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KAIIT ARRIVES AT QUEENSCLIFF MUSIC FESTIVAL WITH A LIVE SHOW FORGED ON THEIR OWN TERMS

NOVEMBER 2026 #1746

BEAT.COM.AU NAARM/MELBOURNE’S VOICE IN MUSIC, ARTS & CULTURE

WORLD TOUR 2027

FLEMINGTON RACECOURSE

SOLD OUT

Perched at the peak of Melbourne Recital Centre, with floor-to-ceiling city views, The Beacon beats with a new kind of energy. A stage for musical matinees and latenight sets, The Beacon invites audiences to look out and listen in – look out as the skyline sparkles; listen in as storytelling and song intertwine. TICKETS ON SALE NOW melbournerecital.com.au/beacon

1746

EDITORIAL NOTE

EDITOR Lucas Radbourne

Kaiit takes their time. Æ The Papua New Guinea and Gunditjmara artist went close to 2 years without releasing anything, then put out Lemon Squeezy in early October and spent the rest of the month opening arenas for Olivia Dean. On the cover, they walk us through the backstage rituals that keep them grounded, ahead of topping the bill at Queenscliff.

ASSISTANT EDITOR Frankie Anderson-Byrne GRAPHIC DESIGNER Riley McDonald GIG GUIDE Jacob Colliver CONTRIBUTORS Bryget Chrisfield, August Billy, Molly England, Jake Fitzpatrick, Antony Attridge, Jacob McCormack, Andrew Handley, Lewis Noke-Edwards, Dom Lepore FOR ADVERTISING OR SPONSORED CONTENT ENQUIRIES advertise@furstmedia.com.au ACCOUNTS accounts@furstmedia.com.au ENQUIRE ABOUT HAVING BEAT MAG DISTRIBUTED AT YOUR BUSINESS OR VENUE distribution@furstmedia.com.au

Inside, Tom Iansek tells us why Every Little Fire took years to finish, most of it written in a makeshift London bedroom studio, before #1 Dads come home to Brunswick Ballroom. Six60’s Ji Fraser explains how a Dunedin share house became a band name, and why being the biggest band in the world still isn’t enough. Dave Depper makes the case that what holds Death Cab for Cutie together is simpler than the catalogue suggests, and that the first-heartbreak songs have given way to grief and the arithmetic of days behind versus days ahead. Hellcat Speedracer recount naming an EP halfway through a night out, Lottie McLeod unpacks the conversations at the Manly Boathouse that became hers, Boogie Riverside’s Lily Crisp describes road-testing songs on crowds before anything goes near tape, and Kevin Morby remembers coming off a European tour days before his first child arrived. The Edinburgh Castle turns 20 on 14 November with old bands back on the stage. The weather’s turned. Stay out.

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ACKNOWLEDGEMENT OF TRADITIONAL OWNERS

FOUNDER Rob Furst

Our magazine is published on the lands of the Bunurong Boon Wurrung and Wurundjeri Woi Wurrung peoples of the Eastern Kulin Nation, and we wish to acknowledge them as Traditional Owners. We pay our respects to their elders, past, present and emerging.

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DISTRIBUTION

COVER

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Our cover star in November is Kaiit, photographed by Miro Wilkinson.

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CONTENTS NEWS

08–12

#1 DADS

KAIIT

14–15

FENDER AT 80

STAGE GUIDE

VENUE GUIDE

36–37

FESTIVAL GUIDE

Craftsman’s Corner

Ark

REGIONAL GUIDE

Edinburgh Castle

22–23

SIX60

ALBUM REVIEWS

38–39 No Bad Memories

DEATH CAB FOR CUTIE 24

The Avalanches

#1 Dads

HELLCAT SPEEDRACER

Fanny Lumsden

Traditions

Northlane

Anemoia

Troye Sivan

26–27 28

LOTTIE MCLEOD BOOGIE RIVERSIDE

Every Little Fire

She’s the Best

40–43

GIG GUIDE

30–31

KEVIN MORBY

M.A.A.T.E!

Never miss a Melbourne event. beat.com.au

THURSDAY 05 NOVEMBER

THURSDAY 12 NOVEMBER

THURSDAY 19 NOVEMBER

XYLOURIDES

TEX PERKINS & MATT WALKER

#1 DADS

DOORS 6:30PM KITCHEN OPENS 6:30PM SHOW STARTS 8PM

DOORS 6:30PM KITCHEN OPENS 6:30PM SHOW STARTS 8:30PM

KITCHEN OPENS 630PM SHOW STARTS 8.30PM

THURSDAY 19 NOVEMBER

WES CARR THE SPRINGSTEEN SONGBOOK ‘UNPLUGGED’ DOORS 6.30PM KITCHEN OPENS 6.30PM SHOW STARTS 8.30PM

NOVEMBER

BEAT 1746

NEWS TOM IANSEK BRINGS #1 DADS BACK TO BRUNSWICK

GOLDEN PLAINS’ 2027 LINEUP IS HERE Geese and Underworld headline Golden Plains Nineteen from 6–8 March 2027, joined by Angine de Poitrine, Miss Kaninna, Peter Garrett & The Alter Egos, Tinariwen, Haute & Freddy, Maria Arnal, Westside Cowboy, Peach and more.

SOOTHSAYER’S 10TH BIRTHDAY RUNS A FULL 24 HOURS It started in a small room at Hugs and Kisses in 2016; these days it fills Sugar Mountain. To mark a decade, Soothsayer takes over Revolver Upstairs in Prahran for 24 straight hours across the Melbourne Cup long weekend, with 18 local acts including Sleep D, Moopie, Wax’o Paradiso, DJ JNETT, Kia and Boogs. No imported headliner, by design.

PITCH MUSIC & ARTS UNVEILS A 60-PLUS LINEUP The festival returns to the foothills of Gariwerd from 5-9 March 2027, with CHRIS STASSY, Chlär, SWEELY, Peach, CLOUDY, Patrick Mason, HAAi, Denis Sulta, X CLUB, DJ Boring, Connor Wall, Aldonna, Reptant and many more.

WILD HORSES TURNS 10 WITH A 3-YEAR PERMIT Permitted festivals and doofs are getting harder to pull off in Victoria, which makes the permit alone a big story. The 10th Wild Horses runs 13–16 November at Carapooee West, capped at 2,250 people. Etnica bring 4 separate projects, Daksinamurti plays his first Australian set since 2008, and an unnamed headliner closes the weekend.

HELEN MIRREN PLAYS HIGHSMITH AT THE BRITISH FILM FESTIVAL The British Film Festival runs in Melbourne until 29 November across The Astor, The Kino, Pentridge Cinema and 6 Palace sites. Mirren plays Patricia Highsmith in Anton Corbijn’s A Talent for Murder, Cynthia Erivo plays a barrister in Prima Facie, and Mike Leigh’s Tender Loving Care arrives with San Sebastián’s best film award. Simon Stone’s Elsinore, with Andrew Scott, closes.

MY FAIR LADY CHRISTENS THE REFURBISHED STATE THEATRE

The new house and techno festival makes its Melbourne debut at Under The Bridge, aka The Underpass, on Graham Street in Port Melbourne on 7 November. Grammynominated duo Sidepiece lead Marten Hørger, Matroda, Malaa and Hills, with Will K the only local on the decks.

BAKER BOY AND THE PRESETS WANT YOUR BAND TEE AusMusic T-Shirt Day falls on 26 November and funds Support Act’s crisis grants, counselling and mental health training for artists, managers and crew. Support Act reports music workers experience psychological distress at almost 4 times the national average. There are 19 artist-designed shirts on pre-order, including Becca Hatch’s first piece of merch and a CrewCare tee for roadies, techs and riggers.

The Ian Potter State Theatre reopened in October, 6 months ahead of schedule, after its first major refurbishment since 1984. 2 new lifts and new aisles mean people with mobility needs can now sit on every level. Opera Australia’s 70th-anniversary My Fair Lady is the first big musical on the stage, running 14 November to 17 January with Nathaniel Parker as Higgins and Claire Lyon as Eliza.

GREENTEA PENG’S STRAWBERRY FIELDS SIDESHOW LANDS AT THE FORUM ECHOES OF US PARKS SIDEPIECE UNDER THE FREEWAY

The Big Scary songwriter moved his family from Melbourne to London and wrote most of Every Little Fire, his fourth #1 Dads album, in a makeshift bedroom studio there. His first Australian #1 Dads tour in 6 years is a solo one, in smaller rooms: Brunswick Ballroom on 19 and 21 November.

Plenty of people found the London singer during lockdown, after debut album MAN MADE dropped mid-pandemic. Last year’s TELL DEM IT’S SUNNY is more laid-back but just as introspective. Greentea Peng plays Forum Melbourne on 17 November, a sideshow to her Strawberry Fields set.

SUPAGLOO IS MELBOURNE PARK’S NEW CONCERT SERIES SUPAGLOO is a quarterly all-ages series from Frontier Touring and Melbourne Park, timed to school and uni holidays, every show licensed and every ticket $49.90. The first lands at MCA at Melbourne Park on 10 December with 2charm, Blusher, Robert Baxter and a DJ set from triple j Breakfast’s Abby & Tyrone. Ballarat’s Larissa Lambert launches her debut album Yearning there on 2 April.

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I MIN

HARTS HOEDOWN

SUN 01 NOV RICHMOND S A T U R D A Y

1 4

N O V

PUNKS FOR PUBLIC HOUSING FRI 06 NOV

WHEN CHAI MET TOAST SAT 07 NOV

WRESTLEROCK FRI 20 NOV

KITTY, DAISY & LEWIS THU 26 NOV

LOOSE BRICKS FRI 06 NOV

AMOS ROACH SUN 08 NOV

ALTA FALLS FRI 13 NOV

NEFELI FASOULI (GR) SAT 14 NOV

ROMANIE FRI 27 NOV

JUICE WEBSTER SAT 28 NOV

LAST STRUT 2026

BEGINNER FRIENDLY CLASS & PARTY

COUNTRY STRUTS LINE DANCING CLASS & PARTY SAT 14 NOV

GIG GUIDE 01/11 HARTS 02/11 VSPY VSPY SOLD OUT 03/11 COUNTRY STRUTS (BOOT SCOOTING CLASSES) 06/11 PUNKS FOR PUBLIC HOUSING 07/11 WHEN CHAI MET TOAST 10/11 COUNTRY STRUTS (BOOT SCOOTING CLASSES) 14/11 COUNTRY STRUTS LINE DANCING CLASS & PARTY 15/11 THE BLITZ KIDS 17/11 COUNTRY STRUTS (BOOT SCOOTING CLASSES) 20/11 WRESTLEROCK 22/11 REV. KRISS HADES 26/11 KITTY, DAISY & LEWIS (UK) SELLING FAST 27/11 TAKE OFF YOUR PANTS AND JACKET ANNIVERSARY

28/11 NOASIS LIVE ‘26 29/11 MODELS (MATINEE) 02/12 ALL THEM WITCHES (USA) SOLD OUT 03/12 THIRSTY MERC SELLING FAST 04/12 PISCO SOUR 09/12 KAMI KEHOE & LØLØ SELLING FAST 10/12 CULTURE WARS SELLING FAST 11/12 BABY ANIMALS 12/12 EVEN FLOW 13/12 TWISTED TEENS (USA) SELLING FAST 16/12 STEVE HOGARTH SOLD OUT 17/12 STEVE HOGARTH 18/12 TOOLS DOWN: JOEY LIGHTBULB’S WORK XMAS PARTY SELLING FAST 19/12 MICK THOMAS’ ROVING COMISSION 31/12 BLEAK SQUAD (NYE) 08/01 BATTLE OF THE 90’S

ON SALE NOW PLUS HEAPS MORE AT CORNERHOTEL.COM

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OPEN MIC NIGHT – TUE 7.30PM –

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SYDNEY RD BRUNSWICK

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MRS SMITH’S TRIVIA WEDNESDAYS 8PM

NOV

SAT 14 SUNDAY 1 / 8 / 15 NOV

DANNY ROSS

SATURDAY 7 NOV

STEAMBOAT WHISTLERS SATURDAY 21 NOV

BLUEMODE

HUGH MCGINLAY ROSARIO DE MARCO NIR TSFATY TIM SCANLAN & MANA OKUBO DAN DINNEN & SHORTY GEORGIA RODGERS THE UNDEAD RECKONERS GEORGIA FIELDS PSI PHI CHECKERBOARD LOUNGE DJ CHIPZ / DJ MARNI LA ROCCA

THURSDAY 5 / 12 / 19 / 26 NOV

12:30 PM 1:00 PM 2:00 PM 3:00 PM 4:00 PM 5:00 PM 6:00 PM 7:00 PM 8:00 PM 10:30 PM

SUZIE SO BLUE

KINEMATIC

FRIDAY 13 NOV

FRIDAY 20 / 27 NOV

SUNDAY 22 / 29 NOV

SATURDAY 28 NOV

GET RUMPUS RACHEL CLARK

FRIDAY 6 NOV

TONY J KING

ANIA REYNOLDS

THURS @ 7pm / FRI & SAT @ 8pm / SUN @ 4pm

GIG GUIDE 01/11 BLACK CAB SELLING FAST 02/11 IRATION STEPPAS 04/11 ANTHONIE TONNON 06/11 LOOSE BRICKS SELLING FAST 07/11 SAMSCOUT 08/11 AMOS ROACH 09/11 ‘SOCIAL SANCTUARY’ w GRETA O’LEARY, STENN FRANCIS-DEARE & BELLA CLOUD 13/11 ALTA FALLS 14/11 NEFELI FASOULI (GR) SELLING FAST 15/11 TERRIBLE MURIEL (MATINEE) 16/11 ‘SOCIAL SANCTUARY’ w FEELINGS ASTARI & JAC DONNELLY 19/11 JAMIE KOUL 20/11 ERIC HUTCHINSON (USA)

21/11

PROJECT VANTA (ALL AGES ALCOHOL FREE MATINEE) 21/11 PARANOID ANDROID 22/11 SACRED COWBOYS (LATE MATINEE) 27/11 ROMANIE 28/11 JUICE WEBSTER 29/11 BAD DEBTS 03/12 RYAN HARRIS 05/12 THE CRYSTAL SET 06/12 THE 13TH KINEMATIC KRISTMAS SHOW 09/12 VIANOVA (DE) SELLING FAST 10/12 JONATHAN BUFALINO 12/12 FOXTON & SUGERMAN PRESENT THE GOSPEL PROJECT: A CHRISTMAS SPECIAL 13/12 FINN FAIR III (LATE MATINEE) 18/12 NADIA REID

ON SALE NOW PLUS HEAPS MORE AT NORTHCOTESOCIALCLUB.COM

LOVE ACTUALLY GETS A FULL ORCHESTRA AT THE PLENARY Richard Curtis’s Christmas staple plays on the big screen while a full symphony orchestra performs Craig Armstrong’s score live. Sarah-Grace Williams, who conducts the Melbourne, Sydney and Brisbane legs, leads it at the Plenary at Melbourne Convention and Exhibition Centre on 11 December.

PAWN & CO PUTS THE BUILDING ON THE SHELF For almost 14 years everything inside the Greville Street bar has carried a price, from the taxidermy to a church organ rigged to pour cocktails. Now the venue itself, at 177 Greville Street, Prahran, is for sale by secret auction: register, inspect privately, lodge a written offer nobody else sees. The result lands 12 December, and the bar keeps trading until then.

THE LANGHAM’S FORMER CHEF OPENS HIS OWN WILLIAMSTOWN ROOM After about 30 years in luxury hotel kitchens, including as executive chef at The Langham Melbourne, Deepak Mishra is opening Bungalow 147 by the Bay this summer in an 1869 heritage-listed bank building at 145–147 Nelson Place, Williamstown. The 130-seat restaurant cooks the regional food of Odisha and Bengal with Victorian and native produce, and the private dining rooms upstairs look over Hobsons Bay.

MARLON FUNAKI BRINGS REDLANDS BEDROOM PSYCH TO RICHMOND The Los Angeles multi-instrumentalist cleared space in his brother’s bedroom, taught himself bass, drums and keys, and toured out of his own pocket until Warner Records signed him. His Australian debut opens at the Corner Hotel on 5 February 2027, behind this year’s HALF MOON EP.

