BMA Magazine #525 - June/July 2022

ISSUE #525 JUNE/JULY 2022

OVER

200

BANDS / MUSIC / ARTS

BMAMAG.COM

FREE

CBR STONER SUPERGROUP

HYDRANAUT

EVENTS LISTED

MELINDA SCHNEIDER’S LOVE SONGS

THE GUILTY FEMINIST

WITH DEBORAH FRANCES-WHITE

FANNY LUMSDEN FINALLY BRINGS FALLOW TO FRUITION

INSIDE

Jack Carty offers us to Wake to a Bright Morning • Lexi Sekuless summons a Sonnet for Sondheim • Rapper & Composer DOBBY teams with the Canberra Symphony Orchestra

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[CONTENTS]

[Canberra’s

#525

Entertainment Guide] june/july 2022

FANNY LUMSDEN

p. 18

Mail: 36/97 Eastern Valley Way Belconnen, ACT 2617 Publisher ABN 76 097 301 730 Pty Ltd General Manager Allan Sko E: advertising@bmamag.com Editor Allan Sko E: allan@bmamag.com Accounts Manager Ashish Doshi E: accounts@bmamag.com Cover Design Juliette Dudley

HYDRANAUT

p. 15

A SONNET FOR SONDHEIM

p. 20

Cover image Donald Arnold Article Design Juliette Dudley Entertainment Guide Editor Allan Sko Social Media Managers Allan Sko & Ruth O’Brien Columnists Ruth O’Brien, Josh Nixon, Chris Marlton, Allan Sko Contributors Josh Eckersley, Vince Leigh, Chenoeh Miller, Allan Sko, John P Harvey, Michele E Hawkins

p. 28

THE GUILTY FEMINIST

p. 30

JACK CARTY

NEXT ISSUE #526 OUT Thursday, 28 July EDITORIAL DEADLINE Friday, 15 July ADVERTISING DEADLINE Wednesday, 20 July ABN 76 097 301 730 BMA Magazine is independently owned and published. Opinions expressed in BMA Magazine are not necessarily those of the editor, publisher or staff.

DOBBY

p. 31

p. 22

MELINDA SCHNEIDER p. 32

METALISE

CBR MUSIC REVIEWS p. 34

GIG/EVENTS GUIDE @bmamagp. 42

TIM FERGUSON

ES 199 T 2 PAGE 10

LOLCOL CHRIS MARLTON

p. 26

FROM THE BOSSMAN

The Street Theatre 1

BY ALLAN SKO [ALLAN@BMAMAG.COM]

One thing I enjoy about the glitteringly disgusting world of advertising in which I stick a toe, is seeing when global brands that should know better shoot themselves in the foot.

The “Now…!” proclamation of newness oft used in advertising is particularly slippery. Claiming a product is “now” something, suggests it wasn’t that in the past.

The other day I came across a chocolate bar that proudly boasted it was, “Now an extra 70% Fat Free!”. This leads one to think that prior to this innocent enough declaration, the company were lovingly pumping 70% worth of prime glistening fat into each bar.

You may also remember when McDonald’s proudly touted their nuggets as, “Now made with real chicken!” Now, we’ve long suspected nuggets were a combination of elbows, arseholes, and sawdust, but we didn’t expect the Golden Arches to flatout admit it.

The need to make up new things about the same product is understandable, though. Brands have to stay fresh to stay in the public eye. Hence why the sugar Trojan horse that is Coke, a multibillion dollar company, still vehemently advertises even though it has the world hooked on its coin-cleaner. The slogan, “Coke. Yup, We’re Still Here” doesn’t quite cut it (although it works for me).

My favourite example of this takes me back to England in the early ‘90s where washing powder companies were locked in a feverish battle to attract the attention of bored laundromat dwellers. The suds-summoning industry was a lucrative one, with soap brands like Bold, Ariel, Persil, Jizzaway, Blood-Be-Gone and others pumping thousands of marketing dollars into TV ads.

In order to find new ways to be relevant - because let’s face it, washing powder is generally always washing powder - these companies would change their name every six months. In the span of two years one went from Bold, to Bold Ultra, to Bold Deluxe, then Bold Intergalactic, and finally Bold and The Beautiful (during their ill-advised pun phase).

The Street Theatre 2

One suspects that despite increasingly, ahem, bold claims that this new improved soap powder was so goddamn efficient it would clean your underpants transparent, it was essentially still the same product with a different name.

The amusing part came with the TV ads in which they would compare the brilliance of Bold Spectacular versus original Bold Genocide via the tried-and-true method of the ‘wash two stained white t-shirts in separate basins and show results to camera’ bit.

The new Bold Spectacular would wash things to a brilliant, iriscontracting white whereas the previous Bold Genocide still left a faded stain. Six months later and Bold Apocalypse would arrive,the test was done again, this time with Bold Spectacular, the previous heavyweight of stain flagellation, leaving behind a telltale mark.

You are starting to see the problem here. Eventually someone, one imagines the intern, tapped the shoulder of the highly-paid ad executive and pointed out that, just perhaps, slandering their previous product in their own ads whilst flagrantly lying was not the best tactic. And so, quietly, they switched to comparing their product to a mysterious Brand X (my personal choice).

Which is all by way of welcoming you to the new issue of BMA Deluxe, now with 70% less mistakes. It’s bigger and better than the last shitty issue, giving your eyeballs a brilliant finish. facebook.com/bmamagazine

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UPCOMING LIVE MUSIC EVENTS

photo by Kris Rossetti

[HOT TIX]

Highland Light / Post-hardcore 4-piece EP launch / Sat, 2 July / UC Hub

Amy Shark / See You Somewhere Australia tour / 7 & 8 July / Canberra Theatre

Post-hardcore from Greenway ACT, Highland Light is Lachlan McPherson (guitar/vox), Harley Drake (bass/vox), Riley Gardner (guitar/vox), and Tom Gibbs (drums). To celebrate the release of their debut EP 300 K’s, the lads are putting on a very special show at UC Hub with the amazing Ricky’s Breath (Bathurst), Rental Snake, and NORA. The boys have been cooking this up for a while and are super excited to celebrate these new tunes with you. Let’s not let them down now, eh? 7pm, tix $18.07 via Moshtix

“I’m the happiest when I’m on stage performing and I can’t wait to travel further into Australia where I’ve never been before, to explore some of these towns and meet everyone. It’s going to be fun,” says Amy Shark about her mammoth 42-date tour. Thrilled to be performing such an epic run of gigs, and showing her endless gratitude for the huge love from her regional fans, Amy enthuses, “I don’t know when I’ll get the chance to do a huge Australian run like this again, so if I’m coming to your town, you are mine that night! No excuses.” 7:30pm (7 July), 8pm (8 July), tix $93.50 + bf via venue

NORA / EP Launch w/ Nina Leo, Lost Coast, and Spouse / Thu, 14 July / The Basement Celebrating their debut EP Black Wattle, midwest emo band from mideast Australia NORA have assembled a gaggle of their most talented musical friends to mark the occasion. The proud DIYer’s, who recorded thier EP in a bedroom on Ngunnawal Country and mixed & mastered in a bedroom on Naarm, are joined by the distorted fuzz and commanding lyrics of Nina Leo, alternative/post rock 5-piece Lost Coast, and the high-energy alternative rock of 4-piece Spouse. From 7pm, tix $18 via Oztix

Royale With Cheese / Rage Against The 90s / Sat, 23 July / The Basement Royale With Cheese is Australia’s premier ‘90s rollicking party show, playing rock and pop covers – including Seattle-sound to grunge to Britpop to all the best Oz Rock – from one of the greatest and most influential decades in rock music. Comprised of five experienced musicians, the ‘Cheese bring all your favourite ‘90s covers from Nirvana to Spice Girls and everything inbetween. Come as you are to smash pumpkins and Rage Against The 90s! From 7pm - 11pm, tix are $45 via Oztix PAGE 12

Steve Kilbey: Heyday & Starfish / supported by Kim Yang / Fri, 14 July / Belconnen Arts Centre The charismatic Steve Kilbey returns to Belco Arts for an intimate gig in The Theatre. Supported by Canberra’s own Kim Yang, Steve will perform songs from classic The Church albums, Starfish and Heyday.

The acoustic show will feature stories and anecdotes from this rock legend. The English-Australian singer-songwriter, music producer, poet, and painter has, of 2020, released 14 solo albums and has over 1000 original songs registered with APRA. A compelling eve of musical storytelling awaits. 7pm, tix $50 via venue

Frenzal Rhomb / Premier Ozzy punksters / Fri, 29 July / The Basement “You might have had to do a bit of “pivoting” during this pandemic.

A lot of people have. And here at Frenzal Rhomb, it’s a fucken gymnastics tournament. We’ve been manoeuvring around the hand vaulting horse, balance beam and trampolines, and we’ve somersaulted into some new tour dates! Let’s hope we stick the landing. Joining us will be Totally Unicorn and Charlotte & The Harlots!” Doors at 7pm, tix $45.40 via Oztix

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stage presence. Tickets are just $18.35 and to buy them, head over to Moshtix.

LOCALITY

[THE WORD ON LOCAL MUSIC] WITH RUTH O’BRIEN. SEND YOUR GIGS AND INFO TO: [RUTH@BMAMAG.COM]

G’day, g’day! How’s it going out there? Hopefully you’re managing to get to the odd gig or two despite the risk of the ever-dreaded spicy cough.

I’ve just come through it m’self and let’s just say, I’d prefer not to do that again if it can be avoided! Which, to some degree it can (i.e. masks, social-distancing, etcetera), and to another, it very well cannot (i.e. life!). Anyway, keep moving we shall. Here’s what happening over the next month around town.

On Thursday, 7 July there’s going to be the first CBR Wom*n in Music meet up in aaaages! Join us from 5pm6:30pm at Smith’s Alternative for a casual Getting To Know You event, one part social mingle, and another part finding out what woman and non-binary people in the Canberra music scene wanna know more about.

The event is sponsored by MusicACT, is all ages, is free, and has a bar tab - what’s not to love! I’m def gunna be there, would love to see you! To find out more, head to fb.me/e/1HtmyIxHQ

Attention please all fans of Charlotte & The Harlots, the band will be playing their next show at Live at the Polo on Friday, 8 July from 7:30pm!

They’re about to head out on tour via Brisbane and Adelaide to promote the recent release of their new album, Everything You Are To Me. Going from strength to strength with each and every gig, the band are sure to win over a whole host of new and adoring fans with their fiery PAGE 14

Saturday, 9 July sees the release of Peach Lane’s newest single called Blush.

Happening at Gang Gang from 7pm, the band will be supported by Lily Morris and Tupperware Party before sharing their new song, and many others, with the world.

If you’re keen get to get along, tickets can be purchased online via Oztix for the bargain price of just $17.35 including booking fee!

If you’re keen to keep gig-hopping right to the end of the weekend, Helena Pop have their last show on Sunday, 10 July. Yes, it appears that this beloved Canberra band is wrapping things up after many gigs played and memories made. To attend this bittersweet event, head over to Gang Gang from 6pm to ensure you catch awesome support acts Heti Blaazar and Albert Blank as well.

Thursday, 14 July at The Basement sees another plethora of local talent supporting headliner band, NORA, who are releasing their debut EP, Black Wattle. With a song on their record called Lonsdale St, you don’t get much more Canberra than that (side note: I really love that so many bands have embraced the iconography of our little capital into their music/band names. Canberra pride!) @bmamag

Nina Leo, Lost Coast, and Spouse will also be hopping up onstage to do their thang, with the night kicking off at 7pm.

Tickets are $18 and you can get them at online at Oztix.

On Friday, 15 July, local band Carnival Road will be playing at the Canberra Irish Club.

The band, featuring Anthony Ives, Ole Nielsen, Steven Deakin and Andrew Rickard, have a great show of tunes lined up for you in their special blend of folk/blues/roots/ alt rock.

Originally forming in 2014, Carnival Road have one album up their sleeve and are in the process of recording another.

The shows starts at 8pm and is free.

If you’re looking for some live music with a more LatinAmerican vibe, it would be a darn good idea to pop this next

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one in your diary.

On Friday, 22 July, Pachamama, a local fivepiece musician ensemble, are playing at the Harmonie German Club.

The group are all singers and multiinstrumentalists, and play a selection of Latin and popular classics from Central and South America. They’ll be joined by Canberra electro-swing DJ, Apparition, who will bring a rich blend of vintage swing, jazz, and house music, enlivening old tunes making them boogieable for everybody.

Tickets are $27.33 incl. booking fee and can be bought online at Eventbrite.

