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.”

2020 was a dark year for music, but there were bright spots

Early in 2020, it looked to be a dazzling year for live music.

Bands like the Strokes, the Psychedelic Furs, and Duran Duran were planning to deliver long-awaited studio albums, with tours likely to follow. By March, around the time COVID-19 took hold in the U.S., there were already tours announced by the likes of Nick Cave and the Bad Seeds and dates by the reunited Bauhaus (we had tickets for both). Early in the year, I’d already seen two concerts, one by 69 Eyes and another by The Reverend Horton Heat with the Buttertones.

But live music soon came to a screeching halt amid the global pandemic. Bands like Duran Duran shelved their albums. Others went ahead with their releases, giving music fans much-needed hope during a dark time.

These are some of the great albums of 2020:

The Psychedelic Furs could have waited another year; after all, the band’s previous studio album came out nearly 30 years ago. But the Furs finally delivered “Made of Rain.” The band couldn’t back the critically lauded album with live shows, but the music will be just as fresh when a return to the stage is possible. Read the review.

The Strokes ended a seven-year hiatus with “The New Abnormal,” and there wasn’t a more fitting album for its time. The New York band combined all its classic sound with a dose of ’80s flair: the track listing included writing credits for Billy Idol and the brothers Butler (of the Furs). The Strokes released a batch of stunning videos, launched a Zoom series, performed on “Saturday Night Live,” and earned their first Grammy nomination. Read the review.

The Buttertones released ”Jazzhound,” showing all the promise that had propelled them to their status as perpetual up-and-comers. About three months later, the Los Angeles band imploded amid allegations of sexual abuse (Read more). Some fans declared the band unfairly canceled, but the silence of lead singer Richard Araiza only raised questions. After more than a month, he and guitarist Modeste Cobian released a video statement on Instagram. The duo’s denial of wrongdoing and promise of a comeback in 2021 mostly failed to resonate with the band’s core fans. 

Also in 2020: Muzz, a “supergroup” led by Interpol vocalist Paul Banks, released a self-titled effort, its debut no less. When he couldn’t tour, Nick Cave recorded the haunting “Idiot Prayer,” alone with a piano at Alexandra Palace. The Damned tided fans over with “The Rockfield Files” EP. Read the review.

As for Duran, the band wants to support any new release with live shows. While that’s not possible now, at least in a conventional way, Duran opted to largely stay quiet in 2020. John Taylor delivered an entertaining round of bass tutorials and interviews after recovering from COVID. Simon Le Bon also endured a bout with the virus and carried on with his Spotify podcast. Optimistically, the band has announced live shows for next summer.

Along with an annual list of top live shows, I also won’t be compiling Duran Duran’s top moments of the year for the first time since 2011. If Duran's 2021 concerts are able to take place, its 15th studio album may finally materialize. But it appears that a true 40th anniversary celebration for the band may be falling by the wayside due to COVID. 

True, there are more important things than music in these times. But it sure would have been nice to have had one more bright spot during a dismal 2020. 

The sad saga of the Buttertones: #MeToo allegations and a band's demise

It has been almost two months since the Buttertones, a band that once had so much promise, instead imploded under the weight of sexual misconduct allegations.

It started with a single story about what seemed like a consensual encounter between the band’s bassist, Sean Redman, and a female fan on Instagram. It wound up with a band unraveling, one member being fired and two others quitting, the Buttertones’ label dropping the band, and then a disappearing act: first by the band on social media, then by most of its music off streaming services.

Some fans have declared the band unfairly canceled. Some are vowing to listen to the music regardless of the accusations. Others have stopped listening, permanently or at least for now. But everyone can agree that the Buttertones, instead of an up-and-coming band, are now a cautionary tale.

The sad saga of the Buttertones is a story about not just the band, but about Clem Creevy, Ava Hawk McDean, and many others.

After an Instagram account titled “Exposing the Buttertones” posted the story about Redman, others flowed in. The stories detailed accusations of sexual abuse in many cases and alleged misconduct in others, and the accounts were mostly anonymous.

