An Evening With Sunny War
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ARTIST PROFILE | Sunny War
“I feel like there are two sides of me,” says the Nashville-based singer-songwriter and guitar virtuoso known as Sunny War. “One of them is very self-destructive, and the other is trying to work with that other half to keep things balanced.” That’s the central conflict on her fourth album, the eclectic and innovative Anarchist Gospel, which documents a time when it looked like the self-destructive side might win out. “Everybody is a beast just trying their hardest to be good. That’s what it is to be human. You’re not really good or bad. You’re just trying to stay in the middle of those two things all the time, and you’re probably doing a shitty job of it. That’s okay, because we’re all just monsters.”
Extreme emotions can make that battle all the more perilous, yet from such trials Sunny has crafted a set of songs that draw on a range of ideas and styles, as though she’s marshaling all her forces to get her ideas across: ecstatic gospel, dusty country blues, thoughtful folk, rip-roaring rock and roll, even avant garde studio experiments (like the collage of voices that closes “Shelter and Storm”). She melds them together into a powerful statement of survival, revealing a probing songwriter who indulges no comforting platitudes and a highly innovative guitarist who deploys spidery riffs throughout every song.
It's a style she’s been honing for most of her life, at least since she took her first guitar lessons and fell in love with music. “When I was a kid, I was obsessed with AC/DC, and I loved dramatic ‘80s guitar bands like Motley Crüe. Later, I was obsessed with Bad Brains, the Minutemen, and X.” True to the punk ethos, her first punk band, the Anus Kings, made music with whatever they had at hand, and what they had at hand were acoustic guitars. That made them stand out among other Los Angeles groups at the time, and today Sunny is the rare roots artist who covers Ween and can drop a Crass reference into a song (as she does on “Whole”). “I don’t really make music with a traditional roots audience in mind. I like weird music, outsider music, like Daniel Johnston and Roky Erickson.”
Even as she was developing a guitar style that married acoustic punk to country blues, those two sides of Sunny were already at odds. As a teenager, she began drinking heavily, which led to her dropping out of school. She played punk shows, stole and chugged bottles of vodka, and quickly became addicted to heroin and meth. For money she busked along the boardwalks in Venice Beach, recording an album to sell out of her guitar case and letting that self-destructive side win most of the battles. But “the body can’t handle both heroin and meth,” she explains. “When you’re young, it’s hard to gauge that you’re killing yourself.” A series of seizures landed her in a sober living facility in Compton, so emaciated that she could only wear children’s pajamas.
Music remained a lifeline, and she fell in with a crew at Hen House Studios in Venice, where over the years she made a series of albums and EPs, including 2018’s With the Sun and 2021’s Simple Syrup. Twelve years after she kicked meth and heroin, Sunny is remarkably candid about this time in her life. “Everyone I loved died before they reached 25. They OD’ed or killed themselves. We were just kids who didn’t have anyone looking out for us. You’re not supposed to know so much about death at such a young age. Maybe that’s why I write a lot about not taking shit for granted, because it always feels like something’s about to happen.”
Building on those hard-won triumphs of previous albums, Anarchist Gospel documents a moment when Sunny had finally gained the upper hand on her self-destructive side, only to watch that stability crumble. “I went through a breakup,” she says of the album’s genesis, “and I was still staying in the apartment that my partner and I had lived in. I had to finish the lease. I was really depressed and drinking a lot. I felt so isolated from everybody I knew. I didn’t have the energy to do anything. It felt like the world was ending. Then I got Covid.” Sunny admits she contemplated suicide, but instead she wrote a song, “I Got No Fight,” a muted, measured gospel number on which she sings that title like a battered mantra. It’s a moment of almost unbearable honesty, although fortunately she did find the fight in herself. “I was just having a tantrum really. A lot of my songs are just tantrums. But I did feel better after writing it.”
Once her lease in Los Angeles ended, Sunny moved to Nashville, where she was born and where she lived until she was twelve years old. Among the items she packed were demos for several new songs of heartache and hard-won hope. “I think the album is split between being a breakup album and being somehow uplifting.” She booked sessions at the Bomb Shelter to work with producer Andrija Tokic (Hurray for the Riff Raff, Alabama Shakes, the Deslondes). “I already liked a lot of the records that Andrija had made. As far as new stuff goes, a lot of my favorite albums were produced by him, so I thought we’d be a good match.”
