Chords for Moddi - The last Unsongs concert
Tempo:
86.8 bpm
Chords used:
G
D
Gm
Eb
Dm
Tuning:Standard Tuning (EADGBE)Capo:+0fret
Jam Along & Learn...
[G] [Bm] We're [Em] at [D] Træna, many miles off the Norwegian coast, where the [Am] Træna Festival is taking
place every [G] year, where everybody participates to make the [D] festival, even the festival goers,
help [C] to make things happen here.
[Em] And this is also the place [C] that I played my first ever full MoDI concert, [Am] with my own
songs, [G] and therefore [D] it feels so good to be back here now, [G] eleven years later.
[D]
This [E] concert here at [D] Kyrkjelland is going to be one of the last [G] unsung concerts [D] that
[G] I'll ever do.
Now we've been [Am]
[G] travelling to [D] twenty-two countries [G] with this project.
[D] It's become a much bigger project than I had [G] expected.
I mean, [A] the album [G] came out in 2016, [D] and it's become a book, [E] it's become a [D] documentary.
We travelled to [Am] meet [G] with some of the musicians behind [E] the songs.
[D]
Usually when we [N] talk about censorship, we think about [Gm]
far away authoritarian regimes,
Saudi Arabia, Iran, China.
What most people don't think about is the censorship which is happening in our part
of the world, the silent censorship.
Censorship which censors itself, it covers itself up and becomes invisible to most people,
to those who don't look for it.
Which is why on this concert I have with me a special guest, Maria Mortensen, [Cm] South [Gm] Sami Norwegian singer.
[Eb] [Gm] The Norwegian Samis have been persecuted in our country for centuries.
Their music has been illegal, [E] their traditional way [Bb] of singing, the yoke, has been illegal,
their language has been illegal to speak in schools.
And still, [C] when talking [Gm] about censorship, almost [Dm] nobody in Norway [Bb] thinks about the censorship
[Gm] that exists here.
The silence that [Eb] has been inflicted onto our indigenous populations.
The song that we're singing is [Gm] a 200 year old Sami text, a legend, about [Eb]
a Norwegian
priest who [Dm] arrives in the north and [Eb] meets a Sami, [Bb] a shaman.
They start quarrelling, [Gm] arguing about who has the right to the land, who has the better
god, who has the better culture.
[Eb] Are you the one who made [Gm] the wind blow?
Well you must be great.
A creation that can create.
It's not a very long text, and [Dm] still you can learn so much from it.
[Gm] About how the clash of cultures must have been back then, [Eb] 200 years ago.
So leave and leave [Dm] me be, I'll drive you [Eb] away.
So leave and leave [Dm] me be, I'll drive you [Eb] away.
Leave and leave [Dm] me be, I'll drive you [G] away.
And you can definitely [Gm] still see remains of that conflict in society today.
For a singer-songwriter like me who has mostly been singing harmless songs up until now,
[Eb] [G] travelling [Dm] with these songs [N] hasn't only been a huge privilege, it's also been a lesson.
It has taught me about songwriting, it's taught me about the world, it's taught me about myself,
my role in music.
You don't go through a project like this untouched.
Recently I've started writing my own songs again for the first time in many, many years.
I write differently now, more direct, more unafraid.
I'm sort of forced to compare them with the songs I've been singing for the last three years.
I think songs can help us see ourselves in the world that we live in,
and see things that we don't usually see.
I mean, we're here at Trane, one of the most beautiful places on the Norwegian coast,
but still, as we're soundchecking, there are fighter jets hovering over us,
exercising for the next place they're going to bomb.
And still we do our best to ignore them.
I'm trying to write songs now about things that shouldn't be ignored.
It's scary, I mean, it's a big task.
But with everything I've learned from this project and from these songs,
I think I'm ready for it, for a new chapter.
[Bm]
[B]
[Bm] [G]
[Bm] [B] [Bm]
[G] [A] [Bm]
place every [G] year, where everybody participates to make the [D] festival, even the festival goers,
help [C] to make things happen here.