Then Clem Creevy shared a brave account of her relationship with Redman, her former bandmate in Cherry Glazerr. The bassist initiated a sexual relationship with Creevy when she was just 14, falling solidly into the category of statutory rape. According to Creevy, Redman gave her a sexually transmitted infection and was a cheater and an abuser. The woman who made the initial allegation against Redman on Instagram had said that he didn’t ask her age or tell her that he had an STI before they had sex, which jibed with Creevy’s account.

Once the respected indie-rock frontwoman posted her story, the fallout was swift. The Buttertones offered a one-sentence statement on Instagram saying that Redman was no longer in the band. The remaining band members, save for singer Richard Araiza, posted their own more sincere statements.

Guitarist Modeste Cobián apologized for not speaking up sooner but denied the allegations against him. Keyboardist and sax player London Guzmán left the band, vowing to donate future royalties from the band to support women. Drummer Grant Snyder also called it quits. Innovative Leisure, the Buttertones’ label, dropped the band and soon removed their music from Spotify. Somewhere along the line, social media accounts for the band and various members were deactivated.

During all of this, there has been one constant: the silence of Araiza, who maintains an active Instagram account but hasn’t responded to the allegations. Privately, in messages detailed by fans, Araiza assured them that he’d post a statement soon. Almost two months later, we’re still waiting.

The Buttertones came into my life in 2017. I wrote blog posts praising the band, even declaring them "the next big thing.” I saw the band twice with guitarist Dakota Böttcher, a key member of the band who quit under somewhat mysterious circumstances last year. 

But things never really materialized for the Buttertones. Since the allegations surfaced about Redman, as well as Araiza and Cobián, fans have speculated about what role the band’s long-rumored behavior may have played in their trajectory.

The accusations against other band members centered on abuse, sexual and otherwise, and were mostly anonymous. The singer of the Aquadolls, Melissa Brooks, posted her story about an encounter with Araiza, but it seemed to stop short of sexual assault. 

Anyone who had doubts about Araiza’s character got some certainty when former girlfriend Ava Hawk McDean posted an account of her time with the singer. She broke her silence a couple of weeks after the band’s demise. According to his girlfriend of two years, Araiza was verbally abusive; transferred cocaine into her mouth, breaking her sobriety; and threatened her against speaking out after the two broke up.

Her account did not accuse the singer of assault specifically but was a tale of alleged abuse and poor character. Without hearing Araiza’s side of the story, followers of the band are left with questions and frustrations.

The Buttertones appear to be "no more," as fans have quoted Araiza as saying. The band isn't the first musical act to face misconduct allegations, and its music could still live on. But the band might be among the first to be done in by #MeToo allegations.

I'll still listen to the Buttertones. But with so many questions unanswered, it will be difficult to go back to earlier this summer, "a time when everything was fine." 

****

Epilogue (February 2024): The Buttertones, nearly derailed by the 2020 allegations and with only two members left from its previous incarnation, are releasing new music again and recently played a string of live shows.

At top, this illustration by Jordan Wright (@robbersden) depicts the Buttertones in better times. The band's latest album, "Jazzhound," was released in April. About three months later, #MeToo allegations brought the band's seeming demise.

New record review: The Buttertones deliver soothing anthems for our time on 'Jazzhound'

2020: It was a year that started out with promise.

For the Buttertones, and for the rest of the world, this year was supposed to be so much better than 2019. For the band, last year held the departure of one member, a health scare for another, and a canceled tour. 

But as 2020 began, the Buttertones had emerged from all of that to open a tour for the veteran act the Reverend Horton Heat, and then had a headlining tour lined up in support of the band’s first album in more than two years. 

Well, we all know what has happened now. 

A pandemic has postponed the Buttertones’ tour and countless others. Albums have been shelved, and musicians’ and fans’ lives have been turned upside down. 

But thankfully, we still have the Buttertones, and the band’s new album, “Jazzhound” (Innovative Leisure) may be just what the world needs now. Music can heal, and Richard Arazia with his buttery-smooth baritone and his band are here to soothe us.

The band recorded the album last November at Electro-Vox and Jazzcats studios, with producer Jonny Bell once again at the helm. Araiza has described the album as poppy, saying it's titled “Jazzhound” because “Pophound” just didn’t have the same ring to it. 

