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02.12.15 Music / Arts / Lifestyle / Culture

Brisbane / Free / Incorporating





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e d i s In






AMID #54 THE 2015


2014 • ISSUE 52 • $40.00
















Music / Music / Arts / Lifestyle / Culture

Vandal-ism Spree

Melbourne rap-rocker Ecca Vandal has shared the details of a very busy new year, announcing a series of headline shows all around the country in February following her appearance at Festival Of The Sun, bringing along special guests WAAX.

Ecca Vandal

Joyful Homecoming


Vance Joy has announced a series headline shows across the east coast next April, with support from fellow Aussies Holy Holy. The shows will be Joy’s first domestic shows since an extended trip supporting new bestie Taylor Swift.

The number of ARIA Awards both Tame Impala and Courtney Barnett won, dominating the night. ARIAs A lot of big winners at the ARIA Awards. Courtney Barnett took out four titles overall; Tame Impala won five overall; Vance Joy was Male Artist Of The Year. Tina Arena was inducted into the ARIA Hall Of Fame by Kylie. ‘Grats all!

Kylie Minogue & Tina Arena. Pic: Uppy Chatterjee


Gillian Welch & Dave Rawlings

Two Heads Are Better Than One Americana singing/ songwriting pair Gillian Welch and Dave Rawlings return to Aussie shores for first time in 11 years next January for not one, but two back-to-back tours, first as Gillian Welch then as a quintet for Dave Rawlings Machine.

Arts / Li Music / Arts / Lifestyle / Culture

Alvvays And Forever

Toronto pop outfit Alvvays are heading to Australia next year for their first tour Down Under. The five-piece will bring their melancholy surf tunes Sydney, Melbourne and Brisbane in March with supports Major Leagues in tow.


Vance Joy


D’Angelic Sounds It seemed that there was no way Bluesfest 2016 could get any bigger, but they’ve done it again with the announcement of 14 new acts who are joining next year’s bill, which includes D’Angelo & The Vanguard, Cold War Kids and more.


Right Now, Wrong Then

Winners of the ninth Asia Pacific Screen Awards included Cemetery Of Splendour for Best Feature Film, Hany Abu-Assad, director of The Idol, for the APSA UNESCO Award, and Jeong Jae-yeong for Best Performance By An Actor, in Right Now, Wrong Then.


Lifestyle Music / Arts / Lifestyle / Culture

25 Years Young


The new year will mark 25 years of rock for local legends Spiderbait, who will be celebrating the occasion with a whopping coast-to-coast tour in February, with J Award-winning rockers Tired Lion tagging along for the ride.

Kate Miller-Heidke

The Gift Of Giving

Bear Essentials Pineapple Cider

Your new favourite Christmas carol came out last week, with Kate Miller-Heidke and The Beards releasing I’m Growing A Beard Downstairs For Christmas, with all proceeds going towards the charity Bowel Cancer Australia. MillerHeidke will then go on a tour starting February.


Better With Pine Australia’s first pineapple cider, made by Sydney brewery Bear Essentials from 100% Queensland pineapples, has hit shelves and is aiming to give the boring old pine-less apple cider a run for its money. Of Monsters & Men

e / Cultu Music / Arts / Lifestyle / Culture

Watch Your Pockets

Nothing But Thieves

UK alt-rockers Nothing But Thieves will be truckin’ it down the east coast while Soundwave bound next January, announcing three headline shows off the success of their recent debut self-titled album.

Holy Holy

A Spiritual Time Holy Holy have announced a national tour for January. As a bonus, they’ll be giving away a free track, called The Constitution, to anyone who buys a ticket, album or merch item between now and the beginning of the A Heroine tour.

Monster Run Icelandic pop superheroes Of Monsters & Men have announced a quick run of east coast shows in April/ May 2016, back once again since their slot at Splendour In The Grass earlier this year.

You’re cool in my book @ justinbieber xc Courtney Love gives Biebs her seal of approval.


Lifestyle Music / Arts / Lifestyle / Culture

Jez Louez

The Jezabels

The Jezabels have announced they’ll be hitting the road in late February next year to support their third album, Synthia. For a peek of what’s to come, go listen to their new single, Come Alive.

Woodford tix Woodford Folk Festival’s not only got a stunning music line-up, but the food and drink side is equally exquisite. You could be eating dinner in the vicinity of your fave artist. Head to win to enter the draw to win some tix.

Deb Suckling

Competition Is Heating Up Queensland’s most aspiring songwriters will have their tunes heard by some powerhouses of the music industry for the Queensland Music Awards, whose 2016 judging panel including Deb Suckling, Adam Lewis, and ex-The Music editors Dan Condon and Steve Bell. Submissions close 6 Dec.

Woodford Folk Festival

Celia Pacquola

Bris Laffs Brisbane Comedy Festival have quietly revealed the first look of their 2016 line-up, featuring David O’Doherty, Tom Green and Celia Pacquola. 12 • THE MUSIC • 2ND DECEMBER 2015

Mojo Burning Blues/roots/stoner-rock festival Mojo Burning has announced a killer bill for its third year, taking place next March in Brisbane. Catch acts like Mason Rack Band, Jackson Firebird, The Fumes, Hobo Magic, and Arizonian one-man band, Bob Log III.

Bob Log III

e / Cultu Music / Arts / Lifestyle / Culture

Art Vs Science Vs Australia

Set to perform at a bunch of festivals over the next few months, Art Vs Science have also announced a headline tour for 2016 in celebration of their second album, Off The Edge.


Art Vs Science

Life’s A


Eric Burdon

Broadbeach Legendary blues artist Eric Burdon is set to make a headlining appearance with his band The Animals for next year’s installment of the annual Blues On Broadbeach Music Festival in May.







Smooth News OOB Organic Smoothies are now available in Australia, aimed the time-poor and health conscious individual, simply mix the powder with coconut milk or another smoothie-esque liquid and enjoy the quickest health smoothie who have ever had. Festival Of The Sun




FOTSUN Tix Festival Of The Sun is creeping closer and closer, being held at Port Macquarie on 11 & 12 Dec. If you wanna go and haven’t got tickies yet, enter our competition at to go in the draw for a couple.




Three Essential Festival Ingredients Welcome to our Summer Festival issue, where we look at festivals from now right through until Easter. To kick things off, here we look at festivals from three different levels — the promoter, the artist and the punter.

The Promoter Even Festivals Get The Blues While a number of music festivals across Australia have been n axed in recent years due to poor ticket sales, Peter Noble’s Bluesfest is celebrating its 27th year and is bigger than ever. He tells Neil Griffiths why we’ve seen some events fall by the wayside.


think th thi nk the reaso re reasons asons aso ns for it ar are, e on one level, e, level le vel,, people vel peop peop eople le e don’t don’t ’ really really plan pla n out out their theirr events events an and d all all the event ev eventualities entual ent ualiti ua ual ities iti es pro proper properly perly per lyy and then then if you you’re ’re doing doing a smaller smalle sma llerr event lle even even ventt and and you wanted wante wante nted d to to get get some some headliners headli hea dliner dli ners ner s and and you can’t can’t get get them them for for whatever w what hateve hat everr reason... eve rreas eas ason on... on. .. do you really reall reall allyy al think think 5000 5000 [peo [[people] people peo ple]] are ple are going going to come? come? It should should be bleeding bleed bl eeding eed ing obvious. obvio ob vious. vio us. “We’ve “We’ve se seen en a lot lot of cha change changes. nges. nge s. We’ We’ve ve see seen n the the tou tourin touring ring rin g mode m model, odel,l, ode apart apart from from a couple coupl co uple upl e [festivals] [fes [fes festiv tivals tiv als]] go als go the the wrong wrong way and and the the reasons reason rea sons son s for that that are to me are are fairly fair fair airly ly obvious. obviou obv ious. iou s. They They were were leap-frogging leapleapap-fro froggi fro gging ggi ng huge huge production produc pro ductio duc tion tio n and and stages, stages sta ges,, trying ges tryi tryi rying ng to set up quickly quick qu ickly ick ly in rented rented fields, field fi elds, eld s s, football footba foo tballll stadiums tba stadiu sta diums diu ms or sho showgr showgrounds...” wgroun wgr ounds. oun ds...” ds. ..” Meanwhile, Meanwh Mea nwhile nwh ile,, for ile for the fourth fourt fo urth urt h year year running runni ru nning nni ng Bluesfest Bluesf Blu esfest esf est has has picked pick pick icked ed up a Pollstar Pollst Pol lstar lst ar nom nomina nomination inatio ina tion tio n for for International Intern Int ernati ern ationa ati onall Music ona Musi Musi usic c Festival Fest Fest estiva ivall Of iva Of The The Yea Yearr and and its si sixth xth ov overa overall. erall. era ll. Th The e glob g global lobal lob al ind indust industry ustry ust ry awa award rd cer ceremo ceremony emony emo ny will will be be held held in February Februa Feb ruary rua ry next next year year and and Noble Nobl Nobl oble e says says he is pr proud oud of yet yet another anot anot nother her nod. nod. “We’re “We’re up agains aga ins nstt some some against Peter Noble bloody big big events even even vents ts bloody like Isle Isle Of Wight... Wight Wi ght... ght ... like Primav Pri mavera mav era... era ...but but we’re we’re e Primavera...but always up against again ag ainst st always Glasto Gla stonbu nbury, ry,”” he he Glastonbury,” smiles smi les.. “You’re “You’re “You ’re smiles. going to beat beat not going Glasto Gla stonbu nbury, ry, but but Glastonbury, fact ct that that we’r w e’re e the fa we’re there eve every ry year year and and there don’tt even don’ even see see the the I don’t other events events every every other year.. yea r.... it’s it’s an ho honou nour.” r.” year... honour.” the Byron Byron Byro n As for the spect sp ectacl acle’s e’s 2016 2016 Bay spectacle’s line-u lin e-up, p, many many believe believe beli eve line-up, this is is the the thr threeee-day day-this three-dayfestiv fes tival’ al’s s bigg b iggest est festival’s biggest 14 • THE MUSIC • 2ND DECEMBER 2015

bill yet which features the likes of Kendrick Lamar, Tom Jones, The National, City & Colour and co-founder of The Beach Boys, Brian Wilson. Noble says he is never afraid to approach an artist no matter their status, “I’m quite brash — I’ll go after everyone.” Given the fact that Bluesfest is only getting more popular as the years go by, Noble says there is one question he is alway always ays asked; “’Do you have a budget or do you ou just keep spending?’ sp pend e ing ng g?’ ? That Tha hatt question q e tio ques t n tells te tel e ls me m a lot,” lot o ,”” he says. ot say ayys. s “In “I other other h words, wo ds, wor d the th he ‘wow’ ‘wo w w’ w factor f tor fac is s coming co ing com n in. ng in n. We We totally totall tot ally lly work wor ork k to to a budget budg budg udget et — we’re we’r we’r e e merciless mercil mer ciiless cil ess about about it, it we w know know what what our event event costs. co ts. cos ts s When W en Wh n you have have v your y r own you own w site si e and sit and d you’ve you’ve been been running runnin run ning nin ga festival staff festiv fes tival tiv al for fo many many n years, years, you you know know what what each each part part of the the staf s tafff car taf car par park k costs costs and that’s that’ that’ at’s s yyour ou job.” our job.” For Fo those those considering consi co nsider nsi dering der ing going going along along to Bluesfest B Blues uesfes festt in fes in 2016, 2016 2016 016,, Noble Nobl Nobl oble e says something forr everyone. says there ther ther here e is is some s om thi ome thing ng at the festival festi fe stival sti val fo ever ever veryon yone. yon e. “I think think that’s that’s what what a festival festi fe st val should sti shoul sh ould oul d be. be. It shouldn’t should sho uldn’t uld n’t be to too o focused focu focu ocused sed on any any one thing.” thing thing ing.” .””

When you have your own site and you’ve been running a festival for many years, you know what each part of the staff car park costs and that’s your job.

When Whe n & Where: Where Wh ere:: ere 24 — 28 28 Mar, Mar, Bluesfest, Blues Blues uesfes fest, fes t, Tyagarah Tyagar Tya garah gar ah Tea Tree Tree Far Farm m

The Punter Why We Heart Festival Season What What is is it ttha that hatt ma ha make makes kes ke s us fflo flock lock lo ck tto o festivals fest fe stiv st ival iv als al s ar arou around ound ou nd tthe n he c country, co ount ou ntry nt ry,, ry heck, world? heck he ck,, even ck even the the w orld or ld?? Brynn Davies takes ld tak akes es a look loo ook k at at what wha hatt we love about music festivals, and chasing the spirit of youth.


h, summer festivals. How we heart thee. Hot days filled with it’s-not-even-five-o’clock-anywhere rum and cokes. Running between stages across packed out fields, scanning the food pop-ups for the best kebab and taking a breather under a shady art installation that provides numerous Instagram opportunities. The sun sets over the stage as punters find their second wind and day turns to night. The beats get heavier, rising within every thumping chest an undeniable sense of euphoria. No curfews as the party thrashes on into the night around the campground, with the whoops and cries of a thousand hyped-up kids kicking on until the next day of revelry. We love the preparation: the weeks spent around the dinner table with mates — planning crazy outfits, driving routes (often across state to whoop whoop or Byron) and camping supplies (water crates,

Melissa Etheridge

The Artist

When I come down to Australia I lean heavily upon the first couple of albums because that’s the golden time of my music down there.

Back To The Well

Legendary singer-songwriter Melissa Etheridge ge tel tells lls Steve Bell how she doesn’t care that we love h her e old er old stuff stu uff better than her new stuff.


Byron Bay. “I’ve never been there, but from what I’ve heard it will be the perfect place. That’s exactly the type of festivals I like to play — festivals that are really focused on music. the musicians, the guitar real live music where I can do a big long guitar playing. It’s wh don’t have to worry that people will solo and I don’ lose interest — it’s kinda what they’re there for. I love those sort of festivals.” Etheridge iis forthright about her love for one of the reasons is that we Australia, and o adopters of her music. “From the were early ado o very beginning ng you Aussies were into me anybody else — you guys knew long before an a smiles. “When I come down to it first,” she es sm m Australia I le lean n heavily upon the first couple because that’s the golden time of albums s bec there. I don’t get down of myy music mu mus usic c down do very often, there re ver ve ryy ofte o te and I want that experience that to be b tha hat they hey came down to hear me play: I favourite song, we sang it at the played th their fa av I’m at. I’ll throw in a new top of our lungs, we loved it — that’s th s where wh song and willl be fun, but it’s about the songs that we know son ong ga n itt wil nd wi sa ab boutt playing pla having good and n h ha ving vin gag go od time of it.”” strange those early years given how Does Doe s iitt ffeel eel stran st r ge e focusing in n on tho much mu muc h acclaim acclaim accl claim i she’s s e’s experienced sh exxper errien e ce c since? ced siince nce?? “No, anywhere I start the Water celebration, so I will always play that song son g Bri Bring n Me ng Me Som Some e Wate W aterr is a cel ate ce ebra ebr a will always play that song son g and and I w il al ill a ways way s llove ove to t pl p ay tha at song. And I will always love to playy Lik pla Like e The The Way I Do — the tthey’re y e fun y’r y’ fun and an I love it. [debut] album out I remember when “Back “Ba ck the then n when when I put my my [d [debu ebut] ebu t] a heard, I hear h eard, ear d, ‘Oh, ‘Oh Oh,, actually actu actu ctuall allyy your all your album’s album album bum’s u ’s s doing do ng really well in Australia,’ doi together in my head that I thou tthought, hought hou ght,, ‘Australia?’ ght ‘Aus Austra tralia tra lia?’ lia ?’ I hadn’t hadn hadn adn’t ’tt p put that that to people would my music in Australia. I was were wer e peop p eople eop le who w wo uld want want tto hea hearr m Kansas Midwest, a Kans K ansas ans as gir girll — I gre grew w up up in in the the Mid Midwes we what did I know about wes world? experience sharing the world wo rld?? And rld And it’s it’s just just been been suc such u h a wonderful wo my music music down down there, ther ther here, e, and nd be being ing n so fa farr away but feeling so close to everyone.” everyo eve ryone. ryo ne.”” ne.

hen Grammy-winning singer-songwriter Melissa elis lissa sa a Etheridge Etheri Eth eridge er eri dge touches base with The Music she’s in the m midst idstt of ids of a so solo lo o tou tour ourr of the States — a mode she’s not usually synonymous ynonym yno nymous nym ous with, w th, wi th but one she seems to genuinely enjoy. “It’s funny because when I play solo it makes me e really reall re allyy appreciate all appr appr ppreci eci ciate ate the band, and then when I play with the band it makes kes me rea really lly appreciate playing solo,” she laughs. “When I play solo olo ol o I get get to to work work on the things that I get to showcase, and it’s fun because caus use e I ge gett to to get get better and then I get to really blow it out when I playy with with th the e band b band.” and.” and .”” Something of a festival veteran — having played d eve everyw everywhere rywher ryw here her e from from Coachella to Pinkpop — Etheridge is looking forward rd d to heading headi he ading adi ng to

When & Where: 26 Mar, QPAC Concert Hall; 27 Mar, Bluesfest, Tyagarah Tea Tree Farm

salt and vinegar chips, Panadol, flash tats). Then there is the music. Bands to suit all tastes. Bands to suit a particular crowd. Bands whose style we can’t label, but discover in smaller tents or under shaded trees when there’s a lull between big names. Our love of music unites us here at the festival. We make friends who last the duration of a set when we find ourselves packed in like sweaty, grinding animals. We will never see them again, but hey, they lifted us up on their shoulders for our favourite song and gave us a sip of their cider, so they’ll always be remembered fondly. We cheer as one as the lead singer hurls himself off the stage into the crowd for a spot of surfing, and sing until our voices are hoarse to the chorus. All the choruses. Even the ones we know three words to, because no one cares if you muddle all the syllables.

