Lincoln Calling night three: classic and psychedelic rock | Culture

Ghostlike, Duffy’s Backlot, 5:45 PM






Lindsey Yoneda of Ghostlike performs on night three of Lincoln Calling at Duffy’s Backlot on Saturday, September 24, 2022 in Lincoln, Nebraska.



By Bailey Herrera

The beat of the bass drum could be felt in your chest when Ghostlike kicked off the party at Duffy’s Backlot on September 24.

The deep beat accompanied the soft strumming of their electric guitars before the energy quickly picked up as the sounds of distorted guitar and heavy reverb filled the outside space.

Throughout the show, audience members continued to gravitate towards the gravel pitch as the band settled into his voice. The reassuring looks from the other band members and the big smiles as they entered their new album, “Empty Thoughts,” displayed the band’s natural chemistry.

As the set continued, the eerie echo of their “sad boi” music increased, according to the band’s description on instagram.

Although the vocals are often overpowered by the intense drums and electric guitars, the crowd stays connected to the band, joining in with their slow headbutts and bouncing heels.

Quickly, the show came to an abrupt end as they humbly left the stage, thanking the audience and encouraging them to check out other local artists taking the stage this weekend.

Bad Self Portraits, Place de la Tour, 6:30 p.m.







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Drummer Jesse White of Bad Self Portraits performs on night three of Lincoln Calling at Tower Square on Saturday, September 24, 2022 in Lincoln, Nebraska.



By Bailey Herrera

Bad Self Portraits lead singer Ingrid Howell’s soft, light vocals filled Tower Square on September 24 as the band kicked off their set in front of a sizable crowd.

Right from the start, the performance felt like a well-rehearsed and cohesive band.

“Well, I’m dodging the wasps here,” Howell said as the group quickly shared their stories of past wasp and bee attacks with the audience.

Howell then co-starred with drummer Jesse White, as he proved Howell wasn’t the only band member with tips.

From love-based ballads to reggae grooves, the band showed versatility in sound by sharing songs from their recent extended set, “Fear Of Missing Out.” Their voices echoed together as they played their moving song, “Nvm,” telling a raw, unfiltered story of an absent parent.

They then moved on to music from their debut album, “Amsterdam,” which White shared named after their favorite falafel joint in Omaha.

White was visibly loving life as he danced behind his drums, during “Lavi & Coconut,” a passionate song with a catchy anthemic bridge.

Howell and the rest of Bad Self Portraits finished the set strong with a powerful voice, high energy and no wasp stings.

Mad Dog and the 20s/20s, Duffy’s Backlot, 7 p.m.

By Caine Dodson

Duffy’s Backlot was anything but picturesque on Saturday September 24, as Mad Dog and the 20s/20s infused their eclectic sound into a lively and diverse crowd.

The band blended the smooth rhythm of psychedelic rock with the frenetic angst of punk riffs and heavy drums. The band’s sound formed a beautiful marriage between their clean bass lines and their dirty lead riffs, bound together by the explosive brass symphony of two trumpets and a saxophone.

Having been a band for seven years, these Lincoln Calling veterans sounded as natural as a band could come on stage.

They danced together and fell in the movement of their instruments. They seemed to be playing against each other more than against the public, which only inflamed the crowd further.

The band’s use of layered bass arpeggios, shifting instrumental breaks and full vocals came together to form the iconic harmonious blend of reggae, punk and horns that ska music embodies so well.

Beyond the onstage accomplishments, Mad Dog & the 20/20s captivated audiences with their heartfelt passion for their own performance, meeting a cacophony of teasing, shouting and applause at the end of each set.

Mothawk, Place de la Tour, 7:45 p.m.







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(Left to right) Daniel Vee and Greg Joyce of Mothawk play guitar together during their performance on night three of Lincoln Calling at Tower Square on Saturday, September 24, 2022 in Lincoln, Nebraska.



By Bailey Herrera

“Hello Lincoln!” exclaimed Mothawk vocalist and bassist Daniel Vee as the band continued the night of performances in Tower Square.

Their traditional rock sound echoed through downtown Lincoln, as they shredded their guitars.

“[This was] nicest crowd they’ve had in a while,” according to Vee as the crowd erupted in applause.

After their smooth transition to a new ensemble, Vee revealed that this was their first performance together as Mothawk. He went on to say that the other three members, Greg Joyce, Brandon McKenzie and Brock Beckman were formerly part of a band called Strawberry Burns with whom he jokingly said the trio had earned their right to the “Nebraska rock & roll hall. of fame”.

The electric, continuous beat paired with Joyce’s higher-pitched rockstar voice continues through several songs.

Beckman on drums set the tone for the high-energy performance as he swayed behind his wood-stained drum set.

Following his lead, guitarists butted heads and danced around the makeshift stage, drawing crowds of all ages. Mothawk showed their versatility as the band slowed down for a soft rock ballad amid grungier hard rock songs.

Between impressive drum rolls, compelling vocals and confident dynamics, their years of experience shone through for a polished and lively performance.

Domestica, Bourbon Theater, 8 p.m.

By Caine Dodson

Domestica’s set at the Bourbon Theater began humbly with a quiet introduction to the small group of just three members.

The band exploded into a bloom of eerie, dirty riffs that filled the dimly lit room and the crowd inside with the punk rocker energy the crowd came to witness.

The three members, Jon Taylor on vocals and guitar, Heidi Ore on vocals and bass, and Pawl Tisdale on drums, were packed with personality.

The massive stage that could easily accommodate their band twice seemed anything but too big for their loud and passionate stage presence.

Most notable was Tisdale’s onstage energy, the yellow string of his red fez swaying wildly as he rapped with passion and drive on his 12-piece drum kit, commanding the songs in rhythm and energy.

Honest and strong, the music was impressive in the diversity and fullness of sound the band was able to convey with just three instruments. Taylor’s combination of fast, distorted riffs and hard-hitting rhythm progressions lent itself well to the zealous vocal performance and rambunctious basslines that Ore was able to articulate.

Complemented by Tisdale’s spectacular drumming, the end result was an overdriven, gnarly punk rock sound that filled the air with far more music and energy than intuition would tell three instruments could.

Despite their short set, the band received warm and raucous praise from the dense crowd below the stage at the end of their performance.

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