Early in the night the Kennedy played host to quiet and introspective artists. Villages, the project of Asheville’s Ross Gentry, opened the venue with soothing drones and sound effects.
He gradually layered tones to make harmonies and added a few accents around the edges. The music swelled until it felt like pressure would cause the small theater to pop. At the end of the decrescendo, the sound of a gentle rain took over and Gentry began to build another song.
Villages set the stage for the prodigious talent of Alexander Turnquist. The young guitarist creates remarkable soundscapes with his twelve string guitar. At times his music is intricate and full of momentum, but he easily shifts into a contemplative, minimalist style which sets him apart from peers like William Tyler.
With the audience seated on the floor, the atmosphere was intimate. It was easy to get mesmerized by Turnquist’s finger picking and completely lose track of time and space.