The Key The art, the culture, the spirit of it all: it’s addictive, and that’s why we’re happy to spend a month’s pay cheque and lose a few brain cells from the bass along the way. These are the memories we will hold onto. And it’s in the search of that one, ultimate, world-shattering performance that we find ourselves standing in the centre of a pulsing crowd, fuddled by spirits and sunshine, feeling the music vibrate through the earth, lifting our hands to the sky thinking “This is what it means to be young.”

Inside you will find our quick guide to festivals where you can find all the relevant info in one place. Here’s what all the symbols mean to help you figure out what’s what with each festival. All Ages Event Camping Available Bring Your Own Booze

Over 18+ Event


No. Of Days Licensed Bars On Site


Falls Festival

Falls Festival

A Spiritual Shift


When & Where North Byron Parklands, NSW 31 Dec – 3 Jan


Line-Up Alpine, Birds Of Tokyo, Courtney Barnett, Disclosure, Gang Of Youths, Hilltop Hoods, King Gizzard & The Lizard Wizard, Meg Mac, RUFUS, The Wombats and more.

Ticket Price From $99+bf

Tickets from



people think that I am. This record has come from a very different place than all of our previous records. It’s come from a very personal place and it’s a record that I felt, as an artist, that I needed to make.” On Hymns, songs about love, sex and heartbreak are laced with JudeoChristian imagery – metaphors that could play awkwardly to an indie-rock crowd. “I’m not really concerned with how it’s going to be received,” the singer shrugs. “There will always be someone who’s not going to get it, or people who will want to misconstrue things, but I’ve learned to shut those voices out and focus on the people that do get it. The most magical thing about being an artist is being able to share what you’ve created and having your work touch people in ways you could never have imagined. I’m just grateful I have a platform to share my words and work with people.” That platform almost ceased to exist, as Bloc Party went on indefinite hiatus in 2013 and lost two of its original members shortly afterwards. Only Russell Lissack remains from the original line-up. “I think our relationship is symbiotic. He needs a direction or a focus, and that allows him to shift whatever is in his way to get there. He’ll move mountains.” Lissack’s flexibility has enabled the spiritual shift in Bloc Party’s sound, though he is not a spiritual person. “He’s like a total atheist!” Okereke laughs. For Okereke, their working relationship is sacred enough. “Every time we sit down to write music, I hear something that I couldn’t have imagined. That’s a really incredible feeling – to have that sense of wonder every time we play together.”

Kele Okereke of Bloc Party was raised a Catholic, but does not consider himself religious. He speaks to Simone Ubaldi about finding the spirituality in music and art.


ele Okereke went to see a Hanif Kureishi talk about punk rock, and left filled with thoughts of religious devotion. The author of My Beautiful Laundrette and The Buddha of Suburbia, who Okereke has long admired, made an offhand comment about the death of evangelical art in the postmodern era. “He said that any mention of a religious dimension to art is somehow looked at with complete suspicion these days. In the past, art and religion were completely intertwined. Where did that disconnect come from?” Okereke was raised Catholic but does not consider himself religious. Music is his religion, it just happens that his earliest experience of music was singing hymns as his Catholic primary school. “That’s when I first heard my own voice,” he says. For the fifth Bloc Party album, Hymns, Okereke chose to make votive art. “I wanted to refer to the forces that I found moving. That’s why there are so many references to nature and bodies of water, to the ground beneath our feet, to light. “If you call a record Hymns there will always be someone who will think that you’re a raving Christian or something. I’ve been very clear that I’m not, but I don’t mind if

What: Hymns (Infectious Music/Create Control) When & Where: 1 Jan, Falls Festival, North Byron Parklands


Character Play

Eurovision-conquering monsters Lordi are headed to Australia. Frontman Mr Lordi (Tomi Petteri Putaansuu) discusses Soundwave, feuds and rocking grannies with Brendan Crabb.


ordi’s musical, aesthetic and entrepreneurial debt to their idols KISS is well documented. KISS’ ex-guitarist Bruce Kulick has also collaborated with the Finnish hard-rockers. It’s a source of inspiration vocalist Mr Lordi, aka Tomi Petteri Putaansuu, readily acknowledges; he even indirectly converted his mother. “My mum didn’t take me to the rock concerts when I was a kid, but something changed when I formed the KISS Army Finland in the early ‘90s, my mum said she wants to go,” he explains. “She was, ‘Yeah, I want to go to a rock concert’... Now, almost 20 years later she’s seen KISS five or six times, she’s seen Twisted Sister, every summer she goes to the festivals and she turns 80 next year. She’s a rocking granny now,” he laughs. So what’s Putaansuu’s viewpoint regarding the recent dispute between KISS frontman Paul Stanley and Twisted Sister’s Dee Snider? The feud stems from the latter lambasting the former for enlisting other musicians to portray the classic Catman and Spaceman characters. “I’m such a huge fan of them both. So to read that, it’s like, ‘Guys, please, don’t fight, no, be friends,’” he laughs. “I remember in the ‘80s when there was the trademark issue between

Gene Simmons and King Diamond. I loved them both, so as a little kid that was also really hard. For some reason, too many of my favourite bands, and there aren’t that many, they aren’t friends with each other for some reason.” Although he doesn’t take umbrage with KISS’ current incarnation, Lordi adopt a different outlook for fresh recruits. Putaansuu wants new members to be comfortable with their persona (“Do you like werewolves? Mummies? Vampires?”), although laments several personnel shifts during a two-decade career. “Of course you always wish and always hopeful that this lineup is the final one, but sometimes you don’t get what you wish for. People get older, get their personal lives in the way, get bored, we get some kind of arguments. For whatever reason the line-up keeps changing. But for us, it has always been really important that you don’t... We always come up with a new character for a new member of the band. So far I think we have 11,12 or 13 different characters. I hope there won’t be any more line-up changes, because it’s getting really fucking hard to come up with new characters,” he laughs. The band will enter the studio in December to follow up 2014’s Scare Force One. They’ll also be bringing their cartoonish theatrics and stadium-sized hooks Down Under for Soundwave in January. “It’s monsters playing heavy rock. We’re flying all the way from across the other side of the planet, and it’s our first trip there, so I’m afraid that we cannot bring the full show, but we will bring the best of our little tricks and gimmicks on stage. I’ve always been a fan of bands that have something worth seeing on stage. I don’t like the bands that look like my neighbours’ dad or something... You never hear anybody say, ‘Let’s go listen to a band.’ They always say, ‘Let’s go see a band.’ If there’s nothing worth seeing it for, what’s the point then?”



When & Where Brisbane Showgrounds, QLD 23 Jan


Line-Up Disturbed, Bring Me The Horizon, The Prodigy, Bullet For My Valentine, Public Enemy, Killswitch Engage, Soulfly, Northland, Dead Letter Circus and more.

Ticket Price From $155.84+bf

Tickets from Eventopia


When & Where: 23 Jan, Soundwave, Brisbane THE MUSIC 2ND DECEMBER 2015 • 17


Frontlash Your New Favourite Band

World Party

You’re at a festival, you stumble across a stage and see an act you’ve never come across before, they impress the bejesus out of you and this leads to a lifelong obsession with them. We love when that shit happens.

Be Excellent To Each Other


Festivals tend to bring out the kindness in strangers – how many times have you had random awesome conversations with people you’ve never met before? And folks look out for each other too – if someone goes down, you get picked up.

See below the five festivals we’re gagging to tick off the bucket list in 2016.

Crossing Off The Bucket List Festivals can be awesome in that you get to tick off so many bands off your mustsee list at the one time.

ATP Iceland (Keflavik)

Of course it’s going to happen when a lot of people congregate in the one place, but we’re not fans of queuing up for pretty much anything and everything at a festival. Just once we’d like to take a piss when we want to.

1 — 3 Jul, 2016 Who doesn’t wanna go to Iceland? This bespoke festival happens at Atlantic Studios, Asbru (former NATO naval base) in Keflavik and nearly 24-hour daylight should trick your body into nearly 24-hour party mode. The acclaimed American director and composer, John Carpenter, will perform his compositions live for the first time ever in 2016 and the capacity of this festival is capped at a pleasingly intimate 5,000 people. Plus, the festival site is only five minutes away from Iceland’s main international airport and 15 minutes from Blue Lagoon, one of the world’s natural wonders.

Clash Of The Titans

Benicassim (Spain)

Remember how when a festival is announced and you see all these awesome acts on the bill, which gives you a full-on robot chubby? Then invariably what happens is all the acts you want to see will be playing at the same time.

14 — 17 Jul, 2016 You might wanna book an air-conditioned villa/apartment/hotel for this one ‘cause temperatures soar, the music doesn’t really get going until the sun goes down, there’s a glorious beach close by and nothing dusts out those hangover cobwebs quite like a headfirst plunge into the ocean. Alternatively, there’s also a water park across the road from the festival site.


Take Your Queue

Communication Breakdown It’s all well and good to say you’ll call someone after a set to catch up, but when you have many thousands of people in the one place trying to get in touch with each other or share their experiences at the same time, networks go into meltdown.


Fuji Rock (Japan) 22 — 24 Jul, 2016 During an interview with The Music, one of the dudes from Digitalism — who played Fuji Rock Festival in 2011 — claimed that

monkeys have been known to run through the crowd at this one. We’re also told that it’s a 20-minute cable car trip up a mountain to reach the Daydreaming stage. The only reason we haven’t already been to this festival, which is held around the last weekend of July at Naeba Ski Resort (it hasn’t been at Mt Fuji since 1998), is because it’s ridiculously close to our very own Splendour In The Grass! There’s also onsen (hot springs) and you can buy sake on site. Cheers!

Burning Man (Nevada, USA) 28 Aug — 5 Sep, 2016 Take note of the above dates and avoid your Instagram feed around this time for Burning Man festival images are guaranteed to bring on a massive case of the FOMOs. Black Rock Desert looks like something outta Mad Max, which is ay-okay and we wanna start prepping our post-apocalyptic outfits for next year. Many a punter has returned from this pilgrimage having experienced lifechanging hallucinations and, although the music is secondary to the ‘experience’, past years have hosted surprise DJ sets from the likes of Skrillex and Diplo. And let’s not forget about the Coloring Book Chill Lounge and Female Ejaculation Exploration workshops.

Festival No. 6 (Portmeiron, Wales) 1 — 4 Sep, 2016 This is a relatively new addition to the annual festival calendar and it’s the line-ups (Grace Jones headlined in 2015!) and delightful Portmeiron setting that land Festival No 6 on our wishlist. You can paddleboard on the Estuary, have a stroll along the beach or through the Gwyllt Woods and there’s even a pool if you fancy a dip.

Woodford Folk Festival

Summer Lovin’ To read the full interview head to

Prodigal singer-songwriter Lanie Lane is making a temporary return after walking away from the spotlight, and she tells Steve Bell that change needn’t always be a bad thing.


anie Lane’s career was in full flight earlier this year when she announced her retirement from the music industry, citing the “uprootedness of the rock ‘n’ roll lifestyle” as her prime de-motivator. Fortunately however, the statement included a pretty clear caveat that she would be open to playing festivals if she so desires, and Woodford Folk Festival obviously qualifies as an exemption. She’s making her debut there later this year (then hitting the east coast for the Summer Gathering tour). “I’m so excited because I’ve always wanted to go to [Woodford] and I’ve always wanted to play at it, and I was always thinking, ‘Why? Why haven’t I? What’s going on?’” Lane chuckles. “Then they randomly called and asked me out of the blue, and I was so stoked — it was definitely a ‘yes’ straight away. And the fact that I get to play with my band again is really cool. And it’s [Woodford’s] 30th year and I’m in my 30th year, I’m so happy. “I’ve looked up what they do there and just their environmental philosophy, and what they do environmentally on the site is so inspiring. I’m pretty happy to be a part of

it, and the fact that it inspired my Summer Gathering shows — if it wasn’t for Woodford I wouldn’t be doing it, so I’m just so happy about that.” After leaving the spotlight, Lane left Sydney on a road trip with her dog, but soon fell in love and is now settled comfortably on the Central Queensland coast, a scenario which throws up its own issues. “Definitely being away from home for a whole month is going to be a challenge, so I’ll need to have a really good intention about how I’m going to do it,” she reflects. “Because that’s a long time for me now that I’ve been settled, for four months or so, in my beautiful new home with my beautiful new family and everything, it’s a pretty big deal to go away from my routine now that I realise what a routine person I am and how much living simply and living consistently every day actually means to me and how much I thrive in that way.” Her hiatus also gave Lane a new perspective on her relationship with her art. “I’m so glad that I made the decision because I literally don’t have that drive and ambition to be a full-time musician,” she admits. “I’m not one of those musicians who live and breathe music every single day — there are so many people out there for whom it’s the main focus of their life. For me, I’m so grateful that one of my gifts is being able to sing and write songs that I’m really proud of and that people enjoy hearing, and I’ve loved sharing that in a live setting too and I love recording. But I’m not someone who literally sits around recording and writing songs every day. I just don’t, and you can’t force that stuff.”

Woodford Folk Festival


When & Where Woodford, QLD 27 Dec – 1 Jan


Line-Up Courtney Barnett, Four Play, The Weather Station, Ayla, Boo Seeka, CC The Cat, Cheap Fakes, Golden Sound, Josh Pyke, Katie Noonan’s Vanguard, Montaigne, San Cisco and more.

Ticket Price From $112+bf

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When & Where: 27 Dec, Woodford Folk Festival




Your New Local

When & Where Miami Tavern, 23 Jan, QLD; Waterfront Hotel, Maroochydore, QLD, 24 Jan

Website N/A

Line-Up Seth Sentry, San Cisco, Saskwatch, Tired Lion and more.

Group Marketing and Entertainment Manager (QLD & NSW) for ALH Group, Paul Prout, talks to Stephanie Liew about bringing diverse music to the Sunshine and Gold Coasts.


