I wrote in my preview of Saturday’s show that Bill Callahan was a too-often forgotten treasure of the Austin area, a fact bolstered by his intimate and impeccable performance at Central Presbyterian Church this weekend. The show was the culmination of a short string of select tour dates, and no better venue can be imagined than Austin’s Central Presbyterian to house the songwriter. Boasting magnificent acoustics and a somber atmosphere, the venue’s physical and psychological statures worked perfectly for Callahan’s set.
Taking the stage with a stoic demeanor, Callahan threw his guitar strap over his head as a noiseless crowd looked on. He leaned into the microphone and his recognizable voice boomed a simple, “Hello.” The ensuing set, which appeared to closely resemble others on the recent tour, began with the outstanding “Sycamore” from Callahan’s first solo album Woke On A Whaleheart. Other selections leaned heavily on cuts from his most recent effort for Drag City, Apocalypse, including “Baby’s Breath,” “Drover,” and excellent closer “Riding for the Feeling.” A few songs from I Wish I Were An Eagle, such as “Too Many Birds,” were mixed into the setlist. Arrangements of the songs were minimal yet busy constructions of glittering guitar notes and sparse bass notes that hinged on Callahan’s baritone voice, while experimental bursts and whining guitar notes occasionally punctuated the mix.
Callahan stood center-stage, directly beneath the church’s large wooden cross adorning the wall behind him, and was flanked by a seated bassist and guitarist on his left and right respectively. The carefully arranged stage and trinity of performers couldn’t help but recall religious iconography. One of the greatest perks to seeing a show at the church is the audience’s angelic behavior. Phones snapping pictures were infrequent and concertgoers scarcely breathed a whispered word during songs and applauded uproariously at their end. Callahan returned to the stage for a single song encore, but fans were still ecstatic with joy when that song happened to be “Rock Bottom Riser” from Callahan’s final effort as Smog, A River Ain’t Too Much To Love. The evening couldn’t have ended on a better note, and Austin has been emphatically reminded what an amazing blessing it is to have Callahan living in our midst.
Earlier in the night, the church was treated to a performance by Flat Foot, a dancer who changed costumes between each song, tap dancing on a surface placed onstage as well as out among the crowd. Musical numbers ranged from jazzy and sultry to country fiddling. The pairing seemed odd, but then again, we’ve learned not to have expectations where Bill Callahan is concerned.
All photographs © Bryan Parker & Pop Press International. Click any image to open set in slideshow viewer.
