Nitefall On The River Presents:
Reel Big Fish - The Beer Run
The Expendables, The Queers, Tunnel Vision
75 E. Locust St.
Des Moines, IA, 50309
Doors 6:00 PM / Show 7:00 PM
This event is all ages
Reel Big Fish
Reel Big Fish was one of the legions of Southern California ska-punk bands to edge into the mainstream following the mid-'90s success of No Doubt and Sublime. Like most of their peers, the band was distinguished by their hyperkinetic stage shows, juvenile humor, ironic covers of new wave pop songs, and metallic shards of ska. The group cultivated an underground following that broke into the mainstream in summer 1997, when their single "Sell Out" became a modern rock radio and MTV favorite. Their appearance in the movie "Baseketball" as the halftime band also gained them more fans and helped the bands popularity to grow. Still fronted by original lead singer and song writer Aaron Barrett, they continue releasing albums and touring relentlessly, playing more and more countries and bigger venues all over the world.
Reel Big Fish recorded its self-released debut album, "Everything Sucks", in 1995. "Everything Sucks" became a word-of-mouth underground hit in ska-punk and college circles, which gave the band enough leverage to sign with the indie label Mojo Records. The label's president, Jay Rifkin, and former Oingo Boingo bassist John Avila co-produced "Turn the Radio Off", which marked Reel Big Fish's first album for Mojo. "Turn the Radio Off" was unleashed in August 1996, and over the next year, the group continually toured in support of the album's release, expanding their fan base all the while. In spring 1997, the single "Sell Out" began receiving heavy airplay from several influential modern rock stations in the U.S., which soon translated into MTV support for the song's quirky video. By summer, the song had become a moderate modern rock hit, and the album had charted in the Top 100.
The Expendables enjoyed a laid-back lifestyle growing up in Santa Cruz, CA; surfing, skating, partying, and playing music were commonplace. Since 1997, The Expendables have staked their claim in the California surf/rock genre by headlining venues from coast to coast. Blending Reggae, Punk Rock, and 80s style dueling guitar solos, The Expendables have made heads turn and floors shake for years.
The band consists of four longtime friends: Geoff Weers (Guitar and Vocals), Adam Patterson (Drums and Vocals), Raul Bianchi (Lead Guitar) and Ryan DeMars (Bass). The first seven years of their career was fueled with three full-length, completely independent releases. No Time To Worry (2000), Open Container (2001), and Gettin' Filthy (2004), would bring in a combined total of over 40,000 units sold with no physical distribution and no record label.
We've been playing music and touring all over the world for almost 30 years now. We released a few records for Lookout! Records in the early 90s and then had a terrible stint with Hopeless in the late 90s. I don't think they wanna see us and we definitely don't wanna see them. Then we released one more record with Lookout! but afterwards switched to our favorite record label we've ever had, Asian Man Records. All this while touring a bunch. We'll see you soon, we're The Queers.
San Clemente based Tunnel Vision is a five-piece Reggae/Ska band comprised of Hayden Hanson (Guitar and Vocals), Jacob Hernandez (Bass), Tanner Payan (Drums), Matt Risley (Keyboard), and Doug Alani (Saxophone). Starting out as trio of friends working in retail, manufacturing surfboards and performing at surf competitions, it's safe to say that Tunnel Vision live and breathe surf and skate culture. Since adding their keyboard and saxophone player, the once small time band caught the attention of Slightly Stoopid's Miles Doughty, Kyle McDonald, and Dela, and were invited to record their debut album at Slightly Stoopid's studio "The Lab" in San Diego, CA. Taking influence from bands such as Sublime, Mad Caddies, NOFX, Slightly Stoopid, and Rancid, Tunnel Vision teamed with Grammy winning producer James Wisner to bring their infectious sound to the forefront of the scene.