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PowerMouth Entertainment presents

Issue 9 December 2013

Valley Fiesta

The Deep End

New Globe Theatre

MouthZoff talks to

KATIE NOONAN MAJOR LEAGUES • THE BELIGERENTS • GARAGE GOSS


Managing Editor Randy G Art Direction & Layout Mike Roberts

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LAUREN LUCILLE Farewell to Oz

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THE BELLIGERENTS

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ASK ABBY

talk to MouthZoff

How do I get more gigs?

6 LIVE’N’LOCAL

Picture spread

8 THE DEEP END

Profile by Dave Rowlands CD review by Matt Gleeson

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SOUND ADVICE

Headphones and monitors

10 KATIE NOONAN

Exclusive interview

12 SONIC BOOM

Song structures Part 3

13 VALLEY FIESTA

Stormin’ in The Valley

16 LIME CORDIALE

17 DI CLARKE

Gershwin and Porter at the BJC

18 MAJOR LEAGUES talk to MouthZoff

20 BELINDA CARLISLE Reviewed

20 MOUTHZOFF TALKS TO The Walters

21 DR HUGE

Gaining traction

22 GARAGE GOSS with

JAE SALMON

Who to watch out for

24 NEW GLOBE THEATRE

Revamped venue opens its doors

28 BEACH DAY OUT

Tourism beat the rain

32 WHATZON

Your December gig guide

talk to MouthZoff

Sub-Editor Peter Muldoon Writers Hugh Brown Sonic Edwards Randy G Abby Skye Angie Everingham Jae Salmon Cat Anderson Matt Gleeson Matt Thrower Tjay David Rowlands Mike Roberts Bruce Heath General Manager Abby Skye Business Manager Wayne Ficnerski Photographers Ben Knight Gary Howard Brett Linsley Hi Nrg Studios Bob McGahan Geoff Norris Bruce Heath Lauren Brodie Web

www.mouthzoff.com On the cover: Katie Noonan Pic: Supplied

Editor’s letter

Advertising and general enquiries

admin@mouthzoff.com

Randy G

What a pleasure it is to be reviewing great local acts and events. The MouthZoff team have been worked hard this month and lovin it. Summer has officially kicked off and coupled with holiday season-makes for perfect conditions to support & attend live local music. This is where venues that have traded live music for screens & pokies etcjust don’t quite cut it. Our music scene is strong and the MouthZoff team hope you’ll enjoy reading about the talents we call ‘ours’ as we prepare to kicking off the new year with you all.

Season’s Greetings and a Happy New Year


Pic: Kymberley Rauber

Buon viaggio, Lauren Lucille!

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ess then seven years ago, Lauren Lucille burst onto the local jazz scene and over this time she’s worked incredibly hard and earned herself a fine reputation and a lot of respect as a musician, performing artist & teacher. Lauren has played all over the country in some of the most reputable venues, festivals and events and with a barrage of well established jazz musicians. Last year she released her debut all original album titled ‘Hidden Here’ in a sell-out launch at the Brisbane Powerhouse, followed by an encore launch at the Tribal Theatre. She then went on to piece together the very unique Nina Simone tribute show which she performed to audiences in Sydney and Perth whilst completely selling out in Melbourne and Brisbane. Over the last few weeks Lauren has been playing her final performances (at least, for a while) as she is moving to Europe indefinitely, in a matter of weeks. Though the news is both exciting and sad - we wish you all the very best Lauren. Our loss will be Europe’s gain.

RANDY G

To follow Lauren’s Italian odyessy, check out

https://www.facebook.com/LaurenLucilleSinger MouthZoff NOVEMBER 2013

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talks to THE BELLIGERENTS

Jae Salmon catches up with Andy, Konstantin and WhitE Stag of The Belligerents before their show at Maroochydore last month. Tell us some highlights from the ’All I Have’ single tour in August. We did Sydney twice, Adelaide Brisbane and Sunshine Coast. All the shows were heaps of fun except for one of the Sydney shows that had some promotion hiccups and only about four people showed up. That situation tests your professionalism. But you make a choice to play a good show regardless. The people who came knew the words to our songs and were singing along which boosted us.

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Pic: Supplied

How do you capitalise on having Konstantin as a Sound Engineer at your fingertips?

get it right. We will sift through the songs and pick the ones audiences will connect with.

We are going to produce our album ourselves we will take our time with it and do it our way. We are looking forward to going from concept to the recording as a complete journey.

If the Belligerents wanted to give the world just one message what would it be?

When can we expect new music from The Belligerents? There is an EP launch early 2014 and then we will work on the album. We want to do a quality versus quantity thing so we plan to take our time to

MouthZoff DECEMBER 2013

That’s tough to answer as a band. Stag would just offer everyone free hugs (Lol). We are different people but there are common points of interest. If we had to give a collective answer it would be “Don’t let anyone stop you from doing what is your passion.”


y b b a ask with ABBY SKYE

http://abbyskye.com.au/

How do I get more gigs?

T

he availability of work is consistently a topic of interest and debate, especially for musos and djs. Both the answers and the playing field constantly change, in line with the tastes of the punters, the budgets of the venues, advancements in technology and gadgetry and of course, your employability.

First up is a critical assessment of your product, which you can do on your own or with the help of unbiased others. How much experience do you have in your craft, in the industry and in business? What sort of venue is your music best suited to and have you experienced much success in these types of venues before? Is your act appropriately priced for these venues/have you researched what they’re generally comfortable to pay for acts? If this is sounding like gobbledy-goop or too much hard work to you, I’m guessing you either rely on your agent to get all of your work, or you’re not working much at all. Not meaning to ruffle any feathers here, but if you haven’t concerned yourself with even this basic, preliminary research into your market and product, it’s no wonder it’s not being snapped up. You’re not going to get offered regular work on the merit of your potential. Not that the whole ‘right place right time’ thing doesn’t happen, it’s just that it’s rarer than a unicorn. So is an agent who is hellbent on getting your gig schedule full – it’s just not their priority. You can absolutely use their services however, to keep yourself as giggedup as you want to be, but you need to manage your own bookings and calendar if you want them to be full.

Pic: Brett Hotchkin

Pic: Brett Hotchkins

How many musicians do you know that struggle to put a price on their act? If they’re the ones presenting their product to the venue, that instantly tells the potential employer that the product is unreliable. What’s even more imperative though, is the presentation of your product - can the venue owner easily find adequate examples of you performing on your website? Can they see that you actively grow and nurture your fanbase, whatever the numbers, hence making them feel more secure about the clientele you might bring in? Musos are typically very lazy and I say this with a degree of fondness because it can kinda come with the whole ‘I’m an artist’ thing (sooo been there), but the successful ones are the guys that make the effort to wrap their heads around the business and marketing aspects.

