Bill Fieger is a local composer and performer of electronic and acoustic music and the host of The Event Horizon Concert Series. He has recorded electronic music under the name Oblivious Solitude and has also recorded and performed as part of Stares to Nowhere and Mayakara. This performance will be an all acoustic set of improvisations loosely based on the Raga musical form. The goal is always to create a music of mystery (tone-magic). An example of Bills acoustic work can be found here. Bill will be performing on Fretless acoustic Guitar.

The Time Merchant weaves sparse, atmospheric compositions that resist easy categorization. Preferring to stay in the shadows, the artist focuses on crafting sound environments that challenge and invite, creating moments of quiet intensity and open-ended reflection. With a minimalist setup and a singular vision, the work is a personal exploration of space, mood, and sonic texture.

Guitar Pilots (Art Cohen & Harrison McKay) was formed to perform electronic space music on guitars. Their music consists of long structured improvisational pieces which transport the listener to the depths of space while focusing on each precious unfolding moment. Art Cohen’s sequencer-like echoed guitar figures provide rhythmic propulsion while Harrison McKay’s synthetic pads and loops build a foundation for both guitarists to soar in melodic flights. Singing glissando blends seamlessly with plucks and twangs and sonic blasts from interstellar space. Following the trail blazed by Pink Floyd, The Grateful Dead, Prog, and the Berlin School, Guitar Pilots carve out their own sonic territory that is both organic as the ground underneath and as far-reaching as a distant pulsar. Art Cohen has been a fixture in the Philadelphia music scene for over 35 years as both a performer and an audio engineer. Fluent in guitar, bass, and keyboards, he has performed at concert venues and radio studios throughout the Delaware Valley and brought his music to Toronto, New York and other cities in the Northeast. He has released CD’s with Guitar Pilots, The Ministry of Inside Things, Delicate Monster, CubiZm, Lessick & Lincoln & Cohen, Waves of Violet, Men from When, and as a solo artist. His music ranges from electronic space to ambient to folk-rock to psychedelic rock to traditional folk to experimental to spoken word and beyond – sometimes within the same performance. Art has cultivated a unique guitar style drawing on influences including Garcia, Gilmour, Hendrix, Gottsching, Fripp, and Pinhas. Harrison McKay is perhaps best known as the guitar half of The Tangent Project, the Philadelphia area synth & guitar duo who over the past decade have graced the stages of all the region’s important electronic spacemusic venues. He coaxes an extended pallet of sounds from his guitar through the use of synths, effects processors and loopers. In addition to his work with The Tangent Project and as a solo electronic musician, McKay has performed extensively with local pop and progressive rock bands.

 Admission is FREE

Good Luck with Goshupon, and Pennydog

Good Luck is a beloved punk band from Bloomington, Indiana that time has scattered across hundreds of miles. Their new record Big Dreams, Mister (the title of which should be read in the voice of an early 20th-century newsie) is their first in fourteen years, and it fucking rips. It exists in the rarified air of Superchunk’s fantastic post-hibernation record Majesty Shredding and not those “why would they do this?” reunion records of beloved bands whomst shall go unnamed. It is equal parts highly-concentrated effort, pressure-free creativity and the thirst to settle unfinished business after the band stopped making music together in 2012. Except not as dramatic as all that.

Fifteen or so years ago, my band played a show with Good Luck in a makeshift bike shop. I had been obsessively listening to their (classic) first record Into Lake Griffy for months, but was still blown away. Matt Tobey sang while playing two really hard guitar parts simultaneously, Mike Harpring bashed his drums with force that made the kit wobble as if on the brink of toppling over and Ginger Alford glued it all together with winding basslines as the power of voice annihilated the sorrows of everyone in that small area of a parking garage. The crust punks, the sweet nerds and everyone in between bopped into each other and sang along as we all sweatily witnessed something very special.

