Singer Trevor Green offers music as his contribution to the global celebration |

Singer Trevor Green offers music as his contribution to the global celebration

World and folk-rock singer and songwriter Trevor Green, who will play The Cabin on April 6, traveled to Australia where he and his family were adopted by the Galpu clan, a group of Aboriginal people.
Photo by Will Thoren

Trevor Green will play at 9 p.m. on Friday, April 6, at The Cabin, 825 Main St. For information, visit

World and folk-rock singer and songwriter Trevor Green officially became a member of the Galpu clan, a group of Aboriginal people who reside in Australia’s Northern Territory, thanks to a crowdsourcing campaign for his 2015 album “Voice of the Wind.”

“We started crowdsourcing for the album and the money supported myself, my wife, two children and my adopted Navajo nephew to do a 25-show tour in Australia,” said Green, who will perform at The Cabin on April 6. “At the end of that tour, we spent three weeks by invitation of the Galpu clan and its Elder, Djalu Gurruwiwi.”

The Gurruwiwi and the Galpu clan are the custodian of the didgeridoo, an instrument that Green uses in his songwriting.

“My selfish intention was to go and sit with them and learn from them, and then my family was adopted into the clan,” he said. “It was a very powerful time.”

“At the end of that tour, we spent three weeks by invitation of the Galpu clan…”Trevor Greenworld folk-rock musician

Green, who found inspiration from the experience, immediately started recording the album when he returned to the United States.

“We recorded it in a stone house in Joshua Tree National Park,” Green said. “There was a lot of magic from start to finish.”

Green is currently in the middle of his 30-day Elevate Tour, which will bring him back to Park City.

“The thought behind it all is to challenge myself and others to rise up and elevate together, during these opportunistic times of change, in the face of social injustices, and remember that no matter what color, sex or creed, we all bleed, we all cry, we all feel joy and all feel pain,” Green said.

Green is more aware of that philosophy because of his children.

“My son’s 10 and my daughter is 8, and I’m easily reminded of what it means to live responsibly and how to make changes for the better of the human experience,” he said. “My children are my teachers more than anyone else on this planet. I feel lucky to have these reminders, and I have found that it’s not so much living the day-to-day as it is creating a future for them.”

Music is Green’s contribution to that future, he said.

“I have always approached music as a way of healing myself and as a way of getting information that I wasn’t able to access otherwise,” he said. “By taking it to the concert forum, it becomes a public service. And how it is received or how it affects others is the journey of the audiences.”

Green knows that people have their own reasons to attend his concerts.

“That said, I do believe that when we do gather together, these performances become ceremony,” he said. “Humans have been doing this since the dawn of time.”

The singer performs surrounded by an array of guitars, didgeridoos and hand drums, which he regards as having their own will.

“They carry a certain energy, and when I make the music, I try to stay out of the way, because they carry wisdom of their own,” Green said. “If I can just allow them to do their work, the work gets done.”

It’s Green’s duty to entice these “tools” to work, he said

“These instruments that are deemed sacred do challenge me,” he said. “I draw inspiration from their sources almost exclusively. I treat each instrument like it’s living. Some days they like me. Other days they don’t.”

The trick for Green is to remember what it was like when he first discovered the instruments.

“My own experience started with attraction, because they were mystical and different and I could feel it,” he said. “The longer I spent time with these instruments, I felt they began to unravel their secrets to me.”

Green sees those secrets as ancient and ancestral webs that are woven into the musical items.

“I feel like I’m working with the ancestors,” he said. “And that’s where I go when I need an answer and when I want to make a responsible contribution to the future.”

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