Orgy Of The Dead 2
THIS PERFORMANCE IS AGES 18+ Musical Acts: SmokeBreak / Dead Poets / Glow in The Dark Burlesque Acts: Laz TheImpaler / Tina Mazing / Vinyl The Clown / Battie Babe / Redd Royal
Emo Nite
THIS PERFORMANCE IS AGES 18+
Deer Tick
Deer Tick VIP Pre-show Experience Includes: One (1) General Admission ticket Hear Deer Tick play a few songs not featured in the night’s setlist! VIP-exclusive tour poster, signed by the band Specially designed Deer Tick tote bag Commemorative VIP laminate and lanyard Merchandise shopping prior to doors opening to the public Early entry to the venue The ninth studio album from Deer Tick, Coin-O-Matic casts a bright light on a little-known facet of the American mythos: the hidden histories of the band’s home state of Rhode Island, where the everyday dramas of working-class families long collided with the menace of the mafia underworld. As they tapped into their infinite fascination with that strange duality, singer/guitarist John McCauley, guitarist/singer Ian O’Neil, drummer/singer Dennis Ryan, and bassist Christopher Ryan assembled a batch of songs exploring desperation, grief, redemption, and resilience with both cinematic detail and lived-in emotionality. A sharp new turn from one of indie-rock’s most enduringly vital forces, Coin-O-Matic arrives as a complicated love letter to a way of life slowly slipping from the collective memory. The follow-up to Emotional Contracts (hailed by Uncut as one of 2023’s best albums), Coin-O-Matic takes its title from a cigarette-vending-machine company that served as the headquarters of Raymond Patriarca—a legendary mobster who ran one of the most ruthless crime families in U.S. history. “If you grew up in Rhode Island years ago, you’d see all these mobsters on the news and then run into them at a restaurant on Federal Hill,” says McCauley, referring to Providence’s version of Little Italy. “They were criminals but also very colorful characters, and I wanted the album to partly reflect a certain nostalgia for that kind of seediness.” In its soulful contemplation of recklessness and consequence, longing and devotion, Coin-O-Matic ultimately joins the canon of rock albums whose geographically rooted storytelling reveals deeper truths about the human experience. “I think there’s something universal in stories of regret and loss and poor decisions, even if they’re told through the lens of all the odd characters in this little state of ours,” O’Neil points out. “One of the reasons I wanted us to make this album is that I think Rhode Island deserves to be a contender for a place that people sing about,” McCauley adds. “Sonically there’s nothing country about it, but to me it almost feels like a country record set in an urban environment—there’s definitely some outlaws in there. I hope that people see themselves in it, and that they understand a little more about the place that we come from.”
Bahamas
Afie Jurvanen does not spend too much time in cities these days. For nearly two decades, Jurvanen was a fixture of the Toronto scene, both as a valued multi-instrumentalist and producer for friends like Feist, The Weather Station, and Kathleen Edwards and as the architect of one of his country’s most celebrated artists, Bahamas. Jurvanen came of age across Bahamas’ first six albums, the restlessness of jumpy early hits like Pink Strat and Barchords slowly shifting into the generous domesticity of 2023’s Bootcut. But Jurvanen has long been drawn to open spaces, to a quieter life. In 2009, the year of his aforementioned debut, he began visiting Nova Scotia, the Atlantic Ocean. Over the next decade, his trips became more consistent, then more frequent, and then longer, until, in 2019, Jurvanen and his family of four finally made the move—nearly 2,000 kilometers northeast, to Nova Scotia. They live a lifestyle, Jurvanen half-jokes, that is “close to Mennonite.” The kids are homeschooled. No one has an iPad. Text messages can feel like miracles. Despite his extended résumé, Jurvanen has never been much of a tech guy or studio hound, never one for making his own records. In 2021, however, producer and multi-instrumentalist Joshua Van Tassel had also left Toronto, moving back to Nova Scotia and building a little studio, called DreamDate, in a backyard shed there. It was just small enough to skirt inspections, just big enough to house everything. Jurvanen had once rented Van Tassel’s space back in Toronto to listen to his Earthtones album on someone else’s speakers, to decide if it was ready for release. He’d been impressed by the place’s minimalism and tidiness, by the studio rarity of everything working. So Jurvanen began driving the 20 minutes from his cottage to Van Tassel’s spot via a winding ocean road, passing his days hanging out with his local friend and recording some songs. There was no real agenda but to work and play. And that’s how two people in a little shed made what may be the most effortlessly magnetic record in the entire Bahamas catalogue, My Second Last Album. Van Tassel and Jurvanen played every sound on My Second Last Album, from the buzzing acoustics of “Shadows” to the Mellotron ostinato of “Play the Game.” This self-dependence allowed them to do anything they wanted, to follow musical enthusiasms into any space they favored. Jurvanen wrote “The Bridge” via text with Hiss Golden Messenger’s M.C. Taylor, and he and Van Tassel turned it into an infectious country-funk tune, the strutting refrain closing the gap between Little Feat and Canned Heat. There is charging indie rock, hazy piano, and pastoral folk-rock. Again, My Second Last Album is anything Van Tassel and Jurvanen wanted it to be. For a long time, Jurvanen didn’t know what to do with My Second Last Album. After cutting a legitimate country record in the city where the genre lives, was it a too-weird left turn to put out a loose-limbed indie-pop set cut in a shed? He thought about slicing it into singles or splicing it as a bonus onto some sort of future Bahamas compendium, maybe even shelving it altogether. But then he put the record back on after not hearing it for several months and had the simplest and most profound realization possible: He loved these songs, the way they sat together, the story they told about who he was at that moment—a married father content to live in the country alongside the very ocean where he surfs, a musician who often goes to his buddy’s house to casually make some music. It became My Second Last Album, one of Bahamas’ truly indispensable works.