I’ve seen Good Luck a lot since then and it’s always like this. However, it can be a drag to try to meet the standards we set for ourselves. As they were working on their follow-up, they faced an eternal musician’s problem – when questing to make something great, how can you maintain the sense of fun that made you love playing music with your friends in the first place? Good Luck’s (classic) second record Without Hesitation is a tremendous follow-up, but the journey was overwrought and left the band to fizzle out under a year after its release.

~~~ MONTAGE: As the years pass, Tobey goes to school and starts a bakery with his partner Lisa Dorazewski, Alford helps run Bloomington’s best vegan restaurant and Harpring moves to Philadelphia where he now works as a carpenter. They all play music and while Harpring plays with several hardcore bands and does a fair bit of touring, the rest of the band backs away from their former lives. Alford contributes a song or two to a few great bands, but mostly relishes in playing in friends’ bands. Tobey releases a solo record shortly before becoming a dad and lets his guitar sit untouched in its case for five years. ~~~

In 2023, low key texts start popping up in the group chat, and plans are made to hang at a borrowed practice space in Cleveland just to see if making music together still feels good. The secret reunion is surprisingly comfortable and everything clicks back into place. After two weekends jamming, a few loose ideas turn into songs which get recorded with fellow noodlepunk Joe Reinhart (Hop Along, Joyce Manor, Modern Baseball) as the garden continues to grow around them. Half a year passes, and after a few more weekend-long bursts of songwriting, the band returns to Reinhart to finish what will become their (classic) third record – Big Dreams, Mister. Good Luck is back, just like that.

Along the way, the band rejects the all-consuming nature of being in a full-time band, finding tight pockets of time to capture lightning in a bottle while making sure to ask each other if they’re still having fun. The freedom from expectations yields an open-hearted batch of songs that ironically exceeds the expectations of a great band reuniting out of nowhere, just to see what it’d be like.

Listening to Big Dreams, Mister feels like breathing clean air, like feeling love in a world of hate or any number of hyperbolic tropes music writers would bestow upon some rando to try and sell you some bullshit, but it’s for real this time. The songs have an adventurous excitement to them. The band goes hard as chord progressions occasionally spiral up and down unpredictably and while teetering on the edge of chaos, they lock into some big bouncy hook, moving like one organism, the magic alchemy of years past as alive as ever. Ginger and Matt tackle parenthood, depression, and the general confusion of existence with gut-punch lyrics outlined by an optimism that doesn’t feel saccharine and much-needed encouragement that feels earned.

But as fantastic as it is, you know what? Good Luck don’t care if this is your favorite Good Luck record. They made this one for them, to keep a big part of their lives from dangling unfinished, and for Tobey to show his kids that adults can do hard things too. They’ve escaped the misery of watching the thing they loved become a source of anxiety, taken those lessons with them throughout life, and a decade on the other side of it they’re having a chill time making great music only Good Luck can make. You can hear the joy in every moment. I guess we should all try to stress out a little bit less, huh?Advance tickets can be purchased HERE

Come Move With Me! is not your average dance + movement experience. It’s an inclusive, interactive, and judgment-free space for ages 12–18 of all shapes, sizes, colors, and dance abilities. Led by Sanovia — a talented, trauma-informed artist — this live movement experience will leave you feeling refreshed and uplifted.

What makes it special? You get to help create the playlist! Share your favorite clean-version songs so we can make it our very own dance party. Bring a friend — the more, the merrier! 

Light snacks will be available.

Session Dates: Sept 16, 23, 30 • Oct 7, 14 • Nov 11, 18, 25 • Dec 2, 9

Time: 4:15 PM – 5:15 PM

Cost: Pay What You Wish

Registration is HIGHLY encouraged and appreciated, though not required. Register HERE

Come Move With Me! is not your average dance + movement experience. It’s an inclusive, interactive, and judgment-free space for ages 12–18 of all shapes, sizes, colors, and dance abilities. Led by Sanovia — a talented, trauma-informed artist — this live movement experience will leave you feeling refreshed and uplifted.

What makes it special? You get to help create the playlist! Share your favorite clean-version songs so we can make it our very own dance party. Bring a friend — the more, the merrier! 

Light snacks will be available.

Session Dates: Sept 16, 23, 30 • Oct 7, 14 • Nov 11, 18, 25 • Dec 2, 9

Time: 4:15 PM – 5:15 PM

Cost: Pay What You Wish

Registration is HIGHLY encouraged and appreciated, though not required. Register HERE

Masma Dream World: With roots in Gabon and Singapore, Masma Dream World is the experimental project led by artist and healer Devi Mambouka. 

Masma Dream World invites listeners into a deeply personal and transformative sonic ritual. Her music is an elemental longing, an invocation to ancestors, and a communion with nature, designed to transport you into a scary yet thrilling forest at night.