That’s all from me this month. Stay safe and well, and see you next issue :) Ruth O’Brien - Singer | Songwriter | Writer | Lover of all things artsy and creative - email: ruth@bmamag.com

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BMA BAND PROFILE

Canberra supergroup HYDRANAUT are a force to be reckoned with. With labels scrabbling to sign them, and a Hard Out! festival appearance in the offing, it’s time we caught up with the chaps.

Group members: Nik - 8 Foot Sativa (NZ) DD - Pod People, The Veebees, Lucifungus Be Rad - Pod People, Lucifungus Damo - Smeg, The Basement sound guy Where did the band name come from?

Nik came up with the name. There’s not many band names that haven’t been used, so we’re lucky we found one that we all liked.

How did you form?

Nik was touring extensively in his Kiwi metal band 8 Foot Sativa.

He played a few shows in Canberra and decided he wanted to live here. He had always wanted to play heavy stoner rock, and after a few years, he messaged me to see if I knew anyone who wanted to start a band. We only started jamming properly in November and we’re already on to our second recording.

A 4-track demo called This is HYDRANAUT was released within months of forming, and two of the songs were released as the Rock n Roll Rabbithole 7-inch vinyl.

Describe your sound: Heavy stoner rock with a twist of punk.

Who/What are your influences, musical or otherwise?

Weed, Kyuss, Turbonegro, Fu Man Chu, and Doom.

What’s some of the most memorable experiences you’ve had?

So far, just the ease and speed in which this is all coming together!

Interstate tours and releases are already happening.

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Playing the Sunburn fest has been our best show so far. But the best is yet to come.

What do you love about the scene? Your genre’s scene?

The people definitely make the stoner rock and doom scene.

Everyone is just so damn nice. Everywhere you go. Beards and smiles everywhere.

Tell us about one of your proudest moments?

We’ve only been around for six months but our proudest moment is the album that is currently being recorded. It sounds really good and we can’t wait to show you all.

What are your plans for the future?

Release our new album and get our arses to Europe to play Freak Valley fest!

What makes you laugh?

Posers that care more about looking cool than playing well.

What pisses you off?

People that play music for the money and not the love.

Anything else you’d like to add?

Hydranaut are aiming high and driving fast!

Where can people check you out?

Hydranaut are playing Hard Out! fest at Rose Cottage in July and then Melbourne and Sydney Sunburn shows in August and September respectively.

This is HYDRANAUT demo, and the Rock n Roll Rabbithole 7-inch are available from hydranautrock.bandcamp.com New album coming really soon.

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Deep in the Fallow with Fanny Lumsden

“

Storytelling is the number one thing I do at shows. You can’t shut me up, although my band certainly try. I love getting close with the audience, and having that two-way interaction.

”

By Joshua Eckersley

Cast your mind back to March 2020, to the last days of the old world when we didn’t know how good we had it, or exactly what was about to befall us.

That was when Fanny Lumsden released Fallow, the best country album of the year.

Just as those first foundational stones of the music industry were starting to crack, Lumsden dropped her masterpiece on us, like a parting gift. And then we all went home for two years.

A lot has happened in that time, especially for Lumsden and her band, The Pack, who have somehow squeezed in a good amount of touring throughout those challenging years.

They have also managed to pick up an absolute boot-load of awards for Fallow, including the ARIA, CMAA Golden Guitar, and AIR award for Country Album of the Year. Not a bad effort for a country girl, raised on a sheep farm in western NSW. Luckily for us, Fanny Lumsden & The Pack are taking their swag of Fallow tunes out for one more round trip of live shows, which will bring them back to The Street Theatre in July.

Fallow was recorded in a stone hut on Lumsden’s property in the village of Tooma Valley, which is located in the Riverina region of NSW. It is clear the natural beauty of the surroundings has seeped into Lumsden’s creative process and inspired much of her lyrical musings. She paints vivid, descriptive scenes of growing up in that area, capturing all the familiar struggles and uncertainty that shapes us throughout our formative years.

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“When I wrote this album, my overarching goal was to make something beautiful,” Lumsden tells us. “To find something that felt like green grass and running water, after years of drought.

Something that felt like the valley in the early morning, with the light filtering down through the trees.

“I tend to have more scenic influences, rather that musical ones, especially when creating a record like this.”

The clarity she displays, when targeting universal experiences and truths in her lyrics, cuts straight to the listener’s most vulnerable nerve. From fumbling, awkward adolescence, to the betrayal and burdens of adulthood, Lumsden captures it all in succinct, poetic elegance and lyrical beauty. She wields words with the finesse of some of our greatest artists, like Paul Kelly or Kasey Chambers before her, making it look so damn easy to capture real life in lyrics and melody.

In the time that has passed since the release of Fallow, Fanny Lumsden & The Pack have kept themselves very busy. As well as making a documentary about the album and the local impacts of the 2019 bushfires, they have also recorded a full alternative version of the album, simply titled Fallow & Variations.

They’ve somehow doubled down on the poignancy and emotional impact. The songs have been stripped into starker, more heartbreaking versions that demand, and are rewarded by, repeat listens.

Lumsden and the band will be gracing The Street Theatre stage for one last dance with the Fallow-era songs, ensuring they wring every last drop of joy out of these albums. They are excited about the opportunity to share the songs and stories from this period with the audience, and plan to deliver a truly engaging experience. According to Lumsden: “Storytelling is the number one thing I do at shows. You can’t shut me up, although my band certainly try. I love getting close with the audience, and having that two-way interaction.

It’s such a massive part of the show.”

Lumsden is already working on her next album, and is planning a trip over to Nashville in November for the Americana-Fest. This truly gifted artist is only just getting started on her musical journey.

Time to drop everything and get on board before it’s too late.

WHAT: Fanny Lumsden & The Pack – Deep in the Fallow Tour

Lumsden tells us they did it “just for fun, really.

WHERE: The Street Theatre

“We wanted to explore different versions of the songs and the stories.”

WHEN: Saturday 9th July, 7:30pm

Spoiler alert: it is utterly brilliant.

TIX: thestreet.org.au $18 (16 & under), $35 (standard), $65 (VIP) @bmamag

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Because I Could Not Stop For Death –

a Sonnet for

SONDHEIM

Photo: Andrew Sikorski

By Allan Sko a Sonnet for Sondheim - an evening of Sondheim songs alongside poetry from Elizabeth Barrett Browning, Shakespeare and Emily Dickinson - is set to sizzle at Belco Arts Centre this June-July, and for a number of important reasons.

For starters, it is a new production by erudite theatre figure Lexi Sekuless; a graduate from London’s Royal Central School of Speech and Drama who has shared the stage with the likes of Miriam Margoyles, Tamsin Greig, and Jemma Redgrave, as well as being the CoProducer and Co-Artistic Director of the free Shakespeare by the Lakes season.

Secondly, the show is also, of course, a loving dedication to legendary American composer, songwriter, and lyricist Stephen Sondheim, who sadly died in November last year. His life is now celebrated by a talented team comprising actors Katerina Smalley and Jay Cameron, Tim Sekuless, pianist Carl Rafferty, Martin Everett, and Lexi herself.

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But it is also, rather crucially, one of the first co-productions for the shiny new Belco Arts venue, and thus an important bellwether piece for how the place operates, and collaborates, with Canberra creatives in future.

“It’s really fun to work with the Belco team,” Lexi enthuses. “They’re gorgeous. They were recently given a big injection of cash for infrastructure funding, so they’ve got this new venue. But they know the importance of the program that fills it. Now that it’s open, this is the first co-production that they’ve done.

“It’s really nice to be talking to them about how we can develop a model that Belco Arts applicants can use going forward,” Lexi continues, “so that they can connect with the independent theatre makers and help support them via this amazing venue. Belco Arts are meeting a need, which is co-producing and trying to grow Canberra theatrical offerings.”

Switching focus to the show itself, I asked Lexi if Sondheim’s passing contributed to

picking him as the focus, or whether it would have been a natural choice regardless.

“That’s a good question,” she ponders.

“Definitely, his passing means he’s certainly been on my mind. Of the strong musical members of the group, we had already been talking about how to mark Stephen’s passing.

So yeah, it played a big part.”

It’s a grand way to pay tribute, celebrating a life, and the work, via performance. As such, Lexi has assembled a dream cast to herald the homage via the best show possible.

“We’ve got Katerina Smalley and Jay Cameron,” she explains. “We’ve done lots of stuff together, like Lakespeare productions.

And we’ve done small shows using some of Jay’s original compositions. We’re also joined by my lovely big brother Timmy, who I’m able occasionally to get to tread the boards. And I’m in the show as well.

“There’s also a lad called Martin Everett, who’s in Sydney now, but for most of the pandemic @bmamag

“

The show developed into a love letter to Sondheim, but also a love letter to the industry... we looked at why we keep going. How do we keep going? And the idea of love, and love powering what you do as a performer.

”

lived in Canberra. He was in Kinky Boots.

Martin and Kat are a really good duo.”

And, of course, there’s the irrepressible Carl Rafferty on the piano.

“Given that the whole thing is scored via a grand piano, I needed a very strong pianist.

And Carl’s got the skills in that area,” Lexi extols. “Also, his understanding as a producer means that everything’s about the sonic considerations. All the language is heightened in some way. It’s all organised, either in verse form, or in musical form.

“So we have total scoring and underscoring by a beautiful grand piano. To have that new theatre filled with such a glorious sound; it’s pretty exciting.”

With the subject set, and the crew assembled to bring it together, next was the delightful yet arduous task of selecting which songs and poems to use from the blushing cornucopia available. Not to mention the frighteningly large number of potential combinations.

“We wanted to get a full palette,” Lexi explains.

“We started with a wish list of favourite Stephen songs, with a thought both on the composition of the show, and also mindful of the fact that he’s passed.

“As such, the show developed into a love letter to Sondheim, but also a love letter to the industry. It would have been easy to get stuck in a space of melancholy. Not only are we touching on someone’s passing, but there’s the fact of the trying couple of years that everybody has had.

“So we looked at why we keep going. How do we keep going? And the idea of love, and love powering what you do as a performer. “ facebook.com/bmamagazine

Photos: Andrew Sikorski Exploring the idea of resilience, and where you find it, I venture?

“Yeah, definitely,” Lexi enthuses. “And of course, that’s where the sonnets fit in the best. I’ve actually included only one of good old Shakespeare’s sonnets, and the rest are

by Elizabeth Barrett Browning.”

Not to mention Emily Dickinson.

“Yes, I wanted to bring in a few more female voices for balance,” Lexi explains. “The idea of ‘Tribute’ was emerging as a big theme, and her love letters fit perfectly; the underscore of a Sondheim number is playing and this powerful sonnet comes in. It’s quite beautiful.”

Lexi also reveals just how fortunate we all are regarding the inclusion of certain Browning pieces.

“Those Sonnets from Portuguese, those 44 love sonnets that she did; they were close to never being published,” Lexi says. “They were hidden for years in her private notebook and nearly lost to Time. We’re so lucky to have them in there.”

So the stage - both literal and metaphorical - is set for a truly memorable show, with an

admirable amount of work put in by a very special hive mind of Canberra creatives.

Expect a loving homage to Stephen Sondheim, Elizabeth Barrett Browning, Emily Dicksinson, and William Shakespeare.

Expect the plight of the performer, personal stories, confessions and love triangles peppered among Sondheim songs from Passion, Follies, Company, A Little Night Music, Into the Woods, Merrily We Roll Along and Sunday in the Park with George.

But also expect an exciting new co-lab venue opening up opportunity, made possible by this very production. As Lexi concludes: “The main thing is that yes, there is this one show, but this is also about the legacy of Belco Arts, and looking at what can be created and forged by Canberra creators. It’s pretty special that they are doing this.” a Sonnet for Sondheim is on at Belconnen Arts Centre from Wednesday, 29 June Saturday, 2 July at 8pm each night. Tickets are $45/$40 via belcoarts.com.au/sonnetsondheim/

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Canberra Metal Fest - Friday, 1 July SMALL STAGE 12 Gauge Rampage - 11:10pm – 11:45pm Pod People - 10pm – 10:35pm

METALISE [THE WORD ON METAL] WITH JOSH NIXON [DOOMTILDEATH@HOTMAIL.COM]

Carnal Viscera - 8:55pm – 9:25pm Lucifungus - 7:55pm – 8:25pm Terra Mortem - 6:55pm – 7:25pm

“Frigid cold, cracks your limbs, how long can you last in this frozen water burial?”

MAIN STAGE

This question, posed by Mr Araya, often crosses my mind at this time of year. The answer is, of course, entirely ratio’d on if there are enough riffs in play to keep the circulation going. Thankfully, the answer this winter is there is a bloody shit load.