As the singles dropped, fans could tell this album was going to be one of the Buttertones’ best. The title track is a glorious realization of the band’s foray into post-punk started on “Midnight in a Moonless Dream” and continued on the standalone single "Madame Supreme." “Fade Away Gently” is an anthem for our time, culminating with Araiza singing, “Loneliness. Fuck loneliness.”

The latest single, “Phantom Eyes,” gets the album off to a cracking start. It’s irresistible, along with much of “Jazzhound.” Sean Redman’s bass lines are catchier than ever. Longtime drummer Modeste Cobian makes the seamless transition to guitar, lending jangly riffs throughout. London Guzman provides the link to the band’s past with his saxophone, and the future, with his keyboards. His sax is in the spotlight on songs like “Bebop” and “Velour,” which perhaps sound the most like the Buttertones of old, with added punch.

Although much of the music is upbeat, there is an air of sadness throughout Araiza’s lyrics. He sings of dreams fading away (“Fade Away Gently”), and of crying “out alone in the night” (“Rise and Shine”). On “Denial, You Win Again,” with resignation he proclaims, “I’ll happily lose to you.”

The Buttertones may just be taking up the “happy-sad” mantle of post-punk icons the Cure. It’s a future worth being excited about.

After all of this is over, bands will tour again. As for the Buttertones, they're hoping they can be back out on the road in the summer. 

But until we emerge from the darkness, music like “Jazzhound” will be there, to soothe us and show us the promise of a better future.

The Buttertones treat fans to smooth sounds, new songs in Denver

After a challenging 2019, the Buttertones are back, kicking off 2020 with a coveted opening slot on the revered Reverend Horton Heat’s latest tour.

This spring, the Buttertones will release a long-awaited new album. Nearly two years will have passed since the release of the band’s fourth album, “Midnight in a Moonless Dream.” It probably wasn’t planned that way.

Last year, longtime guitarist Dakota Böttcher departed the band. Then, drummer Modeste “Cobi” Cobián had to undergo a cornea transplant after suffering an eye injury and infection. The band was forced to cancel its U.S. tour.

But the band has risen above those challenges. The new album, “Jazzhound,” is due April 10. Cobián has made the seamless move to guitar — and rocks a killer eyepatch to boot. A new drummer, Grant Snyder, is on board as the band plays its first U.S. tour of the year with the Reverend Horton Heat.

Photos by Christopher Windle

The Buttertones are impressing fans of the veteran rockabilly act with old and new songs. On Feb. 13 at the first of three shows with the Reverend at the Bluebird Theater in Denver, the band played three tracks from “Jazzhound.”

According to singer Richard Araiza, the album has some of the darker elements exhibited on “Midnight.” But after listening to the new songs and how well they fit into the setlist, there’s also plenty of the classic Buttertones sound to be heard to please fans of the band’s first three albums.

The Buttertones opened the set with the first single off “Midnight,” “Baby C4,” then launched into “Velour,” one of the three new tracks. The band was a flurry of manic energy through the first third of the set, which was designed to grab the audience’s attention. The next songs, as Araiza said, were to win the crowd’s hearts.

Another new song, the gorgeous “Denial, You Win Again” was sprinkled in among slower songs like “Baby Doll.” “Bebop” was sandwiched nicely between early Buttertones track “Orpheus Under the Influence” and the rousing “Ghost Safari.”

The band’s members haven’t even reached their 30s, but they already have an impressive back catalog. Could it be that the Buttertones have defined their sound?

Over the band’s four albums so far, there have been forays into surf, rockabilly, and even new wave. Araiza’s voice is the factor that helps bridge those musical styles. Sean Redman’s bass grooves are a constant; so are London Guzmán’s distinctive stylings on saxophone, and increasingly, keyboards.

The band closed out the concert with a trio of songs off “Gravedigging.” If there were still doubters in the crowd in “old Colorado,” they were silenced, literally, by “Sadie’s a Sadist,” “Matador,” and “Gravediggin.’”

After a tough year, the Buttertones have kept on going, going, going — and they’re still growing as a band.

