot of the conversation didn't make it into the column below. Among the more lively exchanges was a discussion about the so-called "indie music scene," and Grubb's contention that it is scribblers such as myself that perpetuate the concept and its resulting divisions.

"Those kinds of stereotypes and stigmas can create a certain aspect of ignorance and inability for younger musicians coming up, who don't know and don't care about a scene until someone tells them they 'shouldn't be hanging out with so and so.'" Grubb said. "I think it should be more open." No one would argue with that, though I think young musicians are apt to follow whatever muse that guides them, whether it's metal or punk or country or R&B or indie, regardless of what their friends (or a review) tell them is "cool."

But with that in mind, Grubb implied that my suggesting that an indie band like Landing on the Moon and a guy like Grubb, who's known for his pop-rock tendencies, are "Odd Bedfellows" is somewhat reckless, if not irresponsible. And I would agree with Grubb if I held his views of the local music scene. I don't. Divisions do exist and always have (and always will).

GTO began to define its role in that scene when the band decided to head to Los Angeles to try to land a major-label record deal. "I remember when we first started, I thought I was going to conquer the world," Grubb said, "but outside of that, I remember telling you that you had to get a deal, and if you didn't, what was the fucking point. Now I couldn't be further away for that.

"Where I am now is a matter of development, maturity. The fact that I'm not so centralized in that scene any more, I have a better perspective on what music means to me and what I think the value of music is. I value creativity and total and complete dedication. That's what I want out of my (studio) clients, too -- to do whatever it takes to make themselves happy."

Column 242: 2001: A Grubb Odyssey
From GTO to Saturn and beyond...

It was only a few minutes into the interview for last week's Landing on the Moon article that his name came up, and then we proceeded to talk about him for the next hour: Curtis Grubb.

I hadn't thought about him in years, and hadn't talked to him since 2004, when I did my last interview with Grasshopper Takeover, the trio Grubb fronted with James McMann and Bob Boyce. I knew that he'd opened a studio, Grubb Inc., but whatever happened to GTO?

I had been writing about the band since '98, right around the time GTO decided to follow their dreams to Los Angeles with the hopes of landing a big record deal. Instead, they found themselves living on the road touring for more than two years. Albums were recorded and released. Bones were crushed. Equipment was stolen. The fan base grew. And eventually they found themselves playing arena-sized gigs opening for Incubus and pals 311. And then they came back home, to Omaha, and that's where I lost track.

Their last gig was two years ago, opening a show for Better Than Ezra at one of the Council Bluffs casinos. "To be honest, part of the reason is due to me," said Grubb sitting behind the console of his new basement studio located in his West Omaha home. "I was just getting a little tired of doing it. Nothing against it at all. I love playing live, I love the band and the music, I stand by everything and every choice we made. It was never a conscious decision, I always let the music guide me every step of the way."

Two years ago, it guided him to Saturn, in the form of creating music for a national television commercial featuring the car maker's 2007 models. Grubb said he landed the gig through his Los Angeles connections. "I got a call to be a candidate to write the music, so I wrote like fucking crazy for two weeks straight."

That led to commercial work for Comcast and Sprint and the NBA finals. "That first one opened a whole new concept for me and my career," Grubb said. "It cut that tie that bound me, so I just started running with it. I bought all the equipment, set up a studio and started learning everything I could."

Along with the commercial work, Grubb began recording bands, and figured out that he loved inspiring other people to make the best music that they could "and I was good at it, too."

And as all that was happening, GTO just got further and further in the rear-view mirror. "It wasn't a conscious decision, it seemed like a natural progression of my life's path as it relates to music," Grubb said. "I never thought (GTO) wasn't working; I just wanted something new. That was it. It never didn't work. We weren't on any kind of a downhill slide. We were still packing the house and selling out shows and touring religiously. The bubble was still big and getting bigger, but it was a fragile thing, and it's like some external force stuck a pin in it and let the air out a bit."

Grubb said all three grasshoppers remain "great and fantastic friends." He's seen Boyce and McMann's new band, Two Drag Club, a number of times. "I think they're fantastic." He also hasn't closed the door on working with them again.

