Krisiun
Honeybee
Cursive – You’re In My Web Now: An Evening in Three Parts Performing ‘Domestica’ and ‘The Ugly Organ’
In preparation for their double duty performance at Best Friends Forever Festival in Las Vegas, Cursive thought we would do something special at home, in Omaha! On October 8th they will play both Domestica and The Ugly Organ in full as a unique event. The evening (which they are dubbing ‘Your In My Web Now’ will comprise of three acts. Act 1 – Cursive Performing Domestica Intermission Act 2 – The Appleseed Cast performing a career spanning set Intermission Act 3 – Cursive Performing The Ugly Organ (and more) This is a truly special event and tickets will go on sale at 10am Friday.
Post Sex Nachos
Hailing from the middle of the middle of the Midwest comes a band that bends genres and produces tunes that’ll make you want to roller-skate and two-step to your heaviest feelings: Post Sex Nachos. Charging into battle for the love of the music, these roller-coaster rockers are here to redefine the term “boy band” forever. This 5-piece with a fantastically unique Venn diagram of influences and musical backgrounds continues to constantly reimagine the scope of what they can do with their art. Comprised of Mitch Broddon (lead guitar, support Vox), Sammy Elfanbaum (rhythm guitar, lead Vox), Kevin Jerez (keyboards, support Vox), Chase Mueller (bass, support Vox), and Hunter Pendleton (drums), Post Sex Nachos doesn’t just record music for virtual consumption – they bring it to the fans who matter most. Performing to sold-out rooms from coast to coast, Post Sex Nachos delivers a raw, once-in a-generation live show, replete with pop-hook singalongs that sweep you up, solos to make you quake, and grooves worth diving head first into. Veritable road dogs, Post Sex Nachos recently announced their next venture, dubbed “The Minor League”. Fitting, eh?
Neva Dinova
Florry
A far cry from the cool, calculated distance and reserved posture that is all-too-familiar to the indie-rock sphere, Florry, the Philly-bred septet and songwriting vehicle of bandleader Francie Medosch, are marking their territory as a band resolving to do something very different: they are having a really good time out there. Cutting her teeth in the Philadelphia DIY scene starting in 2019 as a student at Temple University, the early days of Florry found Medosch at the end of her teenage years releasing a slew of singles and EP’s in a familiar idiom of lo-fi bedroom recordings tinged with country melancholy. A lot has changed since then. Most importantly, perhaps, the project snowballed into a barn-burning seven piece rock band in the proceeding years; and without sacrificing any of the emotional immediacy that’s come to define Medosch’s brashly earnest, bleeding-heart lyrical style, you’re unlikely to find her lingering as much on the melancholy these days. Or, as Medosch plainly puts it in regards to Sounds Like… , the band’s forthcoming LP: “The Jackass theme song was actually a really big influence on the new album” The release of their 2023 formal full-length debut The Holey Bible (via Dear Life) found Medosch now flanked by six bandmates and trafficking in a wider, more rock-oriented approach with the bravado of someone with a new lease on life. With Jon Cox (Sadurn, Son of Barb) on pedal steel, John Murray on electric guitar, Colin Dennen on bass, Will Henrikson on fiddle, Katya Malison (Doll Spirit Vessel) on Vox, and Joey Sullivan (Bark Culturr) on drums, Florry 2.0 had arrived. The retooled seven-piece embraced a lengthy run of tours dialing in their new kinetic sound and freewheeling chemistry including runs with Fust, MJ Lenderman, Greg Freeman, and Real Estate. Greeted to critical acclaim upon its release, with positive notices from outlets including Pitchfork, Stereogum, Paste, and Brooklyn Vegan, the album quickly introduced Florry to an expanded audience and pointed a way forward for Medosch and the band at a time when the future wasn’t so clear. “I had a job lined up selling insurance, I guess I figured that was that, you know?” As it turns out, that was not that. A few days went by, and then the phone started ringing. From managers, from booking agents, from indie-rock elder statesman Kurt Vile, who took the band on the road in support of his 2023 Back to Moon Beach LP. On the winkingly titled Sounds Like… , the band’s second full-length release via Dear Life, Florry is picking up right where they left off in 2023. Again upping the ante with a bigger, brighter, more abrasive sound that resembles something closer to Rolling Thunder Revue-era Bob Dylan than their humble DIY roots. Across ten tracks, the band wear their influences on their sleeve while carving out a space that is distinctly their own, blending raw honky-tonk grit and rich instrumental textures with the disarming sincerity and intimacy of the group’s lo-fi beginnings. It’s a record about searching—searching for home, for love, for meaning, and for a sound that captures it all. As Medosch croons on the red-hot opening track, First it was a movie, then it was a book Last night i watched a movie the movie made me sad ‘cause i saw myself in everyone how’d they make a movie like that?