Top five live shows of 2018

Black Rebel Motorcycle Club at the Slowdown

It's rare to be truly blown away by a band's performance, but Black Rebel Motorcycle Club managed to do just that in Omaha on May 17.

We were actually there to see Pete International Airport, the Dandy Warhols guitarist Peter Holmstrom's other band. While the openers were great, we weren't prepared for BRMC, who stormed onstage with a 22-song set of its biggest tracks as well as ones off its latest album, "Wrong Creatures." (Along with PIA's "Safer With the Wolves," "Wrong Creatures" is one of the best albums of the past year or so.)

If there was a show that topped all shows in 2018, this was the one. While we ranked our list last year, we couldn't come to much agreement this year. It's lucky that BRMC is first alphabetically, which just happens to be how we're presenting the list this year.

Robert Levon Been and Peter Hayes commanded the stage, seamlessly trading off vocals, and sometimes bass and guitar. In a time when musical acts often rely on backing tracks or even offstage musicians, it was refreshing to see a three-piece band with a huge sound playing with little, if any, help in that department. BRMC put on just that type of impressive show. (Read more: Black Rebel Motorcycle Club leaves an impression.)

All photos by Christopher Windle, from top: BRMC, as
shared on Facebook by the band itself, and the Buttertones.

The Buttertones at the Slowdown

The Buttertones won fans on tour in the Midwest last year and were back to melt hearts once again on a cold autumn evening in Omaha.

With the fall tour, the band capped a bit of a whirlwind year: playing South by Southwest, debuting at Coachella, and putting out a new album, "Midnight in a Moonless Dream."

On Oct. 1, the Buttertones played highlights from each of the band's four timeless albums while displaying the members' multiple facets in an 18-song set.

Singer Richard Araiza charmed the crowd, and guitarist Dakota Böttcher and drummer Modeste Cobian even took the lead on a few songs. (Read more: The Buttertones melt hearts on fall U.S. tour.)

Clan of Xymox at the Oriental Theater

Clan of Xymox mesmerized the sold-out crowd in Denver on March 16 with its ethereal sound.

The band played 19 songs from 11 of its impressive discography of 17 studio albums, starting with "Days of Black," the title track from its newest album.

From there, it kept coming in waves, with fan favorites like "Louise," "Emily," "Hail Mary," and "Jasmine and Rose," to name a few.

But the highlights for the crowd were the goth classics "Muscoviet Mosquito" and "A Day!" With everyone dancing and singing along (not loudly), the show kept going and going in such a good way. (Read more: Clan of Xymox puts on ethereal show in Denver.)

The Damned at the Gothic Theatre

The Damned, riding a wave of success from "Evil Spirits," a new album more than 40 years into the band's career, brought its energetic live show to Denver on Oct. 25.

The band was back in town for the second time in a year and half, playing the "appropriately named" Gothic Theatre. Although the Damned are known for putting on great concerts, there was a new energy in the band less than a week before Halloween.

Singer Dave Vanian prowled the stage and hit every note in a "Black Album"-heavy set. Guitarist Captain Sensible was his usual wisecracking self, appearing to truly be having a blast, along with the rest of the band. (Read more: The Damned conjures evil spirits in Denver.)

The Dandy Warhols at Ophelia's Electric Soapbox

The Dandy Warhols of Portland, Oregon, were right at home in Denver during a two-night stand on July 12 and 13.

The band showed off its depth of talent at the Thursday night show in the cozy venue packed with dedicated Dandys fans. It was a cool scene that was perfect for the Dandys, with surroundings seemingly straight out of one of the band's videos.

The Dandys played a well-curated set of 14 songs spanning its breakthrough album, "The Dandy Warhols Come Down" to its most recent, "Distortland."

The new year will mark the band's 25th anniversary and bring a new album, "Why You So Crazy?" (Read more: The Dandy Warhols at Ophelia's Electric Soapbox.)

Honorable mentions: Gary Numan at the Slowdown; Beck at Pinewood Bowl; Psychedelic Furs at the Surf Ballroom; GBH at Lookout Lounge; and Closeness with Digital Leather at the Slowdown.

