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03.08.16 Music / Arts / Lifestyle / Culture



Brisbane / Free / Incorporating

Tour: Bob Evans TV: Wil Anderson Tour: sleepmakeswaves



triple j, sand events, music feeds, focus, au review & the music present

line up announced on triple j 15th august 2016

What’s neW thursday comedy stand plus street art & merch crafting sessions! pre pitched tents for hire with concierge & private toilets early bird tickets for locals go to pretty rad store for more details! powered sites passes for caravans & rvs!

thur 8th , FRI 9TH & SAT 10TH DEC 2016

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Music / Music / Arts / Lifestyle / Culture

Gurg It


Venerated Aussie alt-rock trio Regurgitator are following up their recent announcement as this year’s first Live At The Orchard headliners with a slew of headline shows all around the country throughout October.

Tkay Maidza

Big Live This year’s BIGSOUND conference and showcase in Brisbane just keeps on getting bigger, with the second round artist announce. Tkay Maidza, DZ Deathrays, Harts, I Heart Hiroshima, The Gooch Palms and heaps more have joined the list.

No Fin Flop

Fun prank: steal your coworker’s food items out of the fridge and replace them with pictures of you eating them then vehemently deny it. @UNTRESOR 6 • THE MUSIC • 3RD AUGUST 2016

Celebrated Melbourne pop orchestra Dorsal Fins have signed a new deal with stalwart Aussie-exclusive label Dot Dash in the run-up to a national tour this August and the release of their second LP Mind Renovation.

Dorsal Fins

Arts / Li Music / Arts / Lifestyle / Culture


Aussie legends The Superjesus are set to drop new EP Love & Violence next month and to celebrate, the band will be hitting the road for a national tour this October.

The Superjesus

TUE 16 AUG Garbage















Odd Ducks Having just been included on the upcoming A Day On The Green line-up, alt-rock outfit Garbage have announced they’re taking sixth LP Strange Little Birds out on tour in November - their first shows in the country since 2013.

Bernard Fanning










B Civil With this solo career now tipping on the ten-year mark and his third LP Civil Dusk due out next month, Aussie favourite Bernard Fanning has announced a huge national tour slated for this October.




Lifestyle Music / Arts / Lifestyle / Culture

New Sound

The first-ever Park Sounds is set to take place in November. The music festival will take place just north of Brissy and has already snagged aussie hip hop crew Bliss N Eso as headliners.

Bliss N Eso

Full Phat Prolific Detroit-based producer and MC Black Milk will hit Australian shores for a four-date tour, including a festival slot, in November. Afterwards he’ll be heading to New Zealand.

Alex Lahey

Kick Off The Maroochy Music & Visual Arts Festival has added Tom Tilley, Japanese Wallpaper and Alex Lahey to the list. The launch party for the festival is 11 Aug and will be headlined by Mallrats.

8 The number of varying models of Mötley Crüe-themed vibrators you will soon be able to choose from when they’re released in September.


e / Cultu Music / Arts / Lifestyle / Culture



Having recently hit the road with Client Liaison and fresh from releasing their debut album Touch, Melbourne synthpop duo GL have announced an album tour to bring their new tracks to life this September.

Black Milk

Last year’s Grant McLennan fellowship winner Tim Steward

Grant McLennan Fellowship Nominations for the Grant McLennan Fellowship are now open. This program awards $25,000 to a local songwriter, who gains the opportunity to take their career to a whole new level in an international setting.


Lifestyle Music / Arts / Lifestyle / Culture

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13 The number of places Flume jumped back up the album charts, landing at #2, one of many acts to get an upward bump courtesy of an appearance at Splendour In The Grass.

Kim Gordon

BIGGER This September’s BIGSOUND has picked up its first international keynote speakers in grunge pioneer Kim Gordon, hip hop godfather Peanut Butter Wolf and his longtime labelmate J Rocc. 10 • THE MUSIC • 3RD AUGUST 2016

e / Cultu Music / Arts / Lifestyle / Culture

Get Lit

Byron Writers Festival is on from 5- 7 Aug. 150 celebrated international and Australian writers, thinkers and commentators such as Amanda Brown and Paul Kelly discuss the current issues and the foundations of story.

Amanda Brown

The Wilson Pickers


Polish off the weekend with a good dose of free live music every Sunday from 3.30pm.


Good Advice The Wilson Pickers are releasing their third album You Can’t Catch A Fish From A Train at the end of the month and they’ve announced a national tour from late September through to December to go with it.

String Theory Instrumental duo 2Cellos are returning to Australia in November and December. Dubbed The Celloverse tour, these shows will see the pair meld classical and contemporary music from Bach to AC/DC.

Chris Langerberg Arpier


Capital Qs

Professor Brian Cox

Professor Brian Cox will be touring Australia in August with his new live show A Journey Into Deep Space. The show explores the big questions, like where the hell is 95% of our universe?

Steve Tyson PYNES Brisbane Airport is keeping this event free.





A lie n Fe s t i v i t i e s Giant beings from outterspace are set to invade Maroochy Music & Visual Arts Festival on the Sunshine Coast — James Birrell, Erin Fitzsimon, Amanda Parer and Zac Abroms let Brynn Davies know that they come in peace.


pring is an exciting time — the jeans and jackets are locked in the cupboard for another year and battered thongs are unearthed. The surf suddenly looks appealing again, skin loses its translucency and overalls become a ‘thing’ again. But for the vast majority of us, Spring means one thing only: festival season. A festival on the Sunny Coast sounds, well, luscious to say the least, and those behind the upcoming Maroochy Music & Visual Arts Festival are all for the burgeoning Brisbane music scene. “It’s the genuinely good nature of the punters on the Sunny Coast. It’s an overwhelmingly friendly, passionate and receptive festival audience who contribute to the supremely vibe-y atmosphere of the fest and spur our desire to continue bringing outrageously good music to Maroochydore each year,” muses Zac Abroms, the talent coordinator and music enthusiast behind the festival’s line-up. “Australia [has] really gotten on board with festivals,” adds Erin Fitzsimon of Brissy act Inigo, who will be performing at the festival. “I think it’s a combination of both the music and culture that provides a sense of togetherness — whether it be to party, dance or hang. Australia’s so supportive of Australian music, which is a really positive thing to take on as an emerging artist, but also proves that we can hold our own on an international scale. I love that festivals provide a smorgasbord of acts and I always walk away with some new favourites that I end up listening to forever.” And it’s not just a world-class line-up that will excite punters. “I think that, as a whole, contemporary society is becoming more interested in visual art forms,” says James Birrell, the brains behind the artistic component of Maroochy’s festivities. “I think that this is

largely due to artists breaking down the traditional ideas of what art should be and how it should be experienced. I think festivals are centered around experience and that modern art is becoming more about experiencing art rather than just viewing it or collecting it,” he explains. For Queensland punters, there’s something big looming on the horizon. Literally. MMVAF is all about creating an immersive experience — in art, in culture, in music and, this year, in space. Pioneering the journey punters will take into a ‘magical realm’ is renowned installation artist Amanda Parer, who will bring giant celestial beings from far away universes down to the Old Horton Park Golf Course. The piece is part of Parer’s conceptual project, the Fantastic Planet series: “Inspiration for this light installation has been taken from the 1973 Czech/ French film Fantastic Planet. This stop motion science fiction film directed by Rene Laloux depicted a story set in an unimaginably distant future in a world of gargantuan humanoids, and where human beings are a feral race.” This year, five giant, illuminated beings will ‘invade’ MMVAF. “These giants from afar will give audiences the impression that they have just landed and are quietly and gently exploring our ‘fantastic planet’. As with my previous public art exhibit Intrude [the “giant rabbit installation” that could be spotted at the inaugural MMVAF last year], these forms will not be randomly placed sculptures, but can be rather strategically placed to give the impression that the giant humanoids have taken over entire site... So MMVAF 2016 will be the first contact and I’m sure there will a lot of feral humans running around that day!” Birrell laughs. “One of the humanoids stands nearly

One of the humanoids stands nearly 12 metres tall, so higher than a street light. I’m guessing you’ll see it from a lot of the mountains surrounding Maroochydore, especially at night.

12 • THE MUSIC • 3RD AUGUST 2016

MMVAF 12 metres tall, so higher than a street light. I’m guessing you’ll see it from a lot of the mountains surrounding Maroochydore, especially at night.” Other celestial beings touching down include an incredibly diverse array of artists from Peking Duk, Matt Corby, Allday, George Maple, Client Liaison, City Calm Down, Ngaiire, Boo Seeka, Bad//Dreems, Vera Blue and Pop Cult, to a bundle of emerging Brissy talent. Among the newcomers is Inigo, who you can spot at the Champagne & Oysters Garden. “I am so stoked at the Brisbane/ SEQ music scene right now. There are so many supportive musicians and people in the industry that all have each other’s backs, and I think that’s a big contributing factor as to what makes [the Brisbane music scene] so great. Although we’re all making different music — versatility, yes! — it’s so great to get out and support one another,” Fitzsimon says. “I am so chuffed that MMVAF have invited us back to play another year at Champagne & Oyster Garden. It’s a great platform for getting your music heard at festivals as an emerging artist, and to be

included on a bill with such great artists really makes you warm and fuzzy.” Balancing big names with up-and-comers has been taken into consideration and Fitzsimon enthuses, “MMVAF have the ‘no clashes’ thing sorted, so Champagne & Oyster stage plays while the main stage is being re-set”. Scratching your head over what Champagne & Oyster Garden is doing bang smack in the middle of music festival rabble? Abroms explains: “Champagne & Oyster Garden is a magical place just out of earshot of the excitement on the main stage, where the more refined among us can indulge in a couple of life’s delicacies while being serenaded by some supremely cool sounds.” Ooh la la! “It’s likely the only place you can have a glass of champers and a freshly shucked oyster while you chuck a mosh to Bad//Dreems,” he winks. Well, at least it’s not overly wanky — especially if we’re downing “champers” and proceed to “chuck a mosh”. It’s fancy, Aussie style.

Parer and her celestial beings aren’t the only visual art inclusions. Check out Bertie Blackman and MICANAUTS — stage artwork and group exhibition — Mic Black with the Wonder Games, Guz, Zoe Porter, Gimiks Born, Thom Stuart and Ochid providing live street art, Wayne McFetridge’s Disk World and a lot more. And if last year is anything to go by, there’s bound to be a bunch of weird and wacky stuff to spy as you wander around the lawns. “Last year there were house-sized inflatable bunnies, an art exhibition in a shipping container, trees wearing knitwear, a sandy bar in a golf bunker and too many beautiful, sequined, bejewelled and glittery people to count. I can’t wait to see what this year brings,” squeaks Abroms. Neither can we!

When & Where: 10 Sep, Maroochy Music & Visual Arts Festival, Old Horton Park Golf Course


Amanda Parer

Invasion 101 Amanda Parer’s giant space people will be taking over the festival. Here’s a few things she shared with us about these blow-up beings: There will be a special unveiling: “I can’t say too much, but think Pokemon but with giant glowing aliens.” The beings have bodyguards: “The giant humanoids will have professional guardians poised and ready to educate over-

enthusiastic punters in how to interact respectfully with the artwork.” You can name them yourself: “I was almost going to name the giant rabbits of Intrude, but I found that people happily did that themselves and that it really helped them to form a bond with [these] forms. I am hoping the same will be with the humanoids of Fantastic Planet.”

They’re taking over the world: “Fantastic Planet has actually become a global four-way commissioned project — between MMVAF, Signal Festival in Prague [October], Glow Festival in the Netherlands [November] and [Montreal] en Lumiere in Canada [February 2017].”

They come with a message: “I aim to raise questions about the natural world and our place within it. To communicate this I use contrasting elements such as light and dark, melancholy and hope, humour and drama, and in doing so entice my audience into the more serious themes of the work. The works themselves do not aim to provide answers to the questions raised, merely to promote discussion.”



A New Leaf Ahead of a national tour to send off 2014’s acclaimed Love Of Cartography, Otto Wicks-Green tells Tyler McLoughlan that sleepmakeswaves’ third record may be the Sydney outfit’s most brutal yet.


rom a cafe in Redfern, sleepmakeswaves guitarist Otto Wicks-Green is newly rid of a day job and an appendix, the latter conveniently announcing its presence in a rare window of downtime for the ever-inmotion four-piece. He’s feeling fresh and primed to give ARIA-nominated Love Of Cartography its last headline hurrah around Australia, their first with new guitarist Dan Oreskovic, which closely follows a sold out run supporting reformed prog heroes Cog. “Dan was going to Cog shows back in I think in the late ‘90s — he was sneaking into them and faking his

It’s such an intangible thing to know that you’ve got to write a great follow up album... But just through sheer force of will you can’t achieve that, it has to be disconnected from your ambition.

