Maha Festival 2025 – A Perfect Day of Indie Magic

6J9A3004 — Pixies performing at the 2025 Maha Festival in Omaha, Nebraska, on Saturday, August 2, 2025. [Photo credit: Dean Birkheimer]

DEAN BIRKHEIMER | Go Venue Magazine

“Life is the biggest festival, don’t ever miss celebrating it.” ~ Mohit Gaur

On Saturday, August 2, 2025, under a flawless summer sky, Maha Festival 2025 delivered a day of indie bliss that will be etched in the memories of thousands. The Heartland of America Park’s riverfront location delivered unparalleled views and a more urban, scenic environment compared to the past shopping district location. With just one stage and a lineup that felt both nostalgic and fresh, the festival kept a massive crowd energized from the first note to the last. The one-day festival featured a carefully curated lineup spotlighting iconic alternative and indie artists alongside local talent. The bill included, Pixies (headliner), Waxahatchee, Band of Horses, Magdalena Bay, Silversun Pickups, and Omaha’s own Little Brazil.

One of Omaha’s hometown heroes, Little Brazil delivered a performance that reminded everyone why they’ve remained a vital part of the local scene for nearly two decades. Taking the stage under the afternoon sun, Little Brazil wasted no time reconnecting with longtime fans and introducing themselves to a new generation of festivalgoers. Their signature blend of melodic indie rock and emotionally earnest lyricism resonated immediately. Frontman Landon Hedges, with his unmistakable voice and raw presence, led the band through a tight, passionate set that felt like a love letter to Omaha’s indie roots. They sounded bigger and more urgent live, aided by the thick wall of guitars and sharp percussion that the band delivered with professional ease. There’s a confidence in Little Brazil’s performance that only comes from years of playing together. They’re not trying to prove themselves; they’re simply showing up and delivering. The band reminded everyone that the Midwest has always had its own brand of indie rock authenticity. Less about hype, more about heart. The cheers that followed made it clear. Little Brazil may not be a national headliner, but in Omaha, they’re something even more valuable, a beloved staple. A powerful, heartfelt set from a band that continues to age gracefully, staying true to their roots while embracing the present. The band proved they’ve only grown sharper, louder, and more emotionally resonant with time. With Little Brazil leading the way, Maha has never had a better opener

Silversun Pickups took the Maha Festival stage and transformed the evening into a hazy dreamscape of fuzzed-out guitars, hypnotic rhythms, and atmospheric alt-rock nostalgia. The Los Angeles quartet, best known for their 2006 breakout “Carnavas,” delivered a dynamic, emotionally layered performance that showcased both their staying power and their continued artistic evolution. With a career now spanning over two decades, Silversun Pickups proved they’re far from a nostalgia act. They’re a band still exploring, still pushing, still connecting.

Opening with “Well Thought Out Twinkles” from that debut album, the band immediately set the tone with their trademark blend of shoegaze textures and urgent hooks. Frontman Brian Aubert’s voice, both fragile and fierce, cut through the thick sonic swirl, while bassist Nikki Monninger’s harmonies and stage presence anchored the band’s sound with quiet strength. The setlist was a generous mix of new and old, with highlights including fan-favorite “Panic Switch,” the swirling “The Royal We,” and closing with a thunderous performance of “Lazy Eye” that had the crowd surging forward in euphoric unison. The song’s slow-build crescendo and chaotic climax felt tailor-made for a summer festival crowd, and it didn’t disappoint. Between songs, Aubert chatted warmly with the audience, visibly charmed by Omaha’s energy and the crowd responded in kind, singing along, swaying, and erupting at every guitar-driven high point. As the set closed under a canopy of stage lights and cheers, it was clear that Silversun Pickups had done more than just perform. They reminded everyone why music matters and why a well-timed lyric or a crashing chorus can still move thousands of strangers at once. It was a powerful, immersive performance that balanced grit and grace. Silversun Pickups delivered one of the most memorable sets of the night that was emotionally charged, sonically rich, and unmistakably theirs.

Magdalena Bay turned the Maha Festival into a neon dreamscape of retro-futuristic pop. LA-based and consisting of vocalist Mica Tenenbaum and producer Matthew Lewis, they brought their signature blend of synth-pop, vaporwave, and surreal visuals to the stage with a set that felt less like a concert and more like a transmission from a parallel dimension. From the moment they took the stage, it was clear that Magdalena Bay wasn’t here to simply play songs, they were here to immerse. Their performance blurred the lines between a live show, a YouTube rabbit hole, and a video game cutscene. Mica, dressed in a flowing outfit, moved with a robotic grace, perfectly synced to the beat. Her vocals were pristine, her stage presence magnetic. Matthew, manning the synths and guitar, bounced between instruments and hype-man energy, adding layers of analog grit to their hyper-polished sound. Magdalena Bay opened with “She Looked Like Me” immediately setting the tone with its hypnotic pulse and dreamy melody. The crowd, a colorful mix of indie heads, electronic fans, and curious festivalgoers, was quickly won over. Songs like “Image” and “Tunnel Vision!” got the loudest reactions, with fans singing along and dancing without inhibition. But it wasn’t all about the bangers. Despite their hyper-digital aesthetic, Magdalena Bay found real connection with the Maha crowd. Mica often broke the fourth wall with playful gestures and tongue-in-cheek banter, making the performance feel intimate. Magdalena Bay’s set was a standout. Not just because of their unique sound, but because of their total commitment to their vision. They didn’t just play a show; they built a world. And for 60 surreal, unforgettable minutes, Maha Festival stepped into it.

