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Keith Urban Poster

Biography

Jump to: Overview (3) | Mini Bio (1) | Spouse (1) | Trade Mark (1) | Trivia (31) | Personal Quotes (29) | Salary (1)

Overview (3)

Date of Birth 26 October 1967Whangarei, North Island, New Zealand
Birth NameKeith Lionel Urban
Height 5' 10" (1.78 m)

Mini Bio (1)

Keith Urban was born on October 26, 1967 in Whangarei, North Island, New Zealand as Keith Lionel Urban. He has been married to Nicole Kidman since June 25, 2006. They have two children.

Spouse (1)

Nicole Kidman (25 June 2006 - present) (2 children)

Trade Mark (1)

A monkey holding a guitar above its head

Trivia (31)

Before venturing forth as a solo country music artist, was a member of the mid- 1990s country band called "The Ranch."
Scored his first No. 1 hit on Billboard magazine's Country Singles and Tracks chart with "But for the Grace of God" in February 2001.
Posed in the April 2001 edition of Playgirl.
Pet Peeves: People who don't look you in the eye when they shake your hand and leave lint in the lint filter or a dryer. And people who show you a bunch of photographs and half of them are out of focus.
He became the first Kiwi to win the CMA Male vocalist of the Year in 2004.
First paying non-music job: at a concert lighting company.
Instruments he can play: Guitar, bass guitar, drums, keyboard, ganjo (a 6 string banjo), sitar, & piano
He was raised in Australia. He moved with his parents and brother to Brisbane, Queensland when he was 2. They later moved to Caboolture, about 1 hour north of Brisbane.
2005 Country Music Association Entertainer of the Year.
Was accompanied by his girlfriend Nicole Kidman to the Grammy Awards in 2006. It was their first public appearance together.
Became the first artist to win Male Vocalist of the Year (2004, 2005), Entertainer of the Year (2005) and the Horizon Award (2001) at the Country Music Association Awards
Engaged to Nicole Kidman.
Brother-in-law of Antonia Kidman.
He and Nicole Kidman honeymooned in Taihiti
He and Nicole Kidman asked their wedding guests not to buy any presents but to donate the money instead to some humanitarian organization.
230 guests attended his wedding to Nicole Kidman. Among them were Naomi Watts, Russell Crowe, Baz Luhrmann,Jane Campion, Hugh Jackman and Nicole's two children Isabella and Conor.Jim Carrey was also invited and greatly wanted to come, in fact he booked plane tickets to Australia, but last minute scheduling conflicts stopped him from going.
Married Nicole Kidman in the St. Patrick's church in Manly, a suburb of Sydney
Stepfather of Nicole Kidman's children: Isabella Cruise and Connor Cruise.
His wedding ceremony lasted 35 minutes
Ammong the guests at his wedding to Nicole Kidman were Russell Crowe, Hugh Jackman, Baz Luhrmann and Naomi Watts.
At his bachelor party, when asked by the Australian press about his feelings on his upcoming nuptials to Nicole Kidman the next morning, he replied "I'm ready!".
At his wedding to Nicole Kidman, his brother, Shane Urban, was his best man. Marlon Holden was his groomsman.
Sang his hit song "Making Memories of Us" to his wife at their wedding reception.
Checked himself into a rehabilitation treatment center of alcohol abuse [October 19, 2006].
Antonia Kidman was one of the bridesmaids at his wedding to Nicole Kidman.
Hugh Jackman sang "Tenterfield Saddler", a favorite of Urbans's and Neil Finn sang "Fall At Your Feet" and Baz Luhrmann read a love Psalm by New Zealand writer Joy Cowley at Keith's wedding to Nicole Kidman.
Uncle of Antonia Kidman's children Lucia, Hamish and James.
Keith purchased a farm in Leipers Fork on September 27, 2007.
Has two daughters, with wife Nicole Kidman, Sunday Rose Kidman Urban, born on July 7, 2008 and Faith Margaret Kidman Urban, born December 28, 2010 (via a surrogate) in Nashville, Tennessee.
Diagnosed with a slipped disc [August 26, 2008].