Working with a small backing band, they captured a raw energy in these songs, although one instrument gradually dominated the music as they proceeded: her own voice and the voices of others trying to stay between good and bad. Most of these songs are call-and-responses with a small choir that includes Allison Russell, Jim James, Dave Rawlings, and Chris Pierce (her partner in the duo War & Pierce). Acting as the angels and devils on her shoulders, they alternately challenge her self-accusations or sympathize with her worries. “There’s so much singing on here. I didn’t plan for that, but I really like it. That’s why I thought it would be cool to call the album Anarchist Gospel, because of the choirs on these songs.”
Music assuaged her heartache and confusion, even the songs she didn’t write. Despite its title, her reimagining of Dionne Farris’s “Hopeless” is perhaps the album’s most hopeful moment: “I cried just a little too long,” she sings. “Now it’s time for me to move on.” On the sadder end of the spectrum is her cover of Ween’s “Baby Bitch”; showcasing her sly sense of humor, it’s a playfully melancholy kiss-off that features a choir of kids singing along as she tells an ex, “I’m better now, please fuck off.” It’s funny, but uneasily so: a joke that reveals something bleaker. “It’s such a great breakup song! You’re out there somewhere and run into your ex with their new partner. But you know who they really are. You know they’re being a bitch. There aren’t many songs that get to that kind of experience without turning it into a joke.”
As the sessions wound down and the mixing process started, Sunny got the worst news imaginable. “My brother called me and told me I should come to Chattanooga. My dad was in the hospital, and he wasn’t going to make it. I called Andrija and told him I had to cancel the session and catch a Greyhound. Instead, he insisted on giving me a ride. He drove me down to see my dad. I barely knew this guy, and he was doing this incredible thing for me. I don’t know too many other producers who could navigate that kind of situation.” That simple act of kindness helped her endure that astounding loss, even as the grieving process threw these songs into even sharper relief.
Because it promises not healing but resilience and perseverance, because it doesn’t take shit for granted, Anarchist Gospel holds up under such intense emotional pressure, acknowledging the pain of living while searching for something that lies just beyond ourselves, some sense of balance between the bad and the good. “This album represents such a crazy period in my life, between the breakup and the move to Nashville and my dad dying. But now I feel like the worst parts are over. What I learned, I think, is that the best thing to do is just to feel everything and deal with it. Just feel everything.”
READ MORE >>Supporting Acts
SHOW BY SIMILAR ARTISTS
About LO-FI Lounge | Indianapolis, IN
LO-FI Lounge is a unique art space, gallery, and special events venue located on the 2nd Floor of the Murphy Arts Center in historic Fountain Square. Looking for that off-the-beaten-path, hidden gem? With a capacity for up to 100 guests, LO-FI Lounge is the most intimate of our three venues. Shows and events at LO-FI are only open to guests 21 years of age or older. Find the venue for first time guests can be a challenge, but it’s also part of the experience. Guests can access the 2nd floor of the building via the main entrance (glass doors) on the corner of Virginia Ave next to La Margarita’s patio, and off Prospect St. across from the bank parking lot.
Getting Around the Venue
Frequently Asked Questions About LO-FI Lounge | Indianapolis, IN
What are the age restrictions at this venue?
LO-FI Lounge shows are always 21+. We apologize to our underage guests and are working to get this changed.
LO-FI requires a valid ID for admission for all guests. Only valid state or government issues ID’s are permitted. Expired and temporary ID’s are not accepted.
Can I upgrade my to VIP seating?
No. Due to the intimate nature of the venue, LO-FI Lounge does not offer any seating upgrades.
What items are permitted or prohibited at this venue?
At our venues, we strive to ensure a safe and enjoyable experience for all guests. While specific rules may vary slightly depending on the event location, the following list generally applies across all venues.
Any illegal items found will be confiscated immediately. Guests discovered with prohibited items inside the venue may face ejection, and those attempting to enter with such items may be denied entry.
We appreciate your cooperation in adhering to these guidelines to ensure everyone’s safety and enjoyment during our events.
Permitted Items include:
- Small Purse / Fanny Pack – subject to security inspection
- To-go food from local restaurants
- A warm heart & smiles
Non-Permitted Items include:
- No outside beverages
- No weapons of any kind
- No drugs or illegal substances
- No coolers
- No glass
- No smoking or vaping in venue, designated smoking area outside venue
- No backpacks
- No pets
- No bad attitudes
The venue reserved the right to deny any item, or guest, should they feel that it poses a security threat to the event.
Can I bring a bag into the show?
Yes! You’re welcome to bring personal purse, fanny pack or handbag so long as it does not exceed 14” x 14” in size. No backpacks are permitted at any time.