NYE ON THE HILL THROWS ITS LAST PARTY It began in 2009 as an invite-only bash for a handful of Melbourne bands and their mates. The 23rd and final edition runs 30 December to 1 January in South Gippsland, capped at 3,000 as it always has been, with Ball Park Music topping a 30-plus act bill alongside The Rions, Old Mervs and Pacific Avenue. Every previous edition sold out well before the gates opened.

REMI WOLF BRINGS MUD TO THE FORUM Remi Wolf built her 11-track third album as a reset after arena runs with Halsey, Olivia Rodrigo and Paramore, trading the technicolour of Juno and Big Ideas for something earthier. She plays Forum Melbourne on 17 December with New York’s Leyla Ebrahimi in support, then works the Spilt Milk circuit.

SAMARA CYN TAKES THE DETOUR TO FITZROY Billboard named the Murfreesboro-born, Los Angeles-based rapper its 2026 Hip-Hop Rising Star in September, 7 years after she wrote her first song. Samara Cyn headlines The Night Cat on 17 December, then plays Spilt Milk in Geelong on 19 December.

CHAPTER NYE STACKS DISCO ACROSS 2 TIMBER YARD STAGES

SWIM BRINGS AN ORCHESTRA HOME TO PICA

The second Chapter NYE runs from the afternoon of 31 December at The Timber Yard in Port Melbourne, through midnight and into 2027. Andy Hart, Fantastic Man, Late Nite Tuff Guy and Tornado Wallace lead, with Wax’o Paradiso, Sasha Fern and a bench of local selectors including Mimosa, Licious and Super Dolce.

SWIM sold out the Sydney Opera House backed by a 14-piece orchestra. Now the Melbourne-born, London-based producer is scaling that one-off into 3 east coast shows, with Melbourne’s at PICA on 6 February 2027. Second album Dear Friend topped the ARIA Australian dance albums chart.

CORRELLA BRING BLUE EYED MĀORI TO THE ESPY

FONTAINES D.C. LEAD LANEWAY’S FLEMINGTON BILL

Blue Eyed Māori spent more than 50 weeks at number one in New Zealand, the longest stint that chart has ever recorded. Corrella open their biggest Australian run at The Wool Exchange in Geelong on 24 January 2027 and headline The Espy in St Kilda on 4 February 2027, with Boston’s The Elovaters on every date.

Laneway lands at Flemington Park on 19 February 2027, the last Australian stop before Auckland. Fontaines D.C., The Hayley Williams Show, Slayyyter and Adéla top 28 acts, with Ninajirachi, MUNA, DIIV, Rico Nasty, Ecca Vandal and Violet Grohl further down.

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RIVERBOATS TURNS 15 WITH THE CAT EMPIRE BACK 1 stage under the river red gums, no clashes and $260 for an adult 3-day pass. Riverboats returns to Echuca-Moama on Yorta Yorta Country from 19 to 21 February 2027 with The Cat Empire’s first set there since 2014, plus Spiderbait, The Waifs, Troy CassarDaley and Fanny Lumsden. The Herd and Pierce Brothers play sideshows aboard the 110-year-old PS Pevensey.

BON JOVI IS COMING TO MELBOURNE AFTER EIGHT YEARS The air guitars can come out of storage: Bon Jovi play Marvel Stadium on 4 March 2027. It’s the band’s first Australian visit in more than eight years. Bon Jovi were last here in 2018, when a stadium run pulled upwards of 159,000 people across the country.

TINARIWEN BRING HOGGAR TO NORTHCOTE THEATRE The Tuareg band formed in northern Mali in 1979 and have played more than 1,270 concerts since. Tenth album Hoggar was cut in Tamanrasset in Algeria and brings founding guitarist Liya Ag Ablil back after 2 decades away. Melbourne gets 1 night: Northcote Theatre, 11 March 2027.

CONVERGE’S JANE DOE GETS ITS THIRD EVER FULL AIRING Converge have played Jane Doe front to back twice – Roadburn in 2016 and Decibel Metal & Beer Fest in 2021. The third is at Lucidity, a new 2,000-capacity festival at Melbourne Pavilion in Kensington on 13 March 2027. Oathbreaker mark 10 years of Rheia, The Broderick reform to play their 2012 album 15 years on, and Extortion lead the locals.

MEN WITHOUT HATS BRING THE FULL BAND AT LAST

POWDERFINGER PITCH A BIG TOP AT MELBOURNE PARK

The Safety Dance hit number five here in 1983, but this is the first proper Australian run for the complete band. Ivan Doroschuk, Sahara Sloan, Sho Murray and Adrian White play Max Watts on 29 May 2027, with new album On the Moon out now.

Bernard Fanning, Darren Middleton, Ian Haug, Jon Coghill and John Collins play their first shows since 2010 inside a stadium-sized travelling tent. The run finishes with 4 nights at Melbourne Park Oval on 22, 23, 29 and 30 October 2027. Some seats have restricted views because of the support poles, and the all-Australian supports change every night.

THE CORPSE THAT FOOLED HITLER HITS EXHIBITION STREET In 1943 British intelligence dressed a dead man as a Royal Marine officer, filled his pockets with fake invasion plans and floated him off the Spanish coast. SpitLip’s 5-actor musical about it took the Olivier for best new musical and a Tony. Operation Mincemeat’s first Australian season opens at the Comedy Theatre in September 2027; the waitlist gets first access.

NICKELBACK BOOK ROD LAVER AND A GEELONG WINERY Nickelback’s 11th album, Everything Under The Sun, is out now and names the tour behind it. They play Rod Laver Arena on 7 October 2027 and Mount Duneed Estate in Geelong on 9 October 2027, with Don Broco, who sold out Wembley Arena and share a song with the band, in support.

KINGS OF LEON LAND AT FLEMINGTON WITH A NEW ALBUM Kings of Leon take a lap of Flemington Racecourse on 5 March, their only Victorian date and the finale of a 3-city Australian run built around tenth album O My Beloved, out 6 November. The original 4 Followills open in Sydney at Centennial Park on 28 February, then hit Brisbane Showgrounds on 3 March. Northern Beaches favourites Ocean Alley, who topped the Hottest 100 in 2018 with Confidence, are along for every date.

ZARNA GARG TAKES MILLION DOLLAR EXCUSES TO ST KILDA Comedian Zarna Garg — who did her first open mic in her forties — brings the Million Dollar Excuses tour to 2 St Kilda rooms this December, playing the National Theatre on 1 and 3 December before the Palais a few streets apart on 6 December. It’s part of a 10-show national run from Bohm Presents that opens at the Sydney Opera House on 21 November. Tickets are on sale.

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SUPERHEROES AND COLONIAL HISTORY MEET AT THE IMMIGRATION MUSEUM

SPARTA HAUL THEIR EL PASO POST-HARDCORE BACK FOR 4 SHOWS

Superhero costumes, crushed cars and Parliament all turn up in On Country: Photography from Australia, a 17-artist show at the Immigration Museum until 13 June 2027. Indigenous and non-Indigenous photographers — among them Tony Albert, Michael Cook and Atong Atem — dig into how images shape ideas of place, belonging and identity. Developed by PHOTO Australia, it’s included with museum entry: $15 adult, $12 senior, free for under-16s, concession and members.

Dig out the At the Drive-In hoodie: El Paso post-hardcore trio Sparta play 4 Australian shows in April, opening at 170 Russell on 2 April. Jim Ward and co then hit Sydney’s Factory Theatre on 3 April, Brisbane’s Triffid on 4 April and Perth’s Rosemount Hotel on 8 April, leaning the setlist on early cuts off 2002 debut Wiretap Scars. Tickets on sale now.

AARON ROWE RETURNS, OPENING AT NORTHCOTE THEATRE Dublin folk-soul songwriter Aaron Rowe sold out his first Australian headline shows earlier this year, so he’s back in March for five more, opening at Northcote Theatre on 14 March. From there it’s Sydney’s Liberty Hall on 17 March, Brisbane’s Princess Theatre on 19 March, Adelaide’s Lion Arts Factory on 21 March and Freo Social on 22 March, all through Secret Sounds. General tickets on sale now.

PETER CAT RECORDING CO. BRING THEIR TOUR OF OZ TO MAX WATTS Delhi’s Peter Cat Recording Co. are back for a short Tour of Oz, with Max Watts on Swanston Street their only Melbourne stop on 27 February. The genre-hopping 5-piece — bossa nova 1 minute, space disco the next — then play Sydney’s Factory Theatre on 28 February, after 2 Perth Festival nights at The Embassy on 24 and 25 February. Tickets on sale now.

ALTIN GÜN TAKE THEIR TURKISH PSYCH TO THE NIGHT CAT Amsterdam 5-piece Altın Gün plug the bağlama — a long-necked Turkish lute — into fuzzed-out psych, and they bring it to The Night Cat on 2 March for one of just 3 Australian headline gigs, with Sydney’s Metro Theatre on 4 March and Brisbane’s Triffid on 5 March either side of it. 2 WOMADelaide sets follow on 7 and 8 March. Tickets on sale now.

HANNAH GADSBY SETTLES INTO COMEDY REPUBLIC UNTIL DECEMBER Hannah Gadsby is settling into Comedy Republic on Bourke Street for a loose, 6-date residency called Hannah Gadsby Being Hannah Gadsby, and nobody’s saying what any night will hold. It kicks off 1, 8 and 15 November, then 6 and 13 December. Each roughly 70-minute set might be workin-progress material, a new format or a few mates on stage. Tickets are $30.

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Beat chats to Kaiit ahead of their co-headline slot at Queenscliff Music Festival in November.

Æ Kaiit’s career to date has been one of grand artistic statements, international success, and intermittent leaves of absence. The Papua New Guinea and Gunditjmara artist released their latest single, the loose jazzfunk track, Lemon Squeezy, in early October, just in time for their support slot on Olivia Dean’s Australian arena tour. Kaiit – who identifies as non-binary and uses she, they and he pronouns – hadn’t released any new music in nearly 2 years. But Kaiit is feeling optimistic about this moment in their career, the next milestone of which will be a co-headline slot at Queenscliff Music Festival in November. “I’m so thankful for all the music that’s come prior to this point for myself,” Kaiit says. “But I’m really feeling reflected in the live music, till all these other songs get released.” Kaiit started releasing music nearly a decade ago, when they were 19 years old. They gained an international following with the songs OG Luv Kush pt. 2 and Natural Woman from their debut EP, 2018’s Live from Her Room. This run of success continued with Kaiit’s 2019 single, Miss Shiney, the winner of the inaugural ARIA award for Best Soul/R&B Release. Kaiit went on to support the likes of SZA, The Internet and Chaka Khan before a label dispute caused them to step back from the spotlight for a handful of years. But they never fell out of love with live performance. “When I had all my things with my last label, I wasn’t allowed to release anything, so, you know, instead of complaining – which I was, of course, at the start – Earth was putting my eyes and attention on the live music, which to me is just as, if not more important [than recorded music],” they say. Kaiit was catapulted onto big theatre and arena stages in the early days of their career. They’ve learned what to expect from these environments, and came prepared for the Olivia Dean tour.

“I am feeling extremely grounded. That was a big thing that I was wanting to do for myself throughout this whole tour,” Kaiit says. “I was trying to envision those moments before going on stage, when you’re loading in and setting up, like, what does that space look like to me? Because that’s when it’s the most cooked.” The tour visited arenas in Melbourne, Sydney, Brisbane and Auckland, and Kaiit made the effort to bring a cosy atmosphere to the backstage areas. “I had some of my cultural pieces in there, and I also love pigs too, so I had a little pig statue, and things that make sounds, like some like ancient things of mine, which I feel like help me stay in the present moment.” The next stop for Kaiit is Queenscliff Music Festival, where they’re topping the bill alongside Baker Boy, Matt Corby, Kate Miller-Heidke, Magic Dirt, and loads more. “I’m super-duper excited,” Kaiit says. “I just get such wholesome vibes from this festival, which is honestly such a nice energy to come back to. You know, when you’ve got beautiful crew running things, you get those little extra special touches and considerations.” Lemon Squeezy will be in the setlist, a song that explores how outside perceptions don’t always match up to one’s lived reality. Kaiit emphasises the accented twang of their speaking voice on this song more than on their past releases. “People are always expressing to me, you know, you’re so good at that, Kaiit. You’re such a natural, you make it look so easy. I wish I could do that, but I can’t because you’re just good at it and you’re a natural. I’m just like, man, you think that that’s easy? I didn’t realise I made it look easy, because, yeah, it ain’t always that easy.” But, despite being on the receiving end of these sorts of idealising projections, nothing can extinguish Kaiit’s current excitement about making and performing music. “I’m so thankful for our community,” they say. “I’m so thankful to be able to sing. I’m so thankful to be independent and I can release music whenever I want to.”

KAIIT WHERE:

QUEENSCLIFF MUSIC FESTIVAL

WHEN:

28 NOV

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STAGE GUIDE FIDDLER ON THE ROOF

ELF THE MUSICAL

Troy Sussman plays Tevye, the milkman in 1905 Anatevka with 5 daughters to marry off, opposite Alexis Fishman as Golde. Sigrid Thornton takes Yente the matchmaker, John Waters plays the butcher Lazar Wolf and violinist Ben Adler is the Fiddler. This is the Regent’s Park Open Air Theatre production that sold out twice in London, set the Barbican’s record for a best-selling musical and won 3 Olivier Awards, Best Musical Revival among them. Jordan Fein directs, Julia Cheng choreographs and Tom Scutt designs. Book it before anything else on this list. The season runs to 27 Dec, with an audio-described performance on 29 Nov at 1pm.

Elf makes its Melbourne premiere at Crown Live, the new theatre at Crown in Southbank. Gareth Isaac reprises Buddy, the human raised by Santa’s elves who heads to New York to find his father, after playing him in the Australian premiere season at Sydney Opera House. Adam Murphy plays Buddy’s father Walter Hobbs and Brianna Bishop plays Jovie, while Colin Lane, one half of Lano and Woodley, doubles as Santa and Walter’s boss Mr Greenway. Matthew Sklar and Chad Beguelin wrote the songs.

HER MAJESTY’S THEATRE

CROWN LIVE, SOUTHBANK

FROM 27 NOV

UNTIL 27 DEC

BEFORE I FORGET Butchulla and Jagera theatre maker Kamarra Bell-Wykes, a Patrick White Playwrights Award winner, wrote and directs this new MTC work and draws loosely on real events. Roxanne McDonald plays Faith Wells, a First Nations linguist and activist whose dementia forces her daughter Karma (Melodie ReynoldsDiarra) to move her into aged care and sell the house to pay for it. Granddaughter Hope (Tyallah Bullock) helps pack, and Faith fights every box. Open-captioned and closed-captioned performances run on 21 Nov at 2pm. FAIRFAX STUDIO, ARTS CENTRE MELBOURNE

UNTIL 28 NOV

ONE FLEW OVER THE CUCKOO’S NEST

ALL ABOUT EVE

MY FAIR LADY Opera Australia marks 70 years since Lerner and Loewe’s musical opened on Broadway by recreating the 2016 Australian production Julie Andrews directed, Cecil Beaton costume designs and Oliver Smith sets included. Claire Lyon plays Eliza Doolittle, the Cockney flower seller Henry Higgins bets he can pass off as a lady, and British actor Nathaniel Parker plays Higgins. Reg Livermore is Alfred P Doolittle and Robyn Nevin is Mrs Higgins. Karen Johnson Mortimer directs, the show runs about 3 hours with an interval, and the season stays put until 17 Jan. IAN POTTER STATE THEATRE, ARTS CENTRE MELBOURNE

Malthouse artistic director Dean Bryant directs Ivo van Hove’s stage version of the 1950 film and gives Christie Whelan Browne both lead roles: Broadway star Margo Channing and Eve Harrington, the devoted fan circling her spot. Whelan Browne often ends up playing scenes against herself. Brent Hill is critic Addison DeWitt, Christina O’Neill is Karen Richards and Evelyn Krape covers Birdie and Max Fabian. It’s an Australian premiere in the Merlyn, and tickets run $55 to $85. MALTHOUSE THEATRE

FROM 25 NOV

13 NOV–20 DEC

THE SHARK IS BROKEN

MRS DOUBTFIRE: THE MUSICAL

PRINCESS THEATRE

ATHENAEUM THEATRE

20 NOV–12 DEC

FROM 14 NOV

Jake Speer, once Oscar MacGuire on Home and Away, plays out-of-work actor Daniel Hillard, who loses custody in a messy divorce and invents Scottish nanny Euphegenia Doubtfire to stay in his kids’ lives. Suzie Mathers plays Miranda and Hayden Tee plays Daniel’s brother Frank. 4-time Tony winner Jerry Zaks directs, and Wayne and Karey Kirkpatrick, the brothers behind Something Rotten!, wrote the songs. Melbourne gets it first; Sydney’s Capitol Theatre waits until March. The run goes to 14 Feb and suits ages six and up.

