[[SOLD OUT]] eTown Live Radio Show Taping w/ Xavier Rudd & The United Nations and Frazey Ford
- When: June 3, 2015 Time: 7:00 pm - 9:00 pm
- Where: eTOWN HALL / 1535 Spruce Street, Boulder, CO 80302
- Cost: $28 Plus Applicable Service Fees
More than just a regular concert, eTown is a unique live experience! Audience members will watch the eTown Broadcast recorded before their very eyes, complete with performances and interviews with both of our visiting artists, as well as the eChievement Award segment, eTown's opportunity to honor everyday heroes who are doing their part to make the world a better place. You won't want to miss it!
Show Start: 7:00pm
Show End: 9:00pm
& The United Nations
Since the very beginning, Xavier Rudd's ability to connect with people has been his most powerful gift. The more he has toured the world, the more hearts he has touched and the more of the world he has put back into his music. Now, fronting a band aptly named The United Nations, Xavier Rudd has assembled a lineup of musicians from around the world as a one-people musical force. Making their debut in 2015, Xavier Rudd And The United Nations finds the iconic Australian solo artist in full band mode for the first time in a long and successful career, and introduces new album Nanna to Xavier's diverse and acclaimed discography...
Enthralling audiences with his ability to wield so many instruments at once, Xavier's 2002 debut album, To Let, introduced a sound that was a mix of guitars, yidakis (didgeridoos), stomp box and percussion, blues harp and vocals. Something distinctly new, yet tied back through time to the spirit of our ancestors. With a sound established, Xavier's 2004 sophomore album, Solace, was testament to the power of his songwriting abilities. Solace debuted in the top 20 of the ARIA charts and was met as an instant classic; going platinum and earning Xavier two ARIA nominations, with three of its songs – Let Me Be, Shelter and Solace – voted into triple j's Hottest 100.
Only a year later, Xavier was receiving his third ARIA nomination, this time for third album Food In The Belly. Celebrated for Xavier's abilities to effortlessly weave genres together - from the reggae sway of The Mother, to the irresistible tribal jam of Manã - Food In The Belly impacted strongly in Australia and Europe, landing Xavier on the Dutch album charts for the first time. Xavier's gold-selling follow-up, White Moth, continued on this path of international success. Released in 2007 on Epitaph sister label ANTI-, White Moth reached #30 on the US Billboard charts and earned Xavier another ARIA nomination back home.
Nudging ahead of White Moth one spot to peak the ARIA charts at #5, 2008's Dark Shades Of Blue was Xavier's biggest musical departure, yet resulted in massive fan and critical acclaim. Gritty, dark and introspective, the album connected deeply with fans, and reintroduced Xavier as formidable lap steel player. 2010's Koonyum Sun - recorded as trio Xavier Rudd And Izintaba - was a return to lighter shades. Featuring a new sound courtesy of a collaboration with bassist Tio Moloantoa and percussionist Andile Nqubezelo - yet abundant in the blues'n'roots charm of his earliest work - Koonyum Sun brought Xavier Rudd full circle.
Debuting at #2 on the ARIA charts, Xavier's 2012 album Spirit Bird was the triumphant pinnacle of of his entire solo career – capturing the most beautiful aspects of his voice, his songs and his spirit. Led by the wonderfully delicate Follow The Sun, Spirit Bird saw Xavier Rudd yet again tour the world, bringing together old fans and new, regardless of their culture or country of origin. Now, this ability to connect is at the heart of Xavier Rudd And The United Nations – a band with a strong message of all people coming together around the globe to return to spirit, respect the ancient ways and protect the Earth and the very essence of creation.
Mixed by Errol Brown at Tuff Gong Studios, Nanna is Xavier's ninth studio album, but his first with Xavier Rudd And The United Nations... finding one of the great solo artists our time fronting a full band with impeccable results. Once again diving into new musical waters, while still holding true to the music in his heart, Xavier Rudd has added another remarkable milestone to his already epic journey; solidifying his place as one of Australia's greatest artists, activists and spirits.
The root of all soul music is freedom-sheer abandon. It's about luxuriating in the emotions that make us all human. No wonder singer Frazey Ford placed her ear to the earth and tapped into that lush tradition to give voice to her own stories on her newest release, Indian Ocean, an album about pain and dealing with tough truths but also about trust, love contrition and being bold. Ford's self-possession and passion puts flesh to the musical bones, and you hear a record hit the essence of Aretha's notion of R-E-S-P-E-C-T.
There's always been something soulful teeming underneath the honey-dipped tremulous restraint in Ford's vocals on her Be Good Tanyas records, as well as her solo debut Obadiah (2010). It's just that this time around, the familiar old-timey rustic harmonies have bloomed, transported into a full-throated ebullience that takes us down to where the rivers run deep.