The Buttertones melt hearts on fall U.S. tour

The Buttertones won fans on tour in the Midwest last year and were back to melt hearts once again on a cold autumn evening at Omaha's Slowdown.

This year has been a bit of a whirlwind for the Buttertones, with the band playing South by Southwest, debuting at Coachella, putting out a new album, and seemingly touring nonstop.

Just more than a year had passed since the band's last stop in Omaha. (Review: The Buttertones prove they're the next big thing) On Oct. 1, the band played highlights from its deepest album yet without overlooking its past.

After an energetic set from opening band Wild Wing (which sounded a little like the Black Lips), the Buttertones' Richard Araiza set the tone for the night. He thanked the opening band, calling them "beautiful people," and then added that the audience were beautiful people, too. The crowd, of course, ate it up.

Photos by Christopher Windle.

It was a dreary Monday night, but Araiza and the band turned on the charm nonetheless. Guitarist Dakota Böttcher mentioned after the show that just a couple weeks before he'd been working on his car in sunny California, picking up a tan, and wasn't quite ready for the cold weather. Araiza was even wearing a sweater.

But the weather didn't get the band or the crowd down. The audience danced to songs like "Two-
Headed Shark," "Neon Cowboy," and "Sadie's a Sadist. 

With four timeless albums in its repertoire, the Buttertones managed to touch on some the best moments from each of them in the 18-song set.

"American Brunch" was well-represented. The band opened with "Life Coach" and sprinkled others throughout: "Dak's Back," "Baby Doll," and "Colorado." The band even went all the way back to the beginning with a rousing "Orpheus Under the Influence."

The Buttertones played the singles from and a couple of other songs off its fourth and latest album, "Midnight in a Moonless Dream," while breakout album "Gravedigging" dominated the setlist.

Araiza's voice sounded better than ever. He channeled the Cramps' Lux Interior on "Baby C4" and went deep for "You and Your Knife." London Guzman's saxophone and keyboards and Sean Redman's bass added a welcome new wave sheen to the track. On "Winks and Smiles," Araiza seemingly sang "zigzag my way through a Monday night," instead of "Saturday night." Nice touch.

A couple of additional track offs "Midnight in a Moonless Dream," like "Jungle" and "Darling, I Need Time But Don't Really Know Why," were missed. (New record reviews: Duran Duran, the Buttertones ...) But the Buttertones know it's good to keep the crowd wanting more.

The band showed off its multiple facets, with Böttcher singing lead on "Don't Cry Alone" and "I Ran Away," played back to back. The band closed things out with "Gravediggin'," but it turned out the crowd did still want more.

For the encore, the Buttertones asked for requests and happily obliged, playing one of the band's best, "Matador," and an electrifying version of "La Bamba," sung by drummer Modeste Cobian.

A fan shared her setlist, signed by Dak, for this snap.

After the show, the band wasn't selling its own merch this time, but mingled with the crowd nonetheless. Böttcher shared hugs and autographs with adoring female fans. Araiza took time for a chat, promising to be back in Omaha in a year.

There will be a lot for fans to look forward to in the next year as the band continues on its upward projectory. Maybe a new album? Only time will tell.

New record reviews: Duran Duran, the Buttertones, the Damned

Duran Duran: "Budokan"

Duran Duran spent most of the past few years touring behind its last album, "Paper Gods.” "Budokan" (Warner Brothers) captures the band live at the iconic Tokyo venue at the end of the tour last September.

The nine-track album was an exclusive release for April's Record Store Day. Although the tour's core setlist was well-worn by this point, there still is plenty on the record to please the average Duranie.

As a relatively late addition to the setlist, the blistering "Hold Back the Rain" is a highlight. "Paper Gods" closer "The Universe Alone" is also welcome here.

But one can't argue with the classics. "A View to a Kill" sounds fresh, and "Save a Prayer" is always beautiful.

And the crowd at Nippon Budokan also couldn't argue. Their excitement is right there in the mix. It will be nice to see as well as hear the full experience in the hinted-at upcoming Blu-ray release of the show.

Until then, Duranies will have this album, and the memories, of course.

The Buttertones: "Midnight in a Moonless Dream"

It's another year, but not just another album for the Buttertones.

