w/ Filter Kings & Clarence Tilton
November 2, Doors at 8:00pm, music at 9:00pm
1322 Saddle Creek Road, Omaha, NE
Advance Tickets available: Brown Paper Tickets
Their sound is all its own, a volatile stew of punk, country, Americana, old timey and bluegrass music, and good ol’ rock and roll. - Glide Magazine
The Yawpers craft tunes that are engrossed in creative context. Some might recall edges of the mid-1900s Delta blues, but only if those lived-in riffs were played by the MC5, broadcast through booming stadium speakers and drenched with pounds of fuzzy distortion and full-throttled punk rock energy. They conduct parallel frequencies with the ferocious and raw proletarian roots of Uncle Tupelo, the burning-hot thrashings and cavernous sonic space of Hot Snakes, and mix in derisive scrutiny that brings to mind Ween or the Minutemen (and might we add that Cook is the spitting image of D. Boon).
The Yawpers’ third album Boy in a Well is a sensational tragedy set in World War I France about a mother abandoning her unwanted newborn child. But, like the band itself, there’s so much more roiling beneath the surface.
Recorded in Chicago by Alex Hall (JD McPherson, Pokey LaFarge, The Cactus Blossoms, The Flat Five) at Reliable Recordings with production assistance and instrumental contributions from Tommy Stinson (The Replacements, Bash & Pop), Boy in a Well stretches The Yawpers’ sound and ambition in challenging, impassioned, and dynamic directions. To follow up their 2015 Bloodshot debut American Man — which Rolling Stone described as mixing “high-brow smarts with down-home stomp” — the trio left the comfort zone of their Denver hometown in September 2016 to record in a city they’d only briefly visited before.
The story-vision was initially conjured by lead singer Nate Cook, after a reckless combination of alcohol, half a bottle of Dramamine, and an early morning flight. The delusional result is an album of complete immersion and instinct, with personal background (the story removes shrapnel embedded from Cook’s failed marriage) meeting psychological fascinations (German realpolitik, Freud, Oedipus, and the lasting social and cultural fallout of WWI… you know, the usual rock ’n’ roll stuff). Structured, composed songwriting from the band’s freakishly tight backbone — guitar prodigy Jesse Parmet and bulldozing drummer Noah Shomberg — blend with the impulsiveness of their wild-eyed, punk-reincarnation-of-Elvis frontman.
Filter Kings, this 4 piece western rebel honky-tonker, resumes the honesty and responsibility of true American grit in country music. Forged in 2004 by Gerald Lee Jr. Meyerpeter and Todd Dickey, the Filter Kings were completed when Chris Siebken and Josh Dunwoody jumped into the mix. Pulling from Omaha’s most eclectic players, the Filter Kings assembled their own brand of original, hard driving, country-rock music that is best described in their riveting live performances and sound song writing. This dedicated gang of whiskey guzzlin’ pickers pull their influences from many great archives of music, but at the end of the day, the Filter Kings will pour you a shot of the finest original songs you’ll ever taste.
Clarence Tilton is an alt-country/country-rock band from Omaha, Nebraska. Led by the brothers Weber, the group combines the essential elements of tubes, steel, tears, and brawn—a suitable pallet for their lyrics and themes steeped in a rich moody cauldron of Midwestern nerd. They are adamant about taking their time, with an obvious love for the sound of pedal steel and traditional country music. But they also will surprise you with a loud raucous stomp, lyrics spit out with virulence, coughed out of machines with a pugilist’s ink. Craig Meier (Sixty Watt Saloon, Hong Jyn Corporation, Pendrakes) on bass; Jarron Wayne Storm (Willard’s Band, Poncho and the Contraband) on drums; Paul Novak (Pendrakes) on acoustic guitar. The Weber brothers (The Get, GroundTyrants) are free to switch between pedal steel and six string, exchange leads on telecasters, and harmonize at will. CT is new traditionalism with influences stretched throughout a century of American music.