Ticket Price From $59+bf

Tickets from Moshtix



e have venues all over the country,” begins Prout. According to their website, 328 venues nationwide fall under the ALH Group banner. “Live music is an important part of our product offer, to our customers. My team, we’re responsible for picking up touring acts of all kinds of genres... Two bands that are going through our pubs won awards last night at the ARIAs, so we’re picking out and booking some of the creme of the crop of Australian music. But outside that, because of the location of our pubs, we’re also really well placed to be able to pick up and curate outdoor events, in the precincts around our hotels. We also pride ourselves on doing some good street parties and utilising the space around our pubs.” That brings us to the topic at hand: outdoor festival Ozfest. Started in 2014, Ozfest next year will be held over the Australia Day weekend, at Gold Coast’s Miami Tavern on 23 Jan and Maroochydore’s Waterfront Hotel on 24 Jan. The line-up so far features Seth Sentry, who picked up the gong for Best Urban Album at the ARIAs last week, festival faves San Cisco and

Saskwatch, and this year’s Unearthed J Award winner, Tired Lion, with a few more exciting acts soon to be announced. “We try and make sure the lineup is a diverse lineup that can really appeal to a whole lot of fans in the area. We wanna deliver a really quality line-up that’s pretty not that usual. You wouldn’t sort of just wander down the road and catch those bands in one place for a day. We believe we’re curating a festival that is not a just a token line-up... every band’s great here,” says Prout. With earlybird tickets at just $59, and pre-sale/general tickets not much more, Prout also reiterates that it was important for ALH to make sure Ozfest was as financially accessible for their audience as possible. It’s also geographically accessible, says Prout, with Brisbanites being able to travel north to the Sunshine Coast or south to the Gold Coast, and of course for the locals of these areas, the fest is just a walk, drive or train or bus ride away. The bands who’ve played at Ozfest in the past have also expressed delight in how intimate and local the vibe is. “The size of these events allows the bands to get close to their fans; they’re not playing to a whole hillside of people which they can’t see, they’re playing to a nice, immediate crowd, which is good-sized, but I think it’s nice and up close for the fans and the band as well.” It’s not just about the music, though — Ozfest is going to deliver a well rounded experience. They’re going as far as creating a beach at each site: “We dump about 90 tonnes of sand into the location... It’s a car park one minute, next minute it’s a giant beach! There’s gonna be good food, interesting things to do, a bit of fun. It’s a classic little festival vibe.”

When & Where: 23 Jan, Miami Tavern, Gold Coast; 24 Jan, Waterfront Hotel, Maroochydore






When & Where

When & Where

When & Where

When & Where

Tyagarah Tea Tree Farm, NSW 24 – 28 Mar

Sydney College of the Arts (SCA), Rozelle, NSW; Brisbane Showgrounds, Bowen Hills, QLD; Footscray Community Arts Centre (FCAC) and The Rivers Edge, VIC 5 – 14 Feb

Mona, Hobart, TAS 13 – 18 Jan

Botanic Park, Adelaide, SA 11 – 14 Mar





The Flaming Lips, DJ Krush, HERMESensemble, Elise Taylor, Evelyn Ida Morris, Kate Tempest, MoMa, Tom Vincent Trio, Will Guthrie and more.

The Cat Empire, Asian Dub Foundation, Mojo Juju, Sampa The Great, Tulegur, 47Soul, Calexico, Husky, Miles Cleret, NO ZU, The Strides, Wasted Wanderers and more.


Website Line-Up

Kendrick Lamar, The Cat Empire, City And Colour, UB40 Featuring Ali Campbell, Tom Jones, Taj Mahal, Grace Potter, The Selecter and more.

Line-Up Ali Barter, Banoffee, Big Scary, CHVRCHES, DMA’s, Flume, Grimes, Hermitude, Japanese Wallpaper, Purity Ring, Slum Sociable, The Smith Street Band, Violent Soho and more.

Ticket Price From $179+bf

Ticket Price

Tickets from

Ticket Price From $179+bf for three-day

From $138+bf

Tickets from

From $135+bf

Tickets from womadelaide.


Ticket Price

Tickets from



4 1 22 • THE MUSIC • 2ND DECEMBER 2015

Festival Of The Sun

A Girl Thing

Marie DeVita speaks to Jonty Czuchwicki about industry sexism on both sides of the gender coin and the release of WAAX’s new EP.


risbane four-piece WAAX recently wowed audiences at BIGSOUND back in September and are now gearing up for a national tour in support of their surprise EP, Holy Sick. When we caught up with vocalist Marie DeVita, she had a lot to share with us about the ins and outs of the music industry. “I just finished my degree so I’ve just been catching up on lost time partying and things like that I suppose. I’ve kind of just been hanging out, taking it easy and working I guess - writing heaps of songs and stuff. It’s just nice to dedicate all my time to music at this point.” Being in one of the most talked about acts to perform at this year’s BIGSOUND showcase, it only felt natural to ask DeVita if she had seen Jessica Hopper’s moving keynote speech, and whether she herself had experienced everyday sexism in the music industry. “As a female in the industry, a little complex that I had when I first started in this band was that I kind of thought that because I was a girl that maybe my opinions weren’t as valid or that I wasn’t experienced enough in comparison to the other guys in my band. It’s definitely something that I have had to overcome and be more confident in my own ideas and direction and my intuition and not constantly put myself down because I’m

a female and you know, thinking that I can’t measure up to all the ‘big guns’ in the rock world I suppose.” De Vita also points out that girls can be unsuspecting of this sad truth before even becoming a part of the music world. “It’s definitely a thing,” she begins, “I didn’t think that it was when I first started, and then as I progressed in the industry I definitely noticed that as much as people would say ‘It’s got nothing to do with your gender’ I still got the sense that there’s definitely an imbalance there.” While proving to be a great role model for women, DeVita also acknowledges the other side of the coin. “Guys don’t have it as peachy as what it seems at all. They all go through stuff as well and working in a band with a bunch of guys you definitely see that there is a lot of pressure on them as well.” There are only four tracks on the EP, and De Vita explains why, “To be honest, the band was having its struggles and things were internally kind of falling apart a little bit and that’s all that we were happy with at that point. Things are a bit different now where we’ve got a really solid line up and everyone’s really happy.”

Festival Of The Sun


When & Where Sundowner Breakwall Tourist Park, Port Macquarie, NSW, 11 & 12 Dec


Line-Up Illy, Jebediah, Thundamentals, British India, The Delta Riggs, Alpine, sleepmakeswaves, Ecca Vandal, Northeast Party House, Tired Lion, Le Pie, Ivan Ooze and more.

Ticket Price From $190+bf

When & Where: 11 Dec, Black Bear Lodge; 12 Dec, Festival Of The Sun, Port Macquarie

Tickets from



Tamworth Country Music Festival

Festival Of The Sun

Not A Shit Given

When & Where Tamworth, NSW, 15 – 24 Jan

While across the scene, his rapping style has been called unAustralian, rapper Ivan Ooze (in no uncertain terms) tells Rip Nicholson he couldn’t give a shit.


Line-Up Kasey Chambers, Adam Brand, Adam Harvey, Jasmine Rae, Simply Bushed, Shannon Noll, Kevin Bloody Wilson, Troy Kemp, Ashleigh Dallas, The Wolfe Brothers, Sara Storer, James Blundell and more.

Ticket Price From $5+bf

Tickets from




’ve just always rapped like this, it’s not a voice I put on, it’s just my voice when it’s in a high pitch,” explains Ivan Ooze, aka Ben Townsend, whose vocals come off seemingly American in accent, rubbing some of the local scene’s hard heads the wrong way. “I grew up on American hip hop during my upbringing and I hadn’t even heard an Australian hip hop artist until I was about 15. I do use some American slang but that’s just me. People definitely do say, ‘Your voice is wack, you’re not Aussie hip-hop’, but why the fuck do I care? I do this for myself and my fans, not to please them because they don’t like it. Shut the fuck up!” Townsend dropped into the scene and into a new wave of hip hop in 2014. In less than 12 months he has released his Ringwood Rich EP as well as acclaimed mixtape The Social Alien - a fully-automatic, high pitched lyrical assault that went viral across Australia - and most recently new single, Fire. It’s a track miles away from the style he delivered on previous big hit Jimi Hendrix. So, finding his niche is achieved by not creating a niche. “I just like being versatile and like to keep people guessing instead of producing the same shit over and over again. It’s also

a lot more fun that way too, never a dull moment.” He has performed with Allday, Illy and The Thundamentals with whom he also shares no distinct style. “Yeah I guess so,” agrees Townsend, to a degree. “But, everyone has their own certain style that’s what makes them stand out in the Australian scene. My style is a product of a lot of aggression though so I try and turn it into constructive energy in a way. Rapping is basically my release.” Quickly becoming regarded as one of the hardest working musicians in the scene, Townsend has matched his eclectic output with an equally astounding gig schedule; recently performing 45 shows straight with hip hop’s favourite storyteller Seth Sentry. As hectic as it was on his health, he insists the time was memorable. “It was actually the best time, man. There were so many crazy moments that I’ll never forget,” he laughs. “But it definitely takes it toll performing every night health-wise. It was all worth it though, one of the best experiences of my life. Thanks Seth!” Along with Sentry Townsend has been billed with legends Ice Cube and Cypress Hill, even Azealia Banks, all of whom he declares taught him how to present himself on stage and harness his audience. “Especially watching the way Cypress and Cube control a crowd, as someone who is really energetic on stage and jumping around using the entire floor space, I learnt so much from those two tours and I feel it bettered me as an artist and as a person.”

When & Where: 11 Dec, Festival Of The Sun, Port Macquarie

We picked acts out of various upcoming summer festival line-ups to create a dream line-up. If only. Dylan Van Der Riet

Grimes (Laneway):

Skepta (Field Day):

Hot Chip (Sugar Mountain):

One of the most in-demand artists right now, which is exactly why our dream festival would be cast into Oblivion without this Art Angel on our bill.

We take things very seriously at our fictional festival, and nothing is going to Shutdown quite like this grime superstar.

Get the disco ball spinning and pump out some Springsteen with the UK’s premier dance-rock outfit.

Lordi (Soundwave):

Tom Jones (Bluesfest):

Just when you were thinking there might be a lack of theatrics at our festival, no, no, no, these Eurovision winners will meet the all-important masks and pyrotechnics quota.

Every festival needs its legacy booking, and nothing gets as classic as Sir Tom Jones. Might be the last time he comes out here.

Father John Misty (Meredith): Swoon and jive with 2015’s most enigmatic and manic bearded folk crooner.

Mercury Rev (Fairgrounds): The ‘90s dream-pop legends finally return to Aussie shores after more than a decade-long absence.

Fleetmac Wood (Falls): For something truly unique, things get retro with a DJ set featuring entirely remixed Fleetwood Mac tunes.

Fat Boy Slim (Electric Gardens): There’s gotta be a bit of doof, and from who better than a pioneer of modern dance?


Mojo Burning

Mojo Burning

Joining Forces


When & Where Hamilton Hotel, QLD, 12 Mar


Line-Up Bob Log III, Mason Rack Band, Jackson Firebird, The Fumes, Transvaal Diamond Syndicate, The Lazys, Hobo Magic, The Ugly Kinds, The Royal Artillery, Guthrie, The Hunted Crows and more.

Ticket Price From $30+bf

Tickets from Moshtix



Brendan Harvey describes Jackson Firebird as “this four-armed, four-legged, one-brain machine”, which Bryget Chrisfield thinks is awesome until she remembers the frontman’s bandmate is also his brother-in-law.


e find one half of Jackson Firebird, Brendan Harvey, in Williamstown. “I’m going for a bit of a fish, don’t tell anyone,” he chuckles. But we can’t help ourselves. He’s from Mildura, so it kinda makes sense. “I grew up on a river so I don’t mind a bit of a fish just to chill out and [have] a quiet beer,” he confirms. “I’m actually a boat builder by trade, so if I’m just out muckin’ around on a boat I’m happy.” The boys have been playing together for nine years, which Harvey admits is “pretty scary”. “So we’re either sucking at it or it’s just gone really quickly,” he laughs. Even scarier for the frontman is the amount of years the duo has spent “jamming instruments together”. “I think it’s nearly 20 years!” he estimates. “We were kids, I think I was, like, 13 when I contacted Dale [Hudak] to see if he could drum in a band and we were sort of the only two rockin’ up to band practice.” The pair’s intuitive playing is pretty much why Jackson Firebird wound up as a two-piece. “We tried to get the bass player and the singer and the lead guitarist, and it just never gelled,” Harvey reveals. “And the two of us have been bashing our heads together for that long that we just

know when we’re gonna change, like, in a riff... We sorta just turn into one brain. Even on the road we start eatin’ the same food, which really scares me. It’s just really weird: you turn into this four-armed, fourlegged, one-brain machine.” He had The Master’s Apprentices on high rotation in high school and Harvey admits to being “massively into The Easybeats” as well. “I had one tape - I think it was in Year 11 - and I used to sorta freak people out ‘cause they’d be, ‘Oh, what’re you listening to?’ and, you know, I’d [have] The Easybeats on one side of my tape and then I’d have Pantera Vulgar Display Of Power on the other side. And even still today I freak Dale out because I always just put The Easybeats on in the ute while we’re drivin’ and I just sing the back-ups. All the, ‘Bo-bo-bo-bobo-bo-bo-bo-bop,’ but it’s awesome fun.” His bandmate is also his brother-in-law so we’ve just gotta know when Hudak started dating Harvey’s sister. “Oh, I don’t wanna know,” he cringes. “I think they’d hooked up pre-band just for a, you know, a bit of the old...” When Harvey took over the lease for a house his parents had rented for years (“which I got thrown out of through excessive partying”) he reckons Hudak and his sister “really hooked up and got very serious”. “And I think not that long after that, I was standing there as one of the best men in the wedding party thinkin’, ‘This is too weird.’” So did he try to turn a blind eye and hope that it wouldn’t work at first? “Ah, no, I just thought it was cool ‘cause, you know, he wasn’t a dick,” he laughs, “and we got along pretty well... And he’s got a coupla kids now so I’m the crazy uncle and, yeah! It’s good fun.”

What: Shake The Breakdown (Warner) When & Where: 12 Mar, Mojo Burning, Hamilton Hotel


Eat / Eat/Drink

Something For Catering

Woodford Folk Festival

Kim Pengelly, Commercial Manager at Woodford Folk Festival, takes us through the fest’s food and drink offering.

More and more festivals are being more selective about and taking great pride in their food and drink options. Why do you think that is? Woodford Folk Festival has always felt that making our patrons comfortable as equal priority as the artists we book, so quality food and drink options are critical for creating a beautiful experience. We’re entering a new stage of the event cycle in Australia. Patrons are seeking overall experiences more than just music consumption, which was the trend in the early 2000s. With the current flooded festival scene that the events industry is operating in, patrons are looking for a niche, they are Gourmet Goons craving something more. Part of providing a feast for the senses is that it’s critical to offer the highest quality food and beverage. Gone are the days of cattle fencing and en masse RTD ‘can cracking’ — each drink should be perfectly garnished in the way that it would in a high trading city bar operation, in my opinion.


Where are your vendors from? Are there a lot of local companies in the line-up? We have a mix of international stalls that bring a wonderfully authentic representation of their culture through food as well as our lovely local food vendors. All fruit and veg on site is purchased from local growers so whether our food stalls represent cuisine from South East QLD, Mexico, Brazil, Thailand or Italy, local farmers are the source. I can’t think of a better combination than international flavours and knowledge with local product. It seems like there’s something for absolutely everyone at Woodford — no matter what your dietary requirements or personal cuisine preferences. How did you decide who to include? We spend a lot of time in the selection process reviewing menus to ensure there is something to cater for everyone’s tastes with a variety of new and exciting meal options. We’re always looking for stalls that are pushing the envelope. There are a couple of new ones this year with creative ideas; one that springs to mind is The Green Coconut where you purchase a fresh coconut, drink the contents then return it to the stall where they add the coconut flesh to a salad or freshly cooked stir-fry. No waste and delicious outcome.

