An ancient termite-hollowed tree branch and a finely crafted wooden violin might seem worlds apart. Yet, in the hands of William Barton and the Kenyan ensemble Ghetto Classics, these instruments merge into a single voice, weaving stories of their lands, spirits, and evolving identities.
For renowned musician Barton, the didgeridoo is more than an instrument—it’s a storytelling tool, a mimicry device, and an extension of his soul. He credits his mother as his greatest inspiration, explaining, “It’s an instrument of imitation. You can mimic the wind or even a passing car,” before demonstrating how its sounds resemble kangaroos hopping, kookaburras laughing, and dingoes howling.
Originating with the Aboriginal people of Northern Australia, the didgeridoo is one of the world’s oldest wind instruments. Typically made from termite-hollowed eucalyptus wood, this long, cylindrical or slightly conical tube, about 1 to 1.5 meters long, is open at both ends. Its mouthpiece, often crafted from beeswax, provides comfort during play. The didgeridoo’s deep, droning, rhythmic tones are hypnotic and meditative, often used in healing and meditation practices. Its sounds can evoke animal calls, drumbeats, or electronic effects, all produced naturally through mouth and breathing techniques. Whether in traditional or contemporary settings, the didgeridoo continues to captivate audiences across cultures.
Yet Barton’s approach is far from traditional. He blends the ancient didgeridoo tones with opera’s grandeur, folk’s earthiness, and rock’s raw edge. “I grew up listening to everything—from classical to Led Zeppelin. It all shaped me as a musician,” he says.
Barton draws inspiration from diverse sources—the landscape, spiritual ties, family history, and his audiences. “Music is how I communicate with the world. I channel my ancestors’ stories but also embrace today’s stories,” he shares. For him, the didgeridoo is more than cultural heritage; it’s his voice to express love, grief, joy, and everything in between.
Recently, Barton performed alongside Kenyan artists, including Ghetto Classics, at the Kenya National Theatre, celebrating 60 years of diplomatic ties between Australia and Kenya. Their collaboration exemplifies music’s power to bridge cultures and generations.
“Music is a universal language,” Barton says. “When the didgeridoo meets the violin, it’s not just blending genres—it’s blending stories, spirits, and lands.”
Discussing the challenge of combining these instruments, Barton notes, “The violin and didgeridoo overlap rhythmically and harmoniously if played with freedom and care.” Despite their distinct traditions, the artists find common ground in emotional expression. Barton reflects, “My mother played classical music during my childhood, sparking my fascination with Europe’s old traditions. It takes you on a journey.”
Born in outback Queensland, Barton is among Australia’s most celebrated didgeridoo players. He learned the instrument from his uncle and embraced its spiritual significance early on. “Like any teenager, I listened to AC/DC and more, but underlying it all was the powerful, mysterious sound of my ancestors,” he recalls.
“My mother has been my rock and the reason I believe music can heal and connect,” he adds, honoring the woman who introduced him to his culture’s rhythms and traditions.
Starting violin lessons in primary school, Barton trained classically and performed with orchestras across Australia and Europe. Yet his curiosity led him beyond tradition: “I use all my classical training but love collaborating with diverse artists nowadays.”
He describes his music as rooted in “the nationalistic heartland, your mother country—you sing up the land and the elements that empower you.”
Playing the didgeridoo involves unique techniques:
Buzzing the lips (The Drone): The core didgeridoo sound is created by buzzing lips into the instrument, producing a deep, resonant tone rich with subtle variations and overtones.
Vocal and mouth modulations: Tongue and mouth shapes change vowel sounds, altering the drone’s texture.
Voice addition: Adding voice creates harmonics or mimics animals and environmental sounds.
Animal imitation (Traditional Style): Aboriginal players often imitate kangaroos, kookaburras, and other natural sounds to tell stories in ceremonial music.
Circular Breathing: A signature technique allowing continuous sound without pause. The player fills their cheeks with air, pushes air through the instrument while inhaling through the nose, enabling extended play sometimes lasting minutes or hours. This method also offers health benefits, such as improving airway function and aiding sleep management.
Through these skills and his innovative collaborations, William Barton carries the didgeridoo’s ancient spirit forward, bridging continents and cultures with every breath and note.