In fact, GTO has never really "broken up," Grubb said. "As soon as you have the 'break up' tag on you, than your next show together is considered a 'reunion show,' and those never seem to work." So even though they haven't practiced together for over a year, Grubb said he and the rest of GTO feel like they have another album to write. And his days behind the microphone are far from over.

"I don't miss it in the form of any kind of regret that I'm not doing it now," Grubb said of performing. "I know that I'll be back there at some point. If I couldn't, I'd miss the shit out of it. I love the stage, man, and I believe I'm pretty damn good at being a frontman and an entertainer."

He's also still making music, though exclusively in the studio. His latest project is a "musical reimagination" of the last 35 minutes of 2001: A Space Odyssey -- a modern rock rescoring of the last portion of the film that starts right as Dave begins to dismantle Hal and is thrown into the "star gate" to die and be born again.

"I've been working on it for two years and it's almost done except for a couple sync points," he said. "I have a vision that if every star in the universe lined up perfectly, that the owner of the movie would accept it as a true sync, and then have the studio license it to planetariums around the world."

Grubb screened it for me, and the work is indeed impressive. Musically, it's a "giant leap" forward from his GTO work. At the very least, Grubb said he intends to release it digitally, and is beginning work on another secret film-sync project while he continues working with bands, including Cass 50 and Rock Paper Dynamite.

And there's an even bigger project in the making, something that will impact everything he does moving forward. Ah, but that'll have to wait until the next article.

"I've had a lot of people tell me how lucky I am," Grubb said. "I subscribe to the idea that luck isn't thrown on you, it's created by you. I think a lot of luck is created by following your heart."

* * *

It seems like yesterday that I was telling you that Cloven Path were hanging it up and moving to Texas for reasons that couldn't be explained in this blog. Well, now they're back, or at least a new incarnation of Cloven Path is back, performing tonight at their old stomping grounds of O'Leaver's. Opening the show is local punk-rock phenoms Hercules, Portland's Prize Country and Denver's Git Some (ex-Planes Mistaken for Stars). $5, 9:30 p.m.

Meanwhile, across town at The Sydney, Portland band System & Station is playing with Fromanhole, Comme Reel and Nicole Le Clerc. $5, 9 p.m.

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

The sound-explosion freak-out that was last Friday night's Yo La Tengo show at The Slowdown was absolutely epic. Like the last time they came through, this will be on my list of the best shows of the year. The trio was on fire playing nearly two hours of songs from their new album, Popular Songs, as well as a collection of their "greatest hits" that reached as far back as Painful (see photo). After they opened with the 15-plus minute instrumental noise odyssey called "And the Glitter Is Gone" from the new album, the band settled into a selection of the more jazzy, dancey, poppy songs from albums gone by. I thought it was going to be a laidback evening, but by the beginning of the second hour, it was one noise anthem after another. About half-way through, I began to have a new "understanding" of a band that I've been listening to for more than a decade. It's as if guitarist Ira Kaplan was creating a wall of painful noise and distortion designed to counteract the pretty melodies and straight-forward, streamlined rhythms created by bass player James McNew and drummer Georgia Hubley. All three have quiet, almost dour voices (Hubley is Nico to Kaplan's Lou) that chirped pretty melodies while Kaplan systematically tortured his guitar, at times pulling the strings from the neck with both hands -- shoving objects between the strings and the fretboard -- blasting out a sharp, anguished howl (After each song, a guitar tech would hand Kaplan a different guitar to play while he was back stage presumably repairing the damage). So that balance -- the pretty and the painful -- almost put me in a trance, as songs rose and fell and regurgitated themselves following a pulsing thread of McNew/Hubley rhythm. It was exquisite.

* * *

I had to do a bit of driving Saturday night. First stop was O'Leaver's for the world stage debut of Well-Aimed-Arrows, the new band by Koly Walter and Clayton Petersen, formerly of the legendary Omaha post-punk band The Protoculture. Considering that Koly wrote most of the songs for both bands, W-A-A sounded like Protoculture Pt. 2. The Arrows (let me be the first to call them that) had Protoculture's same dissonant song structures propelled by punchy rhythms and Walter's flat vocal howl. Petersen's wife Michelle provided the necessary counter vocals (a la Erica). The difference for me was bassist Brian Bird (of The Antiquarium) whose hot dog style took the music to a groovier level. The band only played five songs, but it was more than enough to get the crowd's blood pumping. What's that they say about "leave them wanting more"? (see photo).

