Bob Log III30 March, 2023 @8:00pm £15 (£13 Concessions / Members), Black Box
Moving On Music: Xylouris White.
9 September, 2022Time
Doors at 8:00pmCost
£14 (£10 Concession)Event over
It’s a peculiar thing when a lute and drum duo is one of the most exciting, affecting, driven and downright incredible gigs you’ve seen in recent years…but that’s the truth with Xylouris White.
This will be the third time we’ve welcomed the pair to Belfast, and both previous gigs left us bewildered. It’s difficult to explain – as live music always is – but it’s one of those truly deserved ‘not-to-be-missed’ concerts.
George Xylouris is the descendant of Greek music royalty. His uncle is Nikos Xylouris, a national icon whose nickname is ‘Archangel of Crete’ because his songs are hugely influential and beloved, and his dad is Antonis Xylouris, a.k.a. Psarandonis, is a singer and lyra player who is recognised for pushing traditional folk music in new directions.
Jim White, meanwhile, has commanded international attention for more than two decades as part of Australia’s Dirty Three. Now New York-based, White has often been called on to collaborate with numerous alt heavyweights including Bonnie ‘Prince’ Billy, PJ Harvey, Cat Power, Smog, Kurt Vile and Courtney Barnett, to name but a few.
Having known each other for many years it took until 2013 for Xylouris and White to form as a duo – a process accelerated the Nick Cave-curated All Tomorrow’s Parties festival in Australia. From that moment, the pair seem to discover each other anew at every turn, creating music that is exciting, wholly inventive, and massively rewarding.
With four critically acclaimed albums to date (Drag City & Bella Union Records), Xylouris White continue to push forward and win new fans where ever they go.
You may not have known it was missing from your life, but Xylouris White are the lute and drum duo you’ve been looking for.
“There’s an ancient sense of purity to this music which seems a cut above any similar projects” – The Quietus
“This transcendental folk, deconstructed by the volatile rhythms of post-rock, demands to be danced to, and when the music hit the loud and fast end of the spectrum – an all-out head-banging mosh” – The Guardian
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