Her sound meticulously explores the tension between eerie, deep bass and percussive, deconstructed elements, creating emotionally charged atmospheres. Rooted in global bass cultures and her rich heritage, her unpredictable yet intentional compositions incorporate beats, bells, chants, and wails. Field recordings from ancient churches, natural landscapes, and intimate personal spaces blend with mystical practices, evoking a theta-wave meditation into the mind’s deeper crevices.

Masma Dream World’s music pushes the beautiful against the brutal, blending lullabies with cacophony. Songs like PLEASE COME TO ME are a beckoning into darkness, filled with primordial sounds and unsettling moments that put the audience in a trance. Her work is not merely heard but experienced, demanding participation in a gothic love affair with mystery and healing.

Sunken Cages:

Indian-born drummer/electronic music producer Ravish Momin (also known as Sunken Cages), studied with US Jazz master-drummer Andrew Cyrille.  He has worked as a sideman with a wide array of musicians including US Jazz legend Kalaparush Maurice McIntyre (AACM/Chicago) and pop-star Shakira. In the past, he led Tarana, a shapeshifting global-Jazz trio, on international and domestic stages for the past 14 years

His current projects include 'Turning Jewels Into Water' (with Haitian electronic music pioneer Val Jeanty), a duo with dragonchild (Ethio-American saxophonist DA Mekonnen of Debo Band) and Zelzeleh (a Digital Sufi Ensemble) 

He has recently produced tracks with South African Gqom group Phelimuncasi (Nyege Nyege Records), Saxophonist Maria Valencia (Meridian Brothers), along with producers Makossiri (Hakuna Kulala, Kenya), Saskia (QTV, Brazil), Kush Arora (Discrepant, US), Baba Sy (Jokkoo Collective, Spain/Senegal) and Rani Jambak (Indonesia, Yes No Wave)

He has done remixes for Depeche Mode, global electronic music producers Batida (Portugal), Babani Sound System (Mauritius),  and Guedra Guedra (Morocco).

His recent performance highlights include the Free Forma Impulse Festival (Italy), AfroBanana Festival (Cyprus), Words/Beat/ Life Festival (Kennedy Center’s Millennium Stage (US)), Big Ears Festival (US), LeGuessWho? Festival (NL), Positive Futures Festival (AT),  Lincoln Center Outdoors Festival (NYC, US), Slingshot Festival (US) and Festival Congedi (IT). He is also the recipient of grants from New Music USA, The Mid-Atlantic Arts Foundation, NYC Arts In Education Roundtable, Arts International, Meet The Composer and NYSCA (New York State Council of the Arts)

Admission is FREE (donations greatly appreciated)

Fire Museum Presents: Vinay Desai

Vinay Desai is a direct disciple of the world renowned Santoor Maestro Padma Vibhusan Pandit Shivkumar Sharmaji. After completing college, Vinay sought out to learn Santoor in India. Having had some background training in Indian Classical music, in 2011, Pandit Shivkumar Sharma guided him to begin his training under Takahiro Arai and Kunal Gunjal before being accepted by Panditji himself. He regularly performs throughout USA (including Hawaii), Argentina, Canada, The Bahamas, Australia, and India. He has performed for some of the well known organizations and prestigious festivals in different countries including Fringe Festival in Adelaide, Mona Foma in Tasmania, Lollapalooza Festival in Argentina (Vinay was one of the first Santoor players to play in an orchestra in Argentina), Festival of Tabla in L.A., KBF Festival in Arizona, Kussum Mahotsav TSA in NJ, Darpan in Texas, Jaipur Literature Festival, SwarZankar in Pune, Hamsadhwani, Matra in Kolkata, and Starglam Entertainment in Canada. Though specializing in Indian Classical Music, Vinay has worked with many different genres. He is known for his meditative and dynamic musical phrases. His devotion to the purity and the depth of Shivkumar Sharma's style comes forth in performance. Vinay continues to spread his Guru’s work not only through performances, but also teaching and lecturing at different places. He has performed with legends including Ustad Tari khan, Pandit Anindo Chatterjee, Ustad Sukhvinder Singh and some of the most renowned up and coming Tabla players.

The concert will begin with a meditative melodic improvisation that takes the listeners to a place of deep stillness. Vinay is known for his superlative melodic improvisations and sharp sense of rhythm. Joined by tabla player Anirudh Alva Changkakoti, they have an astonishing ability to dive into and reinterpret traditional music.

Admission is FREE (donations greatly appreciated)

Come Move With Me! is not your average dance + movement experience. It’s an inclusive, interactive, and judgment-free space for ages 12–18 of all shapes, sizes, colors, and dance abilities. Led by Sanovia — a talented, trauma-informed artist — this live movement experience will leave you feeling refreshed and uplifted.

What makes it special? You get to help create the playlist! Share your favorite clean-version songs so we can make it our very own dance party. Bring a friend — the more, the merrier! 

Light snacks will be available.

Session Dates: Sept 16, 23, 30 • Oct 7, 14 • Nov 11, 18, 25 • Dec 2, 9

Time: 4:15 PM – 5:15 PM

Cost: Pay What You Wish

Registration is HIGHLY encouraged and appreciated, though not required. Register HERE