That dedication blossomed into an illustrious career, encompassing seven albums and spanning close to two decades. Later, while recovering from a serious illness, Nathan decided to dedicate himself to learning the accordion. Martinville club, he hovered by the window-sized fan at the back of the building to hear his idol, only to have the bill of his baseball cap clipped off by the fan when he leaned too close. When he was too young to actually attend a Clifton Chenier dance at a St. Martinville, Nathan eagerly sought out the music of zydeco originators such as Clifton Chenier. Growing up in a Creole-speaking home in St.
Nathan’s down-home parables are delivered with surprising musical turns and a distinctive Caribbean lilt that reaches back to the very beginnings of Creole culture in Louisiana. However, in the hands of a dedicated musician and songwriter such as Nathan Williams, zydeco is one of the most expressive sounds in roots music. If zydeco was a one-trick pony, that might be well and good. Yet, after its flush of national popularity in the late 1980s, which saw soaring sales of both Zydeco and Cajun CDs, Zydeco has in many ways faded from popular consciousness retreating to the South Louisiana dance halls and festival gigs that sustained it all along.
Zydeco is now a familiar sound to many, heard in commercials for mainstream companies such as Burger King and Toyota, and there are pockets of devoted zydeco dancers throughout the world. With its trademark rubboard percussion, electric guitars R&B influences, zydeco is distinct from the fiddle-driven music of neighboring Cajuns. Nathan Williams plays zydeco, the fast and furious accordion-driven dance music of the Creole people of South Louisiana, a relatively modern style that emerged after the Second World War.
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