Serving the San Francisco Bay Area New Music Community

Luggage Store Creative Music Series
1007 Market Street
San Francisco California   
(415) 255-5971

Thursdays 8-10pm
Admission $8-15 sliding scale
All ages welcome, no one refused for lack of funds.

The LSG Creative Music Series is the longest standing experimental music series in the Bay Area and California, with weekly Thursday night shows since 1991. The venue aims to be a welcoming, inclusive space for musicians of all backgrounds and levels - from artists trying a new project in public for the first time to well-known international acts. Founded by LSG Gallery Directors Laurie Lazer and Darryl Smith, the series has been curated by several Bay Area musicians. Since 2002 it's been curated by Outsound Presents and improviser/composer Rent Romus. They present a wide cross section of sound artists from every experimental genre.

The series is an artist-run, grass-roots DIY effort that relies on professionals in the community who volunteer their time. Please join us in setting up chairs, curtain, lights, sound once a week, and contact Outsound Presents to get involved in marketing and project coordination.

The Luggage Store Gallery is a non-profit corporation funded by the City of San Francisco, grants, and your contributions. Gallery hours are Wednesday through Saturday, Noon to 5pm. For gallery information call 415-255-5971.
The majority of our booking occurs when an artist contacts us.
To book your project please use our Survey Monkey
Contact Rent Romus if you have any questions.

Artist-run, volunteer, grass-roots DIY effort
Type of Music Presented
Experimental: new sonic, improvised, noise, electronic, lowercase, avant-jazz, outrock, 21st century composition, and sonic art.
Weekly on Thursday Nights 8-10pm
Usually two or three acts per night. Load in and setup is at 7:00pm Setup
Set times
45 min if two sets
30 min if three sets
Booking Lead Time
six to eight weeks in advance
Terms & Policy
70% of door proceeds is equitably split between sets. 30% of door proceeds go to the Luggage Store Gallery for use of the space. We volunteer our time and efforts to running the show. One comp admission per artist is recommended.

No Open Rehearsals: Please prepare for your concert prior to the scheduled date.

Luggage Store is an art gallery. We will not book acts that would endanger the series for future artists Destructive performance art is not allowed including the use of power tools, fire or fume generators. This is a no smoking environment including incense or scented candles.
Facility and Equipment
We have a simple PA (mixer and 2 speakers, 2 mic stands, 2 mics), as well as tables and power strips. If you plan to use the PA, please bring the cables you would need to plug in. We can take mono 1/4" cables or XLR.
With enough notice, we may be able to secure a video projection surface. Max Capacity 75 (standing room)
We Do Not Have
Piano, projector, green room
We Cannot Provide
We cannot provide a guaranteed payment minimum, hotel accommodations, transportation, rehearsal space/time, or a dedicated sound person. (We will set up the PA and help you sound check, but if you need someone to stand in different parts of the room and set custom EQ, then it's a good idea to bring your own person.)

Located on Market Street near Taylor 1 block from Powell Street BART station, and several San Francisco buses stop right outside. Parking is best on 6th, Taylor or Golden Gate. Stay out of alleys. Loading in by double parking on Market is risky - you can get ticketed. We recommended using a cart for transporting equipment so you can park, load up your cart, and trek on over to the space. Be ready for 30 stairs, there is no elevator.
Questions?, please email us

To Book a Gig
Check calendar for date availability.
Submit a booking request using our Survey Monkey Form. Questions? Rent Romus

Upcoming Events:
Thursday, March 21 2019 8:00 PM
Music For Hard Times
Paul Winstanley - electric bass/multiple effects pedals, Tom Nunn - original experimental instruments: space plates, electroacoustic percussion boards and various "skatch"
Special Guest Thomas Dimuzio - synth

Music For Hard Times is a duo with Paul Winstanley, electric bass with multiple effects pedals, and Tom Nunn, original experimental instruments such as space plates, electroacoustic percussion boards and various "skatch" instruments. MFHT has worked together since 2010 and has recorded over 200 sessions, from which nearly a dozen limited run/online CDs have been produced as well as a published CD, "City of Cardboard," and a vinyl record, "Giant Powder Dangerous." MFHT has performed in the Bay Area at venues including Center for New Music, The Makeout Room, [etc.]… In 2015, MFHT was invited to perform as part of the Sudden Sound Festival at the Krannert Art Center in Urbana, Illinois, as well as performing at Experimental Sound Studio in Chicago. Paul’s sounds range from staccato noises to a vastness of sustained tones, using refined implements and highly developed techniques that, at times, defy recognition. Nunn’s space plates, skatchboxes, Lukie tubes and harmonic rods bring a truly unique sound universe to the group that variously blends with, complements and contrasts the “expanded” electric bass. "Music For Hard Times never hit the listener over the head in order to get their attention. They simply get down to the Zen of their other worldly duo exchanges, and, if one is inclined to go along, one will surely find much intrigue." - Mark Pino