Jason Donovan comes back to the city where his career started to play Randle P McMurphy, the troublemaker who lands on Nurse Ratched’s ward and refuses to fall into line. McMurphy is a long way from Scott Robinson. Nadine Garner plays Ratched, Jeremy Proulx plays Chief Bromden and Roger Hodgman directs Dale Wasserman’s stage version of the Ken Kesey novel. It plays Melbourne only.

A ROOM WITH A VIEW Playwright Grace Chapple and director Hannah Goodwin, the pair behind Never Closer, take on EM Forster’s novel. Nathalie Morris from Bump plays Lucy Honeychurch, whose trip to Florence with her nervy cousin Charlotte (Hayley McElhinney) comes apart once George Emerson (Luke Wiltshire) starts saying what he thinks. Charles Wu plays Cecil Vyse, the safe option. MTC co-produces with Belvoir and Black Swan, and the content warnings list nudity and herbal cigarettes. SOUTHBANK THEATRE, THE SUMNER

Ian Shaw, son of Jaws actor Robert Shaw, co-wrote this comedy about the making of the film with Joseph Nixon. It’s 1974, the mechanical shark keeps breaking down, and Shaw (Anthony Gooley), Richard Dreyfuss (Robin Goldsworthy) and Roy Scheider (Tom Stokes) are jammed onto a boat that’s too small, drinking and needling each other while the shoot stalls. Luke Joslin directs. ATHENAEUM THEATRE

UNTIL 8 NOV

DES BISHOP Des Bishop’s first Australian tour in nearly 7 years gets 1 Melbourne night. The New Yorker moved to Ireland as a teenager and built his career there, learning Irish on camera for In the Name of the Fada along the way. His latest special is Of All People. Expect 70 minutes with no interval, recommended for 15 and up. THE CAPITOL

7 NOV

14 NOV–19 DEC

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Mondays

SUNFLOWER JAM

Tuesdays

CO M.AU

NOW

BOO

Anne Wesley Wesley Anne

L E YA N

Wednesdays

PIANO ATMOSFERIX PIANO OPEN MIC

TRIVIA 7.30PM

BAND ROOM Thu 5 November

NORTHSIDE COMEDY CLASH Sun 8 November

Sat 7 November

MIC CONWAY & ROBBIE LONG

Sat 14 November

Sun 15 November

BLACKBIRDS FC

IN A HURRICANE’ AMALIA ‘HEAVEN

SUNDAY SESSIONS W/ LOLA MAY & ZIV, DAN LETHBRIDGE

Thu 19 November

Fri 20 November

Sat 21 November

BEN MORGAN

ALBUM LAUNCH

& DAVID COSMA

LEILA

MELBOURNE MUSIC HUB

Fri 27 November

Sun 29 November

Sun 1 / 8 / 15 / 22 November

Thu 5 / 12 / 19 / 26 November

Fri 6 / 13 / 20 / 27 November

Sat 7 / 21 November

Sat 14 / 28 November

250 High St, Northcote

Thu 26 November

MINNA (UK)

ONUR PUZA

FREYA & TOM

HEART AND SOUL TOUR

QUEEN OF HEARTS ALICE & JACKSON HURWOOD FRONT BAR FLIRYTE

LCO TRIO

SANFONA Sun 29 November

TONY J KING BEAT 1746

FESTIVAL GUIDE James Gray’s Paper Tiger closes the festival at both cinemas on 25 Nov: Miles Teller and Scarlett Johansson play a Jewish-American family in 1986, and Adam Driver plays the ex-cop brother who drags them towards the Russian mafia. Adult tickets cost $28. CLASSIC CINEMAS ELSTERNWICK + LIDO CINEMAS HAWTHORN UNTIL 25 NOV

JAPANESE FILM FESTIVAL QUEENSCLIFF MUSIC FESTIVAL Queenscliff has booked Baker Boy, Kate Miller-Heidke, Lime Cordiale, Matt Corby, Meg Mac, Mia Dyson, Magic Dirt and Peter Garrett & The Alter Egos for 2026, then added KAIIT, The Bamboos, Tim Rogers and Kitty, Daisy & Lewis. Magic Dirt are the set to plan the weekend around. Denise Scott, Suren Jayemanne and Gillian Cosgriff take the comedy slots, Vince Peach and the Cool Out Sun DJs work the decks, and The Listies and Zindzi & The Zillionaires look after the kids. More than 10,000 people make the trip each year for 70-plus acts on Wadawurrung Country, 90 minutes from Melbourne and 35km from Geelong, and anyone who wants to stay the distance can camp. QUEENSCLIFF

The 36th edition sets its main stage in the cathedral grounds over the Cup long weekend. The Bamboos featuring Kylie Auldist close out 31 Oct at 5pm, and Cookin’ on 3 Burners featuring Stella Angelico do the same job on 1 Nov. Both are funk and soul acts, so the smaller rooms carry the jazz. At the Old Baptist Church, the Jamie Oehlers Quartet marks the Coltrane centenary and Gianni Marinucci’s Born to Be Blue plays Chet Baker, and the same room hosts the National Jazz Awards final at 11am on 1 Nov, with drummers in the running this year. The Jazz Mass at Holy Trinity Cathedral is free. On 2 Nov the festival heads out to Milawa for a day of jazz, food and wine.

JIFF runs a 52-film program through the Classic and the Lido, and the title Melbourne should claim is Who Are We, a world-premiere documentary on the Ajax Football Club, the Jewish community’s own Australian Rules side, made for the club’s 70th anniversary. Mel Brooks turned 100 in June, and the festival screens seven of his films to mark it, with Blazing Saddles on 4 and 7 Nov and Young Frankenstein on 11 and 14 Nov at the Classic.

FED SQUARE

15 NOV

UNTIL 17 NOV

AFRICAN MUSIC AND CULTURAL FESTIVAL

MELBOURNE QUEER FILM FESTIVAL Australia’s largest and longest-running queer film festival reaches its 36th edition with a 10-day run that opens 13 Nov and closes 22 Nov. Organisers have promised world premieres and special events alongside local and international features. The program and tickets are on sale now. VARIOUS VENUES

Australia’s biggest African festival gives Fed Square 3 days of live music, fashion parades, traditional dance and street food, with communities from more than 40 African countries taking part. Founded in 2014, it now draws more than 50,000 people a year. Kids can sit in on free drumming lessons, and there’s no ticket to buy. FED SQUARE

20–22 NOV

13–22 NOV

30 OCT–2 NOV

JEWISH INTERNATIONAL FILM FESTIVAL

THE KINO + ACMI

27–29 NOV

WANGARATTA FESTIVAL OF JAZZ & BLUES

WANGARATTA

JFF marks 30 years in Australia with Hirokazu Kore-eda’s Look Back as its opening film, a live-action take on Tatsuki Fujimoto’s 1-shot manga. Screenings split between The Kino on Collins Street and ACMI. The animation showcase covers stop-motion and handdrawn 2D work, We Are Aliens among it, and a free retrospective digs into films scored by composer Toru Takemitsu. The festival-circuit picks include The Samurai and the Prisoner, SHAM, AnyMart and First Kiss.

POLISH FESTIVAL Victoria’s Polish community has run this since 2005, and more than 200 volunteers put the 22nd edition together for a single day at Fed Square. Start with pierogi, kiełbasa and pączki, watch the folkloric dancers take the stage, then work through the stalls selling Polish pottery and amber jewellery.

HYPERSONIC

The crew behind the Asia Street Food Festival comes back to Alexandra Gardens under a new name for 2 weekends, open 11am to 10pm each day. Order off the festival-only Wonders Menu, walk the lantern gardens, browse the artisan stalls and catch music and dance on the riverbank. Entry is free.

Armin van Buuren headlines Hypersonic for the second year running as Symbiotic and Hardware bring the festival back to Melbourne Showground. W&W, Showtek and Timmy Trumpet back him up, and liquid drum and bass duo Hybrid Minds, the pick of the bill, pull things somewhere softer. The stages cover EDM, techno, drum and bass, dubstep, hardstyle, tech-house and dance pop, and MC Stretch, a voice Tomorrowland and Stereosonic crowds will know, hosts.

ALEXANDRA GARDENS

MELBOURNE SHOWGROUND

COLOURS OF ASIA: GARDEN OF WONDERS

13–15+ 20–22 NOV

20 NOV

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1 Nov The Pelvic Thrusts

8 Nov Elm Street

Album 15-year Anniversary

THE GERSHWIN

2 Nov Niiko x Swae THE GERSHWIN

6 Nov Good Music House Party THE GERSHWIN

7 Nov Alice Isabella Single Launch

20 Nov The Australian Doors Tribute THE BASEMENT

THE GERSHWIN

26 Nov Unfurnished Theatre

13 Nov Nashville Fridays

BASEMENT

w/ Y.O.G.A.

28 Nov Emily Frydas

THE GERSHWIN

Single Launch

20 Nov Pop vs Emo party

THE BASEMENT

29 Nov The Black Seeds

THE GERSHWIN

THE BASEMENT

THE GERSHWIN

buy tickets now

hotelesplanade.com.au

K SKA PUNK SKA PUNK SKA PUNK SKA PUNK SKA PUNK SKA PUNK SKA PUNK SKA PUNK SKA

FRIDAY NOVEMBER 27

SPECTRE BOY

SINGLE LAUNCH

FOR LOVERS OF BAD MANNERS PIETASTERS B WITH FRIENDS OSSTONES

scan 4 tix

TOPNOVIL BANJZIG

Listen Carefully

Every 2nd Wed

Lindy Hop Social Dance

Every Thu 6.30pm

Wednesday Night Hop Fri 6 Nov

Fri 6 Nov

Sat 7 Nov

Wed 11 Nov

Kasinda

Kédu

Possum

La Mauvaise Half Bent Réputation Day Festival

‘This Life’ EP Launch

Sun 22 Nov

Free Clubroom Gig

Fri 27 Nov

Paynesville Seafoods’ Album Launch

Sat 28 Nov

Sun 15 Nov

EP Launch

x OmnOCulture

Sun 29 Nov

Sat 1 May

(NSW)

AND

WORKERS CLUB FITZROY WWW.THERESIGNATORS.COM

Jack Ladder

Plays the Piano

Mover Blacksound Curious Vox Chops Pop Icon What’s love got 2nd Anniversary Dance Party to do with it? Party

Ruby Gill

Fishin’ tour

The Quadraphonic Club / 345 Victoria st, Brunswick

K SKA PUNK SKA PUNK SKA PUNK SKA PUNK SKA PUNK SKA PUNK SKA PUNK SKA PUNK SKA

REGIONAL GUIDE WORDS BY FRANKIE ANDERSON-BYRNE

FESTIVALS

↓

A 1-day festival in the Castlemaine Botanical Gardens.

MALDON FOLK FESTIVAL The goldfields town fills its community halls for a long weekend of folk and acoustic music. Sessions run through the Band Hall, Senior Citizens Centre and Progress Hall, so the final days spill into early November. MALDON

TOWN FOLK FESTIVAL

30 OCT–2 NOV

TOURS

↓

BUDJERAH The Bundjalung soul singer brings his warm, powerful voice to The Sound Doctor for an intimate coastal show. 1 NOV

ANGLESEA

21 NOV

CASTLEMAINE

GLENAROUA

6–8 NOV

WANGARATTA FESTIVAL OF JAZZ & BLUES

BENDIGO

RED HOT SUMMER TOUR Victoria Park hosts a day of Australian pub-rock favourites: Men At Work, Birds of Tokyo, Eskimo Joe, Boom Crash Opera, Ella Hooper, Australian Crawl, James Reyne and Colin Hay. 7 NOV

BALLARAT

13–15 NOV

MARYSVILLE MUSIC WEEKEND A weekend of live music at the Marysville Community & Sports Centre. MARYSVILLE

13–15 NOV

MOUNTAINGRASS

FANNY LUMSDEN The Golden Guitar-winning country singer-songwriter plays The Barwon Club Hotel.

1 NOV

KATIE NOONAN

Lisa Curry plays a Sundayafternoon show at the Palais.

The ARIA-winning vocalist, known for her work with george and Elixir, plays Geelong Arts Centre.

1 NOV

A run of pub and festival dates across the North East. 1, 7 NOV

YACKANDANDAH

6 NOV

POREPUNKAH BRIGHT

20 20

27–29 NOV

6 NOV

GEELONG

MINNIE AND THE MOONRAKERS

8, 14 NOV

GUY SEBASTIAN The Australian Idol winner brings his 100 Times Around Australia regional tour to Geelong Arts Centre and the West Gippsland Arts Centre. GEELONG

2 NOV

WARRAGUL

21 NOV

TOBY MOBBS His national tour stops at St Leonards Vineyard, then The Cube in Wodonga, where members of the Albury Wodonga Symphony Orchestra join him. WAHGUNYAH

7 NOV

WODONGA

13 NOV

JET The Melbourne rock band behind Are You Gonna Be My Girl play Ballarat Civic Hall.

13–15 NOV

13 NOV

BALLARAT

The Melbourne singersongwriter and former Triple J Unearthed High winner plays Geelong Arts Centre, then the Bridge Hotel in Castlemaine.

QUEENSCLIFF MUSIC FESTIVAL

QUEENSCLIFF

6 NOV

GEELONG

LISA CURRY

GRETTA RAY

Princess Park hosts Lime Cordiale, Meg Mac, Kate Miller-Heidke, Baker Boy, Steph Strings, Mia Dyson, Peter Garrett, Sunday Lemonade and The Gnomes.

5 NOV

CHARM OF FINCHES

A bluegrass and acoustic weekend at the Bright Community Centre. BRIGHT

7 NOV

The harmony-driven folk-pop duo play the Bridge Hotel on their Bodysuit Single Tour.

HEPBURN SPRINGS

A weekend of blues and roots music in Bendigo.

5 NOV

BARWON HEADS

GEELONG

WANGARATTA 30 OCT–2 NOV

BENDIGO BLUES & ROOTS MUSIC FESTIVAL

CASTLEMAINE

A 3-act bill at The Barwon Club Hotel.

CASTLEMAINE

Wangaratta’s long-running jazz and blues festival wraps up on 2 November across the Performing Arts & Convention Centre and local venues.

The rock band from Menangle, NSW, play the Theatre Royal, then the Barwon Heads Hotel, with Selve in support.

TEENS (AU), LXRP AND LIZARD LOUNGE

HOPKINS CREEK FESTIVAL A small bush festival at the Glenaroua CFA station, with Milly Strange playing on 7 November.

THE RUBENS (WITH SELVE)

WILD HORSES

3 NOV 4 NOV

#1 DADS

GWYN ASHTON

A camping festival at the Carapooee H36 Bushland Reserve. CARAPOOEE

GEELONG CASTLEMAINE

A Geelong show, then Old Stone Hall in Beechworth.

The blues-rock guitarist plays the Palais. 13–16 NOV

HEPBURN SPRINGS

4 NOV

GEELONG

13 NOV

BEECHWORTH

14 NOV

BEAT.COM.AU

whittlesea.vic.gov.au/bundoorabeats

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SIX60 WORDS BY

JAKE FITZPATRICK

Six60 are named after a street number.