Remains - 10:35pm – 11:10pm

Saying a fond hello to Dark Mofo

Psycroptic - 11:45pm – 12:25pm Sumeru - 9:25pm – 10pm HyperGiant - 8:25pm – 8:55pm Point 17 - 7:25pm – 7:55pm

Canberra Metal Fest - Saturday, 2 July SMALL STAGE Goat Shaman - 11:10pm – 11:45pm Burn the Hostages - 10pm – 10:30pm As Flesh Decays - 8:55pm – 9:25pm Carcinoid - 7:50pm – 8:20pm Hekate - 6:45pm – 7:15pm Ploughshare - 5:45pm – 6:15pm Plague Dweller - 4:45pm – 5:15pm Arkanae - 3:45pm – 4:15pm

Tom G Warrior led Triumph of Death through the Hellhammer classics at Hymns of The Dead I took the opportunity to escape the Canberra winter to enjoy the Tasmanian winter for a night – well, 16 hours – to take in the Hymns of the Dead gig at the Odeon Theatre as part of the Dark Mofo festival. It was well worth every minute to see Tom G Warrior lead Triumph of Death through the Hellhammer classics, as well as monster shows from fellow bill buddies Krypts, Chthe’ilist and Darkestrah, whose excess baggage bill for all those instruments must be eye watering.

Get down to Tasy for these shows at least once; I’m hearing big things for next year.

Canberra Metal Fest Set Times And so, we arrive at the gargantuan weekend at The Basement with a ludicrously huge bill over the 1st and 2nd of July weekend. Yes, Canberra Metal Fest is finally upon us, and it’s time to give you the set times for the big show across both stages at Belco’s home of heavy so you can curate your bangover.

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Celestial Oath - 2:45pm – 3:15pm MAIN STAGE Abramelin - 11:45pm – 12:25pm Disentomb - 10:30pm – 11:10pm King - 9:25pm – 10pm Wretch - 8:20pm – 8:55pm Womb to Tomb - 7:15pm – 7:50pm Mytile vey Lorth - 6:15pm – 6:45pm Nembutolik - 5:15pm – 5:45pm Immorium - 4:15pm – 4:45pm Atrocita - 3:15pm – 3:45pm Besomora - 2:15pm – 2:45pm It’s an absolutely monster bill that you would otherwise need to travel to Blacken Open Air in Alice Springs to pack in this much heavy. Tickets through Oztix.

July Canberra Metal Gigs Disentomb must be sweating too much in Brisbane cause apparently they’re coming back down twice to cool us down with their smooth Brisvegas melodies… OK ‘smooth’ ain’t happening. I played a show with them last year and my face is still in danger from melting at a moment’s notice due to the battering it copped from their brutal performance.

On the night you also get German death metal act Defeated Sanity, as the two bands take in an 11-date co-headlining Australian tour. The Basement host the Canberra leg on Monday, 11 July and they’re throwing in awesome Sydney band Wraith as the opener. Tickets through The Basement Oztix ticketing site.

As if that weekend of sheer riff power isn’t enough for July, the following weekend, on Saturday, 9 July, there’s an absolutely essential doom metal show on at the Pot Belly in Belconnen with the welcome return of Sydney’s Potion.

The promoters promise, “A night of faux philharmonic orchestration, broad fusion, and very real power”.

There’s no improving on that sentence as far as enticing one in from the cold for a beer, a Chompy’s, and a bit of a thrash goes.

Go Home or Go Hard Out! Rounding out July is a super awesome fest out at the one and only Rose Cottage. The Hard Out! fest brings a killer mix of bands to the iconic southside venue on Saturday, 30 July.

What’s more, it’s an all ages show – as long as a parent is attending with the youngster.

The band have been in hibernation to a large degree and only recently stepped out to introduce their new drummer to Sydney audiences. Also along for the ride is incredible super heavy Melbourne band Isua and, fresh off an absolutely savage performance on the Religious Observance show a few weeks back, our own Blight Worms. Going to be a huge show in a small room, so don’t miss it.

Friday, 15 July sees a visit from Kronoceptor who are bringing big power metal vibes to The Basement, complimented with the prog metal stylings of Axiomatic Theory and the folk metal trappings of Mirrorshield.

Witchskull headline over Hydranaut, The Vee Bees, B.C., Grand Duke, and Street Trash.

Food is available, and if you get your ticket through Moshtix you will be to pick up a discount feed from the mouth watering Smoke Masters BBQ who offer a pork burger and 3 chicken wings package.

The BBQ they make for those pork burgers is already making my mouth water, almost as much as the thought of copping new riffs.

Both headliners have recorded new albums in the last month so it’s going to be a blast.

PAGE 23

[SPOTLIGHT]

X-Mas In July/ French X-mas comes to Canberra / 29 June - 3 July / Parkes Place Lawns In 2022, the French Christmas spirit is coming to Canberra. Authentic wood huts, Christmas lights, falling snow, mulled wine bars, melted cheese stations, live concerts… It’s all about the magic of a white Christmas. Look forward to iconic crêpes, Fondue Savoyarde in a cob (from the French Alps), German hot dogs, Italian pasta in a cheese wheel, Belgian waffles, flame-torched crème brûlée… Comfort food will be bountiful ! Adding to the excitement, five of Canberra’s and Sydney’s most avant-garde chefs will create unique fusion dishes. This will be a FEAST-IVAL like no other! Free entry

UPCOMING ARTS EVENTS

The Year of Magical Thinking / Joan Didion’s memoir / 7 - 9 July / The Q Theatre, Queanbeyan An intimate, powerful, and deeply personal story, The Year of Magical Thinking is a journey from the comfort of life into the surreal and dark world of grief, and beyond. Joan Didion’s celebrated memoir is brought to life by Green Room Award-winning actor Jillian Murray, in a critically-acclaimed solo performance that reunites her with director Laurence Strangio (L’amante Anglaise tour 2019). A play about language, it is deeply moving, sometimes funny, and ultimately joyful.

This is one woman’s story of the journey to find acceptance, and the lessons learnt in letting go. 8pm, 2pm matinee $45 - $65 via venue

This Changes Everything / Play by Echo Theatre / 22 - 30 July / The Q Theatre, Queanbeyan

Romeo & Juliet/ By Directors Kelly Roberts and Chris Zuber / 28 July - 13 August / Canberra Rep

What would the world look like if everyone was equal? Would wars evolve? Would climate change still exist? Would we still have money?

Would people still be hungry? What kind of world would you like to live in? How could we change the world? Should we? Where do we start?A group of disillusioned young people have disappeared. On a platform out at sea, they have formed The Community – a new type of society and a better way of living. But how can you change the world if you’ve taken yourself out of it? Written by Joel Horwood; Directed by Jordan Best. 8pm + 2pm matinees, $25 - $45 via venue

The most impassioned of stories ever told, combining love, hate, devotion, and rebellion in equal measure. Reminding us all of the audacious intensity with which we can feel for another, and the heartbreak that can follow. This tale of star-crossed lovers has endured—retold, re-imagined and played many ways since it was written. Still powerful, relevant, and filled with some of Shakespeare’s most memorable characters and poetry. REP’s Romeo and Juliet will be fresh for those familiar with the text and thrilling for those coming to it fresh. 8pm + 2pm matinees, $38 - $49 via venue

Bangarra Dance Theatre - Terrain / 10th Anniversary Tour / 28 - 30 July / Canberra Theatre Bangarra’s award-winning Terrain returns for a 10th Anniversary Tour.

Choreographed by Frances Rings, Terrain is a breathtaking exploration of our largest salt lake. The nine-part performance evokes the power of body and land converging to bring spirit to place. Featuring David Page’s irrepressible score, the textures of Kati Thanda taking shape in Jacob Nash’s sets, Jennifer Irwin’s costumes, and lighting by Karen Norris. Cultural Consultant, Arabunna Elder Reginald Dodd, shared his role in caring for the land, and precious cultural resources of the region, to the piece. 7:30pm + 1pm matinee, $79 - $99 + bf via venue

PAGE 24

Lo Carmen / Lyrical folk-country blues / Fri, 12 August / Smith’s Alternative Triple treat Lo Carmen (internationally acclaimed singer-songwriter/ author/actor) brings her shimmering brand of lyrical folk-countryblues to Canberra for the first time in a long time, joined by her rock ’n’ roll band The Great Beyond (featuring members of The Cruel Sea/ Kim Salmon/Mess Hall). She told BMA, “The last time I played in Canberra was supporting Nick Cave and the Bad Seeds way back in 2011 and I’m so excited to get back there with my band,” so let’s make sure she receives a warm return! 7pm - 9pm, $15/10 + bf via venue

Exhibitionist | Comedy in the ACT And although she has been routinely outshone by other literal megastars such as Andeorn Dronnsks, Richie Doubleday, Talia Tyler-Sander and, of course, Andre the Gina; Plaque holds onto the notion that much of her anonymity has been entirely by choice.

Chris Takes Time: Chatting with Val Chris Marlton spent seven hours at Movie World on the sunny Gold Coast earlier this month, chatting, laughing, and in awe of perennial A-list movie star Valentina Plaque.

“I threw them all back! I threw them all back!” she calls to the fans who goggle at her, still waiting in line; a line we were able to skip.

I won’t say it’s been a long day, because the time has flown… but it’s almost closing time at Warner Bros. Movie World on the Gold Coast, and I arrived with rising star Valentina Plaque at 10:30am. We’re sitting on a roller coaster that we’ve ridden eleven times this hour.

“I don’t know if it’s a metaphor, I don’t know.

What I do know is that my whole life has been a roller coaster, not just my damned career.”

She blushes, “Can I say that?”

“Damned?” I speedily enquire.

“No. Career!”

She laughs endearingly at her own joke. I smile, aware of the form but unsure about the execution or delivery, and confused by the selfcongratulatory amusement. Though it is fitting; we are in an amusement park after all.

“I was scared. Scared of what fame would do to me. I’m not afraid anymore.”

Plaque, a verifiable A-lister for almost 90 years, has miraculously managed to fly under the radar the entire time. This has been merely coincidence and chance, with prominent roles in more than 100 blockbuster films.

PAGE 26

“I don’t hire photographers to sell my photos to tabloids; I don’t release explicit and exposing videos; and I don’t give speeches at the U.N. security council about feminism in the third world,” she says, as she flutters her grey eyelashes and snorts a line of angel-dust off the back of a Kobe Bryant Upper Deck rookie card.

During lunchtime at Movie World we found a small booth in the corner of the near-empty Dick Tracy-themed diner located behind the Shrek 4D virtual experience. Valentina Plaque sits with her feet tucked under her, like a kid in some ways, which is off-putting given the fact that she is turning 118 in November this year. There aren’t many supercentenarians making films, let alone the demanding role Plaque accepted and excelled at in 2021.

“

I don’t really care about milkshakes, but what the hell, I’m a star…

”

“When they asked me to star in a bio-pic about Meryl Streep’s father, reimagined as a five-hour, sci-fi colonial epic, with me starring as Harry William Streep Junior, I was sceptical,” she says.

She has nine large milkshakes sitting on the table in front of her, in large metal milkshake cups. She didn’t know what flavour to order, so she ordered all nine: • Dill-pickle Dick Tracy • Tess Trueheart Toffee • Minty Moon Maid • Bonnie Braids Banana & Butter • Jean Tracy Jalapeño • Honeymoon Honey • Alphonse “Big Boy” Caprice Caramel

• Breathless Mahoney Bacon & Macadamia • Pruneface Prune, Pear, and Pumpkin.

“I don’t really care about milkshakes, but what the hell, I’m a star,” she says. “I didn’t care about science fiction until I starred in this latest film, and look where I am now; destined for greatness, and a Marchie award for best Actor. Life is good.”

She sweeps the Toffee and Mint flavoured milkshake tumblers onto the floor, making an impressive noise and mess, oblivious to both, and starts sipping on the Honeymoon Honey.

The new film is called Space Medicine; it explores the possibility of mega-pharma corporations using intergalactic politics and advertising to get aliens addicted to anti-anxiety medication. A provocative role, to be sure, but something Valentina is ready to embrace.

“I’m not afraid of fame anymore. I was in my 60s, and I almost won a Marchie for my exceptional performance as Jenny the Jam-Jar in director Doddy Dust’s Sky-Ballet-Blue. When I didn’t win the award, I decided to buy an island, and I became a recluse. I was scared; scared of what fame would do to me.

“I’m not afraid anymore.”

When I asked her if she had thought her chance had passed, particularly when she turned 100 (which, amazingly, is almost two decades ago, she responded with a simple wink, before placing her mottled and wrinkled forefinger on my lips to silence me.

“Opportunities never pass,” she utters knowingly. “They just get thinner, until they die.”

“They die?” I curiously petition.

“Yes. They die of starvation.”

She took one last sip of her milkshake, and then swept the remainder onto the floor for the staff to clean up. Valentina Plaque had roller coasters to ride, literal and metaphorical.

