There's lots to love about Greenwood Social Hall. Someday I'll sing its praises, but we've got no time for that now. Heidi Gluck is sitting at her Wurlitzer piano and she's ready to go.

First, let's agree that Heidi Gluck is a treasure. She's a musical polyglot, a musician's musician, and an insightful lyricist. Kansas is lucky to have her. And the four dozen fans seated at the venue were lucky to have her perform such an intimate solo opening set. The warm room with its high ceiling was a good match for her vulnerable vocals and rich electric piano. A space like this is made for Gluck. Her set included a handful of new songs. One was a debut. It was sparse, bold, and lyrically vague. What is going on in Gluck's world? And how might these tunes be transformed by the time they are recorded? The back half of the set featured the favorites, culminating with "Skyscraper." The poignant lament cuts deep, but Gluck was all smiles moments later, visiting with fans and friends.

Lauren Lovelle and the Midnight Spliffs followed. The act was new to me. I was certainly late to the game. Lovelle is a cowgirl from Kansas, working squarely in traditional country. The set included lonesome ballads, honky-tonk sneers, and boot scootin' swingers. Her brassy voice was the highlight, but the Midnight Spliffs (Bradley McKellen, Landon Hambright, and Chris Langwell) brought the set to life. McKellen's nimble fingers were particularly important as they provided the necessary plaintive bends and chicken pickin' licks to the songs. Lovelle nervously apologized for the sound, but I didn't hear anything wrong from my seat on a worn Victorian sofa at the side of the room.

There's an upright piano in Greenwood Social Hall. It sits enticingly just off stage. The Creepy Jingles' Jocelyn Nixon could not resist the temptation and began the headlining set there. Neither the lighting tech nor the sound engineer were prepared for the detour. The production never quite recovered. The show was billed as the Kansas City release party for Washed Up. Then Nixon zigged again. After the first song, she announced that another album would arrive in two months and that most of the night would draw from those songs instead. That would have been a headscratcher if it wasn't such a poorly kept secret. The new songs were realized by a full band that included Joseph Peaks, Gailen Gillespie, Andrew Woody, & Brian Hurtgen. Again, familiar faces, but only Woody remains from the previous incarnation of the group. The quintet played rich indie rock. There were soaring guitar leads in some songs, delicate '70s synth flute in others, and even a speedy burner or two. All were short and structured pop affairs with strong melodies and memorable hooks. The quick ones brought a group of dancing fans up to the stage. Nixon even joined them for the night's raucous and satisfying finale.

The show ended just after 9:30. Of all the things to love about Greenwood Social Hall, that might be the best. But stay tuned just to be sure.