Æ The band met at the University of Otago and took 660 Castle Street, the Dunedin house they shared, as their badge. Ji Fraser was studying design and had no serious plan to make music a job. “I knew I wanted to do something really special. I let that be my North Star.” The ambition arrived well before the scale did.

“Every year I think, ‘surely it’s over now’. Then we find something else to do.”

BEAT.COM.AU

Credit: Lucy Hammond

The list is not finished. “We haven’t hit all the milestones we wanted to. The goal has always been to be the biggest band in the world. Even though we were the biggest band in the world during COVID, I’m not sure I’ve fully realised that dream just yet. You always find new mountains you need to climb.” He is alert to the trap built into that. “You find yourself never satisfied in some way. Every time you achieve a goal, the very next thought is the new goal. But perhaps that’s just the fire in me.” The home country stays close. The band bought back the Castle Street house and set up a scholarship that puts 4 university students in it each year, and they ran their own festival for the first time earlier this year. Melbourne has been in the picture almost as long. The Botanic Gardens show is a first for them, in a city they got to early. “When we first started doing well and could get out of New Zealand, Melbourne was one of the first places we went to. We’ve been back and forth for years. We’ve been to quite a few Aussie rules games. We’ve seen Essendon play at MCG. So, we’re keen to come back. Everywhere we go, we become a mecca for Kiwis and Aussies.”

“We’ve always been ambitious guys but of course, none of us ambitioned the colossal course we’ve been on,” he says. The rest he puts down to turning up. “There wasn’t a show we wouldn’t drive to or play. We really got after it. If you look at those foundational things about us, then a level of success is almost inevitable.”

They are now routinely described as the most successful band New Zealand has produced, a line Fraser handles like a question he would rather not sit inside. “In no way did I think we would be doing all this. I didn’t have this vision in mind. Every year I think, ‘surely it’s over now’. Then we find something else to do,” he says.

SIX60 – LIVE AT THE GARDENS WHERE:

ROYAL BOTANIC GARDENS

WHEN:

27 NOV

BEAT 1746

“The deep wound of a first heartbreak, the confusion of trying to figure out who you are in the world – those sadnesses soften. But they’re replaced by others: grief, regrets, the realisation that you have less days in front of you than behind.”

DEATH CAB FOR CUTIE WORDS BY ANTONY ATTRIDGE

Æ “As a band we are artistic collaborators, business partners, and travelling companions, but most importantly we are friends,” he says. “We check up on each other and if anybody is going through something, we have their back.” What has shifted is the kind of sadness on offer. The first-heartbreak material that defined the band’s early years has been displaced by something with more weight behind it. “The deep wound of a first heartbreak, the confusion of trying to figure out who you are in the world – those sadnesses soften,” Depper says. “But they’re replaced by others: grief, regrets, the realisation that you have less days in front of you than behind.” The record is not a wake, though. Trap Door lands somewhere near optimism, and the 5 people making the noise are not a monolith. “We all experience joy in our own ways,” he says. “Fatherhood, listening to music, creating music, communing with nature, travel – we are 5 very different people.”

Credit: Ryan Russell

Death Cab for Cutie have spent close to 3 decades documenting heartbreak in real time, and on I Built You a Tower they are still at it. Guitarist Dave Depper says the thing holding it up is simpler than the catalogue suggests.

That spread turns up in the sequencing. For a band filed permanently under indie rock, the catalogue borrows freely from synth-pop, postpunk and electronics. “I love how Trap Door and How Heavenly A State are right next to each other on the album, could not sound more different, and yet are both unmistakably Death Cab.” The rooms have grown since the Transatlanticism years. Depper reckons the trade is worth it. “In a small theatre you can look individual people in the eye,” he says. “In a larger venue, that gets replaced by the sheer awesomeness of a human collective all experiencing a similar emotion at once. It’s a symbiotic energy transfer between the audience and the band. I experience it almost as an energetic wave that I can surf during the show. It’s so powerful.” Ask for his favourite moment of any given night and there is no deliberation. “Transatlanticism.” “It’s patient, laden with yearning and emotion, and over 8 minutes it becomes the loudest, most cathartic moment of the evening,” he says. “It doesn’t matter if I’m sick, tired or homesick – performing this song always moves me.” Australia has not had a look in for some time. “We haven’t been down under in six or 7 years. Expect a healthy dollop of new material as well as hopefully most of your old favourites.”

DEATH CAB FOR CUTIE

WHERE:

MARGARET COURT ARENA

WHEN:

13 NOV

BEAT.COM.AU

BEAT 1746

HELLCAT

Hellcat Speedracer named their second EP in the middle of a night out, which figures. WORDS BY

LUCAS RADBOURNE

Æ “We came up with the name midway through the night, almost as a descriptor to where we were at and where we needed to go,” the Sydney duo say. “That reflection gives us more energy to keep going, though. It’s a reminder to look back at the chaos you’ve left behind, and that whatever’s coming next will probably be just as chaotic.” forever never here. runs 5 tracks from dusk to sunrise, opening on Ultraviolet and sliding through Minutes Of You and Stay Blessed before the lights come up. Alex and Oliver swear the arc was an accident.

“It was a pure coincidence that it panned out that way,” they say. “But as we continued to work on the tracks the story became clearer and clearer. The artwork then helped bring that concept to life.” Their own bio divides the labour tidily – Alex the analytical one, Oliver the risk-taker. Ask how that plays out behind a desk and the tidiness evaporates.

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SPEEDRACER

Credit:Billy Zammit

“It’s never a dull moment with both of us – we don’t take it seriously because we know how lucky we are to be able to write music and do all these fun stupid and ultimately outrageous things.”

“Anyone that has ever worked with us would probably agree on the messier side,” they say. “It’s never a dull moment with both of us – we don’t take it seriously because we know how lucky we are to be able to write music and do all these fun stupid and ultimately outrageous things.” The record was built between Australia and the UK, pulling in Richard X, Pat Alvarez, LEGZDINA and KOATES along the way.

“They’ve all got their own unique style, and we felt each of them would push Hellcat somewhere new,” they say. “It’s always fun working with someone who doesn’t seem like an obvious fit on paper, because that’s when the coolest things happen.” Geography turned out to matter less than expected. “The UK is a lot more dance-focused, so it was great to learn how they work over there. Other than that, it’s the same everywhere: musicians banging their heads against a laptop until someone cracks the code.”

Back To Life, the closer, came from meeting KOATES in London – the kind of friendship forged in an afterparty’s dying minutes. The pair reckon the best material arrives either way, so long as nobody is behaving. “Even in a normal writing session, we really do try to break all the nervous / boring energy straight away,” they say. “Again, it’s hard to commit to being that serious boring person in the studio when our life is pretty silly.” Splendour In The Grass, Beyond The Valley, Yours & Owls and Rhythm & Vines have all copped a set. Collingwood gets 1 next, and the brief is not complicated. “All we want people to do is come dance. Bring your mum, grandpa, whoever. It’s a show for everyone. We’ll be playing the new EP, old stuff and some more unreleased tracks. As long as you are ready to bring the same energy as us that’s all that matters.”

HELLCAT SPEEDRACER – FOREVER NEVER HERE WHERE:

THE TOTE

WHEN:

6 NOV

BEAT 1746

LOTTIE MCLEOD

“I’m nervous, but excited. It’s been a long time coming. I’m just excited for people to pick it up and hear it.”

WORDS BY MOLLY ENGLAND

Æ Brisbane-based singer-songwriter Lottie McLeod’s latest release is for those who love to feel deeply. If you’re a lover of Lizzy McAlpine or Samia, Lottie’s latest EP will take you through the same experiences of modern love, ill-fated romance and bodily autonomy. The Boathouse follows Lottie’s previous singles Sunburnt and Important to You, which were featured on triple j Unearthed. In 2024, she was named Emerging Artist of the Year at the Queensland Music Awards. “The Boathouse as an EP captures conversations I’ve had at the Manly Boathouse,” Lottie said. “I’ve been a water baby my whole life. The ocean has always been a place that grounds me. I live close to Manly Boathouse and I feel I have always subconsciously brought people there to have difficult conversations. I’ve had really happy memories here and also some really frustrating ones.” “The first lyric of Boathouse is ‘we get along, talk it out by the boathouse’, which is how the EP opens. I feel it captures the whole thing really nicely,” she said. The Boathouse signals a new chapter for Lottie’s music as she moves into a new space, more confident in herself and her voice. “I feel I’ve really developed as an artist since my first release. I’ve become more confident in myself and my body, and I speak up more about the way I feel.” “I think it’s the life experience, that’s how it happens. You can really hear the development from the start of my music. I feel like maybe I wasn’t really being true to myself. I feel that as I get older, I’ve evolved with my music and this EP feels more like me than anything I’ve put out before,” she said. Next up, she’s supporting The Tullamarines on their national run, which reaches Howler on 6 November with effie isobel also on the bill. She will also support a handful of Aussie bands, including Harlan Goode and Pierce Brothers. “I’m excited to headline tour on my own, but I’m also really excited about my support slots, playing my music for people who have never heard of me before, to see how people respond and how the music evolves, how it grows out of that experience,” Lottie said. The EP was made across Australia and the US. “It was such a collaborative EP, which was so cool,” Lottie said. Working with childhood friends and US producers, Lottie has captured a realism and thoughtfulness in the EP’s storytelling. Lottie travelled to North Carolina to record 2 tracks from The Boathouse, Important to You and the title track, Boathouse, with Caleb Wright, a US producer known for working with Samia and Hippo Campus. “My favourite artist in the world is Samia, and Caleb has done most of her stuff, which was a very surreal moment for me. I did 2 songs with him, Boathouse and Important to You. We worked really well together, and whatever happens, I will be heading back over there,” she said.

Credit: Ghina Sari

Meet her at the Boathouse: Lottie McLeod’s coming-of-age EP, The Boathouse, is out now.

“Boathouse is the song that sticks out to me the most. The song follows a slow burn of friends to lovers, and I think it really captures what I felt in the moment. I think I’ve captured that feeling better in this song, which is why it is one of my favourites on the EP.” The closing track of the EP, Thomas, continues Lottie’s knack for letting listeners overhear and share in intimate conversations. “Thomas is about the universal experience of being love bombed. I think sometimes the feeling can be more powerful because you only got to see the beginning of a relationship, and you picture in your head all the things it could have been had you fallen in love. It happens to the best of us, but at least we can make music about it.” “I’m nervous, but excited. It’s been a long time coming. I’m just excited for people to pick it up and hear it.”

LOTTIE MCLEOD WHERE:

HOWLER

WHEN:

6 NOV

BEAT.COM.AU

Swinging

60s

EXHIBITION EXTENDED TO 5 SEPTEMBER 2027 FREE ENTRY | OTB.ORG.AU/SIXTIES 20 Spring Street, East Melbourne | Sunday-Friday 10am-4pm

Image: Jean Shrimpton on Derby Day, 1965, Clive Mackinnon, The Age newspaper | Swinging Sixties was researched and curated by the Old Treasury Building in partnership with Public Record Office Victoria

E I G O O E B D I RS E V RI

“It’s really fun just being in the flow of it, seeing what comes up and what happens as we play it.”

BEAT.COM.AU

Boogie Riverside are making music from the soul: an infectious remedy we all need.

Credit: Jacob McCormack

Æ As a band, Boogie Riverside are in an early stage of existence, and yet the musical prowess of each individual member, further amplified by the chemistry apparent throughout the band, would suggest otherwise. It is early days for the band, who exist as an energetic, live-show entity with whispers of recording an album down the track flickering in the background. But Boogie, as they are endearingly coming to be known, have written their name into the stirring rumblings of folklore through their commitment to the ‘moment’. This has assumed form in their undulating sound that speaks to visceral depths audiences are sometimes only unlocking for the first time listening to them play, or in some cases joining in for a thread of artistic expression themselves. In their short tenure, they have hypnotised crowds around Victoria, with most audiences vying for more wherever possible. Those lucky enough to have already seen them play are well acquainted with the flair and improvisation the band bring to their shows. Boogie will support Otis Namrell & The Blueprints, whose riffs are sweeping and mesmerising, at Lulie on 27 November, a gig that will add another layer to their captivating manner. They’ve allowed for this style and sound to blossom through their initial spontaneous jamming, whether that’s riffing on an idea in a shared space or allowing for something to be discovered in situ at one of the parties they have become renowned for hosting on the Surf Coast of Victoria. And although it’s the enquiry into just playing music that has curated the band’s authenticity, there’s no doubt that the exceptionality of this outfit, which moves fluidly through sonic possibilities, has no real ceiling. “Within 4 sessions of music together, we had about 10 songs that just wrote themselves,” outlines drummer Max Dawe. “We’ve used those as a base since then and it’s taken us here. Now we’re making new things like, oh, what else can we do? That was the first explosion of energy.” The newness and the opportunity to explore speak volumes to vocalist Lily Crisp as well.

“It definitely felt like a big bang,” explains Crisp. “The first few songs that we wrote. I’ve never played in a band where I get to road test songs as we’re playing gigs. I think in other bands we’ve been like let’s rehearse a song, let’s get it perfect, then let’s play it. “And as a lyricist, it’s really fun to be like, all right, let’s just test these lyrics out and see what works, and then go and play and see how the audience receives it. From there we’ve been able to reflect and ask questions like how did that work, what didn’t work, what went well? “It’s really fun just being in the flow of it, seeing what comes up and what happens as we play it.” In a sense, this is jazz. But it’s not ‘jazz music’; the band have managed to sculpt jazz into the application of a verb – that is, to syncopate, improvise and feel into any given moment, as if free play were the automated mode when there’s an opportunity to create music. The embodied representation of this is only reinforced through the band’s establishment of spaces that allow for authentic and present expression to flow. “The way we’ve played music has always maintained variation,” says double bassist Clarence Smith. Credit: Jacob McCormack

WORDS BY

JACOB MCCORMACK

“Those parties we’ve had, along the way, in between all the other gigs is where we have gotten other musicians to join in. It’s just become really free expression.” “I feel like it really influences how we play as a band,” adds Dawe. “Because we’re accommodating other artists and moving in and around them. It’s challenging, but ultimately so rewarding.” “It shakes us down because it’s no longer just us playing to a crowd of people,” adds guitarist Archie Will Leggett. “It becomes this whole organic interactive experience, where it’s about what everyone’s feeling at the time. There’s no rules so we just play and see what people move to.” It’s no wonder there isn’t a genre that can define Boogie Riverside and, rather confidently, the band are just leaning into what feels most true to them. “We are just playing positive soul music and it hasn’t been an active decision to pick a genre, but we’ve just played our souls to each other and the result is what comes out.” Boogie Riverside are a band to keep close tabs on, not only because of the sheer awesomeness of the music they are cultivating, but also because of how one might feel at their show, as well as what an audience member might unearth through participating in the band’s welcoming ethos.

BOOGIE RIVERSIDE

WHERE:

LULIE TAVERN

WHEN:

27 NOV

BEAT 1746

KEVIN MORBY WORDS BY ANDREW HANDLEY

ant C re d i t : Ch

Æ His partner Katie Crutchfield, who records as Waxahatchee, was 2 weeks from her due date. “We both naively thought that we were going to have like 2 weeks to prepare and get ready for the whole thing,” he recalls. “I got back in the evening, we went to sleep, we woke up like two in the morning, her water broke, and we had to like go to the hospital.” He hadn’t even had a full night’s sleep when the baby was born. “Our little guy is pretty big actually, and part of us thinks that maybe Katie was further along than we thought,” he says. “But also, I like to believe that he was waiting for me to get home.” After nearly a decade together, the pair are accustomed to balancing touring schedules. “I think it’ll actually be good having a kid that we’ll have to account for,” he says. “We’ve both been touring our whole adult lives, so it’s just something that we’re so used to. It’s unconventional, but it works for us.” Having met on tour and released music together, Morby and Crutchfield are accustomed to sharing ideas. “We’re always bouncing ideas off of one another,” says Morby. “Usually when one of us is working on some demos or something, just coming out and being like, ‘can I ask you a question? What do you think of this line?’” How fatherhood influences Morby’s songwriting remains to be seen. “I have worked on 1 song since he’s been alive that sort of mentions a baby,” he says. “I’m usually just so influenced by my environment, whatever it may be, so… probably lyrically and maybe in other ways too.”