What’s the parking situation like?
Depending on the day and time, finding a spot can be tricky. On busy show days we advise arriving early to ensure you get a good spot.
Parking is free on all of the surrounding streets in Fountain Square and most parking lots.
The LAZ pay lot directly across from the Murphy Arts Building (on Prospect St) offers paid parking by the hour and is the closest public parking to the venue.
We advise against traveling down St. Patrick St on show days, as it can become congested one-way with traffic coming from both directions.
Bike parking is available at any of the bike racks on Virginia Ave in front of HI-FI.
What is the camera/photo policy for this venue?
Our photo policy varies for each event and is at the discretion of the artist performing that night. This policy can change from night to night.
As a general guideline, we typically do not permit professional photography unless it has been pre-approved by either HI-FI or the Artist Management.
For approved photographers, you’re welcome to snap photos during the first three songs of the performance. However, please refrain from using flash.
Media personnel and professional photographers interested in covering our events can reach out to us at marketing@mokbpresents.com to request media credentials.
Is there food and drink at this venue?
Yes, LO-FI Lounge offers a full service bar offering beer, wine and spirits along a small selection of snacks and chips.
View seating maps for this venue
Check your show listing for information on the show’s seating configuration. The majority of LO-FI shows are general admission, standing-room-only. Depending on the show, there are a handful of tables available to those who arrive early.
Can I leave and re-enter the venue?
No. Re-entry is only permitted for use of the restroom facilities.
Do you offer ADA, handicap or special needs options?
The Murphy Arts Center is a handicap accessible building. The elevator is located inside the main entrance near the intersection of Virginia Ave. and Woodlawn Ave. Once you have arrived at the 2nd floor the accessibility continues through the corridor to the LO-FI Lounge. There is no designated ADA seating area at LO-FI. Guests with any special needs or questions should reach out to our box office at boxoffice@hifiindy.com.
Where is the box office located?
Getting tickets to our shows is super easy! You have a few options, depending on how you like to roll:
Online: Grab your tickets in advance from our official websites, hifiindy.com and mokbpresents.com, or through our trusted ticketing partners tixr.com and seetickets.us.
In Person: Swing by one of our convenient box office locations around the Murphy Arts Center building and grab tickets with no service fees. On LO-FI show nights, tickets can be purchased at the door.
Main Box Office at Virginia Ave Mercantile: Located at 1043 Virginia Ave Suite 2 (between Easy Rider and La Margarita). Open Monday through Friday from 10 am to 6 pm and Saturdays from 9 am to 5 pm.
HI-FI Box Office: Found at 1043 Virginia Ave Suite 4 (at the main entrance to HI-FI). Open only on show nights, starting 1 hour before published show times until 10 pm.
I lost something at the show. Who do I contact?
Have you misplaced something during one of our events? Don’t worry, we’re here to help reunite you with your belongings! While we can’t take responsibility for lost or stolen items, we’re committed to assisting you in any way we can.
Found items are securely stored at our Virginia Ave Mercantile & Box Office until they’re claimed. Please note that items lost during late-night events might take until the next morning to reach our lost and found. We know you might be eager to retrieve your belongings (like that phone you’re pinging outside our door at 6 am), but our team typically wraps up late-night events and may not be available until later in the morning.
For lost items, please follow the outlined process rather than popping into Easy Rider in the early hours. They’re open early, but our restaurant team is busy during weekends and can’t assist with lost items during busy service hours.
To inquire about lost items, shoot us an email at boxoffice@hifiindy.com. Mercantile hours are Monday through Friday, 10 am to 6 pm, and Saturdays from 9 am to 5 pm.
Let’s work together to get your goods back to you as quickly as possible!
What is your refund policy?
What’s Your Refund Policy for Postponed Shows?
If a show gets postponed, don’t sweat it! We’ll shoot you an email to let you know about the change, and if you’re cool with the new date, no further action is needed on your part.We’ll be working diligently to find a new date for the show, and we’ll keep you updated every step of the way. But if you can’t make it to the rescheduled gig, we’ve got your back. You’ll have a generous 30-day window following the announcement of the new date to request a refund.
For those who paid with cash at our box office, just drop us a line at boxoffice@hifiindy.com for further instructions on processing your refund.
Please bear with us as we explore rescheduling options with the tour. Your patience is much appreciated as we work to present the best possible show experience for you.
What’s the Refund Policy for Canceled Shows?