I skipped out right afterward and headed to The Waiting Room where I caught the last half of Noah's Ark Was a Spaceship's ferocious set. (see photo). These guys have emerged as thee band to carry on Omaha's '90s post-punk noise-rock tradition. They sound influenced by early Nirvana, Sonic Youth, Unsane, Surgery, Helmet, Cop Shoot Cop and a host of other bands that (considering their age) they may or may not have heard of.

Landing on the Moon bought everyone in the crowd of about 150 a glass of champaign and kicked off their set by having a toast to a new LP that took them two years to complete. Their set was the usual rock-solid performance, highlighted by a screaming guitar solo from Matt Carroll during "She Wants," and a new song -- perfect set-closer "California," a simple, upbeat pop tune that seems to be pointing the direction in which the band is heading for their next album -- very encouraging indeed. (see photo)

* * *

Well, that Mousetrap reunion that I mentioned back in July has become official. One Percent announced that the reunion show will take place Dec 23 at The Waiting Room. The line-up will include original members Craig Crawford and Pat Buchanan. On drums is a new guy. "The drummer's name is Mike Mazzola," Crawford said via Facebook. "He played in a band called 'The Lost' with Patrick. Pat thinks that he will be perfect for the show. We've all been working individually on our parts and will start rehearsing as a group shortly. Should be good and loud!" Opening the show is the reunited Mercy Rule and Beep Beep. I'm told this will be the final performance for Beep Beep, and the band's line-up will include original member Chris Hughes. Tickets for this show aren't available until Oct. 17, when they'll be $8. This will sell out, so I suggest you get online or in line the day tix become available.

* * *

It's a busy Monday night for shows. At The Waiting Room, a 6-band line-up has been announced for tonight's Nebraska Humane Society/Lindahl benefit show. Your $8 cover will go to the NE Humane Society, while tips (and presumably a separate donation box) will help cover costs for necessary eye surgery for Lindahl, a Jack Russell terrier that I'm told is no stranger to the local bar/music scene. The line-up of performers is impressive: Fortnight, Lincoln Dickison, Reagan Roeder, Sarah Benck, The Wagon Blasters, and Kyle Harvey. Show starts at 8 p.m.

Meanwhile across town at The Brothers Lounge (3812 Farnam), Digital Leather is playing with Box Elders and the Fresh & Onlys. Chris Aponik has a feature on DL in this week's issue of The Reader, which you can read online here. Tix are $5 and the show starts at 9.

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

And so, the weekend…

Tonight's mega-show is Yo La Tengo at The Slowdown. For all of us who lived through Matador's heyday in the 1990s, YLT is a can't-miss concert. And for you young-ens who weren't around in those golden days, YTL also is a can't-miss show if only for the strength of their latest album, Popular Songs. Every time they release a new record I say it's their best one yet, and every time I'm right. It is almost three years to the day since the last time they came through Omaha, and that show ended up being in my top-five for the year (read that review here). As of this writing, tickets are still available for a mere $17. Opening band is Tennessee garage/punk trio Cheap Time, whose full length was released on In The Red. Cheap Time has toured with garage band legend (and Matador labelmate) Jay Reatard. Get there at 9.

Also tonight, Simon Joyner will be at O'Leavers playing songs off his new album, Out Into the Snow. Joining him is Grotto recording artist Samuel Locke Ward & The Boo, Mr. Wizard and Data Gun. $5, 9:30 p.m.

Saturday night's marquee event is the Landing on the Moon CD release show (read about them here) at The Waiting Room with Noah's Ark Was a Spaceship, Ideal Cleaners and Fortnight. $7, 9 p.m.

Also Saturday night is the world premiere/stage debut of Well-Aimed-Arrows, a new band that features Koly Walter and Clayton Petersen of The Protoculture as well as Brian Bird (Antiquarium co-owner) and Michelle Petersen. Well-Aimed-Arrows (the name was derived from the Simon Joyner song "Three Well Aimed Arrows") opens for Private Dancer at O'Leavers. $5, 9:30 p.m.

Also also Saturday night, Cowboy Indian Bear makes a trip up from Lawrence to play at The Sydney with Shiver Shiver. $5, 9 p.m.