On his eighth solo album, Little Wide Open, Morby took a less certain approach to songwriting. Rather than arriving at the studio with a fixed vision, he says he found the record as he went. “I went in with a lot of songs, and it was sifting through a lot of stuff, and I felt like I was editing stuff maybe in a way that I don’t usually do.” The result is a sprawling album that ranks among the strongest collections of songs in Morby’s career. Its breadth allows him to showcase his strengths as a storyteller and melodic songwriter. On 100,000, Morby’s use of Midwestern language reflects his connection to the region, while the vocal arrangements on Javelin give the chorus added weight. Place is a constant theme in Morby’s work, though his idea of home is less fixed than most. He and Crutchfield split their time between Kansas City and Los Angeles, with both cities and the experience of touring feeding into his music. Before moving to LA, Morby lived in Brooklyn for 7 years, where he played in Woods and co-founded The Babies. “I don’t know how anyone lives in 1 city all the time – I wish I could,” he says. “Maybe I just need to find that place in my life, but it’s for me, it’s like I need 2 polar opposites, or else I start to lose my mind a little bit.” That sense of place carries through to Little Wide Open, where Aaron Dessner’s production is perfectly suited to Morby’s songwriting. It gives the album a warm, in-the-room feel without smoothing over its rough edges.

ers

Kevin Morby had barely returned home to Kansas City from a 3-week European tour when his first child arrived.

al A

Dessner approached Morby to collaborate after Morby opened for The National in London in 2024. “Despite the fact that Aaron’s this huge producer now, and works with the biggest pop stars in the world, he’s still just a very down-to-earth Midwestern guy,” he says. “I think because we’re both Midwestern, we both like baseball, and we both are like indie rock guys… there’s a lot of overlap in our Venn diagrams.” Like Morby, The National spent years working hard and touring before reaching a wider audience. “I think that the people that I’ve always really admired the most are people who have a slow, inclining career that keep building,” he says. “Just doing their thing and making what they want to make. So, I just try to stay that course, really.” Morby has spent the better part of his life touring and releasing music, and says he’s exactly where he’d like to be. “I’m just still so blown away that the crowds are getting bigger and that the people are wanting to come at all – it still just blows my mind,” he says. “I’ve gotten into a place where I really feel like I’ve got a communication with my audience, which is really, really amazing.”

“I got back in the evening, we went to sleep, we woke up like two in the morning, her water broke, and we had to go to the hospital.”

KEVIN MORBY WHERE:

FORUM

WHEN:

22 NOV

BEAT.COM.AU

M.A.A.T.E! AT SAE MELBOURNE Calling every audio fan in Melbourne: M.a.A.T.E! lands at SAE University College Melbourne on 14 November, and it’s free.

Æ The Music and Audio Technology Expo, known as M.a.A.T.E! for short, is a full day of product demos, talks and workshops. Producers, engineers, educators and students will be wandering the halls, and plenty of the gear on show is there to be touched. M.a.A .T.E! has its roots in the Melbourne Audio Trade Show, which ran at SAE from 2016 to 2018. Organiser and SAE lecturer Gareth Parton says the program is built around conversation rather than sales pitches. “We’ve focused on opportunities for meaningful engagement rather than simply showcasing products,” he says.

WHY THE EXPO IS BACK The relaunch comes with a fresh name, and Parton admits he put some thought into it. “This is the most Aussie acronym I could come up with!” he says. The earlier trade shows left an impression on him. “What stood out most was the sense of community,” Parton says. “People weren’t just coming to see new equipment; they were coming to talk shop, learn from each other and connect with others who shared the same passion for audio.” The timing lines up with a big year for SAE, which is celebrating 50 years of creative and technology education. The South Melbourne campus has also had a glow-up, including a new Dolby Atmos theatre and an SSL Duality console.

WHAT’S ON AT M.A.A.T.E! The exhibitor list covers plenty of ground. CMI Music & Audio will bring Korg, Arturia, Native Instruments and Universal Audio, while Amber Technology is repping Avid, Solid State Logic and JBL. Link Audio will have PreSonus, Audix and Apogee, and Group Technologies is showing L-Acoustics, DiGiCo and RME. Roland, Factory Sound, Sky Music, Studio Connections and the Music Producers and Engineers Guild are also on the bill. Avid will run through the latest Pro Tools updates and SAE’s brand new 9.1.4 Dolby Atmos system, and Ableton will walk visitors through new features in Ableton Live. Pacific Ears will present on safe listening and hearing protection, and Panorama Audio Labs will show off a new plugin. Parton reckons the exhibitor chats are very much worth the time. “Some of the best insights often come from informal conversations and hands-on demonstrations with the people who design, distribute and support these technologies,” he says.

LARRY CRANE BEAMS IN FROM PORTLAND Keynote speaker Larry Crane is the founder of Tape Op magazine and runs Jackpot! recording studio in Portland. He’s worked with Elliott Smith, Sleater Kinney, The Go Betweens and Stephen Malkmus, and he’ll join the day remotely to talk recording, creativity and where the industry is headed.

Parton says Larry’s background is what makes him such a drawcard. “Larry’s perspective is unique because he’s not only worked at a high level, but he’s also spent years helping others learn, develop and think critically about the creative process,” he says. There’s also a mastering session, with Panorama Audio Labs founder Nick Di Lorenzo sitting down with mastering engineer Joe Carra. They’ll dig into critical listening, workflow and the future of the craft. Parton is keen to see it; “Mastering is often one of the least understood stages of the production process,” he says. Rounding out the program is a live synth jam, where punters can watch electronic music being created and performed in real time. “It’s a chance to see synthesis and electronic music creation in a more creative and collaborative environment, showcasing both instruments and performance techniques,” Parton says.

WHO M.A.A.T.E! IS FOR Whether you mix records for a living, are studying audio or are just curious about the tech, the day is open to you. Asked who it’s aimed at, Parton keeps it short. “It’s genuinely for all of the above,” he says. “The event is free because we want it to be as accessible as possible; the biggest recommendation is to come for the full day!” he says. Check the program beforehand, bring questions and say hello to exhibitors. Exclusive deals and door prizes will also be up for grabs on the day.

M.A.A.T.E! WHERE:

SAE UNIVERSITY COLLEGE MELBOURNE

WHEN:

14 NOV

This article was made in partnership with SAE University College.

BEAT 1746

#1 DADS Credit: Vanessa Bartel

WORDS BY DOM LEPORE

Credit: Vanessa Bartel

The Big Scary songwriter’s fourth solo album, Every Little Fire, was born of fire, and yet was a slow burn to finish.

“The danger is that you can outgrow the songs. You start them, but then you grow so much that they no longer hold any meaning to you. There’s a balance in there somewhere.” Æ Tom Iansek has experienced a lot over the past few years. He’s now a real #1 Dad with 2 young children, and he and his family have moved from Melbourne to London. His peers are settling into comfortable stability, and he’s chosen an intense adventure he describes as “wonderful and scary at the same time.” Tom’s first album as #1 Dads since 2020, Every Little Fire, took shape amid this upheaval. “Something that destroys but makes room for something else, like new growth. There’s a destruction and renewal process in there,” he explains the meaning behind the album title. “It’s not 1 big, giant, calamitous event; it’s lots of little events.” Songwriting helps Tom process and reflect on where he currently is in his life, which he professes is subconscious. On this latest #1 Dads excursion, he explores carving out structure while facing the unknown. The brisk opening track, Evaluation Period, immediately addresses this, where Tom, while cleverly name-dropping the album title, assures himself he’s resistant to every little fire.

His solo output has always been a gentler, more personal companion than Big Scary’s poppier music. But Tom’s emotional honesty radiates brighter than ever as he searches for hope in chaotic change. These major shifts drove Tom to write quickly, adding fuel to the fire to keep his initial impulse from burning out. But as months turned into years, the new material became a place of solace. Working to promotional schedules was ineffective; he had to take his time. “Sometimes things taking a while can be part of the process. You live your life; you grow and change. Sometimes I think songs need that. That’s part of the process leading you,” Tom says. “Life kept demanding other things, and I couldn’t get to [the album] for whatever reason. Chilling out and relaxing into it was part of the creative process and album’s evolution as much as anything.” Tom’s astute observations are grounded in reality, given his frequent collaboration with other artists. He offers another 2 cents on returning to material after a long time: “The danger is that you can outgrow the songs. You start them, but then you grow so much that they no longer hold any meaning to you. There’s a balance in there somewhere.” Evidently, Tom has struck a balance by seeing his songs through. Living in London also has its challenges, like the cost of living and the premium on physical space. Tom wrote most of Every Little Fire in a makeshift “studio” that was just his bedroom, and in smaller studios to track other instruments. The way Londoners treated creative space was eye-opening. “It’s important to be reminded that it’s not just about adding and adding. It’s also about refining and homing in on what you really love, pushing the unused things to the side,” Tom says. “It’s becoming more concise in your art form and professional process.” Tom’s “less is more” philosophy particularly influenced the new wave cruiser Nothing Less, built around a Juno-106 riff he kept from the demo. He recalls trying different drum beats and solo synths, but neither had the magic of the first take despite its mistakes. “It was a process of leaving no stone unturned. I still made every effort to bring it together, redoing the sounds in a proper recording environment, because generally you’ll get more life or clarity,” Tom explains. “You can’t have hard and fast rules. You just have to go where the song calls you to go.” This hard work has led to Tom’s first #1 Dads Australia tour in 6 years, and for the first time, he’ll perform solo under the alias at smaller venues. He’s road-tested the format in the UK, so his nerves are already quelled. Tom shares his excitement: “You’re more up close and personal with people. You go and meet people after shows, and I get to go to all these little towns and cool spots that I couldn’t really get to with a band.” A little faith goes a long way, and the return of #1 Dads proves that sentiment is true.

#1 DADS WHERE:

BRUNSWICK BALLROOM

WHEN:

19, 21 NOV

BEAT.COM.AU

FENDER AT 80:

STILL LOUD, STILL MODIFIABLE AND STILL THE GIGGING GUITARIST’S MAIN SQUEEZE WORDS BY

LEWIS NOKE-EDWARDS

Why the Telecaster and Stratocaster were nearly perfect from day one, and how Fender keeps the rest evolving. Æ There are a handful of companies whose products have shaped the course of history in their respective fields. Ford Motor Company pioneered the mass-produced automobile in the early 20th century, while companies like Levi’s have produced jeans and denim for work and fashion for over 170 years. Fender has been producing worldclass instruments for 8 decades. Its guitars have been wielded by guitar heroes like Jimi Hendrix, Bonnie Raitt and Stevie Ray Vaughan, through to more contemporary stars like Blu DeTiger, Mk.gee, H.E.R and Tash Sultana. All of these players had to start somewhere, but wildly different as their genres may be, a Fender is their common link, be it Hendrix’s Stratocaster or Blu’s Jazz Bass. The huge swathe of offerings from Fender has helped its longevity, with a range of instruments for players of all levels. As we celebrate Fender’s 80th birthday this year, coupled with the Telecaster’s 75th anniversary and the Stratocaster’s 75th on the horizon, it’s important to understand why a company like Fender has had such staying power. Much like those brands, Fender’s identity is 1 built on craftsmanship, reliability and trust.

While varying models might feature refined additions, cool finishes, limited production runs and an artist’s signature spec, they all share Fender’s DNA: instruments and tools built to be played, gigged and modified. That craft is part of the reason Fender has weathered the ebb and flow of the trend cycle, often leading the charge. Fender’s most iconic guitars, the single-cutaway Telecaster and the double-horned Stratocaster, have paved the way for electric guitars since their arrival on the market in the early ’50s. To be frank, they haven’t changed all that much since their inception, a testament to their largely perfect initial design. Being electric guitars, they feature different pickups that pick up the sound of the strings like a little microphone and send it out to an amplifier. Over the last 70+ years, pickup design has changed a lot, and many Telecasters and Stratocasters now come available with various pickup options. Fender electric guitars have also always been designed with modifications in mind, allowing players to adjust, swap and remove things like pickups, knobs, switches and pickguards. These decisions help you to experiment before settling on a custom instrument, be it different pickups, a different aesthetic with a coloured pickguard, various pickup switching options and more. This leads the player to pursuing their own perfect instrument (sometimes to no end!), making a Fender your one-and-only, your main squeeze. Customising your own Fender enables you to build the one guitar that does everything you need. The backbone of all this is stellar design, and Fender’s designs were pretty perfect to begin with. The double cutaway of the Fender Stratocaster allowed players to reach higher frets and squealier notes, opening the door to rock and roll, blues and jazzy lead playing. Much of the guitar industry followed suit, many manufacturers using double-horned guitars because of both their comfort and access to the guitar’s entire neck. Fender’s most recent flagship offering, the revised American Professional Series, follows those early design principles, tying together some famous pickup configurations, iconic colourways and wood choices.

While still entirely customisable, the new series proves Fender has its ears to the ground, or the pub floor, and is listening to how musicians are using and modifying their instruments. As the name suggests, the range is built for the working musician, with premium components and woods, along with hardy finishes. A gigging guitar or bass will take a beating, an inevitability, but Fender doesn’t shy away from that. Instead it’s doing its darndest to ensure there’s a guitar for everyone, of every level, regardless of your inspiration, aspirations or even aesthetic preference. The list of players who’ve trusted Fender for decades is a testament to both the brand’s enduring appeal, as well as how reliable its instruments are. Your heroes trust them night after night, and Fender’s design philosophy, though relatively simple, has cleared the path for an entire generation of players who’ve followed. As the range grows, the new, young stars continue to trust them, and for the same good reason that players of the ’60s, ’70s and beyond did too. Much like a great pair of Levi’s jeans, a guitar should feel like home. You should be able to work, play and create with it, all the while remaining focused on your craft, and not the shortfalls of a badly designed guitar, or alternatively a badly stitched seam. It’s the absence of problems that makes Fender so reliable, allowing you to shift attention entirely to your playing and your expression. Brands come and go, as do trends in fashion and music, but the staying power of a company like Fender is a tribute to worldclass instruments and musician-focused philosophy at its core. At their foundation, Fender instruments are well designed and built. Colourways, playing style, electronic components and the like might come and go with the seasons, but with a Fender guitar at the core of all that, it’s tough not to appreciate its legacy.

This article was made in partnership with Fender.

BEAT 1746

VENUE GUIDE

CRAFTSMAN’S CORNER

ARK

LIVE MUSIC: Regular DJ nights are part of the weekly rotation, they sit alongside a schedule. The venue says its events combine drinks, food, music and “fun activities”, and it runs a schedule built around them: $15 parmas on Tuesdays, $1 wings on Wednesdays, and the odd 1-off, like the puppy cuddles lunches with Wellness Cartel. Doors open from 5pm Tuesday to Sunday. It closes at 1am on Fridays and Saturdays and runs “late” the other nights.

LIVE MUSIC: Ark runs weekly club nights across multiple rooms, each programmed around its own identity. Skyline is the open-air rooftop, set against the city and centred on house music. 1 level down, Section One moves through house and garage — direct, energetic and built for movement. Below that, the Basement goes deeper and darker. International talent sits alongside local DJs, with the venue’s early bookings including UK and Dutch acts mixed in with a rotating cast from Melbourne’s electronic scene. Doors open at 8.30pm and the room runs until 7am, with entry from $15.

FAMOUS FOR: the welcome. The pitch is a bar that captures the essence and culture of the Northside, with a safe environment, a home-away-from-home feel and warm smiles on arrival. It’s a venue built around reminiscing and making new memories rather than chasing a scene. There’s a full bar and kitchen, a function room for birthdays and special occasions, and a booking page that features prominently. It’s the kind of place that expects you to stay a while and bring people with you. INFAMOUS FOR: the building, which has been on this corner a lot longer than the parma deal. The name Driscoll’s Buildings is still written on the parapet, and heritage assessors rate 313–321 Lygon Street among the best-preserved Victorian shopfronts left in the area. Æ Craftsman’s Corner isn’t trying to reinvent anything. A $15 parma night, $1 wings and a warm welcome on Lygon Street make a simple, specific offer, and the neighbourhood seems to have noticed.

