17.05.17 Music / Arts / Lifestyle / Culture
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THE MUSIC • 17TH MAY 2017 • 3
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Music / Music / Arts / Lifestyle / Culture
Sweet Like Tandy
After ten years, US rockers AFI will return to Australia in September for a headline tour in support of their January-released LP, AFI (The Blood Album). They will be supported by Basement (UK) and Aussies Introvert.
Returning after a successful tour of Canada, Melbourne success-story Larissa Tandy is returning for a national tour of Australia in June and July to launch her new album The Grip.
BIGSOUND Speaks The annual BIGSOUND Festival has promised that 2017 will be its biggest event to date and organisers continue to deliver on that promise with the first line-up of speakers, led by keynotes and music legends Archie Roach and Tina Arena.
The Getaway Plan
6 â€˘ THE MUSIC â€˘ 17TH MAY 2017
The Getaway Plan have announced a national tour in September where they will perform their 2008 album Other Voices, Other Rooms in its entirety, the first opportuny for fans around the country to see this after the band did it at Unify earlier in the year.
/ Arts / L Music / Arts / Lifestyle / Culture
Cake To Share
In support of the release of their eighth studio album, The Revival Meeting, My Friend The Chocolate Cake have announced they will embark on an east coast tour, set to kick off next month.
My Friend The Chocolate Cake
FRI 19 MAY
MOS REUNION TOUR
FRI 26 MAY
Gang Of Youths
BLISS N ESO
Youth Of Today Following their widely-acclaimed debut album, The Positions, as well as their Let Me Be Clear EP, Gang Of Youths are back with their highly-anticipated second LP Go Farther In Lightness and a national tour in August and September to boot.
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The amount raised when Splendour In The Grass auctioned
Divided Nation After some pretty blunt clues from the man himself recently, UK troubadour Ed Sheeran has officially announced that he will return to Australia in March as part of his ÷ (Divide) world tour.
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Music / A Music / Arts / Lifestyle / Culture
Washed The Spider Out
After having to postpone one of their Brisbane gigs as it was right in the midst of ex Tropical Cyclone Debbie, Spiderbait finally get the chance to play their second date at The Tivoli on 20 May.
Buzz-heavy Sydney act Green Buzzard are hitting the road next month in support of their new EP, Space Man Rodeo, for a threedate east coast tour.
The Coming Flood To aid people affected by the floods that ran through Brisbane’s southern outskirts in the wake of ex Tropical Cyclone Debbie, the music community is hosting an event at the Logan Village Hotel on 4 Jun. It features John Williamson, James Blundell and more including The Flood Aid Rock Legends, a supergroup containing Buzz Bidstrup (The Angels), Mark Evans (AC/DC), Kevin Borich (The Party Boys) and Tyrone Noonan (george).
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The inaugural Winter Warmer Festival at the Hamilton Hotel precinct 24 Jun is shaping up to be red hot with the announcement of headline acts The Superjesus and Alex Lloyd.
Arts / Lif Music / Arts / Lifestyle / Culture
Avengers Fans, Asemble!
The Creating The Marvel Universe exhibition at QAGOMA, opening 27 May, explores the process of taking characters including Iron Man, Captain America and The Guardians Of The Galaxy from the page to the screen.
The Avengers by Ryan Meinerding
We’re Rooch For the third year Maroochy Music & Vis Arts Festival have dropped a killer first line-up with Alison Wonderland, The Presets, Bernard Fanning, Gang Of Youths and more taking the stage in August.
ME: Have I got the job? INTERVIEWER: Tbh we’ll probably go with someone who doesn’t say thanktastic when he gets nervous M: Ok thanktastic @ArfMeasures THE MUSIC • 17TH MAY 2017 • 9
Tell I t On The
n i a t n u o M Visionary director David Lynch’s trippy television masterpiece Twin Peaks is finally returning to our screens a quarter of a century after going off the air. Guy Davis speaks exclusively to two of the show’s stars, Mädchen Amick and Sheryl Lee.