As twilight settled over Heartland America Park, the air crackled with anticipation. Indie rock stalwarts Band of Horses took the stage with a quiet confidence, launching into a set that felt both nostalgic and freshly urgent. For fans who had weathered the day’s sun and an eclectic lineup of emerging artists and genre-spanning acts, Band of Horses were the magnetic draw, and they delivered. Opening with “The First Song,” the band set the tone with atmospheric guitars and Ben Bridwell’s unmistakable falsetto echoing across the park. The crowd, a mix of longtime fans and and potential new fans, swayed and sang along, instantly locked in. What followed was a masterclass in mood and melody. Tracks like “The Great Salt Lake” and “No One’s Gonna Love You” were met with euphoric cheers, their soaring choruses taking on an almost anthemic quality in the open air. The band’s sound, a blend of Southern warmth and Pacific Northwest melancholy, washed over the crowd in waves, at once haunting and comforting. Bridwell was in fine form, his vocals clear and emotive, his between-song banter charmingly self-deprecating. The setlist struck a well-curated balance between fan favorites and deeper cuts, with newer material holding its own alongside the beloved classics. The band’s chemistry was palpable, their years of touring manifesting in tight, intuitive playing, especially evident during extended jams on songs like “Laredo”. As the final notes of “The Funeral” and “The General Specific” rang out under a star-strewn sky, it was clear Band of Horses had tapped into something communal. It wasn’t just a festival set; it was a moment of collective emotional release, a reminder of the enduring power of live music. A soulful, heartfelt performance that proved why Band of Horses remain one of indie rock’s most enduring and beloved acts.

As the sun began to dip behind the Omaha skyline on Saturday evening at Maha Festival, Waxahatchee delivered a set that felt like a quiet storm. Subtle, emotionally raw, and utterly captivating. Katie Crutchfield, the voice and force behind Waxahatchee, may not be the flashiest act on the bill, but her performance commanded attention through pure authenticity. Backed by a tight, rootsy band, Crutchfield took the crowd on a journey through her evolving catalog, with a strong focus on her critically acclaimed albums Saint Cloud and Tigers Blood. The set opened with the shimmering “3 Sisters” immediately wrapping the audience in a warm blend of alt-country textures and lyrical vulnerability. Crutchfield’s vocals were as piercing and crystalline live as they are on record. Her voice is effortlessly expressive, cracking just slightly in all the right places. Her performance of “Lilacs” was a standout, the kind of song that makes a festival crowd pause, lean in, and listen. You could feel a shift in the energy: from party-mode to reverent stillness. Despite the more introspective nature of her music, Waxahatchee held the Maha crowd with ease. There was joy in the air during “Can’t Do Much,” and when she dug into newer songs like “Right Back to It,” the emotional depth was undeniable. Her band brought a rich sonic landscape to life with pedal steel, organ, and steady percussion fitting Crutchfield’s voice like an old photograph in a new frame.

“Thanks to Maha for having us,” she said softly between songs. “We’ve been looking forward to this one.” Her humility only added to the charm. While other acts throughout the day brought bombast and high-energy spectacle, Waxahatchee offered something more intimate. It was a reminder that sometimes the quietest voice can carry the most weight.

As the final chords of “Much Ado About Nothing ” rang out under the fading summer light, the crowd erupted, not in frenzy, but in genuine gratitude. In a festival filled with sound and spectacle, Waxahatchee delivered a set that stayed with you, long after the lights dimmed. It was a luminous, emotionally resonant performance that proved Waxahatchee is one of the most compelling voices in indie Americana today.

When Pixies took the stage at Omaha’s Maha Festival on Saturday night, it was less a performance and more a sonic ritual that summoned raw emotion and fractured melodies, that had a crowd full of fans caught between reverence and wild abandon. Headlining Maha, the legendary alt-rock pioneers reminded everyone why their off-kilter sound still resonates nearly four decades after they first formed. The band kicked off their set with “Gouge Away,” wasting no time on pleasantries or banter. Black Francis, never much of a talker onstage, let his signature primal screams and cryptic lyrics do the heavy lifting. Joey Santiago’s guitar snarled and shimmered in equal measure, while Emma Richardson basslines held everything together with an eerie grace. David Lovering’s drums were sharp, focused, and unfussy, just like the band’s ethos. What followed was a relentless, 75-minute barrage of classics and deep cuts, mixing beloved ‘80s and ‘90s anthems like “Debaser,” “Monkey Gone to Heaven,” and “Here Comes Your Man” with newer material from “Doggerel “(2022) and their 2024 EP “Haunted Frequencies”. While the crowd’s energy peaked for fan favorites like “Wave of Mutilation” and “Where Is My Mind?” the new tracks held their own, drenched in the same quiet-loud-quiet dynamics that defined the Pixies’ DNA.

Maha’s crowd skewed multi-generational for this one. From Gen X lifers who saw Pixies in their heyday, to Gen Z fans discovering the band through film soundtracks and indie playlists. It made for a passionate, if occasionally reverent, audience. Some sang every word with eyes closed; others just swayed, transfixed.

True to form, Pixies ended their set abruptly. No encore, no fake exits. Just a final, distorted chord echoing into the humid Nebraska night. It was a fitting conclusion for a band that’s always operated on their own terms, unconcerned with trends or tradition. In a festival lineup filled with genre-spanning acts, Pixies stood out not just for their legacy but for their undiminished ability to jolt an audience awake. Pixies didn’t just play Maha. They haunted it.

Maha 2025 was a reminder that a single stage, a thoughtfully curated lineup, and a perfect summer day are all you need for a transcendent festival experience. It wasn’t just a concert, it was a celebration of indie music’s past, present, and future, all under one perfect Nebraska sky.