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

Just posted, an interview with Landing on the Moon (read it here). The band talks about the making of their debut full-length, We Make History Now, and working with engineer/producer Curt Grubb (yes, that Curt Grubb). They also talk about finding and signing with fledgling New York label Young Love Records. It's a fun read, so check it out, and then get ready for their CD release show this Saturday at The Waiting Room.

* * *

Tonight at O'Leaver's, It's True is scheduled to play after the Husker game, along with The Photo Atlas and Epilouges. With the game starting at 8:05, we could be waiting until 11:30 until someone actually takes the stage. How is O'Leaver's going to figure this one out? $5.

Also tonight, everyone's favorite '90s-scented punk band The Coffin Killers is playing at The Sydney with TBA (you remember those guys, right?). Will the Husker football game also influence when this show starts? I highly doubt it. 9 p.m., $5.

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

It's been a busy year for festivals. The ones I can remember: OEA Summer Showcase, Lincoln Invasion, MAHA, RatFest, Nebraska Pop Festival and last weekend's Lincoln Calling Festival, which is the subject of this week's column. And it's not over yet. The OEA Fall Showcase is Nov. 13 in Benson.

Column 241: Turning the Corner
Best year ever for Lincoln Calling...

After word got out that a reunion of legendary '90s-era rock act Mercy Rule was going to replace Domestica last Saturday night at Lincoln Calling, I knew that I was going to make my first excursion to the festival after writing about it for the past six years.

Jeremy Buckley, Lincoln Calling organizer and "A-No. 1 Ass-kicker" (as designated from stage by Mercy Rule's Jon Taylor) had texted me with the details. Ron Albertson -- Mercy Rule's drummer who had moved to Brooklyn all those years ago -- was back in town to stay, and Mercy Rule was a band again. In Ron's absense, Taylor and his wife, bassist/vocalist Heidi Ore, had formed Domestica with drummer Boz Hicks. I guess Boz simply stepped aside, understanding the obvious historical implications.

They were scheduled to play at 9 p.m., so we left Omaha at 7:30 in the Cooper. I can't remember there being so much construction on I-80 -- the speed limit shifted from 55 to 65 to 75 to 55 and so on, which didn't matter since I was driving 85 anyway, and still almost missed the show when we flew past the 9th St. exit, not realizing our mistake until we got to Crete with the city in the rear-view mirror.

For many, Mercy Rule would be the highlight of the five-day festival. But not for Buckley. "The best thing I saw was Ideal Cleaners doing 'Go, Go Big Business,' a song that I always ask for but they never play," he said.

It was the cherry on top for Buckley. This is the year that Lincoln Calling "turned a corner" from being a nice weekend of shows put together for the locals who probably would have been at the bars anyway, to an "event" that drew new blood in the form of people completely outside of the Lincoln/Omaha music scene.

Buckley called Monday night after spending the entire day in bed recovering from the weekend. He reported that total Lincoln Calling attendance was 3,590 patrons, a thousand more than the 2,500 he had been shooting for. Cash from the event's ticket sales totaled $9,063 -- an average of about $2.50 per patron. "(I) should probably try and figure out how to get that 'per person figure' higher next year," he said.

Regardless, everyone that performed got paid -- something that's unheard of for most local music festivals. The worst-paying night was Sunday, where the light draw meant each band only pocketed about $15. For the rest of the weekend, "a couple solo artists got $30, and the rest of the bands got between $50 and $200," Buckley said, explaining that their take was based on door splits. Every performer also received a free $30 all-access pass that let them into every show throughout the festival.

In the end, Buckley said most bands were happy with the way things turned out, except for Eagle Seagull, who had a "melt down" on the The Bourbon Theater stage on the festival's opening night. Buckley said Eagle Seagull frontman Eli Mardock "left the stage in the middle of the third song and watched from the side. I think he made it through four or five songs total. People were in a bad mood afterward and talked about it all weekend. Eli said he was sorry, and that they would do a makeup show in December in Lincoln for free. Other than that, there were no major disasters."

Statistically speaking, the highest grossing show was Sarah Benck's Saturday night performance at The Zoo, which she had announced would be the swan song for her band. The room was a crush mob, and after only a few minutes of being in everyone's way, we left with claustrophobia setting in.

