Logan Ledger
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ARTIST PROFILE | Logan Ledger
Bay Area-bred singer/songwriter Logan Ledger sets most of his songs in lightless or shadowy spaces: the bottom of the ocean, the abandoned cells of Alcatraz, dreamless bedrooms, desolate streets in the dead of night. Produced by 13-time Grammy Award-winner T Bone Burnett, the Nashville-based artist’s self-titled debut matches his moody noir lyricism with a darkly toned take on country music, a sound that’s stylistically wayward yet deeply grounded in classic songmanship.
With Burnett playing guitar on more than half the tracks, the album finds Ledger backed by guitarist Marc Ribot (Tom Waits, Elvis Costello), drummer Jay Bellerose (Willie Nelson, Jackson Browne), and bassist Dennis Crouch (Loretta Lynn, Dolly Parton)—the same band that played on Raising Sand by Robert Plant and Alison Krauss, a Burnett-produced release that won Album of the Year at the 2009 Grammy Awards. Joined by guitarist/pedal steel player Russell Pahl (Kacey Musgraves, Tyler Childers), the band artfully threads in elements of acid rock and surf music and baroque ’60s pop to forge a decidedly Californian sound. But as the sonic antithesis of the sunshiney folk that Jimi Hendrix called “Western sky music,” the album is nearly subterranean in its mystique, indelibly informed by what Ledger refers to as “that gloomy, nocturnal, San Francisco/Ocean Beach vibe.”
Recorded at House of Blues Studios in Nashville, Logan Ledger emerges as a distinctly electric offering, yet continually reveals the rootsy sensibilities at the heart of his kinship with Burnett. “I think we’re each attracted to the more sinister aspects of folk and roots music, and we each have a desire to keep that music alive while finding a way to make something new out of it,” Ledger says. In turn, the album bears an era-defying quality made all the more powerful by Ledger’s voice, a timeless instrument that channels utter lonesomeness even in the album’s most joyous moments.
Right from its first seconds, Logan Ledger proves to be blessedly removed from all musical convention. To that end, opening track “Let The Mermaids Flirt With Me” arrives as a gorgeously languid lullaby, its narrator longingly daydreaming his own death. A downhearted mood imbues much of the album, including “Invisible Blue” (a woozy meditation on inescapable sadness) and “Tell Me A Lie” (a sublimely tragic ballad written with John Paul White, formerly of The Civil Wars). And on “Nobody Knows,” Ledger achieves a cinematic grandeur, the drama intensified by his haunting lyrics (“Nobody knows where the lonely go/Nobody really seems to mind”).
Though Ledger sustains a certain heavy-heartedness even on the album’s uptempo tracks, that element is beautifully offset by the palpable joy behind each performance. On “Starlight”—a lovesick paean to self-delusion, its lyrics suffused in the minimalism of hillbilly haiku—the band slips into a prolonged instrumental section almost trance-like in effect. “We were jamming and once the song was finished, we just played the whole thing again,” Ledger recalls. “It was totally spontaneous and felt really good, so we kept it.” Two songs later, Ledger takes a cue from all those swoony Roy Orbison songs about dreaming, then flips the script with the oddly glorious “I Don’t Dream Anymore.” “It could be taken quite literally—the way I’m living, I don’t remember my dreams at all these days—or it could reflect a cynical attitude toward modern times,” Ledger notes.
Written by Burnett, “(I’m Gonna Get Over This) Some Day” brings a more cheerfully gritty pragmatism to the current moment. “It reminds me of something Johnny Cash would’ve recorded, where he’s addressing a serious matter in a very lighthearted way,” says Ledger. “In this case it’s forgiveness, and T Bone put a political lens on it: it’s about forgiving people who think differently from you, and trying to find some common ground.” The only other track on the album not authored by Ledger, “Skip a Rope” offers a playful yet potent update of Henson Cargill’s 1967 single—a No. 1 hit on the country charts, spiked with still-pertinent social commentary (“Never mind the rules, just play to win/And hate your neighbor for the shade of his skin”). “It’s sad that a song recorded so long ago is just as relevant now, but I think it’s important to show that there’s a progressive side to traditional music, and that we shouldn’t ever lose that,” says Ledger.
Elsewhere on the album, Ledger embeds his songs with strangely mesmeric storytelling. Co-written with Steve Earle, “The Lights of San Francisco” is a softly swaying lament narrated by a ghost wandering Alcatraz Island, eternally taken with the city lights. On the wildly hypnotic “Electric Fantasy,” he delivers a truly singular marvel of imagination: a psychedelic surf song built on endlessly shifting time signatures, its lyrics mining inspiration from Ziggy Stardust-era David Bowie and relaying the story of a romantically frustrated computer program (“I want to hold you tight/My cathode ray/Will keep us warm at night”). And on the exquisitely melancholy “Imagining Raindrops,” Ledger takes a wholly mundane experience (“There was a day when I thought it was raining outside, but it wasn’t,” he explains) and twists it into a lyrical metaphor that feels both forlorn and defiant: “The world I see I don’t believe.”