I.D and all that stuff to the point where he actually kinda knew the band,” starts Wicks-Green. “He probably had less beard and a more hopeful outlook on life back then, you know, that kind of optimism that gets lost after a few years playing in a band! When we met up with Cog boys on the first show, Dan kind of hopefully proffered his hand and said like, ‘Maybe you’re gonna remember [me]?’ And there was not even the faintest trace of recollection from those guys which was really funny,” he laughs. “We didn’t really have any personal relationship with them, but musically for sure they’ve been a massive influence; they set the scene in Australia, the prog scene for bands like Karnivool and The Butterfly Effect and Dead Letter Circus to emerge in their wake, and then of course those bands gave way to bands like sleepmakeswaves. So in that 14 • THE MUSIC • 3RD AUGUST 2016

respect it was a real bucket list honour to be on the road with them.” With an ever-present gratitude for the support of the international progressive rock community — players and fans alike — sleepmakeswaves frequently and generously use their own media and stage platforms to shine a light on the scene. “I ‘spose given that this is the final tour in the Love Of Cartography cycle we’ll be reaching into the back catalogue and plucking out some songs we haven’t played in many years too. It will be Dan’s first time on a big Australian headline tour with us, so we’re really excited to show him off... Crucially as well, we’re bringing out The Contortionist, who we toured with in the States earlier this year. If you’ve never listened to them, they’re absolutely worth a spin — their latest record Language is really exciting and a beautifully progressive metal album. The singer Michael Lessard is wonderful and his presence on stage is really captivating; the musicianship and songwriting in that band is some of the best I’ve ever seen, so getting to tour with those guys on two different occasions this year is a real privilege and they’re lovely dudes to boot so I’m really psyched to have those guys on the bill. “Then also Tangled Thoughts Of Leaving are coming out from Perth who are a really heavy keyboard-driven take on post-rock I suppose, and their live show is really worth catching. So the whole line-up I think is really stacked and worth coming out early for.” The tour will likely be a road test for the first tracks of the third sleepmakeswaves album too, tentatively scheduled for recording with Love Of Cartography producer Nick DiDia [Stone Temple Pilots, Powderfinger, Karnivool] in October/November. According to WicksGreen, the early writing is feeling “Antarctic and austere and brutal”. “[Bassist] Alex [Wilson] and I kind of put our heads together late last year and started talking in a conceptual way about what we wanted to do and shared some bits and pieces, and we were kind of on the same wavelength — that we wanted to make something a little bit darker and heavier in tone, and something a little bit more riffy as well. We’ve spent time with bands like Karnivool and The Contortionist, but then also having spent time with bands like This Will Destroy You it went the opposite way with these enormous droney soundscapes; we kind of wanted to combine these worlds and see what we could do in a more cohesive way with this record. “Love Of Cartography — we were super proud with how that went and we’re stoked with that record but we were also thinking about its limitations, how it was really a collection of songs rather than a really cohesive album experience,” the guitarist admits, while noting the work ahead. “It’s such an intangible thing to know that you’ve got to write a great follow-up album... But just through sheer force of will you can’t achieve that, it has to be disconnected from your ambition — it has to be something that just happens separately in its own time.”

When & Where: 13 Aug, The Triffid


Car Boot Soap Box The crazy things happening in the world lately have punctuated the seemingly quiet, domesticated life of Kevin Mitchell, aka Bob Evans. He tells Carley Hall his new album was not immune to some political commentary either.


ife is a busy one for Kevin Mitchell. The 39-year-old is about to hit the road in support of his latest release Car Boot Sale, under the guise of his much-loved alter ego Bob Evans, so it’s a good thing he got in a quick trip to Thailand a few weeks before the curtain goes up on his first show. Still, back home in Melbourne, it ain’t all satay sticks and daiquiris by the poolside when he phones in. “I’m in my garage and this massive storm has just gone through,” he laughs. “I’ve been out of the country the last few weeks in more tropical climes, sipping cocktails, so I’ve been lucky to have a leave pass lately from the weather.” From the carefree days of touring with his alt/grunge band Jebediah during late-’90s Australia’s musical glory days, to forming and recording with Basement Birds alongside Kav Temperley (Eskimo Joe), Steve Parkin (Vinyl) and Josh Pyke, while chalking up his fifth Bob Evans release, it’s been a long and progressive journey for Mitchell. “I think I’m probably just as critical of myself now as I ever was in the beginning,” he admits. “I think I probably hold myself to higher standards now. I’m still learning so much about writing songs and records. One of the things about starting off really shit is having the room to grow.” That growing process has also been reflected in his personal life. In between his musical projects, Mitchell, to all appearances, lives a relatively quiet, domesticated life with his wife and two little girls on the Bellarine Peninsula. But far from living like a recluse, the world around him and the crazy things it increasingly throws into the arena have seeped into the commentary running through Car Boot Sale. On the subject of Australian politics, the quiet life of Mitchell is punctuated by some harsh truths. “I’m just like a lot of people, my social media feed is full of whatever fucking bullshit is going on in the world at the time,” he argues. “I try not to get too deeply engaged with whatever this week’s outrage is. But I think that we’re all witnessing some weird cycle that just becomes a reality after a while. But as far as what’s going on in Australian politics, the last few years have been incredibly awful. “A lot of people don’t want hear about politics in their music any more than at the dinner table. But look, I think maybe with age you realise that a lot of things are really fucked up. There are a lot of things

A lot of people don’t want hear about politics in their music any more than at the dinner table.

going on in Australia recently, and the world of course, that should not be happening. And the only reason they are happening is because we’re letting them happen.” Despite the many political ills that has Mitchell fired up, they weren’t the soul inspiration behind Car Boot Sale. After heading off into a new territory on previous album Familiar Stranger in 2013, Mitchell came back to his trusty acoustic guitar for his latest. “Car Boot Sale started germinating pretty soon after the last record,” he explains. “I’m always writing but when I first start writing I guess I’m not really writing with a purpose. It’s only after that the songs start to gather up that I see a pattern starting to emerge, and I start thinking okay, well maybe this is the beginning of the record. “So with this record it was really all about coming back to the acoustic guitar and finding new ways of putting songs together on it. I’ve played it for a long, long time and it can be difficult to find different ways of doing things, you know. In a way I think I’m returning a little bit to the style of my earlier albums.” We’re lucky there’s even a new Bob Evans album to be toured at all; during our chat Mitchell admits that he had come close to retiring the name. Thankfully, there’s still music to be made under Bob’s name yet. After releasing music for about two decades under various monikers, has he ever asked himself what a Kevin Mitchell album might sound like? “I think what’s happened over time is that Bob Evans has become a Kevin Mitchell record. If I was to ditch Bob and do a record under my own name, the only reason I could think of doing it is if I was going to do something really different. I thought about retiring the Bob Evans name after the third album. After that I did a record with Basement Birds, Jebediah got back together and made a record. I ended up coming back to Bob Evans I think because I don’t think I was ready to let go of it. But who knows, maybe by the time I make different music I’ll be able to let go of the name.”

What: Car Boot Sale (EMI) When & Where: 11 Aug, The Foundry THE MUSIC 3RD AUGUST 2016 • 15

Credits Publisher Street Press Australia Pty Ltd Group Managing Editor Andrew Mast National Editor – Magazines Mark Neilsen Editor Mitch Knox


The Rude Boy Returns

Arts Editor Hannah Story Gig Guide Editor Justine Lynch Contributing Editor Bryget Chrisfield Editorial Assistants Brynn Davies, Sam Wall Senior Contributor Steve Bell Contributors Anthony Carew, Ben Preece, Benny Doyle, Brendan Crabb, Caitlin Low, Carley Hall, Chris Familton, Clare Armstrong, Cyclone, Daniel Cribb, Danielle O’Donohue, Dave Drayton, Dylan Stewart, Georgia Corpe, Guy Davis, Jake Sun, Joel Lohman, Liz Giuffre, Madeleine Laing, Mark Hebblewhite, Neil Griffiths, Paul Mulkearns, Peter Laurie, Rip Nicholson, Roshan Clerke, Sam Hobson, Samuel J Fell, Sean Capel, Sean Hourigan, Tom Hersey, Tom Peasley, Tyler McLoughlan, Uppy Chatterjee Photographers Barry Schipplock, Bec Taylor, Bobby Rein, Dave Kan, Freya Lamont, John Stubbs, Kane Hibberd, Markus Ravik, Stephen Booth, Terry Soo Sales Trent Kingi Art Dept Ben Nicol, Felicity Case-Mejia Admin & Accounts Meg Burnham, Ajaz Durrani, Kathy Zhu Distro Subscriptions Contact Us Phone: (07) 3252 9666 Street: The Foundry, 228 Wickham St, Fortitude Valley, QLD 4006 Postal: Locked Bag 4300 Fortitude Valley QLD 4006

— Brisbane

16 • THE MUSIC • 3RD AUGUST 2016

Neville Staple is the original rude boy, and despite turmoil at home, he’s not stopping for anything, as he tells Samuel J Fell.


nless you’ve been living under a rock, you’d be aware of the social, political and economic turmoil currently engulfing the United Kingdom. A slim majority of its residents recently voted the country out of the European Union, and as such, unrest is rife; it is indeed a time of great uncertainty. Neville Staple, key member of legendary ska band The Specials, who despite being born in Jamaica has lived in the UK for the majority of his life, is sanguine about it all. “There is a big divide going on at the moment here,” he concurs, “but how I see it, whether you like it or not, a vote is a vote. So let’s just get together, sort out what’s wrong, and fix it. It’s not rocket science. We just need a suitable leader to lead the way.” We ask him if, at this early stage, it looks like there’ll be ramifications for the arts. Staple has, whether with The Specials or with The Neville Staple Band, been at the forefront of ska for decades, and so would no doubt be watching that space carefully. “To be honest, it’s a bit too early to say,” he muses. “At the moment I have gigs booked internationally from now until the end of 2017, so hopefully it won’t affect anything. Music is shared across the world and is big business, so there will always be a way, regardless.” Truer words were never spoken, and indeed, some of those international gigs are happening right here in Australia this month.

Staple was last here in 2012 with The Specials on one of their reformation tours. Given the tumult happening at home, he’s keen to get over here. “The Australian fans are brilliant and love a good party, which is how I like to make my shows,” he enthuses. “We have a bit of fun, the fans sing along and there’s a lot of energy. I can’t wait.” Joining The Specials in the late ‘70s, Staple has become one of the legends of the ska genre. Known as ‘the Original Rude Boy’, he’s been at the coalface of the genre ever since, and is one of its shining lights today. In 2014, he released Ska Crazy!, his first solo record since The Rude Boy Returns in 2004, a ten-year gap in which he continued adding to the ska canon, even if it wasn’t under his own name. “Since The Rude Boy Returns, I haven’t stopped,” he says. “I spent many years doing some production work, helping other up and coming bands. I also took both Ranking Roger (The Beat) and Pauline Black (The Selecter) on various tours before they put together new bands for themselves. I wrote a bestselling autobiography during that time too (Original Rude Boy - From Borstal To The Specials). “In 2009, The Specials reformed, so I spent the next three years on tours with them, apart from Jerry [Dammers]. I worked on the big BBC Reggae Britannia shows and continued throughout all of the above, to tour extensively with my own band. So yes, there was a big gap, but it was during a very busy time.” Times continue to be busy for Staple, as he works towards his next solo release, as well as keeping up the heavy touring schedule. The Original Rude Boy never stops.

When & Where: 5 Aug, Miami Tavern; 6 Aug, Woolly Mammoth













Frontlash That’s F*ckin’ Teamwork The Reclink Community Cup enjoyed a successful launch at The Triffid on the weekend; the main event is 25 Sep.

iPhones In The Womb

Good For What Ails You How was The Cure’s epic set at Splendour In The Grass? What happened with Fat White Family? Read up on what you missed at the festival in our Live section.

Twelve (Or Seven) Inches

Lashes Of Pleasure

Get thee to The Triffid(3 Aug) for Sonic Sherpa’s Pure Vinyl event, which encourages punters to bring along their favourite wax for a spin.

The Triffid

Backlash Shut It Down

Angus Young says he doesn’t know whether AC/DC will continue following their current Rock Or Bust tour. Has he looked at his band lately? It’s time to move on.

Doctors Feelgood, Inc. Motley Crue are releasing their own line of mini- and standard-size vibrators, adorned with their logo and art inspired by their album covers, as if their fans don’t already know exactly what it’s like to be screwed by them.