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ou may have turned to this page looking for answers, and that’s understandable. Something you should also understand is that while answers can be provided to some of your questions, the best that can be provided in other areas of inquiry is a clue or two. Having said that, let’s talk about the return of Twin Peaks to our screens, 25 years after some of the sad and shocking mysteries of the eponymous small town were revealed in the ground-breaking television series created by David Lynch and Mark Frost and the 1992 prequel film, Twin Peaks: Fire Walk With Me, co-written and directed by Lynch. In the early 1990s, TV was far from the creative playground it has become over the last decade or so. Programming was entertaining, sure, but for the most part formulaic, and any artistry that coloured outside the lines, so to speak, was a welcome outlier. So it was interesting enough when Lynch, whose 1986 masterpiece Blue Velvet had consolidated his position as one of America’s most radical filmmakers, and his friend and collaborator Frost, a screenwriter and novelist, were given the opportunity to create a series that would bring together the conventions of a small-town soap opera and an ongoing murder mystery. But when that series not only explored some of Lynch’s trademark obsessions but did so with the filmmaker’s distinctively moody, atmospheric and occasionally oblique style, it hit the collective consciousness like a bolt of lightning. Viewers were of course drawn to Twin Peaks’ central mystery - just who did kill Laura Palmer, the town’s beloved golden girl with a shattering secret life? But the whole aesthetic of the show seemed to cast something of a spell. And even though those viewers began to turn away from the show in its second season once the identity of Laura’s killer was exposed - a downturn that culminated in the show being cancelled at the end of that season - the spell remained somewhat in place, with more and more programs showcasing the individual and idiosyncratic voices of their creators with greater volume and clarity. And of course, in the years following its cancellation, there were often whispers of a Twin Peaks revival. But it wasn’t until a few years ago that talk of the show’s return on the small screen started to seem like more than idle chatter. In 2014, US pay-TV network Showcase announced that it would air an 18-episode run of new Twin Peaks episodes, scripted by Lynch and Frost and, thrillingly, all directed
by Lynch. What’s more, the majority of the show’s original cast members - as well as an array of new additions, including previous Lynch collaborators Laura Dern and Naomi Watts - would be reprising their roles in what was called a continuation of the original story, rather than a reboot. For Mädchen Amick - who played Shelly Johnson, a beleaguered young waitress caught in a love triangle with her brutish husband Leo (Eric Da Re) and her smitten but dopey lover Bobby (Dana Ashbrook) - there’d been enough talk of Twin Peaks making a comeback over the years since its cancellation that she’d started to take every rumour with a sizeable grain of salt. “I think it was five or six years after we were cancelled that I started hearing rumours, and it’s always been there with the fan base - the hopes and wishes that it would come back,” she says.
I never thought it would ever happen, even though I would see other shows that would have a remake or a reboot or a return.
“For me, I never thought it would ever happen, even though I would see other shows that would have a remake or a reboot or a return. But I always kept Twin Peaks away from that because I thought you couldn’t catch lightning in a bottle more than once. How could you possibly revisit something that was so unique and special? “But I was thinking too small. I was thinking of it going back to network television. They had a hard time handling it the first go-round, and I think a second time around would constricted and confined. It didn’t even cross my mind, the idea of it going to cable or some other venue. So it didn’t cross my mind until the morning David Lynch and Mark Frost announced it simultaneously on their Twitter accounts. “All of these texts and email started flooding my phone, friend after friend - the first one I opened was from Dana Ashbrook, and he wrote ‘Mädchen, is it true?’ I immediately emailed David Lynch and asked, ‘David, are these rumours true?’ and he simply wrote back ‘Madge-kin’ - which is his nickname for me - ‘I’ll be seeing you very soon in the beautiful world of Twin Peaks’.”
