Article and header by Carla Haddad.
On April 11th, the “Not That Similar” tour headlined by Madison Cunnginham and Juana Molina was kicked off in Savannah. As part of Savannah Music Festival, this concert was held at SCAD’s Trustees Theatre.
Molina and Cunningham’s styles are resourceful and clever, both minimalist in their stripped-down accompaniment. Despite this similarity, their approaches to this seemingly similar style lies on opposite ends of the spectrum. Thus, the tour’s name was born. Where one entrances and lulls, the other is dynamic and sincere, yet both are layered to the brim, intersecting at their undeniable ability to captivate.
Molina’s scope is one that is built in real time, welcoming the audience into the process of creating as an individual artist. Armed with loop pedals and synths, each layer is a treat to witness as a song begins as a seed and grows into a full, rich soundscape. Once each layer is solidified, the groove is impossible to ignore; it is clear that in performance she lives within a song. Trance-like and hypnotic in the best of ways, her improvisation locks an audience in with her and only let’s go once the song ends.
Her body of work would land the best with fans of the more experimental end of alternative. Her sound encompasses many alternative genres, effortlessly blending the likes of folk translated to an electronic lens. Think David Byrne filtered through a more lo-fi indie approach. Her eerily beautiful voice floats rhythmically atop the loops, droning and ever-present. Her solo performances are all encompassing and warm, filling the space with ease.
Cunningham’s presence onstage can easily be described as commanding. It’s impossible not to be instantly drawn in by her elegant combination of wistfully introspective songwriting and immense musicianship. She wields her guitars with an intimidating level of grace, her taming of this instrument starkly obvious. It’s difficult to believe that a single instrument and a voice can create a sound so full, yet her unique fingerpicking style works in ways that rival the support of an orchestra.
Her sound takes the fresh creativity and heart of mid-sixties folk but spun into a modern singer-songwriter air. The sentiments of Laurel Canyon, the freedom to explore the art of songwriting, lives through her intricate picking patterns and intimate lyrics. Joni Mitchell meets Fiona Apple melded into her own fresh perspective yet completely independent of the aforementioned artists. Her songs work as stories, sonically and lyrically, they embark through sophisticated twists and turns. Engaging from start to end, the next step is always disguised until approached and welcome once it arrives.
This duo passes the stage to one another like old friends, their banter as playful as their melodies. Fused together, they are masters of knowing how to fill a space in their distinctive styles. The setlist was an equal blend of the two’s work. Although the audience seemed more acquainted with Cunningham’s work, they embraced and applauded Molina’s work equally. With meticulously placed dynamics, movement is constant in their performances together. Cunningham partway through the show shared that Molina’s music was a great inspiration in her younger years, changing her approach to her own music. This was made most evident in their improvisations together; despite their differences in musicality, they meet right in the middle and blend seamlessly when tossing a melody between one another.
From beginning to encore, this show was truly a treat. A wonderful kickoff to a tour highlighting two Not That Similar artists who embody just how boundless songwriting can be.