Space Medicine is coming to cinemas Australia-wide, and select streaming platforms, this August.

Chris Marlton is a comedian, writer, painter, and film-maker. Tickets to upcoming comedy shows are available at linktree/ChrisMarlton. Follow: @chris.marlton on Instagram @ChrisMarltonComedy on Facebook.

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Synergising GUILT The Guilty Feminist Deborah Frances-White Canberra Theatre Centre

“

I just felt like that’s what I was - a guilty feminist. All the feminists in the public eye seemed so strident and sure. I was like, ‘I want justice and equality but I also just binged three hours of Say Yes to the Dress. Can I still join the fight?’

”

By Chenoeh Miller

While putting together questions for the visionary and inimitable Deborah Frances-White, I found myself equally curious about the people at the helm of our beloved Canberra Theatre Centre, who are bringing the sensation of The Guilty Feminist to us. What made them welcome this insightful comedy targeted at women into their fold?

The offerings of Canberra venues are the result of the passion and personalities of the individuals who work there. Since the appointment of Alex Budd as Artistic Director in 2019, alongside other new faces, I have noticed a revitalised program that has breathed vibrant life in to the CTC. I reached out to one of their freshest faces, Natasha Vickery, who you may know through her exceptional acting skills that have weaved their way through many of our local venues. She is currently the Publicity and Communications Officer.

Natasha kindly obliged to share some thoughtful responses. Thankfully the sweetheart editor of this fine publication [helloooo! - BOSSMAN] allowed me to double the word count so that readers can enjoy a glimpse of these fine women.

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What was your favourite moment in the last 24 hours?

Deborah: Doing a sold-out riotous show in Newcastle in the UK. Playing Manchester and Glasgow and then jumping on a plane to Oz. When I was deep in lockdown, I thought I’d never see the day.

Natasha: I was at a funeral yesterday morning for a glorious woman who liked to swear an awful lot – hearing the F-word repeatedly in a chapel was a big highlight, and something she would have delighted in.

What is a stand out memory from the last time you were in Australia?

Deborah: My favourite ever Australian memory is keeping Julia Gillard as a surprise guest in Sydney and when I described her, @bmamag

before I even got to say her name, the roof came off the place. The sound engineer for the podcast said ‘you can’t hear who it is’. The roar!

‘Guilty’ and ‘Feminist’ are both powerful words. As a woman, feeling guilty is a usual and familiar state. The word ‘feminist’ is so often interpreted as an angry identity.

Can you cast your mind back to how you came up with this title, and how the content and guests have filled it out over the past few years?

Deborah: I had the name for ages before I did anything with it. I just felt like that’s what I was - a guilty feminist.

All the feminists in the public eye seemed so strident and sure. I was like, ‘I want justice and equality but I also just binged three hours of Say Yes to the Dress. Can I still join the fight?’

Natasha: As a people pleaser, ‘guilty’ resonates with me the most. I spend a lot of my time somewhat apologising for taking up space – I know I’m allowed to be big and loud, but this takes practice!

I think the title is a nice reminder that the stereotype of the ‘angry’ feminist isn’t accurate. A lot of us spend too much of our time wanting to be liked! Maybe I should be more angry!

Who is your primary audience? And is there a community that you would like to see more of, both listening to the podcast, and turning up to your shows?

Deborah: We are an unapologetically female space, and we have a big activated audience of women and people of marginalised genders. And gay men too. Straight cis guys do come, and I love them for it.

I cannot wait to be back with my Aussie audiences. We came every year - sometimes twice. Haven’t been able to for two-and-a-half years. Australian and NZ audiences are the best in the world. The first roar of the first crowd post lockdown? Tingles.

Why do you think Canberra audiences would want to see The Guilty Feminist live? Why does this show matter?

Natasha: The Guilty Feminist explores some very real and everyday struggles with enormous humour and compassion. I have never laughed so embarrassingly loud listening to a podcast on the train.

I think comedy opens people up to talk about the subjects that seem uncomfortable or taboo. I think Canberra audiences will discover a lot about themselves, and the women around them.

Can you describe a shocking moment that you experienced with one of your guests?

Deborah: The first time we played the legendary London Palladium, I found Emma facebook.com/bmamagazine

Thompson wandering around back stage.

She’d come out of the audience and talked her way past security because she wanted to talk to the audience about the importance of holding this space and having this kind of joy in our feminism.

Regale us with three things that you know about Canberra?

It was an incredible moment from a brilliant human being. I love her so much.

2) It’s from the Ngunnawal language kamberra - and means ‘meeting place’.

She also did some spontaneous stand-up comedy for us. Legend.

Many of your guests and reviewers have shared the importance of The Guilty Feminist. I am curious to know how you feel about its importance?

And why does it make your heart sing to share it with the world? (If it does that is).

Deborah: The world has never needed feminism more. Roe vs Wade. Afghanistan.

Ukraine. The global attitude to refugees and climate change from Draconian governments.

We need to resist. We need to be resilient. We need to be joyful. I can’t say enough that this tour will refuel us all for the fight. It’s comedy.

It’s deep dive conversation. It’s music. It’s life.

Deborah: 1) I went there on a school trip when I was 11. Strong memories of having morning tea at Parliament House. We all had to wear green and gold school colour beanies.

3) In my research before I bring The Guilty Feminist to Canberra for the first time I’ve started reading a thesis called ‘She gave me that look’ : a history of lesbian (feminist) community in Canberra 1965-1984 by Judith Ion. That’s a great title, isn’t it?

It sure is and I want to read that book!

The Guilty Feminist demonstrates a shared vision from both artist and venue to contribute to the resuscitation of important, relevant live performance. Plus it’s super fun!

All they need now is you.

WHAT: The Guilty Feminist podcast live WHERE: Canberra Theatre Centre WHEN: 17 - 18 July TIX: $56.90 - 69.90 + bf via venue

We love that you love fashion! Should we be donning our sparkles for your visit??

Deborah: I have a gold sequinned cape with ‘guilty feminist’ on the back - and a purple paisley lining. It’ll be making an appearance at every show. I also have some pointy heels I’m excited to tour with.

Natasha: When do we ever get the chance to don sparkles? I hope everyone is glittering from head to toe!

Is there something unexpected or suprising that Canberra audiences should know about Deborah or The Guilty Feminist?

Natasha: I don’t think she’ll mind me saying, because she’s made it public on the podcast, but Deborah grew up in a family of Jehovah’s Witnesses!

Plus don’t let her accent fool you - even though she sounds English, she grew up in Australia on the Gold Coast.

What can’t you live without?

Deborah: Guilty answer - magnetic eye lashes and good coffee. Feminist answer - water. So, we’d better start looking after the planet.

Natasha: This isn’t related to feminism in any shape or form – but I have to say, my Oodie. This feminist needs to keep warm in winter. Maybe I’ll find a sparkly one to wear to the show.

(Is it just me or do both these answers begin with an apology?)

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WAKE TO A

Photo: Maria Christina

Bright Morning, with Jack Carty

By Joshua Eckersley The best part about writing for a monthly entertainment and arts magazine is the regular exposure to great, new music that I haven’t heard before. Let’s call it one of the perks of the job. That’s right yuppies, I don’t need a company car. I get to listen to new music for a living, which, now that I say it out loud, I realise yuppies also get to listen to new music whenever they want, whilst swimming backstroke in a pool filled with gold coins.

Nevertheless, these perks tend to cut both ways, as I am also regularly reminded that I must live under a dusty old rock to have not heard the output of some of these amazing artists before. Hence, this month, it’s Jack Carty that is reminding me that my old rock needs dusting. The guy is a musical genius, so let’s just get into it already, before I start questioning my life-choices.

Independent singer/songwriter, Jack Carty, is a Brisbane-based artist, who has long been plying his trade across this great land and abroad, to great accolades and ovations. He has recently released his sixth studio album, Wake to a Bright Morning, which is a ridiculous example of talent and musical prowess, wielded by someone with an obvious gift for lyric and melody. Jack’s back-catalogue of albums and singles are rich with Brit-pop and alternativerock influences, from David Gray to Manic Street Preachers. Add in his unique Australian take on modern pop music and it’s basically just a question of what you are going to wear to his upcoming show at The Street Theatre this July?

Wake to a Bright Morning, released in March 2022, is a huge leap forward in songwriting for Jack, who has undergone some major PAGE 30

life-changes throughout the creative process.

Having two kids in 14 months with his wife, Tashi, is certainly life-changing enough, let alone factoring in anything else that reared its head within that timeframe.

Still, Jack has managed to craft ten poetic and sincere pop songs that capture real-life struggles and challenges we can all relate to. As Jack tells us: “As cliché as it might sound, all I was trying to do was make a record that felt true, both as an artist and songwriter.

“There are a few ideas that thread their way through the songs, like time, and the challenges of the digital age. But really, the unifying theme was just to write good songs and capture their essence as truthfully as I could. I’m really proud of how it turned out.”

Jack’s songwriting approach somehow pitches a surreal mix of melancholy against a more uplifting, joyous quality. This is certainly true of recent singles, Don’t Believe the Hype, and Dragnet, where the lyrical content sets a sombre tone, only to be elevated by the lush instrumentation and melodic phrasing. Jack’s masterful control of his song writing craft is something we all crave from artists as their careers progress, and they reach a state of fully formed potential.

Regarding his process, Jack reveals: “As I’ve gotten a bit older, and more confident, I’ve started taking my time with the kernels of songs, and the little ideas that bounce around in my brain that I know I’ll want to write about one day. Sometimes they’ll be in there for weeks or months, and I’ll be kicking them around whilst I’m in the shower or driving. By the time

inspiration strikes, I’ve already subconsciously done a lot of the groundwork.”

The new album was recorded and produced mostly by Carty himself, with a little help from his musician friends along the way. The process spanned three years, and took place in numerous living rooms, bedrooms, and spare rooms between London and Brisbane.

Jack tells us: “It’s amazing what you can do with a decent home studio these days. Having recorded in big studios, I’ve found that what home recording lacks, can easily be made up for by the absence of time pressures. You can be playful and experiment, and try things out to your heart’s content.”

Jack will be performing at The Street Theatre to launch Wake to a Bright Morning into the world, and he’s excited to get back in front of a Canberra audience again, and break in the new songs. He tells us: “I can’t wait! I’ve played at The Street Theatre a few times, both for my own shows, and opening for Katie Noonan. I’ll be travelling solo on this tour, and joined by the amazing local artist, Dana Hassall, to open the show. There’ll most definitely be stories, as I do like to have a yarn in between songs. It’ll be intimate, cosy, and perfect for the cold weather.”

Be sure to get in early, before this show sells out. It will be one to remember.

WHAT: Jack Carty - Wake to a Bright Morning Album Launch WHERE: The Street Theatre WHEN: Saturday, 23 July, 8pm TIX: $35 via thestreet.org.au @bmamag

The Power of Collective Memory

“

Photo: Luke Currie-Richardson

History is written by those in power, which then forms our collective memory. So, it is all inter-connected, but it all stems from who can tell that history in the first place.

”

By Joshua Eckersley This month, the Canberra Symphony Orchestra (CSO) brings us an exciting new project as part of their Australian Series, called Collective Memory. The project features pieces of music from five different composers, all connected by the themes of history, power and, of course, collective memory. One of the featured composers is Sydney-based rapper, drummer, and multi-instrumentalist, Rhyan Clapham (a.k.a. DOBBY), who spoke to us about his ancestral history, his passion for music, and the inspiration for this latest piece of work.

Rhyan Clapham proudly identifies as a Filipino and Aboriginal musician, and member of the Murrawarri Republic in Brewarrina, NSW. His musical journey started very early, with his mother’s strongly encouraged piano lessons, which led to drums, which then led to UNSW to study jazz.

From there, Rhyan completed an honours degree in Indigenous studies, focusing on Aboriginal hip hop music.

“I was studying and writing about my favourite Indigenous artists that I looked up to as an Indigenous person,” Rhyan tells us. “People like Jimblah, Munkimuk, The Last Kinection, Yung Warriors, and Briggs.

“That was very special to me, to have those different worlds of music and genres, between classical, jazz, hip hop, and Indigenous expression. Within all of that is the foundation of what I do now.”

In these defining years, Rhyan’s understanding on the impacts of clear representation of facebook.com/bmamagazine

Indigenous artists grew, realising the profound effect it has on the younger generation.

memory, and power, and the single word that kept coming back to me, was truth.”

“I bring my identity with me wherever I go, musically speaking, because I feel that representation is so important and so powerful.