/ Drink Eat/Drink

The diversity is definitely a conscious decision — patrons need to get lost in the festival and being able to enjoy a meal at a restaurant is something not many events of this scale offer. We have everything from speed, to service stalls, to sit-down restaurants; one even with table service and proper crockery! Eating off of something other than disposables at a six-day event is surprisingly so gratifying. There is no such thing as a VIP experience at Woodford; equitability is part of our culture, where patrons are treated equally as special as the artists are. For this reason, all of the vendors selected we consider VIP quality. With no segregation between artists and patrons, you’ll often find yourself dining with your favourite musician or pulling up a seat next to Bob Hawke. Woodford has always operated with this principle at the forefront of our stall selection. I do believe other festivals have cited the importance of this and jumped on board in recent years. It’s definitely an emerging trend to offer healthy options. They’ve always been critical for us and almost all stalls offer vegetarian, gluten-free and vegan options — they have been for as long as we can remember. We have a no Pluto Pup policy on site. This is a symbolic description for us ensuring there is no massproduced artificial food on site which is less than ideal for your body in any setting. What are a few items on the food menu at Woodford that we really must try? Definitely Something For Catering’s Indonesian soft tacos, delicious homemade sauce bursting with chili and coriander is a personal (and daily) favourite of mine. Gourmet Goons’ sober nachos are another staple: thin slivers of sweet potatoes topped with a mushroom, macadamia and herb salsa, drizzled with Caesar dressing are the perfect snack between shows.

Gourmet Goons

Something For Catering

And what about the drinks — what should we should look out for? We have a lovely selection of the finest wines from South Australian winery Sidewood Wines, who this year took out the Decanter World Wine Award trophy for their 2013 vintage — I’m pretty excited to enjoy a couple of these this year. Our key late night venue The Pineapple Lounge has one of my favorite sunset drinks on site, which you can quite easily continue drinking until all hours of the morning: ‘The Shampoine’ — a secret recipe created by our friends at Cave Urban which includes white rum mixed with ginger beer (and a secret something that their lips are sealed on, but my goodness it’s delicious) topped with a combination of fresh pineapples, mint, passionfruit, watermelon and lime; it’s such a delectable summer drink. Our mates at Coopers Brewery serve up the finest Coopers beer and Thatcher’s cider on tap across site. Which act/band on the Woodford line-up do you wanna have a meal with? It’d have to be Courtney Barnett, wouldn’t it? Anyone who can craft such perfect satire of 21st century food-related perils would have to get my vote.

Woodford Folk Festival... celebrating 30 years. 27 Dec – 1 Jan. Tickets available at


Woodford Folk Festival

Red White & Blur Just a few hours before Courtney Barnett warms up Blur’s Madison Square Garden stage, she chats to Bryget Chrisfield about suddenly finding a similarity between the chords in her own Pedestrian At Best and those of Song 2.


t 6pm we text Hook, Courtney Barnett’s TM, upon arrival at Madison Square Garden, where the local lass done good is supporting Blur tonight. After hovering around the workers entrance, 8 Penn Plaza, Hook appears with the necessary ‘credentials’ (a Blur VIP lanyard) to escort this scribe into the bowels of the arena. We legit walk past Graham Coxon and struggle to maintain composure. After rounding a few corners in these endless corridors, Hook ushers me into a small room. Barnett enters with an elongated, “Hiiiii!” She sports a Poison City Records beanie and takes a seat on the plastic chair opposite.

Sometmes I don’t say anything, sometimes I talk a lot. Maybe it depends on how much I’ve drunk.

So Barnett just soundchecked at Madison Square Garden (capacity: 18,000-plus), which is a far cry from pulling beers at Northcote Social Club. Did her band get a decent amount of time on stage? “Oh, not really, but we don’t really take that long.” Barnett seems super relaxed and pauses after each question, often commencing responses with an “ummm”. To provide a bit of perspective on Barnett’s extraordinary career trajectory, her “first Courtney Barnett official EP launch” took place at The Tote (capacity: 200) on 19 Apr 2012. So was it a full house? “Um, I don’t think we completely sold it out, but it was close enough, yeah, ha ha.” Struggling to recall how or when she found out she would be supporting Blur in the States, Barnett confesses, “I don’t remember... Sometimes I’m sitting there, like, thinking it’s the end of the world, and nothing’s going my


way, and then I read these emails and it’s like, you know, ‘Blur, Madison Square Garden,’ and, ‘Something else good,’ I dunno [laughs] and it kind of jolts you back.” Pretty much while Barnett and her bandmates, bassist Bones Sloane and drummer Dave Mudie, were warming up Blur’s LA stage at the Hollywood Bowl, the tenth annual Carlton Dry Independent Music Awards were being announced back in North Melbourne’s Meat Market building. Barnett cleaned up in absentia, taking out every category she was nominated in. Barnett reckons she’s “really bad at public speaking” and is “glad” to avoid acceptance speeches where possible. So does Barnett also dread onstage banter? “Sometimes I don’t say anything, sometimes I talk a lot. Maybe it depends on how much I’ve drunk as well,” she adds with a chuckle. Tonight Barnett’s drink of choice appears to be white wine (in a plastic cup). On how she initially discovered Blur, Barnett tells, “Um, well the first song I would’ve heard was Song 2 on a triple j Hottest 100 CD, ‘cause me and my brother bought all them when we were kids... I actually just figured out when we got off stage that the chords, ha ha - I dunno if I should tell you this, but the chords in my song Pedestrian At Best are nearly exactly the same as Song 2 and I never noticed that until then.” She chuckles, “I thought I was ripping that off Dive by Nirvana.” While Barnett describes her relationship with her bandmates as “a cross between brothers and marriage”, Hook slowly opens the door. He addresses Barnett calmly: “Did you get a meal ticket? Can I have it? ‘Cause it’s 7.30. Do you want fish or veggie?” Barnett replies: “Ah, fish and veggie and everything. Thanks.” It’s gotta be nearing showtime so we seek out Sloane an and nd n d Mudie for a couple of happy snaps. They are both in the d dressing room across the hallway. Sloane offers a beer from fro m their rider, we all talk some shit and the atmosphere is buzz buz z buzzing given it’s now minutes until they take the Madison Squa Squ a Garden stage. While we wait for the elevator Blur’s Square gate gat e gatekeeper checks lanyards and Barnett explains they are this t evening’s support band. The trio then burst into a spon spo n spontaneous rendition of Elvis Presley’s Return To Sender by w way of demonstration. After a good luck hug, this scribe hand han d over the precious Blur VIP lanyard and Courtney hands Barn Bar n bounds out of sight for a quick ciggie. Barnett Inside Madison Square Garden, the house lights dim. The rambunctious harmonica intro of Dumb Things by Paul Kelly & The Coloured Girls, Barnett’s intro tape, sounds. Patriotic pride increases tenfold. Barnett and co absolutely kill it and this is seriously one of the most receptive audiences we’ve ever witnessed for a support band at an arena show. New York are particularly boisterous during Small Poppies. “I love going to shows as a punter to see someone and then being blown away [by the support]. It’s the best feeling,” Barnett had extolled during our interview. And the cheers following her band’s set suggest she’s made this feeling a reality for those assembled inside Madison Square Garden.

When & Where: 28 Dec, Woodford Folk Festival


In Focus Vessel Born Pic: Terry Soo

Answered by: Shaun Coar Role: Vocalist How long have you been together? One year. You’re on tour in the van — which band or artist is going to keep the most people happy if we throw them on the stereo? Breakdown Of Sanity. Which Brisbane bands before you have been an inspiration (musically or otherwise)? Sakkuth, A Breach Of Silence, As Paradise Falls, Bay Harbour, Down Royale.

What part do you think Brisbane plays in the music you make? Friendly competition, great support from venues and an expectation of a certain quality of musicianship. Is your band responsible for more make-outs or break-ups? Why? Make-ups after break-ups. What’s in the pipeline for the band in the short term? More shows followed by focused writing sessions. When and where is your next gig? 5 Dec, Ye Gods Of Metal Festival, New Globe Theatre Website link for more info?




The Last Laugh Noel Fielding explains to Bryget Chrisfield how watching Mork & Mindy, which he was “absolutely obsessed with” as a kid, makes him feel now Robin Williams is no longer with us. To read the full interview head to


ey, it’s Noel Fielding here.” Everyone’s (well, almost everyone’s) favourite stand-up comedian - and the genius co-writer/co-star of The Mighty Boosh (alongside comedy partner Julian Barratt), Noel Fielding’s Luxury Comedy and so much more - doesn’t require a conference call service; he places his own calls. If you haven’t yet seen Fielding’s starring role in Kasabian’s Vlad The Impaler video, it’s high time you checked it out. And while you’re there, Google a few of the live performances he did, in character, with the band. “That was really good fun - like a medieval Bez,” Fielding chuckles,

Pic: Josh Groom

But then you start going, ‘Oh, no! Maybe [Robin Williams] was not having a good time,’ ‘cause really you wanna think that comedians are having a good time.

comparing his cameos to the Happy Mondays maraca player, dancer and mascot. “I used to throw decapitated heads that I’d made into the crowd. But the last time I did it I was in Paris with them and I said, ‘Look, I don’t have my Vlad outfit - I don’t have the cape, or the impaler or the make-up - so don’t bring me on’. And obviously they did and I had to just go on in my normal clothes... I was just watching from the side of the stage and Tom [Meighan, lead singer] called me up and I was like, ‘NOOOooooooo!’ I was really drunk so I think I managed to pull it off. Just.” Fielding admits he’s “good friends with Serge” Pizzorno, Kasabian’s guitarist. “I’m actually in Serge’s house now.” We resist the urge to ask Fielding to put Pizzorno on the line, instead commenting on the similarities in their appearances. So who had the haircut first? “Me, obviously, 34 • THE MUSIC • 2ND DECEMBER 2015

‘cause I’m much older than him,” Fielding reveals. “He’s like my younger, taller, better lookin’ brother.” They borrow each other’s clothes “a bit”, but Fielding says this is limited by the fact that Pizzorno’s “quite lanky”. “I’m like a hobbit, so...” You can almost always imagine Fielding smiling while he speaks in trademark polite, hushed tones - it’s as if he’s about to tell you the naughtiest secret ever. We recently saw a picture of Fielding with Rainn Wilson on Twitter and need to find out more. “I was in LA,” Fielding elaborates. “It was quite embarrassing for him, actually, because he’d sent a message to one of my friends, Omid Djalili who’s a comedian and an actor, and they’d done something together. And Omid said, ‘Oh, can you tell Julian that Rainn loves him,’ and I was like, ‘What am I? Chopped liver?’ [Laughs]... So I saw him in LA and he came up and he said, ‘Oh, can I get a picture of you? I love you,’ and I went, ‘Yeah, but you like Julian more, don’t you?’ And he was like, ‘Who told you that?’ And I was like, ‘My friend Omid,’ and he went, ‘Yeah, alright. I do like Julian more,’ ha ha, but he was all embarrassed. Yeah, it was quite nice.” On Wilson, Fielding admits, “I think he’s amazing! He’s quite similar to Julian as well, so I think maybe they would cancel each out and it would be weird.” Wilson may prefer Barratt, but Fielding recalls Robin Williams was a rabid fan of The Mighty Boosh (himself included). “I met him, actually. He came to The Roxy to watch The Boosh do a gig there and he was so nice. And he came backstage, and he was so psyched, and he was just brilliant... Then I think in Rolling Stone he said that we were his favourite British comedians, and on a big chat show in England; so he was always bigging us up, which was really nice, you know? ‘Cause when you’re that big and then you say, ‘Oh, yeah, I love The Mighty Boosh,’ it’s quite a powerful thing.” When asked whether he used to watch Mork & Mindy, Fielding admits, “I was absolutely obsessed with it. That was my favourite show when I was a kid!... It’s weird, because it was on in Australia when I was touring there, and I hadn’t reallyy seen it since I was a kid, and it was q quite sinister because by then you knew what’s happened and you’re like, ‘Oh, wow! He killed himself.’ So it was like a bittersweet thing ‘cause you thought, ‘Oh, great! Mork & Mindy!’ but then you sorta went, ‘Oh, no, he killed himself! That’s weird. He couldn’t get his head ‘round it.’ It made that seem really odd. I dunno, it made you watch it slightly differently, like, you were going, ‘Oh, no! Maybe it was a bit much, maybe he was really struggling with...’ Yeah, ‘cause he was so sort of quick and funny, and lots of different voices, and kind of quite insane, you know, as a character, as a comic character. But then you start going, ‘Oh, no! Maybe he was not having a good time,’ ‘cause really you wanna think that comedians are having a good time. “I still imagine that Richard Pryor’s always having a good time, and Robin Williams and Steve Martin, because they just look like they are on stage.” If you or someone you know needs help, please contact Lifeline on 13 11 14.

What: An Evening With Noel Fielding




Growing From Experience

Single Focus


Single title? Get Mine (ft. Parvyn Kaur Singh)

What’s the song about? The song is about smiling in the face of hardship. It’s about claiming yours regardless of what’s thrown your way.

How long did it take to write/ record? The song took a few weeks. It started with Damn Moroda sending through a sample of the beat, then I crafted the lyrics over a period of time before we went to recording. Is this track from a forthcoming release/existing release? This is the first single from my next album, which will be first album I release as part of the Elefant Traks roster.

What was inspiring you during the song’s writing and recording? The real experiences mentioned in the song actually happening either just before or during writing. The line “tell me to go home but I come from here” typifies that. It all added to my fire. We’ll like this song if we like... You like music to bounce to that also has a message. Do you play it differently live? This song bangs when my band plays it live. The intensity lifts. It’s definitely a movement song. When and where is your launch/ next gig? The Spotted Cow, Toowoomba, 3 Dec; Black Bear Lodge, 4 Dec.


Following a triumphant return from Europe, The Rumjacks’ frontman Frankie McLaughlin tells Dylan Stewart about sleeping in, spelling mistakes and his growing connection with his audience.


rankie McLaughlin is awake at ten in the morning, but one gets the sense he’d prefer to still be under the covers of his Sydney bed. “It’s a wet one here today so I haven’t gotten too far. I’m certainly not about to debunk the myth that we musicians do anything before midday!” Given the year that McLaughlin’s band The Rumjacks have had - not to mention a rather large rehearsal last night - a sleep-in is probably due. 2015 saw the band’s first major European tour: close to 40 shows crammed in with barely a night off. “It really let us know what we could and couldn’t do. It also happened to be the hottest summer on recent record, so it was a nightly assault on the system.” The band combined a few festival slots with a swag of sweaty pub gigs, playing to packed rooms that helped validate the band’s trajectory. “When you get dropped in a place that you didn’t even know existed until you got there, it’s hard to know what to expect. We were received incredibly, and what’s more, the fans were singing along to every word of every song. They were wearing our t-shirts that they’d had for three years that aren’t even in stock any more, and we were thinking, ‘Gee, they’ve been following us for quite a while.’” Now, armed to the teeth with their latest record Sober & Godless and with a European summer’s worth of gigs under their collective belt, The Rumjacks are ready to hit some of

their more familiar Australian stages - and one not-sofamiliar one. “I discovered after doing the poster artwork for our Victorian shows that Warrnambool, in south-west Victoria, has two Rs in it, and not one. I suspect the good folk of Warrnambool will let us know all about it, so let’s hope there’s not too much backlash when they see the tour poster.” Spelling errors aside, things are certainly looking up for The Rumjacks, which is an achievement in itself considering their ascension was suddenly halted when, in 2012, McLaughlin was sent to prison on a domestic violence-related charge. But after recently aligning themselves with anti-domestic violence campaign #notON at BIGSOUND, it’s clear McLaughlin and his band are on a path of redemption. “We had some good discussions with [the promoters of #notON] ahead of our BIGSOUND show, and we’ll continue to discuss back and forth with them opportunities to help out in a tangible way. There are a lot of things that we wouldn’t be too ready to align ourselves with, or race off to champion; we don’t think that’s our position. But there are some organisations like these guys who we have no problem at all involving ourselves with whatsoever.” So as they hit the road, playing shows across the width and breadth of the country, The Rumjacks will continue doing what they do best: putting on a hell of a show. It might involve an early morning or two, but McLaughlin says, “I think when you’ve got people who are that ready to be entertained, it’s easy to be an entertainer. For a while we would just get on stage, hammer through as many songs as possible, and walk off. Now we’re doing more than that; we’re connecting with our audience, and having a lot of fun in the process.”