Los Estereotipos
Join us for a high-energy night celebrating Latin alternative music. Doors open at 8 PM with a Spanish-language DJ spinning classics and favorites to get the party started. 1- Opening the night is Socrates y Los Panas, one of the only established bands in Omaha dedicated primarily to Spanish-language rock. They bring to life the anthems that defined generations of rock en español, blending powerful covers with fresh original material that carries the same spirit of rebellion, romance, and rhythm. 2- Closing the evening is Los Estereotipos, one of Omaha’s few established Spanish-language ska bands, delivering high-energy, dance-driven performances that light up every stage they step on. With infectious horn lines, driving rhythms, and an unmistakable Latino pulse, they fuse classic ska influences with the vibrant sounds of Latin America.
Elijah
Damones
CONCRETE BOYS
Concrete Boys is a hip-hop collective founded by Atlanta rapper Lil Yachty in 2020, known for blending energetic trap flows with melodic, crew-driven chemistry. The group features Draft Day, Camo!, Dc2Trill, Honest, and Rio Amor as their DJ, each bringing a distinct voice and style to their collaborative sound. Their new album ‘It’s Us Vol. 2’ marks the next chapter in their rising presence in hip-hop.
I Love R&B Party
🎤 I LOVE R&B PARTY! 🎶 The Ultimate R&B Party Experience Get ready to sing, sway, and vibe all night long as I LOVE R&B brings the heat across the country! This is not your average party—this is a full-blown celebration of the greatest era in R&B music. From 90s throwbacks to early 2000s favorites and today’s smoothest hits, our DJs and MCs are bringing nothing but vibes. Expect packed dance floors, sing-along anthems, champagne poppin’, and feel-good energy in every city. Whether you’re celebrating with the crew or pulling up solo, this is the party you won’t want to miss. 🔞 Must be 21+ to enter
Spiritworld
With Helldorado, the third installment of SPIRITWORLD’s death-western trifecta, chief hombre Stu Folsom takes the listener deeper into a world where the hot desert sun beats down on his singular vision of the American West as a gateway to hell. “It’s a different album than the past two,” says Folsom of the thematic and sonic journey that began with the Las Vegas band’s 2020’s Pagan Rhythms LP and continued with 2022’s Deathwestern. Now the story rides on in a cloud of dust and a spray of blood with his latest offering. Helldorado blasts the Mojave-born bloodlust and stomping, tomahawk riffs SPIRITWORLD won their brutal, horrific vision of the Old West with, while riding straight into macabre Americana. Helldorado not only tightens the reins on SPIRITWORLD’s riff-riding attack that has won the band “most played” stature at Sirius XM’s Liquid Metal, but also looks over its shoulder—cigarillo dangling from a sun-parched lip—at their punk-driven outlaw country origins. Folsom and his gang first assaulted Vegas Elks Lodges in 2017 on a mission to brand country music with a manic singalong energy cultivated over years in the local hardcore scene. “Dwight Yoakam probably meant as much to me growing up as Black Flag or Slayer did,” says Stu. With country in his soul and metal in his veins, Folsom yearned for the power of the riff. This found him teaming with producer/mixer Sam Pura, who has produced all three SPIRITWORLD records, to unleash Pagan Rhythms, first on the tiny independent label Safe Inside Records. The buzzed-about debut caught the eye of Century Media Records, who signed the band and issued the album worldwide a year later. The reaction to the record, which drew comparisons to the likes of Slayer and Integrity, was overwhelming. It was the purity of Folsom’s vision that won raves from the likes of Gary Holt and Max Cavalera of Soulfly, who praised the band on social media. Helldorado is the next chapter of Folsom’s cycle of Western weirdness, drawing inspiration from his own published literary work, Godlessness, a collection of short stories rooted in Lovecraftian horror and Louis L’Amour’s classic tales of the American West. “Stigmata Scars,” featuring additional guitar work by Frédéric Leclercq of Kreator, digs even deeper into SPIRITWORLD’s horrific lyrical vistas. SPIRITWORLD live is where the rubber meets the road for Stu Folsom and crew. Taking the stage in embroidered, rhinestone-studded jackets and Stetson hats, the energized fivesome is literally Elvis’ Wrecking Crew from hell. From their inaugural stint on Decibel Magazine’s branded tour with Obituary and Municipal Waste in early 2022, to North American runs including a co-headline tour with metal legends Kreator and Sepultura, as well as hardcore heroes Stick to Your Guns and European festival appearances at the UK’s Bloodstock Open Air and France’s Hellfest, the band has built a formidable live reputation. “The mentality on some of these tours is literally ripping a page from Ramones or Against Me!—don’t stop, no stage banter, just rip your songs.” One thing’s for sure: SPIRITWORLD is back with an album that is as much Sergio Leone as it is Slayer. When asked to sum up where it’s all going, Stu Folsom steps back, considers the question, and answers plainly: “Straight to hell, my friend. Straight to hell.”