The music that accompanies Rhyan’s vocals will be performed by the CSO, and includes flute, clarinet, piano, and cello. In terms of instrumentation, there is a deliberate attempt to bring stylistic facets of hip hop into the realm of classical music, such as loops, simplicity, and energy. This approach allows the story, and the words, to be championed and centred for the audience. Rhyan elaborates:

“When young blakfellas see an Indigenous composer, or a First Nations artist, they start to believe it in themselves, and it only happens when you see it in yourself. I’ve seen it again and again.”

Rhyan’s work on the Collective Memory project is a high-profile opportunity to continue his contribution to increasing awareness and representation of Indigenous culture. In doing this work, Rhyan has also set about educating himself further in the history of Indigenous Australia, and how that story has been misrepresented over time. This research has helped define the themes of history, collective memory, and power in his own mind, which will translate into a groundbreaking and dynamic live performance with the CSO. Rhyan explains: “History is written by those in power, which then forms our collective memory.

So, it is all inter-connected, but it all stems from who can tell that history in the first place.

“For myself, as a Filipino, Murrawarri man, a lot of my history is only now being told,” he continues. “In my own upbringing, it wasn’t embraced or even acknowledged in school, because history was very one-sided.

“That is what this piece means to me. I kept thinking about these three words; history,

“There should be no question about the power and capacity of hip hop music, especially in how directly you can tell your story. It is tied into protest music, counterculture, and truth-telling.

There is so much potential, and I hope a piece of work like this can prove that to listeners.”

The world premiere of Collective Memory promises to be an exciting exploration of the culture of these lands we inhabit. It is also a celebration of Indigenous identity, creativity, and music that is so important for our future. As Rhyan tells us: “There are a lot of people becoming open, willing, and embracing of Indigenous talent, and rightfully so. We still have a long way to go, but it is heading in the right direction.”

WHAT: Collective Memory WHERE: Atrium, National Museum of Australia, Acton WHEN: Thursday, 28 July, 6:30pm TIX: $30/$60 via cso.org.au/event/australianseries-collective-memory PAGE 31

All You Need Is Love, and Melinda Schneider…

By Joshua Eckersley learned, and hopefully help some people out there, because I really struggled for years.”

Award-winning singer-songwriter, Melinda Schneider, is heading to The Street Theatre in July, for an intimate performance in support of her latest album, Love Songs.

Melinda has managed to overcome this adversity to become a stronger, more empowered person on the other side. Her struggles with depression became the driving force behind starting her own independent label, Mpower Records, which now releases all her new music. She made this move to take back control of her career, in a way that only a strong woman like Melinda could do.

Melinda’s extraordinary musical career has spanned decades, with over 15 albums released, alongside some groundbreaking live shows, such as her theatrical telling of the life of Doris Day. Her new live show, Love Songs, will include some of Melinda’s biggest hits, alongside her hand-picked favourites from artists such as Dolly Parton, Carole King, and The Bee Gees.

“I have been with record labels earlier in my career and have had quite bad experiences,” she says. “The last ten years, I have been with Universal Records, and they have been fantastic, but in getting a bit older, I wanted to have complete control over my work and what I do. I decided to start Mpower Records, and I have been empowering myself ever since then.”

Both the show and the album were inspired by Melinda’s upcoming nuptials with her partner, Mark Gable, singer with legendary Aussie band The Choirboys. The happy couple, who have been together for 14 years, were in no great hurry to tie the knot, which changed when their son Sullivan stepped in with a big, bold idea.

In Melinda’s words: “He kind of proposed by saying, ‘I don’t want anyone else to marry you Mum, so can you please marry Dad?’ “With the challenges that we’ve all been through in the last few years, we all need as much love as we can get right now, so we said, sure, we can do that.”

The loved-up pair have locked in their wedding for September this year, leaving just enough time for an album release (back in March), a national tour, and a dozen other things Melinda has stuffed into her overflowing calendar.

You see, on top of everything else, Melinda is also an advocate for mental health issues, having partnered up with the Rural Adversity Mental Health Program (RAMHP) in 2020.

After being hit with depression in 2018, Melinda went public with her struggles, which eventually led her to become a strong voice on the topic of mental health. She now gives keynote speeches across the country, titled Be Gentle On Yourself, which is also the title of a song she wrote with Dave Faulkner from Hoodoo Gurus. Melinda PAGE 32

Melinda Schneider on stage as Doris Day released the song and launched the Be Gentle On Yourself website to promote and raise awareness for people struggling with mental health issues.

She tells us: “I went through two bouts of depression that really changed me a lot. In the end, it was less of a breakdown and more of a breakthrough, as it enabled me to let go of some things and just be myself.”

Melinda has been doing wellness talks all around regional NSW, with about six more scheduled this year. She explains: “It’s really gratifying and validating to talk about what happened to me, to share what I’ve

This newfound sense of positivity and empowerment is something Melinda is certainly grateful for, and it will be evident when she hits The Street Theatre stage with her Love Songs live-show. Supported by her talented 3-piece band (grand piano, double bass, and drums), Melinda’s singing and storytelling allows the audience a glimpse into both her world, and her heart.

“It’s a really uplifting show,” she says. “It takes you on an emotional journey, where you will probably have a cry, but you’ll have lots of laughs too. Hopefully, by the show’s end, you will float out on a cloud of unconditional love.”

For fans of classic love songs, this show is certainly something you will not want to miss.

WHAT: Melinda Schneider – Love Songs WHERE: The Street Theatre WHEN: Saturday, 16 July, 8pm TIX: $59 via thestreet.org.au @bmamag

facebook.com/bmamagazine

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[BEST OF CANBERRA MUSIC] LISA MAPS 21ST CENTURY CHILD [

]

21st Century Child is the final single from Lisa Maps’ upcoming sophomore EP.

The new one follows the 2xxFM track of the week, Thoughts and Prayers, and Black Summer (which Triple J’s Tom Forrest called ‘powerful’) and explores the anxiety and guilt of a generation facing the impacts of climate change.

Black Summer’s acoustic-guitar dominated flourishes have given way to another side of Lisa’s creative armoury, drawing on a barebones ‘band’ sound and a vocal performance with varying layers of rawness and dynamism to give life to a weighty, if not the most weighty, subject matter.

On 21st Century Child, the urgency of action and the troubling consequences of inaction, are reflected equally as persuasively in the song’s straight groove which, when matched with the lyric, the performances, and the chord progressions, becomes a sort of portentous protest march, with

THE AUSTRALIAN SKA COLLECTIVE EQUALITY STREET [

]

forgiving side of our nature.

This new track from newly formed Canberra outfit The Australian Ska Collective is an unashamedly direct and honest appeal to the less

Lisa’s use of upper and lower voice registers providing undulations of relief amid the dire inferences of the sentiment.

But intriguingly, her nuanced approach here acts as a complementary feature, self-assured, heedful, and attentive to the very uncertainty examined. The song’s rhythmic heart is leading us somewhere. We know from the melodic structures, the varied shades of Lisa’s vocal, and the complicit instrumentation that we should be apprehensive; this sense of apprehension is tastefully rendered.

21st Century Child reaches for a liturgical, ceremonial sort of tone, not only through the use of the attributes mentioned above but also via the surrounding contributions, the minatory, baritonelike backing vocals for one. Even the guitar’s brittle, churring resonances are almost organ-like in their sonic construction and application.

Can a musical interpretation of a response to such a significant predicament, one that attempts to delve, at least in part, into the more prominent aspects of such challenging territory, consist of anything but an artist’s lugubrious reflections?

Would any other method aptly represent the measure of concern?

Probably not. Lisa Maps’ 21st Century Child is a dutifully thoughtful, and accessible response.

VINCE LEIGH

The dynamic embedded into the rap segment of the track reflects the very idea explored here; a global cultural acceptance and merging that has developed and evolved as a stunning force of music power. And, as Equality St. reveals, a reverberant tool for exposing societal ills.

The track’s minimalist production allows for the robust declarations, and remains faithful to the genre.

It aligns itself—by using space, carefully interjected textures, and clean, close-sounding drums—to the cause, giving the impression of unity and cohesion.

A song revolving around the importance and necessity for inclusivity is always welcome, if not necessary. What sets Equality St. apart from other tracks with more cloaked appeals, aside from its unpretentiously irresistible skareggae charm, is its lyric approach, which merges a more traditional melodic style.

Again, concepts that are at the very heart of this song. Equality St.’s sly sense of joviality reels us in. Its unfolding supplications confront us (or not). And that juxtaposition makes this a valuable, persuasive artistic document. And a congenial, enjoyable one.

To whit, the introductory verses utilise low-riding vocal registers with rap, a structure that works to solidify and reinforce the overriding schema: a universal human right, the embrace and acceptance of all, irrespective of gender, race, disability, ethnicity...

Equality St. brings such considerations to the table, echoing off the rhythmically tenacious foundation and becoming almost joyful in its style of discourse, yet appropriating memorable sound bites such as, ‘I want you to be where you’re properly free’ or, ‘as long as you got a heart.’

PAGE 34

As David Hine, the brainchild behind The Australian Ska Collective, says: “It’s all part of a campaign I’ve initiated to promote Canberra as an inclusive and equality community, as well as a tourist destination.”

VINCE LEIGH @bmamag

HYG INTO THE NEW WORLD

Canberra band HYG has been steadily developing a reputation for putting on high[ ] impact live shows via their heady brand of krautrock and jazz-inspired experimental sound.

Despite taking cues from various other purveyors of art rock, the band’s latest track, Into the New World, is a hybrid instrumental that seems to straddle a heady conglomerate of genres.

Its plucky bass-fuelled introduction sets up the track’s thematic heart, a five-four pulse whose circuitous, wandering anchor point allows the various hues of the band’s radiant musical palette to create, throughout the track, a dense convergence of rhythm, sonic texture, and hypnotic emotional power.

The arrangement cleverly and evenly allows a swelling succession of attributes—the acquiescing drum parts after a minute, elevating pads soon after, more layers after that—to generate a sense of orderly, almost grand unearthly turbulence, one that eventually drops, or instead is extinguished like a blaze, segueing into a reiteration of the introductory signature phrase.

It isn’t too long before Into the New World indeed transports us into another, slightly differentiated musical realm. As if wrenched from the intestinal make-up of the primary melodic phrase, a Middle Eastern flavoured articulation emerges and takes hold, enveloping the surrounding build-

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up of textural and harmonic components, creating a new dominant entity, harnessing accented strikes, and igniting a feverish turn in the energy of the performances.

All constituents begin to percolate from this point, with high registered guitarlike (or actual guitar) wails in the distance juxtaposed like an entreating but concordant voice.

The listener is eventually pushed to the brink. A cascading pummelling by the entire suite of appropriated sounds follows— the hyperkinetic drums, the seemingly restless determination of the musical phrases, now all merged and submerged and riding out on a multitiered onslaught, the listener only too aware of the breathless finale that arrives.

VINCE LEIGH

PAGE 35

[BEST OF CANBERRA MUSIC] SPINNING PLATES NEON DESERT

Spinning Plates, the threepiece alternative rock band [ ] from Canberra, has just released Neon Desert. The new one follows the band’s 2020 single Spoils of War and is not so much a radical departure from that record’s myriad offerings, but instead a slight drift away from its much harder-edged components.

the ebullient musical bed, contains some of the track’s most satisfying moments—the high, stretched note that dissects it is a warming building block, leading us to the chorus brimming with multilayered, conclusive attributes.

Beneath the top tier of the chorus’ rolling form is a show of the band’s self-assured, pliant musical wares; a shifting chord progression underscores the importance of the kind of melody revealed—and this shifts too, these converging alliances creating quite a sophisticated mix.

The song surprises for many reasons, least of all its range of oscillating moods attached to each section.

After another cycle of this arrangement, some assiduous drum work takes us into a bridge whose vocal playfulness provides a gratifying counterpoint to the ensuing uplifted chorus repeats, with some of the performance heat dialled up, the guitar work fuelled, all of which colour the track with an emphatic intensity.

Neon Desert’s inviting introduction is immediately accessible, setting up the track’s melancholic tendencies without giving way to them entirely.

The verse melody relies on a sort of languorous structure and a conversational, unaffected vocal performance, aiding the lyric and establishing the hook dynamics without ever forgoing an exciting sense of urgency.

This all informs our experience of surprise when the pre-chorus delivers its touches of sweetness, and its restrained accents. The melody here, as it glides across

PAGE 36

Jerry Platt, Nick Markham, and Jonny King have delivered a spirited, focused track, brandishing a style crowned by attentive writing, a welcomed naturalistic vocal approach, and a sound that merges disparate references, in turn creating a thoroughly enticing whole.

VINCE LEIGH

@bmamag

ALBUM IN

FOCUS TALIESIN FACELESS

The five-piece progressive metal band from Canberra, Taliesin, has released their album Faceless. Originally formed in 1995, the band’s first album appeared in 2007 (The Tally of Lies and Sin) though there followed a long period of inactivity and personnel changes before the current line-up was solidified.