From a pure attendance standpoint, Buckley said Friday night's UUVVWWZ show at Duffy's or The Killigans show at the 12th St. Pub took the prize. Each drew well over 300.

But forget about the numbers. Buckley pointed to other signs that Lincoln Calling is growing into a real festival: He watched as someone actually scalped an all-access pass outside of Duffy's. Like Austin's South by Southwest Festival, an "unofficial Lincoln Calling show" was held after hours at a nearby house for Bandit Sound. And two radio stations and a local TV affiliate approached Buckley to cover the event -- another first.

Buckley said the seventh annual Lincoln Calling Festival would be "the year of sponsorship and board of directors and volunteers." He missed too many of the shows this year because he was constantly being texted to put out fires along O St. Next year he wants to place a volunteer at every venue to handle flare-ups. He also is fielding offers to help with the event's marketing.

For me, the festival's highlight was that Mercy Rule show -- something I never thought I'd see. But there they were on Duffy's famous stage, Jon, Heidi and Ron, illuminated in the glow of their trademark floor floodlights, tearing into four classics (including "Summer" and "Tell Tomorrow") and pointing toward their future with four new songs that were as loud and angry as anything in their crowded oeuvre. Taylor's homemade guitar was still ringing in my ears as we made the long drive back home.

* * *

Tonight at The Waiting Room, Skypiper opens for Nickel Creek's Sara Watkins. $12, 8 p.m. Matt Whipkey opens for The BoDeans at The Whiskey Roadhouse/Horseshoe Casino. $23.50, 8 p.m. And Sarah Benck is playing solo at The Barley St. with PennyHawk and Adam Faucett. $5, 9 p.m.

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

A complete recap of Lincoln Calling is the subject of this week's column, which will be online tomorrow. The short version is that the festival drew 3,590 people -- about a 1,000 more than organizer Jeremy Buckley had hoped for. In other words, it was a success. More data and quotes tomorrow.

I actually went down for one night of Lincoln Calling this year, to catch the Mercy Rule reunion and the final show of Sarah Benck and her band (the band formerly known as The Robbers). Mercy Rule brought the goods to Duffy's stage, playing four old songs (including "Summer" and "Tell Tomorrow") and four new songs that absolutely ripped. It was fun to see Ron Albertson behind a drum set again, and to see the band lit up in their trademark floor-floodlights (see photo). The question now is when will a new Mercy Rule album be released (presumably on Speed! Nebraska)?

The Sarah Benck show at The Zoo Bar was a mob scene, crazy packed, overheated, insane (see blurry photo). We made it through one song before we had to get out of there as the walls seemed to be closing in. It has been pointed out to me by a couple folks in other bands how ironic it is that Benck and her band are breaking up as it is one of the few non-Creek Omaha bands that consistently makes money (and good money at that).

Anyway, more tomorrow. Also this week (Thursday), look for a sweet interview/feature with Landing on the Moon.

* * *

Tonight at Slowdown Jr., it's the return of Brad Hoshaw and the Seven Deadlies with The Matt Cox Band and Kyle Harvey. $6, 9 p.m.

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

Last night's show at Slowdown Jr. was the first-ever performance by The Mynabirds, though you'd never have known it by the way they played. The band is fronted by Laura Burhenn -- half of the late, great Georgie James. Burhenn apparently just moved here from Washington, D.C., so I assume the other four Mynabirds are from around here. In fact, on bass was singer/songwriter Dan McCarthy, and I recognized the guitarist, but can't for the life of me tell you who he was.

Anyway, Burhenn and her band came on at around 10:30 and played a short set of well-crafted indie rock songs that sounded like a cross between Jenny Lewis (the upbeat, strutting stuff) and Azure Ray (thanks to a terrific harmony vocalist). The band rocked like it'd been around for years -- very tight with only one noticeable miscue (To start off their last song, the drummer did a 4/4 count-off. Laura turned around with a "no" look, and da-da-da'd a waltz-time beat that the drummer mimicked to get them started). Burhenn's voice is indie gold, and I could see any number of labels clamoring to get he band on their books, but I have to believe that she'll end up at Saddle Creek, where she'd be a perfect fit. Nansel would be a fool to let this one go... (See photo)

When I got to the bar, Jake Bellows had already begun his opening set of solo electric lonely-guy ballads that we've all come to love. I'm starting to think he has a million of these lovely, sad songs filed away in the back of his mind, enough to perform a set that would last an entire weekend, and no one would mind. Bellows is a crooner; on stage he looks like an everyday Joe who woke up one day to discover that he had this dreamy, heart-breaker voice, the kind of voice that would have made him a star in the 1950s, bigger than Bobby Darin. Instead, he's slowly edging his way into the indie foreground, sneaking in under the radar. It's just a matter of time, and considering that Neva Dinova's been around since the '90s, time is something Bellows seems to have plenty of.

