Mount Eerie Brings Peace to Thalia Hall
Article by Natalie Silva
For those unfamiliar with Phil Elverum’s latest project, Mount Eerie has been a post-Microphones success since 2003 when he began releasing music under the moniker. Keeping up with the classic experimental folk sound of his past, Phil delivered a beautiful combination of spoken word-like performances and songs off of his latest album Night Palace on a Sunday evening in Chicago.
The first opener, and bassist for Mount Eerie, was Noel Gilson, who shared songs from their solo project Precious Bane. Precious Bane’s set was short and sweet. Lasting about fifteen minutes and emulating similar vibes to Mount Eerie, this mix of ethereal vocals and loud instrumentals was a perfect introduction to the show.
The second opener of the night was Hana Stretton, a British-Australian singer-songwriter and multi-instrumentalist. Bringing tales from back home to her first show in America, the audience was charmed by Hana’s quaint and kind demeanor. Playing over a track of wind and chirping birds, attendees were transported to her farm life in Australia. Hana talked about how many of her songs are about the lives and interactions of the cows she watches day in and day out. She commented on how their lives seem so idealistic and simple, waking up to go to cow school and being taught by a different mother cow each day, so as not to tire any one cow. Even inserting the phrase that she uses to call her cows, “come on,” into one of her songs, there seemed to be a central theme to her set. Depth to this theme was added in the form of instrumental and transitional songs that helped Hana’s set flow, and this flow carried straight into that of Mount Eerie.
When Mount Eerie took the stage, Thalia Hall erupted in a bout of applause. It was clear that the audience was a mix of fans of the Microphones as well as of Mount Eerie, with many simply excited to see Phil Elverum in the flesh. Phil and the three members of his band took to the stage, standing in a half moon formation with Phil all the way to the right. The set kicked off with the title track of Night Palace, and the set steadily made its way through about fourteen other songs off of the album. Broken up by Phil’s commentary in between songs, the audience clapped as Phil discussed the state of America and all of its faults. Using his music to harp on this idea, Mount Eerie played songs like “Non-Metaphorical Decolonization,” which exhibits lyrics such as “Now we live in the wreckage of a colonizing force/Whose racist poison still flows” and “This "America", the old idea, I want it to die”. Phil has a history of incorporating this type of activism into his music, and it is clear that his following supports and agrees with his point of view. It is admirable the way in which Phil is able to combine art forms and blend the line between poetry and song.
Crowd favorites of the night were “the Gleam, Pt. 3” and “I Spoke With a Fish”. The latter featured a bit of dialogue between Phil and his bandmate, adding to the conversational tone of the song. The band also covered “weren’t for the wind,” an Ella Langley song, which they nailed. Mount Eerie maintained a level flow of song from the start to the end of the set, putting the audience in a musical trance that came to an end after “Stone Woman Gives Birth to a Child at Night.” Being the third to last song on the album, this proved a wonderful closer to a wonderful evening.
For fans of the Microphones who have not yet explored the depths of Mount Eerie, and Phil’s ever evolving musical talent, Night Palace is a must listen. Then, working backwards, you can follow the battles of love, loss, and grief that Phil has incorporated into his large discography. For fans of sad music and musical activism, Mount Eerie is sure to become your new favorite project.