You may think that marketing is making posters and a facebook ad for your new cd, but it starts even earlier than that. Marketing is an active involvement in your audience’s perception of you and the manipulation of this via materials and strategies, including getting a venue owner actually excited about having you play in their establishment. Whether you are approaching venues directly or having an agent do it on your behalf, they will need professional marketing materials and it’s not their job to provide them. At a minimum, you need to provide a songlist, a biography/ description of your act, a songlist, a photo and links to your social media, website and audio/video examples (the most important, for obvious reasons). Sounds obvious, but you’d be surprised at the number of great musos and groups that don’t get work because they can’t be bothered doing so… much… work... or they think it’s someone else’s job. I’ll summarize it like this – this industry is ALL ‘smoke and mirrors’. Look at the ridiculous popularity of some of the god-awful music that gets played on commercial radio – someone, somewhere managed to convince the masses that they love it. I know this is the opposite of what music is about, but it’s a necessity for participation in the commercial market, which is built on smoke and mirrors. Besides, if you get ‘picked up’, someone else is gonna do it anyway! So why not consider it part of your art and keep it in your control? Have some fun with it!

Abby

MouthZoff DECEMBER 2013

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HER WAY TO HELL - FIRE AID BENEFIT SOUTHPORT RSL PIcS: BRETT LINSLEY

FOLkLORE qLD FESTIvAL OF BLUES PIc: gREg ELkENHANS

Maree Taylor

Cassandra Napier


BRAD LEvER AND SWINg cENTRAL BRISBANE jAzz cLUB PIc: gEOFF NORRIS Dan Nosovich

STEPH DIck jAzz SINgERS jAM NIgHT PIc: gEOFF NORRIS

HEAD INjURIES BEENLEIgH TAvERN PIc: HI-NRg Christian Rizzalli

Peter Fernance

THE WALTERS LEFTY’S MUSIc HALL PIc: BEN kNIgHT

BELINDA cARLISLE + TWIN TOWNS MouthZoff NoVEMBER 2013 7 PIc: NI-NRg


the deep end

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he Deep End are a young exciting rock ‘n roll band from Melbourne. The idea began over beers in a suburban garage. Their influences are AC/DC and Guns ‘N Roses but they have developed their own hard hitting style. They have headlined festivals and shared the stage with Airbourne, The Angels/Angel City, Rose Tattoo, Screaming Jets, Hoodoo Gurus, The Datsuns, Kadavar, The Bellrays, Bodyjar, Dallas Crane and more.

Pic: Hi-NRG Studios

The band has been together for seven years. That is evident in their high energy stage presence and musicianship. A hard working top-class band with an attitude of quality over quantity. They have a large and loyal following and display the highest respect for their fans. They appreciated the interest and attention at their recent Gold Coast and Brisbane shows.

ALBUM REVIEW THE DEEP END COP THIS

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elbourne-based heavy rock / metal act, The Deep End, finally issued their debut full-length CD earlier this year, following the release of three well-received independent EPs. “Cop This” comes across as a hybrid of Brian Johnson-era AC/DC and modern day heavy rockers Airbourne.  This is not to say that the band is a bunch of copy-cats though, as they deliver their molten lava repertoire with a great deal of

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gusto and creativity. Their debut offering serves up ten all original heavy rock numbers with titles such as “Bigger, Better, Badder”, “Get On It”, “Knife Fight”, “Cheap Night Out”, “Tattoos”, “Shit Talker” and “Run With It”. The Deep End are Dale Schober (lead vocals), Drew Suhr (lead guitar), Jazz Morrice (rhythm guitar), Matt ‘Trixxxy’ Berg (bass) and Nick Trajanovski (drums).  To quote the band’s own words, “This record is best enjoyed with a cold beer in hand”.  Certainly no arguments here!

MouthZoff DECEMBER 2013

MATT GLEESON

Their previous QLD tours have earned them great reviews. After three sellout EPs, they released their debut album – Cop This. The sales of the album are going through the roof. An order of 1,000 copies was recently sent to Germany. Their most memorable/ noteworthy performance to date was to a packed house for their previous homecoming show at the Cherry Bar in Melbourne. The high achievements by an independent band has caught the attention of the industry and they are now signed with national and international agencies. The rest of their 2013 tour includes: Perth, Bunbury, Cherry Fest 2013 Melbourne, Albury, Outloud Festival 2013 Bendigo. The band will then enjoy a break until their European tour in February 2014. dave rowlands


e c i v d a d n u o S HEADPHONES AND MONITORS by TJAY

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e have spent our time looking at how to record our music; the next question is how do you need to listen to your recordings?

of studio monitors you will gain a great asset for your studio. If you can’t afford new one’s yet and your old monitor’s sound good to you, you’re still laughing.

Having a good set of headphones is great, but having a good set of Monitors is a necessity to hear the detail of your awesome project.

A little word of advice is that studio monitors aren’t really designed to run loud on play back, you need delicate components to pick up the slightest noise and every detail. Do a bit of research and check out other studios, see what brands they use and how they are set up. Here are 3 tips from me to you,

Testing your recordings can be done in a number of ways, but in the studio and during the vital recordings stage you need to be accurate with the ambience of any genre of music. A good pair of studio monitor speakers will reproduce your recordings almost exactly as they are and should help you avoid a lot of mistakes.

Headphones A good set of headphones, tightly enclosed will give you the best sound without allowing any other sounds to filter through.

Monitors Studio monitors are not cheap!! Even anything decent will take a good chunk of your budget. That’s because they’re very accurate, and many monitors also come with built-in amplifiers that contribute to great sound but also bumps up the cost. If you can afford an expensive pair

1. Positioning your monitors in your studio is imperative; you want to get the most out of them so the sound is not bouncing off the ceiling and walls. 2. You need the sound from both monitors to reach you at the same time. This point of intersection is called the sweet spot, so make sure that sweet spot is where your ears are. . Sitting at the top point of a triangle with both ears aiming directly to each monitor is best. 3. Consider what your speakers are sitting on, a good example is placing them on something solid as this will give you a more accurate bass response and depth of field.

https://www.facebook.com/tjay.recordings?fref=ts

Pic: Lev Dir

MouthZoff DECEMBER 2013

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talks to...

n a n oo N ie t a K Y

ou have been involved in so many various projects and groups since your early days in the band George - is this variety and freedom of particular creative importance to you, or has it just kinda worked out that way?

My appetite for music and musicians is voracious. There are so many incredible musicians in this world and I honestly believe some of the very best are here in Australia and I love learning something from each of the wonderful musicians I have had a chance to work with. My new passion is cross art form collaborations - working with equally passionate artists from a different discipline - ie photography, choreography, visual art, physical theatre etc. I think some truly magical things happen when artists from different angles combine their focus.

the extraordinary lives of the first female Australian convicts - seriously amazing, stoic bad ass chicks! I will be releasing the album Fierce Hearts - the music of Love Song Circus early next year and touring it nationally from Feb-May. It has been a wonderful collaboration and simply whet my appetite for more of the same!