In the unfortunate event of a canceled show, don’t fret! If you purchased your tickets online, your refund will be processed automatically. Just sit tight and allow 3-5 business days for the refund to appear in your bank account.
No need to lift a finger! However, there are a few scenarios where you might need to reach out to our box office:
- If you paid cash at our box office.
- If you’ve received a new or different card since your original purchase.
- If you haven’t seen the refund in your account after 5 business days.
What Happens if a Show Gets Rescheduled?
No worries! If a show you’ve already grabbed tickets for gets rescheduled, your tickets will still be valid for the new date. We’ll shoot you an email to let you know about the change, and if you’re good to go for the new date, no further action is needed on your part.
However, if you can’t make it to the rescheduled gig, we’ve got you covered. You’ll have a generous 30 days from the announcement of the new date to request a refund. Just reach out directly to our box office to kickstart the process.
Beware of counterfeit tickets. How do I tell if my ticket is valid?
It’s crucial for all buyers to exercise caution when purchasing tickets from unauthorized sites and ticket resellers. Tixr and SeeTickets are the only two ticket vendors supported at our venues. Unfortunately, this is a widespread issue affecting venues nationwide, and true fans often find themselves at a loss. Regrettably, there’s little we can do in such situations. Since the original transaction didn’t occur through our authorized ticketing partners, we lack the necessary information to assist. It’s disheartening to witness fans being taken advantage of, especially on platforms like Craigslist, Facebook, StubHub, VividSeats, SeatGeek, and others. We are only obligated to honor valid tickets purchased through our approved channels.
Can I purchase tickets in person without fees?
Yes. HI-FI box office is located at the main entrance off of Virginia Avenue. The box office is open 1 hour prior to the published door time. Additionally, our new and primary box office is located two doors down from HI-FI in Suite 2. This box office is open Monday through Friday 10 am to 6 pm and Saturdays from 9 am to 5 pm for fee-free ticket purchases. HI-FI accepts cash as well as all major credit cards for ticket purchases.
Do you have free WI-FI?
Yes. LO-FI offers free WI-FI during all shows. Simply select the HI-FI Free WI-FI network and you are all set.
An Evening With Sunny War
Start Time: 7:30 pm
Buy Tickets
ARTIST PROFILE | Sunny War
“I feel like there are two sides of me,” says the Nashville-based singer-songwriter and guitar virtuoso known as Sunny War. “One of them is very self-destructive, and the other is trying to work with that other half to keep things balanced.” That’s the central conflict on her fourth album, the eclectic and innovative Anarchist Gospel, which documents a time when it looked like the self-destructive side might win out. “Everybody is a beast just trying their hardest to be good. That’s what it is to be human. You’re not really good or bad. You’re just trying to stay in the middle of those two things all the time, and you’re probably doing a shitty job of it. That’s okay, because we’re all just monsters.”
Extreme emotions can make that battle all the more perilous, yet from such trials Sunny has crafted a set of songs that draw on a range of ideas and styles, as though she’s marshaling all her forces to get her ideas across: ecstatic gospel, dusty country blues, thoughtful folk, rip-roaring rock and roll, even avant garde studio experiments (like the collage of voices that closes “Shelter and Storm”). She melds them together into a powerful statement of survival, revealing a probing songwriter who indulges no comforting platitudes and a highly innovative guitarist who deploys spidery riffs throughout every song.
It's a style she’s been honing for most of her life, at least since she took her first guitar lessons and fell in love with music. “When I was a kid, I was obsessed with AC/DC, and I loved dramatic ‘80s guitar bands like Motley Crüe. Later, I was obsessed with Bad Brains, the Minutemen, and X.” True to the punk ethos, her first punk band, the Anus Kings, made music with whatever they had at hand, and what they had at hand were acoustic guitars. That made them stand out among other Los Angeles groups at the time, and today Sunny is the rare roots artist who covers Ween and can drop a Crass reference into a song (as she does on “Whole”). “I don’t really make music with a traditional roots audience in mind. I like weird music, outsider music, like Daniel Johnston and Roky Erickson.”
Even as she was developing a guitar style that married acoustic punk to country blues, those two sides of Sunny were already at odds. As a teenager, she began drinking heavily, which led to her dropping out of school. She played punk shows, stole and chugged bottles of vodka, and quickly became addicted to heroin and meth. For money she busked along the boardwalks in Venice Beach, recording an album to sell out of her guitar case and letting that self-destructive side win most of the battles. But “the body can’t handle both heroin and meth,” she explains. “When you’re young, it’s hard to gauge that you’re killing yourself.” A series of seizures landed her in a sober living facility in Compton, so emaciated that she could only wear children’s pajamas.