Fresh off Coachella, the Los Angeles five-piece has released its fourth album, "Midnight in a Moonless Dream" (Innovative Leisure), which signals that the band has definitely arrived.

Through 11 thrilling tracks, the Buttertones' songwriting is more sophisticated, its playing even tighter. At one moment, singer Richard Araiza sounds like he's channeling the manic energy of the Cramps' Lux Interior. At the next, his voice is deeper and sultrier than ever before.

The band uses London Guzman's saxophone to full effect. The instrument wails on lead single "Baby C4," and even lends an '80s touch to a trio of tracks further into the album.

On those deep tracks, the band delves into a new wave side that it hasn't shown before. The divine "Darling, I Need Time but Don't Really Know Why" hints at Spandau Ballet at its best moment. "You and Your Knife" slinks along, while "Brickhead" comes out of the gate sounding a bit like Blondie, with Dakota Böttcher’s guitar positively '80s-inflected.

Still, the band hasn't turned its back on its roots. "Old Nick's Still Got It" and "Winks and Smiles" sound like they'd be at home on the Buttertones' previous release, "Gravedigging."

But mostly, "Midnight in the Moonless Dream" is a leap forward for the Buttertones. It's the sound of a young band at a peak, fully enjoying the moment.

The Damned: "Evil Spirits"

The Damned is more than 40 years and 11 studio albums into its career. But the recent release of "Evil Spirits" marked the punk/goth band's first visit to the top 10 of the U.K. albums charts.

"Evil Spirits" (Spinefarm Records) made its debut at No. 7, thanks to a successful Pledge campaign, Bowie producer Tony Visconti's deft touch, and the band's most infectious collection of tunes since 1979's "Machine Gun Etiquette."

The album's 10 tracks are also possibly the most upbeat songs about the state of the world today. On "Standing on the Edge of Tomorrow," Dave Vanian, the song's writer, sings about leaving that world entirely behind. It's one of the only songs on the album not to mention lying, whether it's by heads of state or by the media. By the album's second track, "Devil in Disguise" ("You build your walls / And empires fall"), it's clear just who the main target is.

But the underlying message that the album sends, whether it's on the gorgeous ballad "Look Left" or the Motown-flavored "Daily Liar," is not to be complacent.

Complacency certainly doesn't have a place in the Damned. Vanian's voice is better than ever, Captain Sensible's guitar is blazing, and the playing of '80s-era bassist Paul Gray is good to have back in the fold. The album is also a showcase for the songwriting chops of newer members, keyboardist Monty Oxymoron and drummer Pinch.

"Evil Spirits" proves that a creative rejuvenation is possible at any point in a band's career, even a legendary one like the Damned.

Top five live shows of 2017

1. The Damned

The heart and soul of the band, goth god singer Dave Vanian and lovable goofball Captain Sensible on guitar, are still touring in top form and visited the Summit Music Hall in Denver in April. The Damned managed to touch on nearly every era of its career, from the first punk single, "New Rose," to "Alone Again Or," a cover of a Love song that was a hit in the late '80s. In all, the band played 23 songs, several more than many acts years younger manage to play. But 40 years on, the Damned is not the typical band just rolling through the hits. A new album is coming soon; the band recently previewed new song "Standing on the Edge of Tomorrow" live.

All photos by Christopher Windle.

2. The Buttertones

The Buttertones, a sharp-dressed five-piece with a ton of musical talent, brought a riveting live show to Omaha's Slowdown in August. Although the Los Angeles group reminds one of a certain band in the '80s at times, instead of Chic and Roxy Music, The Buttertones' musical style has been described as Johnny Kidd and the Pirates meets The Gun Club. The band played a slick and energetic set of songs off current album "Gravedigging" as well as tracks from further back in its six-year career. The band proved with its live show that it's the next big thing, and it will be exciting to see what's next. The review of this show also had the honor of being our most-read blog of the year, thanks to Facebook likes from "The Butterdads." Our comparisons to Duran elicited a "Well done, boys!"