Do you see yourself drifting to any new genres that you previously haven’t explored? Absolutely - I am literally open to anything! My only thing is that I feel I have a strong instinctual voice so I just ensure that I always listen to that and that generally steers me along the right path. What will be your next recording project?

Your album Songbook features mostly solo versions of some of the most beautiful songs you’ve released with George, Elixir and the Captains (and it’s just stunning, btw) - has it been received as well as one would naturally assume? I have been very honoured by the way people have allowed my music into their ears and hearts and touring the Songbook album has been really special. This album tour was the first time i have toured completely solo -I actually found it surprisingly challenging being up there all alone! Makes me realise ultimately although I love solo, I love sharing the stage a little more! Your list of collaborations with world-class orchestras and musicians is quite astonishing. Do you have any major ideas or visions for your next collaboration? My next big project is a project called Love Song Circus which is a unique combination of myself, string quartet, guitars/banjo and double bass with reknowned circus/physical theatre company CIRCA. This is a 70 minute song cycle in which we explore

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MouthZoff DECEMBER 2013

Fierce Hearts - the music of Love Song Circus. You are a State Ambassador for the new National office for Live Music - what changes or assistance can we hope this campaign will bring to our local music scene? At the moment we are focusing on preserving the copyright laws for Australian musicians as there is an enquiry into that in regards to the digital economy- some of the proposals on the table are truly frightening from the point of view of respect for the artists and their intellectual property. These proposals will be tabled in Parliament in February next year so am hoping for a good outcome - APRA are doing all they can to protect their members’ precious rights! other than that it is helping to instill a deep respect for the arts in our culture in a multitude of ways. The music industry is a vital part of the national economy and our cultural fabric so we’re just ensuring that this message is conveyed in tangible and intangible ways!

How has becoming a fect your music and c

other than being an i source of inspiration ent really helps to dis as an artist because in your precious family a it needs to be someth and important to you about being a workin mum’s know) is leavin Fortunately I have an partner in my husban to do what I do. We su reers as best we can a week at a time, all the dren’s safety and sens

What’s the most com the singers who look

Find your own sound an audience. Gig as m as possible. Listen as m much as possible. Bui

See Katie in her sho Abby Dobson, Angie H old Museum Concert

Click here for tickets a http://oldmuseum.o


n

a mother afcareer?

incredible - being a parstill your vision n order to leave and hit the road, hing ver significant u. The hardest thing ng mother ( as all ng your children. incredibly supportive nd Zac who allows me upport each others’ caand just take it one day/ e while ensuring our chilse of home is preserved.

mmon advice you give all of k to you for inspiration?

- truly unique voices will find much as possible. Write as much much as possible. Learn as ild it and they will come.

By ABBY SKYE

ow Songs That Made Me with Hart and Martha Marlow Hall, Brisbane, December 14th

and details: org/?p=2171

MouthZoff DECEMBER 2013

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m o o B c i n o S SONG FORMS five and six

W

elcome to the third and final article on song forms. So far, we’ve looked at the first four of the six common forms found in popular music.

To recap; second, third and fourth forms use the familiar Verse/Chorus idea with either the simplest version of this, alternating the verse with the chorus, or with an added lift (prechorus), bridge or both. First form is the only other one we have covered that doesn’t use this concept with the simplest repetition of the same section throughout the whole song. Now to look at Fifth form, First form was the same refrain (or A section) this one is a particular pattern of two section, AABA. This is a common form in musicals of the 20th Century and therefore a good chunk of the Jazz standard repertoire. Essentially, the majority of the song is made up of the A section with some relief in the form of the B section or Bridge. Usually each section is eight measures in length, making thirty two measures in total. The thing to keep in mind is that neither of these is a verse or a chorus, rather one or both usually contain the title. A common way of extending

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this form is to repeat the B and last A section, giving you AABABA, found a lot in Jazz ballads. In faster tempi, Jazz songs will usually repeat the AABA chord progression after the melody for solos before returning to the melody at the end.

Some instances where AABA is used to great effect – Brown Eyed Girl by Van Morrison and All The Things You Are by Jerome Kern. Sixth form is a variation on the old verse/Chorus concept, yet is different because it hits you with the Chorus right from the start. It is interesting to note that this form can shoot up the charts very quickly but don’t sit up there as long as Third and Fourth forms. This is probably due to the catchy hook and title is right up front, but it can get worn out fairly quickly. There seems to be a lot more flexibility in this form, with some songs like Blake Shelton’s record of “Who Are You When I’m Not Looking” (chorus, verse, chorus, verse, verse, chorus) and Jason Aldean’s record of “Dirt Road Anthem” (chorus, four short verses, chorus, three short verses, chorus repeating) taking a few liberties. In other words — whatever works!

MouthZoff DECEMBER 2013

Steve Holy’s recording of “Good Morning Beautiful” and “Marry You” by Bruno Mars (Bruno Mars, Philip Lawrence, Ari Levine) are some popular songs that use Sixth form. That’s it. I’ve given you an outline of the six commonly used forms: First Form (AAA (repeat as you need)) Second Form (Verse (Verse Optional), Chorus, Verse, Chorus, Instrumental, Chorus) Third Form (Verse (Verse Optional), Chorus, Verse, Chorus, (Bridge) Chorus (with an instrumental before or after the chorus) Fourth Form (Verse, Lift, Chorus, Verse, Lift, Chorus, (Bridge Optional) Lift, Chorus, Outro) Fifth Form (AABA) Sixth Form (Chorus, Verse, Chorus, Instrumental, Bridge, Chorus, Outro). I hope this has shed some light on what is on the radio and given you some ideas for your own songs.

