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SPACE

Lindi Ortega and Andrew Combs

Monday, Sep 25, 2017 7:30 PM CDT (6:30 PM Doors)
SPACE, Evanston, IL

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GA Limited Seating

$15.00
 - Limit is 10 tickets for this section
Limited seating. Seats not guaranteed.

Table 42

$25.00
 - Limit is 4 tickets for this section
Reserved table seat.
Total limit is 10 tickets for all sections combined

Delivery Type:

UPS 2nd Day $14.50 -  No P.O. Boxes, U.S. addresses only.
Please allow 2-3 business days for UPS 2nd Day delivery.
Mail $2.50 -  Please allow 10 days for Mail delivery.
Will Call Check in electronically at venue box office.

Terms and Conditions:

**Please note fees include Evanston and Cook County amusement tax.** We want to make sure that all patrons know what to expect when attending events at SPACE. Please note that not all tickets guarantee seats. Seating varies show by show, so please pay attention to the description of the seating level that you select. A "Reserved Table Seat" guarantees one seat at a cabaret table. Every individual in your party needs a ticket in that section in order to sit at your table. Table seats are held until one hour after the start time of the show. Reserved Table Seats and any will-call tickets are non transferable - the name of the person ordering must match the name of the person picking up the tickets. A “GA Limited Seating” ticket guarantees access to the concert, but does not guarantee a seat. Seating is available on a limited, first-come, first-served basis. If seating is absolutely necessary to you, please purchase a Reserved Table Seat. For certain shows, we will have a "GA Seated" section, which guarantees a chair, but no table. Seats for this section are guaranteed until showtime. A “GA Dance Floor” or “Standing Room” ticket is just that. There is absolutely no seating in either of these sections. Please do not purchase a ticket in these sections if you will be unable to stand for the duration of the show. Doors for concerts open one hour before the start time of the show. SPACE reserves the right to change the start time, or to add performers to a lineup. Ticket buyers will be emailed with any major changes. No outside food or drinks are permitted. Pizzas from Union Pizzeria can be brought into the concert. SPACE has a full bar and cocktail service during shows. Flash photography is not permitted in SPACE. This is a listening room, and it is important to us that performers are able to be heard. Patrons talking during quiet shows may be asked to step outside so others can enjoy the show. SPACE is an all-ages venue, but patrons must be 21 to drink alcoholic beverages. No refunds will be given under any circumstances. By continuing with this purchase, you acknowledge that you have read and understood the terms and conditions stated above.

 I understand and accept these terms.

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Additional Information

Lindi Ortega

When Lindi Ortega went in search of some quiet last year, the award-winning artist was pleasantly surprised to find a voice she hadn’t heard in some time – her own. Amid sparse, atmospheric production, it’s precisely this voice – a combination of Ortega’s fatalistic perspective expressed with her evocative soprano – that grips your attention on a brand new EP, Til The Goin’ Gets Gone. 
 
Ortega recorded Til The Goin’ Gets Gone in a converted East Nashville manor, where therapy horses linger on the property. Recording with her longtime guitarist James Robertson, Ortega co-produced the set with Jay Tooke and Jason “Rowdy” Cope. The small production team and minimalist instrumentation make an intimate, immediate setting for Ortega’s stark vision of the human condition. Although classic country is an indelible part of her musical history, the EP also sets the tone for the next chapter of her career: “I'll always love Loretta, Dolly and Patsy. But I just want more space. I want more ambience.”
 
Ortega’s guitar-playing chops and innate country music instincts put her in an elite group of artists; she has earned an unusually inclusive type of success with both indie cred and mainstream country recognition.

From supporting Carrie Underwood on the CMA Awards to her opening slot on Chris Stapleton’s recent Canadian arena tour, Ortega is a sought-after and unique personality in Nashville’s music community and beyond. 

Andrew Combs

A Dallas native now living near the same Nashville airport immortalized in the opening sequence of Robert Altman’s country music odyssey, Andrew Combs is a singer, songwriter, guitarist and heir to that 1975 film’s idea of the Nashville troubadour as a kind of musical monk. Here in the twenty-first century whorl of digital narcissism, where identity can feel like a 24/7 social media soft-shoe performance, Combs makes music that does battle with the unsubtle. As a songwriter, Combs relies on meditative restraint rather than showy insistence to paint his canvases, a technique commensurate with his idea of nature as an overflowing spiritual wellspring.

After touring behind All These Dreams, a record that earned him international accolades and comparisons to everyone from Leonard Cohen to Mickey Newbury to Harry Nilsson, Combs has returned with a new album that puts down stakes in fresh sonic terrain. Canyons of My Mind, out in March on New West, is — as its title suggests — a landscape where the personal and the pastoral converge. Drawing inspiration from the biographies of literary figures like Charles Wright and Jim Harrison, Combs has created an album that explores the notion of “sustainability” in its many facets — artistic, economic, spiritual, environmental. 

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