3. Blondie

Blondie, with an assist from Garbage, a fellow band that helped define music over four decades with its fierce, age-defying female singer, came to a steamy Stir Cove in Council Bluffs in July. Despite the new songs, the reason to see Blondie live are the timeless originals: "One Way or Another," covered and used in commercials to the point that it's forever in the public consciousness. "Dreaming," a slice of '50s-inspired pop perfection. "Atomic," a keyboard-driven opus that helped inspire new wavers like Duran Duran. And "Rapture," a tour de force live, during which Debbie Harry hit the high notes and strutted to the front of the stage for the first and best female-led rap. At 72, it's clear that Harry, and Blondie, have still got it.

4. Wilco

Wilco, led by original members Jeff Tweedy and John Stirratt, came back to Nebraska for the first time in a decade to usher in fall on a summerlike September evening in Lincoln. While there were songs left unplayed, "War on War" and "Bull Black Nova" especially missed, Wilco proved that it's no slouch. The band touched on nine of its 10 studio albums, playing 26 songs and two encores, connecting with the audience on every level, encouraging cheers, sing-alongs and even boos.

5. X

The seminal punk band played Omaha just a few months after John Doe and Exene were in town to open for Blondie and Garbage. But the show at the Waiting Room was all X, and the Los Angeles band impressed with an extensive set list and boundless energy. Though guitarist Billy Zoom now sits on stage, that’s the only clue that the band members aren’t a young and hungry punk outfit.

Honorable mentions:

Echo and the Bunnymen, the Black Angels, Combichrist (opening for Lords of Acid), Ohgr (opening for KMFDM), Revolting Cocks and Frontline Assembly

The Buttertones prove they're the next big thing

The Buttertones, a sharp-dressed five-piece with a ton of musical talent, brought their riveting live show to Omaha's Slowdown on Aug. 8.

The Buttertones have a distinct look and sound that's rounded out by saxophone. The members ooze confidence onstage and have adoring female followers, at least in the band's home base of Los Angeles. Does any of this remind you of a certain band in the '80s?

But instead of Duran Duran's amalgam of Chic, Roxy Music, and the Sex Pistols, The Buttertones' musical style has been described as Johnny Kidd and the Pirates meets The Gun Club.

In Omaha, the Buttertones got an assist from opener Ron Gallo, an afro-coiffed rocker channelling the MC5 and backed by a bassist and drummer (Ron Gallo and the Gallos, as The Buttertones' frontman Richard Araiza called them). Ever wanted to hear a garage rock version of Des'ree's "Love Will Save the Day? Ever wonder what a guitar played with a suitcase sounds like? Then look no further than Ron Gallo.

London Guzman, Dakota Bottcher and Richard Araiza. All photos by Christopher Windle.

But The Buttertones were the main event, playing a slick and energetic set of songs off current album "Gravedigging" as well as tracks from further back in the band's six-year career. Despite an appearance earlier this year on "Last Call With Carson Daly," The Buttertones are largely unknown outside LA. Band members endearingly sell their own merchandise before and after the show, writing the night's set list in lulls between customers. They mill about the crowd, Araiza wearing glasses as a sort of offstage Clark Kent-type disguise. But the buzz around the band's must-see live show and aforementioned TV appearance, especially, are paying off, according to guitarist Dakota Böttcher.

Araiza has proper frontman swagger.

Onstage, The Buttertones wasted no time whipping the crowd into a frenzy. Especially well-received were songs off the new album like "Sadie's a Sadist," "Matador," and "Gravediggin.'" The trio of songs are solid tracks backed by Quentin Tarantino-esque videos.

The band veered from raucous rockabilly and surf to vintage-flavored rock ballads like "Geisha's Gaze." As for the older material, it has more of a doo-wop flavor, as evidenced on ballads like "Baby Doll."

After listening to the band's previous album, "American Brunch," it's clear that The Buttertones have come into their own with "Gravedigging." Whether singing about falling "over in love" ("Geisha's Gaze"), about a bullfighter past his prime ("Matador"), or about a houseguest who overstays his welcome ("Two-Headed Shark") the band covers timeless topics with a sometimes-devious twist.

The Buttertones showed they're a band that could achieve big things. It will be exciting to see what's next.