LPR Presents
Apr
13
Tue April 13th, 2027
8:00PM
First Unitarian Church
Minimum Age: All Ages
Doors Open: 7:00PM
Show Time: 8:00PM
Event Ticket: $40
Day of Show: $50
Ticketing Policy
General admission seated ticket—first-come, first-seated.
All ticket sales are final. No refunds or exchanges. Physical photo ID required for all shows with age restrictions – no exceptions.
When an event sells out, fans who missed out on tickets can join the Waitlist for a chance to purchase tickets from someone who can no longer attend. Joining the Waitlist does NOT guarantee entry to the event, please do NOT arrive at the venue unless you are contacted about tickets becoming available.
Joining the Waitlist:
• If you’re looking for a ticket to a sold out show, add your info the the corresponding Waitlist.
• If a ticket becomes available, you’ll be notified and your credit card will be charged.
Listing Your Ticket on the Waitlist:
• If you already have a ticket, you can list it on the waitlist through the “My Tickets” page.
• Once we find a buyer for your ticket, you will be notified.
Kali Malone
Kali Malone presents Burning Song, her new album for pipe organ, cello and guitar featuring Lucy Railton and Stephen O’Malley. The program also includes select compositions from Malone’s vast organ discography.
Burning Song, Malone’s first new album of solo compositions since early 2024’s All Life Long, represents a transformation in her compositional strategy towards a process that is more intuitive and direct. The music moves through endings and beginnings, reflection and foresight, hovering in the moment just before understanding, where revelation lives. Feeling supersedes matrices, as each piece proceeds linearly, connected to one another by subtle bridging tones. She is joined by Lucy Railton on cello and Stephen O’Malley on acoustic guitar, the same trio that honed a profound connection based on deep listening through the development of Malone’s work Does Spring Hide Its Joy.
Kali Malone’s music reminds the listener that spectacle is felt in the chest. Its otherworldliness, represented by its scale, duration, and presentation, activates intimately held feelings of wonder and insight. Here is a space where sound can unlock a state of introspection and unwavering tenderness. Chord follows chord, each in slow succession, emerging like stones of various shades and shapes on a winding path. The trio moves as one, stepwise, through passages that are alternately ambiguous and radiant, at times triumphant as the tones rise towards the organ’s upper register. By discarding canon form, which has dominated much of her organ work, there is a clear sense of freedom that allows these pieces to unfold more gradually and speak more declaratively than ever before.