Tearing Us Apart We didn’t need Deep Impact when we had Armageddon, and we don’t need two different biopics about Michael Hutchence. (We definitely don’t need two different shows based on Carpool Karaoke, either.) Sort it out. 18 • THE MUSIC • 3RD AUGUST 2016

Gabe Witcher of NY’s nongenrefied quintet Punch Brothers shares his fatherly concerns with Brynn Davies about the world our children will grow up in.


e are the last generations to be born into a world without modern communication technology. Our children are the first to come out of the womb knowing how to swipe right on an iPhone and take a selfie. So how do we know how to teach our kids right from wrong when it comes to technology if we ourselves were never taught? “Oh boy, I’ve never really thought about it like that, we’re just going to totally screw it all up! Then maybe our kids will be able to teach our grandkids how to do it better,” laughs a concerned Gabe Witcher, who is facing this battle with his two-year-old son. “From birth it’s the thing that they do, like, this is not amazing technology to you... My son knows how to swipe on a phone, he knows who Siri is — it’s really cute ‘cuz he’ll go ‘Siri, pictures of sea turtles please!... But gosh, it’s so frightening. Like, what is he going to be subject to?” For Witcher and his fellow Punch Brothers bandmates, technology’s impact on communication and their families takes number one priority. It’s a theme that ties together their fourth record The Phosphorescent Blues. “Especially us who travel so much... we have the ability to be constantly connected to each other in a lot of ways... Every day I’m gone, it breaks my heart to have to leave [my son] to go on the road, but at least now we can FaceTime. If

he wants to talk to daddy he can call any time... But there’s another side to it where it’s really easy to — in a quest to stay connected to every one and everything around you — to become quite disconnected from your immediate reality. End up living in this virtual space that you create for yourself that can actually be devoid of real personal connection,” Witcher explains. His concerns about technology extend from interpersonal break down to the negative impact on the overall quality of musicians and their performances — “Oh yeah, don’t get me started... You don’t have to be at your peak while you’re recording to get the absolute best performance that you have in you. Now you can do a pretty good job and fix it up later... What I’m hearing now is a diminishing of performance, we’re so enamoured with this technology that that’s all I hear now — I’m not hearing the performance, I’m not hearing the humanity coming out of the artist, I’m hearing the technology. It’s a really dangerous place to be in... We’ve lost the other side [of perfection], which is a thing call ‘feel’” he laughs. While conceptual focus unifies the Punch Brothers sound, you couldn’t categorise them by genre if you tried. “We all kinda think genre is kinda a fabrication that is used to help people talk about music. We always say that there’s more in common between, say, the greatest symphony ever written and the greatest tango ever written than there is between the greatest tango ever written and the worst tango ever written,” Witcher illustrates. “When you break it down, all music is built upon the same basic elements... I think now when people talk about genre, they’re mostly delineating different pieces of music by orchestration, you know?”

When & Where: 9 Aug, QPAC


Good Neighbours

Black Tusk drummer Jamie May tells Jonty Czuchwicki to cherish his friends, they might be gone “in the blink of an eye”.


iving on the same street gave birth to Black Tusk. “We pretty much hung out together almost every night and drank together and stuff,” starts drummer Jamie May. “We were all pretty much on the same level as far as music; listening to the same stuff and everything so this made it easy to vibe together right and come together to write.” Guitarist Andrew Fidler and bass player Jonathan Athon were playing in a crust punk group and May in a street punk band. Black Tusk was came together when the other outfits came to an end. “We all really liked metal and said ‘we don’t want to start up the same project again, so let’s do something different that we haven’t necessarily done before’.” May still loves punk music though, digressing that you can hear the influences on every Black Tusk record. Tragically, in late 2014 Athon sadly passed away in a motorcycle accident. “Well, for me personally, I had had what you would probably call my first best friend die in a car related accident. When I got in Black Tusk, and I had known Athon for so long, before being in that band he had become really close to me, what I would call a best friend. And then another accident, vehicle related, killed him and it’s just, you start to see death as no matter how close you are with somebody that you need to cherish your

friendship with them because literally in the blink of an eye they could be gone. “There were a lot of nights that me and Athon would just stay up with a bottle of whiskey and just talk about all kinds of shit and write music together and what we were going to do with the band and our expectations. To do that and then see it actually happen is a crazy feeling,” says May. “That’s the stuff that I miss about him, the late night hangs and stuff.” Black Tusk now perform with Corey Barhorst on bass guitar, and though they’ve reached the international stage, May speaks very fondly of his hometown Savannah. “It’s a small city and a small scene but there is a Savannah scene; magazines will talk about it and people wonder for such a small place how does all this really good stuff come out of it?” says May. “It’s just because Savannah’s thing is art, it embraces art. We have the second or third biggest art college in the world here... Everything is done out of creativity.” The strong link between art and music is the defining aspect of each Black Tusk record: “There’s been a theme for every album,” explains May. “Every album cover has John Baizley (Baroness) doing the artwork. The theme to it that we come up with is from the lyrics to the album. After a while we usually start writing the music and then see where that takes us, and then through that we sort of write what the theme of the album is going to be. The art really plays a role in the music aspect of it because that’s where we come from and that’s how we do it here. Art that you see on paper has a lot to do with the music here too.”

Olympics Music Bjork

With the Olympics about to kick off, it’s usually the stuff of stirring anthems, right? Well, not always, as these songs failed to finish on the podium.

Celine Dion – The Power Of The Dream You’re always on a hiding to nothing if Celine Dion is your drawcard, but this song from the 1996 Atlanta Games sounded like it was more at home in an RSL, not an Olympic stadium.

Bjork – Oceania Look, nothing against the song itself, it’s just more being Bjork the performance and song was so avant garde, no one could make out what on earth it had to do with the 2004 Athens Olympics.

Genghis Khan – Moscow Obviously some TV exec at the time wondered what music could be used at the 1980 Moscow Olympics and seeing as this earworm of a song had recently been released, it featured quite prominently in coverage, especially here in Australia.

When & Where: 7 Aug, Crowbar





With news that Apple Music purchased the rights to James Corden’s Carpool Karaoke segment and that a new game show called Caraoke Showdown is in development, we take a look at some of our favourite moments with artists who were in the passenger seat next to Corden:

Sia Also managed to balance eggs on her fingers as well as belting out renditions of her most notable songs.

Stevie Wonder Called up James Corden’s wife and sung “I just called to say James loves you” and it brought tears to Corden’s eyes.

Michelle Obama As Corden stated in amazement, “We need to talk about the rhymes that are in the First Lady’s locker”. A rap career could await her once the Obamas leave the White House.

Adele Even megastars spill their tea on themselves, as Adele proved. And then she necked the remainder, which made us love her even more.

20 • THE MUSIC • 3RD AUGUST 2016

Community Vibes

Sam George-Allen of Forevr chats to Brynn Davies about the strong Brisbane music community and being nervous about the band’s first show together for MMVAF.


am George-Allen of quartet Forevr hasn’t been enjoying the unusually warm Brisbane weather: “It’s been like 30 degrees. I don’t like it, it makes me feel very strange, it’s the middle of July and I’m like, sweating and digging out summer clothes and stuff. It was weird, it was Twilight-Zoney.” Well, she might be clinging to cosy nights, but it’s perfect weather for the upcoming Maroochy Music & Visual Arts Festival — for which Forevr are billed — which will kick off on 10 Sep right in time for a hefty dose of Sunny Coast sunshine. “The launch party [for the festival], that’s the first show that we’re playing as a four-piece,” she laughs nervously as she shares the bands back story. Originally a two-piece (their triple j Unearthed profile still labels them a duo) the band now consists of George-Allen, cofounder Donnie Miller, Kate Mackenzie and Tom Roche. “As a small number of people working on [music] it’s pretty easy to write the same thing over and over again. So we were like ‘we should get some more people!’ It has been a dream. Obviously we were like, ‘we should hang out with our friends’, you know. So we asked people who we liked a lot to join the band.” According to George-Allen, the booming Brissy scene is partly attributed to this friendsmaking-stuff-together attitude — “My theory is that there’s not a whole bunch of other

stuff you can do if you like music and you live in Brisbane. Like you can go and see bands... but there’s not that many venues and there’s only so many people. So if you like it and you wanna play it, you probably know someone who’s in a band and who wants to start another band. The community is small enough and enthusiastic enough that it’s really easy to start making music.” And even though new festivals like MMVAF are bringing world class music to the Sunshine Coast, the music scene is facing an upward battle with the lurgy that invaded Sydney. George-Allen is pretty nonchalant about the lock out laws, and optimistic about the new regulations having little effect on the live music community. “I honestly have kinda stuck my head in the sand about it. I’m just ‘la la la, it’s not happening’. I think the pattern at the moment is like a venue will have bands from eight to midnight, and then after that the venue has DJs. A couple of people [are there for the 8pm slot], it depends. The nice thing about — and I mean this is a bit of a Pollyanna thing to say — but people who care about music will come to your show. It’s just a dedicated crowd I suppose.” And she’s one of that crowd — she’s excited to catch fellow Brissy artist Mallrat, who’s headlining the MMVAF launch party on 11 Aug at the Woolly Mammoth, and despite being a self described “hermit”, she’s keen to “keep the hyperventilating to a minimum” before her set at the festival itself and head out to enjoy the day. “It just seems more like a relaxed vibe than a lot of the festivals I’ve been to. Believe it or not I’m not really a festivally sort of person... too many people... But everyone who’s going is so excited as well, you look at the social media and people are like ‘this is so cool, it’s happening on the Sunshine Coast’ and I’m like ‘yeah, it is really cool!’”

When & Where: 11 Aug, Woolly Mammoth; 10 Sep, Maroochy Music & Visual Arts Festival, Old Horton Park Gold Course



Brand Game Comedian Wil Anderson tells Guy Davis there isn’t much that falls outside Gruen’s wheelhouse.


ife is pain, Highness. Anyone who says differently is selling something,” wrote William Goldman in The Princess Bride screenplay. There’s a whole lotta selling going on out there, and it’s not just products that are being spruiked. With so many objects and ideas vying for attention, the techniques being used are getting smarter, slicker and, at times, sneakier. It’d sure help to have someone willing and able to decipher some of these codes, huh? That’s where Wil Anderson comes in. He is of course well-known as a stand-up comedian but he’s become equally synonymous with the ABC series Gruen, originally known as The Gruen Transfer (the name is derived from

If I’d been up there accepting a Logie, it would affect people’s opinion of the editorial position I take on ‘Gruen’.

the disorientation shoppers can feel in maze-like malls, which can lead to impulse purchases). Since its 2008 premiere, the show has regularly expanded its purview to investigate how marketing spin works in the spheres of sport and politics, its mission to understand and express just why we buy what we buy, from a new brand of cat food to a political candidate’s message. And given that a federal election was scheduled for 2016, it was a no-brainer that the Gruen team made the decision to produce new episodes this year. “We always do it season by season, and at the end of each year we go, ‘Do we want to come back next year? Do we have anything interesting to say?’” says Anderson. “At the end of last year, it was the easiest it 22 • THE MUSIC • 3RD AUGUST 2016

has ever been to re-confirm. We all hold the show to a high standard, so every year we go through a long process of reconsideration but we were all excited about the election.” However, Gruen found itself surprised and, frankly, unprepared when an early election was called by Prime Minister Malcolm Turnbull. “We were prognosticating about the possible election date, and let me tell you this: none of the experts know what they’re fucking talking about,” laughs Anderson. “We gave the ABC a couple more months than we normally would — usually it’s three months for ten episodes. But this year we gave them August through November because we thought the election would fall in that time.” When the political process started rolling earlier than expected, Anderson and his colleagues Todd Sampson and Russel Howcroft “scrambled our diaries to see if we could make it work”. And while Anderson was willing to cut short the music festival he was enjoying in Barcelona, resident experts Sampson and Howcroft were committed to other projects. “Gruen is the world seen through the prism of these guys’ expertise, so we didn’t think it was possible to do it without them.” So as its new season gets underway, Gruen has the capacity and freedom to view the election campaign with a bit of hindsight. There’s also the spectacle of the 2016 Rio Olympics to deconstruct, not to mention the usual tsunami of spin to which we’re all regularly subjected. “The more we did, we realised we could look at anything through the Gruen prism,” says Anderson. “So when we returned last year with the title of Gruen, it was a statement that the show could be about anything but it was viewed through how we’re sold to and what we buy.” It’s an approach that has paid off over the years, earning the program multiple awards. But it wasn’t until earlier this year that Gruen landed the big one: a Logie for Most Outstanding Entertainment Program. In all honesty, it’s a tribute that doesn’t sit entirely comfortably with Anderson, who recognises the dissonance of a program dedicated to deconstruction receiving one of Australia’s most mainstream accolades. “I think we were all rapt that our last season, which we all thought was our best to date, was recognised,” he says. “But the reason you did not see me accepting the Logie is pretty much that if you start thinking of yourself as a Logie Winner, that’s when things change. I hate using this term in relation to myself but for this conversation I’ll have to: For my brand, if I’d been up there accepting a Logie, it would affect people’s opinion of the editorial position I take on Gruen. “Technically, when I’m not doing the show, I’m allowed to do whatever advertising I want. In the nine years I’ve been doing Gruen, I’ve probably turned down... fuck, I wouldn’t want to think about how many hundreds of thousands of dollars’ worth of ad offers. But I think it’s important I’m not compromised if I host a show on this topic. When I try to explain it to people, though, they look at me like I’m crazy.”

What: Gruen 8.30pm Wednesdays on ABC


Talking The Talk

From podcast to TV sensation to the stage, Comedy Bang! Bang! founder Scott Aukerman tells Steve Bell about the show’s core philosophies.


