Xavier rudd gig3/12/2023 ![]() She absolutely killed it! She carried the root patterns throughout the night. Saving the best for last, let’s talk about drummer Lisa Purmodh. ![]() Ian Peres with Xavier Rudd – Photo credit: Hillary Carpenter Back home in Australia, Ian laid down the bass, organ, piano, and banjo on previous albums with his own band Wolfmother. The only thing more magnificent than his hair was his surging energy. As he bounced from playing instruments to snapping photos of the assembled mass, his vibrancy popped through as brightly as his rainbow suspenders against his all-black clothing. While Ian Peres absolutely owned the keys, he did not shy away from a chance to change it up with bursts of percussions, clearly another multi-talented musician who added pizzazz to the night. Xavier Rudd & Yosa Haile – Photo credit: Hillary Carpenter He carried his own throughout the two-and-a-half-hour show, proving that he had every right to be on that stage. As our eyes locked and all time was suspended, I said the only thing that anyone else in that moment would have… “Do you have an accent?” Our encounter ended as soon as it began, as he reflected a beautiful smile and said, “I believe I do.” Fortunately, I was able to put my tongue-tied ridiculousness in the past and be a present recipient of his smoothly thick bass guitar funk. Me being me, I exclaimed a “Hello!” in his direction. He came down the stairs as I waited in the Will Call line with a friend. A little back story on Yosa and our brief moment together. Xavier Rudd was joined onstage by Ethiopian Yosa Haile. Xavier Rudd – Photo credit: Hillary Carpenter Pete felt the undivided wave of solidarity that was generated. We lifted the vibration, and one can only hope all of St. We came together yet again during “Come Let Go,” as Xavier once more lead us into joint vocalization, delivering our resolution of love to the world outside of where we had intimately gathered. We were collectively carried through a journey of songs that included “The Mother,” “Rusty Hammer,” “Come People / Sacred,” and “Flag.” The goosebumps overtake my body as I recall how we linked our voices together to recite the opening of “Breeze.” Clasped together in harmony, we raised ourselves and each other far up, to another level of unified experience. ![]() Every throbbing note became a rhythm that reverberated into our souls. Through his words, actions, music, and mere presence, the commitment to his tribal roots was felt to the core. His raw, unmatched connection to music was reflected in every moment of the dynamic display of his talent. He also took up the guitar, saxophone, and clarinet – all before the age of nineteen. A descendant of an Aboriginal Australian, Xavier first mimicked the woeful resonation of the wind instrument by using a vacuum cleaner as a young child. As he swept the crowd with the powers of his vibrations, we further plugged into not only each other but to our ancestors, our histories, ourselves. Before the show had even begun, hundreds of us had joined Xavier to symbolize our unity. Without a word, he raised a hand, followed by a single finger, demonstrating through gesture that we are one. No, my friend, he instead called for the lights to be fully blasted onto the fired-up crowd. But he did not surround himself with the dark. I still paid money for a ticket, had my bag explored, found my dancing spot (after a couple of false placements, I ended up right smack in front – didn’t want you to spend the whole article wondering), and held on with bated breath for him to appear. Not so with Australian musician Xavier Rudd. We paid our money, endured the security shakedown, found our seats and/or preferred spaces, and waited with anticipation for the lights to dim as the not-so-subtle cue that the show is about to begin. We’ve (presumably) all been to a concert. Xavier Rudd at Jannus Live: Feeling the Waver of Xavier
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