That seems very David Lynch, doesn’t it? A little florid and a lot mysterious. But the filmmaker inspires great loyalty from pretty much everyone he works with, Amick included. “The biggest misconception about David Lynch is that everyone assumes he’s going to be weird and mysterious and unapproachable and hard Mädchen Amick with co-star Peggy Lipton to understand, and he’s the exact opposite of that,” she says. the mystery alive, which is what we’re “He’s so personable, so caring, so encouraging the fans to do as well. I can’t collaborative - he’s a great human and speak about the whole show and how it will an amazing artist, and that brings out feel, because I don’t really know. your best work.” “But in the little snippets that have Sheryl Lee, whose performance as Laura been released, these little glimpses of Palmer in the series and film is remarkable the characters we’ve come to know so and unforgettable, agrees wholeheartedly. “Working with David on anything anytime well, it has this cinematic quality which is different from the original show. There’ll is always a wonderful gift,” she says. “I know be a nostalgic aspect, of course, but I have that I am in the best of hands with him - that the feeling it’ll have a different flavour I will be challenged creatively, grow outside because we’ve all grown and changed of my comfort zone and work with many and David Lynch has grown and changed incredible artists in all departments. It is an as a filmmaker. opportunity to dive into the mystery, walk “Knowing him, and knowing how he likes into the unknown and unfamiliar. He creates to incorporate all these different advances such a safe, collaborative environment in into the different mediums he works in, I which to play.” have a feeling Twin Peaks will be elevated And that kind of approach is what because of that. brought back the bulk of Twin Peaks’ cast “He’s just so brave in that he doesn’t and crew - Lee and Amick included - for just touch on an emotion; he spends time in this 18-episode reprise 25 years down the that emotion. He takes the time to explore line, even if not all of them were privy to the every nuance of it. He stays long enough for big picture Lynch and Frost were putting everyone to break through and let go and go together this time around. on the journey with him.” “I am as excited to see what the new Twin Peaks will be as the audience is,” says Lee. “Because of the way that we worked on the new season, I honestly have no idea. That’s the thing about working with the master - I don’t have a clue what he will do with what he shot. I know that sounds strange, but inside David’s creative world it isn’t.” “None of us were able to read the entire script, unless you were a key crew member who had to know the whole story,” says Amick. “All of the actors were invited to read just their scenes, which has helped in keeping
What: Twin Peaks When & Where: Premieres 22 May on Stan
THE MUSIC • 17TH MAY 2017 • 11
Rapping It Up MCs Eso and Bliss reflect with Brynn Davies on the turmoil of the years between 2013’s Circus In The Sky and Bliss N Eso’s sixth LP Off The Grid, whose messages become increasingly, uncannily relevant with every new challenge.
nother truck rattles passed our wind-swept seats at a cafe in Sydney’s Surry Hills, and MC Eso (aka Max Mackinnon, who goes by ‘Macca’) raises his voice as he waxes lyrical for our interview. Actually, he’s rapping it. “Look, I’ll tell you the bottom line / It’s a cess-poolof-shit / We need to get out / get out right now / find that exit sign and bounce / quick. He stops rhyming here... sort of. Chatting to Mackinnon and MC Bliss (Jonathan Notley) reveals the result of their expansive 17-year hip hop career — they
We’ve been through the war in a lot of senses of the word.
don’t actually realise that they speak in verse and rhyme, almost freestyling, when caught on the energy of an idea. “Waking up, before I do a poo or a wee, I look at my phone bro, and I seen two fights, a motorbike accident, I seen rappers I don’t even care about beefing with each other — Soulja Boy, who are you mate? Get outta there! I’m subliminally pushing this shit into my mind, let alone the bloody news at 9am that needs to feed me full of fear, and um... ah fuck, where was I?” Mackinnon stops. “We were talking about social media and how crazy it is,” assists Notley through a mouthful of eggs. “Right. We need to unplug. And Denzel Washington was sayin’ ‘What is the effect of too much information?’ We don’t know? Well we’re about to fuckin’ find out.” 12 • THE MUSIC • 17TH MAY 2017
This is the bridging discussion between touching on 2014’s social media fiasco, in which Eso posted misogynistic photos of himself posing provocatively with wax figures of Rihanna, Lady Gaga and Raquel Welch — “It was never intended to promote violence in any way... It is amazing how far things can get taken out of context... I look at it as a huge learning curve,” — and the title of their long, long anticipated sixth LP Off The Grid. The cover art — their signature hooded figure, shrouded in darkness holding a scull birthing a golden rose — has never seemed more pertinent given the battles faced by the trio since 2013’s Circus In The Sky. “I think there’s a bit of a theme — beauty grows from darkness — throughout the album, and in the time period of making it a lot of shit has happened,” explains Notley. “But...” and they both pause to reflect, “Little things, like when the Johann [Ofner, who was fatally shot on the set of their film clip in January] incident happened, which shook us to our core... To be able to do little things like a dedication show, get his daughter up on the turntables smiling and scratching, the whole family and all the friends rockin’ out to Friend Like You right at the end, the vibe was electricity in the air, that was a little ray of sunlight through the clouds.” Off The Grid has become a continuing catharsis for the Sydney MCs. Beginning as a conscious decision to reveal themselves in the present moment — from Mackinnon’s recovery from alcoholism to their experience of a fan’s lost battle to cancer. Yet as new challenges arise, each track takes on a new, even more relevant meaning, long after it was sent to press. “It’s funny how everything all turns out,” reflects Mackinnon. “With the situations that we’ve gone through recently it seems like the front cover makes more sense. And even the song Friend Like You, that song was made and created way before that incident. But you listen to that song now, it’s like those lyrics can help you deal with that situation. It’s really uncanny.” “We’ve been through the war in a lot of senses of the word, the shit that we’ve had to deal with, the demons that we’ve had to tackle. I guess this album, like Macca said, was the first time we decided to really open up — show a bit more of Jonathan and Max, not just Bliss N Eso,” explains Notley. “Now it’s time to give them something a bit more personal.” “For an artist, for a human, to come to terms with their problems or their addictions, that’s huge in itself,” Mackinnon adds. “It’s kinda funny — once you start, the floodgates open and it get easier,” Notley agrees. “That raw honesty is that human connection... If [fans] can get something from your story and it’ll help them, man, that’s the bee’s knees of music.”