Sonic Edwards


stormin’ in the valley Valley Fiesta by MATT THROWER

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he threat of extreme weather is in the air continually throughout Saturday, threatening to turn Valley Fiesta into a total washout. The positive side is that while the malevolent storm clouds gather, the dark skies and wind conspire to create some mighty pleasant weather for enjoying an outdoor street music festival – we get a few solid hours before the rain hits, and there’s something cool, pleasant and even a little bit magical in the air during this time. This vibe is present and correct as local electronic combo Pigeon are playing their exuberant synth pop on the Valley Mall Stage. This band is quite fitting with the current zeitgeist, where synthesisers and pop music are melding with arguably the most comfort since the 1980’s. Sure, electronics and pop have been omnipresent companions since that excessive decade, but it’s particularly been the last couple of years where they’ve returned to a harmonious blend that evokes this era while also reflecting the current times. And as the day continues, everyone from singer/songwriters to house music specialists goes for a synthheavy approach. Pigeon in particular display a humanity and warmth in their approach, taking the euphoria to great heights with their now-famous Daft Punk medley (One More Time and Da Funk seamlessly welded together). Over at the main stage, the laid back mid-afternoon atmosphere is whipped up into a party frenzy courtesy of discohouse duo Luke Million and Tony Mitolo, better known as The Swiss. They unleash live drums accompanying crisp synthetic disco strings, late 80s Italo-house style piano grabs and an almost encyclopaedic range of retro dance textures. The street cafes and restaurants nearby would never have heard such a celebratory noise seeping into their space,

Andy Bull Pic: Lauren Brodie

and diners and punters alike are visibly appreciative of the joyful din emanating from the two-piece. As the early evening approaches, the main stage erupts further with Ballarat band Gold Fields. With debut album Black Sun creating waves amongst indiedance aficionados, there is a palpable sense of excitement from the audience. Continuing the nostalgic dance atmosphere that is prevalent throughout the day, they even deliver a banging version of Underworld’s Born Slippy, retaining the elegiac synth motif and chanted vocals, while also creating an equally propulsive but more organic live rhythm and, most notably, adding a haunting element with sighing David Gilmouresque guitar. Sydney singer/songwriter Andy Bull is something of a word-of-mouth legend amongst Australian gig-goers. By no

means a household name, he nonetheless boasts a devoted fan base, clearly illustrated by his performance at the Chinatown Mall Stage. If you’re not familiar with his work, it’s a slightly surreal surprise approaching the stage area and hearing the music before you lay your eyes on this very male vocalist – his voice has an angelic, even androgynous, quality and at times one could be forgiven for expecting to see a petite young lady on the stage. The faithful are cheering on the composer through his originals (which include the Triple J favourite Keep On Running). He’s an easy-going personality as well, telling a story about how the bittersweet ballad My Street was inspired by an ex-girlfriend moving down the road from him. There’s transcendence when he goes into covers territory as well. His take on Tears For Fears’ Everybody Wants To Rule The World (originally made famous by his Triple J Like A Version performance) deconstructs the ‘80s soft-rock classic into something approaching blue-eyed gospel – yet the melody and familiarity of the original remain intact. It’s one of many highlights from this gifted and humble performer. It’s at about this point that the rain, which has heroically held out until this point, can hold back no longer and the Valley streets are lashed with some serious water. Alas, this forces the organisers to close the remainder of the days’ festivities, which means the highly anticipated likes of Alison Wonderland, Dune Rats, Jackie Onassis, Touch Sensitive and Architecture In Helsinki are unable to play. Well….mostly. Architecture In Helsinki surprise passers-by with a street performance of their current earworm Dream A Little Crazy, showing that not even Queensland’s extreme weather can put a dampener on Valley Fiesta Fever.

Left: Pigeon Pic: Lauren Brodie Right: Swiss Pic: Ben Knight

MouthZoff DECEMBER 2013

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! a r t x E VALLEY FIESTA FORTITUDE VALLEY Pics: Ben Knight, Greg Elkenhans and Bob McGahan


e l a i d r o C e im talks to

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outhZoff caught up with Oliver and Louis Leimbach from Sydney’s Lime Cordiale prior to their performance at Maroochydore’s premier Live Music venue Solbar and spoke about their rising success. Your music is described as Summer, beach vibe with beers and BBQ‘s. Is that how you guys describe your music?

LOUIS: Yeah it’ s all the B’s - BBQ’s Beaches Beers. Oliver: We are from the northern beaches - we are beachy people and that is who our first initial audiences were. So if you think of Beach Boys and that surf rock there is an element of that in our music. It must come naturally. I’m always curious to know if the performers themselves agree with the reviews that are written about their music. OLI: Yeah we don’t even really know how to describe our music. It’s good to see what other people say and then if we agree we just go with that So let’s talk about your EP “Falling Up The Stairs” and Louis you wrote a track on that EP titled Bullshi* Aside which was inspired by your broken leg? LOUIS: Yes we had moved from the northern beaches into the middle of the city and I broke my leg skateboarding and I got a bit sick of being in the centre of it all and not being able to go to the beach or anything and Oli was showering me. OLI: No I wasn’t. He’s joking (laughs). Lime Cordiale have just finished a tour with Cosmo Jarvis. Tell us about that.

by JAE SALMON

LOUIS: Yeah Cosmo is our hero. OLI: We actually have a cousin that lives in the same city as him in England so we got a demo tape of one of his really early on CD’s. We listened to that heaps and I messaged him about two years ago saying if he ever came to Australia we would like to support you. So we did one show with him on his first tour and then this time around he said do you want to do the whole tour. So that was cool.

over that we would do something together. OLI: But maybe not in England he said in winter time there would be nobody at the gigs. He said it’s really hard to get people out to gigs in England and they don’t jump around and stuff. He said Europe was awesome though.

I noticed that all the venues for the tour were small venues which surprised me. I would have thought Cosmo could have easily filled out the Hi Fi at least.

OLI: I went to the Conservatorium and made a bunch of friends there. You don’t have electric guitarists in swarms at the Con and I just wanted to have my mates in the band so that’s why we have Brendan on trombone, he‘s like our lead guitarist. LOUIS: Who wouldn’t want horns in a band? Horns is one of the best instruments ever - I would pick horns over a guitar any day.

LOUIS: He likes the intimate shows. OLI: And he likes not touring with so many people which helps cut down on costs and he said that he likes making it difficult for himself. He likes the struggle he likes the challenge. Has there been talk of you guys going to England and doing something with him there? LOUIS: He did say when we came

The other element of Lime Cordiale that I love is that you have a trombonist in your line up. How did that come about?

What are the next steps for Lime Cordiale? OLI: We want to get to the States for the summer next year and maybe stay over there for six months and do a festival just all depends if we can good support over there. LOUIS: We are releasing another EP next year. We will release another single in January or February. We have lots of songs that we haven’t even touched yet and we want to write more. Final words? OLI: Come and see us live because we would love to see you. We like to interact with the crowd and making new friends. LOUIS: Eat sustainably! Louis and Oliver Leimbach from Lime Cordiale Pic: Supplied

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KE live CLUB DI CLAR JAZZ BRISBANE

DI DOES COLE AND GEORGE December 1 The Rider + Arundel, Charlize Kristin & Deena - free December 4 Georgia Rose with Will Watson December 6 Benefit for the Philippines - heaps of bands, full line-up to be announced December 7 Afternoon: 12-4 pm Stereosonic warm up drinks featuring 4DJs Evening: Tijuana Cartel December 8 Afternoon: 12-4pm Stereosonic warm up drinks featuring 4 DJs December 12 Hushka December 13 Transvaal Diamond Syndicate album release featuring Electrik Lemonade, Stone Fox and Barefoot Alley December 14 Band of Frequencies and more to be announced December 20 Kingfisha, Dubsteppers and more to be announced December 21 Berrtie Pages Orphans Christmas Cabaret for the Lonely December 28 Mr Beavis presents his Indie Roots Explosion, bands to be announced. December 31 Prometheus Bound New Years show Keep an eye on newglobebrisbane.com for updates

Pic: Steve Barrett

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i Clarke performed at the Brisbane Jazz Club on Friday the 1st of November, with her band of local super-talents Andrew Shaw, John Reeves and Paul Hudson. It was a lovely evening of classic jazz standards, with Di presenting the music of Cole Porter in the first part of the evening and George Gershwin in the second half. Di’s welcome twist on the presentation of the music of these two iconic composers was to include the lesserknown verses for each song as well as a few less commonly-heard pieces by these composers such as Gershwin’s “Lorelei”.