S comedy sensation Comedy Bang! Bang! began its life as a podcast before morphing into a hit TV show, with both formats finding funnyman/creator Scott Aukerman hosting some of today’s funniest comedians in faux talk show scenarios (augmented by sketches and regular segments). Now on its way down to Australia for its debut run of live shows in the country, Aukerman explains how the whole Comedy Bang! Bang! premise actually has its foundation in the live realms. “I was producing a live comedy show here in LA — I did it for ten years — but it wasn’t really the format of what the podcast turned out to be. It was really just a stand-up and character and sketch showcase show that I didn’t really always perform on,” he tells. “I just produced it and got to know a tonne of comedians and built up a lot of friendships and a lot of relationships. “So when I first started doing the podcast it was just supposed to be a radio show or a podcast to advertise the live show where I would interview comedians about how they started in comedy. Then that got a little boring so I started having comedians as characters on, and that’s really where it all clicked. For me it was then I realised, ‘Oh, this is the show — me speaking to

improvisers in a talk show format.’ “I remember the show that it clicked on was [when] I had Andy Daly on and he was doing a character who was talking about how be bought a heavy coat because he wanted to walk into the ocean to commit suicide — and I’d seen him doing this character on stage a lot so I sorta knew the beats of it — so I started asking him a lot of questions about where he bought the coat, just because he’s a great improviser and I thought, ‘Oh, let’s see where this goes’. And it turned into, in my opinion, the funniest part of the show, him getting frustrated by having to answer so many questions about this coat. I remember leaving the studio that day going, ‘Oh wow, that was what I think the show could be’, and that’s what it turned out to be.” Inherently, the laughs are often reliant on the chemistry between Aukerman and his guests. “It’s sort of like putting together a mix tape, or a mix CD or Spotify playlist or whatever it is these days: what I mean to say is that it’s a lot like putting together a Spotify playlist,” he laughs. “Sometimes you want people who will vibe really well together, like when we’re doing the tour we’re coming to Australia with Paul F Tompkins and Lauren Lapkus, and there’s something about the three of us when we get in a room that’s so much fun. “But I also like producing shows where I’ll have someone that I’ve never met on with two people who have never worked together before. I’m always trying to find a new way of doing the show — I don’t want to just get into a comfortable rut.”

Newflix Netflix recently announced premiere dates for nine of their upcoming series and renewals for existing series. Here’s when to mark in you calendar to get your binge on:

Gilmore Girls

Black Mirror – 21 Oct The anthology series returns for season three with episodes featuring noted actors Bryce Dallas Howard, Mackenzie Davis and Jerome Flynn. Gilmore Girls: A Year In The Life – 25 Nov One of the most anticipated reboots from Netflix, Gilmore Girls: A Year In The Life includes four 90-minute chapters, with most of the original cast and crew back on board. The Ranch – 7 Oct Part two of season one returns. While reviews have been lukewarm so far, there’s still a nostalgia vibe to seeing the That ‘70s Show on-screen reunion of Danny Masterson and Ashton Kutcher.

When & Where: 25 Aug, Brisbane City Hall



The Chocolate Olympics! With the Olympics about to kick off, we thought we’d get into the spirit by trying the new Australian Olympic Team Edition Cadbury chocolate range: Lamington and Apple Crumble. Will they win the Gold medal or will they fail to qualify?

Pic: Uppy Chatterjee

Pic: Uppy Chatterjee

Cadbury Dairy Milk Lamington

Cadbury Dairy Milk Apple Crumble

Justine: 10/10. Tastes like a lamington. Sammy: It’s the best Cadbury hybrid I’ve tasted. I’m very happy. Mark: Good, but couldn’t really taste the raspberry and cake. Hannah: I mean it’s good, but can I just have an actual lamington instead? Uppy: Someone in a meeting room fucked up when they got rid of Coconut Rough, and this is the next best thing. Neil: I’m not big on lamingtons, so I’m not big on this. Brynn: It’s no Coconut Rough, but it does the trick.

Justine: Apple Crumble is shit. Sammy: Is there apple in that? That’s just chocolate with annoying bits in it. Mark: You can taste the apple but it needs more texture. Hannah: Like worse Marvellous Creations? Uppy: The crunch is nice, but I can’t taste the apple. Neil: Where is the apple? Brynn: It’s ok, but only because it just tastes like Cadbury.

Verdict: Winner winner lamington dinner.

Pic: Uppy Chatterjee

24 • THE MUSIC • 3RD AUGUST 2016

education guide With now being the season of open days and late intakes, The Music takes a look at what options are out there for furthering your education or maybe even changing tack and pursuing something new.

education guide

JMC Academy

these associations into ongoing professional relationships cannot be overstated,” he says. To make the most of Open Day opportunities, Tucker recommends these techniques, which are also applicable in other industry settings.

How to break into the arts and entertainment industries Building relationships and meeting the right people are skills everyone needs to learn. Here are our tips to get you started. Nigel Tucker - Entertainment Business lecturer at JMC Academy and experienced artist manager - often tells his students about the importance of networking. “Building your contact base, and then turning

AFTRS Answered by: Kirsten Downie, Marketing Director What kind of courses do you offer? AFTRS offers a wide range of courses from short courses, Diplomas, Advanced Diplomas and the BA Screen through to Graduate Certificates and Masters programs. AFTRS courses are designed for students with a passion for storytelling and a commitment to a career in the screen industries. The school is eager to work with students from a wide range of backgrounds who are imaginative, collaborative and keen to develop their voice as Australian storytellers. Do you offer practical on-site learning or more of a theoretical base? AFTRS combines theory and practice-driven learning and the curriculum is shaped to suit the needs of the fast-changing screen and broadcast industries. As an AFTRS graduate you’ll be able to enter the creative industries with a wide range of knowledge and skills, and an adaptable, forward-looking approach that

26 • THE MUSIC • 3RD AUGUST 2016

1.Have better conversations Start researching topics and trends in your area of interest. “By regularly checking or subscribing to relevant industry newsletters, blogs, trade publications and websites you can also build your own current database of industry professionals and potential connections,” says Tucker. 2. Get out there It’s the only way you are going to start building relationships - as well as Open Days, you should start attending conferences, events and seminars. “This will assist in not only meeting prospective contacts and being seen, but also builds a shared experience which can be a good foundation for any introductory discussions,” says Tucker.

3. Be aware of your social media activity “Social media allows you to research the person you would like to connect with, find out what they like or dislike and potentially allows you to find common ground for any future conversations,” Tucker says. 4. Be friendly and supportive of others “The creative industries can often be volatile. I don’t know anyone who has sustained a long term career in this industry who has not been up and down the mountain a couple of times. So the lesson is you meet the same people on the way up as you do on the way down,” says Tucker. For those starting out, open days provide a unique opportunity to meet established people in the industry, teachers in the field and sometimes other students. At JMC, you can connect with industry experts including lecturers and the Heads of JMC Academy’s departments. You’ll also be able to see live audio and film production in action. Join us for one of our upcoming Open Days:6 Aug, Brisbane; 27 Aug, Sydney; 27 Aug, Melbourne

will put you at the forefront of industry innovation and practice. What makes you different to other educational institutions? AFTRS is committed to finding storytellers from all over Australia to tell this country’s diverse stories. As an AFTRS graduate you’ll join Australia’s most awarded screen and broadcast alumni. You’ll also experience theory- and practice-based learning which will fast-track you into a screen and broadcast career, and ensure you are industry-ready from day one. What kind of social activities do you offer? As a student at AFTRS you are regularly invited to free industry talks and networking events at the school - a great way to build professional contacts while you are still a student! Do you offer job opportunities, internships, or other ways to help students get ahead? AFTRS has strong relationships across the screen and broadcast industries and is able to facilitate film, TV and radio internships for many of its courses.

When and where is your next Info Day/ Open Day? 10 Sep, 10am - 3pm, AFTRS, Entertainment Quarter, Moore Park, Sydney, NSW 2021 Website link for more info? events/aftrs-open-days


education guide

National Institute of Dramatic Art

to develop the next generation of creative leaders. Offering a range of graduate, undergraduate and vocational courses, NIDA training provides a balance between academic learning and practical opportunities, as students explore the creative challenges of the industry. Our students work with high profile guests, as well as gain valuable experience through industry placements. Applications for NIDA’s graduate, undergraduate and vocational courses are now open till 30 Sep 2016, for study in 2017.

About NIDA The National Institute of Dramatic Art (NIDA) has the enviable reputation as Australia’s leading institution for dramatic arts education and training. For more than 50 years, we have been a hub for Australia’s performing arts sector, bringing leading artists and industry professionals together

example, is a three-year undergraduate degree that provides education and training to the live events and stage managers of tomorrow. At its core, the course explores the points where technology and performance intersect. Students receive training in a wide range of topics, including stage management, audio, lighting, video design, stage mechanics, technical drawing, production management, event management and workplace health and safety. During the final year, students spend at least ten weeks undertaking industry placements, during which they gain direct experience of professional practices, processes, and environments. For more information on the courses NIDA offers, visit:

Courses on offer include: Bachelor of Fine Arts (Staging), Bachelor of Fine Arts (Acting), Master of Fine Arts (Cultural Leadership), Master of Fine Arts (Directing), Diploma of Musical Theatre, Diploma of Screen and Media (Specialist Make-up Services), and more. NIDA’s Bachelor of Fine Arts (Technical Theatre and Stage Management), for

It’s your career. Make it with JMC. OPEN DAY 6 AUGUST 2016. Register online. Degrees and Diplomas in Music, Songwriting, Audio Engineering, Entertainment Business Management, Film and Television Production, Game Development and 3D Animation. The Australasian institutional partner school of the Berklee College of Music.

Your creative future starts today. Visit or call on 1300 410 311.

28 • THE MUSIC • 3RD AUGUST 2016


Enrol Now.


10AM - 3PM


AFTRS, The Entertainment Quarter, Moore Park, SYDNEY, NSW 2021



Pic: Terry Soo

Elko Fields

Answered by: Kella Vee Role: Guitar and vocals. How long have you been together? Since around this time last year. We released our first single Cough It Up last week, so not long at all really. Which Brisbane bands before you have been an inspiration? There are so many Brisbane bands killing it right now and there’s such a strong history of punk and garage rock here, it’s impossible to say… The scene itself is inspiration for us. What part do you think Brisbane plays in the music you make? I’m not sure that it does. Brisbane brought us together, but our music takes its cues from elsewhere.

30 • THE MUSIC • 3RD AUGUST 2016

Is your band responsible for more makeouts or break-ups? Why? We take no responsibility for your personal affairs, but like to think that you could do both to our music. What’s in the pipeline for the band in the short term? We’re playing a bunch of local shows, including the BIGSOUND party in September. We also have a couple of film clips and our debut record coming out over the next few months. When and where are your next gigs? 5 Aug, Woolly Mammoth; 14 Aug, The Triffid; 7 Sep, BIGSOUND Party, Greaser Bar. Website link for more info?


Black Holes And Galaxy Formation Paul Dempsey sits down with Hannah Story to talk about growing up “feeling aware that sudden tragic death can happen to anyone”.

Some of what’s in you right now could have been in a dinosaur or a star or in an asteroid.

We head to EMI Music in Woolloomooloo on a sunny Tuesday afternoon, a few days after the release of Paul Dempsey’s second solo album Strange Loop. Seated across the table from The Music, Dempsey is dressed in a blue-green, spotted button-up and black jeans. He runs a hand through his dark hair absent-mindedly when he’s thinking, chuckles easily, and uses his hands to explain ideas. The title Strange Loop came from I Am A Strange Loop by physicist and mathematician Douglas R Hofstadter. Dempsey tells us that he loves reading about black holes and galaxy formation, and about particle physics and the behaviour of subatomic particles. But he says the perception that he is an “accomplished science mind” has been “overstated in some quarters”. He just reads “stuff written for the general reader”. “My great interest outside of music is just science history especially, just reading about the people who developed quantum theory, and how our knowledge of the evolution of the universe came about, and the people who made those discoveries, the road to where we are now... I’m interested in how we got to where we are now, and how we understand the world we’re in. I guess I am always looking for better explanations. “I’m interested in the fact that we’re all made of atoms, and how do those things interact and behave to produce this and your mind and your memories and your thoughts, how does this all come out of what is essentially inanimate matter. “Every atom in your body was formed in the birth of the universe. No new atoms are created or lost - it’s the same atoms that have always been and they’re just in different configurations. Some of what’s in you right now could have been in a dinosaur or a star or in an asteroid. Everything is made of the same stuff that it ever was.” In a track-by-track with The Music, Dempsey explained that album closer Nobody’s Trying To Tell Me Something grappled with the idea of mortality and making the most of life: “You’re gonna die, and there’s not going to be anything after this, so just try and enjoy yourself and try to be good, try to have fun, try not to worry.”

We ask if trying to be good, have fun, not worry is a kind of philosophy for Dempsey. “If I do [have a philosophy I live my life by], it’s not to have one,” he begins. “When I say to try not to worry and stuff like that, I guess what I really mean is to not worry about worrying. “I guess I just don’t think there are answers. I don’t think that we’re going to find the meaning of life. I think there’s just the best available explanations at the time, but it’s a constant - for me, it’s just always about moving forward, always trying to find a better explanation as opposed to an answer... I embrace my foibles and flaws and try to improve and stuff like that...” He concludes, “No, I don’t have any philosophy to live by... I feel aware of the scale of things, I feel aware that I’m made of atoms and stuff, and at the same time I also feel aware that we’re on this speck in an obscure part of a cluster of galaxies. It’s a perspective, and I just feel constantly aware of how brief life is - in a wonderful way and that informs my everyday life.” That understanding of just how brief life is, and of his own mortality, is something Dempsey says he’s always thought about. He thinks that probably stems from “that constant experience of losing a parent, and growing up with everyone constantly talking about this deceased family member and talking about heaven” after the sudden death of his father in a car accident when he was only two years old: “It’s pretty hard not to grow up feeling aware that sudden tragic death can happen to anyone. “I’ve always sort of been aware of the fragility of our existence. That’s not dark... I think it’s in many ways been a huge benefit to me because I feel like I’ve done my damnedest to enjoy my life and to pursue things. Maybe I wouldn’t have chosen such a risky, unstable career path. Maybe I wouldn’t have pursued my wildest dreams as eagerly as I did if everything had been stable and whatever. I think my attitude has in a lot of ways allowed me to just go for it.”