Ryan Davis + The Roadhouse Band
After more than 15 years of releasing music on labels like Feeding Tube, Load Records, Astral Editions, Bruit Direct Disques, Petty Bunco, All Gone and others (including, if not primarily, his very own Sophomore Lounge imprint) as/alongside such outfits as State Champion, Tropical Trash, Equipment Pointed Ankh, Roadhouse, et al., Dancing on the Edge – a seven-song, 53-minute basement folk opus, self-released at the end of 2023 and recently reissued by Tough Love in the UK/EU – is the first collection of material produced under Kentuckiana-based visual artist, multi-instrumentalist and songwriter Ryan Davis’ birth name. The tunes on the album range from bare-boned, achingly crooned avant-folk tales to jovial, collaborative excursions into long-form experimental country-tinged rock modes. Continuing in the tradition of the TVZs, Terry Allens, Souled Americans and DC Bermans before him, this 2XLP reimagines the exceedingly dated archetypes of modern day indie troubadour music and the inherent trappings therein. Davis’ solo debut is a dense collection of Americana-Noir that navigates a familiar yet alternate reality, one of enchanted mundanity and uniquely Mid-Southern introspection. Simultaneously antisocial and outwardly inviting, free of cynicism yet slightly stepped in paranoia, Dancing on the Edge is as delicately choreographed and emotionally connective as it is, at times, absurd. The Roadhouse band, as it’s been assembled to meet increasing demands for live performances this summer and fall, features members of Kentucky-based experimental unit Equipment Pointed Ankh, Nashville songwriting voltron Styrofoam Winos and Athens’ bummer country/power-poppers Little Gold in a certain-to-dazzle assembly of both labelmates and friends.
THEY MIGHT BE GIANTS
THEY MIGHT BE GIANTS THE BIG SHOW TOUR. Only 2025 area appearance! Ages 16+ An “Evening with” performance. 8 piece band.3 horns. 2 sets. 0 openers. Starts early. Gets loud.They Might Be Giants are in top form and back on the road with their ever-evolving show. Featuring songs from the earliest days of their Dial-A-Song service, through their platinum album Flood, all the way to their Grammy-nominated album BOOK; each night is its own distinct celebration of the band’s singular songbook. Backed by their notorious live band now including a three-piece horn section, expect a spontaneous, sprawling, enthralling musical event unlike any other.
She’s Green
Likened to a soft summer rain, she’s green is a Minneapolis-based dream-inducer composed of vocalist Zofia Smith, guitarists Liam Armstrong and Raines Lucas, bassist Teddy Nordvold, and drummer Kevin Seebeck. The band has played many shows throughout the Midwest and East Coast, sharing bills with acts such as Hotline TNT, Glixen, Friko, and more. The Star Tribune recommends bringing “earplugs and maybe a tissue for their set.” They initially received recognition through their first two released singles, “river” and “smile again”, both recorded and mixed at home. A raw emotional intensity shines through their honest and explorative songwriting process. After the release of their debut EP Wisteria, they were named one of First Avenue’s Best New Bands of 2023. In April of 2024, they got the most votes from industry professionals for MPR station The Current’s first annual Scouting Report Poll of the top rising artists in Minnesota.
OK GO
Talking to Damian Kulash will take you deep into the mind of a seasoned artist—cerebral, well-theorized, brimming with ideas and opinions. But at his core, the multi-hyphenate OK Go frontman is fueled by something simpler: He wants to play. He’s forever trying to nurture that child-like sense of awe in himself and his band. “What good is doing any of this — any kind of art — if you’re not surprising yourself?” he asks. “Without that electric shock of discovery, there’s nothing at all.” OK Go (Kulash, bassist Timothy Nordwind, multi-instrumentalist Andy Ross, and drummer Dan Konopka) have been professional collaborators for nearly 30 years, during which time they’ve put a wild variety of notches on their belts. Yes, they’ve racked up billions of streams, topped radio charts, directed dozens of award-winning videos, and collected three VMAs and a GRAMMY. But they’ve also collaborated with DNA scientists and Muppets, testified before congress, published in academic journals, launched a K-12 educational non-profit, and earned a mountain of accolades that are much more unusual for a rock band: twenty-one Cannes Lions, twelve CLIOS, The Smithsonian Ingenuity Award, and a spot in the permanent collection of MoMA. Now, a new generation of online creators who grew up on their seminal videos regularly reference OK Go as forebears of a new brand of creativity. But to hear Kulash tell it, the band measures success not by awards, but by the thrill of creative discovery and the freedom to pursue it, and as the band prepares to release its ambitious fifth studio album, And the Adjacent Possible, he says they’re more energized than ever, and full of gratitude. “Spending our lives chasing ideas simply because they’re inspiring or beautiful, full stop, is something we all dream of when we’re young. A few people are lucky enough to get a shot at it, but it almost always gives way to other agendas, more practical concerns. To be midlife and spending our days in pursuit of wonder or spectacle or catharsis simply for their own sake… it’s such a privilege, such a gift.” And the Adjacent Possible testifies to just how curious — and adventurous — OK Go have been of late. Even for a band known for pushing boundaries, this album is wildly eclectic—postmodern and genre-dissolving. Given the legacy of their videos, famed for their inventive use of treadmills and dogs; slow motion and zero-gravity, Rube Goldberg machines, optical illusions, and musical stunt driving, the band couldn’t very well return without an eye-popping video in hand, and in January they delivered: The stunning moving mosaic for “A Stone Only Rolls Downhill” features 64 videos playing across 64 phones. Directed by Kulash and Chris Buongiorno (Star Wars: Skeleton Crew), it required more than a thousand takes, and over two hours and twenty minutes of single-take clips are condensed into the final frame. Kulash seems somewhere between inspired and bemused by what lies ahead. When asked what he thinks the next five years look like for the band, he replies, “A five-year plan is a very reasonable idea. But the only place I ever want to be in five years is somewhere I couldn’t possibly predict today.”