Also adding to the night were Di’s well-researched anecdotes about the composers and the songs. This, along with Di’s wonderful humour, helped to tie the gig together well and to make the night into a real show, rather than just a collection of jazz standards. The audience enjoyed the night, and all musicians were in fine form. Well done Di!

SARAH COLLYER


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MouthZoff DECEMBER 2013


MouthZoff DECEMBER 2013

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BELINDA CARLISLE TWIN TOWNS pic: Lauren BrodiE

belinda carlisle It was a Blue Light Disco flavoured blast from the past when I made the trip down to Twin Towns Services Club to check out the Belinda Carlisle concert. The room was close to full with a middle aged crowd of die-hard fans, who had come to hear from one of the more enduring pop icons from the 70s & 80s. It’s fair to say Belinda Carlisle has aged more than gracefully. She smiled and danced effortlessly through the set, with the confidence of woman in her mid 50s whose claim to fame was fronting one of the world’s most successful all-girl pop bands. Formed in Los Angeles in 1978, the Go-Go’s went on to sell over 7 million albums worldwide; with hits such as “Our Lips are Sealed”, “Vacation” and “Turn to You”. Belinda has had the most enduring solo career of all the band members, and continues to tour on the back of both the band’s and her own solo material. Her fans, many of whom had dressed up in their finest 80s gear were treated to well over an hour of songs from the back

catalogue of hits from both The Go-Go’s, and Belinda’s solo career. Ably backed by a five-piece band and an awesome back-up singer, Belinda kicked off the night with the beautiful tune “Runaway Horses”, followed by “We Want

storm in the aisles! Now the band really came together, and buoyed on by the reaction from the crowd, they continued through “Mad About You”, then lifted again with “Our Lips are Sealed”, “We Got the Beat” and another favourite, “Leave a Light on for Me”. Belinda then led her singing fans into the anthemic tune “Live Your Life Be Free” before briefly leaving the stage for the first break in the set. When the lights came up, there was just Belinda, a guitarist and the drummer to back her through the beautiful ballad, “Look My Way”, and the full band returned to the stage to round the night out with “Big Scary Animal” and the absolute favourite of the night had everyone singing along to “Heaven is a Place on Earth”. What a way to end the show … Belinda & the band did not leave their fans disappointed, and they will continue their tour around Australia before heading back home for the holidays.

Belinda and band

the Same Thing” and the ballad “I Get Weak”. Belinda then reminisced about the formation of the band with some of her girlfriends, way back in 1977, and lead into the tunes “Vacation” and “California” from her solo album “A Woman and a Man”, before heading into “I’m in Too Deep” & “Vision of You”. The crowd lifted when Belinda led the band into some of the more well-known hits such as “Circle in the Sand”, “La Luna” and the ever-popular “Summer Rain” even had middle-aged men dancing up a

ANGIE EVERINGHAM

talks to Mark Gibbons from

the walters Where are all of you guys from? Aaron & Ben live in Redcliffe, Mick West End, Dan’s from Aspley and I’m in Coorparoo. We all grew up around Brisbane and Redcliffe, except Benny who hails from Newcastle originally.

Louisiana influence about it.

How long have you been together?

Any recording set for the future?

Ben & I formed the band, along with a couple of mates, back in 2004 as a way to jam regularly. After a few personnel changes, Mick & Az joined us in around 2006. Dan had played with us on and off for a few years, but ‘officially’ joined the band full time earlier this year.

We are hoping to record something new in 2014. Possibly interstate, but we’ll keep it to ourselves until we get a bit closer to making it happen...

How would you describe your style of music? Primarily we play 50’s R&B and early black Rock ‘n’ Roll. But on any given night we’ll throw in some Soul, Rockabilly or even Swamp Pop. But everything we do has a heavy dose of

Do you prefer recording or live shows? Live shows, definitely! We play the music we love because we love it, but having a room full of people digging on it right along with ya, makes it so much more joyful. We play dancing music. That requires dancers! Any shows coming up to look out for? Of course there’s always our long

standing Saturday night residency at the ‘Boundary Hotel’ in West End. But we’re also playing all different sorts of places. One we’re really looking forward to is at the brand new New Orleans themed bar/restaurant, ‘Papa Jacks’ in the Valley, December 14th. And we’re back at the always awesome ‘Leftys Old Time Music Hall’, in Caxton st, January 18th and February 8th. If you had your own prime time game show what would it be called? Easy... Who is *Mick Luciow?!

BEN KNIGHT * Walters’ guitarist!


e g u H r D

Turning attention into traction by HUGH BROWN

L

ast edition we discussed the importance of building networks of long-term relationships with people in the industry. That’s really important, but lots of musos have attracted attention from people in the industry and still gone nowhere. One of the questions I get asked often is “How do I turn that interest into a fan base and a career?” Let’s put aside for a minute the issue of people in the “industry” promising to make musos’ dreams come true. Websites like Noel’s List help to expose the worst frauds, and there’s a pretty simple-but-clichéd rule: if it sounds too good to be true, it probably is. Let’s also put aside the lightening strike of grabbing a major label deal through a TV show like Australian Idol or The Voice. Those are TV shows and the winners are all about TV. Very few of them have had anything approaching a career, even though they may have done very well out of their first post-show release. The reality is that those experiences cannot be relied on in any way. This column is about the incremental process of building a following and a network one contact and one fan at a time. There are people out there, usually associated with major labels or big-league promoters, who can blow a career up very quickly by injecting a heap of marketing muscle and introducing musos to vital contacts … but there’s a catch. The catch is this: those people are only interested in musos who’ve

already built up a fan base and got their careers moving by themselves. This makes perfect sense – they want to put their money on the lowest-risk acts. Acts that already have a fan-base have demonstrated two things they are looking for: 1) a work ethic with business sense, and 2) music that people want more of. So, how do you grow to the point where big-hitters may be interested? Well first, forget the idea of a single impresario coming up after the gig and offering to make you a star. It doesn’t work that way. It’s about accepting every little offer of help that you get, sorting out the people who are all talk (you’ll meet plenty of those) and taking good care of the people who care about you. For example, when you’ve just blown the crowd away at your last gig and people want to come up and talk to you afterwards, it’s very important that you make contact. Most of those people will tell you you’re great and that’s all. That’s wonderful and a boost to the ego, but it’s not particularly helpful for the career unless you get an email address or a merch sale from them. Every now and then, someone will come up to you after the show and say something like “you guys are great. Do you have a manager/agent/photographer/accountant?” These are the people who you need to get to help behind the scenes with your career. BUT you will need a smoke detector to figure out which of these people (it will be most of them) who are blowing smoke up your ass.