What: Off The Grid (Illusive) When & Where: 26 May, Eatons Hill Hotel; 27 May, NightQuarter, Helensvale; 7 Jul, The Northern, Byron Bay
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THE MUSIC • 17TH MAY 2017 • 13
My Narrow Street Acclaimed singer-songwriter Ryan Adams delivers Steve Bell a passionate sermon about the power of song and the redemptive capabilities of rock’n’roll.
S songsmith Ryan Adams has always poured his heart and soul into his art, and while he’s often visited terrains rife with despondency and selfrealisation, few of his albums have been as beautifully desolate as his recent 16th long-player, Prisoner. Conceived and penned during the fallout of his all too public divorce from wife of six years Mandy Moore, Prisoner’s songs once more take difficult personal experiences and mould them into something that Adams altruistically hopes will prove of some benefit to others. “As a producer I would say, and maybe it’s the wrong way to put it, but I would say that that record is for everyone
I think that they are banner moments of humanity.
but me,” he tells. “I made it and it is me — I am in that record, and it is born of necessity and it is born completely from things that I needed to say and is genuine in every complete way — but it’s not a mirror, it really isn’t. It’s meant to nourish other people. “And the best thing you can do — for me and the feelings and the crazy things that have gone on in my life — is to take some of the more twisted parts of a life and turn them into something possibly beautiful for other people to grow from or learn from or experience them in a way that makes them want to love life more. That’s the best that I could ever hope. “It’s like you take that bitter seed and you plant it and you grow something good with it, as opposed to eating it and getting sick. That’s how I see this stuff: I see it
14 • THE MUSIC • 17TH MAY 2017
as my way of experiencing these things in a new way again, and as cheesy as it sounds I’ve always just been a true believer in the art of rock’n’roll since I was very young, and I suppose I always will be. It will always be my narrow street.” For Adams his songs are so much more than a mere diary entry or signpost, possessing massive cultural import. “They’re all born out of necessity,” he reflects. “At some point my psyche — whether it be something on my mind or something deep in my mind — it pushes something out that I need to make. I think that something like writing songs is maybe a bit like if you’re someone who works with glass — you only have to break a few things before you realise that it’s not for you. It’s a fragile thing. “I don’t really make music that has anything to do with a trend or a time. I don’t think my music could ever really be part of any one kind of a thing — that’s been the problem. I love songs. I like talking to people in a song, I like being in a song and I like correlating my feelings in a song. And I’ve learned a lot about life in songs. I think if anything honestly in modern contemporary culture has ever been so grossly overlooked, undermanaged and treated with such lack of respect, it’s songs. “Because how many people that we both know — or will ever know — will ever learn about some of the ideas of how to help themselves in the moment where they feel their heartbreak for the first time — they’re not reading Shakespeare, they’re listening to a song. Or the first time they have a crush and they feel wild and out of control about it: they’re not standing in front of a painting at the Met Gallery — I mean they might be — but they’re probably listening to a song, a song is probably their friend. How many children are conceived by the blue light of a dashboard by some lovely couple out at midnight parked some place, or listening to some crazy record that they both love? “And how many people fall in love because a perfect moment happens and just at that perfect moment while they’re looking at each other and realising that they’re not just friends, just a wonderful piece of music comes on that says something. Maybe it’s The Flamingos’ I Only Have Eyes For You which plays at that very moment and they talk about it when they’re 80: ‘Do you remember when that song came on and you first looked at me in that funny way and I knew?’ “Songs are these very powerful and very magical things, they’re extremely important, and I think that they are banner moments of humanity. They’re ineffable and immovable and I think that they say everything about who we are, and they have to do it in three and a half to five minutes or you’re going to bore the hell out of someone.”