The crowd of around 70 was oddly mannered -- everyone was seated and no one talked at all. Dead silence between Bellows' songs, it was awkward. People were afraid to get up and get a beer while he was playing. I felt strange standing up at the edge of the bar, like I was out of place. The odd behavior carried over to the Mynabirds' set, and toward the end, Burhenn pleaded to the crowd to get up and walk toward the stage, which about a dozen people did.

I didn't stick around for These United States. Instead, I high-tailed it across town to The Waiting Room where I caught most of the set by Tortoise. The show wasn't a sell-out, but the crowd was pretty good, maybe 150 (I'm guessing), a majority filling in the main room, staring up at the five-piece as they traded off turns on drums. Tortoise's instrumental-only music is intensely rhythmic (at times, brutally so) at once hypnotic and groovy and unpredictable in its changes and sounds. It's like '50s beatnik jazz-lounge infused with a post-punk attitude and a touch of art/prog. Which makes me wonder why the band appeals so much to the neu-hippie culture. When the band came through a couple years ago, I don't remember seeing so many white-guy dreads, so much hurdy-gurdy dancing, I expected to find someone back by the pinball machines making tie-dye t-shirts. I bet the only ones more perplexed by the onslaught of hippie nation was the band itself, who looked like a bunch of very cool, aging Chicago artists who grew up listening to really good college music, music from bands like Tortoise. (See photo).

* * *

This Saturday's Lincoln Calling performance by Sarah Benck and the Robbers will be the last for the band, as they're breaking up afterward. Benck said the decision to end the band came about quickly, and that she's disappointed by the situation but realizes that people's lives change. "My bandmates are all great friends, and I'm sure that will remain. Six years was a great run, and that's what makes it so bittersweet," she said.

Moving forward, Benck said she intends to play solo shows until she decides if, when or with whom she'd like to play again. I don't think she'll have much trouble pulling together another band. For me, the real question is whether she'll keep creating music in her current style or use this crossroads as a touchstone for moving in a different direction. Time will tell.

The Benck/Robbers Lincoln Calling show is slated for 10 p.m. at The Zoo Bar. If you want to catch it, you may want to show up early.

* * *

Speaking of Lincoln Calling, festival organizer Jeremy Buckley texted me to say that attendance has been strong for the first few days. Wednesday attendance was 395 while Thursday drew 690. Tonight should be just as strong and Saturday should be crazy, with the Benck/Robbers farewell and the Mercy Rule reunion at Duffy's.

Here's tonight's schedule:

Duffy’s Tavern
Early -- 6-9 p.m.
Women of Music First Friday featuring art and photography from:
Teal Gardner
Courtney Nore
Alexandra Matzke
Natasha Richardson
Kayleigh Speck

Late -- 9 p.m., $3 suggested donation, 21+
9-9:45 Honeybee
10-10:45 Sat in What
11-11:45 Flowers Forever
12-12:45 UUVVWWZ

Zoo Bar
Early --- 5 p.m., $5 for 21+
5-7 p.m. Tijuana Gigolos

Late -- 9 p.m., $8 for 21+
9-9:45 The Bellflowers
10-10:45 Brad Hoshaw and the Seven Deadlies
11-11:45 Frontier Ruckus
12-1245 The Allendales

12th St. Pub -- 9 p.m., $3 for 21+, $5 for 18-20
8:30-9:30 Triggertown
9:45-10:30 Cowboy Dave Band
10:50-11:30 The Filter Kings
11:45-1 The Killigans

Bricktop -- 10 p.m., free for 21+
Dr. Zhivago
Tres
Brent Crampton
DJs will decide rotation