A smoke detector can be a simple question. For example, when someone tells you they love your album, say “Hey, thanks, that’s great. What’s your favourite track?” If they ummm and aaah and can’t say, they’re just blowing smoke. Similarly, if someone asks whether you have a manager, ask them exactly what they have in mind. If they don’t have a clear answer, they’re blowing smoke. The trick is to ask for some specific detail that only a genuine person will have. There’s no reason you can’t ask three questions if you’re not sure … see cliché above. So, if you’ve received very specific offers of help from people who have been to a few shows and are keen to help, take them out for coffee and find out if this could be a genuine partnership. DON’T strike any deals in the heat of the moment – any offer of help needs to endure beyond the night you meet, and can thus be made in the calm light of the next day. The lesson? A muso’s career can be built on many small offers of help from genuine people who want to help grow your fan base and your business. Keep accepting offers, building a network of helpful people, and succeeding, and eventually the big end of town will come looking for you. Of course, if an artist has already built their businesses up to the point where fans are already supporting them and they have a sustainable business and the big end of town is interested in helping them further, then an artist is entitled to ask whether they need any help from the big end of town – but that’s a topic for another column.

Dr Huge is an independent musician and author of “How the record industry got it so wrong” (http://www.huge.id.au/How_the_record.html) and “The step-by-step music career” (http://www.huge.id.au/Step-by-Step_Music.html). He is always happy to help musicians reach their musical goals and would love to write about the issues that are bugging you – email him at dr@huge.id.au

MouthZoff DECEMBER 2013

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e g a r a G s s o G

news from the stA THE HALLS

JUNKYARD DIAMONDS

All that glitters may not be gold but if you are really lucky it could be Junkyard Diamonds. I’m pretty sure that doctors around the world will soon discover the healing and health benefits of attending live music events and there could be no tonic more perfect than acquiring a collection of attendances at the performances by the Junkyard Diamonds. They brighten the stage with glittering displays of musical magic that leaves the viewer in no doubt that they love what they do and they do it well. If reading this has filled you with an urgent need to see JYD then you are in luck. They play the Zoo on December 21 with previous Garage Goss heroes Dead Wolves, the incredible Minus Nine (look out for them in future Garage Goss’s) and Muddy Chanter. Four bands for $10 cheaper than the movies.

If you like solid rock bands, powerful female vocals, immense amounts of stage presence and good nights out then start hanging out in The Halls space. For a band that was birthed mid 2012 The Halls have racked up some serious cred’ to their names with a debut self titled EP already released; appearances on Rage; an East Coast tour; tracks played on community and national radio; winning a spot to play at Valley Fiesta 2013 and even having

their mu dicated t

If you we ity of Bri then allo for you w are Bec W Ross Prid tar and J the beat

DESERT BLUES CARTEL Being at a Desert Blues Cartel event is akin to being in New Orleans imbibing the smooth tunes that New Orleans is so well known for. The Cartel have had a massive twelve months of gigs and wrapped up the year with their final gig at the Black Bear Lodge on 24 November as support to Texas legend Kinky Friedman. But if you missed them in 2013 I’m sure you won’t have long to wait for their first appearance in 2014. Speaking of 2014 the Cartel have made some


Ars of BrisBAne’s smAller venues with JAE SALMON YOU IN REVERSE You In Reverse is comprised of Christian Duell (vocals, guitar), Mikey Nix (bass, vocals) and Dave Lee (drums, vocals). They are long time friends who started jamming together a couple of years ago over a shared love of homegrown bands like You Am I, Bluebottle Kiss, Pollyanna and Screamfeeder. YIR have been gigging around Brisbane since October 2011 and have become known for their sophisti-

usic picked up for use on the syntelevision show “Offspring”.

ere ever in doubt about the qualisbane’s burgeoning music scene ow The Halls to erase that doubt when next they play. The Halls Wolfers on Bass and lead vocals, dham and Greg Lawrence on guiJames Boothrovd commanding ts.

If you haven’t seen The Halls yet then may I suggest an urgent rearrangement of priorities to rectify this newly identified void. 2013 has been a great year for The Halls I personally can’t wait to see what 2014 brings for them. There is the promise of an album on the way and I guarantee there will be dancing in The Halls when that hits.

exciting announcements the first being that the band is hitting the studio in December / January to record their debut album to be released next year. The second announcement is that Desert Blues Cartel have been asked to play the Speigeltent in support of the Melbourne Comedy Festival in 2014, where they will perform a ‘comedy edition’ of the burlesque show Vamp & Burn, a production by Lola the Vamp.

cated but simple guitar-driven indie rock. The band went on in 2012 to play at events such as Valley Fiesta and supported such acts as Galapagos, Swan Song, Turnpike, Oh Ye Denver Birds, Mosman Alder and Tiny Spiders. 2014 will see the trio record their first EP with songs that know no limitations when it comes to exploring the imaginations of both the writers and listeners. It seems no subject is taboo when it comes to lyrics, “Some of our songs are about UFO abductions, dreams within dreams, Murakami’s Norwegian Wood, falling in love with stuff that isn’t real and being robbed” says singer Christian Duell.

Lead singer Dick Cartel All pics supplied


t a e h T e b o l wG

Ne T

he New Globe Theatre, in Fortitude Valley opened its doors for the 5th annual Queensland Festival of Blues. I was there to catch some of the action. Just after midday on Sunday the 2nd of November 2013 and the crew are quietly excited and bustling about the venue completing the finishing touches prior to officially opening its doors. One of the first bands Folklore is setting up on the little stage in the front entrance and bar area, for what is the first official sound check the venue has seen. As you come down the front stairs into the premises from off the busy Brunswick street and into the beautiful bar area there are scattered tables and bar stools and you can sit and have a drink while listening to the bands. even though this is a smaller stage and area it is still impressive in its new layout and the sound quality in the room is fantastic, reaching all four corners crystal clear. The sound engineer has it all set to

24

Opens its dOOrs

rock and he is meticulously tweaking the levels to get it sounding perfect. Folklore was the perfect first act of the day with a unique middle eastern style, gypsy jazz flavour.