[Em] And this is also the place [C] that I played my first ever full MoDI concert, [Am] with my own
songs, [G] and therefore [D] it feels so good to be back here now, [G] eleven years later.
[D]
This [E] concert here at [D] Kyrkjelland is going to be one of the last [G] unsung concerts [D] that
[G] I'll ever do.
Now we've been [Am]
[G] travelling to [D] twenty-two countries [G] with this project.
[D] It's become a much bigger project than I had [G] expected.
I mean, [A] the album [G] came out in 2016, [D] and it's become a book, [E] it's become a [D] documentary.
We travelled to [Am] meet [G] with some of the musicians behind [E] the songs.
[D]
Usually when we [N] talk about censorship, we think about [Gm]
far away authoritarian regimes,
Saudi Arabia, Iran, China.
What most people don't think about is the censorship which is happening in our part
of the world, the silent censorship.
Censorship which censors itself, it covers itself up and becomes invisible to most people,
to those who don't look for it.
Which is why on this concert I have with me a special guest, Maria Mortensen, [Cm] South [Gm] Sami Norwegian singer.
[Eb] [Gm] The Norwegian Samis have been persecuted in our country for centuries.
Their music has been illegal, [E] their traditional way [Bb] of singing, the yoke, has been illegal,
their language has been illegal to speak in schools.
And still, [C] when talking [Gm] about censorship, almost [Dm] nobody in Norway [Bb] thinks about the censorship
[Gm] that exists here.
The silence that [Eb] has been inflicted onto our indigenous populations.
The song that we're singing is [Gm] a 200 year old Sami text, a legend, about [Eb]
a Norwegian
priest who [Dm] arrives in the north and [Eb] meets a Sami, [Bb] a shaman.
They start quarrelling, [Gm] arguing about who has the right to the land, who has the better
god, who has the better culture.
[Eb] Are you the one who made [Gm] the wind blow?
Well you must be great.
A creation that can create.
It's not a very long text, and [Dm] still you can learn so much from it.
[Gm] About how the clash of cultures must have been back then, [Eb] 200 years ago.
So leave and leave [Dm] me be, I'll drive you [Eb] away.
So leave and leave [Dm] me be, I'll drive you [Eb] away.
Leave and leave [Dm] me be, I'll drive you [G] away.
And you can definitely [Gm] still see remains of that conflict in society today.
For a singer-songwriter like me who has mostly been singing harmless songs up until now,
[Eb] [G] travelling [Dm] with these songs [N] hasn't only been a huge privilege, it's also been a lesson.
It has taught me about songwriting, it's taught me about the world, it's taught me about myself,
my role in music.
You don't go through a project like this untouched.
Recently I've started writing my own songs again for the first time in many, many years.
I write differently now, more direct, more unafraid.
I'm sort of forced to compare them with the songs I've been singing for the last three years.
I think songs can help us see ourselves in the world that we live in,
and see things that we don't usually see.
I mean, we're here at Trane, one of the most beautiful places on the Norwegian coast,
but still, as we're soundchecking, there are fighter jets hovering over us,
exercising for the next place they're going to bomb.
And still we do our best to ignore them.
I'm trying to write songs now about things that shouldn't be ignored.
It's scary, I mean, it's a big task.
But with everything I've learned from this project and from these songs,
I think I'm ready for it, for a new chapter.
[Bm]
[B]
[Bm] [G]
[Bm] [B] [Bm]
[G] [A] [Bm]
100% ➙ 87BPM
G
D
Gm
Eb
Dm
G
D
Gm
[G] _ _ [Bm] We're [Em] at [D] Træna, many miles off the Norwegian coast, where the [Am] Træna Festival is taking
place every [G] year, where everybody participates to make the [D] festival, even the festival goers,
_ _ help [C] to make things happen here.