When & Where: 12 Aug, The Triffid; 30 Sep, Caloundra Music Festival, Kings Beach



Fighting For ‘Our’ Australia? Bangarra Dance Theatre and choreographer Jasmin Sheppard remind us about the reality of having ‘our’ country taken over. Paul Ransom finds out about Macq, massacres and moving on.


s the post-election, anti-Islam clamour bellows across the airwaves and social media and we find ourselves subjected to an uptick in hysterical populist rancour about Australia being taken over by this group or that, it is perhaps prudent to ponder how Australia’s First Nation people view the idea of ‘our country’. Cue the nation’s foremost Indigenous ambassadors, Bangarra Dance Theatre. Their latest triple bill, the aptly monikered OUR land people stories not only brings Aboriginal culture to life in the now, but reminds us that

OUR Land People Stories. Pic: Edward Mulvihill

the very idea of Australia is a contingent construct, an amalgam of history, habit and not a little hubris. Indeed dancer and choreographer Jasmin Sheppard whose short work Macq features in the OUR Land people stories troika - is more than prepared to stare down the bellicose right. “This thing of boxing whole cultures and religions up because of extreme minorities isn’t just sad, it’s absurd,” she declares. “I mean, we don’t go labelling every single Catholic as a paedophile, do we?” Yet, in one way, the febrile timbre of the so-called ‘debate’ over Islam and immigration creates a more

32 • THE MUSIC • 3RD AUGUST 2016

This thing of boxing whole cultures and religions up because of extreme minorities isn’t just sad, it’s absurd. focused context for the work Bangarra do. As Sheppard explains, “We have people’s voices - often the racist or the intolerant voices, the ones that don’t want to understand difference - that are the loudest, or seem to be given the platform to speak now. So, I feel very lucky having the opportunity to speak of the Indigenous experience, but also I think that Aboriginal and Torres Strait Islander people know what it’s like to be fringe dwellers. We know what it’s like not to be welcomed into this ‘Australia’ that’s been formed.” First performed in 2013, Macq has now been revived to coincide with the 200th anniversary of the March of Macquarie, in which colonial troops massacred the Dharawal people near what is now Appin, south of Sydney. However, Sheppard’s work is less blood-soaked retelling and more about the Man. As the last of the early autocrats to govern New South Wales, Scotsman Lachlan Macquarie is a legendary figure in Australia’s post-settlement folklore. Hailed on his headstone as the ‘Father of Australia’, Macquarie’s diaries (which Sheppard used as source material for her work) reveals a man much more interesting than the flag wavers care to admit. A heavy drinker and syphilitic, Sheppard describes him as a “challenged and maybe conflicted Governor.” It all makes for powerful storytelling, as Sheppard duly outlines. “I don’t think he was all bad, even if he definitely got it wrong in the end; but he may have wanted it to be a peaceful existence between the settlers and the Aboriginal people. He had quite a few close friends from the Aboriginal community around Sydney and some of them passed away in the massacre.” For Jasmin Sheppard and Bangarra as a whole, all this looking back is also a way of moving forward. “The wonderful thing about culture is that it never dies. It can withstand the harshest conditions,” she concludes. When Macq plays alongside new works from company director Stephen Page and ‘the Rileys’, choreographers Daniel and Beau, it will perhaps focus some of us on what it really means to have your country invaded and changed under your very nose.

What: OUR land people stories When & Where: 12 - 20 Aug, Playhouse Theatre, QPAC


Album / E Album/EP Reviews

Album OF THE Week

Montaigne Glorious Heights



Montaigne appears to have struck gold with her debut full-length, Glorious Heights — she definitely wasn’t afraid to go all-out. Collaborating with Tony Buchen, the Sydneysider managed to create 13 earworms stamped with her signature quirky style. The album is noticeably more poppy than previous efforts, with catchy hooks and a danceability that will prove very palatable to a more mainstream audience; synth-heavy tracks and a delightfully ‘80s feel. But fans of the singer’s early tunes need not worry, as Montaigne’s sublime voice manages to cut through all of the glitz and glamour of a full-scale production. The singer proves to be a supreme powerhouse with tender ballad Consolation Prize. She’s also making moves to prove that she’s not one to compromise her originality. The use of instruments throughout each track creates a warmth that is almost completely unheard of in modern pop music. What’s more impressive is the fact that she’s not afraid to get dark with her sound, rejecting the notion that pop music needs to be inoffensive, mindless drivel. The best thing about this album is that it’s bound to make you feel something. It’s raw, emotive and infectious all at once — you’ll be grooving one minute and bawling the next. If Montaigne was able to capture this much energy and soul in one album, one can only imagine what her tour will be like. Charmaine de Souza

Kylie Auldist

Bernard Fanning

Family Tree

Civil Dusk

Family Tree Records/The Planet Company

Dew Process/Universal



Whether playing ‘yang’ to Lance Ferguson’s ‘yin’ in soul power station The Bamboos or striking out on her own, Melbourne chameleon Kylie Auldist’s latest colourful incarnation is an electro-soul diva. Once again, it’s an authentic celebration of an enviable record collection that will cause regular double taking as to who this is and when it was laid down. Chaka Khan’s grooves are definitely in there, as are flashes of Whitney Houston’s ‘80s heyday, but the voice remains undeniably Auldist. Sensational places all handbags on the disco floor early where they remain for the entire 11 songs (even if the verses sound strikingly similar to Crowded House’s Weather With You). We are family, indeed! And while it’s nigh impossible not to be reminded of this record or 34 • THE MUSIC • 3RD AUGUST 2016

that as Auldist’s Family Tree gets mapped out, it’s equally hard to resist simply being carried off by the funk-electro vibes. When Good Time Girl rolls around with a fly Grandmaster Flash-style rap (more of which wouldn’t have gone amiss), the hands have long since been thrown up in the air both in defeat of finding a truly original hook and not really caring because it’s actually a shitload of fun. They don’t make records like — Oh, you know. But then, fans of Anchorman’s Ron Burgundy can rejoice, for tucked away in Rewards is a bonafide jazz flute, and it’s right about now the funk soul sister’s latest feel-good mission is complete. Mac McNaughton

Bernard Fanning fans (Fanningtons?) rejoice: This third solo record comes just a few months before a promised fourth (Brutal Dawn) due early next year. His celebrated solo debut Tea & Sympathy came during a Powderfinger hiatus. But with that safety net gone, it seems Fanning has been tumbling all over the place to simply find his stance. His latest voyage of self discovery - from Spain to Byron Bay studio - has produced a collection on which he sounds kinda bored, not knowing whether to kick around a country pub (the half pissed What A Man Wants) or rock out a horrible Status Quo pastiche (Change Of Pace). There are occasional glimpses of the heartbreaking songwriter that parted rivers of emotion with a mere chorus like

The Day You Come or Wish You Well. Rush Of Blood is Bernard crying upon a penitent piano and Unpicking A Puzzle’s genteel simplicity has him staring at the bottom of another bottle claiming, “God is making music/ The devil is making wine”, while ghostly synth creeps up Peter Gabriel-like from behind. It’s a moment of genuine brilliance that could have ended the album in touching melancholy, but the mood is scotched by an unwelcome dart back into the pub for the missequenced Sooner Or Later. Civil Dusk’s lyrical unrest is mesmerising, but unsure musical footing makes for a challenging listen. Mac McNaughton

EP Reviews Album/EP Reviews

Wild Beasts Boy King Domino/EMI

Sarah Mary Chadwick

The Rumjacks

Roses Always Die

FOUR | FOUR/ABC/Universal

Sleepin’ Rough

Rice Is Nice/Inertia

King Of The North Get Out Of Your World Dirty Rock





British rockers Wild Beasts shift from indie-rock to art-pop throughout this synth-filled album, creating a delightful, refreshing and addictive sound that’ll keep you coming back for more. Ponytail gives off the indie-rock vibe with Hayden Thorpe’s deep, dreamy vocals, while synths and electric guitars mix to create a rocking beat in Tough Guy. Gender stereotypes are played around with in Alpha Female while the rest of the album explores modern day struggles with masculinity. Moving piano ballad Dreamliner ends the album on a high. With its beautiful lyrics, hidden synths and simplicity, this closer packs a punch.

Goddamn it’s a dreary, cold world we live in and, like Barry Allen is the source of the speed force, Sarah Mary Chadwick could be the source of desolation, pain and despair. Having quietly emerged on the indie scene with the very excellent 2012 debut Eating For Two, her latest record has the same trademark grim and monotonous sound; guitar or organ and reverbed vocals, it’s minimalism incarnate. There is again a grim determination that is part of the reluctant appeal of these songs, but, although it’s doom and gloom most of the time, there is the occasional silver lining and glimmer of hope.

Sleepin’ Rough comes as album number three from Sydney Celtic punks The Rumjacks, and one thing that is immediately obvious is that the group aren’t attempting to break new ground — they have simply tried harder to merge the hyper-energetic frenzy of their live shows with a folk-rock aesthetic. The record’s rhythm remains firmly rooted in punk, leaving vocalist Frankie McLaughlin to string together his best tales of love lost and street battles under an acoustic heart. A Fistful O’ Roses, The Pot & Kettle and Les Darcy all delivering the finest and most infectious songs we’ve heard from the raucous five.

King Of The North nail the classic American rock sound, thick with guitar and formidable presence, which is impressive for an Aussie duo. There’s something a bit offkilter old-school about it, like Bon Jovi thrashing Shihad riffs at a political rally for The Tea Party. There’s also a bit of a demanding choral theme that nags the front of the album as we’re told to, “Get out”, “Rise up”, “Light it up” and “Ride like you’re free,” in the space of so many songs. It leans a bit towards motivational hair metal, but there’s real sincerity buried beneath it. And that threefrom-one guitar sound is a wall worth leaning on.

Mark Beresford

Nic Addenbrooke

Aneta Grulichova

Adam Wilding

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The Lulu Raes All Our Parents Are Divorced

Backsliders Heathen Songbook


Album / E Album/EP Reviews

Dinosaur Jr

Dustin Tebbutt

Gypsy & The Cat

Alex Lloyd

Give A Glimpse Of What Yer Not

First Light

Virtual Islands









With Give A Glimpse Of What Yer Not, Dinosaur Jr’s second coming (if you can call it that; they re-formed in 2005 so it’s been a while) has officially been more prolific than their first. There’s so much to like about Give A Glimpse Of What Yer Not, like its unashamed refusal to “get with the times” and break away from the guitar-bass-drums triumvirate that Dino Jr have honed across three decades. J Mascis’ drawl partners perfectly with his guitar solos on Tiny and I Walk For Miles, and the variation added by tracks like Be A Part removes any chance you’ll get bored by this quality record.

Knowing about Dustin Tebbutt’s influences and background, his first full-length release was always going to be a mellow one; yet the distinctive singersongwriter still manages to exceed expectations. Opening with the title track, the album awakens as a completely honest and tender account of love and devotion, as though he was seeing for the first time. Tebbutt somehow blends this all-too-familiar feeling with excitement anew. Capturing a broad spectrum of emotion, from nervous anticipation to contemplative hesitation to full-blown intoxication, Tebbutt evidently wears his heart, like his influences, on his sleeve.

This album literally begins with a gong sound — nice opener. Intro I Took A Wrong Turn draws the listener into the indiepop meets electro world of the album, a theme that continues (to great effect) throughout. Highlights include the wispy vox of Give & Take, while I Just Wanna Be Somebody Else trips out with a hint of cheek thanks to a midsection mini-sample. The slower, simpler Life provides a great mid-album break, while Tragedies Of A Love Song lets The Cure meet early Radiohead (in the best way). Closer Naomi is a simple echoey guitar ballad — a sweet nightcap to end.

Rightly cherished as a ‘00s triple j darling, Alex Lloyd’s run of flawless singles, (peaking with 2001 Hottest 100 winner Amazing) and sapid LPs is enviable and often don’t veer too far from simpler arrangements. So an acoustic retrospective is borderline logical/superfluous. The exquisite Green, Black The Sun, Brand New Day and several others (including yet another totally unnecessary cover of Hallelujah) are inexplicably quashed by some awkward and seemingly incomplete acoustic adaptations that fit Lloydy’s voice like a three-fingered glove. Go see him live. Buy any of his albums. Just don’t remember these songs this way.

