Saturday, May 2
Luke Schneider
All Things Shining
Creative Arts Orchestra
Doors 7: 30 pm, $15–$20 sliding scale
Luke Schneider is a Nashville-based pedal steel guitarist who has worked with a variety of artists including Margo Price, Orville Peck, S.G. Goodman, William Tyler, and Futurebirds. His debut solo album of ambient New Age music created entirely on pedal steel, Altar of Harmony, was released by Third Man Records in 2020. His new EP For Dancing In Quiet Light is out now via Leaving Records.
All Things Shining is an experimental improvisational quartet exploring the communal connections that bind people across all communities in times of conflict. Featuring Marcus Elliot, Jon Monteverde, Chace Morris, and Chien-An Yuan.
Creative Arts Orchestra is a University of Michigan ensemble, led by saxohonist Marcus Elliot, who in addition to being a leading composer/musician in the community is also an educator and cultural activist.
Monday, May 4
Emily Beisel
Matthew Smith
Doors 7:30 pm
Emily Rach Beisel is a Chicago-based improviser, composer, educator, curator, and woodwind specialist whose work is celebrated for its visceral intensity and innovative blend of techniques. Beisel’s 2023 solo album, Particle of Organs, has been described as “heavy stuff, sounds retrieved from the deeper places — the underworlds, the lightless subterranea… a raw, abrasive, oppressive, and thrilling journey (A Jazz Noise).”
Beisel's music centers on the bass clarinet and incorporates voice, electronics, extended techniques, and other wind instruments creating a complex and nuanced soundscape in which the origins of sounds are often obscured.
Photo: Ricardo Adame
TICKETS NOW ON SALE
Tuesday, June 2
Marisa Anderson
Marisa Anderson channels the history of the guitar and stretches the boundaries of tradition. Her playing is fluid, emotional, and masterful, featuring compositions and improvisations that re-imagine the landscape of American music. The New Yorker calls Anderson “one of the most distinctive guitar players of her generation,” and NPR refers to her as among ‘this era’s most powerful players’. Her music has been featured in Rolling Stone, NPR, The New York Times, Pitchfork, the BBC and The Wire. Festival appearances include Big Ears, Pitchfork Midwinter, Le Guess Who and the Copenhagen Jazz Festival. Anderson is the recipient of the 2025 Spark Award for Oregon Artists presented by the James F. and Marion L. Miller Foundation.
In addition to her solo work, Anderson is sought after as a collaborator and composer. Swallowtail, her second record in duo with drummer Jim White was released May 2024 on Thrill Jockey Records. 2024 also saw the release of the feature film score ‘ A Perfect Day For Caribou’, as well as appearances on records by Charlie Parr, Myriam Gendron and Big|Brave. In addition to multiple solo releases, past projects include 2021’s Lost Futures with guitarist William Tyler, and contributions to recordings by Matmos, Tara Jane O’Neil, Beth Ditto, Sharon Van Etten and Circuit Des Yeux, among others.
Classically trained, Anderson honed her skills playing in country, jazz and circus bands. Her current work is focused on a mid-20th century archive of recorded music from the Islamic world, Southeast Asia and the Soviet Union.
“One of the best emotional mediums in the field of solo guitar, Anderson is a master of lovely melancholy.” –Pitchfork
Tuesday, June 23
Setting
Doors 7:30 pm
[$18 at entry]
The North Carolina Piedmont-based trio of Setting bring together their substantial collective skills as musicians and their collaborative, explorative mindsets from groups such as Mind Over Mirrors, Califone, Black Twig Pickers, Pelt, Peeesseye, Sylvan Esso, and Jake Xerxes Fussell to bear in their inventive and rich improvisations. Multi-instrumentalists Jaime Fennelly, Nathan Bowles and Joe Westerlund subvert expectations while creating a sense of ease and wonderment. Their intricate interplay of synthesizers, cassette loops, banjo, keyboards, electronics, zithers, and a litany of percussive instruments form a tactile amalgam of celestial transcendence and terrestrial rhythm, a loamy pulse fluidly guiding every minute fluctuation in feel. Dedicated improvisers with years working together, the band has developed their own idiosyncratic vernacular and sense of flow. Setting’s self-titled album (Thrill Jockey) is a definitive statement of their improvisational acumen meeting compositional rigor, a robust wellspring of hypnagogic grooves and mosaiced textures. Setting harnesses the euphoria of communal creation.
