Il talento chitarristico dell’australiano McMillan, capace di fondere folk, jazz, blues, classica e rock, ha affascinato personaggi come Al Di Meola, Jonsi dei Sigur Ros e non solo. Ha ricevuto prestigiosi riconoscimenti e realizzato tour in Giappone, India, Europa e America Latina. Il suo recente tour italiano ha sorpreso e divertito tutti.
Australiano, Tim unisce e combina una varietà di stili: folk, jazz, classica, blues, e un pizzico di metal. E rompe i confini di genere.
Chitarrista conosciuto non solo per la sua abilità nell’esplorare differenti generi, McMillan è anche un virtuoso del suo strumento, un artista eccezionale.
In duo con la violinista australiana Rachel Snow, le performance live di Tim e Rachel, il sense of humor, lo storytelling affascinante e l’abilità nel coinvolgere il pubblico li hanno resi due artisti sempre più popolari.
Lo stile musicale del loro nuovo album, ‘Hiraeth’ possiede un dinamismo che spazia dal rock acustico alla chitarra fingerstyle e alla musica da camera progressive. L’album presenta ospiti speciali da Motorhead, The Sisters of Mercy, Ugly Kid Joe e Mr Bungle.
Nella sua nativa Australia, Tim ha ricevuto numerosi premi, tra cui il “Maton” come giovane chitarrista dell’anno.
Ha suonato, sia da solista che con la sua band, in Europa, Giappone, India e America Latina e di recente si è esibito con leggendari chitarristi come Al Di Meola, Dominic Miller (Sting) e Kaki King.

Hanno detto di lui:

(…) Some very beautiful and original guitar music (…)
Jonsi, Sigur Ros

(…) Great playing, with really nice harmonies and a cool performance style (…)
– Al Di Meola

Tim McMillan can also bring new life to various pieces by foreign composers: Samba Triste by Baden Powell, the popular theme from Yann Tiersen’s Amelie soundtrack and finally the Led Zeppelin classic Stairway To Heaven – only that McMillan plays guitar better than Jimmy Page. Just an option? No, probably the truth.
– Kieler Nachrichten

It is evident that Tim McMillan is heavily influenced by the clever daring figures in jazz guitar. Subtly he has presented this influence into an indie context – overcoming conventional structure with a kind of post-rock cross prog- folk style. “2.13” is a rewarding journey, with innumerable twists and turns – both very complex but also easy to digest, filled with beautiful harmonies and hooks that are bound to become stuck in your head.
– www.laut.de

The Australian plays Toto’s “Africa” in acid-American bossa nova rhythm, then this quickly mashes the piece into a hiphop nod to “Stairway to Heaven”. The new German resident is always keen to practice his “sub optimal Deutsch” with hilarious vocabulary gaps. He may sound his instrument like a Japanese shamisen lute then without hesitation insert a massive metal riff ending the delicate mood.
– Frankenpost

The musical style of the new album Angel continues along the same path as his previous album 2.13 but with a slightly more commercial approach. The lyrical content remains, as usual, enigmatic and leaves room for interpretation. The vocals (often in three parts) blend softly into the guitar-oriented action. With a varied musical accompaniment (guitar, bass, drums, strings, flute, ukulele), Tim has created a very dynamic album that ranges from acoustic rock and fingerstyle guitar to progressive chamber music. Many of the songs have no clear conventional structure, the music flows freely and naturally. Often it will change pace midway through the track, maintaining the tension but always featuring brilliant guitar work with virtuosic fingerpicking, tapping and percussion. Exhilarating music!