Jagjaguwar/Inertia Music

Dylan Stewart

Liz Giuffre

Mac McNaughton

Lukas Murphy

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36 • THE MUSIC • 3RD AUGUST 2016

The Dead Daisies Make Some Noise

Listen to our This Week’s Releases playlist on

Indie Indie

Rico & The Fortuners


ass appeal can be daunting for an artist, but for Rico Le Mura of Rico & The Fortuners it’s just part of the job. “We are on stage for the same reasons that everyone is in the room; to have a good time and experience some awesome music. Musically we’re pretty dynamic and how we translate that live is something we are proud of. There’s something in our show for everyone.” Rico & The Fortuners formed in 2015, under the classic guise of old mates putting a band together. “We’ve all known each other for years,” says La Mura. “It’s awfully cliche, but the music brought us together on this one.” It’s the music that’s kept them busy as well. The boys are hard at work in the studio and have a month-long residency at Greaser Bar coming up this August. “We just finished some pre-production for our upcoming debut EP,” La Mura states. “We’re really excited to jump in the studio and get these songs out to everyone.” Working on it the band have taken inspiration from the likes of Brian Fallon of The Gaslight Anthem and I Am The Avalanche’s Vinnie Caruana, who both released solo material earlier this year. “These albums have been massive for us,” La Mura says. It’s been a smooth transition to the studio, recording and playing live are a joint experience for the band. “We work on a lot of our own production — so these two often work hand in hand for us. It’s great as it almost transforms the studio into a stage at times and allows us to carry a sense of authenticity through to our live show.” La Mura promises their Greaser Bar shows will be some of their best yet. “We’re playing with some really great local acts each week, come along for some old fashioned good times! The Burgers are really great too!”

When & Where: 4, 11, 18 & 25 Aug, Greaser Bar THE MUSIC 3RD AUGUST 2016 • 37

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The Kills @ Splendour In The Grass. Pic: Markus Ravik

Splendour In The Grass

North Byron Parklands 24 — 26 Jul Day One

Jack Garratt @ Splendour In The Grass. Pic: Markus Ravik

The Internet @ Splendour In The Grass. Pic: Markus Ravik

The Avalanches @ Splendour In The Grass. Pic: Bec Taylor

The Cure @ Splendour In The Grass. Pic: Markus Ravik

38 • THE MUSIC • 3RD AUGUST 2016

Sampa The Greats @ Splendour In The Grass. Pic: Bec Taylor

From inside our vehicle in the barely crawling drop-off queue, we spy a contender for trashbag of the festival: stumbles off shuttle, runs towards ditch, gets clotheslined, regains balance and keeps moving, runs through ditch, gets repeat clotheslined on the opposite peak then about faces and retraces steps. We’re still not even through the entrance when we spy two ‘ladies’ — impatient with the Portaloo queue — pissing standing up, merely adjusting their playsuit crotch regions off to the side. Gross. The sun’s out, the ground’s solid and spirits are soaring; it’s about as picture-perfect a start to this year’s Splendour In The Grass as one could ask for — certainly one of the dryer first days in recent memory — as punters start to filter through the gates at North Byron Parklands for another year of epic campingfestival adventures. “My name’s Alex Lahey, and I can’t fucking believe this is happening!” With those words — and no sign of nerves, which is impressive given the incredible number of people here for the time of day — this year’s triple j Unearthed winner jumps right into the punchy hooks of Air Mail, ensnaring her stillswelling audience at the outset. There’s depth to be unearthed among these understated indie tracks, though the base joy and energy — not to mention palpable appreciation — that beam from the stage are the true selling points here as Lahey coolly weaves her way through a near-faultless set simply stuffed with varied and infectious tunes including the laconic L L L L Leave Me Alone, the surprisingly urgent Every Day’s A Weekend and closing highlight and You

Don’t Think You Like People Like Me. Sampa The Great opens the Mix Up stage, a petite yet commanding figure, flanked by an effervescent all-smiles crew. Boasting soulful yet modern jazz-infused hip-hop,

The sun’s out, the ground’s solid and spirits are sparing. Sampa The Great draws easy comparisons to Kendrick Lamar, who she supported on his last Australian tour. It’s almost too easy for the Zambian-born Sydney artist to get the midday crowd bouncing, thanks to playful tunes like F E M A L E and Class Trip. The Kills’ vocalist Alison Mosshart and guitarist Jamie Hince are the textbook definition of rockstars. They take the Amphitheatre stage 15 minutes late, all leather and swagger, but after five years off our shores, it’s worth the wait. New tunes like Hard Habit To Break prove they still have their same winning riffs and knockout vocals — despite Hince’s hand surgeries and permanently damaged finger. The sun sets as they start the shrieking, Psycho-esque Siberian Nights, and it’s easily one of the day’s wildest moments. Venerated veteran muso Robert Forster takes to the GW McLennan stage resplendent in a grey suit and a couple of things to get off his chest: “Welcome to Splendour,” he says. “It’s much better than last year, weatherwise, and we won’t be getting our clothes off.” Heartbreaking, yet relieving. He and his capable band open with the pulsing bass-kick and driven clean-rock strains of Learn To Burn, from

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recent album Songs To Play, though it’s not all the new-school on offer here; he delves into material from his years with seminal Aussie band The GoBetweens (evergreen favourite Surfing Magazines) as well as taking time to pay tribute to late, great friend and Go-Betweens bandmate Grant McLennan, who passed away 10 years ago — Forster marvels at the fact — and for whom this tent is named. He and the band play a pair of McLennan-penned tracks in Cattle & Cane and Oceans Apart — to vocal appreciation — before rounding out with Go-Betweens favourite Too Much Of One Thing. Approach Jack Garratt in Mix Up tent. It’s overflowing. Can’t get near it. We’re then distracted by a group of dudes loving life thanks to the chemicals they’ve ingested. The one-man bandness of Garratt, while impressive at first, becomes too much. It’s enough that this brilliant artist has penned next-level songs such as Breathe Life. He can afford to employ a couple of extra musicians and take a load off for a bit. Brandishing a drumstick in one hand, playing keys with the other and all the while singing is just kinda like a massive ‘nah-nah-nah-nah-nah’ to the world. Overachiever. It’s hard to keep Brisbane’s Violent Soho away from a stage for too long. They’re more than welcome in the Amphitheatre as the full moon climbs over the hill behind them. As soon as Like Soda rings out things just get a bit silly. Singer Luke Boerdam is album-perfect as always for So Sentimental, Eightfold, Fur Eyes, Viceroy and Jesus Stole My Girlfriend, that also have guitarist James Tidswell and bassist Luke Henery’s mops flying through the air. In a nod to their grunge godfathers, they play a belting version of Nirvana’s Breed before closing with fist-pumping anthem Covered In Chrome. Arguably one of the most anticipated acts on the line-up is

also one of the headscratchers of Day One. Melbourne electro sample gods The Avalanches had long-hungry appetites whetted at the mere hint of their coming. It’s a shame then that their new stuff, while undeniably great (Frankie Sinatra, Subways) tops songs played from their seminal first album. Closer Since I Left You goes down as it should, but midway through Frontier Psychiatrist has tongues wagging in the crowd and not in a good way; splicing it with Gnarls Barkley’s Crazy, then The Who’s My Generation, without a defining conclusion to it has us wondering whether we should respect their bold decision or hurl obscenities at them. The Strokes go on 21 minutes late. But they’re perfect. The only criticism is that they’re perhaps too perfect. You know how INXS used to nail catchy, simple instrumental parts combining to become a perfect creation? It’s all back lighting in striking colours and perfect hairdos (which isn’t meant to downplay their brilliance); the band’s guitar work is superb, whatever you think of their haircuts. Reptillia brings the communal stank faces to those gyrating on the hillside. Those guitar lines jump out at you

It’s hard to keep Violent Soho away from a stage for long. like a funny story in your peripheral hearing when you’re stuck in a dull convo. Hard To Explain? Not really, The Strokes are, quite simply, brilliant. Those chord progressions elevate The Strokes above all the other definite article bands. New York City Cops gets us moving and

wishing we had the guts to wear colourful hair extensions like Julian Casablancas. They close with Last Nite and we SO wish we could see them every single night. The Strokes are why every teenage boy wants to join a band and a perfect wrap to an epic day one at Splendour In The Grass. Day Two

Day two gets under way in irreverent style at the Amphitheatre, where Byron Bay alternative outfit PLTS are making use of their triple j Unearthed Splendour victory with all they’ve got as they rip through their set of feel-good rock tunes. Somewhat sadly, they’re not courting as expansive an audience as yesterday’s opener Alex Lahey, but that’s less a reflection on them than it is a by-product of everyone being just a little wiped out after a massive first day; after all, they’re tight, endearing and just rough enough around the edges to feel authentic. It’s a mix that will serve them well in future. Wow, that’s quite a contraption Ngaiire’s wearing, pleated gold layers of origami fanned material stands up on her head, there are gold wings on the back of her dress — which has a silver-jewel encrusted bra and gold train — and, yep! It goes “right up to [her] undies”, as Ngaiire points out (and later, beyond). There’s two backing vocalists plus drummer and keyboardist and Rabbit Hole is an early highlight as many in the crowd mimic the backing vocalists’ messy chorey. Ngaiire does enjoy a Young Talent Time-style freeze finish and her dress actually becomes a top come Dirty Hercules, after which the crowd erupts. Backing vocalist Billie McCarthy’s vocal solo during this track sure is impressive. Montaigne’s impressive vocals command the immediate attention of all GW McLennan punters, prompting even

We SO wish we could see them every single night.

unsuspecting passers by to nod in approval. A striking figure in ruffles and a tailored jacket, the Sydney singersongwriter croons In The Dark and Because I Love You with the fluctuating coo of Joanna Newsom. After messing up a song (“usually we can keep going, but that would’ve been catastrophic”), the crowd cheers her even louder. It’s hard to feel anything but awe for someone with a voice like that. The Beach Slang dudes must be feeling it in the stinking hot mid afternoon sun on the Amphitheatre stage — as would be the humble smattering of punters before them. Defiant in their punk-but-dandy fulllength threads, they bust out an energy and attitude-filled set that certainly doesn’t show any signs of discomfort. They rip through favourites Bad Art And Weirdo Ideas, Porno Love and this year’s newbie Punks In A Disco Bar. In the midst of all leading man James Alex peer pressures drummer Ed McNulty to “break his straight edge” by skulling some booze, much to the delight of the crowd. At the GW McLennan tent, Manchester post-punks Spring King seem trepidatious; vocalist/ drummer Tarek Musa lets us know this is their first-ever festival in Australia at the outset, and requests that we go easy on them. All airs of concern wash away, however, with the opening strains of first song Better Man, a shouty, uptempo jam that sets the scene perfectly for the controlled chaos to come. Their audience — 30% fans, 70% curious onlookers, at a rough


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Peter Garrett @ The Tivoli

guess — grows steadily as they make their sure-footed Aussie festival debut. The everso-surfy, gang-vocal-heavy Can I? is an irreverent highlight, perfectly conducive for mass sing-alongs, if only more of us knew the words. It’s a truly commendable Splendour debut, although there’s a mild technical hiccup in the form of a busted amp before the heavily political They’re Coming After You. The band don’t let it ruin the vibe, though, playing muzak filler and bantering about the weather to keep us keen while we wait. At the Mix Up stage, The Meeting Tree — well, half of them, anyway — are playing their final-ever set, which is really just a DJ set of miscellaneous bangers to soundtrack solo

Reclink Community Cup Launch @ The Triffid

the five-piece is sans one of their founders (the exited Jim Ward) — they are nothing but impressive, recalling the vitality and force of their early years despite being more than a decade older and wiser these days. Frontman Cedric Bixler-Zavala is lunacy incarnate, jumping all over the shop and destroying stage lights for shining in his eye. His voice may have lost some of its power over the years, as parts of Arcarsenal and Pattern Against User — and outro of perennial favourite Invalid Litter Dept. — indicate, with formerly gut-wrenching screams now occupying more pained-yelp territory. He more than makes up for it by being one of the most

Chasing Shadows and Disparate Youth more than live up to their album counterparts, aided by her amazing vocal delivery and stage nous. Can’t Get Enough Of Myself and Big Mouth seal the deal and leave a sweaty but pumped crowd in their wake. Back on the main stage, The Cure frontman Robert Smith’s voice has added gravitas when experienced live; his instrument is flawless. High pretty much sums it up. Then in comes A Night Like This: “I’m coming to find you, if it takes me all night” — I mean, come ON! Sleep When I’m Dead — Splendour’s new logo. Let’s not forget Smith’s guitar playing that heralded in half-decent copycats worth welcoming. And Smith’s

Violent Soho @ Splendour In The Grass. Pic: Markus Ravik

Everyone gives it their sweaty all, sending them off in style. present member Joyride dancing next to a cardboard cut-out of his collaborator Raph Lauren. He is joined a couple of times by an apparently quite-drunk Sam Margin, of The Rubens, and it’s clear that this is as much about the man on stage having fun as it is for anyone in the audience. Everyone gives it their sweaty all, however, sending off one of the nation’s funniest and most colourful acts in style as both Joyride and Margin take off their shirts and salute the crowd before walking off-stage. The last time Texan posthardcore icons At The Drive-in performed at Splendour, they were a polarising prospect, a result of how forced and ill-timed their previous reunion felt to casual onlookers. This time around, though — even though 40 • THE MUSIC • 3RD AUGUST 2016

magnetic performers of the festival so far. They close with the simply massive One Armed Scissor and a promise to see us next year with their new record, which garners almost as big a cheer as any song in this utterly incredible set. Those forgoing The Cure have found themselves spilling beyond the edges of the Mix Up tent, where Philidelphia sass queen Santigold is in command of a nutball crowd. There is so much going on in this set — costume changes, flags waving, back-up dancers, a visit from Spank Rock and even an elocution lesson for saying her name. L.E.S Artistes, Big Boss Big Time Business, Rendezvous Girl,

speaking voice! It’s better than most singing voices. Friday I’m In Love beckons nostalgic tears even if Smith seems concerned that it’s Saturday when the song favours the day prior. That bass in Love Song! Then Smith’s plaintive vocal reminds us of unrequited teenage love — the rawest and most real of all. We all yearn to feel about someone how these lyrics so poetically describe. The drumming is next level. Those unhinged piano trills in The Caterpillar with that syncopated skip-beat. Close To Me gets us bopping on the hill and mimicking those delightful, plonky, disappearing-down-thedrain key parts. The band take a few breaks