Personal Quotes (29)

It's what we're torn between, isn't it? Bitching and moaning and complaining about this life, and, yet, not wanting to give it up for anybody, or anything.
I knew I could contribute but people would offer me all sorts and behind my back they just found my quest laughable. It was awful, I'd be crying driving down to the studio some days, just crying, thinking I hate this, I don't want to sit in this room with some guy I've never met before and try and write a song. That's really awkward.
It was the frustration, not being able to get in my car and drive home to center myself. I was in this surreal world full of nobody I trusted and getting hit on the head constantly. You're thinking `this is the best I can do and it's not working, what more can I do?' It was a cheap escape - well it wasn't cheap - but it was just a pathetic escape mechanism. I couldn't leave so I left by being somewhere else in my head. It wasn't the greatest career move, it distracted me from music. But when your entire life is centred on this one goal, are you really going let the drugs take it away from you?
I'm grateful when anybody can start to have his or her limited perception of the genre open up a little bit. There's a lot of great music in the country genre that doesn't get heard because people say, 'Well, I don't like country.'
"It makes me feel a bit naked and vulnerable, but I think that's part of being true to yourself and committing to your music. It's therapeutic too going to the studio everyday is like lying on a therapist couch.
I'm very comfortable around cattle. I can ride a horse alright. I can collect eggs and I can clean out a pigsty!
I also think people like myself have the attention span of a gnat!
My goal was always to get to Nashville. And I sort of made the decision that I could stay in Australia and keep building my career. But the minute you go to Nashville, you start all over again anyway. So if I'm going to starve, and pay my dues in Nashville, let's go. Let's start it now and not in five or 10 years.
Well I have always seen myself as country but I spent so many years in Australia playing in these pubs where you had to be aggressive with your playing. You tend to start performing with a certain conviction and a certain energy. So that's what I was performing with when I got to Nashville, which just freaked them out, you know.
Hearing Bruce Springsteen sing Born To Run, you know what his goal was. A man on a mission is a great thing to witness in any form. That's fantastic and inspiring. I have had moments of worrying about this: I don't have a mission that has a real focus. I didn't have a plan when I got into this. My only plan was to tour successfully and be on radio. Now that it's happening, I've thought, 'I need a new plan.'
The hardest thing I've dealt with was figuring out what to do after The Ranch. I thought, 'I'm lost out in the ether.'
A huge part of my confidence came from audience reaction. I'd had that throughout my life, but when I got to Nashville I realized that I didn't know who I was offstage. I hadn't spent a lot of time with that guy, and I didn't like him very much. I found him geeky and a nerd. He was schizo and unorganized. The guy onstage was focused, with everything centered. The guy offstage was just a wreck.
You definitely get to a point where you stop seeing your parents as your mom and dad and see them as people who tried to have a family and still tried to achieve what they wanted with their lives.
I have this need to keep country being perceived as a cool genre and a broad genre. I really think that country is a genre as big as rock and roll. I would love to get to the point where someone asks, 'What kind of music do you play?' I say, 'Country.' And they say, 'Great. What kind?'
For me, my gift is music, and I would probably play a song for them and let them find something in there that they connect with, because everybody's struggles are different. It's easy for someone who's not going through it to say, 'Oh, well just hang in there,' but I think it's okay to be hurt and crushed and cry and be angry and frustrated - that's all part of it. I think people stopping you from doing that is not helpful at all. It's important to rally around people that love you, because you tend to -- I certainly tend to isolate myself away from people so as to not worry them, but the people that love you worry anyway, so, you may as well rally yourself around them and let them be there for you 'cause there's a huge chance that they'll need you sometime too.
It's not an indulgent type of performance when I play live, but there is a lot of passionate guitar playing involved, and it's as equally predominant as the singing and performing - if not just a little bit more so. It's definitely a focus of the show ... and we do have a tendency to play longer than we're supposed to! Once we get into the groove, we're kind of like long-distance runners - that adrenalin kicks in for me and I just keep running - and I don't stop!
I think a lot of time artists who go out and make a second album too quickly haven't got out and done anything, and everything they've been immersed in is kind of a surreal existence. And I think a lot of times that's why the second records suffer ... so I'm trying not to get caught up in that.