The band, Dave Howe (vocals), Richard Moseley (guitar/keys/vocals), Reuben Durham (guitar/keys/vocals), Chris Turk (bass, vocals) and Wayne Bateup (drums), aims high here—a concept album about a serial killer with the condition known as prosopagnosia (face blindness) who believes that his condition is the reason for why he is how he is.

The character first appears on Simple, the final song of the band’s debut collection. On Faceless, the subtle (and not-so-subtle) style-swerves across the range of songs reflect the concept album ethos. This bridges a broad sweep narrative that perhaps can only operate in this manner.

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It is evident from the album’s opener, Awakened

by Darkness, what we’re in for; that the musicians’ skills are up to the task of a ‘progressive metal concept album’ is immediately apparent.

This track points to what is impressive about this musical venture; accessible melodic lines supported by a metal slash progressive hard rock underpinning, the power balance of this relationship alternating with the use of varying dynamics.

During some songs, these elements jostle or flow effortlessly into one another, but one always gets the sense that they are emitted from the same source. This source comprises musicians whose skills are evident—in the performance department and the songwriting.

At times it’s viscerally searing, such as in My Sleeping Prize. Its more traditional metal tropes provide a stalwart facet to the established whirlpool of shades.

Elsewhere, Taliesin generate a more sombre form of majesty, as revealed on the tracks Reflection

and Faceless Women, with their juxtapositions of bleakness— the lyric—and orchestral like confluences.

The album is cohesive in its application. One gets a good sense of the narrative arc, even if one is focusing merely on the music alone. There are diverging intensity levels, too, as one expects from such a record. The kinds that undoubtedly reflect the band’s studious intent and admirable creative ambitions.

VINCE LEIGH

PAGE 37

FILM REVIEWS

HOW TO PLEASE A WOMAN

LA BRIGADE [THE KITCHEN BRIGADE]

[

[

]

In How To Please a Woman, Sally Phillips plays Gina, whose otherwise unremarkable 50th birthday is marked by losing her job as an insolvency practitioner and finding a male stripper-cum-gigolo, Tom (Alexander England), on her doorstep as a gift from her swimming buddies. Once Gina takes up Tom’s offer of “anything you want” by asking him to clean her house, she realises that she may be onto a business opportunity, offering housecleaning by men for women.

In fact, Tom has just taken up this work in expectation that Gina’s former employer will be winding up the business of his own employer, Steve (Erik Thomson), as a removalist; so Gina puts her business idea to Steve and his team, acquires the business before it is closed down, and lets her swimming buddies know of the opportunity to have their homes cleaned by a man. But they have other ideas about how to use an attractive man!

When Gina is eventually persuaded to let the customers decide what they want, she doesn’t realise quite how hot the water may get. It’s tricky to navigate people’s needs, but this isn’t a great problem, as in fact Gina’s sensitive, discreet nature allows her customers to express those needs. The major problem may be the long arm of the law.

A film dealing with frustrated female sexual desire and women’s solutions to it risks turning either cringey or preachy. How To Please a Woman, I’m pleased to report, does neither.

In this jolly tale, beautifully filmed and edited in Western Australia, Renée Webster has created, as her writerly and directorial feature-film debut, a warm, funny, visually appealing masterpiece of tasteful comedy that is risqué without crassness and sensitive without prudery; a kaleidoscope of clever double entendres, honest sexual conversation, and lovely character studies that fulfills the great comic potential of a taboo topic.

Gradually focusing on the relationship between two unlikely protagonists, providing a refreshing take on a frustration all too common, How To Please a Woman manages to maintain the laughs throughout; it is, before all else, very funny.

—JOHN P HARVEY Last screenings at Palace, Dendy, and Hoyts cinemas, availble to stream shortly.

PAGE 38

]

Cathy (Audrey Lamy) is a brilliant sous chef in the kitchen of the famous Lyna Deletto (Chloé Astor). But Cathy has a problem: Deletto overrides Cathy’s judgment in the kitchen.

Having had enough, Cathy walks away, but finding new work is hard. Her friend Fatoumata (Fatou Kaba) steps in to find a job for her as chef in a cosy restaurant — which turns out to be the cafeteria of a shelter for migrants. It’s hardly a position for a chef of Cathy’s standing.

But the shelter’s director, played by François Cluzet, is obviously good-hearted, and Cathy could not have received a warmer welcome from teacher and all-rounder Sabine (Chantal Neuwirth). A financial reality check leads her to take the position temporarily, initiating an unexpected lifechanging journey by Cathy and the young men in the shelter whom she is now responsible for feeding.

Many of the residents are keen to help — a fortunate thing, as Cathy can’t produce timely meals to her own exacting standards for the number of residents there without help.

Not all the young men initially respond respectfully to Cathy, though, and Cathy is unused to receiving less than professional respect. So some of her relationships at the shelter get off to a rocky start.

The Kitchen Brigade treats audiences to a memorable cast of characters: the celebrated but snobby Lyna Deletto; the outspoken and self-confident Fatou; the all-embracingly kind Sabine; the dedicated director; and the fantastic young men who play the roles of the migrants.

The Kitchen Brigade offers a thoughtful look at some of the difficulties migrants face in their quest to escape poverty, violence, and hopelessness, and to make better lives for themselves and their families. The film makes no suggestion that there are easy answers. Rather, it takes us into the hearts and minds of a group of people just trying their best on both sides of the equation.

A gentle testament to the best of the human spirit, and to the power of listening and accepting and getting on with doing whatever we can, The Kitchen Brigade takes on a very real and common story with a light and engaging touch.

—MICHELE E. HAWKINS Screening at Palace Electric. @bmamag

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PAGE 39

And come 22 July, how’s this for a fucken blast from the past: Nick Skitz & Colin Hennerz will be throwing out NRG & hardstyle bangers with supports Callum Mcintosh, Fuentes Brothers, Jorgo, Edstar and Daz. Tix $16.18 - $21.28 via nickskitzcolinhennerz.intix.com

THE DROP

Of particular note for this little column scribe is the mighty international drum & bass heft of Matrix and Futurebound.

[THE WORD ON EDM/DANCE MUSIC] WITH ALLAN SKO - ALLAN@BMAMAG.COM

Welcome one and all to another instalment of your monthly dollop of dance-related delectables. Despite the Coves still being rife (I finally copped the bastard) the EDM calendar hasn’t looked this exciting in a long old time.

Plumps & Krafty Kuts Reeling In The Years Speaking of, big shout out to all of you who made it along to Plump DJs and Krafty Kuts at the eventual venue of One22 (was scheduled for the usual Friction Presents home of Assembly before noise complaints quashed that, grrrrrr; then was installed in Transit Bar before a very last-minute pivot to One22).

It was a magical late Sunday afternoon/early eve; a veritable school reunion of everyone I used to party with in the 2000s and early ‘10s who I hadn’t seen in a literal decade. Lee ‘Plump’ Rous and Martin ‘Krafty’ Reeves put on absolute bangers of sets. Reeves switched genres, played bootlegs and megamixes up the wazoo, used vocal samples to be his own MC, and scratched up a storm. While Rous playing a greatest hits of what is now over two decades worth of big tunes interspersed with new gems equally well received.

Pioneers of the genre for over two decades via the mighty Viper Recordings label, they are responsible for one of my fave LPs in Universal Truth (treat yourself and listen to Sandstorm for some sheer liquid bliss). They hit Fiction on Sunday, 24 July, and are joined by DJ HRH, Tidy & Samwise, Karnotix, and Kaliopi. From 8pm, $16.18 via dnbjuly.intix.com And you can head to fctn.intix.com for further info and tix on this broad spectrum of EDM entertainment.

Taking a sideway look at EDM offerings Over to sideway action now, and the little-venue-that-could are proving once again they’re a force to be reckoned with.

In fact, so enamoured was an ecstatic Lee that after the show, the man declared to me that it was the best gig he’s had in over a decade (and this man has played the world entire). He reiterated this after on Twitter, so he ain’t lying.

From past parties to future funtimes, we have two venues giving us a smorgasbord of different dance delights, a new exciting night in an unexpected venue, and a slick new festival to look forward to.

Pumped Fiction Starting with mainstay Fiction, their Fridays are throwing up a musical kaleidoscope of wonder. To whit: On 1 July, there’s the big bass and high energy of Dimatik & Restricted with supports Haylee Karmer, Take-Tu, Toucan, Daz, and Edstar. Tix $21.28 via dimatikrestricted.intix.com 8 July delivers epic bangers across the UK bass/garage and drum & bass spectrum via UK trio Gentlemens Club, with supports Artinium (SYD), Netizen, Kaliopi, Karnotix, Daz, and Edstar. Tix $21.79 via gentsclub.intix.com 15 July, it’s the local drill wave & controversial rap stylings of Onefour with supports Atu, Kilusan, Trigga, Tai, Bilolo, Edstar and Daz. Tix $52.22 via onefour.intix.com PAGE 40 PAGE 18

SW INHOUSE w/ Middle Name Dance Band, Sampology, plu + friends - a cross-pollination of house, jazz, and soul from collaborative supergroup of Sampology, KUZCO & Sam Stosuur - Friday, 8 July. $20-$25 + bf.

Neighbourhood Watch #11 - the monthly club night for local DJs by local DJs returns with sets from Fraiser Brigz, Mia Sorlie, and Sardines - Saturday, 9 July. $10 + bf.

Moopie + Bayu - All Night Long - a night of raucous dance heat, with the two delivering a “wide ranging taste and a real intuition for the craft”. - Saturday, 16 July. $20-$25 + bf.

Tix for all sideway events are through Humanitix.

And later on, 18 September at sideway, is the Infinity Worm festival after party, which segues neatly into me telling you all about that rather exciting venture. @bmamag

To Infinity Worm, and beyond!

Actually, instead of me telling you about it, why don’t I pass this over to the crew themselves: “Infinity Worm is a new one-day annual electronic music festival in Canberra, Australia, featuring two covered stages, Hi-Fi sound systems, and a custom-built lighting design by Colourblind Lighting - the lighting team behind Dark Mofo, Vivid Sydney, Suncycle, and Coachella.

“Infinity Worm is not bound by genre or sound - instead, we are dedicated to an exploration of high quality music in any form it takes - coupling this with a complex, idiosyncratic world-class lighting design.

“Conveniently located just 20 minutes from Canberra CBD, our venue is built into a scenic valley with both the Infinity Stage and Worm Stage covered from the elements. A fully licensed permanent bar will operate on-site too.

“Expect intelligent jungle, drum & bass, braindance/ intelligent dance music, abstract dance, experimental & cinematic techno, dubstep, live electronic jazz bands, and much more.”

The list of acts are too numerous to list without being boring, so feast your eyes on that lovely graphic below and drink ‘em on all. Go on… DRINK ‘EM!

Sessions. Their modus operandi is: “Forget the nightclubs - get up close and intimate with some of Canberra’s best up-and-coming DJ/producers at Smith’s Alternative.”

The Saturday, 23 July iteration of the sessions features EDM and housemeister Eloria, party DJ extraordinaire Gin & Sonic (great name), house party specialist Milky, and versatile newcomer Oblvvn. Tix are a steal at $10 via the venue, and aren’t expected to last.

Speaking of which, in fantastic news - particularly if you’ve scored a ticket - this year’s Spilt Milk festival has SOLD OUT, and not just the 26 November Canberra fest.

The Ballarat and Gold Coast ones too.

Tickets are $32.74 – $80.21 and are available from 1 July via Eventbrite.

An auspicious start for their first tour, and The Drop extends a hearty congratulations to Kicks and team. You can head to spilt-milk.com.au to get on a waiting list.

For something that’s the same but different, local partymakers Capital Underground are proud to present a night of tech/deep/house under the banner of The Smith’s

Right, that’s plenty for you to sink into. Sally forth, and let your feet fly, my pretties.

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PAGE 41 PAGE 19

ENTERTAINMENT GUIDE

THURSDAY 30 JUNE Lexi Sekuless and Belco Arts present a Sonnet for Sondheim The team that brought you Songs & Sonnets are back with a sumptuous evening of Sondheim songs in a tribute to language and lyrics. Enjoy an evening of the highest highs and the lowest lows with an exploration of poetry

by Elizabeth Barrett Browning, Shakespeare, and Emily Dickinson alongside energetic dance numbers, and the music of Sondheim. 29 June - 2 July, $40 - $45 via venue

BELCONNEN ARTS CENTRE

X-Mas In July The French Christmas spirit is coming to Canberra. Authentic wood huts, Christmas lights, falling snow, mulled wine bars, melted cheese stations, live concerts… It’s all about the magic of a white Christmas.

