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7PM – Doors
8PM – Show
Celebrating 20 Years of Domestica
Over the past two decades, Cursive has become known for writing smart, tightly woven concept albums where frontman Tim Kasher turns his unflinching gaze on specific, oftentimes challenging themes, and examines them with an incisively brutal honesty. 2000’s Domestica dealt with divorce; 2003’s The Ugly Organ tackled art, sex, and relationships; 2006’s Happy Hollow skewered organized religion; 2009’s Mama, I’m Swollen grappled with the human condition and social morality; and 2012’s I Am Gemini explored the battle between good and evil. But the band’s remarkable eighth full-length, Vitriola, required a different approach — one less rigidly themed and more responsive as the band struggles with existentialism veering towards nihilism and despair; the ways in which society, much like a writer, creates and destroys; and an oncoming dystopia that feels eerily near at hand.
Cursive has naturally developed a pattern of releasing new music every three years, creating records not out of obligation, but need, with the mindset that each record could potentially be their last. 2015 came and went, however, and the band remained silent for their longest period to date. But the members of Cursive have remained busy with solo records, a movie (the Kasher-penned and directed No Resolution), and running businesses (the band collectively owns and operates hometown Omaha’s mainstay bar/venue, O’Leaver’s). The band even launched their own label, 15 Passenger, through which they’re steadily reissuing their remastered back catalogue, as well as new albums by Kasher, Campdogzz, and David Bazan and Sean Lane. And like many others, the band members have been caught up in the inescapable state of confusion and instability that plagues their home country, and seems to grow more chaotic with each passing day.
THE BIG EASY
If you need advice on how to make it through a long year, The Big Easy has some tips. Founded in 2016, The Big Easy was, for a while at least, the solo project of singer-songwriter Stephen Berthomieux. But that was never his intention. “I’ve always had a rotating cast of musicians around me,” says Berthomieux. “The initial idea was that no matter who ﬂoated in or out around me, The Big Easy would always be a thing.”
With a lineup ﬁnally solidiﬁed around him, The Big Easy is now an actual band, and Berthomieux is using that fact to give the project a soft reboot. “I wanted this to be a brand new, refreshed band. It’s not just me, it’s us,” he says, “When I talk about The Big Easy, I say ‘we,’ because it’s not about me anymore. The proof of that can be heard throughout A Long Year, The Big Easy’s debut record on Forged Artifacts.