It's interesting because I've spent all my life playing live, and having people comment on my guitar playing, but I've always wanted to put more focus on the songs and the singing. So now, it's kind of funny, because I'm in a position with 'Your Everything' and 'But For the Grace of God,' where people don't know I even play the guitar! It's just this wonderful thing ... because I've spent so much of my life struggling to make the other thing known, and then the reverse has happened with the nomination for the Grammy for the instrumental. But, with these songs charting, it's just a beautiful balance.
When you're touring, it's wonderful because you're always on the move. But anybody that's single recognises that the hard part is when the work's over - Sundays, Christmas holidays, New Year's Eve - when everybody goes home. That's when you go, 'Oh, that's right. This is my home, out here in the middle of nowhere'.
I think, you know, the only frontier left for music is fusion, styles, and the constant evolution of country is fascinating to me because what's accepted now wasn't accepted a certain time ago and that's a cyclical thing.
I think what's lacking now is artist development. I think record companies don't seem to take time to develop acts and let them sort of nurture their craft and find their audience and just develop. There's so much emphasis on the immediate hit, and the immediate hit record and once you don't have any more hits then you're gone. Then you sort of haven't been cultivated, so, I think that's the biggest difference right now.
I'm really a one-day-at-a-time kind of person, especially now in my life. I read this quote recently: 'Every day, you get better or you get worse. What did you do today?' It's so blunt, but it resonated with me. I think about that before I go to bed each night. It's great to be able to think, 'Today, I got better.' It's great having that sense of accomplishment at the end of the day.
I try to have people around me that are 'born-to-be's: I was born to be a bass player. I was born to be a front-of-house engineer. That's my favorite kind of person to be around. Not someone who's dabbling or semipassionate about it. This has got to be what you live and die for. This is it. Life's too short, man.
I feel more comfortable now with or without a guitar. It used to be much more like Linus and his security blanket, definitely.
Oh, I'm very fortunate to be doing what I'm doing. Again, I just had a crazy singular focus of what I wanted to do and that was live in Nashville, make records and tour. It wasn't any more specific than that. It wasn't how many records, how many songs, or how high in the charts. And awards, they never entered into it. I just had this vague overall plan. It just started coming together. Every day I look around and say, 'God, this is amazing.'
I love playing, and I love getting lost in the moment. I like entertaining, and to me it's a huge lot of tongue-in-cheek. The swagger is just rock-star stuff. You're playing a star, and it's totally fun. You know, it's scary. Staying right on the corner of art and commerce is a tough place to be. It's a visual medium, and you have to use everything you've got. I'd like to be able to do both: have the substance and the flair. That's what I'd like, but the balance is tricky.
Yeah, it sounds like such a bohemian thing to do, doesn't it? But as badly as Alabama wanted that song ("Walkin' the Country"), I thought we needed the song. I didn't have a deal at that point, but I thought that would be one of the key songs for us. It was a perfect marriage of lyric and melody and groove that summed up what we were about. I was renting a really old house, for $400 a month, over in Berry Hill. But the money's no good if you haven't got a career. I can't buy a career, and I believed in that song as a way to get my thing out there. Even if it only ended up on CMT, which is what happened, that's good enough. I do care about money, but I've never done anything for the money. . . . My first thought is credibility: doing what you do and not getting swayed by whatever everyone else tells you.
[on working with Harry Connick, Jr.] We really come from that same place. Very, very serious about music, but total goofballs as well. Really bizarre, weird, stupid, twisted, sometimes juvenile senses of humor. Just always on the same page. I think talking with him and working with him like I do, its like we're playing instruments. We're riffing, we're jamming with each other, except we're just doing it verbally.
[observation, 2014] The simplistic thing for me is I make music and I play music, and there are so many ways for people to discover new music these days..I started playing when I was six, so I didn't pick up the guitar to pick up chicks, not at six years of age. I started playing because I loved music. And that joy's there, as much as it's ever been in my whole life.

Salary (1)

American Idol: The Search for a Superstar (2002) $5,000,000 (2013)

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