When & Where: 4 Dec, The Spotted Cow, Toowoomba; 6 Dec, Jubilee Hotel



g n i h Catc s g n i l Fee Bully fans are drawn to Alicia Bognanno’s intensely personal, relatable lyrics, but she tells Anthony Carew that it didn’t come naturally at first. Cover and feature pics by Andrew Boyle.

remember the way your sheets smelt!” hollers Alicia Bognanno, Bully’s frontwoman, in the band’s single I Remember. Over 108 seconds of boisterous, blownout indie-rock, Bognanno lets loose with a litany of lyrical memories - whether funny (“I remember throwing up in your car”) r or momentous (“I (“I remember when I met your dad”) - and, come the chorus, she sings simply: “I know what makes you cry.” This is Bully in a nutshell: the Nashville-based band delivering songs that are fast, fuzzy, and fun, and blessed with Bognanno’s candour. Across the quartet’s debut album, Feels Like, Bognanno digs into plenty of memories (“When I was six I broke my sister’s arm,” begins Six), reconciles the past with the present (Reason, in which she goes back home), and tends towards unvarnished confession On single Trying, Trying Bognanno sings, sings amazingly: confession. “I question everything/My focus, my figure, my sexuality/And how much it matters or why it would mean anything.”



“The only thing that unites these songs [on Feels Like], is that they’re all personal, they’re all real, they’re all things that happened,” says Bognanno, 25, on the phone from her home in Nashville. “Each song is totally different, about different situations and feelings that I was experiencing at the time. But they’re all real.” This lyrical approach, Bognanno admits, didn’t come naturally to her. “I used to write more abstract lyrics as way to tiptoe around what I really wanted to say or how I really felt about things,” she says. “So it became a focus to me to try and say what I was actually really feeling, so that my songs were actually about something, and every time I sang them live I could relate to it. At first, I was a little bit insecure about it, but after a while it becomes empowering. You don’t want to be on stage singing something that doesn’t matter, be up there faking it, bullshitting your way through a song. You want to be singing something that really matters.” The childhood that Bognanno often references in her songs came in the nondescript suburbs of Minneapolis, in Rosemount, Minnesota. No one else in her family played music, or was even into it. Yet, some of Bognanno’s earliest memories are of making up songs, and by her adolescence she had a serious rock’n’roll obsession. “I was a huge Replacements fan; growing up in Minnesota, they really mean something,” she recalls. “I loved Silkworm, The Breeders, The Pixies, Sonic Youth. Those basic college-rock bands you get into. You know, loving New Order, lying on your floor, listening to Age Of Consent.” But Bognanno didn’t know anyone who played in a band. Her way ‘in’ was through an audio-engineering class at a nearby school, and when time came to go to college, Bognanno enrolled at Middle Tennessee State University (the same place Sharon Van Etten studied, years before), 30 minutes outside of Nashville, with plans to become an audio engineer. It was there that she first picked up an electric guitar, which proved a formative songwriting experience (“It felt a lot more fun, because it opened up the world of pedals,” Bognanno says, “and I still write songs, with Bully, by layering on ideas through a loop pedal”). She sang in a power-pop combo called King Arthur, in which Stewart Copeland - Bognanno’s boyfriend, and Bully’s future drummer - played guitar. In her final year, Bognanno went and interned at the legendary Electrical Audio studio in Chicago, which is owned and operated by Steve Albini and Bob Weston of Shellac. “Learning about the history of the rock music scene in Chicago was really cool, and when Kim Deal was there that was a personal highlight,” Bognanno recalls. “But obviously I learnt so much more there. The engineers who work there are some of the smartest people I’ve ever met in my life, and they’ve built this studio in a very particular way. There’s a reason that everything is where it is, and if you ask, they’ll give you a really well informed, thoughtful answer explaining why.” While staying in Chicago, Bognanno - away from the familiar, thinking about her friends in Nashville and her family back home in Minnesota - started writing the songs that would form the foundation of Bully. Upon returning

Death To The Boys’ Club To write a song that other people relate to that strongly, that’s the reason you even want to be in a band.

to school, she moved to Nashville proper, commuted to her few remaining classes, and started working at local studio Battle Tapes, and doing live sound at The Stone Fox. And, when she played the songs she’d recorded to Copeland, with his encouragement the pair started Bully. Bognanno recorded, to tape, the band’s debut, six-song EP in 2013 and then recruited guitarist Clayton Parker and bassist Reece Lazarus to fill out the live band. Bully started playing in Nashville in early 2014, and eight months later things would swiftly change. Bognanno - functioning as the band’s leader, manager, tour manager, and sound engineer - booked a tour with alt-rockers Drowners that would lead up to the CMJ Music Conference, and repressed a new version of that self-titled, self-recorded, self-released EP to coincide. Bully’s songs were suddenly being bandied about online, they were one of CMJ’s buzz bands, and, quickly, unexpectedly, they’d sign to an imprint of Columbia. “All of a sudden, everything started to happen, super fast,” Bognanno recalls. “Initially it didn’t, any success we had was pretty modest, pretty local. But when we were on that tour with Drowners, things started to get a bit crazy. In the space of that tour, which was like a month on the road, everything changed. And, since then, we’ve pretty much been on tour the whole time.” On their way up, Bully would open for Best Coast, Superchunk, Those Darlins, Jeff The Brotherhood, and Kevin Drew. They played a handful of shows in the UK, the first time Bognanno had ever left America. And they recorded their debut album, Feels Like. When the time came, Bognanno knew where

she wanted to go: back to Electrical Audio. “I always had my heart set on that,” she admits. “I’d obviously interned there, so I was a little bit familiar with the gear, and loved everybody who worked there. And I knew that I wanted to do it on tape. So, what better place to do it?” Bognanno’s goals for Bully’s first LP were simple: she wanted it to sound live, and like they do live (“I’m always let down when the live show sounds totally different to the record”); and she wanted to maintain her lyrical commitment to the truth. While the band’s fuzzed guitars and big choruses catch the ear, what’s earned Bully their growing fanbase is listeners’ connections to Bognanno’s lyrics. At every show, there’ll be someone coming up to the songwriter, telling her just that. “But, in saying that,” Bognanno laughs, “the only people that are going to come up to you are the ones who want to say: ‘Oh my God, that song totally feels like it’s about me! I totally relate!’ I don’t think I’ll ever hear the other end of it. No one’s going to come up to you and be like: ‘Yeah, whatever, I don’t really relate to that.’ So all you get, as songwriter, is the good news. But every time someone says something like that to me, it’s a huge compliment. To write a song that other people relate to that strongly, that’s the reason you even want to be in a band.”

When & Where: 12 Dec, Woolly Mammoth

Traditionally, the world of sound engineers has been typically macho. Bully leader Alicia Bognanno has seen this from both sides: having engineered both in studio and in venues, she’s had her know-how doubted, and, as Bully’s frontwoman, she’s been bypassed by other engineers when time comes for technical talk. “When we load-in at shows, the sound engineer - if it’s a guy will always walk up to one of the guys, instead of me, to ask them what the set-up is, and it’s so frustrating,” Bognanno laments. “When I was doing live sound, I’d always make sure to walk up to the woman in the band first, because I knew what it felt like to never get asked about your sound set-up. “And then, when I was doing live sound, there were a couple of situations where someone I was working with assumed I wasn’t capable, which was annoying, and just really dumb, really; anyone who assumes, in 2015, that a woman isn’t as capable of doing anything as a man is really pathetic. “But, for the most part, I’ve been lucky to encounter smart, awesome, nonmisogynistic people, both as sound engineers and in bands. I think that old macho, boy’s club stereotype is slowly dying, thankfully. The more and more we tour around, the more female sound engineers I see working live sound, and hopefully that’s a sign we’re moving far closer to equality.”


The Best Of Both Worlds As he prepares to take his new album out on the road with his band The Wildes, Lachlan Bryan shares with Chris Familton his views on the commercial and alt-country music scenes. achlan Bryan’s new album The Mountain is a noticeable shift in both sound and the way he approaches the subject matter of his songs. A regular visitor to the USA, Bryan has soaked up the influences and musical culture of the South and with the combined input of his band they’ve added a new depth and stylistic range to their music. With the album now released, Bryan is excited about people hearing and hopefully enjoying it. “We didn’t finish it that long ago so it’s not really a case of finishing a record and having months and


I do spend time in both scenes and there’s a lot of good music coming out of both but I do get more excited about the Americana scene.

months to wait, building up the suspense of getting tired of waiting. It’s still pretty new to me so I feel happy about it and ready for it to come out. When you make your first album you tend to play all your songs for ages and then you record them. Somewhere along the line the cycle switches and so with this one we’ve not had much of a chance to play them live other than me playing them at a few songwriter nights.” The increased input from The Wildes in the writing and arranging of the new album has made for a more diverse collection of songs and though a conscious decision was made to widen the boundaries it was still a very natural process. “It came out pretty organically. You’re always a product of what you’re listening to. I keep going back to the same artists and much of what I listen to has its 40 • THE MUSIC • 2ND DECEMBER 2015

roots in the 1970s. The songs on our previous album were written really quickly and designed to be performed by a four-piece band and cut live in the studio. With this one we had some bigger arrangements in mind. I listen to a lot of Van Morrison, Ray Charles and others so I have loftier ideas than keeping it strictly country music. As a band we’re quite diverse in what we listen to. I’m the most into Americana stuff, our bass player is a rock guy, our new guitarist is across a lot of different music and our drummer is a jazz guy so there were a lot of different influences on this collaborative record.” Bryan enthuses. Fun aside, there is a greater focus on dark and personally heartfelt subject matter on The Mountain. To pinpoint how that came to be, Bryan casts his mind back to his high school years and how Tom Waits was responsible for shaping his songwriting style. “I first got into music because of Tom Waits. I had an English teacher who gave me a cassette with all of Bone Machine and some early years Tom Waits. I couldn’t reconcile how the same artist could do both those things but I found them just as interesting as each other. I found that you could write songs that weren’t just personal love songs, you could write about characters and I was determined that I wouldn’t write from my own point of view too much. It’s only been recently that I’ve been able to write more from my own perspective and put my own experiences in the songs. This album is definitely the first time that I’ve made it really personal,” confesses Bryan. Though country music in Australia is dominated by the commercial world of pop country and exhausted cliches, there has been a recent groundswell of activity and popularity in the alt-country genre. Bryan holds a fairly unique position by being involved in both scenes and though many are drawn to one or the other Bryan finds value in all areas of the genre. “My take is that I want good music to have as much of an audience as it can. It’s a large market for mainstream country music but my experience is that an audience likes the music that is brought to them. If you go to regional towns and play and do a good show then they don’t really mind whether you sound like Lee Kernaghan or Emma Swift, they’re just receptive to music. I like that a lot of the musicians in the mainstream scene are very, very good but I also dislike the focus on the watering down of the music. I think in the alt-country world you can also only judge the artist based on their performance and the songs. I do spend time in both scenes and there’s a lot of good music coming out of both but I do get more excited about the Americana scene, just because it is more aligned with the music that got me into country music. There is a bit of a divide between the two scenes but I don’t think it’s really coming from the musicians themselves. In Australia people like Catherine Britt and Harmony James are pushing the boundary between the two scenes and my main thing is to not be too prejudiced either way.”

What: The Mountain (ABC/Universal) When & Where: 11 Dec, Milk Factory


Australian Catholic University

What kind of courses do you offer? Bachelors degrees in Arts, Visual Arts and Design, Creative Arts and Digital Media.

 3 @ >  @ 3 =@2 <=E  !


What makes you different to other universities? ACU offers small class sizes. Students are treated as individuals and supported to pursue their own interests/ passions. ACU focuses on social justice and community engagement through the pursuit of knowledge, the dignity of the human person and the common good. Academic staff include recognised artists, thought leaders and industry professionals. Students have access to working galleries and industry standard studios. Weâ&#x20AC;&#x2122;re a national university. Do you offer job opportunities, internships, or other ways to help students get ahead? ACU offers extensive programs to engage and prepare students, and professional internships and community engagement units are embedded in the course. Students are provided the opportunity to go on international study and immersion tours. Academic staff are also experts who are committed to student success, and include recognised professionals with extensive industry connections that benefit students.


AMID #54 THE 2015


When and where is your next info session/Open Day: ACUâ&#x20AC;&#x2122;s Make the Right Choice info sessions help students make the most of their score and help them explore their study options at ACU. Once their results are released, students can attend ACU Make the Right Choice at their local campus and speak to academic and admissions experts about study options, tour the campus, investigate pathway programs and meet current students. Brisbane: 21 December Melbourne: 15 December Sydney: 5 January Canberra: 17 December

Hazards Of Swimming Naked

Have You Heard Answered by: Gareth Rigden


Answered by: Nadine Maiolla, Marketing Manager

What kind of people would these courses suit? ACUâ&#x20AC;&#x2122;s arts courses are for those who are creative, passionate and engaged. Students who want to meaningfully engage with society and contribute to the world they live in.

When did you start making music and why? We all grew up in a small country town in far North Queensland with two options for recreational activities: music or drugs, and we all chose music (more often than not). Sum up your musical sound in four words? loud-quiet-not-soloud-not so quiet-louder-quietestnot quiet-loudest. If you could only listen to one album forevermore, what would it be and why? That would be a music loverâ&#x20AC;&#x2122;s worst nightmare. Guess it would De-loused In The Comatorium by The Mars Volta. That album for me never gets old, every time I listen to it I hear something new. Greatest rock â&#x20AC;&#x2DC;nâ&#x20AC;&#x2122; roll moment of your career to date? Probably our last Aus tour with This Will Destroy You in June. Eight days, seven flights, five cities, five shows, nowhere near enough sleep and a whole bunch of shenanigans youâ&#x20AC;&#x2122;re not allowed to print. Thatâ&#x20AC;&#x2122;s pretty rock and roll.

Why should people come and see your band? If they donâ&#x20AC;&#x2122;t, it will be the best gig they never saw. When and where for your next gig? Beetle Bar, 5 Dec, with Majora, Kodiak Empire and more.

THE MUSIC 2ND DECEMBER 2015 â&#x20AC;˘ 41


Sye McRitchie

Anything Can Be Psychedelic

Have You Heard


When did you start making music and why? At 17 years old, my mother offered my first three chords and used to sing me to sleep as a baby, with the sweetest most angelic voice in the universe, a path already paved... and a pleasant stroll indeed. Sum up your musical sound in four words? Punkfolk sykadelisious PopRocks avaintgaurdian.

If you could support any band in the world — past or present — who would it be? Beatles! Simply for their songcraft and evolutionastical approach to mother music.

If you could only listen to one album forevermore, what would it be and why? The album in my own forever head.

Greatest rock’n’roll moment of your career to date? Soooo maaaany man, from intimate pin drops, to stadiums melting me. Perhaps my very own great moment is none other than to humbly finish a song... we simply must celebrate.

