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TABLE SEATING POLICY
Table seating for all seated shows is reserved exclusively for ticket holders who purchase “Table Seating” tickets. By purchasing a “Table Seating” ticket you agree to also purchase a minimum of two food and/or beverage items per person. Table seating is first come, first seated. Please arrive early for the best choice of available seats. Seating begins when doors open. Tables are communal so you may be seated with other patrons. We do not take table reservations.
A standing room area is available by the bar for all guests who purchase “Standing Room” tickets. Food and beverage can be purchased at the bar but there is no minimum purchase required in this area.
All tickets sales are final. No refund or credits.
Jozef Van Wissem
To get into Jozef Van Wissem’s world is to surrender to the inevitability – and timelessness – of a strange music created at its own pace, in a manner wholly of its creator’s making. He sets the listener into a private world, looking out through a glass darkly, such is the intense quality of the music. Brevity, simplicity, directness is the key. (Quietus) Van Wissem is ‘both an avant-garde composer and a baroque lutenist, and thus no stranger to dichotomy,’ (New York Times). He has been ‘pushing the lute’s agenda out of the academy and into more accessible circles’ (Pitchfork). He’s performed over 1200 solo lute concerts in churches and at concert venues around the world, including prestigious rock festivals like ATP and Primavera Sound, playing his all black, one-of-a- kind baroque lute custom build for him. The titles of his works often have a Christian-mystical appeal. Van Wissem moved to New York in 1993 and studied lute with Pat O’Brien. In 2013 he won the Cannes Soundtrack Award for best score at the Cannes Film Festival for “Only Lovers Left Alive”. Van Wissem has released four records with the film director Jim Jarmusch. He was commissioned to compose a sound piece for Hans Holbein’s painting ‘The Ambassadors” (1533) by the National Gallery. In December 2017 he was invited to perform the madrigal depicted in Caravaggio’s painting ‘the Lute Player ‘(1596) at the Hermitage museum. His new record, features this Renaissance work, entitled “ You Know That I Love You”. The record’s title ” We Adore You, You Have No Name” comes ” from the Secret of Secrets book, a description of worship of the nameless all-inclusive God.””
Marissa Nadler
For over two decades, Marissa Nadler has carved out a singular place in the musical landscape, where ethereal folk, shadowy Americana, ambient soundscapes, shoegaze and experimental textures converge. Anchored by her unmistakable mezzo-soprano and intricate fingerstyle guitar, Nadler’s music conjures vivid emotional worlds—intimate, otherworldly, and timeless.
A prolific songwriter, Nadler has built a discography defined by spectral beauty and haunting lyricism. Her songs, dreamlike and lush, are rich with painterly imagery and emotional nuance. As The New Yorker writes, “To luxuriate in the spectral croon of Marissa Nadler is to step into a noirish world of mystery and glamour,” while AllMusic praises her “epic, aching songs, which refuse to keep tragedy at arm’s length.”
Shortly after earning her bachelors and masters degrees from the Rhode Island School of Design, Nadler released her breakthrough debut Ballads of Living and Dying (2004), a collection that announced her as a major voice in the underground. A skilled visual artist as well, Nadler’s background in painting and drawing deeply informs the cinematic scope of her songwriting.
Following her early releases, she partnered with Sacred Bones and Bella Union for July (2014), marking a new chapter in both creative clarity and critical acclaim. Albums like Strangers (2016), For My Crimes (2018), and The Path of the Clouds (2021) further expanded her sonic palette while preserving the deep emotional resonance at the core of her work. As Brooklyn Vegan notes, “Just about everything she puts out is truly mesmerizing.”
Her tenth full-length album, New Radiations, arrives August 15th. Expansive, melodic, and emotionally vivid, it captures Nadler at her most personal and visionary—an artist continually evolving, yet unmistakeable.