Music remained a lifeline, and she fell in with a crew at Hen House Studios in Venice, where over the years she made a series of albums and EPs, including 2018’s With the Sun and 2021’s Simple Syrup. Twelve years after she kicked meth and heroin, Sunny is remarkably candid about this time in her life. “Everyone I loved died before they reached 25. They OD’ed or killed themselves. We were just kids who didn’t have anyone looking out for us. You’re not supposed to know so much about death at such a young age. Maybe that’s why I write a lot about not taking shit for granted, because it always feels like something’s about to happen.”
Building on those hard-won triumphs of previous albums, Anarchist Gospel documents a moment when Sunny had finally gained the upper hand on her self-destructive side, only to watch that stability crumble. “I went through a breakup,” she says of the album’s genesis, “and I was still staying in the apartment that my partner and I had lived in. I had to finish the lease. I was really depressed and drinking a lot. I felt so isolated from everybody I knew. I didn’t have the energy to do anything. It felt like the world was ending. Then I got Covid.” Sunny admits she contemplated suicide, but instead she wrote a song, “I Got No Fight,” a muted, measured gospel number on which she sings that title like a battered mantra. It’s a moment of almost unbearable honesty, although fortunately she did find the fight in herself. “I was just having a tantrum really. A lot of my songs are just tantrums. But I did feel better after writing it.”
Once her lease in Los Angeles ended, Sunny moved to Nashville, where she was born and where she lived until she was twelve years old. Among the items she packed were demos for several new songs of heartache and hard-won hope. “I think the album is split between being a breakup album and being somehow uplifting.” She booked sessions at the Bomb Shelter to work with producer Andrija Tokic (Hurray for the Riff Raff, Alabama Shakes, the Deslondes). “I already liked a lot of the records that Andrija had made. As far as new stuff goes, a lot of my favorite albums were produced by him, so I thought we’d be a good match.”
Working with a small backing band, they captured a raw energy in these songs, although one instrument gradually dominated the music as they proceeded: her own voice and the voices of others trying to stay between good and bad. Most of these songs are call-and-responses with a small choir that includes Allison Russell, Jim James, Dave Rawlings, and Chris Pierce (her partner in the duo War & Pierce). Acting as the angels and devils on her shoulders, they alternately challenge her self-accusations or sympathize with her worries. “There’s so much singing on here. I didn’t plan for that, but I really like it. That’s why I thought it would be cool to call the album Anarchist Gospel, because of the choirs on these songs.”
Music assuaged her heartache and confusion, even the songs she didn’t write. Despite its title, her reimagining of Dionne Farris’s “Hopeless” is perhaps the album’s most hopeful moment: “I cried just a little too long,” she sings. “Now it’s time for me to move on.” On the sadder end of the spectrum is her cover of Ween’s “Baby Bitch”; showcasing her sly sense of humor, it’s a playfully melancholy kiss-off that features a choir of kids singing along as she tells an ex, “I’m better now, please fuck off.” It’s funny, but uneasily so: a joke that reveals something bleaker. “It’s such a great breakup song! You’re out there somewhere and run into your ex with their new partner. But you know who they really are. You know they’re being a bitch. There aren’t many songs that get to that kind of experience without turning it into a joke.”
As the sessions wound down and the mixing process started, Sunny got the worst news imaginable. “My brother called me and told me I should come to Chattanooga. My dad was in the hospital, and he wasn’t going to make it. I called Andrija and told him I had to cancel the session and catch a Greyhound. Instead, he insisted on giving me a ride. He drove me down to see my dad. I barely knew this guy, and he was doing this incredible thing for me. I don’t know too many other producers who could navigate that kind of situation.” That simple act of kindness helped her endure that astounding loss, even as the grieving process threw these songs into even sharper relief.
Because it promises not healing but resilience and perseverance, because it doesn’t take shit for granted, Anarchist Gospel holds up under such intense emotional pressure, acknowledging the pain of living while searching for something that lies just beyond ourselves, some sense of balance between the bad and the good. “This album represents such a crazy period in my life, between the breakup and the move to Nashville and my dad dying. But now I feel like the worst parts are over. What I learned, I think, is that the best thing to do is just to feel everything and deal with it. Just feel everything.”
READ MORE >>Supporting Acts
About the Venue
Ticket Support: Box office opens 1 hour before published door time. For ticket related questions please email boxoffice@hifiindy.com.
Parking: Street Parking, Bike Parking