The Buttertones return to Omaha with classic tracks, new energy

The Buttertones are back, and the band made the Slowdown in Omaha one of the few stops on its latest run of U.S. shows on Friday night.

The band, which was nearly derailed by a slew of #MeToo allegations in 2020, has only two members from its previous incarnation left, but it still boasts all the songs that made the slick post-punk-influenced outfit what it was. After the sexual misconduct allegations set off a string of departures and cancellations for the group, singer Richard Araiza and drummer-turned-guitarist Modeste Cobián remain. 

Flash back to 2020: Araiza and Cobián, in a video that was widely viewed by fans at the time as a half-baked apology months after the fact, had pledged to return with new music, but not necessarily as the Buttertones. Yet here the band was, in town for the first time since 2018, playing to a larger crowd than at its previous two shows, perhaps combined (though the Friday night slot was likely a factor). And for most concertgoers, the band had barely missed a beat, despite the addition of only one newer song to its set list.

Shadow play: Araiza flanked by new members.
All photos by Christopher Windle

The new band members include talented bassist Karly Low, who ably and energetically replaced Sean Redman, the most problematic former member. Brandon Gold is the new drummer, and it took two musicians to replace multi-instrumentalist London Guzmán. (Carlos Sanchez is now on sax.) The other official new member, Mimi Pretend, was an aloof presence onstage (although I’ve been assured that the keyboardist and guitarist loves being onstage).

That the band replaced two male musicians with two women seems like it’s meant to be significant. Even Araiza stated during the show that “the gals keep us balanced, you know.”

But the songs are still there. Two of my favorite Buttertones tracks, “Brickhead” and “Darling, I Need Time But Don’t Really Know Why,” which I’d never had a chance to hear live before, were somewhat lacking. Still, the show was surprisingly good. 

The band opened with “Gravediggin’” and also played “Winks and Smiles,” “You and Your Knife,” and “Denial, You Win Again” before the concert really picked up steam. As the Buttertones launched into older tracks like “Rainbow Wine” and “Orpheus Under the Influence"” (with Araiza aptly singing, “I’m drunk”), the band had found its groove. A new song, “Nite Time Is My Time,” was followed by Btones classics like “A Tear for Rosie,” “Connie,” and “Baby Doll.”

“Bebop,” perhaps the biggest bop off the Buttertone’s last album, “Jazzhound,” got the audience fired up. And the energy didn’t come down as the band tore through “Baby C4,” “Two-Headed Shark,” and “Matador.” By the time the band played “Sadie’s a Sadist,” there was a pit churning. An encore of “Bad Girl” and “Dak’s Back” (spoiler: he’s still not) was just what the crowd was looking for.

Is is OK to love the Buttertones again? That’s a question that listeners must decide for themselves. But for Omaha concertgoers, whether they were unfazed by or just unaware of the past, the answer was a resounding “yes.”

At Red Rocks, Duran Duran lights up a majestic venue

As Duran Duran steered the mothership (let’s call it the HMS Night Boat) into Red Rocks, a venue that’s been likened to an ancient alien spaceship, the excitement was palpable for the two-night stand ahead.

Already, Nile Rodgers and Chic had masterfully navigated through its standard, though no less thrilling, set list. The Chic Organization is always a class act, even in pouring rain. On Monday, the band added one of Rodgers’ latest successes, Beyoncé’s “Cuff It,” to its string of hits by Chic and others who’ve been aided by the super-producer.

Storm clouds loomed over Red Rocks on Monday,
but Duran held back the rain for its set.
All photos by Christopher Windle.

Bastille followed, with singer Dan Smith seemingly humbled by the band’s spot on the bill between two legendary acts. The group had been sidelined for the previous show in Las Vegas but managed to admirably perform its dance-rock hits at a venue it had headlined a few years ago.

Then, there was Duran, landing at the amphitheater outside Denver, Colorado, that singer Simon Le Bon calls his favorite concert venue in the world. The band took the stage amid adoring roars from the crowd as “Velvet Newton” played, along with a video of their avatars controlling a spaceship landing in a “Bladerunner”-esque world. The opening song, a sublime reworking of “Night Boat,” couldn’t have been more perfect and gave Le Bon a chance to warm up his voice.

“The Wild Boys,” a spectacular opener for last year’s U.S. tour, followed, and then an array of huge hits: “Hungry Like the Wolf,” “A View to a Kill,” and “Notorious.” On this “Future Past” tour, only two songs from the album made the cut, “Give It All Up” and “Anniversary,” which sounded surprisingly good, even as the band bundled up against the cold wind and Le Bon swathed his neck in a scarf.

Looming amid all the excitement of the Red Rocks shows was the pending announcement of Duran’s new studio album, a Halloween-flavored effort titled “Danse Macabre.” The first single of the same name had just enjoyed its premier days after most fans had already heard the prematurely released/leaked song. Duran teased the opening of the song between bands and was even selling “Danse Macabre” T-shirts. 

But the new song wasn’t played live. Aside from “Night Boat,” the only song from the forthcoming album was “Super Lonely Freak.” The creepy singing doll and freaky dancing skeleton visuals certainly set a Halloween-time mood (and the weather was a bit fall-like, too).

The reworked “Rio”-era ballad ushered in the highlights of the show. “Is There Something I Should Know?” made its triumphant return to the set list, with teen magazine visuals to match. The aforementioned “Anniversary” was followed by “Friends of Mine” and “Careless Memories,” two of Duran’s best live songs, hands down.

Le Bon dedicated “Ordinary World” to the people of Ukraine and Maui, which was followed by fellow “Wedding Album” smash “Come Undone.” Then it was “Planet Earth” and “White Lines” (or for me, a chance to beat the line to the restroom). “The Reflex” and “Girls on Film” closed out the main set list. So many hits, so little time.

During the encore, thousands of cellphones lit up the majestic venue for “Save a Prayer,” a sight to behold. And “Rio” was the closing number that the vast majority of concertgoers came for.

Le Bon in silhouette. At top, “Save a Prayer.”

Monday’s show was fantastic and a true feat given the weather, rain followed by a drop in temperatures and fierce wind. I’d imagine that few in the crowd left unsatisfied.

And on Tuesday, it was a case of deja vu. There were a few differences. Chic and Bastille switched slots. Le Bon, bassist John Taylor, and drummer Roger Taylor wore different shirts. Keyboardist Nick Rhodes went all out, dressed in a sparkly suit and donning a shiny conductor’s cap for the encore.

But the set list was exactly the same as at Monday’s show. There were a lot of repeat customers who likely noticed the similarities, too. It was the first time I opted to leave a Duran show early, joining the others who also wanted to beat traffic out of the venue. 

If there was any way to make two shows in a standout venue even more special, adding or swapping out a song would have done the trick.

It seems the only surprises in store will be those in the new music: a madcap single featuring guitarist Warren Cuccurullo, of all people. An album release two years after the last (Durantime be damned!). And the re-emergence of Andy Taylor in the Duraniverse. 

Still, it would have been nice to hear a new song.