Free entry

PARKES PLACE LAWNS

Northbourne Single Release Northbourne are set to release another amazing new single... but which one will it be? 7pm, tix $15 via Oztix

THE BASEMENT

Quality Used Cars + Big Veranda + Spouse Naarm alt-country outfit Quality Used Cars make the trek to Canberra, with Big Veranda and local rockers Spouse. Free entry, doors at 7pm, music from 8pm

SIDEWAY

FRIDAY 1 JULY Canberra Metal Fest 2022 Canberra Metal Fest is a benefit concert, donating to Headspace Canberra, showcasing over 30 of Australia’s finest metal bands over two huge days! From 6pm, tix $130 + bf for both days via Oztix

THE BASEMENT

Zambezi Sounds Zambezi Sounds hit Smith’s Alternative for another session of danceable AfroCaribbean-African Grooves!

9:30pm, tix $15/$20 via venue

SMITH’S ALTERNATIVE PAGE 42

X-Mas In July The French Christmas spirit is coming to Canberra. Authentic wood huts, Christmas lights, falling snow, mulled wine bars, melted cheese stations, live concerts… It’s all about the magic of a white Christmas.

Free entry

PARKES PLACE LAWNS

The Johnny Reynolds Band The Johnny Reynolds Band are a highly engaging funky, bluesy, atmospheric rock show that amazes all who attend. 8pm, free entry

CANBERRA IRISH CLUB

Lexi Sekuless and Belco Arts present a Sonnet for Sondheim The team that brought you Songs & Sonnets are back with a sumptuous evening of Sondheim songs in a tribute to language and lyrics. Enjoy an evening of the highest highs and the lowest lows with an exploration of poetry

by Elizabeth Barrett Browning, Shakespeare, and Emily Dickinson alongside energetic dance numbers, and the music of Sondheim. 29 June - 2 July, $40 - $45 via venue

BELCONNEN ARTS CENTRE

SATURDAY 2 JULY X-Mas In July The French Christmas spirit is coming to Canberra. Authentic wood huts, Christmas lights, falling snow, mulled wine bars, melted cheese stations, live concerts… It’s all about the magic of a white Christmas.

Free entry

PARKES PLACE LAWNS

Canberra Metal Fest 2022 Canberra Metal Fest is a benefit concert, donating to Headspace Canberra, showcasing over 30 of Australia’s finest metal bands over two huge days! From 2pm, tix $130 + bf for both days via Oztix

THE BASEMENT

Guitar Case Troubadours Original toe-tapping boogie, blues, and alt country music from Canberra’s hardest working duo. 2pm

OLD CANBERRA INN

Lexi Sekuless and Belco Arts present a Sonnet for Sondheim A sumptuous evening of Sondheim songs in a tribute to language and lyrics. An exploration of poetry by Elizabeth Barrett Browning, Shakespeare, and Emily Dickinson alongside energetic dance numbers and the music of Sondheim. 29 June - 2 July, $40 - $45 via venue

BELCONNEN ARTS CENTRE

Ashleigh Hazel Procedural Regeneration With support from s.wells and Flik. 7pm, $10/15 via Oztix

GANG GANG CAFE

Dancing in the Shadow of Motown Don’t miss this 10-piece powerhouse all-star band featuring internationallyacclaimed artists playing classic hits from The Temptations, Stevie Wonder, The Supremes, Marvin Gaye, Martha and Vandellas, Four Tops, Jackson Five, and more.

6:30pm, $42.86 via Eventbrite

HARMONIE GERMAN CLUB

Highland Light 300 K’s EP Launch To celebrate the release of their debut EP 300 K’s, Highland Light are putting on a very special show with the amazing Ricky’s Breath (Bathurst), Rental Snake, and NORA. 7pm, $18.07 via Moshtix

UC HUB

Hannah Acfield - No Light Without Shade LP Launch Soul folk singer-songwriter launches her acclaimed new album. 7pm, $15/$20 via venue

SMITH’S ALTERNATIVE

Oh So Fabulous!

Viridian Mint is dusting off her old Producer’s Hat and is bringing a show you don’t want to miss. 9:30pm, $25 via venue

SMITH’S ALTERNATIVE

Los Chavos + The Decideds Come out and see two of Canberra’s most captivating bands team up to deliver a double header that will leave you wanting more. Original music blending Latin, gypsy, disco, and swing. Bring your dancing shoes! 7:30pm, $25 via Trybooking

LIVE @ THE POLO

SUNDAY 3 JULY X-Mas In July The French Christmas spirit comes to Canberra. Authentic wood huts, Christmas lights, falling snow, mulled wine bars, melted cheese stations, live concerts… Free entry

PARKES PLACE LAWNS

James Southwell Live Southwell’s music comes from a deep love of the blues with heavy inspiration from rock ‘n’ roll influences. 2pm

QUEENIES AT KINGSTON

Jen & Jim Combining lounge grooves, rock, blues, and pop, Jen & Jim merge soulful harmony with guitar to form a compelling duo. 4pm

OLD CANBERRA INN

Guitar Case Troubadours Original toe-tapping boogie, blues, and alt country music from Canberra’s hardest working duo. 4pm

DICKSON TAPHOUSE

TUESDAY 5 JULY Comedy @ The Basement See Daniel Townes, Phill Carruthers, Suma Iyer, Callum Doherty, and your MC Marky Worthington. 7pm, free entry, register spot via Oztix

THE BASEMENT

WEDNESDAY 6 JULY Canberra Comedy Club Ellen Briggs Comedy Club line-up show hosted by Emo Parsonson, with supports. 7:30pm, $22 via Trybooking

VERITY LANE MARKET

THURSDAY 7 JULY Amy Shark - See You Somewhere Australia Tour “I’m the happiest on stage performing and I can’t wait to travel further into Australia where I’ve never been before, explore the towns and meet everyone. It’s going to be a fun one,” says Amy about her epic 42-date tour. 7:30pm, $93.50 + bf via venue

CANBERRA THEATRE CENTRE

@bmamag

ENTERTAINMENT GUIDE The Funky Mushroom presents: The Canmandu Night Legendary blues rock outfit from Kathmandu, Mukti and Revival, with Asmita Adhikari, Mahesg Kafle & Mud Bloods.

7pm, $25/$35.20 via Oztix

THE BASEMENT

The Flying Photon with Rachel Rayner, Science Explainer Celebrate colours of light you’ve never even seen in this quantum comedy. 7pm, tix via venue

SMITH’S ALTERNATIVE

The Year of Magical Thinking Joan Didion’s celebrated memoir is brought to life by Green Room Award-winning actor Jillian Murray in a critically-acclaimed solo performance that reunites her with director Laurence Strangio (L’amante Anglaise tour 2019). 7 - 9 July, 8pm, tix $45 - $65 via venue

THE Q THEATRE, QUEANBEYAN

FRIDAY 8 JULY Amy Shark - See You Somewhere Australia Tour “I’m the happiest on stage performing and I can’t wait to travel further into Australia where I’ve never been before, explore the towns and meet everyone. It’s going to be a fun one,” says Amy about her epic 42-date tour. 8pm, $93.50 + bf via venue

CANBERRA THEATRE CENTRE

Zeppelin Room Launch You will have to hold on tight for this adrenaline-filled show that’s set to rock the German airship harder, louder, and clearer than ever before. With Taliesin doing a Pink Floyd tribute, Goose playing funk rock, and Black Dogs doing a Led Zeppelin experience. 6pm, $32.57 – $69.31 via Eventbrite

HARMONIE GERMAN CLUB

The Year of Magical Thinking Joan Didion’s celebrated memoir is brought to life by Green Room Award-winning actor Jillian Murray in a critically-acclaimed solo performance that reunites her with director Laurence Strangio (L’amante Anglaise tour 2019). 7 - 9 July, 8pm, tix $45 - $65 via venue

THE Q THEATRE, QUEANBEYAN

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Total Buzzkill - Only One to Blame EP Launch Heavy hitters Total Buzzkill are taking their newest release Only One to Blame to the stage, starting with a huge night in Canberra.

With B.C. and Vola Inertia.

7pm, tix $15 via Oztix

THE BASEMENT

Bella Taylor Smith: Look Me In The Eyes EP Launch Crystalline, intimate, endlessly supple and warm, Bella Taylor Smith’s voice has become one of the most identifiable new sounds in Australia. 8pm, $55 via venue

THE STREET THEATRE

Kopasetic Kopasetic are a roots, folk, and reggae outfit. The fivepiece draw from a diverse range of musical influences and are known for the musicianship behind their originals, contemp covers, and instrumentals. 8pm

CANBERRA IRISH CLUB

Indie Nite DJs Dress code - like a robot from 1984. The best outfit in the club wins a $100 prize! 7pm, tix $30 via Oztix

THE BASEMENT

SATURDAY 9 JULY Moondog A master of the blues harmonica and a formidable guitarist & singer-songwriter.

From 2pm

OLD CANBERRA INN

The Tuesday Weld Experience + Divine Devilles The Tuesday Weld Experience have joined forces with those multi-talented gals from Divine Devilles to bring you an afternoon full of bluesy, jazzy, swinging tunes and original pop/country ditties about lost love and loneliness. There’s something for everyone! 3pm, tix $10/$15 via venue

SMITH’S ALTERNATIVE

Paco Lara in Concert Australia’s own Spanish-born, critically acclaimed flamenco guitarist, Paco Lara, presents a wondrous eve of Spanish guitar. 6pm, $30/$35 via venue

SMITH’S ALTERNATIVE

PAGE 43

ENTERTAINMENT GUIDE Questfest 2022 Questfest is a fantasy music festival featuring a mix of bands and other performers, stalls, cosplay, and games!

7pm, tix $25 via Oztix

THE BASEMENT

Renae Stone Renae performs a wide range of popular covers songs, including today’s top 40 pop, dance and R&B hits, as well as an extensive range of poprock classics. 2pm

Fanny Lumsden + The Pack: Deep In The Fallow Tour Fanny Lumsden and her band The Pack are bringing Fallow out on its last hurrah. 7:30pm, $18/$35/$65 VIP via venue

QUEENIES AT KINGSTON

Jeff & Deej Canberra-based traditional and contemporary acoustic roots music duo DJ Gosper & Jeff Prime. 4pm

Ball Park Music Ball Park Music head out on the road for the first headline tour in four years. 8pm, tix $86.07 via Moshtix

Chris Harland Blues Band Every CHBB set remains a memorable, musical event, revisiting the best of the blues standards: B.B. King, Buddy Guy, Muddy Waters… the list is long, the excitement sustained. 4pm

THE STREET THEATRE

UC REFECTORY

British India The 3-time ARIA nominated indie rock band are back on the road for their first live shows of 2022! 8pm, tix $39.90 via Moshtix

UC HUB

Peach Lane Blush Single Launch Peach Lane is emerging from hibernation to release their luscious new track Blush.

Enjoy some new songs, some old songs, and some delightful opening sets from Lily Morris and Tupperware Party.

7pm, $17.35 via Oztix

GANG GANG CAFE

The Year of Magical Thinking Joan Didion’s celebrated memoir is brought to life

by Green Room Awardwinning actor Jillian Murray in a critically-acclaimed solo performance that reunites her with director Laurence Strangio (L’amante Anglaise tour 2019).7 - 9 July, 8pm, 2pm matinee, $45 - $65 via venue

THE Q THEATRE, QUEANBEYAN

SUNDAY 10 JULY Helena Pop - So Long And Thanks For All The Gigs “Our 99th and farewell show has arrived! Keen to see you all there bright and early, along with our friends Hedy Blaazer and Albert Blank and some secret guests.” From 6pm, entry on the door

GANG GANG CAFE PAGE 44

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DICKSON TAPHOUSE

The Hard Aches Party Ghost Tour Beloved rockers The Hard Aches tour their first new single since 2019, Party Ghost, a lightning strike of a song that explores finding comfort in the uncomfortable. 7pm, $35.02 via Moshtix

UC HUB

MONDAY 11 JULY Disentomb & Defeated Sanity with Wraith & Terra Mortem Australia’s death metal powerhouse Disentomb return to stages across the nation for the first time in the post-pandemic era to unleash their dissonant brand of brutality alongside their brutal death genre-bending cohorts, Germany’s Defeated Sanity. 7pm, $34.60 via Oztix

THE BASEMENT

TUESDAY 12 JULY Canberra Youth Theatre: SCRATCH An opportunity for emerging artists to meet, experiment with new material, and showcase work in front of a supportive audience. See the raw, rough, risk-taking work of CBR’s hottest artists before anyone else. 6pm, tix $5 via venue

SMITH’S ALTERNATIVE

Thornhill Heroine Tour With supports Dayseeker (USA), Gravemind, and Banks Arcade. 8pm, tickets $39.90 via Moshtix

UC HUB

WEDNESDAY 13 JULY Story + Party: True Dating Stories You’ll hear true dating stories that will make you feel better because, let’s be honest, it could be worse. Comedy, 7:30pm, tix $40 via venue

THE STREET THEATRE

THURSDAY 14 JULY Steve Kilbey: Heyday & Starfish Supported by Canberra’s own Kim Yang, Steve will perform songs from classic The Church albums, Starfish and Heyday. The acoustic show will feature stories and anecdotes from this rock legend.7pm, tix $50 via venue

BELCONNEN ARTS CENTRE Urinetown: The Musical This hilarious musical satire takes the piss out of the legal system, capitalism, bureaucracy, and musical theatre itself! Hilariously funny and touchingly honest, Urinetown is the winner of three Tony Awards, three Outer Critics Circle Awards, two Lucille Lortel Awards, and two Obie Awards. 14 - 24 July, $58–$150 + bf via venue

CANBERRA THEATRE CENTRE

NORA Debut EP Launch NORA is heading out to celebrate their debut EP Black Wattle. Join them for their hometown show at The Basement with Nina Leo, Lost Coast, and Spouse. 7pm, tix $18 via Oztix

THE BASEMENT

Alright Hey! A Night with Australia’s Biggest Glamazon An easy mix of humour and important messaging, a personalised connection, and a going-through of important and relatable life journeys.