Why should people come and see your band? Why not, my darlings, why not? Like so many of the others who are, I’m wonderful also... When and where for your next gig? The Triffid and The Pineapple Lounge, 2 Dec; The Bearded Lady, 9 Dec. Website link for more info? syemcritchiemusic


Moon Duo’s Sanae Yamada discusses their place in psychedelic music, adding a live drummer to their line-up and performing to the ashes of dead people, with Chris Familton.


s the name suggests, Moon Duo are a musical pairing — the collaborative project of Sanae Yamada and partner Ripley Johnson. The latter is best known for his work with San Francisco psych/drone group Wooden Shjips but with logistical issues slowing progress with that band and Moon Duo becoming more prolific and popular they’re able to spend more time exploring their lunar landscape. “This will be the first time we’re doing two Moon Duo records instead of alternating albums between the two bands. Wooden Shjips can be more difficult to organise and get them all together as some of them have intense day jobs and families so it is harder to organise. It’s easy for us to pack up and hit the road and John [Jeffrey — drums] is young, he’ll do whatever!” laughs Yamada. Jeffrey joined the band a couple of years ago, replacing the drum machines they used on stage, breathing new life into some of the band’s songs. “There are some songs that I’m way more into because we’ve found this other mode for them which is more dynamic than the recorded versions. A big part of it is having John, who opens us up to be dynamic and flexible in a way that we weren’t before. We can play with tempo and length

and explore realms on the spur of the moment, which is fantastic for us. We could do this kind of man/machine thing where we programmed beats and then got him to recreate them with a human touch. I was really happy with how that worked out.” Playing in new countries and in unique venues is another way to maintain enthusiasm and variety in their live performance. Recently, one such setting was the Bohemian National Cemetery Chapel in Chicago. “That was amazing. That place just made the hairs on my arms stand up. It was a crematorium as well as a chapel so it had these walls with little glass cases full of urns with people’s ashes and photographs, mostly from the early 20th century. The room was round with a domed ceiling. Very spooky but very cool.” There has been an increase in the popularity of psychedelic-based music, from Tame Impala to Unknown Mortal Orchestra in recent years. But does it constitute a scene and, if so, is it one that Moon Duo feel a part of? “I like both those bands but I feel the concept of psychedelic rock is very broad. The idea of psychedelia is to open up doors and possibilities and not put boundaries on things or box anything in. For me, anything can be psychedelic. For instance I find some of Herbie Hancock’s music from the mid ‘70s to be deeply psychedelic. There’s this minimal synth woman Laurie Spiegel who I really like and her stuff is super minimal but amazing and I find that extremely transportive in a psychedelic way. I guess I appreciate the label for our music but I think the current scene around that concept has a very specific sound aesthetic which we don’t really fit but I like the concept of psychedelia in general.”

When & Where: 9 Dec, The Zoo


Ill At Ease


e don’t really have much to do with the music industry and that’s fine with us,” offers John Scott when asked about the state of play in the modern Australian music scene. “From day one this band has tried hard to avoid bullshit and drama and as long as we keep playing we’re going to do just that.” Scott’s statements don’t contain even a hint of hyperbole. Since their inception in the ‘80s, The Mark Of Cain have indeed done their own thing in a quiet and workmanlike manner. Trends have come and gone but the band have remained true to a fearsome sonic template of crushing mid-tempo riffs and pummelling Joy Division-styled bass lines mixed with the chaotic vision of Big Black and street ethos of Black Flag. “Our music is stripped down and I think best experienced live,” says Scott, after being asked what defines The Mark Of Cain’s sonic attitude. “It’s always been hard for us to capture what we do on vinyl. We write a lot of our material very organically, just the three of us jamming and I think it just sounds huge when we play live. That’s what we’ve been about since day one - we live to play live and you just can’t capture that spirit and attitude in a studio.


Just Visiting Answered by: Mister Dango


The Mark Of Cain guitarist/ vocalist John Scott chats to Mark Hebblewhite about the state of the music industry and what keeps driving the band forward.

“I guess our sound is also defined by our attitude to some extent,” continues Scott. “Me and Kim [Scott, bass] can’t stand bullshit and added frills: we like to get straight to the point. We’ll take a riff, grind it out and use it as much as we can then throw it away and move onto the next one. It’s just how we go about things.” Given that The Mark Of Cain thrive in the live setting an obvious question arises: why aren’t the band on the road far more than they currently are? “Why don’t we tour more?” chuckles Scott. “That’s easy - if we did I think we’d see a vast decrease in the crowds coming to see us. I just don’t think there’s the audience there to come and see us monthly or whatever, so we tend to space things out. There’s also the fact that we all have lives and responsibilities so we can’t spend all our time playing gigs; that’s just the way it is.” For the band’s upcoming jaunt they plan to mix The Mark Of Cain standards with tracks they haven’t aired in a while (including the brutal riffage of The Hammer). Importantly, the boys are also doing a two-night stand in their hometown of Adelaide, with all proceeds from those shows going to the Cancer Council SA. According to Scott, the rationale behind this gesture was a simple one: fuck cancer. “The suggestion to do that came from Kim. We’ve seen a lot of people we know be touched by cancer and some have unfortunately fallen by the wayside. It’s not something we thought about much when we were younger but as you do get older it seems that every second person you know has a story to tell. Our hearts go out to everyone who has suffered, or is suffering, this terrible disease, and this was a simple way for us to show that we care.”

Why are you coming to visit our fair country? To play rock’n’roll!

Is this your first visit? No, this is our third tour with the band and I’ve also been on vacation once in Western Australia.

How long are you here for? Less than a week!

What do you know about Australia, in ten words or less? Kangaroos, desert, sun, beaches, beer, rock’n’roll, fuzz, radical. Any extra-curricular activities you hope to participate in while here? We are only gonna play rock’n’roll :) What will you be taking home as a souvenir? Hopefully some Australian dollars, ha ha. Where can we come say hi, and buy you an Aussie beer? Crowbar, 6 Jan. Website link for more info?

When & Where: 5 Dec, The Zoo



The Duality Of Tillman Since rebirthing himself as Father John Misty a lot’s gone right in the world of Josh Tillman, who tells Steve Bell of the inherent contradiction in harbouring dark impulses to bring joy to others.


ather John Misty isn’t an actual person, it’s an artificial entity hobbled together to shield an actual person from the world. The person hiding behind the alter-ego is Josh Tillman, a somewhat unique individual who’s been plying his trade in the musical realms for over a decade now with varying degrees of success. He began concocting roughshod and mostly downtrodden singersongwriter fare under the moniker J. Tillman — releasing eight album-length collections between 2003-2010 — then found himself via a random string of occurrences drumming for burgeoning Seattle indie wunderkinds Fleet Foxes.

The hard work is in remaining engaged with life, and insisting on peeling away layers and finding the things that have vitality and truth.

Yet upon discovering that touring the world playing someone else’s music wasn’t scratching his unrelenting creative itch, Tillman decamped and — following a period of purportedly drug-fuelled introspection — returned as hedonistic shaman figure Father John Misty. His first album under this new guise was 2012’s acclaimed Fear Fun — which dumped the sad sack shtick to embrace his inner smart ass — and suddenly Tillman found himself with masses of fervent new followers embracing this irreverent approach and worldview. But, typically for Tillman’s nebulous universe, there was soon another stylistic shift in the offing. He met and quickly fell in love with his now-wife Emma, and the resultant euphoria and contentment was crystallised on the second Father John Misty album, I Love You, 44 • THE MUSIC • 2ND DECEMBER 2015

Honeybear. The album paints Tillman (accurately) as a man revelling in his relationship — no longer licking his wounds, nor a brazen lothario — but it’s knack for emotive wordplay that really drives the connection between artist and audience. “I write a lot of really shitty lyrics too that never really see the light of day,” Tillman chuckles. “There’s a lot of material that I wrote after I’d written Fear Fun which was a lot of that kinda the same thing, like, (half sings), “I’m going out and I’m getting fucked up and having a crisis about it”, and it was just really boring. It wasn’t until I met Emma — this person who was like incredibly disruptive to what I had going on at the time — that I started writing material that I thought had vitality. “I think a lot of [the album’s lyrical dexterity] has to do with the fact that a lot of it’s in my conversational voice, but the hard part and the hard work is in remaining engaged with life, and insisting on peeling away layers and finding the things that have vitality and truth. “That’s really what the artist’s thing is — take Taylor Swift, for instance, she’s just going back to the same material over and over and over again, she’s like, ‘Here’s this one thing I can do that works’. She’s like an alter-ego of herself or something, but I think that anybody who’s a real artist — as opposed to a successful commercial entity — has to do the hard work of transformation, instead of just becoming more and more just like a mask of yourself. That’s where the hard work is — the rest of it’s fucking easy because I’m talented,” he chuckles. Tillman is a firm believer that humour and music can peacefully co-exist without becoming pastiche. “You see a lot of it in hip hop, but I think that the songwriter archetype has become really stale — everyone’s just mining this archetype left over from the ‘70s, this earnest, confessional whatever thing,” he reflects. “But then like Leonard Cohen is one of the funniest fuckers out there, his stuff is rife with black humour. I think a great song just includes everything, and that’s like the craft of it — it’s this magic trick where you got three-and-a-half minutes, four minutes tops, you’ve c to communicate something with a few dozen words, and that’s it. “I just did Conan recently and [host Conan O’Brien] was a huge influence on me, and I relate to him — he’s this guy who for some reason is compelled to be an ent entertainer, but you can tell that every step of the way he’s confused by it. He can’t stop this very irrational impulse to entertain, but at the same time it’s, like, ‘What the fuck is this? I’m like a demented clown!’ Seeing someone so willing to acknowledge the duality was like a ‘light bulb moment’ for me and I completely relate. On paper I’m the last person in the world who should be going out and entertaining people — I’m cranky, I’m cynical and I prefer to be alone — but I have this impulse that I can’t articulate where I have to do this thing. I don’t know what it means, but I know that part of that conflict is what makes what I do compelling or relatable.”

When & Where: 6 Dec, Max Watt’s


No More Stories... Danish alt-rockers Mew are soon to arrive for their first visit to our shores in their 20-year tenure. Mark Hebblewhite chats to frontman Jonas Bjerre to discuss the band’s recent line-up changes and what in hell took them so long to tour.


onas Bjerre is a pretty knowledgeable guy — despite chatting in a language not his own. But even he was unaware that Australia has recently displayed a great appetite for all things Danish. “Wow, really? That’s pretty cool,” he replies when told of Borgen’s success and the local canonisation of Danish cuisine and architecture. “I suspect the TV shows are driving it which is a bit embarrassing because when people talk about them I have to admit I don’t watch a lot of television,” he laughs. “I think I need to be more patriotic and watch Danish television.” “I do know that people around the world know much more Danish music than before,” he adds. “It used to be unheard of for Danish bands to tour other countries. We didn’t have the history that Sweden had for musical exports, but nowadays a lot of Danish bands are doing well. And I’m really happy that people know about what a great music scene there is in Denmark.” One thing the quietly spoken Dane is aware of however is the long campaign by Mew’s Australian fans to get the band to our shores. As Bjerre explains, it’s been a long time coming. “It’s kind of sad really because we’ve wanted to come for so many years,” he says. “What’s more, we knew that we had people who wanted us to come. We have an Australian fan site called Mewstralia whose members were really instrumental in making it all happen, and they really stuck in there because there were some disappointments along the way when we nearly made it but it didn’t quite happen.” Despite the wait, Mew don’t intend to get fancy with their setlist. Instead they plan to stick with their tried and true method of song selection. “We’ll probably just play the songs we enjoy the most at the time, that’s usually how it goes,” laughs Bjerre. “We do enjoy playing the songs that people have fallen in love in with, but really the variations in the setlist just reflect how we feel at the time. That said, we usually end up playing something off every album anyway, but maybe not from the very first album because we’ve changed our songwriting a lot and those songs aren’t really representative of where we are today.” There’s no doubt that in 2015 Mew are a very different band from the youngsters that started out in 1995. But really, the Danish trio is also a very different band to the

We’ve been a band since we were in the eighth grade and sometimes people just need some time out, you know.

one touring just a few short years ago with a number of recent line-up changes. In 2014 original bassist Johan Wohlert returned to the fold after seven years in the wilderness. Even more shockingly, in July of this year Mew announced that despite having just unveiled their new album +/- to the world, that founding member and guitarist Bo Madsen had decided to leave the band. “We have had some changes in Mew,” confirms Bjerre. “Johan is back on bass and he was very involved in our last album and of course some months ago our original guitarist left the band. It has taken some getting used to these changes but we’re really happy as a band to have the new album done and to be back on the road touring. We’ve just come back from an American tour and of course we are looking forward to countries like Australia.” Bjerre is philosophical in explaining the rationale, or indeed lack of rationale, behind the line-up changes. “We’ve been a band since we were in the eighth grade and sometimes people just need some time out, you know. As far as Bo is concerned, there were a lot of personal things going on and I must admit it’s still hard for me to talk about it. But life changes sometimes and stuff changes in people’s personal lives, so I think a lot of factors played into him leaving the band.” So the door isn’t completely closed for Masden’s return? “Um, yeah, it’s hard to say. I think I’ll leave it at that.” Apart from line-up changes the band’s new LP +/- also sees them enter new musical territory. “It’s a hard album to describe,” offers Bjerre. “Unlike many of our other albums we didn’t really put too much of a frame around it — we didn’t try to conceptualise it — we just went for it and wrote a bunch of songs and really just allowed each one of them to take the form it wanted to take. It’s a very diverse album with elements of everything we’ve done before. It’s got everything from really experimental material right through to very simple rock songs. All the songs though lend themselves well to the live stage and they are all fun to play.”

When & Where: 4 Dec, Max Watt’s THE MUSIC 2ND DECEMBER 2015 • 45

Live Re Live Reviews

Florence & The Machine @ Riverstage. Pic: Dave Kan

Florence & The Machine, Jack Ladder & The Dreamlanders Riverstage 19 Nov

Florence & The Machine @ Riverstage. Pic: Dave Kan

Florence & The Machine @ Riverstage. Pic: Dave Kan

Ed Sheeran @ Suncorp. Pic: Bobby Rein

It doesn’t take long for a thick layer of punters and picnic blankets to be spread across the Riverstage’s hillside tonight. Though they are already making ripples, a national support slot of this magnitude is just the right kind of wider exposure for Sydney’s Jack Ladder & The Dreamlanders. They’ve got the goods to win over this (semi-) unsuspecting crowd and on this occasion they make the most of it - both their sound and stage presence are solid. Their sombre, muted palettes are quite the contrast to the night’s headliner but somehow it really works. From the moment Florence & The Machine take to the stage and unleash opener What The Water Gave Me, it’s all fire and flair. Florence Welch burns with an infectious intensity as she frantically dances and dashes around the stage, somehow still managing to deliver each vocal line to maximum effect. The songs are commonly anchored

No wonder Florence & The Machine have become festival headliners the world over.