_ [Em] And this is also the place [C] that I played my first ever full MoDI concert, [Am] with my own
songs, [G] and therefore [D] it feels so good to be back here now, [G] eleven years later.
[D]
This [E] concert here at [D] Kyrkjelland is going to be one of the last [G] unsung concerts [D] that
[G] I'll ever do.
Now we've been [Am] _
[G] travelling to _ [D] twenty-two countries [G] with this project.
[D] It's become a much bigger project than I had [G] expected.
I mean, [A] the album [G] came out in 2016, [D] and it's become a book, [E] it's become a [D] documentary.
We travelled to [Am] meet [G] with some of the musicians behind [E] the songs.
_ [D] _ _ _
Usually when we [N] talk about censorship, we think about _ _ [Gm]
far away authoritarian regimes,
Saudi Arabia, Iran, China. _
What most people don't think about is the censorship which is happening in our part
of the world, the silent censorship.
_ Censorship which censors itself, it covers itself up and becomes invisible to most people,
to those who don't look for it.
Which is why on this concert I have with me a special guest, Maria Mortensen, [Cm] South [Gm] Sami Norwegian singer.
[Eb] [Gm] The Norwegian Samis have been persecuted in our country for centuries.
Their music has been illegal, [E] their traditional way [Bb] of singing, the yoke, has been illegal,
their language has been illegal to speak in schools.
And still, [C] when talking [Gm] about censorship, almost [Dm] nobody in Norway [Bb] thinks about the censorship
[Gm] that exists here.
The silence that [Eb] has been inflicted onto our indigenous populations.
The song that we're singing is [Gm] a 200 year old Sami text, a legend, about [Eb]
a Norwegian
priest who [Dm] arrives in the north and [Eb] meets a Sami, _ [Bb] a shaman.
They start quarrelling, [Gm] arguing about who has the right to the land, who has the better
god, _ who has the better culture.
[Eb] Are you the one _ who made [Gm] the wind blow? _ _ _ _ _ _ _
Well you must be great. _
A creation that can create.
It's not a very long text, and [Dm] still you can learn so much from it.
_ [Gm] About how the clash of cultures must have been back then, [Eb] 200 years ago.
So leave and leave [Dm] me be, I'll drive you [Eb] away.
So leave and leave [Dm] me be, I'll drive you [Eb] away.
Leave and leave [Dm] me be, I'll drive you [G] away.
_ And you can definitely [Gm] still see remains of that conflict in society today.
_ _ For a singer-songwriter like me who has mostly been singing harmless songs up until now,
[Eb] [G] travelling [Dm] with these songs [N] hasn't only been a huge privilege, it's also been a lesson.
It has taught me about songwriting, it's taught me about the world, it's taught me about myself,
my role in music.
You don't go through a project like this untouched. _ _ _ _
Recently I've started writing my own songs again for the first time in many, many years.
I write differently now, more direct, more unafraid.
I'm sort of forced to compare them with the songs I've been singing for the last three years.
I think songs can help us see ourselves in the world that we live in,
and see things that we don't usually see.
I mean, we're here at Trane, one of the most beautiful places on the Norwegian coast,
but still, as we're soundchecking, _ there are fighter jets hovering over us,
exercising for the next place they're going to bomb. _
And still we do our best to ignore them.
I'm trying to write songs now about things that shouldn't be ignored.
_ It's scary, I mean, _ _ it's a big task. _ _ _
But with everything I've learned from this project and from these songs,
_ I think I'm ready for it, _ _ _ _ for a new chapter. _
_ [Bm] _ _ _ _ _ _ _
_ _ _ _ _ _ _ _
_ _ _ _ _ _ _ [B] _
[Bm] _ _ _ [G] _ _ _ _ _
_ _ [Bm] _ _ _ [B] _ [Bm] _ _
[G] _ _ _ _ [A] _ _ _ [Bm] _
place every [G] year, where everybody participates to make the [D] festival, even the festival goers,
_ _ help [C] to make things happen here.