What: Prisoner (Paxam Records/EMI) When & Where: 23 May, The Tivoli; 24 May, The Northern, Byron Bay
CAMILLE O’SULLIVAN WITH FEARGAL MURRAY
13 JUNE 2017
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THE MUSIC • 17TH MAY 2017 • 15
Reality Bites Comedian and reality TV star Nazeem Hussain has turned into political firebrand for his latest show. As Joe Dolan learns, this stand-up comic’s got a few stern words for Australia.
azeem Hussain has never been one to shy away from the serious issues in his stand-up, but that doesn’t mean the comedian is straying too far from home, either. “Public Frenemy is my third stand-up show and, you know, like all of my shows it’s somewhat topical and connecting to me in a personal way,” says Hussain.
“I called the show Public Frenemy because I’ve got a love/hate relationship with this country. I don’t hate the country so much, I just hate some of the things our country does that we claim is for the good but it turns out to be horrible stuff.” Hussain also says of the new show, “For me, comedy is a way to just talk about the world around me and the world at large, so I guess in a way it is political and satirical, but it’s always told from a very personal perspective.” The presenter and creator of Legally Brown, Hussain has always had his finger on the political pulse, though he admits the point of his comedy is not necessarily to change opinions. “It’s just like group therapy, negotiating all of this hypocrisy,” he says of being on stage. “I’m not very good at ranting on social media, I rant with my mates and family and stand-up is just an extension of that.” Hussain continues, “I think naturally when anyone vents or rants... like for me when I hear my audience 16 • THE MUSIC • 17TH MAY 2017
I’ve got a love/hate relationship with this country. I don’t hate the country so much, I just hate some of the things our country does. laugh at that stuff I’m like, ‘Yes! You see, they’re on my side!’ So it’s sort of more for me than it is for my audience but hopefully, they find that entertaining.” Of course, many of those planning to see Public Frenemy, Hussain admits, may not even be aware of his political side. Since appearing in the most recent series of I’m A Celebrity... Get Me Out Of Here!, the comedian is looking forward to connecting with a new branch of audience. “People who ordinarily wouldn’t have heard of me of have been familiar with my stuff, they’ve gotten to view me through that lens and I think they’re interested in my experiences in the jungle,” he says. “However I don’t want to be bitching about celebrities and stuff, that’s not really my thing. I will be talking about my experience and my expectations going in, though. Maybe talking about some stuff that didn’t air as well. “I think a lot of people will have seen me on this family friendly show so they’ll be expecting some family friendly level banter, so I might have to spend a bit of time guiding them through what to expect: jokes about white people, jokes about my issues with Australia.” Continuing on the subject of I’m A Celebrity... Get Me Out Of Here!, Hussain confesses “There’s a lot of risks associated with doing a show like that, but having come out of it now, I thought it was an amazing experience doing it. I know it’s reality TV but it was actually profoundly revealing — you learn a lot about yourself and other people and you have to see life from a different perspective.”
What: Public Frenemy When & Where: 19 – 20 May, Brisbane Powerhouse
Polish Club frontman David Novak tells Steve Bell that the duo’s tuneful garage racket evolved more by destiny than design.
