Caley Conway w/ Cathedral Becomes Tomb & Josh Evert
Show Date: September 27, 2026 @ 7 pm
Price:
$15 advance
$20 door
Show Description:
Doors 6pm
Show 7pm
$15adv / $20dos
plus $3 ticket fee
21+
Artist Information:
Caley Conway
Caley Conway is a Milwaukee-based songwriter and multi-instrumentalist, a trailblazer of the Midwest music community who has toured widely and shared stages with such heavy hitters as Phoebe Bridgers and Julien Baker. In her first full-length release since 2019’s ‘Surrounded Middle,’ Conway brings us ‘Partner’ (out now on Crutch of Memory Enterprises), a keen examination of love, co-dependence, and the struggle to maintain one’s autonomy as half of a pair.
“Songs that can be intimate and unflinching, or dreamy and enigmatic, and never once pat and predictable.” -Piet Levy, Milwaukee Journal Sentinel
“Impeccably produced, beautifully sung, and full of revelatory songs. Every song is worth your energy and effort to unspool and tangle yourself in.”
-Trilobite Polka Review
“Her sound is imbued with indefinable glory, like songs from a lost futuristic hymnal.”
-Milwaukee Magazine
Cathedral Becomes Tomb
Cathedral Becomes Tomb is a multi-media + sound expression from Wisconsin based artist Barry Paul Clark (adoptahighway, Tontine Ensemble, Field Report)
All sounds created using double bass + audio effect pedals.
Josh Evert
Earlier in his career, Evert was the frontman of Milwaukee mainstay The Fatty Acids, releasing four self-recorded albums between 2008 and 2016 that established his long-running commitment to DIY production and analog sensibility. He continues that collaborative spirit in Dinner Set Gang, a project with longtime creative partner Derek DeVinney, which has produced both the La Fata Turchina EP and the full-length Are You Someplace Else? (2022).
Evert’s work also extends into film and television, where his compositions have appeared in projects such as Al Jazeera’s Faultlines, The Laura Flanders Show, and productions for Planned Parenthood of Wisconsin and The Makwa Initiative, as well as independent films including The Sacred and The Snake and We Are Not Ghouls (2024).
The songs on Photogenic Memory trace back to residencies at Homestead National Monument and ACRE, to stretches of backpacking through Latin America, to the isolation of the pandemic, and to recent moments of personal loss. That temporal sprawl is not incidental; it becomes part of the album’s core idea. The title itself points to the ways we revise and aestheticize the past. Photogenic Memory explores how personal and collective histories are softened, distorted, and re-presented, whether in intimate relationships or in broader societal narratives.
Sonically, the album reflects the tension between fragmentation and cohesion. Glitch-driven rhythms collide with post-rock intricacy and a compositional sensibility informed by modern classical structures, all rendered through meticulously crafted production. Beyond structure and melody, the record is deeply concerned with sound itself. Evert’s evolution as a mix engineer and producer becomes part of the concept, subtly “correcting” or reframing earlier material, reinforcing the album’s meditation on revision and perception.
Despite its abstraction, Photogenic Memory is anchored by pop instinct. Strong melodic cores and memorable motifs run throughout, revealing themselves gradually beneath the surface detail. It is, at once, intricate and immediate. While its deeper shadows reveal themselves with intentional listening, the record is eminently engaging; a compelling, stimulating experience.
The record, naturally, reflects Evert’s collaborative ecosystem. It features contributions from artists including Mol Sullivan, Emma Witmer, Barry Paul Clark, Rob Weiss, D’Amato (Beauty Steps), Ryan Thomas Reeve, Will Hansen, Sean Behling, and Andy Kosanke.
At its core, Photogenic Memory is infused with a sense of urgency about the role of art itself. For Evert, finishing the record meant holding onto a simple belief – that art matters. That artists matter. Across disciplines and formats, Evert’s output reflects a consistent ethos: to treat sound as both material and environment, and to build music that feels at once pulled raw from the fount of inspiration yet is deliberately shaped, intentional, and compelling.