All throughout his debut, Ledger makes abundant use of his self-described “archaeological impulse with regards to music-making.” “I’ve always believed that in order to create something new with purpose, one must be steeped in the past and work from within the tradition,” he says. “It has more gravity that way.” Ledger’s self-guided musical education began back in the Bay Area, where he first felt drawn to sing after his grandmother introduced him to the music of Elvis Presley, Roy Orbison, and R&B vocal groups like The Platters. Taking up guitar at age 12, he soon began writing songs of his own, along with amassing a huge collection of Smithsonian Folkways CDs and immersing himself in the music of country/blues artists like Doc Watson and Mississippi John Hurt. While attending Columbia University, he hosted a bluegrass show on the campus radio station and played in a number of bluegrass bands, then headed to San Francisco after graduation.
In 2013, after a year and a half back in the Bay Area, Ledger moved to Nashville on a whim. Although his early days in the city were mostly spent working in bars and playing in cover bands, he later crossed paths with guitarist Mark Thornton and ended up recording a demo of “Let The Mermaids Flirt With Me” in Thornton’s home studio. Soon enough, that demo landed in the hands of Dennis Crouch, who then passed it on to Burnett. After he’d shared a few more demos with the legendary producer, Burnett invited Ledger to his home in Los Angeles.
Since teaming up with Burnett, Ledger has joined him onstage in the only two full-band performances Burnett’s done in recent years. And on Ledger’s album, the duo’s immediate chemistry extends to a charmed communion between all of the featured musicians. “So much of this record is people not playing clearly defined rhythmic or lead roles—we’re all sort of twirling around each other and creating this great big texture of sound together,” says Ledger. “A typical country record would have very clearly defined solos, but I’m not interested in that. I love how everyone’s constantly improvising, but without ever getting in anybody else’s way.”
For Ledger, that uninterrupted and possibly transcendent flow is also the desired takeaway for listeners of his debut album. “I’d love for people to get into a meditative space when they hear the record, to sit with the songs and really take their time with them,” he says. “I think there’s a value in letting things happen at a much slower pace, especially in our current culture of instant gratification. It’s really not even a conscious decision for me—it’s just how I feel and how I like to do things, so I’m just going to keep going with it.”
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.
Buy Tickets
ARTIST PROFILE | Logan Ledger
Bay Area-bred singer/songwriter Logan Ledger sets most of his songs in lightless or shadowy spaces: the bottom of the ocean, the abandoned cells of Alcatraz, dreamless bedrooms, desolate streets in the dead of night. Produced by 13-time Grammy Award-winner T Bone Burnett, the Nashville-based artist’s self-titled debut matches his moody noir lyricism with a darkly toned take on country music, a sound that’s stylistically wayward yet deeply grounded in classic songmanship.
With Burnett playing guitar on more than half the tracks, the album finds Ledger backed by guitarist Marc Ribot (Tom Waits, Elvis Costello), drummer Jay Bellerose (Willie Nelson, Jackson Browne), and bassist Dennis Crouch (Loretta Lynn, Dolly Parton)—the same band that played on Raising Sand by Robert Plant and Alison Krauss, a Burnett-produced release that won Album of the Year at the 2009 Grammy Awards. Joined by guitarist/pedal steel player Russell Pahl (Kacey Musgraves, Tyler Childers), the band artfully threads in elements of acid rock and surf music and baroque ’60s pop to forge a decidedly Californian sound. But as the sonic antithesis of the sunshiney folk that Jimi Hendrix called “Western sky music,” the album is nearly subterranean in its mystique, indelibly informed by what Ledger refers to as “that gloomy, nocturnal, San Francisco/Ocean Beach vibe.”
Recorded at House of Blues Studios in Nashville, Logan Ledger emerges as a distinctly electric offering, yet continually reveals the rootsy sensibilities at the heart of his kinship with Burnett. “I think we’re each attracted to the more sinister aspects of folk and roots music, and we each have a desire to keep that music alive while finding a way to make something new out of it,” Ledger says. In turn, the album bears an era-defying quality made all the more powerful by Ledger’s voice, a timeless instrument that channels utter lonesomeness even in the album’s most joyous moments.
Right from its first seconds, Logan Ledger proves to be blessedly removed from all musical convention. To that end, opening track “Let The Mermaids Flirt With Me” arrives as a gorgeously languid lullaby, its narrator longingly daydreaming his own death. A downhearted mood imbues much of the album, including “Invisible Blue” (a woozy meditation on inescapable sadness) and “Tell Me A Lie” (a sublimely tragic ballad written with John Paul White, formerly of The Civil Wars). And on “Nobody Knows,” Ledger achieves a cinematic grandeur, the drama intensified by his haunting lyrics (“Nobody knows where the lonely go/Nobody really seems to mind”).