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Probably too busy dancing and blissing out to take notes.

during which to regroup throughout their three-hour set. Let’s Go To Bed bleeds into Why Cant I Be You — “... simply elegant”. Boys Don’t Cry — just when we think all of our favourites have been covered, they just keep coming. Have we mentioned A Forest yet? Probably too busy dancing and blissing out to take notes. Magnificent stuff to wrap day two of Splendour 2016. Day Three A sense of unhurried ease has settled over the masses traversing the Splendour grounds on day three as day-trippers and those left standing from the past two days of musicfuelled mayhem conserve their remaining energy and get ready to bring the 16th annual festival to a fittingly celebratory close. This is the first day we haven’t been greeted by sniffer dogs at the festival entrance. Over in GW McLennan, Gold Class sound great from song one. Adam Curley’s vocal is flawless. The way Curley drapes that mic lead across his shoulders and ‘round his neck adds shimmering intensity. Complex drum patterns with sparkling cymbal work underscore Michael. Someone down near the front hollers when Bite Down is announced. Then a couple of boots are raised skyward mid-song. A new song Curley tells us is only a couple of months old features furious bursts of guitar and plaintive, descending vocal lines during verses. Life As A Gun exhibits everything that’s awesome about Gold Class: unpredictable

arrangements delivered with thrilling urgency. Curley performs their closer from the photography pit and our mad applause as Gold Class leave the stage and disappear out of sight proves we unanimously approve. We head on over to Mix Up where Lapsley holds court. She has a serene presence onstage in her simple white T-shirt dress, but when she speaks there are chav elements. There’s three dudes onstage with her, making the beats/triggering the samples. She sometimes times sits down to play keys. It’s all very mellow. “Are you all pissed yet?” she enquires before telling us she’d be “rolling around the floor by now” if the tables were turned. Operator (He Doesn’t Call Me) gets some bodies moving, livening things up a bit. This is nice enough music to eat brunch to, but a bit boring. American neo-soul collective The Internet, an offshoot of Odd Future, deliver a silky smooth, funk-fuelled show. Newer hits like Girl and Under Control put the crowd into a rapture, while Special Affair is a sensuous break from their soulful beats. Frontwoman Syd tha Kid enlists the crowd for help during Just Saying, chanting “you fucked up”, and they readily oblige. Hill dwellers at the Amphitheatre quickly descend on the pit as pint-sized Canadian twins Tegan & Sara emerge and leap straight into Back In Your Head. With a new album on the way, they admit it’s been a while between drinks and “how great it is to be back in Australia”, but a Canadian flag waving in the crowd is a nice reminder of home. The downbeat and acoustic — Nineteen, The Con — and the punchy and synth-laden — Living Room, Walking With A Ghost — traverse the best of the old and new, with selfies galore by the girls during closer Hell capturing a set loved and lauded. “This is our last ever gig, ever, in the world, ever, this

year,” Courtney Barnett tells the Amphitheatre. She draws a noticeably diverse crowd — proof that the artist’s brand of slacker garage rock has no age limits. There are essentially two performers here — Courtney and whichever of her left-handed guitar collection she’s wielding at the time. It’s hypnotic watching her six-string dexterity, and come ‘Depreston’, the entirety of the amphitheatre adopts her offkilter lyrics. A drummer and another dude behind a console, opposite and facing James Blake, help bring his music to life. Each musician is elevated on their own riser, forming a triangle with Blake stage right. But there’s a sense that punters are really here to get good posis for Flume. There’s technical difficulties so Blake tells us they’ve gotta “improvise”, which probably negatively impacts the set’s flow. We’re effectively bathed in white light at the tail end of the heartbreaking and mesmeric Retrograde. Blake thanks us for “the reception” he is given and seems genuinely overjoyed to be playing before this festival crowd. They close with The Willhelm Scream, during which the drummer demonstrates some fine use of

Props for anyone who ends a set with “Fuck Pauline Hanson.”

exploding, recoiling, uplifting magnificence that is Sigur Ros’ music — which tonight includes the mystery and suspense of creeping opener Óveður; the slow, agonising build and orgasmic release of perennial favourite and mid-set highlight Glosoli; the understated gorgeousness of Vaka; the beauty and devastation of Popplagið, and everything in-between, delivered with boundless elegance, grace and inimitability by the men onstage — is more like an hour-long fucking lullaby. Questionable placing on the schedule aside: obviously, this is one of the sets of the entire event. Their crowd is small-ish but packed in so tight as to be familial, all swaying and smiling and keeping eyes to the floor or utterly locked on the mesmerising musicians and visuals lest we accidentally close our eyes and fall asleep, for all the dreaminess occurring around us. Bravo. EDM wunderkind Harley Streten, aka Flume, closes Splendour 2016 to a standingroom-only Amphitheatre. It’s no small feat for a 24-year-old DJ close Australia’s biggest festival. The crowd get what they came for, hungrily anticipating every drop with radio hits like Never Be Like You and Take A Chance. Also, props for anyone who ends a set with the words “Fuck Pauline Hanson”. Bryget Chrisfield, Mitch Knox, Carley Hall, Caitlin Low To read the full review, head to

mallets and we marvel at this song’s perfect simplicity. After three long, hard, fun but exhausting days, Icelandic post-rock luminaries Sigur Ros take to the Mix Up Stage amidst plumes of stage smoke, beams of light and roars of applause. After three long, hard, fun but exhausting days, the beautiful, layered, swirling, lilting, crashing, THE MUSIC 3RD AUGUST 2016 • 41

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Jason Bourne


Straight White Men. Pic: Jeff Busby

White Men Theatre Roundhouse Theatre to 13 Aug


Jason Bourne Film In cinemas

★★★½ The Bourne trilogy changed action films forever with it’s taut, gritty reality. It has since been imitated endlessly (even by its Bourne-less sequel). After almost a decade, Matt Damon returns as the one-man rampage in Jason Bourne. Jason Bourne (Matt Damon), who knows his identity, is drawn out of hiding to seek answers regarding a new shady government program and to uncover secret truths about his own past. The series ended brilliantly with Ultimatum, leaving little need to continue (see Legacy). Jason Bourne restarts the rusty story-motor imperfectly. While it isn’t the series benchmark (the relentless Ultimatum is), nor provide anything fresh, Jason Bourne does entertain. The magic duo of Damon/Greengrass is the prime reason. No one uses shaky-cam better than Greengrass (that is, if you like that style), superbly channelling what he finished nine years ago without skipping a beat with enthralling, brutal fight scenes and extended chase sequences. Most impressive is Damon. Unwithered by age, as if he just stepped off the set of Ultimatum, he is the same ferociously focused force. Barely uttering any dialogue he is still magnetically badass. The new support also excels, with the talented hot ticket Alicia Vikander intriguingly layered, while Tommy Lee Jones relishes in the series tradition of CIA antagonists. Jason Bourne is a pleasurable return for the character, with doubtless sequels to come. Sean Capel

42 • THE MUSIC • 3RD AUGUST 2016

In some of the press for Young Jean Lee’s Straight White Men, the play is referred to as “satirical”. It is definitely not. The four men in this play are bitingly, painfully real and familiar. They are all ‘good guys’, who’ve gone about either taking advantage of or trying to distance themselves from their privilege in different ways, with varying levels of capital and emotional ‘success’. Slowly and immaculately, often hilariously, this play unfolds to ask the question ‘what can the straight white man do, if

anything, to make the world a better place for everyone else?’. Unsurprisingly, no real answer comes. However, the arguments for how straight white men should operate in the world, made literal between one family of men over Christmas, are incredibly thought-provoking. No, thought-provoking seems like too weak a term: the way this play makes everyone in the audience confront their own privilege is like a detonation, a world-rattling shake-up. This just would not work if the actors couldn’t sell these characters, but luckily every one of the performers is sympathetic and, in some way, likable. Especially Hugh Parker who plays Matt; the brother most racked with guilt over his place in the world. After the bleak and moving final scene, he is obviously still affected by the same emotions that linger on in the heart of the audience at curtain call. Everything from the set to the costumes to the dumb-joke games the brothers play with each other is familiar and normal, and in this setting the most abnormal thing occurs — truly groundbreaking theatre. Madeleine Laing

Principal Partner

Brisbane Festival is an initiative of the Queensland Government and Brisbane City Council


Comedy / G The Guide

Wed 03

Timber Bones

Serina Pech: Lock ‘n’ Load Bistro, West End

Earth Frequency Launch Party with Icicle + Spoonbill + Cheshire: Max Watt’s, West End

Dead Letter Circus: 26 Aug Solbar; 27 Aug The Triffid

The Music Presents Bob Evans: 11 Aug The Foundry sleepmakeswaves: 13 Aug The Triffid Dead Letter Circus: 26 Aug Solbar; 27 Aug The Triffid Liz Stringer: 1 Sep Junk Bar Emma Louise: 20 Oct Miami Marketta; 21 Oct Solbar Maroochydore; 22 Oct The Triffid A Day On The Green: 6 Nov Sirromet Wines Mullum Music Festival: 17 - 20 Nov Mullumbimby

Pure Vinyl #2 feat. Various DJs: The Triffid, Newstead

Thu 04 Voiid + Dangerpenny + Beat Around The Bush: Black Bear Lodge, Fortitude Valley Screaming Females + Deafcult + Martyr Privates: Crowbar, Fortitude Valley Rico & The Fortuners: Greaser Bar, Brisbane Fugitive & the Vagabond + Surfin Bird: Junk Bar, Ashgrove Josh Wade: Solbar, Maroochydore The Brodie Graham Band: Solbar (Lounge Bar), Maroochydore Jodie Lawlor + Sonny Ingledew + Ash Kerley + Mel Fraser: The Bearded Lady, West End

Skeleton Boys This 5 Aug at Woolly Mammoth catch Timber Bones launching new single Banger (Baby I Told Ya). There will be exclusive merch, support from High Tide and another secret guest.

Magrudergrind + Shackles + Hurricane Death + Nerve Damage + Descent: The Brightside, Fortitude Valley

Indica + Dr Parallax + Fight Ibis + Powerful Owl + Moves: Chardons Corner Hotel (The Back Room), Annerley

Gyan: The Loft, Surfers Paradise

Greazefest 2016 feat.The Detonators + A Band Called Twang + Miss Teresa & Her Rhythmaires + Jon Flynn?s Knights of Sin + more: Cleveland Showgrounds, Cleveland

Serina Pech: The Milk Factory Kitchen & Bar, South Brisbane The Steele Syndicate + Graham Moes + Mary Handsome: The Triffid, Newstead Japanese Wallpaper + E^ST + Yuuca: Woolly Mammoth, Fortitude Valley

Midnight Son & The Crime Scene: The Retro Bar, Kenmore Sacred Shrines: The Spotted Cow, Toowoomba Hope For Homeless feat. WAAX + Deena + Winchester + more: The Triffid, Newstead

Baltimore Gun Club + The Post + Labjacket + Nila Bonda: Currumbin Creek Tavern, Currumbin Waters

Byron Short + The Sunset Junkies + Phil Barlow & The Wolf + Dana Gehrman + Boatkeeper: The Zoo, Fortitude Valley

Solent Green: Hard Rock Cafe, Surfers Paradise

Timber Bones + High Tide: Woolly Mammoth, Fortitude Valley

Stephen Cummings: Junk Bar, Ashgrove Storm The Sky

Niko Martin: Lock ‘n’ Load Bistro, West End Musique: Logan Diggers Club, Logan Central Neville Staple: Miami Tavern (Shark Bar), Miami Black Rheno + Dead End Kings + Kold Creatures: New Globe Theatre, Fortitude Valley

Stein, Tooth & Hail Rising stars Silverstein, Storm The Sky and Beartooth are all supporting US crew Pierce The Veil when they bring their epic Misadventures tour to Eatons Hill 16 Aug for a massive show.

44 • THE MUSIC • 3RD AUGUST 2016

Sydonia + Osaka Punch + Worldlines: Solbar, Maroochydore

Long Live The Queen

Tay Oskee: Solbar (Lounge Bar), Maroochydore

The Smiths classic album The Queen Is Dead is turning 30 and there’s a huge anniversary bash at The Brightside, 5 Aug. The Cassingles, J M S Harrison, The Gifthorse and heaps more to play.

