Artists and activists raise the roof for KC Tenants at Yeehaw! 2025

Photo by: Rowan Bickelhaupt

Kansas City’s creative community showed up in full force for KC Tenants’ latest Yeehaw! benefit show on Oct. 2—a night where comedy, music, and activism collided for a common cause: housing justice. By the time the final notes rang out, the grassroots tenant union had raised an impressive $47,000, proving once again that Kansas City’s art scene knows how to turn joy into collective power.

DJ Dom Chronicles opened the evening with a mix that kept the mood lively before kicking off the main event. He had an unrivaled ability to read the room; one of the highlights of his set was when he switched from Doechii’s “Nissan Altima” to Tame Impala’s “The Less I Know the Better,” fusing trippy groove with sharp percussion to get the audience dancing and yelling for more. Dom did more than simply fill the void; he established the mood for a rhythmic and purposeful evening. 

Local favorite Aaron Branch was first up on the comedy slate, bringing the kind of grounded humor that perfectly matched the night’s spirit. Branch has a knack for weaving real-world issues into his set without losing the laughs, and his “heal the world” callback—complete with an earnest, slightly off-key rendition—had the room howling every time it resurfaced.

Then came Caleb Hearon, whose set combined sharp social observation with his signature mix of self-deprecation and Midwestern charm. His cousin’s request to call him “the f-word”—“famous,” that is—was one of many perfectly delivered punchlines that showcased his ability to twist vulnerability into hilarity. The room erupted at his riff comparing the autism spectrum to the gay spectrum: “The gay spectrum is about how much you’re attracted to the same sex,” he quipped, “and the autism spectrum is measured by how far into a conversation you can go before showing someone a YouTube video.” He wrapped his set with a biting political line—“trusting a Missouri Republican is like marrying a magician”—that landed with both laughter and knowing nods from the audience.

Unfortunately, some of the audience cleared out after Hearon’s set, which made for a disappointing moment in an otherwise spirited night. The exodus broke from the sense of solidarity the KC Tenants benefit was meant to foster, a reminder that the cause itself—not just the entertainment—was what brought everyone together. It was an odd exodus to witness, but honestly… their loss for missing the rest of a killer evening. 

Photo by: Rowan Bickelhaupt

Taylor Tomlinson closed out the comedy portion, delivering the kind of sharp, emotionally intelligent humor that has made her one of the biggest names in stand-up today. Her set ranged from the existential yet comical (“Would you rather find out your long-term partner is your cousin or a robot?”) to the personal, including a hilarious bit about returning her mom’s ashes to her grandmother—“Return to sender… or manufacturer?” she deadpanned. Tomlinson also dove into themes of religious trauma with warmth and wit, never losing her audience’s trust even when the jokes cut deep. 

In between the laughter and applause, KC Tenants took the stage to remind everyone why they were there. The group—known for uniting renters throughout the metro to fight for housing justice—asked everyone to message the landlord at the center of the ongoing Raytown protest, calling for rent reductions. Two tenants under this landlord brought emotion and urgency to the subject by sharing their personal accounts about their ongoing rent strike. One of the members of the union led the crowd in a motivating chant: “Yeah, we’re back outside! Back back back on our bull!” This fostered a sense of unity among the gathering, with all of us fighting for the same cause. The loud and encouraging response from the audience served as a reminder that the joy of the evening was also a form of resistance.

The night’s musical acts offered a powerful coda to the comedy. The Freedom Affair brought the house down with powerhouse vocals, tight harmonies, and a blues-inspired sound that carried both grit and grace. Their electric guitarist stole the spotlight during a scorching solo, but it was the group’s overall message—songs about resilience, community, and freedom—that lingered long after the last chord.

Kevin Morby followed with a softer, 70s-inspired set. His sound leaned conversational, almost spoken-word at times, and while his lyrics were occasionally hard to catch, his collaboration with The Freedom Affair gave his music a soulful lift.

Next up was Japanese Breakfast, performing as a stripped-down duo with just guitar and violin. Though only two of the band’s six members were present, the performance was far from lacking. Their acoustic rendition of “Kokomo, IN” was delicate and luminous, reminding everyone why they’re one of indie’s most cherished acts. The set felt intimate, like a quiet moment shared with friends before the next burst of applause.

Finally, Waxahatchee closed out the night with her signature country-tinged indie folk sound. Opening with “Crowbar,” she immediately set a contemplative tone. Without a setlist, she took audience requests—a choice that might’ve seemed chaotic in lesser hands but instead felt authentic and spontaneous. Her collaboration with Kevin Morby on a Bob Dylan cover was one of the evening’s most beautiful moments, their voices blending effortlessly even as they forgot a few lyrics (a slip the crowd found endearing). The two also performed a song they co-wrote to celebrate Caleb Hearon’s HBO Max special, “Model Comedian”, a fitting full-circle moment that tied the night’s community spirit together.

As Waxahatchee wrapped her set, KC Tenants announced that the event had already raised $47,000, with more donations still rolling in. The room erupted in cheers—not just for the number, but for what it represented.