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
participates to make the [D] festival, even the festival goers,
[C] to make things happen here.
played my first ever full MoDI concert, [Am] with my own
therefore [D] it feels so good to be back here now, [G] eleven years later.
This [E] concert here at [D] Kyrkjelland is going to be one of the last [G] unsung concerts [D] that
[G] travelling to [D] twenty-two countries [G] with this project.
[D] It's become a much bigger project than I had [G] expected.
participates to make the [D] festival, even the festival goers,
[C] to make things happen here.
played my first ever full MoDI concert, [Am] with my own
therefore [D] it feels so good to be back here now, [G] eleven years later.
This [E] concert here at [D] Kyrkjelland is going to be one of the last [G] unsung concerts [D] that
[G] travelling to [D] twenty-two countries [G] with this project.
[D] It's become a much bigger project than I had [G] expected.
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] _