FAMOUS FOR: the rules. Phone cameras are covered on entry. The rooms are dark and filled with haze. Ark’s own language leads with “freedom, diversity and inclusion” before it mentions a single DJ, and the whole operation reads like a venue built around an atmosphere rather than a lineup. There’s a members’ list, a birthday list and a group chat for regulars, but also a nudge for newcomers to scope out the laneway before their first visit. It’s the kind of place that wants you to arrive knowing what you’re walking into. INFAMOUS FOR: occupying one of Melbourne’s most storied nightlife addresses. The building at 2 Geddes Lane — accessed off Flinders Lane near the southern end of King Street — has been cycling through identities for over 170 years. It housed The Grainstore Tavern through the 80s and 90s, then became Showgirls Bar 20 strip club, then was reborn as Geddes Lane Ballroom in 2018. Ark is the latest chapter, and if the building’s track record is anything to go by, the walls have seen more reinventions than most Melbourne postcodes. Æ Ark launched on 5 September with a set from UK artist ESC. It’s early days, but the combination of multi-room programming, a no-cameras policy and a $15 door in a 170-year-old former strip club is a specific enough proposition to suggest this one knows what it’s doing.

WHERE:

313 LYGON ST, BRUNSWICK EAST

WHERE:

2 GEDDES LANE, MELBOURNE CBD (OFF FLINDERS LANE)

BEAT.COM.AU

EDINBURGH CASTLE LIVE MUSIC: headlines the Edi Castle’s 20th birthday on 14 November, with past bands back on stage. FAMOUS FOR: its roo and wine special: a peppered roo steak with mash and veg, still going since the early 2000s. INFAMOUS FOR: rough early days, when some punters had just got out of jail and wanted revenge on their snitch. Æ Co-owner Nathan Muller and business partner Noel have run the Edinburgh Castle for 20 years. Muller’s pub journey began in Richmond in the late 90s, then Fitzroy in the early 2000s, both built around bringing communities together. Sydney Road felt like another planet by comparison. Muller recalls 1 Fitzroy mate saying he’d make the trip if there was a courtesy bus. It was a long way from the cool kids of the Roy, but Muller figured the pub had room for everyone, and that the best communities have everyone in them. The taps went from “Country and Western on tap” (Carlton and VB) to independents like Mountain Goat and 4 Pines, which were only just starting out before bigger players snapped them up. The menu got more than 1 vegetarian dish, too. The thing that really got people through the door was the $9.99 roo and wine night: a peppered roo steak, not overcooked, with hearty mash and veg. It put the gold rush pub at the crossroads to Bendigo and Sydney on the map, became a staple, and is still going, though the price has crept up. Muller notes the roos don’t hop any less when diesel costs more. More food specials followed, and so did local bands, with gigs now running 4 days a week. Over time the crowd changed. Muller says there were eventually more people coming to enjoy the place with friends and family than people who’d just got out of jail and wanted revenge on whoever snitched on them. The early days, he admits, were a little rough. Trivia host Mrs Smith was running quiz nights at the Edi when plenty of other pubs hadn’t thought of them yet. Muller also credits the local music community for backing the pub as much as the pub backs them.

These days, Muller knows some people walk in and see a tired pub that could use a makeover. He reckons plenty see something else: the place where they caught up with mates, met future partners, shared a good meal and danced to a live band. The pub pours a range of independent drinks, and the crew aim to make everyone feel included, whatever their background or challenges. Muller says community doesn’t need much more than a safe space and people who appreciate it. From what previous publicans have told him, the Edinburgh Castle has always been a place for all communities. “I tell ya, 20 years has really flown by now that I look back,” Muller says. Aside from the constant fixing, problem solving and assorted dramas, he and Noel are grateful to have been part of a community that has grown through some of the most difficult years in a century. The birthday party is on 14 November, and everyone’s invited. Expect bands that have played the stage over the years, prizes for the big and little kids, and “the best vibes we can conjure up”. Live, long and local.

WHERE:

681 SYDNEY RD, BRUNSWICK

The Edinburgh Castle acknowledges the Wurundjeri Woi-wurrung people of the Kulin Nation as Traditional Owners and pays respects to Elders past and present

BEAT 1746

ALBUM REVIEWS

WORDS BY

BRYGET CHRISFIELD

#1 DADS

Every Little Fire THE AVALANCHES

No Bad Memories Æ iPod, floppy disk – the technological relics/retro-tech icons on this album cover drop hints: the memories The Avalanches refer to here are probably of the data storage variety. The title track itself contains a sample from a 1980s OPUS Floppy Disk advertisement, promising “No Bad Memories”. Joyous pop moments, interludes, commercial jingles (real and imagined, a couple of which Mike Patton narrates) – some of these 31 tracks also incorporate samples of old computers starting up, data loading, camera shutters and mouse clicks. Bd-R opens like a foley collage – is that a car door opening? Imagination awakened. Then what sounds like a Smurf-like character traipsing contentedly through fields of flowers “bee-bah-bee”s a happy tune. Together, which follows, drops us on the dancefloor, with synths arpeggiating through alternate headphones like Pop Rocks for the brain. Ditties scuttle in and out like lost critters on LSD. Sometimes, No Bad Memories sounds like anime characters raving. This electronic music group claim their love for sampling as an artform was reignited by 2015’s In Colour album by Jamie xx, who they collaborated with on Every Single Weekend. What started out as a 1-minute interlude on Jamie’s 2024 In Waves set has now expanded for inclusion on this Avalanches album. After singing Dial D For Devotion on their previous We Will Always Love You record (2020), Karen O returns with a career-best portrayal on the luxurious Blue Shadows. Shedding her Yeah Yeah Yeahs persona, Karen channels an enchanting woodland nymph. Another We Will Always Love You returnee, Rivers Cuomo (who featured alongside Pink Siifu on their 2020 single Running Red Lights) takes All The Time In The World, as floaty instrumentation sets us adrift on memory bliss: “We got all the time in the world… No worries, no…” – communal affirmations for dancing with abandon. Drop o’clock summer banger alert: Vida featuring Erick The Architect, brass fanfare, percolating synths and tropical flair. Synonymous with modern advertising, electronic composer Suzanne Ciani’s charming, engaging voice appears – with her blessing – on Our Love Is Alive; sampled from a vintage Sesame Street episode during which she teaches children how synthesisers work. Ciani’s pioneering work spans sonic logos (Coca-Cola, Atari) and pinball machine sound design. With its vocal hook encapsulating wistful nostalgia, standout track Far Away (feat. John Glacier & Khadija) unfolds like a sensory memory reconstructed in real time: “the sounds of the windchimes”, we hear said chimes. Elsewhere, The Avalanches repurpose singing kids from The Famous 5 TV series (Together), an overlooked bridge from Carly Simon’s Make Me Feel Something (One More Fantasy) and 1950s vocal quartet The Hi-Los performing Skylark (The Pavements Light). No one teases every last drop of emotion from a sample quite like The Avalanches. No Bad Memories here, just plunderphonics at its finest.

LABEL: RELEASE:

EMI OUT NOW

Æ “I’m afraid but I see/ That every little fire is not the end of me.” Tom Iansek (Big Scary, No Mono) has been releasing music under #1 Dads – his solo moniker – since 2011, which predates him becoming an actual dad (he’s now the father of two). Every Little Fire sparked from a suite of gentle piano songs Iansek wrote during his lockdown-related “piano renaissance”. Keen to avoid self-censoring during this album’s creation, Iansek also tapped into his Ennio Morricone fandom. “It’s only ever been you…” – talk about #couplegoals! Already Something, a tribute to Iansek’s “partner of many years”, is further enhanced by Gus Rigby’s buoyant sax solo, which sounds like how true love feels. Iansek’s vocal performances land like welcome caresses, underscored by sumptuous string arrangements. His wistful whistling refrains (see: Every Time and Excuses – a cruisy ode to rumination) are best appreciated in a seated position, softly swaying from side to side with your eyes closed. Every Time’s whistling melody is echoed by vocalising – so beautiful it hurts. Built from a rhythmic, circular riff that speeds up to double-time and then oscillates between both tempos, self-described “strange banger” Tonight, Alive drips with urgency – “I need to stay/ Tonight!” Recorded in 1 unedited take, On A Winter’s Day features Iansek and Georgia Potter’s simpatico singing. Listening to Every Little Fire calms the nervous system while stirring the soul. The perfect back-pocket tool.

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FANNY LUMSDEN

NORTHLANE

TROYE SIVAN

Traditions

Anemoia

She’s the Best

Æ Fanny Lumsden’s deeply personal fifth album, Traditions, examines the role heritage plays in shaping identity. Fanny sports tartan on the cover of this album, which opens with bagpipes – there will be no prizes for guessing her ancestry. Heat hazes, shadows falling on red gums, running amok with drenched hair and food on your shirt – Fanny paints vivid mental pictures through song. Blackberries and a black snake on the riverbank, the marks that grass leaves on your knees – By The River (feat. Paul Kelly) is Fanny’s ode to her river-rat family. This banjo-plucked highlight boasts a strong sense of place – much like this album as a whole. Fanny’s detailed description of her Mother’s Eyes (“...deep-set, sloped down at the sides”) is a touching moment within this exploration of the pressure on female artists to maintain unattainable beauty standards: “Always swore I was going to age with grace/ And I bitched about the girls with filler in their face/ But now I’m getting older, I don’t know/ But my body made 2 babies and I’m glad it shows.” Fun fact: There’s a Lumsden tartan, which Fanny’s brother Tom often rocks on stage. Tom is an integral member of Fanny’s backing band, The Daddies (formerly The Prawn Stars). They’ve been singing together for as long as she can remember and it has to be said that Fanny and Tom’s blood harmonies are essential to the unmistakable Lumsden sound. The closing Difficult Woman celebrates the divine feminine: “We’re throwing streamers while they’re throwing knives.” Be more like Fanny.

Æ “Holding onto something borrowed/ While we grieve what never was.” According to The Dictionary Of Obscure Sorrows, Anemoia means: “Nostalgia for a time you’ve never known.” UK DJ/producer Evian Christ’s life-changing 2024 Rising Festival set inspired Northlane’s songwriter/guitarist Jon Deiley to delve into guitar-driven trance music. We’re tipping the stop-starty lead single, Evian – think: supercharged The Prodigy – ain’t about the posh water, then. Pierce The Sky opens with atmosphere-sucking sounds underscored by bubbling synth. OOFT, that visceral shift into NEED2FEEL! “I need to feel your heartbeat, so come closer/ It’s not over…” – sung so sweetly by Marcus Bridge; impossible to resist. A moshpit-friendly saturation of sounds ensues: beyond-brutal banging beats, sinewy basslines and mind-melting fizzing noises. “Am I the one who’s cursed?... I’m the centre of the universe/ I don’t care what you believe” – we feel like a human pinball during Deathwish, which evokes teetering at the crest of a rollercoaster pre-drop. Northlane’s song about burnout, CUT_ it, aptly sounds like an energy vacuum: “I’ve got nothing else left in my body…” – can confirm Bridge sounds completely depleted, both physically and mentally, here. S ∈G A ( fea t . J a p a n e s e - Fre n c h hyperpop artist, MANON) flirts with polar opposites: cartoonish femme guest vocals versus relentless drum-and-bass beats – like sonic chiaroscuro. Nic Pettersen’s speedy drumming on The Other Side sounds like a pro boxer nailing complex punching drills. Twisted melodies, Bridge’s audacious vocals, thunderous synths, bludgeoning beats – the masters of electronic metal find their pocket with this one. Strap in! Anemoia is a wild, cathartic ride.

Æ Troye Sivan is a proud queer man. All the great loves of his life to date have been female, which inspired this album’s woozy, lovestruck title track and lead single. Cum-stained dresses, spicy mirror selfies, sharing your boyfriend with your housemate, taking down incels on the internet – it doesn’t get any more ‘now’ than Troye Sivan’s new album, She’s the Best. Troye’s hypersexualised Rush era wasn’t exactly giving ‘ready to meet The One’, which is where album number four comes in. See: (“I still haven’t found…”) Le Boy, which is cradled by dreamy, atmospheric, droning synth. The polished FF – Troye’s “undying love song to a man who doesn’t exist” – which strips right back to sparse beats underscoring bare, yearning vocals continues this where-is-my-husband? theme. While Love So Big It Hurts spruiks waiting for someone who matches your freak. “Party on the way to the party in the park…” – so fun! Can. Not. Stop. Singing. That. Bit – makes the lips tingle. Don’t get us started on the film clip! And that so-Aussie, deadpan way Troye says ‘Pardy’. Party ain’t the only track referencing vintage Madonna vibes, either. Case in point: the percolating Canada Dry, resplendent with horny AF, exaggerated exhalations. Elsewhere: I Do This For You incorporates warm, welcoming “hello!”s; Cowboy closes out with heartfelt, Elton Johnesque piano; Embarrassingly touches on masturbation; and Troye Meets World opens with robotic vocals (“Music meet body/ Body meet music”). World meet Troye Sivan. She’s the Best is his best yet.

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RED DIRT RECORDS OUT NOW

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INDEPENDENT/ IMMORTAL MUSIC GROUP OUT NOW

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EMI OUT NOW

BEAT 1746

GIG GUIDE

HALLOWEEN AT THE OLD BAR

FT: Bone Reaper, Mammon’s Throne, Queen Hyena, Circle Of Blood, Miras

NOVEMBER 2026

THU 29 OCT FRI 30 OCT SCHADENFREUDE CABARET FT:

Craig McLachlan

Spiegel Haus Melbourne. Melbourne. 7pm. $79. AUSTRALIAN STRING QUARTET: VOYAGER Melbourne Recital Centre. Southbank. 7pm. $95. THE DARYL MCKENZIE JAZZ ORCHESTRA. NINA FERRO Paris Cat Jazz Club. Melbourne. 7.30pm. $45. JAMIE MACDOWELL Freddie Wimpoles. St Kilda. 7pm. COUNTRY STRUTS BOOT SCOOTING Quadraphonic Club. Brunswick. 6.30pm. $19.80. COMMUNITY LIVE

FT: San Cisco. Fanny Lumsden, Juice Webster, Tilly Fenton, DJ Slymewave

EXCELSIS: BEYOND BOTANY BAY Melbourne Recital Centre. Southbank. 7.30pm. $40. GRAVEYARD GOTH DRAG

Miss Gender, KÖMUNE, Belial B’Zarr, Lesbian Vampire Cult, Offworld Aesthetic, Kiki Myndacrutch, EN_ZO, Chiron FT:

The Graveyard Bar. Coburg North. 7pm. $25. LANGO LIVE

FT: KAIIT, Drifting Clouds, Naycab

Lango @ Footscray Community Arts. Footscray. 6.30pm. Free. SYNDICATE VICED. UGLY PRETTY, SPARROW Bar Open. Fitzroy. 8.30pm. $18. HALLOWEEN

Locus. Josephine Ether, Do Not Disturb FT:

Corner Hotel. Richmond. 7pm. $49.

Bar 303. Northcote. 7pm. $15.

TIM ROLLINSON TRIO Bar 303. Northcote. 8pm. $20.

NOCTURNA Toff In Town. Melbourne. 7pm. $43.86–54.06.

META4. COOPER NATHANAEL, P.E.A.K Bar Open. Fitzroy. 8pm. $17.35. THE JOLT FUSION: AFRICUBISMO. GAMELAN, BOLT TRIO Northcote Social Club. Northcote. 8pm. $40. TRIPSIDE LIFE Wesley Anne. Northcote. 6pm. MORELAND CITY SOUL REVUE Retreat Hotel. Brunswick. 8pm. JMQ JAZZ ENSEMBLE

Georgia Brooks + Jayden Blockley FT:

Limerick Arms Hotel. South Melbourne. 6.30pm. $20.