Tame Impala @ Riverstage. Pic: Claudia Ciapocha


Tame Impala @ Riverstage. Pic: Claudia Ciapocha

by deep anguish and inner conflict. However, there is always a grand sense of cathartic celebration that lifts them out of the water, and this couldn’t be more true in the case of the live setting - the songs are really heightened and given a grander sense

of majesty through this communal celebration. It’s easy to get lost in Welch’s charisma but she is certainly not on her own - Isabella ‘Machine’ Summers and the rest of the 11-piece band (including five backing vocalists) are all in fine form as they provide the essential muse that is the musical driving force behind their frontwoman’s performative movements. A breather is finally given when a stripped-down version of Cosmic Love momentarily reduces things to a calm simmer, but the drama is not over; What Kind Of Man, Spectrum, and Dog Days Are Over bring the main body of the set to a whopping close. Mother opens the encore with strength, but they’ve saved the best for last - deep red lights and musical ambience is laid on thick as Drumming Song creeps in, building a wondrous atmospheric tension before exploding in all its characteristic glory and closing the night on the highest note possible. With performances like these, it’s no wonder Florence & The Machine have become festival headliners the world over in the short span of just three albums. Jake Sun

Ed Sheeran, Rudimental, Passenger, Foy Vance Suncorp Stadium 28 Nov Foy Vance and Passenger open up proceedings in Suncorp tonight, performing particularly short sets at dusk to warm the punters up. Foy Vance takes to the stage with just a drummer, keeping with the minimalist nature of this evening’s line-up. Passenger takes up the stadium stage soon after presenting his unmistakable signature gentle

eviews Live Reviews

folk tunes. Rosenberg closes out the sets with the self-proclaimed “only famous song” he has ever written, Let Her Go.. The ruckus on tonight’s bill was about to be brought, as Rudimental’s insane line-up take to the stage. Suncorp lights up with the band’s infectious mix of drum’n’bass, soul and rap tracks, swapping out singers for most of the songs during the group’s set. As expected Rudimental performs banger after banger, including Lay It All On Me but disappointingly without Sheeran on vocals. They definitely made themselves a hard act to follow. After a short wait, Ed Sheeran appears on stage, opening up with I’m A Mess. It is exceedingly apparent that although Sheeran is alone on stage tonight this in no way hinders the performer’s reach to those who were not in the front of the mosh pit. Sheeran’s looping ability is captivating in itself, creating flawless vocal melodies over his own vocal line and cutting the layers he created in and out for a full band effect. Impressively, Sheeran manages to play for close to two hours, despite having only two albums under his belt. He bulks up his set with covers and mash-ups and closes out the set with Sing, leaving thousands of people singing the catchy chorus line. All up, tonight’s huge show exemplified the artist’s popularity and showmanship, truly a sight to behold. Georgia Corpe

Tame Impala Riverstage 21 Nov The Riverstage setting has the potential to elevate a performance to the highest of levels and tonight’s lineup seems like the perfect fit for the surroundings. It’s a sold out crowd, the hill is packed, and

there seems to be a sense in the air that something special is about to happen. Los Angeles three-piece Mini Mansions don’t make many wrong moves tonight. All slickly dressed in different colour suits, they project themselves with great confidence and professionalism and they’ve got the sound to back it up. In fact

Sheeran’s looping ability is captivating in itself their sound is so big tonight that one could easily mistake it for that of a headlining act. They create a dark vibe with the use of deep red lights and lightning effects and this onstage atmosphere really creates the right space for songs like Vertigo and Freakout! to excel. The 9500-strong crowd works itself into a shared frenzy when Tame Impala come out and within a few moments the stage is lost in a colourful excitement of psychedelic visuals. Opener Let It Happen brings a wealth of delight, but also great relief that the band is not plagued by sound issues recently suffered in Sydney. The trees around the venue dance with the river breeze, but the most profound effect of this breeze is the sensation it has on skin - couple this with the waves of dreamy melodies that are coming from Tame Impala on stage and you’ve got a hell of a magical experience. The bouncing chugg of Elephant is an invitation to get extra lively and most take up the offer whole heartedly. It’s Eventually, the emotional core of the album, that says the most on this occasion. The existential heartbreak of desire, love and relationships

is a recurring theme here but when put into the context of the live experience (and possibly the psychedelic experience) the importance of acceptance is communicated all the more. A mesmerising rendition of Apocalypse Dreams, complete with massive outro jam, brings the main body of the set to a climatic close. Feels Like We Only Go Backwards and Nothing That Has Happened So Far Has Been Anything We Could Control provide the perfect encore and bring the performance to a close on a high note. The sense of openness and freedom that the Riverstage provides makes it such a well-suited venue for Tame Impala’s music and one can’t help but hope that they book it again next time. A truly special night! Jake Sun

Jungle Love Borumba Deer Park 27 Nov For its second year Jungle Love has moved location to Borumba Deer Park in Imbil and the vast natural beauty of these grounds makes it the perfect setting for such an event. The Queensland heat can be the most daunting of rivals when it comes to a multiday festival experience, but here the tree cover is bountiful and the main areas of action are situated alongside a creek. Friday Across four stages the programme offers up an abundance of activities and entertainment including music, art, poetry, panel discussions, yoga, meditation and much more. Such variety is not uncommon of festivals but in this case the level of consistency and quality across the board is quite bewildering. The psyche tinged indie of The Belligerents has a lot of charm to it on tape and in the flesh the appeal only increases. Their stage presence is made

all the more captivating by their vocalist’s manic movements, which provide the music with an expressive illustration of sorts. They do little wrong in the space of their set and the response of the crowd is warm. Performing solo for the beginning of her set, MKO SUN lures the crowd in with her vocal gifts. Once joined by her bandmates the performance gains more momentum and the soulful sounds sink into deeper electronic grooves. The momentum keeps gaining throughout and by the time final song, Light Has No Mass, brings the set to a close a sense of balance is achieved. Indigenous supergroup Yarwah light up the stage with their intense energy. They draw from the deep wells of their culture and mix it into a contemporary musical cocktail that packs quite a joyous punch. Inspiring music and messages! From the moment they take the stage Bullhorn are explosive. Seven horn players, one drummer, and one MC make a mad musical dash forward and it appears like nothing could stand in their way. The dance floor is excited into a state of near-mania throughout and by the time their 50-minute set comes to a close they appear to have won over a new fans. One-man wonder Omegachild serves up a potent instrumental brew as he brilliantly balances the duties of playing drums and keyboards simultaneously. The mix of electronics and live instrumentation dance in harmonic symbiosis and this dance is powerfully illuminated by captivating visual projections. Saturday Whether it’s meditation, yoga, sound bath healing, or a calligraphy workshop, there’s myriad ways to ease on into the second day. Jungle Love’s programme has just the medicine for the next morning woes, and the creek provides a constant lifeline for any time of the day.


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Oddisee @ Woolly Mammoth


Seven-piece sensations Astro Travellers come on slowly, taking their time with a relaxed intro that pays homage to Cypress Hill’s I Wanna Get High. It doesn’t take too long, however, for them to kick into gear and once they do the crowd responds with delight. After two years away from the stage and a line-up change Mr Maps make quick work of proving they can still cut it in the live arena. Their tight rhythmic grooves have a hypnotic effect that seduces listeners into taking the ride along on their little instrumental voyages and each one brings rewards. Things get turned up to 11 with Osaka Punch, who slam down some of the heaviest riffs of the festival. At times it seems like a strange fit for the Jungle Love vibe but variety is rarely a detractor and a good number of festival-goers make the most of this opportunity to inject a little

mayhem into their expedition. For the second night running HHAARRPP put on a marathon performance that transforms the chai tent into an other-worldly zone for the extended duration of three or four hours. Hypnotic electronic melodies oscillate into an underlying fabric while tranceinducing rhythms of guitar, bass and vocals are weaved in and out. It’s a realm to get lost in and many can be seen sinking deep into the surrounding couches with little intention of moving anytime soon. There a few live acts out there that push the limits of intensity as hard as Monster Zoku Onsomb. An absurd frenzy of electronic beats and warped vocals pour forth from a stage that looks like it’s been invaded by the colourful guests of a B-grade horror convention. An extremely daring a fresh approach that is one of the

festival’s major highlights! In Void channel the spirits of many of the psychedelic greats and put them to work on a harder hitting style of prog-rock. Vocalist Declan Kelly invokes Jim Morrison through much of the set, yet it never seems like a halfarsed attempt. By the time Jungle Love comes to a close for its second year it’s been another resounding success. More than the sum of its parts, this a festival that strives to provide an all-encompassing creative and communal experience and it certainly hits the mark. Jake Sun

BAPFF Reviews BAPFF Reviews

The Daughter

The Daughter Film Palace Barracks, 22 Nov

★★★★ What makes The Daughter so gripping is precisely the sentimentality, its overdramatic elements, that it has been criticised for. Its rising tension, its focus on character, and its stunning cinematography imbue it with a sense of gravity. That tension builds and builds until it breaks, and then the film is over, and there is no moral or neat ending. The sequence of events is so tragic, almost inevitable: the return of one son, and his discovery and self-destruction, leading to the unraveling of other persons’ lives, and very identities. The Daughter is caught up in the theatrical, written and directed by debut feature filmmaker Simon Stone, an adaptation of his mainstage adaptation of The Wild Duck by Henrik Ibsen. Pulling that level of drama into an Australian context could’ve gone either way, due in part to a seeming reluctance on the part of Australian

filmmaking to make something ‘emotional’ – but in this case it is successful because of Stone’s strength as a writer and director. The film places dialogue on top of static, poignant moments; contrasts breathtaking scenery with the stark depictions of raw human emotion; and employs a stellar cast: Sam Neill, Paul Schneider, Geoffrey Rush, Odessa Young (a standout), Miranda Otto, and Ewen Leslie, who contributes the most textured performance of the lot. It’s about the way our families, our actions and our omissions define and break us. Stunning.


Assassin Film GOMA, 28 Nov

★★★★ The Assassin was in the making for nine years, and it shows. Hou HsiaoHsien recently won the Cannes Best director prize for this immaculately detailed take on the eighth century Chinese epic - the experience of seeing this film on the big screen is one of the true joys of a film festival. The eponymous assassin is Yinniang (played with calm intensity by Shu Qi), a young woman taken from her home as a child and

The Assassin

trained to kill by a ‘princess nun’. Yinniang is sent to kill her cousin as a punishment for failing to assassinate a man in front of his young son. The main story is simple, but set against a backdrop of politics and scheming that can be hard to follow, ensuring that the audience is kept at arm’s length from the world of custom and ceremony that has been painstakingly created here. Often slow, even stationary, The Assassin is in no way a gory martial arts film - the fight sequences are impressive but brief - and flashes of Yinniang’s unparalleled talent for killing stand at odds to the gauzy dreamlike beauty of much of the rest of the film, as well as the serenity of the mountainous setting. The audience is always the voyeuristic outsider in this deliberately impenetrable film, but it’s a pleasure just to watch. Madeleine Laing

Hannah Story

The Look Of Silence

The Look Of Silence Film Palace Barracks, 22 Nov

★★★★★ Just as director Joshua Oppenheimer’s The Act Of Killing, felt like the most important documentary you’ll ever watch, its companion piece, The Look of Silence, somehow tops that.

Revisiting the sickening genocide of over 500,000 Indonesians in the mid-1960s, The Look Of Silence is another thoroughly unique examination of the impacts upon its victims, the government, and the perpetrators who still all live in both the spoils (yes, spoils) and scars of its long shadow. And while Oppenheimer’s previous film was about about the killers themselves — a perverse and so completely self-exposing expression of a group of mass murderers’ deluded psyches — The Look Of Silence is instead a profoundly sombre and much closer look at the killings from the victims’ families’ point of view: a film so tightly wound with rage and grief that watching it is just as exhausting as it is devastating. Yet throughout, Oppenheimer’s camera still finds gorgeous tableaux of rural Indonesian — and, really, human — life: an abjectly old man repeatedly being bathed,

the muck from his eyes brusquely but lovingly wiped away by whichever family member bathes him; giant military trucks hulking through clouds of red dust, run around by children, dodged by precarious cyclists, all set to a soundtrack of crickets and otherwise deafening silence. This is just an unmissable film. Sam Hobson


Comedy / G The Guide

Nahko & Medicine For The People: 24 Mar Max Watt’s

Wed 02

Double Shot Improv: Beetle Bar, Brisbane

Age Champion + Di Nero + Mason Hall: Black Bear Lodge, Fortitude Valley Jeremy Hunter: The Bearded Lady, West End

The Music Presents Mew: 4 Dec Max Watt’s Father John Misty: 6 Dec Max Watt’s The Rumjacks: 6 Dec Jubilee Hotel Lachlan Bryan & The Wildes: 11 Dec The Milk Factory Festival Of The Sun: 11-12 Dec Port Macquarie Bully: 12 Dec Woolly Mammoth Woodford Folk Festival: 27 Dec - 1 Jan Wodfordia A Day On The Green – Hoodoo Gurus: 6 Mar Sirromet Winery Nahko & Medicine For The People: 24 Mar Max Watt’s

Never Shout Never + Forever Ends Here + Double Lined Minority: The Brightside, Fortitude Valley Brisbane Folk Club feat. Ben Salter + Neighbour + Marcus Blacke: The Foundry, Fortitude Valley

Anthony Albanese

Ratatat + Black Cab: The Tivoli, Fortitude Valley Songwriter Wednesday feat. Sye McRitchie: The Triffid, Newstead

Thu 03 Lime Cordiale: Black Bear Lodge, Fortitude Valley Jazz Singers Jam Night: Brisbane Jazz Club, Kangaroo Point

Albo In The House Anthony Albanese MP aka DJ Albo will perform his only DJ show in Brisbane on 4 Dec at Wandering Cooks, 1 Fish Lane, South Brisbane, as a fundraiser to support the Labor campaigns in Moreton, Bonner and Forde.

Bluesfest: 24 - 28 Mar Tyagarah Tea Tree Farm

CKNU + Willy Angelo + Quazi-Smith: Chardons Corner Hotel (The Back Room), Annerley

St. Paul & The Broken Bones: 25 Mar The Triffid

Six60: Coolangatta Hotel, Coolangatta Pete Murray + Garrett Kato: Harvey Road Tavern, Clinton Des Reid: Loving Hut, Mount Gravatt Hope Drone + Sanzu + Eternal Rest: New Globe Theatre, Fortitude Valley Hayden Hack: Solbar (Lounge Bar), Maroochydore Sisters feat. Bent + Amaringo + Luxilaa: The Bearded Lady, West End

Milwaukee Banks: The Brightside, Fortitude Valley Juno Blue + Georgia Mae + Simi Lacroix: The Milk Factory Kitchen & Bar, South Brisbane Punk Poets In The Beer Garden with Beth Lucas: The Triffid (Beer Garden/6pm), Newstead Ne Obliviscaris + Plini: The Zoo, Fortitude Valley Golden Rules: Woolly Mammoth, Fortitude Valley

Fri 04 Variety Bucket with Diamond Dave: Beetle Bar (4pm), Brisbane


L-FRESH The LION + Philly: Black Bear Lodge, Fortitude Valley Travis Jenkins Quartet: Brisbane Jazz Club, Kangaroo Point Brewhouse Bash with Taylor: Burleigh Brewing, Burleigh Heads Byron Short: Cardigan Bar, Sandgate Unwritten Law + Grenadiers + Drawcard: Coolangatta Hotel, Coolangatta


Ben Salter

Getting Ratty

The Roseberys + CKNU: Eat Street Markets, Hamilton

2015 has proved a massive year for Ratatat, and now with Magnifique, they’re locked and loaded, and hitting up the highway with mates Black Cab. Grab your tickets for 2 Dec at The Tivoli.