ydney duo Polish Club have caused a large wave in a short period of time with their infectious brand of high octane garage-soul, best experienced to date in the guise of their jackhammer live show. Now that’s all about to change with the release of debut longplayer Alright Already, a propulsive slab of energetic rock’n’roll which manages to showcase some new sonic sides to the partnership without compromising any of their scuzzy appeal. “The thing we were always really conscious about doing was making sure that it wasn’t all one and a half minute short, fast and loud songs, we wanted it to kinda reflect the different kind of songs that we like to do,” explains guitarist/vocalist David Novak. “So there’s some slower jams on there that break the three-minute mark, and there’s the standard short original party songs that people are probably more accustomed to, and then we bridged that gap with a few midtempo ones as well. “We wanted to really find that balance and have the album flow a lot, but we didn’t really have too much of a concept besides that — we just wanted to pick the best songs because we had so many to choose from. It was an easy process to do because there were some that really stood out, and I
Credits Publisher Street Press Australia Pty Ltd
think we made the right choice.” Novak and drummer JohnHenry Pajak started Polish Club two years ago, stumbling upon their distinctive sound almost by accident. “We knew we wanted to keep it pretty simple and fun,” the singer reflects. “The only reason we ever started it was to enjoy ourselves and have an outlet that we hadn’t previously thought of. We’d never really played that much together before — John played in my high school band, which wasn’t a real band; we didn’t release anything or play too many gigs — but in that short period of time we played together right before we formed Polish Club we just kind of gelled. We said, ‘Why don’t we try doing some music with just us two?’ and we booked a room for three hours and before we knew it we had [tracks from their self-titled 2015 EP] Able and Beeping in our first practice session. “It was never a conscious thing where we said, ‘We’re going to do some garage rock/ soul sound,’ or whatever people are calling it, we just tried a bit of everything in that first session and then realised that doing this kind of music in this way is the best way we can sell the energy and the music that we’re trying to make. From my perspective I just rolled with it and found something that was easy to do and just felt right, and just kept doing it. It’s really satisfying because it felt really organic to me — I never thought too much about it.”
Group Managing Editor Andrew Mast National Editor – Magazines Mark Neilsen Editor Mitch Knox Arts & Culture Editor Maxim Boon Gig Guide Editor Justine Lynch firstname.lastname@example.org Contributing Editor Bryget Chrisfield Editorial Assistant Brynn Davies, Sam Wall Senior Contributor Steve Bell Contributors Anthony Carew, Benny Doyle, Brendan Crabb, Caitlin Low, Carley Hall, Carly Packer, Chris Familton, Cyclone, Daniel Cribb, Dylan Stewart, Georgia Corpe, Guy Davis, Jack Doonar, Jake Sun, Liz Giuffre, Neil Griffiths, Nic Addenbrooke, Rip Nicholson, Roshan Clerke, Samuel J Fell, Sean Capel, Sean Hourigan, Tom Hersey, Tom Peasley, Uppy Chatterjee Photographers Barry Schipplock, Bec Taylor, Bianca Holderness, Bobby Rein, Cole Bennetts, Freya Lamont, John Stubbs, Kane Hibberd, Markus Ravik, Molly Burley, Stephen Booth, Terry Soo Sales Zara Klemick email@example.com Art Dept Ben Nicol, Felicity Case-Mejia, Alex Foreman Admin & Accounts Meg Burnham, Ajaz Durrani, Emma Clarke firstname.lastname@example.org Distro email@example.com Subscriptions firstname.lastname@example.org Contact Us Phone: (07) 3252 9666 email@example.com www.themusic.com.au Street: The Foundry, 228 Wickham St, Fortitude Valley QLD 4006 Postal: Locked Bag 4300 Fortitude Valley QLD 4006
What: Alright Already (Double Double/Island) When & Where: 25 May, The Foundry; 26 May, Elsewhere; 27 May, Big Pineapple Music Festival, Woombye
THE MUSIC • 17TH MAY 2017 • 17
Frontlash Blues By The Beach
Don’t forget: Blues On Broadbeach kicks off on the GC tomorrow, bringing awesome live music all weekend long.
River Of Support John Williamson, James Blundell, the all-star Flood Aid Rock Legends and more will hit Logan Village Hotel on 4 June to fundraise for flood victims affected by exTC Debbie earlier this year. Champions.
Keeping Woodford Wonderful
Props to Woodford Folk Festival for making the call to cap attendance this year, putting the environment and event’s vibe first over profit.
Blues On Broadbeach
Backlash MP3, RIP
Twelve years ago, the MP3 licensing program was pulling in about €100 million for Germany’s Fraunhofer Institute; now, it’s officially terminated. Farewell, noble audio format. You served us well.
Divide-d We Fall
C’mon, the ARIA charts finally integrate streaming into their album results and Ed Sheeran still immediately regains #1 after one week off the top? We wanted to see diversity, dammit!
