An Evening with Noah & Abby Gundersen

Sunday
12
Mar

Indie folk songwriter

Influences based on existential philosophy
Why you should see this show…

Noah & Abby have a synergy about them that makes their performance uniquely captivating. Her harmonizing compliments his rich velvety voice to create beautiful honest melodies. This brother sister singer-songwriter duo is a must see.
 

 

Noah Gundersen Bio
For Noah Gundersen, the past few years have brought about immense growth and change, both as an artist and as a young man grappling with issues of identity and independence. It should come as little surprise, then, that his stunning new album, Carry The Ghost, is so heavily influenced by existential philosophy. What’s so striking, though, is hearing a 25-year-old articulate such weighty themes, packaging them into heartbreakingly gorgeous melodies with a plainspoken language that cuts to the quick upon first listen. Then again, Noah Gundersen has never aimed for ordinary.

Though only a little more than a year has passed since the 2014 release of Ledges, Carry The Ghost finds an older, more sophisticated Gundersen attempting the difficult work of unraveling our purpose here, searching for answers about the nature of man and the meaning of our relationships. Gundersen came to an understanding of himself as the sum of his experiences, a view he embraces as a positive one and which led him to delve into the works of existentialist writers and philosophers like Jose Ortega. For Gundersen, the personal history that shapes each and every one of us is the titular ghost, and it’s the thread that ties the entire record together.

Recorded at Seattle’s Litho Studio, Carry The Ghost explores issues of self-discovery and existentialism with an erudite sophistication across 13 magnificent tracks. Collaborating more than ever before with his touring band—which includes his sister Abby and brother Jonathan—Gundersen set out to push boundaries and confound expectations, experimenting with tone and structure and creating rich sonic textures that ebb and flow beneath his stirring, solemn voice.

 

Field Report (solo) Bio
“The body remembers what the mind forgets,” Chris Porterfield reminisces on his acclaimed band Field Report’s sophomore record, Marigolden. The record is strewn with references to the inevitable tolls taken by the passage of time, and prolonged distance from home and loved ones.

The past couple of years have flashed by for Porterfield, who was thrust into the spotlight after years of musical reclusion. His Milwaukee-based band, Field Report (an anagram of his surname), was culled together in the studio while recording their 2012 self-titled debut. They suddenly found themselves championed by their former idols: offered support tours by Counting Crows and Aimee Mann, lauded by the likes of Mark Eitzel and Richard Thompson, and covered by Blind Boys Of Alabama.

The band honed itself from a septet to a quartet in the year that followed, focusing its sound and tightening the screws. With a heavy batch of songs under their arms, they retreated to snowy Ontario in December 2013 to record their sophomore album, Marigolden, with the help of producer Robbie Lackritz (Feist).

Spending two years roaming around the country playing tiny venues and sold-out amphitheaters alike, Porterfield was uncertain whether he was leading the charge toward an artistic epiphany or headed down a misguided path of self-destruction. Marigolden reflects this, as he ruminates across homesick tension and an un-grounded anxiety. But rather than wallow in melancholy, Porterfield finds solace and inspiration through his songs, which reveal themselves as uplifting and celebratory. The album is brighter than their 2012 debut, but somehow remains just as elegantly ominous.

Marigolden’s second track, the surprisingly catchy radio single “Home,” finds Porterfield on the road, hoping the home, wife, dog, and life he left behind in Milwaukee will still be there upon his return. “Leave the lights on,” he asks, “it might be nighttime when I get there, but I’m on my way home.” While the song contemplates lonesomeness, there is an undeniable sense of hope driving it. In “Summons,” the penultimate track, he recalls this thought, repeating, “I’ll be coming home to you” like a mantra. This sense of balance and symmetry across the album helps provide stability to the otherwise volatile themes. Case in point: the album starts with a sunrise in “Decision Day” and ends full circle with another in “Enchantment.”

Whether reconsidering sobriety in “Pale Rider,” sticking to tonic water in the bars of “Summons,” or cashing in a 30-day chip for a kiss in “Enchantment,” Porterfield’s relationship with alcohol runs through the current of nearly every song. Most notably in “Ambrosia,” where he find himself face to face with the reality of where his drinking is destined to lead.

The album runs the musical gamut, from the Traveling Wilburys-esque pop of “Home,” to the Neil Young-inspired piano ballad “Ambrosia,” to the electronic sonic landscape of “Wings.” While the compositions express a wide range in terms of genre, they find unity in themselves within the limits of self-imposed minimalism. In the studio, the songs were stripped down to the bones and built back up using only their essential elements.

Sequestered in a seemingly never-ending Ontario blizzard, the band only broke from this musical process to add logs to the stove, with the snow and the fire providing a proper background for music so rooted in the elemental. The effect that this fundamentals-based approach achieves is universal: the sparse arrangements and common themes speak to everyone, but somehow feel tailored to each listener. The title itself reflects this, a portmanteau of two common images (marigold and golden) to create something that feels both idiosyncratic and familiar: Marigolden.

Last call for dining for this show will be 15 minutes before show time. Please arrive early if you plan to eat dinner with us. The bar will remain open, and beverage service will continue throughout the concert.