Luciana + Benibee + Jakey J + Hynzey + Migs: Eatons Hill Hotel, Eatons Hill Friend Within: Elsewhere, Surfers Paradise The Cornermen: Lock ‘n’ Load Bistro, West End Brown Sugar: Logan Diggers Club, Logan Central

Salty Looks The Foundry is excited to announce their new monthly tradition of celebrating both local and national folk musicians, Brisbane Folk Club. Ben Salter, Neighbour and Marcus Blacke will be kicking it off, 2 Dec. Mew + Solkyri + Aerials: Max Watt’s (formerly The Hi-Fi Brisbane), West End Shaka Han + Frolik + Folklore + Nathan Morrison: New Globe Theatre, Fortitude Valley Terror Parade + The 6 Five: Ric’s Bar, Fortitude Valley Rise Against + Clowns + Outright: Riverstage, Brisbane The Evening Son: Royal Mail Hotel, Goodna The Belligerents + Jenny Broke the Window: Solbar (Main Stage), Maroochydore

Gigs / Live The Guide

Lime Cordiale

DJ James Brown: Story Bridge Hotel (The Shelter Bar), Kangaroo Point

Art Of Sleeping

Roman Flugel: TBC Club (The Bowler Club), Fortitude Valley Richard In Your Mind: The Bearded Lady, West End

Gold Class + Per Purpose + Pleasure Symbols + 100%: The Foundry, Fortitude Valley

Going Green After storming through 2015, with two heavy single releases, Lime Cordiale are now going out with a bang to close the year. They’ll be gracing Black Bear Lodge, 3 Dec, and Solbar, 5 Dec. Back Alley Cats: Solbar (Lounge Bar), Maroochydore Fugitive & the Vagabond + Dear WIllow: Statler & Waldorf, Brisbane Casey Fogg: Story Bridge Hotel (The Corner Bar), Kangaroo Point

Tomtom + May Lyn + G Elenil: The Milk Factory Kitchen & Bar, South Brisbane The Rumjacks: The Spotted Cow, Toowoomba Six60: The Tivoli, Fortitude Valley Snakebite Whiskey + Black Whiskey + El Bravo + Ravens Lair: The Zoo, Fortitude Valley Pete Murray + Garrett Kato: Villa Noosa Hotel, Noosaville DJ Anthony Albanese: Wandering Cooks, South Brisbane

Disco Napping

Art Of Sleeping + The Jensens + Ivey: Woolly Mammoth, Fortitude Valley

Post selling out both Voodoo and Crazy single tours, Art Of Sleeping are playing a one off hometown show to wrap up 2015. They’ve got The Jensens and Ivey on the bill for their Woolly Mammoth show, 4 Dec.


Comedy / G The Guide

Sat 05

Richard In Your Mind

Hazards of Swimming Naked + Majora + more: Beetle Bar, Brisbane Rockaoke: Benowa Tavern, Benowa Screamfeeder: Black Bear Lodge, Fortitude Valley Hugh Jackman: Brisbane Entertainment Centre, Boondall Kokko Quartet: Brisbane Jazz Club, Kangaroo Point IRE Nation Christmas Party feat. Swiss + Thomas Stowers + Sammielz + JSQZE + Tree + Nofo Lameko: Chardons Corner Hotel, Annerley Adam Kharita + The Dillon James Band: Eat Street Markets, Hamilton MIEL: Lock ‘n’ Load Bistro, West End Musique: Logan Diggers Club, Logan Central Unwritten Law + Grenadiers + Drawcard: Max Watt’s (formerly The Hi-Fi Brisbane), West End

Ye Gods of Metal Festival with Orpheus Omega + Kyzer Soze + Amicable Treason + Vessel Born + more: New Globe Theatre, Fortitude Valley Kitty Flanagan: Queensland Performing Arts Centre (QPAC) (Concert Hall), South Brisbane A Tribe Called Red: Queensland Performing Arts Centre (QPAC) (Clancestry), South Brisbane Pete Murray + Garrett Kato: Redland Bay Hotel, Redland Bay B-Syde + Alpha Pi: Ric’s Bar, Fortitude Valley Bertie Page Clinic: Royal Mail Hotel, Goodna Lime Cordiale + Bearfoot + Tongue Tied Thieves: Solbar, Maroochydore Ben Cummiskey: Solbar (Lounge Bar), Maroochydore Jack Bratt: Statler & Waldorf, Brisbane

Ecstatic Energy Accompanying new single Ecstatic Electricity, Sydney psych rockers Richard In Your Mind are going on a tour to celebrate. They’ll be hitting up The Bearded Lady, 4 Dec, and The Northern, Byron Bay, 5 Dec. Ed & Eddy: Story Bridge Hotel (The Corner Bar), Kangaroo Point DJ Emotions: Story Bridge Hotel (The Shelter Bar), Kangaroo Point Taylor Swift + Vance Joy: Suncorp Stadium, Milton Soul Mechanics + Andrew Butt: The Boundary Hotel, West End Taylor Swift After Party with What We’re Worth + First Sight + Renegade Armada + Sensaii: The Brightside, Fortitude Valley The Belligerents + Jenny Broke the Window: The Foundry, Fortitude Valley Yelawolf: The Met, Fortitude Valley Byron Short + The Sunset Junkies + The Great Disruption + Stone Fox: The Milk Factory Kitchen & Bar, South Brisbane Shellac + The Crooked Fiddle Band: The Triffid, Newstead DJ Black Amex + Dean Joseph: The Triffid, Newstead

Dallas Frasca

DJ Fluent JB: The Triffid (Beer Garden), Newstead

Going To Dallas

The Mark Of Cain + Grieg + Barge With An Antenna On It: The Zoo, Fortitude Valley

The alt-pop rockers Dallas Frasca are stopping over in a few festivals, but don’t stress if you’ve missed any, as the Janis Joplin-channelling lead singer will be gracing Crowbar, 11 Dec.

Sun 06


Hugh Jackman: Brisbane Entertainment Centre, Boondall Brisbane Contemporary Jazz Orchestra: Brisbane Jazz Club, Kangaroo Point

Stereosonic 2015 feat. Armin Van Buuren + Axwell + Ingrosso + Major Lazer + Showtek + Peking Duk + Oliver Heldens + Galantis + Generik + Diplo + DJ Snake + Tchami + What So Not + more + Stereosonic: Brisbane Showgrounds, Bowen Hills The Rumjacks: Jubilee Hotel, Fortitude Valley Crescent City Players: Lock ‘n’ Load Bistro, West End Father John Misty + Cameron Avery: Max Watt’s (formerly The Hi-Fi Brisbane), West End

Mon 07 The Round: Black Bear Lodge, Fortitude Valley Pusha T: The Met, Fortitude Valley Thurston Moore Band + Gold Class: Woolly Mammoth, Fortitude Valley

Tue 08 Elton John + Foy Vance + Tate Sheridan: Brisbane Entertainment Centre, Boondall

A Tribe Called Red + OKA: Solbar, Maroochydore Pat Tierney + Haji Basim: Solbar (Lounge Bar), Maroochydore Big Kitty: Story Bridge Hotel (The Outback Bar), Kangaroo Point DJ James Brown: Story Bridge Hotel (The Shelter Bar), Kangaroo Point Bertie Page Clinic

PLTS + Von Villains + Bugs: The Bearded Lady, West End KiNK: The Brightside (Car Park), Fortitude Valley

Same Page

Haha SingSong with Damien Power + Emerson Snowe + Dan Rath: The Foundry, Fortitude Valley

In celebration of Kaftan Party/ The Lioness, Bertie Page Clinic have announced a tour up the east coast. You can catch the rock’n’roll band at Royal Mail Hotel, 5 Dec, and The Bearded Lady, 11 Dec.

Andrea Kirwin + Ofa Fanaika: The Milk Factory Kitchen & Bar, South Brisbane Unknown Mortal Orchestra + Alex Cameron: The Triffid, Newstead Triffid Roots feat. Zac Gunthorpe + Hannah Rosa: The Triffid (2pm), Newstead

Gigs / Live The Guide

Kayleigh Pincott: Brisbane Jazz Club, Kangaroo Point

Gold Class

British India

Short Stack: Brothers Leagues Club, Manunda CC The Cat: Burleigh Brewing, Burleigh Heads

Hierophants + Siberian Hell Hounds: Chardons Corner Hotel (The Back Room), Annerley Dallas Frasca + Ceres: Crowbar, Fortitude Valley Alla Spina + Woodstock Road + Captain Sternn: Johnny Brown’s, Fortitude Valley InExcess: Jupiters, Broadbeach Ham: Lock ‘n’ Load Bistro, West End One Sound: Logan Diggers Club, Logan Central

Going For Gold For the vinyl launch of their album It’s You, Gold Class are hitting up The Foundry. They’ve been travelling up the east coast, and now you can catch them 4 Dec with Per Purpose, Pleasure Symbols and 100 Per Cent. Andrew Saragossi: Lock ‘n’ Load Bistro, West End

The Misfits + The Dreamkillers + Pyromance: The Triffid, Newstead

Goat + King Gizzard & The Lizard Wizard + Orb: The Triffid, Newstead

Moon Duo + Dreamtime + Grinding Eyes: The Zoo, Fortitude Valley

Mono + Danyl Jesu + Pale Earth + The Sea Shall Not Have Them: Woolly Mammoth, Fortitude Valley

Thu 10

Wed 09 Double Shot Improv: Beetle Bar, Brisbane Jessica Pratt + McKisko: Black Bear Lodge, Fortitude Valley The Rival Mob: Crowbar, Fortitude Valley Gin Wigmore: The Foundry, Fortitude Valley

The Belligerents

Julia Holter + Andrew Tuttle: Black Bear Lodge, Fortitude Valley E.M.O: Brisbane Jazz Club, Kangaroo Point

Travis Collins + Mickey Pye + Caitlyn Shadbolt: Royal Hotel, Gympie Hat Fitz & Cara Robinson: Royal Mail Hotel, Goodna

Sat 12 Travis Collins + Mickey Pye + Caitlyn Shadbolt: Beerwah Hotel, Beerwah

Bullhorn: Solbar (Main Stage), Maroochydore

Sabrosa Sound System: Black Bear Lodge, Fortitude Valley

Preston: Sonny’s House of Blues, Brisbane

Sam Smith + Emma Louise: Brisbane Entertainment Centre, Boondall

DJ Graham Fish: Story Bridge Hotel (The Shelter Bar), Kangaroo Point Friend Within: TBC Club (The Bowler Club), Fortitude Valley Black Heart Breakers + Bertie Page Clinic + The Wrath + Greyface: The Bearded Lady, West End

Pete Murray

Des Reid: Loving Hut, Mount Gravatt

Sharing members with Moses Gunn Collective, Morning Harvey and The Jungle Giants, power band The Belligerents are reconvening at Solbar alongside Jenny Broke The Window, 4 Dec.

The Exploited + The Scam + Obserd + F1 Eleven: The Zoo, Fortitude Valley

The Johnson Stompers: Lefty’s Old Time Music Hall, Brisbane

Onya Pete Pete Murray is underway on his Yours Acoustically tour. He’ll be playing some intimate acoustic shows at Harvey Road Tavern, 3 Dec, Villa Noosa Hotel, 4 Dec and Redland Bay Hotel, 5 Dec.

Fri 11 Variety Bucket with Diamond Dave: Beetle Bar (4pm), Brisbane Hits + Some Jerks + Eyes Ninety: Beetle Bar, Brisbane WAAX: Black Bear Lodge, Fortitude Valley

Rockabilly End of Year Party with The Hi-Boys + Miss Teresa & Her Rhythmaires + DJ Lori Lee: Club Greenslopes, Greenslopes

Worthy + Ardalan: Family Nightclub, Fortitude Valley

Kenta Hayashi + Ribeleon: The Bearded Lady, West End


Metal of Honor feat. Wartooth + Trinatyde + Desmantra + The Abducted + Valhalla Mist + Blood of the Lannisters: Chardons Corner Hotel, Annerley

The Wet Fish: Eat Street Markets, Hamilton

A Not So Silent Night: Solbar (Main Stage), Maroochydore

Love Hate Rebellion + Street Pieces + Former Angels + Deena: The Triffid, Newstead

The Tropical Dance Orchestra: Brisbane Jazz Club, Kangaroo Point

The Hotelier + Ceres: Crowbar, Fortitude Valley

Ben Smith: Solbar (Lounge Bar), Maroochydore

Jarryd James + Meg Mac: The Tivoli, Fortitude Valley

To celebrate their fifth album Nothing Touches Me, British India have promised a world tour to close 2015. They’ll be at The Triffid alongside Tired Lion, 11 Dec.

The Orphans of Swing: Solbar (Lounge Bar), Maroochydore

Uncle Acid & The Deadbeats: Crowbar, Fortitude Valley

Jarrod Mahon + Rolls Bayce + Teen Sensations + Ciggy Pop + Corporate Vibes: The Brightside, Fortitude Valley

Don’t Touch Me

MKO Sun + Superfeather + Vulture St Tape Gang + Potato Masta: The Brightside, Fortitude Valley British India + Tired Lion + Ivey: The Triffid, Newstead Mercury Rev + Primitive Motion + Faint Spells: The Zoo, Fortitude Valley

Age of Champions: Lock ‘n’ Load Bistro, West End Majestique: Logan Diggers Club, Logan Central The Moonlight Society + Lotus Ship + Tangerine + The Ether + Tee Cee: Miami Tavern (Shark Bar), Miami The Strums + The Way We Were + Black Heart Breakers: Ric’s Bar, Fortitude Valley Marshall Okell & The Pride: Royal Mail Hotel, Goodna Jason Daniels: Solbar (Lounge Bar), Maroochydore Dallas Frasca + Hobo Magic: Solbar, Maroochydore The Very: Story Bridge Hotel (The Corner Bar), Kangaroo Point DJ Panda: Story Bridge Hotel (The Shelter Bar), Kangaroo Point


Comedy / G The Guide

Lisa Crawley: The Bearded Lady, West End Earth Caller + DVSR + I Shall Devour + more: The Brightside, Fortitude Valley Guards Of May + Dollarosa + Weightless In Orbit + The Iron Eye: The Foundry, Fortitude Valley

Hollywood Heartache: The Lab, Brisbane Lisa Crawley + Annie & Bern + S.S. Sebastian: The Loft, Surfers Paradise Custard + Gentle Ben & His Sensitive Side + Love Signs: The Triffid, Newstead DJ Black Amex + Dean Joseph: The Triffid, Newstead Short Stack: The Venue, Townsville City 23rd Birthday with Spit Syndicate + Jackie Onassis + The Meeting Tree: The Zoo, Fortitude Valley Bully + Rolling Blackouts + Tempura Nights: Woolly Mammoth, Fortitude Valley Cam Avery

Sun 13 The Hotelier + Ceres: 38 Berwick Street, Fortitude Valley

Thru The Cameron Lens

Bluesville Station: Bearded Dragon Tavern, Tamborine

Cameron Avery will be supporting Father John Misty at his gig at Max Watt’s on 6 Dec. Avery’s a busy bloke; he’s played bass with Tame Impala, drummed for Pond and fronts his own band, The Growl.

Bush Gothic: Black Bear Lodge, Fortitude Valley Madchild + Mastacraft + Mickey Deville: Woolly Mammoth, Fortitude Valley

Celebration of Sinatra feat. Brisbane Big Band: Brisbane Jazz Club, Kangaroo Point

Short Stack: Mackay Entertainment Centre (Foyer), Mackay

Zac Gunthorpe: Brisbane Powerhouse, New Farm

Tackleberrys + Chris Todd: Story Bridge Hotel (The Outback Bar), Kangaroo Point

Tue 15

MofoIsDead: Crowbar, Fortitude Valley

DJ James Brown: Story Bridge Hotel (The Shelter Bar), Kangaroo Point

Tim & Eric: City Hall, Brisbane

Ham + The Roseberys + Box Falcon + Ellie James & The Forces of Destiny + The Angela Toohey Band + Naomi Sunderland: Lefty’s Old Time Music Hall, Brisbane Innes Campbell: Lock ‘n’ Load Bistro, West End

Calamine + Alice Night + Juju Born: The Bearded Lady, West End One Day Sunday: The Triffid (Beer Garden/1pm), Newstead

Gin Wigmore

Brad McCarthy Band: Lock ‘n’ Load Bistro, West End Halestorm + Bellusira: The Tivoli, Fortitude Valley

Gin Hour Screamfeeder

We Scream For Noisy indie rock band Screamfeeder are touring to celebrate the vinyl re-release of their album Rocks On The Soul. They’ll be performing at Black Bear Lodge on 5 Dec.


Coming back to Aus after her sold out US tour, Gin Wigmore will be playing songs from her Blood To Bone album. Alongside special guests, you can spot her at The Foundry, 9 Dec.



The Music (Brisbane) Issue #107  

The Music is a free, weekly magazine of newsstand quality. It features a diverse range of content including arts, culture, fashion, lifestyl...

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