Tex Perkins + Murray Patterson: The Bearded Lady, West End Gyan: The Bison Bar, Nambour Skins: Generation 1 & 2 +Trivia: The Brightside, Fortitude Valley

Hey Geronimo: Black Bear Lodge, Fortitude Valley

The Smiths Tribute - “The Queen Is Dead” 30th Anniversary Show feat. The Gifthorse + Death Tourism + The Cassingles + Tom Cooney + Capre + Virginia Sook + Hanny J + Tiahn Berg + Luke Daniel Peacock + more: The Brightside, Fortitude Valley

Wilma Reading + Fem Belling: Brisbane Jazz Club, Kangaroo Point

Dustin Tebbutt + Robbie Miller + Woodes: The Foundry, Fortitude Valley

Fri 05

J M S Harrison

Mescalito Blues: Royal Mail Hotel, Goodna

Sat 06 Mojo Webb Band: Bloodhound Corner Bar, Fortitude Valley BVJF 2016 Workshop with The Idea of North: Brisbane Jazz Club, Kangaroo Point

Gigs / Live The Guide

Nina Las Vegas: TBC Club (The Bowler Club), Fortitude Valley

Sexy Soul: Lock ‘n’ Load Bistro, West End

Pretty City: The Bearded Lady, West End

Hey Geronimo

Go Solar Local dudes Hey Geronimo have been killing it around the country on their Crashing Into The Sun album tour. Now they are back in town to finish the job at Black Bear Lodge 5 Aug. Weather Permitting + Eye On Stone + Down The Kings + The Reprints + Charlie Stewart: Chardons Corner Hotel (The Back Room), Annerley Greazefest 2016 feat. John Lewis + The Rhythm Shakers + Ruby Dee & The Snakehandlers + DoubleBlack + The Flattrakkers + Hank’s Jalopy Demons + The Hi-Boys + Cherry Devine + The Sugar Shakers + The Koffin Rockers + more: Cleveland Showgrounds, Cleveland Sydonia + Tai Sui + The Iron Eye + Worldlines: Crowbar, Fortitude Valley Black Rheno + Knights + Valhalla Mist + Handful Of Helmet: Currumbin Creek Tavern, Currumbin Waters

Stephen Cummings: The Bison Bar, Nambour

Soul Sisters of Matariki with Betty-Ann Monga + Annie Crummer + Ria Hall + Beau Monga + more: Soundlounge, Currumbin

Suicide Girls Party with Forever Ends Here + Awaken I Am + Double Lined Minority: The Brightside, Fortitude Valley

Pete Martini + Cameron Milford + Mike Errol Jnr: The Bearded Lady, West End

Silentjay + Jace XL: The Foundry, Fortitude Valley

Triffid Stripped feat. Andrew Tuttle: The Triffid, Newstead

Jungle Love Launch Party feat. Baskervillain + Beneb + Bullhorn + Lastlings + Pocketlove + Yoste: The Triffid, Newstead

Byron Short & The Sunset Junkies: Queen Street Mall, Brisbane Troye Sivan: Riverstage, Brisbane Phil Barlow & The Wolf: Royal Mail Hotel, Goodna

Dr Bombay + Dirt & The Drinkin Posse + Vacant Rooms + Generation Jones + Lovecraft: Chardons Corner Hotel (The Back Room), Annerley Greazefest 2016 feat. Ruby Dee & The Snakehandlers + Pat Capocci + Stripped Black + Cruisin? Deuces + Little Billy + The Ten Fours + The ERT Trio + more: Cleveland Showgrounds, Cleveland Black Tusk + Siberian Hell Hounds + The Comfort: Crowbar, Fortitude Valley


The Wet Fish: Taps The Valley, Fortitude Valley

Dustin Tebbutt

Dustin Time Aussie-born folk sensation Dustin Tebbutt is returning for a national tour after living and recording in Sweden. The alt-indie singer will hit The Foundry 5 Aug with special guests Robbie Miller and Woodes.

Tue 09

Thu 11

Pre-Ekka Wrekka with Shady Bliss + The Dollar Bill Murrays + Bixby Canyon + Nice Biscuit: Black Bear Lodge, Fortitude Valley

Jackalpac: Black Bear Lodge, Fortitude Valley

Crowbar Black - Benefit For The Black Dog Institute feat. The Paper & The Plane + Army Of Champions + We Set Sail + Foxtrot + Laura Palmer + Friends With The Enemy + Greyface + De Nada + Laura Mardon + Hanny J + Tom Ware: Crowbar, Fortitude Valley

Dairy To Be Different

Charlotte McLean: Lock ‘n’ Load Bistro, West End

Perth grunge/rock staples FOAM are midway through a huge Aussie tour in support of their new single, I Could Milk Myself. The WA trio are hitting up The Foundry and it’ll all go down 13 Aug.

Punch Brothers: Queensland Performing Arts Centre (QPAC) (Concert Hall), South Brisbane Nowhere To Run Club: Ekka Party feat. Various DJs: The Bearded Lady, West End Ekka Holiday Eve Party with Granola Boy + Arrivals + Glory Days: The Brightside, Fortitude Valley EKKA Eve Party feat. Good Boy + Shag Rock: The Flying Cock, Fortitude Valley

Dustin Tebbutt + Robbie Miller + Woodes: Solbar, Maroochydore Somerset Barnard: Solbar (Lounge Bar), Maroochydore

Open Mic Night with Various Artists: Solbar, Maroochydore

Melissa Western + Kacey Patrick + Tyrone Noonan: Brisbane Jazz Club, Kangaroo Point

Dillion James: Lock ‘n’ Load Bistro, West End

Zefereli: Night Quarter, Helensvale

The Acoustic Sessions feat. Various Artists: New Globe Theatre, Fortitude Valley

Sun 07

Ruby Dee & The Snakehandlers: Lefty’s Old Time Music Hall, Brisbane

Scott Weiland Tribute: New Globe Theatre, Fortitude Valley

Byron Short & The Sunset Junkies + Ivey: Glenmore Tavern, Norman Gardens

Neville Staple + The Funaddicts + The Mouldy Lovers: Woolly Mammoth, Fortitude Valley

Leanne Tennant: Healthy Harvest, Mission Beach

The Dynamics: Logan Diggers Club, Logan Central

Wed 10

V&J & Mimm First Birthday Bash with Being Jane Lane + Rawr Vanity + The Wandering Lost + Sera: The Zoo, Fortitude Valley

Wives + Clever + Bent + Tenth Court: Grand Central Hotel, Brisbane Daryl Braithwaite: Harvey Road Tavern, Clinton

Lee Hardisty + Terrence Boyd Tallon: Solbar (Lounge Bar), Maroochydore

Kodiak Empire + Qlayeface + Crow Do Not Loiter Here + Red in Tooth: The Zoo, Fortitude Valley

Jamie Hay + Emmy Hour + Hanny J: Crowbar (Crowbar Black), Fortitude Valley Byron Short & The Sunset Junkies: Eat Street Markets, Hamilton Shifting Sands: Junk Bar, Ashgrove

Good One with Spod + The Confidence Man + Sweater Cruse + more: The Foundry, Fortitude Valley Lust For Life - A Tribute to Iggy Pop & The Stooges feat. Ciggy Pop + FAT + The Stress Of Leisure + The Bear Hunt + Dr Bombay: The Triffid, Newstead

Selena Gomez + DNCE: Brisbane Entertainment Centre, Boondall River City Aces: Brisbane Jazz Club, Kangaroo Point Akmal + Joel Ozborn: Brisbane Powerhouse, New Farm Rico & The Fortuners: Greaser Bar, Brisbane Billy Talent: Max Watt’s, West End Those Who Endure + Plague The City + Condemned To Atrophy: New Globe Theatre, Fortitude Valley The Orphans of Swing: Solbar (Lounge Bar), Maroochydore Calski + I Am D + DJ Katch: The Bearded Lady, West End Bob Evans + Melody Pool: The Foundry, Fortitude Valley Ape Drums: Wharf Tavern (The Helm), Mooloolaba


Comedy / G The Guide

Maroochy Music & Vis Arts Festival Official Launch Party with Mallrat + Forevr + Tiana Khasi + Madboots: Woolly Mammoth, Fortitude Valley

On Lock Club with+Nutrition + Rebel Yell + Goodbye Moon: The Foundry, Fortitude Valley

Paul Dempsey

Fri 12

Triffid Young Blood #3 with Old Fashion + Elko Fields + Lotus Ship: The Triffid, Newstead

Midnight Son & The Crime Scene: Beerwah Hotel, Beerwah

Mon 15

KLLO: Black Bear Lodge, Fortitude Valley

Culture Train: Goondiwindi Waggamba Community Cultural Centre, Goondiwindi

Caxton Street Jazz Band: Brisbane Jazz Club, Kangaroo Point

Alex Lloyd: Solbar, Maroochydore

Akmal + Joel Ozborn: Brisbane Powerhouse, New Farm

Tue 16

Inquisition + King + Hope Drone + Gravier: Crowbar, Fortitude Valley Prime Riff + The Titanix + Dogtags: Currumbin Creek Tavern, Currumbin Waters Birthday X111: THe Elsewhere Games with Various DJs: Elsewhere, Surfers Paradise Marie Wilson: Hard Rock Cafe, Surfers Paradise Dillion James: Lock ‘n’ Load Bistro, West End Soul Cutz: Logan Diggers Club, Logan Central

Drunk Mums

Pierce The Veil + Silverstein + Beartooth + Storm The Sky: Eatons Hill Hotel, Eatons Hill

Paul Into A Loop

Andrew Saragossi: Lock ‘n’ Load Bistro, West End

Something For Kate frontman Paul Dempsey returns solo with a national tour that hits The Triffid 12 Aug. He’ll be showcasing tracks from his new album Strange Loop with special guest Olympia.

GL: The Foundry, Fortitude Valley

Japanese Wallpaper Drunk Mums + Draggs: The Foundry, Fortitude Valley Ape Drums: The Met, Fortitude Valley Paul Dempsey + Olympia: The Triffid, Newstead The Halls + Beneb + Cassette Cathedral + Shady Bliss: The Zoo, Fortitude Valley

Sat 13 The Montgomery Brothers: Black Bunny Kitchen, Alexandra Heads

Buck Dean & the Green Lips + Dream Thieves + Fish Milkshake: Solbar, Maroochydore Chris Flaskas: Solbar (Lounge Bar), Maroochydore City Sounds with The Wet Fish: Southbank, South Brisbane Hellions + Young Lions + She Cries Wolf + Deadlights: The Brightside, Fortitude Valley Trace Bundy + Tim O’Brien: The Danish Club, Newstead Foam: The Foundry, Fortitude Valley

Mum’s The Word

Mojo Webb Band: Bloodhound Corner Bar, Fortitude Valley

Freewyo: The Lab, Brisbane

Drunk Mums are taking their slacker-rock style on the road throughout the country, bringing their Aussie punk and some new tunes to The Northern 13 Aug. Support comes from Israeli Chicks and Draggs.

Akmal + Joel Ozborn: Brisbane Powerhouse, New Farm

Sleepmakeswaves + The Contortionist + Tangled Thoughts Of Leaving: The Triffid, Newstead

Shifting The Paradigm + Eternal Torment + Decapitated Mum + Fragments: Chardons Corner Hotel (The Back Room), Annerley

Hard-Ons + JJ Speedball + Skinpin + Bullets: The Zoo, Fortitude Valley

Dark Symphonica + Lavidius + Weightless In Orbit + Seraphic: Crowbar, Fortitude Valley

Sun 14

Cheers G’day + Scraps + Voiid + OJ Mengel: Grand Central Hotel, Brisbane Morris Micklewhite & the Black Jacks: New Globe Theatre, Fortitude Valley Aine Tyrrell: Night Quarter, Helensvale The Ivory Elephant: Royal Mail Hotel, Goodna Speakeasy + Nights on Ocean: Solbar (Lounge Bar), Maroochydore Fieu + The Reversals + Fragile Animals: Solbar, Maroochydore The Ocean Party + Tiny Spiders + Eyes Ninety + The Steady As She Goes: The Bearded Lady, West End LAMBDA - The Reunion Party: The Brightside, Fortitude Valley

46 • THE MUSIC • 3RD AUGUST 2016

Melanie Martinez: The Tivoli, Fortitude Valley

Taasha Coates (The Audreys) : Junk Bar, Ashgrove The Australian Bee Gees Show: Jupiters, Broadbeach Som De Calcada: Lock ‘n’ Load Bistro, West End Silk: Logan Diggers Club, Logan Central Jagerfest feat. Brazen Bull + Palliative Care + The Lost Cause + Bitter Lungs + Dead Yet + Uncle Buck: New Globe Theatre, Fortitude Valley Bertie Page Clinic + Give It All + Black Heart Breakers: Ric’s Bar, Fortitude Valley Byron Short & The Sunset Junkies + Ross Ward: Royal Mail Hotel, Goodna

Acoustic Jam Session: Burleigh Waters Tavern, Burleigh Heads Charlie Stewart + Pinion + Cheesy Crust + Loiter + Cry for Cthulhu: Chardons Corner Hotel (The Back Room), Annerley Paris Dreaming: Junk Bar, Ashgrove Alex Crook: Lock ‘n’ Load Bistro, West End L-FRESH The LION: Miami Marketta, Miami Bearfoot + The Ivory Elephant + The Montgomery Brothers + Jason Daniels: Peregian Originals, Peregian Beach Culture Train: Queens Park, East Toowoomba Aine Tyrrell + Chesterfield: Solbar (Lounge Bar), Maroochydore

Off The Wall Electro prodigy Japanese Wallpaper is heading out on another headline tour this month. He’ll be at Woolly Mammoth 4 Aug with a batch of new and old favourite tunes, along with support from East and Yuuca.

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The Music (Brisbane) Issue #123  

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

The Music (Brisbane) Issue #123  

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