Paul Winstanley is an improvising electric bass player from New Zealand who specializes in extended techniques for that instrument. In addition to trying to make his bass sound like electronics he is interested in making electronic music that sounds like natural environments. He has several solo projects including Sci Hi (electronic feedback), Speed Cook (music from sound samples and non-musical sounds) and The Complete Recordings (artificial simulations of field recordings). Paul lived in Auckland, New Zealand for 10 years where he was part of the growing local and national experimental/improvising music scene, playing in groups w/luminaries like instrument inventor Phil Dadson, percussionist John Bell, radical concert brass band The NZ Dominion Centenary Concert Band, folk icon Fats White, abstract electronic supergroup Plains and improvising electronic trio Audible 3.

Tom Nunn has designed, built and performed with original musical instruments since 1976, having received a B.Mus. and M.A. in music composition from the University of Texas at Austin and S.U.N.Y. Stony Brook, and post-graduate work at U.C. San Diego. His instruments typically utilize commonly available materials, are sculptural in appearance, utilize contact microphones for amplification, and are designed specifically for improvisation with elements of ambiguity, unpredictability and nonlinearity. Tom has designed and built well over 300 instruments, representing three basic types: space plates, electroacoustic percussion boards, and skatchboxes. Nunn’s work with experimental instruments since 1975 is thoroughly reviewed in Sudhanshu G. Tewari’s doctoral dissertation, “Confluence: Tom Nunn’s Sculptured Musical Instruments for Improvisation,” University of California Santa Cruz, Dec. 2017.

Thomas Dimuzio is one of unsung artistic figures whose influence and abilities have substantially outstripped his visibility. Composer, multi-instrumentalist, sound designer, experimental electronic musician and recording studio owner, Dimuzio has been busy doing his thing(s) since the late 1980s with critically acclaimed releases issued by the legendary house of audio misanthropy, RRRecords and former Henry Cow drummer (and current Dimuzio collaborator) Chris Cutler’s well-regarded ReR Megacorp label. Equally fluent in a nearly every contemporary post-techno style, Dimuzio’s work clearly demonstrates an insider’s knowledge of older experimental musical forms such as musique concréte and electroacoustic, as well as contemporary ambient-industrial and noise. Thomas Dimuzio has performed and recorded as a solo artist and collaboratively with Fred Frith, David Lee Myers, Dan Burke, Due Process, 5UU'S, Matmos, Wobbly, and many others.  More...

Thursday, March 28 2019 8:00 PM
8:15 pm Sheldon Brown - reeds
9:00 pm Mike Monford Quintet (Detroit)

Native Detroiter Mike Monford got an early start on his love for music. It began at the age of four while constantly digging through his father’s jazz and R&B albums. His musical interests grew through his teen years when he absorbed himself in the hip-hop culture, and morphed into DJing at parties under the name DJ M & M. The turning point came in high school when he explored singing, but it was the saxophone that became his instrument of choice.
In 1997, Mike was awarded a musical scholarship to the University of Hartford - Hartt School of Music. There, he studied with jazz great and master saxophonist Jackie McLean. He also was awarded a musical scholarship from the Societie of the Culturally Concerned, formerly known as the Bluebird Reunion, based in Detroit.
While studying at the Hartt School Conservatory, Mike traveled to New York where he found and was hired by bassist Bill Lee (filmmaker Spike Lee’s father), pianist Marc Cary, pianist Alan J. Palmer, trumpeter Raymond Williams, and bassist Hakim Jami. Not only did he perform with these greats, he also recorded with them. Mike spent some 20 years in New York honing his talents, and entrenched in the history and sounds of jazz.
Armed with his experiences as a performer, composer, and arranger, "Perseverance," Mike Monford's debut CD as a band leader was released in 2012. The CD features Grammy Award winning pianist Marc Cary, Tarus Mateen on bass, Steve Williams on drums, and Rayse Biggs on trumpet.