Thursday, October 8
Hayden Pedigo
Doors TBA
Hayden Pedigo: man, myth, master of disguise; un-picker, finger-picker, absurdist, perfectionist. The unorthodox contender for Amarillo City Council, subject of the film Kid Candidate, and creator of the acclaimed Letting Go (2021) and The Happiest Times I Ever Ignored (2023) now embarks upon the release of his new album I’ll Be Waving as You Drive Away. An innovator of the instrumental genre, challenger of the stereotypical, son of a truck-stop preacher, he backs up a cherry red Silverado under his own smiling, Brylcreemed and Nudie-Suited billboard. His foot hesitates above the gas pedal as a cloud of dust rises. Where between beaming advert and disillusioned entertainer might his truest self lie? On this intentionally maximalist, genre-resistant work of warped instrumental Americana — an exclamation point at the end of an accidental trilogy of records — we, and Hayden, might just be about to find out.
Unlike its predecessors in ‘The Motor Trilogy’ (tied together by their vehicular Jonathan Phillips artwork) — which offset the clarity of sparse acoustic compositions with a carousel of personas and outfits — I’ll Be Waving As You Drive Away sees Hayden turn his practice inside out, set fire to the dressing up box, throw all other modern acoustic guitar records to the flames, and trip on the fumes. Solidly honing in on his technical craft after two years of non-stop touring with the likes of Jenny Lewis, Devendra Banhart and Hiss Golden Messenger, Hayden Pedigo is ready to peel back the curtain and let the world in. His most emotionally candid record, “there’s something really human” about this final installment, Hayden professes. “No face paint, no blue skin, the character on the front is no longer a character — it’s actually just me. I’m trying to tell the audience, I actually want you to meet me, I want you to know who I am.”
Taking cues from John Fahey’s weed-and-whiskey infused, tape-loop-heavy 1966 record The Great San Bernardino Birthday Party, I’ll Be Waving As You Drive Away is, Hayden reflects, not a straightforward solo guitar record, but in a sense “a micro-dose psychedelic album. I wanted it to be this tangible feeling, as if somebody had cut up a tab of LSD and put on a Fahey record.” Unafraid to push the parameters of American primitive, the walls of the album’s world are fuzzed-up and glimmering. Pedigo’s trademark, highly skilled guitar compositions, more intricate than ever, are augmented by influences he’s never been able to achieve on previous records. There are whispers of the prog-rock mellotrons of King Crimson and the heavy phasers and bass of Led Zeppelin; all helped along nicely by the psychedelic sensibilities of producer Scott Hirsch [Hiss Golden Messenger, The Court & Spark, William Tyler]. However it is vital and natural, says Hayden, to also be influenced by contemporary modern music in order not to make an esoteric, rambling solo guitar record. For example, Bladee’s Cold Visions — “a masterclass of experimental rap music” — inspired some similarities in approach, despite the artists’ distinctly different genre backgrounds. “There are so many records buried within this record…there’s a lot of micro-sampling going on, like a rap album,” he concludes (though this manifests in echoes and phrases, rather than direct lifts).
RECURRING SERIES
Every Tuesday
Zekkereya El-magharbel presents “Tuesdays at Trinosophes”
Doors 7:30 pm | Sliding scale, prices vary. Please pay what you can to fund this series.Detroit Trombonist Zekkerya El-magharbel present four different series on a rotational basis, every Tuesday at Trinosophes ...
- 1st Tuesday: Maqam Workshop "Detroit Maqam Workshop," which features studying and learning classic Arabic melodies.
- 2nd Tuesday: Community Art Jam Art supplies provided by Arts and Scraps. Come hang with friends and make art.
- 3rd Tuesday: Meet the Composer(s) Concert/interview series. The first iteration features @taqsim.live as our subject for this "Meet the Composer" session.
- 4th Tuesday: Tuesday Nights Showcase Zekkereya's first monthly residency in the city, with a rotating ensemble of Detroit's finest, curated by the artist.
Trinosophes Projects is a 501(c)3 non-profit organization in the state of Michigan that supports, documents, facilitates, presesrves and furthers the arts and culture of Detroit. We are an independent, artist-operated entity located in the city’s Eastern Market district. Contributed and earned income goes directly into the hands of the artists we work with, so if you appreciate our efforts, consider making a donation to support our ongoing mission. Click here for a Paypal link.
How does your support help? Your donations go directly to our programming, exhibitions, publishing, media manufacturing, archival work, artist commissioning, project collaborations, educational work and regranting in the form of artist prizes, awards and emergency assistance. We believe that now more than ever, this work is important to the cultral health of our community, both through supporting, highlighting and perserving our region’s cultural legacy and by keeping it in dialogue with devlopments in the rest of the country and the world.