The story of this album begins with filmmaker Robert Gordon (PBS's "Can’t Be Satisfied: The Life And Times Of Muddy Waters"), who was working on a documentary on Memphis soul, which focused on Al Green and long-time producer Willie Mitchell’s creative home base, Royal Studios. After Gordon heard Ford's Obadiah song, "If You Gonna Go," on the radio, he invited her to come record at Royal Studios in Memphis. That journey sparked a collaboration that eventually became the album Indian Ocean, a unique braiding of warm but tough-minded Memphis soul and vulnerable folk acumen.
For 45 minutes, Ford and some of the most talented veteran soul musicians around cast their spells, lifting songs to sweet heights on each others' borrowed wings. Part of what gives Indian Ocean its gilded edge is the work of Al Green’s band, The Hi Rhythm Section, the iconic architects of the famous singer's instrumental sound, and countless others associated with longtime producer Willie Mitchell's Hi Records Memphis label in the 1970s. Charles Hodges (organ), Leroy Hodges (bass) and Teenie Hodges (guitar), the latter who passed away this year, helped Green pen some of his most famous songs. Ford was the beneficiary of their almighty talents, the trio accentuating her sensual and opulent vocals with deep-bottomed bass, subtle backbeats and airy flights of organ.
“It was an amazing feeling being in that studio, singing into those old microphones, and collaborating with these incredibly talented heroes of subtle groove and soul. I could feel the history and vibe of that place coming up through the floor,” Ford says. "I've worshiped all of them for 20 years. These guys are our heroes," Ford says.
But Ford and co-producer/drummer John Raham didn't want to come into the Memphis studio, prescribing everyone's role. And you can feel it in the spirit of the record. Ford says she wanted the collaboration to have spontaneity: "I'm interested in how people respond. I want their energy.” It's an energy that spanned the continent, from Memphis to Vancouver. In the end, the album incorporates the skills of at least 16 musicians in total, including Be Good Tanyas member Trish Klein playing guitar on two tracks, guitarists Darren Parris, Craig McCaul, pianist Phil Cook, the golden horn arrangements of Jim Spake, Scott Thompson and JP Carter, and the undulating tides of Debra Jean Creelman's and Caroline Ballhorn's backing vocals -- that kick off on the hopeful album opener, "September Fields."
But it might be another emotion that sets the pace of this record. As its short, emphatic title suggests, "Done" is a blasting missive, that's part Rickie Lee Jones, part power-drill, taking a significant other to task: "I was taking every hit from you / You drive-by-shooting son-of-a-bitch / And I'm done ... / Well you criticize by numbers / You hammer at the roots / Wait for me to f*ck up to find yourself some proof / And I'm done / You're just stoking the hatred of a story line / While you hide behind decorum and a fake smile."
"Natural Law" is another fierce, motoring track, driving on the back of a wickedly throbbing bass pulse, channeling some of Green's grimier cuts. Its beat begins like a cool Cadillac rumble, a creeping, quickening pace laying waste to all with thoughts of getting in the way. There's something both empowering and threatening in the tandem force of the lyrics and rhythm. The standout track, "You're Not Free," is as forceful as weather. Its cool, breezy lead and backing vocals are the calm before the storm, the song reaching critical mass in a storming surge of impassioned organ and fiery electric guitar.
But there are soft nuances on this record too. Ford changes pace with the billowy beauty of "Three Golden Trees," a song about betrayal, set to a meditative waltzing rhythm with the autumn tone of a Neil Young "Harvest" track. But for most of Ford's fans, there's no separating the pleasure of her music from her uncommon voice. There's an easy elegance in the restrained singing of the opening verses of "Three Golden Trees," which begins with some of the most poetic lyrics Ford has written: "You carried me up and over the water / In a white dress covered in rust / And I folded into your shoulder / All through the floods / There were three golden trees over Beulah / And three new graves in the sun." Her voice sounds like butter melts, liquefying into silence right before the smart inclusion of soft, punctuating horns.
"You Got Religion" makes a heaven of our personal earthly gardens. "Weather Pattern," a delicate and deceptively simple song about mortality, is one of a number of songs on this record that turn nature into a type of expression -- one of Ford's strongest writing traits. The album's sophisticated title track is a dreamy, mental wandering over the ocean that feels like baptism. There's a lightness and a hallowed grace that comes with listening to the songs on this Indian Ocean -- like being blessed. Ford unearths lyrical intimacies with honesty, a giving heart, and a sharpness that combines the pretty, the reflective, and the searingly forthright. Ultimately, Indian Ocean is record about renewal, strength, knowing when to breath in and let go, trusting yourself, letting the waves rush over, and appreciating all the things worth loving.