Though Ledger sustains a certain heavy-heartedness even on the album’s uptempo tracks, that element is beautifully offset by the palpable joy behind each performance. On “Starlight”—a lovesick paean to self-delusion, its lyrics suffused in the minimalism of hillbilly haiku—the band slips into a prolonged instrumental section almost trance-like in effect. “We were jamming and once the song was finished, we just played the whole thing again,” Ledger recalls. “It was totally spontaneous and felt really good, so we kept it.” Two songs later, Ledger takes a cue from all those swoony Roy Orbison songs about dreaming, then flips the script with the oddly glorious “I Don’t Dream Anymore.” “It could be taken quite literally—the way I’m living, I don’t remember my dreams at all these days—or it could reflect a cynical attitude toward modern times,” Ledger notes.
Written by Burnett, “(I’m Gonna Get Over This) Some Day” brings a more cheerfully gritty pragmatism to the current moment. “It reminds me of something Johnny Cash would’ve recorded, where he’s addressing a serious matter in a very lighthearted way,” says Ledger. “In this case it’s forgiveness, and T Bone put a political lens on it: it’s about forgiving people who think differently from you, and trying to find some common ground.” The only other track on the album not authored by Ledger, “Skip a Rope” offers a playful yet potent update of Henson Cargill’s 1967 single—a No. 1 hit on the country charts, spiked with still-pertinent social commentary (“Never mind the rules, just play to win/And hate your neighbor for the shade of his skin”). “It’s sad that a song recorded so long ago is just as relevant now, but I think it’s important to show that there’s a progressive side to traditional music, and that we shouldn’t ever lose that,” says Ledger.
Elsewhere on the album, Ledger embeds his songs with strangely mesmeric storytelling. Co-written with Steve Earle, “The Lights of San Francisco” is a softly swaying lament narrated by a ghost wandering Alcatraz Island, eternally taken with the city lights. On the wildly hypnotic “Electric Fantasy,” he delivers a truly singular marvel of imagination: a psychedelic surf song built on endlessly shifting time signatures, its lyrics mining inspiration from Ziggy Stardust-era David Bowie and relaying the story of a romantically frustrated computer program (“I want to hold you tight/My cathode ray/Will keep us warm at night”). And on the exquisitely melancholy “Imagining Raindrops,” Ledger takes a wholly mundane experience (“There was a day when I thought it was raining outside, but it wasn’t,” he explains) and twists it into a lyrical metaphor that feels both forlorn and defiant: “The world I see I don’t believe.”
All throughout his debut, Ledger makes abundant use of his self-described “archaeological impulse with regards to music-making.” “I’ve always believed that in order to create something new with purpose, one must be steeped in the past and work from within the tradition,” he says. “It has more gravity that way.” Ledger’s self-guided musical education began back in the Bay Area, where he first felt drawn to sing after his grandmother introduced him to the music of Elvis Presley, Roy Orbison, and R&B vocal groups like The Platters. Taking up guitar at age 12, he soon began writing songs of his own, along with amassing a huge collection of Smithsonian Folkways CDs and immersing himself in the music of country/blues artists like Doc Watson and Mississippi John Hurt. While attending Columbia University, he hosted a bluegrass show on the campus radio station and played in a number of bluegrass bands, then headed to San Francisco after graduation.
In 2013, after a year and a half back in the Bay Area, Ledger moved to Nashville on a whim. Although his early days in the city were mostly spent working in bars and playing in cover bands, he later crossed paths with guitarist Mark Thornton and ended up recording a demo of “Let The Mermaids Flirt With Me” in Thornton’s home studio. Soon enough, that demo landed in the hands of Dennis Crouch, who then passed it on to Burnett. After he’d shared a few more demos with the legendary producer, Burnett invited Ledger to his home in Los Angeles.
Since teaming up with Burnett, Ledger has joined him onstage in the only two full-band performances Burnett’s done in recent years. And on Ledger’s album, the duo’s immediate chemistry extends to a charmed communion between all of the featured musicians. “So much of this record is people not playing clearly defined rhythmic or lead roles—we’re all sort of twirling around each other and creating this great big texture of sound together,” says Ledger. “A typical country record would have very clearly defined solos, but I’m not interested in that. I love how everyone’s constantly improvising, but without ever getting in anybody else’s way.”
For Ledger, that uninterrupted and possibly transcendent flow is also the desired takeaway for listeners of his debut album. “I’d love for people to get into a meditative space when they hear the record, to sit with the songs and really take their time with them,” he says. “I think there’s a value in letting things happen at a much slower pace, especially in our current culture of instant gratification. It’s really not even a conscious decision for me—it’s just how I feel and how I like to do things, so I’m just going to keep going with it.”
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
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