Xavier Rudd le 15 juillet 2009 au Metropolis à Montréal
XAVIER RUDD et invité spécial Mishka
15 juillet / July 15th @ Metropolis – 59 Sainte-Catherine E.
26.00$ + f.s. à l’avance / 28.00$ + f.s. à la porte
Billets en vente vendredi le 3 avril @ midi au Metropolis, sur le réseau Ticketpro(514.790.1111 / 1.866.908.9090),et chez Cheap Thrills.
Xavier Rudd is a one-man-band/multi-instrumentalist who plays guitars, Yidaki (didgeridoos), Weissenborn slide guitars, stomp box, harmonica, and percussion, Rudd made his Canadian debut in 2004 with Solace. In the years since, his popularity and reputation have begun to mushroom for a string of conscious, heartfelt songs and an impressive stage show that finds him performing those songs’ guitar, didgeridoo and various percussion parts simultaneously—using a unique set-up that finds him literally surrounded by his various instruments and singing from behind a stand holding three didgeridoos (of different keys).
The past few years have been a whirlwind for the singer. In between sold-out tours in Europe, Australia and North America, he’s supported the likes of the Dave Matthews Band, Jack Johnson and Ben Harper, and has been working on the film score for fellow-surfer and Rudd-enthusiast Matthew McConaughey’s Surfer Dude, co-starring Woody Harrelson and Willie Nelson. In the meantime, he’s earned a reputation as a great Australian activist, advocating for indigenous rights and environmental responsibility.
Apart from the touring and activism, recording proves a challenge. “What I do, musically, is not something that people know much about,” he says. “It’s kind of its own thing. So every time we go in to record, we learn new ways to approach it, to capture the right sound. There’s a lot of spill in the different mics, and a lot of factors to consider. So with each recording, we’ve learned different ways to approach it. On White Moth, I opened the door for the possibilities in the studio, and got a vibe for what I could do. On Dark Shades of Blue (recorded in Australia and released in August 2008), I think we captured what we do live, the thickness of it, the tone. I think we finally achieved what I’ve always wanted to hear on my recordings”