This tour will be supporting Colin's upcoming solo album The love it took to leave you

Colin Stetson was born and raised in Ann Arbor, spent a decade in San Francisco and Brooklyn honing his formidable talents as a horn player, eventually settling in Montreal in 2007. Over the years he has worked extensively, live and in studio, with a wide range of bands and musicians in- cluding Tom Waits, Arcade Fire, Bon Iver, TV On The Radio, Feist, Laurie Anderson, Lou Reed, Bill Laswell, Evan Parker, The Chemical Brothers, Animal Collective, Hamid Drake, LCD Soundsystem, The National, Angelique Kidjo, Fink, and David Gilmore. Meanwhile he has devel- oped an utterly unique voice as a soloist, principally on saxophones and clarinets, his
intense technical prowess matched by his exhilarating and emotionally gripping skills as a songwriter.

Stetson’s astounding physical engagement with his instruments (chiefly bass and alto sax- ophones) produces emotionally rich and polyphonic compositions that transcend expectations of what solo horn playing can sound like. Stemming from that approach and aesthetic, he has been contributing regularly to the world of film, TV, and game scoring over the past decade with such titles as Hereditary (2018), The First (2018), Red Dead Redemption 2 (2018), Color Out of Space (2019), Barkskins (2020), Mayday (2021), Among The Stars (2021), Texas Chainsaw Massacre (2022), The Menu (2022), and Uzumaki (2023).

QUOTES:

"He's absolutely singular. He's also just a great guy." (Ari Aster, director or Hereditary)

„When you listen to the score, something that sounds like strings most likely is not. It’s probably clarinets or my voice. Something that sounds like synths is probably a contrabass clarinet or some number of them. Something that sounds like a swarm of bats, that probably is strings.“ - Colin Stetson, Interview with Bryan Bishop for „TheVerge.com“

"In Stetson's composition, it's that he really goes into the atonal, that he makes noises into leitmotifs, that he integrates elements of industrial culture, which you know from the early '80s, into the film music in a way that we haven't heard before, so at least not yet in a Hollywood-produced film that is marketed so big." - Marcus Stiglegger, Deutschlandfunk Kultur