![]() On “Stargaze”, Rudd proceeds through four of these elements, transitioning from his choking voice to a rootsy guitar figure to the kick-drum to the yidaki. Musically, White Moth takes these recognised elements of Rudd’s musical vocabulary and breaks them down, concentrating on one at a time: here a harmonica, here the didgeridoo, here an acoustic guitar, here Rudd’s own distinctive voice. Is retreat into this kick-drum really valid? In this context of fresh-faced hope, the heartbeat-fueled upbeat songs seem oddly escapist - like those dancing scenes in the second Matrix movie. The problem’s exacerbated by the fact that the new album has a higher quotient than usual of Rudd’s more tranquil, softer songs. While White Moth is many moments of undeniable, sometimes infectious optimism, Rudd’s music is so passive that it fails to really register. Ever since, and this is reflected on Rudd’s third studio album White Moth, there has been a growing avoidance of judgment, a growing all-together vibe of live-and-let-live, all under the banner of nature-worship. Xavier rudd come let go full#Rudd’s last album, Food in the Belly, was full of appealing radio-friendly hits filled with a new-found sense of gentleness - perhaps from Rudd’s new role as a father, as well as a musician. And on Rudd’s out-of-time, fragile slide-guitar version of “No Woman No Cry”. One one night in New York, there seemed a heavier reggae backbone to hits like “Let Me Be” and “Solace”, elements somewhat masked on the recorded version. His music, live, is simpler and more direct than on record: the songs’ simple, honest character shines easily through. And, occasionally, like Graceland-era Paul Simon. His voice is light but earthy, a little like Ben Harper and a little like Jack Johnson. On stage, the Australian roots artist spreads goodwill like sunshine, in a green t-shirt with a tree on it, with his salt-bleached, blonde hair straggly and free. If smiling counted for anything Xavier Rudd would be as big as U2. ![]()
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