_ [Em] And this is also the place [C] that I played my first ever full MoDI concert, [Am] with my own
songs, [G] and therefore [D] it feels so good to be back here now, [G] eleven years later.
[D]
This [E] concert here at [D] Kyrkjelland is going to be one of the last [G] unsung concerts [D] that
[G] I'll ever do.
Now we've been [Am] _
[G] travelling to _ [D] twenty-two countries [G] with this project.
[D] It's become a much bigger project than I had [G] expected.
I mean, [A] the album [G] came out in 2016, [D] and it's become a book, [E] it's become a [D] documentary.
We travelled to [Am] meet [G] with some of the musicians behind [E] the songs.
_ [D] _ _ _
Usually when we [N] talk about censorship, we think about _ _ [Gm]
far away authoritarian regimes,
Saudi Arabia, Iran, China. _
What most people don't think about is the censorship which is happening in our part
of the world, the silent censorship.
_ Censorship which censors itself, it covers itself up and becomes invisible to most people,
to those who don't look for it.
Which is why on this concert I have with me a special guest, Maria Mortensen, [Cm] South [Gm] Sami Norwegian singer.
[Eb] [Gm] The Norwegian Samis have been persecuted in our country for centuries.
Their music has been illegal, [E] their traditional way [Bb] of singing, the yoke, has been illegal,
their language has been illegal to speak in schools.
And still, [C] when talking [Gm] about censorship, almost [Dm] nobody in Norway [Bb] thinks about the censorship
[Gm] that exists here.
The silence that [Eb] has been inflicted onto our indigenous populations.
The song that we're singing is [Gm] a 200 year old Sami text, a legend, about [Eb]
a Norwegian
priest who [Dm] arrives in the north and [Eb] meets a Sami, _ [Bb] a shaman.
They start quarrelling, [Gm] arguing about who has the right to the land, who has the better
god, _ who has the better culture.
[Eb] Are you the one _ who made [Gm] the wind blow? _ _ _ _ _ _ _
Well you must be great. _
A creation that can create.
It's not a very long text, and [Dm] still you can learn so much from it.
_ [Gm] About how the clash of cultures must have been back then, [Eb] 200 years ago.
So leave and leave [Dm] me be, I'll drive you [Eb] away.
So leave and leave [Dm] me be, I'll drive you [Eb] away.
Leave and leave [Dm] me be, I'll drive you [G] away.
_ And you can definitely [Gm] still see remains of that conflict in society today.
_ _ For a singer-songwriter like me who has mostly been singing harmless songs up until now,
[Eb] [G] travelling [Dm] with these songs [N] hasn't only been a huge privilege, it's also been a lesson.
It has taught me about songwriting, it's taught me about the world, it's taught me about myself,
my role in music.
You don't go through a project like this untouched. _ _ _ _
Recently I've started writing my own songs again for the first time in many, many years.
I write differently now, more direct, more unafraid.
I'm sort of forced to compare them with the songs I've been singing for the last three years.
I think songs can help us see ourselves in the world that we live in,
and see things that we don't usually see.
I mean, we're here at Trane, one of the most beautiful places on the Norwegian coast,
but still, as we're soundchecking, _ there are fighter jets hovering over us,
exercising for the next place they're going to bomb. _
And still we do our best to ignore them.
I'm trying to write songs now about things that shouldn't be ignored.
_ It's scary, I mean, _ _ it's a big task. _ _ _
But with everything I've learned from this project and from these songs,
_ I think I'm ready for it, _ _ _ _ for a new chapter. _
_ [Bm] _ _ _ _ _ _ _
_ _ _ _ _ _ _ _
_ _ _ _ _ _ _ [B] _
[Bm] _ _ _ [G] _ _ _ _ _
_ _ [Bm] _ _ _ [B] _ [Bm] _ _
[G] _ _ _ _ [A] _ _ _ [Bm] _