Creative Director - Brett D. Cline

Executive Director - Elizabeth Jones Cline



The Lost Church opened its doors to live audiences in Feb. 2011.

Brett’s concept of The Lost Church started as a production company & record label.  

Musical projects  include:  

Stellar Gas Jets

Hungry Ghost

The Young Frying Rabbit

& current band Juanita and the Rabbit.




65 Capp was built in 1979 by the late David Ireland, renowned San Francisco sculptor.  As his first architectural piece, the original 1904 single story structure was transformed into his minimalist approach to maximum light and irregular angular structure.

65 Capp became “The Capp Street Project” in 1983, after philanthropist Anne Hatch purchased the building.  The Capp Street Project during the years of 1983-1990 hosted a variety of  installation artists who would stay in the building while they transformed it for their ultimate project.  

The Capp St. Project ultimately moved to a new  location and the building was acquired by  Brett & Elizabeth in 1997.  Since then, it has served as an Art Gallery, Artist Studio Spaces, Recording Studio and Rehearsal Space, Video Production Studio and more.   







SFBG   -   The Performant: TLC for the holidays

BY: Nicole Gluckstern

Try to ignore it as we might, the end of another year draws near, accompanied by all its attendant solstice-cycle celebrations -- last ditch attempts to keep warm perhaps. Well, spike the eggnog with everclear and pass the bacon-wrapped latkes, in my book a little conviviality goes a long way in making bearable the quickly darkening days, the applejack-crisp night air. Sure, shaking off the hibernation vibe can be hard to do, but a good compromise between comatose and cabin crazy is to cuddle up to nightlife’s cozier side: intimate venues, good company, low lights, warm interiors.

The Lost Church provides all of the above with its lushly-appointed “parlor performance” space and a tight-knit crew of regulars who call the venue their artistic home, plus homegrown music, a multi-media nod to vaudevillian theatre, and quiet cheer.

An ambitious TLC bill awaits the intrepid each Saturday night through December 17. Actually, ambitious musical lineups abound on Thursdays, Fridays, and even one Sunday (the 11th), but in December, Saturdays include a tongue-in-cheek, meta/metaphysical musings of a brief one-act entitled “The Golden Goddess, Demon Dan, and the Doorway to Darkness,” nestled in the center of the evening, the jelly in the sugar donut.

A brashly conniving demon (Dan C.) finds himself in literally the middle of nowhere where an extremely bored goddess (the projected image of Jessica K.) is spending her eternity guarding a doorway that no-one wants to open. No-one but Dan, that is, and his persistent, flirty wheedling, rendered de facto charming by a wise-guy cockney accent, gradually wears down the goddess’ resolve.

The battle-of-the-immortal-sexes dialogue is interspersed with snatches of Rolling Stones songs (“Sympathy for the Devil,” “It’s All Over Now,” “The Last Time,”) provided by a rock n’ roll “Greek Chorus” fronted by bodacious blues chanteuse Kim K., by far the heavenliest presence on the stage.

Taking a page from the hootenanny handbook, the theatrical portion of the event is bookended by an assortment of musical acts, a little something something for everyone. Last weekend, the evening opened with Brian B. playing a variety of instruments including a sultry slide guitar, an accordion, and the harmonica while singing a series of introspective ballads which began on a blue note with a love lost and spiraled further downward and outward encompassing junkyards, street corners, and a nod to St. Cecilia, martyred patron saint of music. A quick flurry of rock songs from venue hosts Brett and Elizabeth C. in their joint bass n’ drum incarnation as “Juanita and the Rabbit”  followed, and the post-show glow was further prolonged by more singing from the divine Kim K.

... TLC has carefully crafted a tempting cocktail of home comfort blended with retro cool and hot licks, all of which make it a great place to spend the  holiday, or any, season.



    See All Knows All  by Kristin Farr

When Sonny Smith performs at David Ireland's house, you don't ask questions, you buy tickets. The Lost Church is a super intimate performance space hidden inside a house specially built by Ireland, the late, great conceptual art pioneer. This is the venue for a new, experimental "thing" called Sees All Knows All, written and performed by Sonny Smith with musical accompaniment. The four-night run has a different opening act each evening, and the first performance featured a sweet, beachy set by Alexi Glickman with Kacey Johansing on drums.

Sonny Smith took off his jacket and hopped up on stage like someone slipping into a swimming pool -- a little apprehensive, but committed. As the story started to flow, he sometimes looked down, avoiding eye contact as people do when sharing something personal. Fiction and reality played opposing roles in the narrative which, as promised, included "spaceships, romance, and bitter tears." These themes are not atypical of Smith's writing, and he also mentions a fear of drowning, which came up when we interviewed him for Gallery Crawl. Back then, in 2010, he'd just collaborated with many artists to create records for one hundred fictional bands he'd dreamt up. This time around, he similarly draws on strengths from a group of artists to make something new and imaginative happen. The performance was remarkable because nobody was messing with their phone, so I felt like a real jerk trying to take his picture the whole time.

Read the whole article here




Elizabeth Tailor of The Lost Church

By: Leonardo Plass

Elizabeth Cline lives in the tin building on Capp St. designed by David Ireland in 1979. She and her husband run a performance space, The Lost Church, in the home.

She is also a tailor, a photo stylist's assist, a jewelry maker, and is in the band Juanita and the Rabbit. I pulled up to the tin house tucked discreetly among the regular homes. A blue van with a surfboard rack, a ladder scaling one side and monster truck wheels was parked out front and I was told this is the band's touring van.

Upon entering the home all my preconceived notions of performance spaces in homes were erased. This was not some punk rock warehouse littered with beer cans and a precarious loft overhead. There was a small stage in the corner lined with white lights installed along the bottom edge with a beautiful red velvet curtain, lovely art adorned the walls, chairs were lined up nicely, the actual living space is hidden behind closed doors -- this is the real deal, people. Upstairs was a curvy hallway/balcony -- from one side, you could look out over the stage, and the other opened to a small patio.

Q: How did you become a tailor?

"My mom taught me how to sew when I was a kid, I did not go to fashion school, I went to college and took all the art classes I could take. I always made clothes but then I moved to San Francisco and worked at a bridal shop. We did couture bridal dresses so I learned to sew better, really perfected my skills. So then I started my own clothing and jewelry line for about 5 years. And then quit that and started doing on-set tailoring for photo shoots. I do this under the guise of Elizabeth Tailor. It kind of all happened by accident."

Q: Why did you stop doing your clothing line?

"It just doesn't make any money, it was really hard and Oh!, I stopped because Brett, my husband and I started a band and started touring the country. Our band is called Juanita and the Rabbit and we describe it as punky-love-rock."


Q: I heard whisper that you've been making dresses out of napkins, what's up with that?

"So I shouldn't say this, but I started making them while I was at on set tailoring jobs because i went to a job and the catering had these amazing napkins! I was like, god that's cool, it looks like fabric. So the day wasn't busy...  so I drew out a little pattern and sewed it all together.

Read the whole article here