CROSSED. RELIGIOUS OBSERVANCE, SKEZM, OVERTHRONE The Last Chance Rock & Roll Bar. North Melbourne. 8pm. $16.35. DAVID CRAVEN & JON S WILLIAMS Wesley Anne. Northcote. 6pm. HANNAH DONNELLY Northcote Social Club. Northcote. 8pm. $24–28.05. OPTI-RECS VA3 LAUNCH–OPTIMAL X REVOLVER FRIDAYS

FT: DJ Berko, DJ Wise, Sharanya, Mike Callander, Alex Cram, Kiti, Deen Ariff

Revolver Upstairs. Prahran. 10pm. $20.

PONY FACE. CURLERS, DJ FEE B-SQUARED Quadraphonic Club. Brunswick. 8pm. $35. THE BUOYS. OSCAR THE WILD Corner Hotel. Richmond. 8pm. $46. CLIFF RAUX Freddie Wimpoles. St Kilda. 8pm. NOTHIN BUT OLD SKOOL RNB Anglers Tavern. Maribyrnong. 8pm. $18.90–24. FAIRTRADE NARCOTICS. ORANGE MOON, CREATURE FEAR, IN XIRA Brunswick Ballroom. Brunswick. 7pm. $25. HEAVENGATE. MELANCOLIA, IRKEN ARMADA, SLOWBURN Leadbeater Hotel. Richmond. 7pm. $34.90. RAKHI Retreat Hotel. Brunswick. 6pm. INTERSTELLAR GROOVE FESTIVAL 2026 Eagle Ridge Event Park. Tallarook. 9am. $308–407. DANDO MAMBO Wax Music Lounge. Melbourne. 10pm.

SAT 31 OCT HALLOWEEN AT THE GRAVEYARD

Sacred Hearts. A Study in Red, Kambio, Sanctuary FT:

The Graveyard Bar. Coburg North. 2pm. $5. HALLOWEEN CARNIVALE SPECTACULAR

Mixed Tape, DJ George FT:

Freddie Wimpoles. St Kilda. 12pm. MC PAT FLYNN Prince Bandroom. St Kilda. 7pm. $44.90–65.80.

The Old Bar. Fitzroy. 8pm. $17.35. HALLOWEEN SPECIAL FT:

Backo, Sophia J Smith

Toff In Town. Melbourne. 8.30pm. Free. LANGO LIVE

FT: Shewita, Afrodisiac, Mothafunk, more

Lango @ Footscray Community Arts. Footscray. 3pm. Free. FORGE FESTIVAL

FT: Scar the Surface, Transience, Bear the Mammoth, EKOSA, Binary Pulse, Rat Tomb, Matahari

Leadbeater Hotel. Richmond. 5.30pm. $23.75–34.70. LE SHIV. MAIA TAOKLEY Northcote Social Club. Northcote. 8pm. $37.34. ASIAN COMEDY SHOWCASE Morris House. Melbourne. 6pm. $30. HUBO. SLIQ MICK, MOSSROSE Bar Open. Fitzroy. 8.30pm. $17.35. THE DEVIL’S BALL: VICTORIAN GOTHIC EDITION

Dane Blacklock & The Preacher’s Daughter. Ungus Ungus Ungus, Derty Berd, DJ Jezebel FT:

The Curtin. Carlton. 7pm. $38.70. SIMPLY THE BEST FT:

Rebecca O’Connor

Clocktower Centre. Moonee Ponds. 7.30pm. $59. CHICKSQUAD– CHEERSQUAD PARTY

A.C Saunders, Barb Waters, Freya Josephine Hollick, Grace Mitchell, Joyce Prescher, Lisa Miller, more FT:

Corner Hotel. Richmond. 7pm. $46. VERONIC. RIOT ACT, MISFITDEO, RUNNING WITH BLOOD Revolver Upstairs. Prahran. 7pm. $10.

SPELLBOUND: MELB BLITZ HALLOWEEN

FT: DJ Randy Lipz XXX, DJ Bricolage

Odeon Richmond. Richmond. 3pm. Free. ASTROFUZZ. JACK HARLON & THE DEAD CROWS Trash Cult. Eaglehawk. 7pm. $30–55. MELBOURNE SYMPHONY ORCHESTRA: NIGHT MUSIC Melbourne Recital Centre. Southbank. 7.30pm. $43. RELAX WITH MAX Bird’s Basement. Melbourne. 7.30pm. $38. CLUNK ORCHESTRA Bar 303. Northcote. 3.30pm. Free. POLO G Festival Hall. West Melbourne. 7.30pm. $122.23. ECHO BEACH VI

FT: Adriana, O Honey, Andras, Moopie, Babycino, Darcy Justice, more

Collingwood Children’s Farm. Collingwood. 3pm. $60–99. INTERSTELLAR GROOVE FESTIVAL 2026 Eagle Ridge Event Park. Tallarook. 9am. $308–407. THRIVE: MULTICULTURAL WOMEN’S FESTIVAL Queen Victoria Market. Melbourne. 9am.

THU 05 NOV YOU AM I. THE MODS Melbourne Recital Centre. Southbank. 7.30pm. $99.90. OCEAN WISDOM Prince Bandroom. St Kilda. 7.30pm. $36.65–57.65. OUR DEMISE. BITTER KIND, DETESTOR, SOLIS The Tote. Collingwood. 7.30pm. $11.25–23.50. FLIRYTE Wesley Anne. Northcote. 6pm. GREG DAVIES: FULL FAT LEGEND Hamer Hall (Arts Centre Melbourne). Southbank. 8pm. $99.90.

BEAT.COM.AU

DIVE TEAM 5 Bar 303. Northcote. 8pm. $20.

KÉDU Quadraphonic Club. Brunswick. 7pm. Free.

DAWN HO: THE SPACE BETWEEN Paris Cat Jazz Club. Melbourne. 8pm. $40.

HELLCAT SPEEDRACER. MATILDA PEARL, FRESH HEX, FUTURE CITY PUNKS The Tote. Collingwood. 8pm. $16.35–23.50.

JAZMIN MICALLEF. BELLA FIOR, GRACE DE VOS Bar Open. Fitzroy. 8pm. $15. SUZIE SO BLUE Edinburgh Castle Hotel. Brunswick. 7pm. Free. THE CROSSING MACHINE Bird’s Basement. Melbourne. 7.30pm. $40. GUY SEBASTIAN: 100 X AROUND AUSTRALIA TOUR Frankston Arts Centre. Frankston. 7.30pm. $122.10–142.10. AT DAWN WE RUN. BLYSS, MANSPLAINERS Leadbeater Hotel. Richmond. 7.30pm. $20. JESS HITCHCOCK The Beacon @ Melbourne Recital Centre. Southbank. 8.30pm. $55.

FRI 06 NOV LULU. LAURA & THE HELL CUTZ Lulie Tavern. Abbotsford. 9pm. Free. ATOMIC: THE SONGS OF BLONDIE LIVE–A 2 HOUR CELEBRATION Fitzroy Bowls Club. Fitzroy. 7pm. $49. FEM BELLING & MONIQUE DIMATTINA The Beacon @ Melbourne Recital Centre. Southbank. 8.30pm. $45. FUNK FACE ALL CHOPPED UP

FT: Shadow, Goobsy, Juiceboxx, Kirby & Claz, Joe Snow, Adam Koots, more

Revolver Upstairs. Prahran. 7pm. $35. DËRTY BËRD. LUDES, TOMMY D TOMMEE D Bar Open. Fitzroy. 8.30pm. $20. SANFONA Wesley Anne. Northcote. 6pm. FRITE & FRIENDS FT:

Ango, Yowies

Toff In Town. Melbourne. 11pm. Free.

THE TULLAMARINES Howler. Brunswick. 8pm. $30. GUNNER. ROMANSY, CANTONA, SKZLO, LITHIUM MINE The Last Chance Rock & Roll Bar. North Melbourne. 8pm. $16.35. ENUFF Z’NUFF + PRETTY BOY FLOYD Prince Bandroom. St Kilda. 7pm. $76. INTERVARSITY BATTLE OF THE BANDS 2026 Leadbeater Hotel. Richmond. 5pm. $20. PUNKS FOR PUBLIC HOUSING

FT: Secret Headliner, DJ Total Giovanni, Banoffee, Frob, Tongue Dissolver, Ausecuma Beats, Loose Tooth, Screensaver, Dragnet, Teaser Pony, DJ Shouse, DJVM

Corner Hotel. Richmond. 4pm. $67. INTERVAL

Body Clinic + Friend Of A Friend FT:

Glamorama. Fitzroy. 10pm. Free–$30. CANTRIPS (DJ SET) Retreat Hotel. Brunswick. 6pm. $17.85. T-BONES + THE CALABRIANS Bar 303. Northcote. 5pm. Free. LOOSE BRICKS Northcote Social Club. Northcote. 7pm. $29.90. DIVA: A JAZZ REIMAGINING FT:

April Gallo

Paris Cat Jazz Club. Melbourne. 9.30pm. $45. EXPOSURE 2026 Evelyn Hotel. Fitzroy. 6pm. $40.30. MISCHA MAISKY IN RECITAL WITH LILY MAISKY Hamer Hall (Arts Centre Melbourne). Southbank. 7.30pm. $79.

BODY MAINTENANCE. NEGATIVE GEARS, PROMAJA, SECRET ISLAND The Curtin. Carlton. 8pm. $22.85. GOONBAG. THE TAKES, MR DOILY Cherry Bar. Melbourne. 8pm. $15. THE GAY AGENDA FT: Worm Girlz, Cry Club, FVNERAL, Sunsick Daisy

Bergy Bandroom. Brunswick. 7.30pm. $25–40. TEMPLE OF DESIRE Clocktower Centre. Moonee Ponds. 7.30pm. $59. GRAVAGERZ The Night Cat. Fitzroy. 11pm. $41.29–51.48. KNOCK OFFS Abbots Yard. Abbotsford. 5pm. Free. AFFINITY QUARTET: A LISTENING AIR & MEXICO TOUR FAREWELL Melbourne Recital Centre. Southbank. 2pm. $65.

SAT 07 NOV BANG STRUTT

Abi Tucker, Bob Spencer, Jacob Cook, Pete Gray FT:

Kindred Bandroom. Footscray. 7pm. $45. ALICE ISABELLA. SAMANTHA CHARD, MATHILDE ANNE Hotel Esplanade (aka The Espy). St Kilda. 7pm. $17.85. NISHLA SMITH Paris Cat Jazz Club. Melbourne. 6.30pm. $45. TEENS + VAGUE RITUALS Trash Cult. Eaglehawk. 7pm. THE KOI FISH. MONDO CANE, WINTERMELON Bar Open. Fitzroy. 8.30pm. $13.30. POSSUM Quadraphonic Club. Brunswick. 7pm. $30.25. MIC CONWAY & ROBBIE LONG Wesley Anne. Northcote. 8pm. $33–38.50. ECCA VANDAL. 1300 Howler. Brunswick. 4.30pm. $44.37.

ACHE. KERATIN, WORLD SICK The Tote. Collingwood. 7.30pm. $13.30. WHEN CHAI MET TOAST Corner Hotel. Richmond. 8pm. $55.20–86.35. THE AUSTRALIAN BRING ME THE HORIZON SHOW. SILENT TOKEN Leadbeater Hotel. Richmond. 8pm. $34.70. 7 POUND HALO. CASS AWARE, SASKIA ROBIN Toff In Town. Melbourne. 7pm. $15–19.89. DANCEHALL TING

FT: DJ Outsider, More Judgement, Zare Demus

Wax Music Lounge. Melbourne. 8pm. $16.45. BRO58–THE COUNTDOWN ALBUM LAUNCH FT: Etikats, Sameold, Kmodo, Cadet X, Setik, Sez, more

Revolver Upstairs. Prahran. 8pm. $28. SAMSCOUT. BLAKE APPELQVIST, JESSIE MONK, NOLESS Northcote Social Club. Northcote. 7.30pm. $44. CLIPP.ART PRESENTS

NEVER DULL. ACID JACKS, CHARBINKS, JOOKI Glamorama. Fitzroy. 4pm. SPIRIT: THE SANTANA SONGBOOK Bird’s Basement. Melbourne. 7.30pm. $45. NORTHLANE. AFTER THE BURIAL, CENOBIA Festival Hall. West Melbourne. 6.15pm. $89.90. SKIPTONS + LIPSTEREO Bar 303. Northcote. 8pm. $9.25–17.19. ORCHESTRA MASSIVE. FBW. ARCHIVE The Night Cat. Fitzroy. 10pm. Free. NAT BARTSCH Melbourne Recital Centre. Southbank. 8.30pm. $45. BRAHMS FESTIVAL: FIRST SYMPHONY & PIANO CONCERTO Hamer Hall (Arts Centre Melbourne). Southbank. 7.30pm. $75.

THU 12 NOV LUCY DURACK’S GLEE CLUB CONCERT Melbourne Recital Centre. Southbank. 6.30pm. $60. GET RHYTHM: THE JOHNNY CASH AND JUNE CARTER STORY Clocktower Centre. Moonee Ponds. 7.30pm. $70.90. PULL YOURSELF TOGETHER Motley Bauhaus. Carlton. 8.30pm. $25.83. JMQ THURSDAY JAZZ: CLAIRE PATTI + TONY HICKS Limerick Arms Hotel. South Melbourne. 6.30pm. $20. SKUNKHOUR Eureka Hotel. Geelong. 7.30pm. $50. BAD FLÂNEUR Bar Open. Fitzroy. 7pm. $8. A TASTE OF ESSENCE FT:

SJAY. Banksia

Wax Music Lounge. Melbourne. 7pm. $16.45. ELLEN BRYANT. ANNALISA FERNANDEZ, CHIA THE ARTIST Toff In Town. Melbourne. 7pm. $32.50–36.50. MELB BABES

FT: Jewel Owusu, Medhanit, Toy Shaw, Aubany

Revolver Upstairs. Prahran. 7pm. $15–25. CAIN CULTO Northcote Social Club. Northcote. 8pm. SUZIE SO BLUE @ EDINBURGH CASTLE Edinburgh Castle Hotel. Brunswick. 7pm. Free. VOLLIE. CHAMP RUBY, MANSPLAINERS The Curtin. Carlton. 7.30pm. $17.75. BRAHMS FESTIVAL: SECOND SYMPHONY & PIANO CONCERTO Hamer Hall (Arts Centre Melbourne). Southbank. 7.30pm. $75. KEE’AHN The Beacon @ Melbourne Recital Centre. Southbank. 8.30pm. $55.

BEAT 1746

FRI 13 NOV NASHVILLE FRIDAYS

Y.O.G.A, Briana Lee, Sarah Catania FT:

Hotel Esplanade (aka The Espy). St Kilda. 7pm. $33.15–38.25. URTHBOY The Curtin. Carlton. 8pm. $49.05. INTERVAL FT:

Stef Davidse

Glamorama. Fitzroy. 10pm. $15–30. PLANET OF THE 8S. KITCHEN WITCH, JACK HARLON & THE DEAD CROWS The Old Bar. Fitzroy. 8pm. $23.50. KNOCK OFFS Abbots Yard. Abbotsford. 5pm. Free. MANORISM. MIDDLE MANAGEMENT, ECHO HAZE, ALISHA.K Leadbeater Hotel. Richmond. 8pm. $20. ALTA FALLS Northcote Social Club. Northcote. 8pm. $56.80. ELDERBERRY. FUR BLOSSOM, JIB Bar Open. Fitzroy. 8.30pm. $15.

ANDREA KELLER & STEPHEN MAGNUSSON The Beacon @ Melbourne Recital Centre. Southbank. 8.30pm. $45. WILD HORSES FESTIVAL 2026 Carapooee West. VIC. 12pm. $350.

SAT 14 NOV STOMPO STREET FEST

Cool Sounds, Shio & Mike G, MzRizk, Sista Sara, Steady Weather, more FT:

Stomping Ground Brewery & Beer Hall. Collingwood. 12pm. $39. ANDREW MCSWEENEY & THE WISHING HORSE. NIGHTMOVERS Kindred Bandroom. Footscray. 7pm. $22. 84FEST

Grey D, MIN, tlinh, Vũ., more FT:

Sidney Myer Music Bowl. Melbourne. 2pm. $148. RIVER OF SNAKES Trash Cult. Eaglehawk. 7pm.

