Australian multi-instrumentalist Xavier Rudd brought his socially conscious celebration to Bronson Centre on Wednesday, delivering messages of peace and respect for Mother Earth to a devoted audience.
The barefoot surfer-activist, who plays digeridoo, drums, harmonica and various stringed instruments, is making his way across Canada to promote his latest album, Spirit Bird. Joining him in Ottawa were two opening acts: ohnia:kara, a group of First Nations singers, drummers and dancers from the Niagara Region, and the Philadelphia folk outfit, Good Old War. One of their members was celebrating his birthday on stage, an occasion that warranted tributes from the audience and Rudd.
A trio, Good Old War kicked things off with a short set that highlighted their terrific harmonies and the shifting dynamics of their songs. We knew they do a cover of the Simon and Garfunkel nugget, Cecilia, but it was still a delightful surprise when they pulled it out. Later, the powerful rhythms of ohnia:kara served as a reminder that the drum is the heartbeat of a community. The beat hit a visceral nerve as their spokesman expressed the group’s desire to “declare peace on all nations.”
In keeping with the Spirit Bird concept, pre-taped bird sounds were a recurring theme throughout Rudd’s performance, woven in with both his folkie acoustic tunes and the groove-heavy dance numbers. There appeared to be technical difficulties in the first string of songs, which may have prevented Rudd from fully developing the vibe of Fortune Teller. Acoustic tunes like Solace Amongst the Sin and Follow the Sun fared well, although the gentle-hearted The Reasons We Were Blessed was nearly drowned out by the canned chirping.
Highlights included the quiet Messages, when everyone paid attention to the words, the anthemic Let Me Be and an apparently impromptu version of a Bob Marley crowd-pleaser, Buffalo Soldier, lustily sung by Rudd’s instrument tech.
When Rudd pulled in all the elements of his performance, it was a great show. But there was the sense that more attention could have been paid to the music instead of the message. Rudd is respected for his concern for the Earth and First Nations communities, but his prime focus on stage should be to solidify a groove that underscores the consciousness of his lyrics. Although it was an uplifting concert, thanks in large part to the participation of the singers, dancers, opening musicians and one small child, it didn’t feel like the musical component was as rhythmically strong as usual.
For the few dozen fans clustered in front of the stage, who fully expected to spend two hours dancing their faces off, the groove wasn’t steady enough to foster the non-stop jumping and twirling. They stayed on their feet anyway, to the dismay of those behind them. The situation illustrated one of the most frustrating drawbacks of the venue: the lack of space to dance.
In the end, it was more of a listening experience rather than a dancing one, and the only reason the tempers of the seated did not flare was because the feel-good spirit of the concert encouraged tolerance on all levels. If you can’t beat ‘em, stand up.