Downstairs, like a silent beast, the main stage lies silently waiting, lit in a soft blue glow. I snuck in for a sneak peak and chat to the sound engineer preparing for the impeding crowds. This baby is amazing! Split level floors, provide more then enough room for medium to large audiences. The spacious stage area and incredible sound system are impressive. From front of house the Line Array speakers can put out some 25,000 all monitored from the sound engineers booth at the rear of the room- equally as impressive with the quality production and facilities it has. All of this was a small reflection of the thought, effort and expense the owner has gone to, to ensure the New Globe Theatre is a high quality venue for live music. With strength-

MouthZoff DECEMBER 2013

by RANDY G

ening trends in venues throughout the nation, opting to exchange live music for large sport screens and Dj’s, The New Globe Theatre is an absolute gem to our local music scene and with many thanks to Paul Robinson


rt e

@ QLd E R O L K L FO BLUES TRE F O T S E F E THEA NEW GLOB

and his team for making it all happen. The rest is up to you to do your bit by not only supporting but enjoying all that this venue has to offer. Keep your eyes peeled for future gig guides and events! Folklore

Lizzie Ryan-Budd

All pics by Greg Elkenhans and Ben Knight

MouthZoff DECEMBER 2013

25


t a e h T e b o l wG

Ne

Opening night party

All pics by B

I

t’s not often that an entertainment venue gets to have two opening nights – but that’s exactly what happened to the New Globe theatre in Brunswick st. While the Globe officially opened its doors on sunday 2nd November for the 5th annual Queensland Festival of Blues, the Opening Night Party was held on the 14th November. And what a party it was! With a musically diverse line-up including the two-piece Cleveland Blues Band hailing from the north coast, the Phoncurves’ indie-folk layers and loops, the sugarshakers’ rockabilly beats and the Bertie Page Clinic’s own alluring brand of burlesque rock the sound system of the New Globe theatre got a solid workout.

And if you were one of the Brisbanites who weren’t afraid of a little rain (and hail, thunder & lightning) you got to see these four acts, along with support from the lovely burlesque girls from Lady Marlene’s school of Arts, for free! While

Bertie Page Clinic

BRUCE HEATH

the turnout wasn’t anywhere near a capacity crowd (apparently we’re a bit wuzzy when it comes to bad weather) , those who were there saw just how well the Globe will perform as a live venue – every act had a great sound regardless of style or volume with clear highs and absolutely belting bass.

Cleveland Blues

14 26

this is a venue which other clubs can learn much from – the money that’s been spent here has gone into giving the bands the best environment to present their music to an audience who wants to hear good music. there’s room to dance, mosh or just hang out and listen and the bar is functional without being flashy. this is a music lover’s venue rather than a bar with music thrown in to attract the punters. And if you’re a music lover in Brisbane the New Globe is definitely going the be the place for you.

MOuthZOff DECEMBER nOVeMBer 2013 2013 MouthZoff

The Sugarshakers


rt e

Mzaza

Bruce Heath

A

NNOuNCING their presence as the newest (and certainly one of the best) live music venues in town, the New Globe theatre played host to a vibrant, life-affirming gig in the shape of three distinctive and original acts: the Furrs, Mzaza and Melbourne’s Rapskallion. First to hit the stage were Brisbane locals the Furrs - they describe themselves as a “4-piece band on the brink of a revolution” and, just between you and me, they could well be right! Lead vocalist and guitarist Gabriella Joelle carried their set of jangling pop and swaggering rock songs beautifully.

through all manner of ethnic styles certainly their instrumentation was eclectic - violin and kamanche tarhu (a spikefiddle of Persian ancestry, wow) from Greta Kelly, accordion and flutes from stephen Cuttriss; flamenco/classical guitars by Andrew Veivers. I could imagine partying with Mzaza around a campfire until dawn. the shades and lilts of eastern melodies from Mzaza had long-vanished from our ears when headliners Rap-

Next we had the pleasure of the gypsyish vibes of Brisbane’s Mzaza. A sharp contrast from the first act, not only did singer Pauline Maudy take us through a vocal tour of France, the Balkans, turkey stretching across Romania and the Middle East; their music oscillated

“Think Tom Waits in a tutu, sing ing Edith Piaf songs through a megaphone, backed by the Muppet show band, on the film set of Black cat white cat.” For me, that sums Rapskallion up totally! And the thundering footstomping of the throngs in front of the stage would surely agree.

MIKE ROBERTS

The Furrs

Prowling the stage like a cross between Chrissie Amphlett and Patti smith - her singing swept effortlessly between strong and sultry - a few pitching issues here and there but she more than made up for it with her presence. AND her guitar! Generous licks and air-splitting solos, ably supported by the other four members of the four-piece! Yep, drums, bass and guitar plus the added benefit of a cossack-hat-wearing interloper on tambourine. there was a sixties-infused sensibility to the Furrs - even a tinge of the Velvets. Indeed the presence of a Hofner bass and phantom teardrop certainly helped. Can’t wait to see them again.

ous violins, snarling sax and tight riffs from their dreadlocked bass player. their website has a super line they use to describe their own sound:

Rapskallion

skallion invaded the stage. And they were fabulous. Once more we witnessed a cultural smorgasbord, but suddenly the energy level lifted off and the crowd loved them. Again there was a smattering of gypsy and melancholia, but their sound was infused with a real element of bawdiness - a vaudevillian tour-de-force which swept through every song via furi-

MZAZA/ / N O I L L A RAPSK RRS THE FU OBE THEATRE NEW GL

MOuthZOff DECEMBER nOVeMBer 2013 2013 MouthZoff

15 27


talks to touRisM I recently saw you described the band as an ‘Australian love child of the Arctic Monkeys and the Black Rebel Motorcycle Club’. Does that sit well with you guys? Yeah for sure! I love those bands! People are always trying to compare and associate our sound with other bands, so im glad its two brilliant bands. Do you think you derive most of those killer melodies from British music or is it something that has developed more organically? I think English bands have some

of the best melodies, like Blur, the Ar Monkeys and Franz Ferdinand (even thought they’re Scottish). I definitely take influence from them but i have found that the melodies i write now evolved a lot from when i first starte writng.

What do you think of the Brisbane m scene at the moment? Yeah, its pretty good...

What has been you favourite venue/ event to play since you began?

Playing Splendour was definitely a h light (even though there weren’t ma

Beach Da

With the much-anticipated Beach Day Out being washe to The Valley’s Oh Hello bar followed. Here photographe with Joe from TOuRISM.