SKUNKHOUR Howler. Brunswick. 8pm. $59.90.

A STUDY IN RED. EVEYA, CIVILIANS, CONDENSED MILK Bar Open. Fitzroy. 8.30pm. $15.

SHADY NASTY Revolver Upstairs. Prahran. 8.30pm. $36.45.

THE CLOWNING HOUR Motley Bauhaus. Carlton. 10pm. $25.50.

NICKI PARROTT: IN GOOD COMPANY Paris Cat Jazz Club. Melbourne. 9pm. $50.

NEFELI FASOULI Northcote Social Club. Northcote. 8pm. $62.

3AW LOVE LETTER TO MUSIC

Phil Ceberano, Jane Kennedy, Simon Madden, Denis Walter OAM, Myf Warhurst FT:

Corner Hotel. Richmond. 12.30pm. MAS QUE NADA BROTHERS Toff In Town. Melbourne. 7pm. $43.86. PUBLIC FIGURES The Tote. Collingwood. 8pm. STONE FIRE. BLACKBURN, RAPTOR Cherry Bar. Melbourne. 8pm. $17.

A NIGHT IN TEXAS. BODY PRISON, SEEK MISERY, MORTALA Leadbeater Hotel. Richmond. 7pm. $29.95. AMALIA. HANNAH & THE HEARTSTRINGS Wesley Anne. Northcote. 8pm. $24.20. TIGERS JAW Howler. Brunswick. 7pm. $74.90. MICK JENKINS. KOBIE DEE, JAAL, MXNTANO, QUAID PEARCE, MC CALLOUT WINNER Prince Bandroom. St Kilda. 8pm. $54.90–59.90. AXON BREEZE The Old Bar. Fitzroy. 8pm. $17.35.

AN EVENING WITH KRISTIN HERSH Toff In Town. Melbourne. 7pm. $59.16. ERIC DUNCAN (DR. DUNKS) Revolver Upstairs. Prahran. 10pm. $25–40. EVEN HANNAH. DARLINGTON, THE DEFIBS Hotel Esplanade (aka The Espy). St Kilda. 7.30pm. $5.65.

SPLIT LIP The Tote. Collingwood. 7.30pm. $11.25. NATHAN VEGA. INIGO MAGNO, LENA Leadbeater Hotel. Richmond. 7.30pm. $28.85. WINNERZ CIRCLE + BLEACH TO DEATH Revolver Upstairs. Prahran. 7pm. $30.

WRESTLEROCK FT:

Megalomania

Corner Hotel. Richmond. 8pm. $45.45. LEILA. CYNTA Wesley Anne. Northcote. 8pm. $33. KHAN. HEINOUS CRIMES, THE DEADLIPS Leadbeater Hotel. Richmond. 8pm. $33.94–39.79.

THE TOBIAS ADELSKOLD PERTURBATION. THE DREAM FLAVOUR BAND, SPECIAL GUEST Bar Open. Fitzroy. 8pm. $22.

The Tote. Collingwood. 7.30pm. $11.25.

BEN MORGAN Wesley Anne. Northcote. 8pm. $22.

SMOKING VINYL Bar Open. Fitzroy. 9pm. Free.

COUNTRY STRUTS LINE DANCING CLASS & PARTY

JAMIE KOUL Northcote Social Club. Northcote. 6.30pm. $25.

INTERVAL

FT:

VINICIUS CANTUARIA & CHICO PINHEIRO DUO Bird’s Basement. Melbourne. 7.30pm. $49.

PA777IENCE. WILD GLORIOSA, BILALLI Wax Music Lounge. Melbourne. 7pm. $21.95. TONGUE DISSOLVER. TANGERINE, LXRP, BUTCHER The Tote. Collingwood. 8pm. $23.50.

Andy & Lacey

Corner Hotel. Richmond. 7pm. $29.10. HERCULES & LOVE AFFAIR (DJ SET) The Night Cat. Fitzroy. 11pm. $49.90–67.90. WILD HORSES FESTIVAL 2026 Carapooee West. VIC. 12pm. $350. BILLY GARDNER & FRIENDS. TRAFFIK ISLAND, THE BOLT ONS The Curtin. Carlton. 8pm. $17.75. ALANNA & OLD HAT Paris Cat Jazz Club. Melbourne. 6.30pm. $45. BUNDOORA BEATS

FT: Ben Lee, Owelu Dreamhouse, Wrong Way Up, Ramona Sky, Fee B Squared

Norris Bank Parklands. Bundoora. 6pm. Free. JESSICA MAUBOY: THE STORY OF ME Melbourne Recital Centre. Southbank. 7.30pm. $69–99. DAVID: LIVE Hillsong Melbourne East. Knoxfield. 7pm. $40.

THU 19 NOV

RICKY ALBECK & THE BELAIR LINE BAND The Curtin. Carlton. 7.30pm. $22.85. HOLLY HEBE The Beacon @ Melbourne Recital Centre. Southbank. 8.30pm. $35.

FRI 20 NOV THE AUSTRALIAN DOORS Hotel Esplanade (aka The Espy). St Kilda. 7pm. $22.95. STREET CARP + C’EST LA VIE. IN HER PALMS, ETHEREAL GONE KIDS, BURN THE MEMORY The Last Chance Rock & Roll Bar. North Melbourne. 6.30pm. $15. CALIFORNIA DREAMIN’: THE LAUREL CANYON STORY Clocktower Centre. Moonee Ponds. 7.30pm. $79.

SUZIE SO BLUE @ EDINBURGH CASTLE Edinburgh Castle Hotel. Brunswick. 7pm. Free.

GREAT AMERICAN SONGBOOK PROJECT

SPRING GALA: BRAHMS’ GERMAN REQUIEM Hamer Hall (Arts Centre Melbourne). Southbank. 7.30pm. $81.

Paris Cat Jazz Club. Melbourne. 6.30pm. $45.

FT: Emma Gilmartin, Nick Haywood

NAKED MANNEQUIN

FT: Joy Arcade, The Clever References. Gecko

FT:

Elias Mazian

Glamorama. Fitzroy. 10pm. $15–30. ALLEGRA KRIEGER. HANNAH MCKITTRICK, ELLA ION The Curtin. Carlton. 8pm. $49.05. GRAVEYARD PERPETUUM MACHINE

FT: Sahul Sakti, Star/ Time, The Final Sun, Tangled Orbits

The Graveyard Bar. Coburg North. 7pm. $22.49. ERIC HUTCHINSON. MARSHALL HAMBURGER Northcote Social Club. Northcote. 8pm. $59.90. THE CHURCH: A PSYCHEDELIC SYMPHONY WITH THE GEORGE ELLIS ORCHESTRA Hamer Hall (Arts Centre Melbourne). Southbank. 7.30pm. $99.90. TIMOR-LESTE– ITA NIA LIAN, ITA NIA ISTORIA: OUR VOICES, OUR STORIES Melbourne Recital Centre. Southbank. 7.30pm. $55.

SAT 21 NOV IKSRE. MY LOVELY HAUNTING Red Hill Mechanics Hall. Red Hill. 2.30pm. $28. A DRAG IS BORN Motley Bauhaus. Carlton. 7.30pm. $35.50.

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RON KEEL. RATCHET DOLLS Revolver Upstairs. Prahran. 7pm. $65. FREYA & TOM MCGOWAN Wesley Anne. Northcote. 6pm. GUITAR KINGDOM

Rose M González. Adam May, Paul Carey FT:

Bar 303. Northcote. 5pm. DANIEL FERNANDES: DO YOU KNOW WHO I AM? Morris House. Melbourne. 5.30pm. $38.25–48.45. SMALLWAYS. HAIL MARY JANE, DOLLS, CLIT SPLIT The Old Bar. Fitzroy. 8pm. $17.35. MR. DOILY. BIG VILLAGE, BABCHIA Bar Open. Fitzroy. 8.30pm. $17.35. ALARMS + ANOTHER ROTTING CORPSE Trash Cult. Eaglehawk. 7pm. LOUIS THE CHILD The Night Cat. Fitzroy. 11pm. $35.68–46.39. HARLOTT. PIZZA DEATH, COWARD PUNCH, RAPID ASSAULT Leadbeater Hotel. Richmond. 8pm. $29. END OF DAYS. THRESHOLD The Tote. Collingwood. 7pm. $23.50. SONGBIRD: THE STORY AND MUSIC OF EVA CASSIDY

Georga Byrne, Ally Mac FT:

Paris Cat Jazz Club. Melbourne. 6.30pm. $45. NIGHT WATCH FT:

Clueless, Sounday

Toff In Town. Melbourne. 7pm. $45.90. PROJECT VANTA

Sino!, WantWar, Ikaint, Sante, Qu1nnix, Kennybounce, RB Beare, Jano, Yami FT:

Northcote Social Club. Northcote. 12pm. $25–35.30. BILLIAM & THAT NEW WAVE SOUND. FUNGAS, BOGGLE, DRAGNET The Curtin. Carlton. 8pm. $27.95.

GRAND WAZOO: THE HOMETOWN SOUL REVUE Memo Music Hall. St Kilda. 7pm. $60–75. KIM WILDE Palais Theatre. St Kilda. 8pm. $89.90. AMY RITA Nightingale Gallery. Armadale. 7pm. $80. AUSTRALIAN CHAMBER ORCHESTRA: BEETHOVEN’S PASTORAL Melbourne Recital Centre. Southbank. 7.30pm. $69.

THU 26 NOV SUZIE SO BLUE Edinburgh Castle Hotel. Brunswick. 7pm. Free. EMILY WILLIAMS: LOVE SONGS WITH A TWIST... Paris Cat Jazz Club. Melbourne. 7.30pm. $48. MARK SEYMOUR ORCHESTRATED Palais Theatre. St Kilda. 8pm. $89. KITTY, DAISY & LEWIS. SIR RAMBLE Corner Hotel. Richmond. 8pm. $70.55. SEBASTIAN HAYSMAN Bar Open. Fitzroy. 8pm. $16–20. MEMPHIS LK Howler. Brunswick. 7.30pm. $49.90. JAKE MASON TRIO Bar 303. Northcote. 8pm. $20. MELBOURNE BALLET ACADEMY PRESENTS

THE NUTCRACKER Clocktower Centre. Moonee Ponds. 7.30pm. $55. PIPER RODRIGUES + ETHAN CALWAY Leadbeater Hotel. Richmond. 7pm. $34.70. MELBOURNE CHAMBER ORCHESTRA: DRIFTING CURRENTS Melbourne Recital Centre. Southbank. 7.30pm. $75. NORIA LETTS: LA MUSIQUE Bird’s Basement. Melbourne. 7.30pm. $38. A CLASSICAL CHRISTMAS Hamer Hall (Arts Centre Melbourne). Southbank. 7.30pm. $75.

FRI 27 NOV SUZIE SO BLUE Cafe Artiga. Thornbury. 5.30pm. Free. SEIMS. MAD VANTAGE, PRECIOUS MESS The Last Chance Rock & Roll Bar. North Melbourne. 9pm. $23.50. LISE & SARAH’S DISCO CLUB Festival Hall. West Melbourne. 6.30pm. $109.90. THE FOAMS. CALLYSTHA, PONTOON The Tote. Collingwood. 8pm. $16.35. THE RESIGNATORS. TOPNOVIL, BANJZIG The Workers Club. Fitzroy. 8pm. $12.75–23.50. THE 4 SCOOPS Bar Open. Fitzroy. 6.30pm. Free. BUCKSHOT. SIDNEY PHILLIPS, OSCAR18 Prince Bandroom. St Kilda. 7.30pm. $79.90. MICHELLE NICOLLE & DAVID MCEVOY The Beacon @ Melbourne Recital Centre. Southbank. 8.30pm. $45. MALICE’S WAKE. DREADNAUGHT, DEMONHEAD, RAWTISM Leadbeater Hotel. Richmond. 7.30pm. $36.35. YLVA Howler. Brunswick. 7pm. $38.71. BLACKSOUND RECORDS 2ND ANNIVERSARY

Vile Apparition, Bacchus Harsh, Diploid, Sow Discord, Religious Observance, Rod Cooper, Cadmium FT:

Quadraphonic Club. Brunswick. 7pm. $20. BROWER. THE PRIZE, ELVIS 2, STEPMOTHER, DJ BILLIAM The Curtin. Carlton. 8pm. $38.70. ROMANIE. CHITRA Northcote Social Club. Northcote. 8pm. $29.10.

TAKE OFF YOUR PANTS & JACKET ANNIVERSARY: BLINK 182 CELEBRATION Corner Hotel. Richmond. 8.30pm. $29.10. NANA KOIZUMI QUARTET PLAYS THE GREAT AMERICAN SONGBOOK Paris Cat Jazz Club. Melbourne. 9.30pm. $45. LIVE AT THE GARDENS: SIX60. SOUTH SUMMIT Royal Botanic Gardens. Melbourne. 5pm. $119.90. JACK JONES Bird’s Basement. Melbourne. 7.30pm. $50. THE HALVES. THE NOISE The Punters Club. Fitzroy. 10pm. Free. ZOMBIE BEACH CLAMBAKE

FT: The Hammer Horrors, Máquina Peligrosa

Trash Cult. Eaglehawk. 7pm. $27.78. KITTY FLANAGAN: GLAD GAME Hamer Hall (Arts Centre Melbourne). Southbank. 8pm. $80.

SAT 28 NOV MINNA. NALIITA The Night Cat. Fitzroy. 9pm. $24.90. WAFF Evelyn Hotel. Fitzroy. 9pm. $39.90. HARU NEMURI Trash Cult. Eaglehawk. 7pm. QUEST MASTER. ROTTEN ORC, LURID ORB The Old Bar. Fitzroy. 8pm. $23.50. JAM BADGER Motley Bauhaus. Carlton. 8pm. $15.50. KARATE BOOGALOO Howler. Brunswick. 8pm. $38.71. PYROKINESIS. STENCH PIT Revolver Upstairs. Prahran. 7pm. $23–35. SMACKED YOUTH. THE REFUGE, BLACK WATTLE WITCHES The Last Chance Rock & Roll Bar. North Melbourne. 8pm. $23.50–28.60.

KOOL & THE GANG. SISTER SLEDGE Festival Hall. West Melbourne. 5.30pm. $152.71. THE CHURCH OF THE HEAVY TRINITY

FT: Bring Me To Life, Ausländers, Aussietallica

Leadbeater Hotel. Richmond. 6.30pm. $28.85–34.70. NAUSICAA. SANSZU, WRIDING, CELLOPHANES The Tote. Collingwood. 8pm. $16.35. STOLEN MOMENTS: JOHN MONTESANTE’S JAZZ DECTET St Kilda RSL. St Kilda. 6.30pm. $20–40. EXILES Toff In Town. Melbourne. 7.30pm. $23.46. LAST OF THE ANGRY YOUNG MEN: VICTOR STRANGES. GARRY ALLEN Brunswick Artists’ Bar. Brunswick. 7pm. $38.76. MICHAEL CHARLES Bird’s Basement. Melbourne. 7.30pm. $40. NOASIS. STONE THE ROSES Corner Hotel. Richmond. 7.30pm. $40.40. LIZARD LOUNGE #6 Odeon Richmond. Richmond. 8pm. $15. A CELEBRATION OF BB KING & ETTA JAMES FT:

Iseula, Tommy Rando

Paris Cat Jazz Club. Melbourne. 9.30pm. $45. JUICE WEBSTER Northcote Social Club. Northcote. 8pm. $29.10. SCREAMFEEDER. MICHAEL BEACH, VAGUE RITUALS The Curtin. Carlton. 8pm. $38.70. HOMEBASS Bar 303. Northcote. 7pm. LIVE AT THE GARDENS: DMA’S. FLOODLIGHTS, SLEEPAZOID Royal Botanic Gardens. Melbourne. 5pm. $99.90. ZOMBIE BEACH CLAMBAKE

FT: Hammer Horrors, Máquina Peligrosa, Gold Coast Leathers, Vampyros

The Graveyard Bar. Coburg North. 7pm. $27.78.

BEAT 1746

MODERN JOINT ACCOUNTS FOR MODERN RELATIONSHIPS 44

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