7pm, $39.90 via venue

THE STREET THEATRE

Kallidad Kallidad combines Spanish guitar sorcery with rock ‘n’ roll energy to create a once in a lifetime sound. 9:30pm, tix $20/$25 via venue

SMITH’S ALTERNATIVE

FRIDAY 15 JULY Vision - TRIFORCE + Fabio Leal (Brazil) Vision is back for a midwinter techno stomp with two legends of the international dance scene. Featuring Nuronix, Humanizm, Fern, and Loose Cannon. From 6pm til late, tix $29.60 via Oztix

THE BASEMENT

Kronoceptor Kronoceptor’s symphonically progressive power metal act will be joined by the dominating riffs and licks of prog-metal band Axiomatic Theory and the epic power/folk themes of Mirrorshield. 7pm, tix $13.30 $18.40 via Oztix

THE BASEMENT

Super Rats Super Rats play urban folk music from the smoky dens of old Bucharest. Above a propulsive wave of rhythm, Turkish-tinged melodies take flight on violin, accordion, and the 145-stringed cimbalom.

7pm, tix $20/$25 via venue

SMITH’S ALTERNATIVE

Lloyd Spiegel Trio The trio allows Spiegel a little bit of extra scope to bring the flavours of his albums to life in concert. The grooves are deeper, New Orleans is in the house, and the joint will be rocking. Joining Lloyd is trombonist Lisa Baird and Tim Burnham on drums. 7:30pm, $30 + bf via Humanitix

HARMONIE GERMAN CLUB

Carnival Road Carnival Road is a Canberra based original band, performing a special blend of folk/ blues/roots/alt rock. 8pm

CANBERRA IRISH CLUB

Jerez Flamenco Dance that’s wild and joyous, tempered and dark, like its four strong artists. 8:30pm, $55 - $65 via venue

THE STREET THEATRE

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ENTERTAINMENT GUIDE

SATURDAY 16 JULY Melinda Schneider: Love Songs Multi Golden Guitar Award winner and chart-topping singer/songwriter, Melinda Schneider, presents Love Songs: an intimate two-hour concert production featuring Melinda’s award winning hits, plus the greatest love songs from some of Melinda’s most cherished singer-songwriters.

8pm, $59 via venue

THE STREET THEATRE

Johnny Huckle Award winning performer Johnny Huckle is a proud Wiradjuri singer, songwriter, and guitarist. 2pm

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Bingo Loco Canberra Gear up for a night of Bingo complete with Rave Rounds, comedian MCs, lip-sync battles, confetti cannons, and insane prizes! 6:30pm, tix from $53.73 via Eventbrite

HARMONIE GERMAN CLUB Solarcoaster Solarcoaster are coming for their very first interstate gig.

Joined by The Grand Union + Sorrento & The Deliquents to provide one hell of a party!

7pm, tix $20 via Oztix

ABYSS BAR @ THE BASEMENT

Rammstein - Tribute Show A 90-minute set performed by Rammlied, with Morphology performing Morphine, and Mila Haske performing acoustic ‘90s/‘00s hits. Plus, they’ll have pyro and lighting effects to top it all off! 7pm, $29.60 via Oztix

THE BASEMENT

Possum Magic Tour With Midnight Removalists, The James Brothers, and The Puffer Jackets. 7pm, tickets $10 via Oztix

GANG GANG CAFE

SUNDAY 17 JULY Jen & Jim Live Combining lounge grooves, rock, blues, and pop, Jen & Jim merge soulful harmonies with guitar to form a compelling duo. 2pm

The Guilty Feminist Live Less of a podcast and more of a global phenomenon, The Guilty Feminist, hosted by Deborah Frances-White and featuring world class guests, is part comedy, part deep dive discussion, part activism. This is the show that proves you don’t have to be perfect to be a force for meaningful change.

Come join The Guilty Feminist live and be part of this joyful movement. 7pm, tix $56.90 $69.90 + bf via venue

CANBERRA THEATRE CENTRE

Tash Eloise “The one thing that keeps me going is music, and the people that have always been there supporting me,” says Tash. 4pm

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Tim McNally Canberra singer-songwriter extraordinaire. 4pm

DICKSON TAPHOUSE

MONDAY 18 JULY The Guilty Feminist Live Less of a podcast and more of a global phenomenon, The Guilty Feminist, hosted by Deborah Frances-White and featuring world class guests, is part comedy, part deep dive discussion, part activism. This is the show that proves you don’t have to be perfect to be a force for meaningful change.

Come join The Guilty Feminist live and be part of this joyful movement. 7pm, tix $56.90 69.90 + bf via venue

CANBERRA THEATRE CENTRE

THURSDAY 21 JULY Fit For An Autopsy Fit For An Autopsy return to Australia on a headline tour in support of their newest album Oh What The Future Holds.

8pm, tix via Moshtix (sold out at time of print; contact venue for possible waiting list)

UC HUB

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ENTERTAINMENT GUIDE

FRIDAY 22 JULY Okay Dane Goldfish Tour Okay Dane celebrate the release of their latest single Goldfish, bringing their energetic and cathartic live show to a stage near you. Joining them for their stopover in Canberra will be two local legends in The Dirty Sunflowers and Signs & Symbols. 7pm, tickets $18.40 via Oztix

THE BASEMENT

For The Love Of Purple Celebrating the 50 year anniversary of the iconic Deep Purple Machine Head album!

Featuring former members of The Radiators, Mental As Anything, Richard Clapton, and Dee Minor & The Dischords, all paying tribute.

7pm, tix $35.20 via Oztix

THE BASEMENT

A Night of Latino & Electro Grooves Pachamama and Apparition, with two distinct yet related styles, create something new.

7pm, tix $27.33 via Eventbrite

HARMONIE GERMAN CLUB

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John Floreani John Floreani is inspired by romantic tragedy and beauty in life’s most simple phenomena.

A lyrical deep dive into heartache, addiction, and selfloathing, Floreani released his debut album this year to a heartwarming global response along with sold out headline shows in Australia, USA, and the UK. 8pm start, tickets $40.13 via Moshtix

UC HUB

Echo Theatre Presents This Changes Everything A group of disillusioned young people have disappeared. On a platform out at sea, they have formed The Community – a new type of society and a better way of living. But how can you change the world if you’ve taken yourself out of it?

Written by Joel Horwood; Directed by Jordan Best. 22 30 July, 8pm + 2pm matinees, $25 - $45 via venue

THE Q THEATRE, QUEANBEYAN

SATURDAY 23 JULY

SUNDAY 24 JULY

Royale With Cheese Ultimate ‘90s Rock Show!

Australia’s premier ‘90s party show, playing rock and pop covers – including Seattlesound to grunge to Britpop and all the best Oz Rock – from one of the most influential decades in rock. 7pm, $45 via Oztix

Matrix and Futurebound Pioneers of the drum & bass genre for over two decades via the mighty Viper Recordings label, the UK duo are joined by supports DJ HRH, Tidy & Samwise, Karnotix, and Kaliopi.

From 8pm, tix $16.18 via dnbjuly.intix.com

Jack Carty - Wake To a Bright Morning Album Launch Honest, layered, lyrical, emotive, and at times acerbic, Wake To a Bright Morning is Carty’s most accomplished work to date in a growing catalogue of award-winning gems, spanning indie-folk vignettes to cinematic chamber pop. 8pm, $35 via venue

The Prettirinas The plucky twin songsters will be playing originals and covers from 2pm

Lacklustre Records Present Pious Faults, G2G, and Kilroy One of Oz’s best punk bands meet up with the soundboard of riotous happy-fun-time music G2G. Joined by postpunkster locals Kilroy. 7pm

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THE BASEMENT

THE STREET THEATRE

SIDEWAY

FICTION CLUB

QUEENIES AT KINGSTON

NeonHoney Wearing her heart on her sleeve with emotions flowing honestly, NeonHoney sings of sorrow, wisdom, love, heartbreak, hope, and whatever the tide may bring. 4pm Jordan Houston-Robey Combining methodical electric guitar with hypnotic vocals to create an atmospheric and enchanting experience. 4pm

DICKSON TAPHOUSE

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ENTERTAINMENT GUIDE

MONDAY 25 JULY Lunchulele Every Monday lunchtime, 12.30pm-1.30pm, ukulele players mysteriously appear.

Some are beginners and some used to be, because it’s simply amazing what an hour or so a week can do

SMITH’S ALTERNATIVE

Bangarra Presents: Terrain Bangarra’s award-winning Terrain returns for a 10th Anniversary Tour of Australia in 2022. Choreographed by Frances Rings, Terrain is a breathtaking exploration of our largest salt lake. The nine-part performance evokes the power of body and land converging to bring spirit to place.

28 -30 July, $79 - $99 + bf

TUESDAY 26 JULY

CANBERRA THEATRE CENTRE

Django Jam A monthly Django Reinhardt jazz jam hosted by The Gypsy Project.

From 5pm - 7pm, more info can be gleaned via venue

West Thebarton UCX extends a warm welcome back to students returning to campus with the spec Semester 2, 2022 O-Week celebrations! Catch Sesame Girl and Crocodylus supporting West Thebarton. Special discounts for UC students. 8pm, tix $18.07 - $35.02 via Moshtix

SMITH’S ALTERNATIVE

WEDNESDAY 27 JULY George Alice UCX welcomes students back to campus with the Semester 2 2022 O-Week celebrations! Catch Finn Burton and Lucy Sugerman supporting George Alice. Special discounts for UC students. 8pm, tix $18.07 - $29.92 via Moshtix

UC HUB

THURSDAY 28 JULY Canberra Symphony Orchestra Collective Memory ft DOBBY The project features pieces of music from five different composers, all connected by themes of history, collective memory, and power. One of the featured composers is Sydneybased rapper, drummer, and multi-instrumentalist, Rhyan Clapham (a.k.a. DOBBY). 6:30pm, $30 - $60 via csodirect.cso.org.au

ATRIUM, NATIONAL MUSEUM OF AUSTRALIA, ACTON

Lez Zeppelin The most powerful all-female band in rock history (Spin Magazine, New York), playing the music of Led Zeppelin. 7pm, tix $55.60 via Oztix

THE BASEMENT

Romeo & Juliet REP’s Romeo and Juliet will be fresh for those familiar with the text and thrilling for those coming to it fresh. 28 July - 13 August, 8pm + 2pm matinees, tickets $38 - $49 via venue

UC HUB

FRIDAY 29 JULY Amber Lawrence Living For The Highlights An album of strength, power, honesty, and raw songwriting.

7pm, tix $32.57 via Eventbrite

HARMONIE GERMAN CLUB

Frenzal Rhomb Gone to the Dogs Tour “You might have had to do a bit of “pivoting” during this pandemic. A lot of people have.

And here at Frenzal Rhomb it’s a fucken gymnastics tourney.

We’ve been manoeuvring around the hand vaulting horse, balance beam, and trampolines, and we’ve somersaulted into some new tour dates! Let’s hope we stick the landing.” With Totally Unicorn and Charlotte & The Harlots! 7pm, tix $45.40 via Oztix

THE BASEMENT

Jack River UCX welcomes students back to campus with the Semester 2, 2022 O-Week celebrations!

Catch Muesli and Sputnik Sweetheart supporting Jack River. Special discounts for UC students. 8pm, tix $23.18 $45.23 via Moshtix

UC REFECTORY

CANBERRA REP

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