If you’re like me, you have some childhood and early adolescent memories of listening to certain songs that gave you a magical impression of seamlessness, as if they had always existed in all their wholeness, just the way they met your ears. You may remember exactly where you were and what day it was when you first had an experience like this with music—it may very well be that these memories act as threshold moments marking your awakening to the sheer scope of music.
Back in November of 2017, I had the pleasure of interviewing Andy Gullahorn about his new record, Everything As It Should Be, the craft of songwriting, the balance between boldness and humility, and what he has learned from the arc of his career. I hope you enjoy our conversation as much as I did.
Andy is currently in the middle of a Kickstarter project to fund the finishing of his new record, and he’s got twelve days to go. Click here to learn more about the project and choose how to support him.
In case you haven’t heard, A. S. Peterson (aka Pete Peterson) has written an adaptation of Mary Shelley’s classic Frankenstein for the stage. In Pete’s own words, “this is not your mama’s Frankenstein.” Show up to the play and you’ll find an eloquent Monster, theological questions of creation and death just as abounding as questions of scientific progress, and a Victor Frankenstein indelibly shaped by the drama of his family.
In case you haven’t heard, A. S. Peterson (aka Pete Peterson) has written an adaptation of Mary Shelley’s classic Frankenstein for the stage. If you’re anything like me, you have long assumed, without even realizing it, that you know all there is to know about Frankenstein. I mean, it’s just a cautionary tale about the hubris of scientific progress at the expense of our humanity, right? With a Monster that groans inarticulately, groping in the darkness of his brutish existence, his mad scientist-maker laughing maniacally in the background?
When we first envisioned Supper & Songs, we considered it an exercise in thinking small: cozy homes as venues, a small enough guest list that we could get to know each other throughout the night, and just two artists. We had thirty guests at our April event with Liz Vice and forty in May with Jordy Searcy.
There I stood, in front of the fireplace with my guitar strapped on and dozens of lyric sheets in my hands with songs like “This Is My Father’s World” and “Be Thou My Vision.” I turned to my left and gave the nearest student that familiar instruction to “take one and pass them back,” watching the sheets of paper make their way around the circle we had formed along the perimeter of the room. On this Wednesday morning, chapel was held not at school, but at our neighboring nursing home. In the middle of the room, couches were filled with residents, some smiling pleasantly, others vacantly, and still others giving the appearance of being annoyed at the general state of things. The smell of artificial maple syrup wafted through the air.
Last week, I got to sit down with Buddy Greene and ask him all about his new retrospective record, Looking Back, as well as the narrative of his musical and spiritual life and how they have informed one another. Our conversation was a delight and I am pleased to share it with you here.
I recently had the pleasure of speaking with Taylor Leonhardt, whose album River House has thoroughly caught the Rabbit Room’s attention with its lyrical subtlety and invitational, spacious production style. Whether you are already familiar with this album or new to the scene, this interview will have something for you.
Taylor Leonhardt will be joined tonight at the last Local Show of the season by John Tibbs, Andy Gullahorn, and Jill Phillips, and there are still a few tickets left. You can grab them here at the Rabbit Room Store.
The Orchardist’s Janie Townsend recently wrote a compelling reflection on our first Supper & Songs show, specifically what it was like to play the roles of host, event organizer, and performer in the same evening, the low-level panic of watching water refuse to boil while anticipating a large swath of hungry guests, and the meticulous, often un-Instagrammable pursuit of community through meal and song. You can read that post here. Meanwhile, we have a video to share with you, a compilation of clips to give you a taste of what our first event was like.
Today I share with you the second half of a discussion I had recently with Danny Bryant, pastor of St. Mary of Bethany Anglican Parish, and Steve Guthrie, professor of Religion and the Arts at Belmont University.
Today I invite you into the first half of a discussion I had recently with Danny Bryant, pastor of St. Mary of Bethany Anglican Parish, and Steve Guthrie, professor of Religion and the Arts at Belmont University.
Our discussion centered around the question, “Can we call the crucifixion beautiful?”—a question I have heard Danny and Steve explore with gentleness and wisdom, Danny in his sermons and Steve in his lectures as well as his book, Creator Spirit. When the three of us first convened, we came to the conclusion that we have much to learn by answering “yes” as well as “no.”
[Editor’s note: In case you haven’t heard, Chris and Jenna have worked tirelessly and done a terrific job with their Kickstarter campaign—their campaign ends at 9 pm EST/8 pm CST today! You’ll receive an immediate download of their record upon backing, so do yourself a favor and put your chips in with these kindhearted people. You can support them on Kickstarter here. Scroll to the bottom to watch their Kickstarter video and stream a song from their album.]