Tourism

28

MouthZoff NOVEMBER 2013


Y OUT A D H C A E B OH HELLBO KNIGHT N E : S PIC

Arctic en ely ve w have ted

people there) but the Byron Bay Beach Hotel probably ranks as our all-time classic fave. What’s next for Tourism? Writing, ep release, tour and ep #2 Anything you want to mouth off about?

music

e/

a highmany

Yeah, it seems as though some of the best bands in Australian music (not implying that we are one of them) miss out on the opportunity to really succeed and gain a good following because of the monopoly on Australian radio, it can become a little frustrating at times.

ay Out

Yes You

hed out, a hasty relocation her BEN KNIGHT caught up

Major Leagues

Palindromes

Noah Slee

MouthZoff DECEMBER 2013 MouthZoff NOVEMBER 2013 2917


The WhatZon

The WhatZon gig guide is TOTALLY FREE! – list your shows for nothing! Just head to www.mouthzoff.com/whatzon for details

December 2013 DATE ARTIST

VENUE suburb

SUN 1 Ian Ball Beetle Bar Brisbane Jimi Beavis, The Fembots, Sahara Beck Black Bear Lodge Fortitude Valley The Dawn Chorus Sol bar Maroochydore John Malcolm The Joynt South Brisbane Kadavar, Blues Pills CROWBAR FORTITUDE VALLEY Forever Came Calling, Monuments The Grid Arts Centre Toowoomba Katarina Rose Collective Queen St Mall CBD MON 2 Steel Panther Brisbane Riverstage Southbank The Seekers Empire Theatre Toowoomba TUES 3 Barksdale Brass Band, the Melotonins Black Bear Lodge Fortitude Valley WED 4 Friends Of Ben Black Bear Lodge Fortitude Valley The Seekers Brisbane Convention Centre southbank Kataklysm CROWBAR FORTITUDE VALLEY Cave The Zoo Fortitude Valley Brodie Graham Band The Joynte South Brisbane THU 5 The Ancients, Martyr Privates, Black Vacation Black Bear Lodge Fortitude Valley Daniel Champagne Sol Bar Maroochydore Closure In Moscow, All The Colours The Spotted Cow Toowoomba Colin Hay The Tivoli Fortitude Valley Jazz Singers Jam Night Brisbane Jazz Club Kangaroo Point Insane Clown Posse Hi Fi bar West End Skinwalkers X&Y Bar Fortitude Valley Tumbleweed Tempo Hotel Fortitude Valley FRI 6 Closure In Moscow, All The Colours Alhambra Lounge Fortitude Valley Bec Laughton Sol Bar Maroochydore Dallas Frasca, The Lyrical, Transvaal Diamond Syndicate: The Soundlounge Currumbin RSL the Nerve Tempo Hotel Fortitude Valley The Screaming Jets Eatons Hill Hotel Eatons Hill Green Jam Sessions QPAC Sth Brisbane Passenger The Tivoli Fortitude Valley SAT 7 Screaming Jetts Coolangatta Hotel Coolangatta Lecherous Gaze, Evil Ways CROWBAR FORTITUDE VALLEY Taylor Swift, Guy Sebastian, Neon Trees Suncorp Stadium paddington Jet Set A GO GO Hideaway FORTITUDE VALLEY Anarchist Ducks & Hussy Chicks Sol Bar Maroochydore Passenger The Tivoli Fortitude Valley Joey Badass & the underachievers The Hi-Fi West End Little May Southside Tea Room brisbane Mercury Sky Tempo Hotel Fortitude Valley SUN 8 Melvins & Helmet The Hi-Fi West End Michelle Xen Black Bear Lodge The Valley MON 9 Deerhunter The Zoo Fortitude Valley TUES 10 Muse, Birds Of Tokyo BEC Boondall Peter Murphy Hi Fi bar West End WED 11 Birds of Tokyo Coolangatta Hotel Coolangatta


DATE ARTIST

VENUE suburb

WED 11 Metric The Tivoli Fortitude Valley THU 12 Guineafowl Alhambra Lounge Fortitude Valley Benjalu Sol Bar Maroochydore The Gin Club Cafe Le Monde Noosa FRI 13 The Gin Club Black Bear Lodge Fortitude Valley Alicia Keys, John Legend BEC Boondall Kylesa The Hi-Fi West End Flangipanis Chardons Corner Annerly The Tiger & Me, Bearded Gypsy Band The Joynt South Brisbane Green Jam Sessions QPAC Sth Brisbane Juzzie Smith, Joel Salom the Sound Lounge Currumbin RSL SAT 14 Mindsnare CROWBAR FORTITUDE VALLEY The Ray Mann Three The Joynt South Brisbane The Tiger & Me, Bearded Gypsy Band Sol Bar Maroochydore Jack Johnson: QPAC Concert Hall West End Charlie Horse, The Slow Push Rics Bar Fortitude Valley Pond The Zoo Fortitude Valley SUN 15 Gossling Alhambra Lounge Fortitude Valley Brian Jonestown Massacre Hi Fi bar West End Nile Rodgers & Chic Cloudland Fortitude Valley Laneway, Seavera Shady Palms greenslopes TUE 17 Bon Jovi, Kid Rock Suncorp Stadium South Brisbane WED18 BEEJAYS Club Nights Brisbane Jazz Club Kangaroo Point THU 19 Hearts Like Wolves, Trinatyde Beetle Bar Brisbane Clairy Browne & the bangin rackettes Hi Fi bar West End David Dallas Alhambra Lounge Fortitude Valley Christian Patey, the Merrys & Sue Anne Stewart Sol Bar Maroochydore FRI 20 Guerilla Zingari Lock ‘n’ Load West End Green Jam Sessions QPAC South Bank Marshall Okell & the Pride Sol Bar Maroochydore Teapots The Zoo Fortitude Valley SAT 21 Guerilla Zingari, The Woohoo Revue The Joynt South Brisbane Waka Flocka Flame The Hi-Fi West End Noah Slee, MKO & 8man Sol Bar Maroochydore FRI 27 Woodford Folk Festival woodford SAT 28 Woodford Folk Festival woodford Bonjah Sol Bar Maroochydore Dead Wolves/We Become Ghosts/ Kick the Butterfly/Ages of Earth Beetle Bar brisbane SUN 29 Woodford Folk Festival woodford Jazz Brunch Brisbane Jazz Club Kangaroo Point MON 30 Woodford Folk Festival woodford TUES 31 Woodford Folk Festival woodford Falls Festival North Byron Parklands Nth Byron Disco Mania Kedron Wavel Service Club Kedron tempo bar New Years Eve Party Tempo Fortitude Valley beetle bar new years eve party with Steve Lucas & X-aspirators, HITS, Leftovers and more TBA Beetle Bar Brisbane

The WhatZon gig guide is TOTALLY FREE! – list your shows for nothing! Just head to www.mouthzoff.com/whatzon for details

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