Bodegas -- 9 p.m., $5 for 21+
10-1 Lazer Wolfe

Duggan’s Pub -- 9 p.m., $5 for 21+
9-9:40 Tendead
10-10:40 Hellanova
11-11:40 The Lifeless Design Norfolk
12-1 Deadechoes

Songwriter Power Ranger -- 6 p.m., free for all ages
6:30-7 Das Hoboerotica (Spindle)
6:50-7:20 Adam Jameson (Duffy’s)
7:10-7:40 Jonathan Dell (Spindle)
7:30-8 Saint Christopher (Duffy’s)

Marz
Early -- 6 p.m., free for 21+
7-9 p.m. Lucas Kellison and the Assembled Soul

Late -- 10 p.m., free for 21+
Bookworm
Ol’ Moanin’ Corpse
DJs will decide rotation

* * *

OK, so what's going on in Omaha tonight?

O'Leaver's has a nice little post-punk/indie show going on with Ketchup and Mustard Gas, Driftless Pony Club and godshamgod. $5, 9:30 p.m.

Saddle Creek Bar is presenting a much more conventional punk show with Officially Terminated, The Shidiots and Youth and Tear Gas. There's never a cover charge at the SCB. Show starts around 9 p.m.

The biggest show tonight is The Get Up Kids (read my 2002 interview) with Youth Group and Pretty and Nice. $23, 9 p.m.

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

Who are The Mynabirds (who are opening tonight's These United States show at Slowdown Jr.)? Well it's the new project by former Georgie James member Laura Burhenn. Her yet-to-be-released new album, What We Lose in the Fire We Gain in the Flood, was recorded with singer/songwriter/producer Richard Swift. You can hear a bit of it on the Mynabirds myspace page, or better yet, come down to Slowdown and hear it live. Also opening is Jake Bellows. $7, 9 p.m.

Also tonight, as if you didn't know, is Tortoise at The Waiting Room. I didn't think we'd see these guys again after their last show at TWR (in June 2007) didn't sell out (read my comments here), but here they are, better than ever with a brand new album on ThrillJockey called Beacons of Ancestorship. Opening is Prefuse 73. $15, 9 p.m

O'Leaver's has Static Static tonight with Noah's Ark Was a Spaceship and The Prairies. $5, 9:30 p.m.

And then there's Day 2 of Lincoln Calling. The sched is below. The big LC news, announced just yesterday, is that the reunited Mercy Rule -- complete with drummer Ron Albertson -- will be performing Saturday night at Duffy's as part of Lincoln Calling. I just figured out which night I'll be heading down to Lincoln.

Bourbon Theatre -- 8 p.m., $8 for 18+

9:15-9:45 Talking Mountain
9:50-10:20 Capgun Coup
10:25-10:55 Conchance
11-1 Goo DJs

Duffy’s Tavern

Early -- 6 p.m., $5 for all ages

6-8:30 Academy of Rock celebrates Banned Book week

Late -- 9 p.m., $3 suggested donation for 21+

9-9:45 Techlepathy
10-10:45 Ideal Cleaners
11-11:45 Fromanhole
12-12:45 Masses

Zoo Bar -- 9 p.m., $5 for 21+

9-9:45 Mal Madrigal
10-10:45 Loup River Band and Street Choir
11-11:45 Matt Cox Band
12-1 Son of 76 and the Watchmen

12th St. Pub -- 9 p.m., $3 for 21+. $5 for 18-20

9:30-10:30 Andrews Ave
10:50-11:30 Jodie Loves Hinckley
11:45-1 Tempo

Bricktop -- 10 p.m., free for 21+

Ol’ Moanin’ Corpse
DJ Relic
Jacob Smith

DJs will decide rotation

Duggans Pub -- 9 p.m., $5 for 21+

Bandit Sound
Dethmask
To the Grave

Songwriter Power Ranger street corner stomp

6:30-7:00 Jon Wesley Crusher
6:50-7:20 Rebecca McPherson
7:10-7:40 Manny Coon
7:30-8:00 Grant Centauri

Marz Bar

Early -- 6 p.m., free for 21+

7-9 p.m. Son of 76 and the Watchmen

Late -- 10 p.m., free for 21+

Dr. Zhivago
Conrad

DJs will decide rotation

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