2125 Chestnut Street
Philadelphia, PA, 19103
Doors 8:00 PM / Show 8:30 PM
This event is all ages
Bill Callahan showed up on our porch in 1991 saying his name was Smog.
We took him in and he has been with us ever since. We think you will feel the same way about him once you look into his hungry eyes. Over the years he reminisced about "Cold Blooded Old Times" and told us to "Dress Sexy At My Funeral," releasing over twenty records as Smog and then, unfettered, as Bill Callahan. He is a recording studio guru, a tastefully rampant singer-songwriter, a heartthrob, a visual artist, a statesman for the times and an author.
After a couple albums recorded at home in the early 90's, he began recording in studios and teamed up with potent individuals such as musician/arranger Jim O'Rourke. His output has been constant for two decades and his tours have become larger and more impressive. Bill's songs have been featured in films such as High Fidelity, Dead Man's Shoes, and Youth in Revolt, all of which feature Zach Galifinakis (or should). Artists as diverse as Gil Scott-Heron, Flaming Lips and Cat Power have recorded his songs.
In 2007 Bill Callahan dropped the pseudonym and begin releasing his albums under his own name.
2009 saw the orchestrated juggernaut Sometimes I Wish We Were an Eagle. The album received terrific reviews across the board and then it took off, becoming a fixture on top-10 lists of 2009, including 2nd best album in MOJO (the 2nd best magazine in England!).
A live LP came next, Rough Travel for a Rare Thing, which was a critic's choice review in the NY Times. This must mean he's a force on stage, yes yes?
Summer of 2010, Callahan published his first work of fiction, Letters To Emma Bowlcut. The dapper novelette features sixty-two letters from a nameless protagonist to a woman he saw at a party. The book is cutting, discursive, tender and laced with punch lines. Funny ones.
Callahan has performed readings from the book for audiences in New York, London and Chicago, among other cities.
As we edge ever closer to the fateful year 2012, Bill Callahan jumps the gun with his own personal Apocalypse (04/19/11). This is important work. Brace yourself. Apocalypse is coming.
Lonnie Holley was born on February 10, 1950 in Birmingham, Alabama, the seventh of 27 children. From the age of five, Holley worked various jobs: picking up trash at a drive-in movie theatre, washing dishes, and cooking. He lived in a whiskey house, on the state fairgrounds, and in several foster homes. His early life was chaotic and Holley was never afforded the pleasure of a real childhood.
Since 1979, Holley has devoted his life to the practice of improvisational creativity. His art and music, born out of struggle, hardship, but perhaps more importantly, out of furious curiosity and biological necessity, has manifested itself in drawing, painting, sculpture, photography, performance, and sound. Holley’s sculptures are constructed from found materials in the oldest tradition of African American sculpture. Objects, already imbued with cultural and artistic metaphor, are combined into narrative sculptures that commemorate places, people, and events.
Holley did not start making and performing music in a studio nor does his creative process mirror that of the typical musician. His music and lyrics are improvised on the spot and morph and evolve with every event, concert, and recording. In Holley’s original art environment, he would construct and deconstruct his visual works, repurposing their elements for new pieces. This often led to the transfer of individual narratives into the new work creating a cumulative composite image that has depth and purpose beyond its original singular meaning. The layers of sound in Holley’s music, likewise, are the result of decades of evolving experimentation. “Just Before Music” features Holley’s first studio recordings made in 2010 and 2011.
First Unitarian Church
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