Tom Heyman, Scott Hirsch (of Hiss Golden Messenger/Court & Spark - Record Release Party!), and Amy Blaschke - Private Parlor Show (($10 adv/$15 day of show))

Tom Heyman

The worlds of indie rock iconoclast John Vanderslice and alt-country godfather Alejandro Escovedo rarely intersect, but in Tom Heyman, they most certainly do. The San Francisco based singer/songwriter and multi-instrumentalist has toured and recorded with artists of most every stripe, from Chuck Prophet and John Doe to cult favorites Girls and a whole lot more in between.

Heyman recorded his third solo record, That Cool Blue Feeling, in Portland, Oregon with Mike Coykendall (M. Ward) producing and Rusty Miller (Kelley Stoltz, Jason Lyttle) and himself covering the musical bases. The intention was to create a sound that combined the loose, late night, low down groove of JJ Cale with the bittersweet melancholia of late period Nick Lowe and the melodic storytelling of Heyman’s hero Gordon Lightfoot. The record was written mostly at night, after long shifts nights tending bar and is an examination of the loneliness and alienation of the nocturnal life, and the true cost of love.

Heyman started playing and recording in the late 1980s with the Philadelphia based band Go To Blazes. He wrote songs, played guitar, and the band released 5 full-length records and toured the US and Europe extensively before breaking up in 1997. After relocating to San Francisco in 1998, he began working as a sideman, eventually joining local favorites The Court and Spark, as well as Chuck Prophet’s band. All the while he was discovering his voice as a solo artist and bandleader. His second solo record Deliver Me was critically acclaimed, receiving 4 star reviews in both Mojo and Uncut magazine, and songs from the record were heard in the TV shows True Blood, Justified and Damages.

While he often works in a band context, Heyman primarily considers himself a folksinger whose job is to tell stories that draw the listener in to his world.

Scott Hirsch

"After many years spent as a steadfast and inventive collaborator—not only playing bass and producing four albums with Hiss Golden Messenger, but in large part forging that band’s sonic signature—multi-instrumentalist, recordist, and audio engineer Scott Hirsch has finally made a solo album, and it’s called Blue Rider. The very notion of a “solo” album, and its associated emancipatory baggage, is a specious designation in this case, since music this quietly assured, this effortlessly unfolding, does not bloom in isolation or solipsism. Although Blue Rider articulates Hirsch’s singular aesthetic (more on that soon) more lucidly and forthrightly than any other album on which he has worked, it is also, like most good music, the alloyed fruit of long hours, and long travels, with other writers and players, and with other records, and books, and films.

And indeed, these recordings feature notable, and notably subtle, contributions from Jade Hendrix (harmony vocals); Thomas Heyman (pedal steel), Hirsch’s old bandmate in the San Francisco group the Court and Spark; and HGM stalwarts Phil Cook (organ and harmonica) and Matt Douglas (saxophones), among others. But as a primarily single-artist vision and statement, it does speak to the way that back roads, detours away from or around one’s other, more high-profile creative pursuits, can lead lead to unexpected destinations arguably more compelling than anything the highways could provide. Sometimes, as William Least Heat-Moon demonstrates in Blue Highways, his classic travelogue of rural America (an admitted influence on this album), you have to leave the main roads to understand their contours and their worth. And as in “Sundown Highway,” that can be a slow, and heavy, journey; you might, like Lowell George, require “weed, whites, and wine.”

Blue Rider emerged from various personal contexts: a year of near-constant touring with Hiss Golden Messenger in 2015; a move with his family from Brooklyn to Ojai, California, and the launch of his new Echo Magic West studio there; and above all, the process of making the self-titled Golden Gunn album with longtime musical partner M.C. Taylor of Hiss Golden Messenger and their mutual friend Steve Gunn. Hirsch wrote much of the music on that album, and watching Taylor and Gunn set words and vocals to his instrumental productions proved the necessary catalyst to take his writing and recording into fresh territory under his own name. Hirsch even reinterprets Golden Gunn standout track “The Sun Comes up a Purple Diamond” here, repurposing Gunn’s lyrics, but attenuating the song into something even more heat-stricken and dilatory than the hazy original version—no mean feat." ---- Brendan Greaves

Amy Blaschke

To say that Amy Blaschke's songwriting is ambitious would be an understatement.

A Seattle born singer/songwriter based in Los Angeles, Blaschke has been releasing her brand of understated and soulful song craft since 1999. Her most recent efforts include Desert Varnish (2013) and Night Canopy (2007), and in the time since these releases, Blaschke collected 28 original songs, 11 of which would become Opaline, her forthcoming fifth studio album.

"I am triggered to write and I write," says Blaschke. "Some songs unfold quickly, seemingly on their own, and some songs require years of nurture until they just feel done."

It's this prolific but unforced output that has allowed for Blaschke to expand into new territories on Opaline, which winds between lush, folk-pop melodies ("Running Into the Fire") and sparse, intimate arrangements ("Opaline" and “Walking with the Rise”) that honor Blaschke's original vision. With each song on Opaline, Blaschke sets a mood, only to tear it down and rebuild on the next track.

"Going into this record, it was very important for me to showcase more variety in my songwriting than on previous efforts," says Blaschke.

Recorded in early 2014 at Station House Studios in Echo Park, California, Opaline was produced by singer/songwriter Brian Whelan (multi-instrumentalist for Dwight Yoakam) and engineered by Mark Rains (Black Rebel Motorcycle Club, Waylon Jennings). "I really wanted to express a range of emotion and style on this album, and I think working with Brian [Whelan] accomplished that," says Blaschke.

Additional players on Opaline include Rob Douglas (bass), Lee Pardini (bass), Mitch Marine (drums), Joachim Cooder (drums), Brendan Buckley (drums), Jebin Bruni (keys) and Eric Heywood (pedal steel). Blaschke's signature guitar work is featured on every track with exception to "Just Roses," a haunting number that features Blaschke's ethereal vocal range and ability to maintain live energy in the studio. "When the moment is captured you can't beat that," says Blaschke.

The first single, "Come See About Loving Me," finds Blaschke wistfully crooning over jangling electric guitars and highly trebled layers of acoustics, and is available for listening on Soundcloud. The single was also recently featured on the ABC music drama "Nashville."

$10.00 - $15.00


$10 in advance and $15 day of show online and at the door.

Private Parlor Shows are open to all friends and fans of The Lost Church and the performers.

Seating is first come, first served. We recommend you buy in advance to ensure being a part of the event (parlor shows often sell out), but you can also try purchasing at the door on the night of the show.

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