Composer and woodwind multi-instrumentalist Sheldon Brown has been involved in the San Francisco Bay Area creative music scene for over 20 years. In June of 2014 he premiered his extended composition "Blood of the Air" at the 32nd Annual San Francisco Jazz Festival. Based on the speech melodies of Beat-era Surrealist poet Philip Lamantia, "Blood of the Air" was made possible with the help of Chamber Music America's 2013 New Jazz Works: Commissioning and Ensemble program (funded by the Doris Duke Charitable Foundation), and with additional support from San Francisco Friends of Chamber Music.
Since 1994 he has led Sheldon Brown Group, which performs his own compositions, and he recently formed Sheldon Brown Quintet, which performs the music of Herbie Nichols, and Distant Intervals, based on poetic speech melodies. Sheldon Brown Group has performed several times at Yoshiʼs and as part of the San Francisco Jazz Festivalʼs Summer in the City series.
Brown has performed internationally as a featured soloist with Cuban pianist Omar Sosa, and recorded on 5 of Sosaʼs albums. While with Sosa he performed at many famous venues, such as The North Sea Jazz Festival in Den Haag, New Morning in Paris, Tribute to the Love Generation in Tokyo and many others.

Thursday, April 4 2019 8:00 PM
8:15 pm Matt Ingalls - solo clarinet
9:00 pm Heikki Koskinen w/ Donald Robinson, Rent Romus, Cheryl E. Leonard

Reviled for his "shapeless sonic tinkering" by the Los Angeles Times, oakland musician Matt Ingalls is a composer, clarinetist, concert producer, and computer music programmer. Often incorporating elements of improvisation, his music is heavily influenced by his long involvement in computer music. His composerly solo improvisations explore extended clarinet techniques that interact with the acoustic space, often as combination tones. Matt is the founder and co-director of sfSound, a new music series, ensemble, and internet radio station devoted to new ideas and traditions of experimental music, performance art, live electronic music, Bay Area composition, and the various facets of contemporary improvisation.

Heikki "Mike" Koskinen is a recording artist, composer, and educator currently living in San Francisco. Chosen in "Rytmi" magazine critics polls as Finland’s top jazz trumpet player in the 1970’s, he left his native Finland to study jazz at the Berklee College of Music in Boston. Heikki’s music career began in Finland with playing American Soul music as well as free improvised jazz, with musicians such as Edward Vesala, Juhani Aaltonen, and Heikki Sarmanto. Heikki is the recipient of several Finnish composing grants, recorded several albums, and won awards as an innovative children’s music teacher. His 1980’s Bay Area bands, with Heikki on trumpet, featured such musicians as Hadley Caliman, Steve Heckman, Mark Levine, Joe Bonner, Bennie Green, Larry Hancock and Michael Spiro. Lately Heikki has re-connected with his free improvising musical roots, especially with Bay Area sax player Rent Romus and the Finnish “Kellari (Cellar) Trio”, featuring reed player Mikko Innanen and bassist Teppo Hauta-aho. Heikki’s main instruments these days are piano, the Morrison Digital Trumpet as well as tenor recorder. Besides performing and composing, he teaches music in the Bay Area. For ten years he was coordinator and host of the local radio program, "Studio Finland" and he has been a key musical figure in the Bay Area Finnish community for several years.  More...

Thursday, May 23 2019 8:00 PM
8:15 pm Infinexhuma - dark ambient/industrial
9:00 pm 99 HOOKER - Kaoss Enhancer

99 Hooker has been performing live media for many years. In 2000 he founded the pioneering media group rev.99 . He most recently toured Japan with Akio Mokuno. He has not played LSG for 15 years or so.

SF Bay Area based dark ambient artist ranging in stylistic approach from ritual, drone, cinematic, horror, space, dark ambient, film score style, nature ambient, noise and industrial. The project officially began in 2016 under the name "Infinexhuma" and was formerly known as "Exhuma" in 2013. An album “Chaotic Depth” was release in 2016 strictly to Bandcamp and was not mastered. Subsequently two albums "Crossing" and "Unasan" were officially released in 2018 to all platforms, digitally and physically. “Infinexhuma” follows the afterlife of a physically manifested spirit awoken in a transitional state between the death of its’ human host by suicide and full passing. Currently lost and seeking the reason it was detached from the host’s primary being, Infinexhuma must travel through tangible worlds as well as other darker undefined worlds to ultimately join the host and continue to the afterlife. It is to be taken literally as a dark narrative which is in itself subjective and objective, and as well from an outer and alternate perspective, as a partial mockery of the flaws of an over industrialized society and the subsequent "dead" repetitions of human life (Infin = infinitely / Exhuma = exhumed).  More...

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