Losing Streak Dear random Ukrainian who nuded up at Eurovision draped in the Oz flag: we have a hard enough time being taken seriously on the international stage. No need to muddy the waters, you deviant. 18 • THE MUSIC • 17TH MAY 2017
No strangers to an Australian audience, Devin Townsend Project are venturing onto our shores once again, and frontman Devin Townsend tells Rod Whitfield of the difficulty he faces creating the setlist for each tour.
here is a great quote from comic actor Jack Black, speaking about long-running Canadian progressive rock legends Rush. He says that the band had an endless well of “rocket sauce” (ie. creativity), and they kept shaking the sauce bottle for decades and the sauce just kept flowing out. The very same could be said about another idiosyncratic but illustrious Canadian progressive rock artist, Devin Townsend. However, when this is put to him, in his typically self-effacing fashion, he puts a very different shake (no pun intended) on it. “I have to put the bottle on its head more often than I used to,” he laughs, “I’m trying not to add water to it, that’s the thing. “The whole shift in your perspective on music comes down to something as simple as ‘Maybe it’s not sauce you’re trying to shake out of it now; maybe it’s time to move on to the rice, or to the meat and two veg?’ And recognising when it’s time to do that is a skillset.” Australian audiences have been deeply fortunate enough to have been witness to that endless creativity in a live sense on a wonderfully regular basis for virtually two
decades now, and May sees another return to our shores from the great genius. And it seems he loves us as much as we love him. “I am incredibly fortunate,” he enthuses, “it’s funny, the amount of bands that never get to go to Australia and the amount that I get to go is not lost on me man, I am absolutely thrilled to come back, every time.” Townsend is extremely happy with the setlist he is bringing Down Under this time around, especially considering he has such an immense and towering back catalogue to pick from and so many people to try to please. “It’s a good one, I think it’s the best one that we’ve done,” he states confidently, “it’s really hard man, we’ve got 30 records to crowbar a set together from, and check all the boxes between what you want to play, the new record, and what’s expected from the audience, what the band wants to play, what represents a good show and what has a good flow, it’s hard.” This leads on to Townsend reflecting on what his philosophy regarding live music is, and in particular how it relates to his own show. “Ultimately my objective for music in a live setting is to have people leave feeling like they participated in an experience, and you can guide people’s emotions with the songs that you choose, and I think that what we’ve done on this one is really strong.” And some absolute cream on the top of the next Devin Townsend Aussie tour is the fact that he is taking awesome Sydney-based instrumental post-rock band sleepmakeswaves on the road with him. “I did check them out when I heard they were on the bill, they’re great!” he says. “They’re all instrumental, yeah? Yep, they’re killer, and I can’t wait to check them out.”
When & Where: 20 May, The Triffid
Baring It All After explaining Girlie Bits is a song that men can identify with as well, Ali Barter chats about the unfair expectation that female performers should smile and the ex that told her she didn’t understand what it’s like to be a man with Brynn Davies. When Ali Barter wrote the anthemic single Girlie Bits she was on her honeymoon, sunning herself on a beach in Goa — a situation so idyllic it’s difficult to reconcile with such a charged song. “I was feeling really uncomfortable sitting on the beach in my bathers because I was really uncomfortable in my body. I had the words ‘girlie bits’ in my phone — I was thinking about fleshy bits: beautiful rolls and gorgeous curves and things like that, and how much I love them on somebody else but how much I hate them on myself, and how sad that is, you know?” she explains. “I’d read an article by Bethany Cosentino from Best Coast and she’s talking about how, when [reviewers] review her shows, they always make a comment about the fact that she’s not smiling, and how fucking annoying that is. No one ever says that about dudes — if you go and see a male band play and they’re not smiling, you just go, ‘Oh, they’re so serious and brooding and blah-blah-blah,’ but you go and see a girl play, and she’s not smiling, and the reviewer goes, ‘She looks grumpy,’ and it just gives me the shits.” The chorus refrain, “You don’t understand what it’s like to be a man” — something an ex-boyfriend had said to her in the heat of the moment (or lack thereof) — was also playing through her head that day. “It was one of those moments where you’re in a long-term relationship and one [person] wants to have sex and the other person doesn’t because they’re tired, or whatever the circumstances are, and he said, ‘You just don’t understand what it’s like, babe. I’m a man and I have these urges and I need to have sex,’ and I was like, ‘Oh, shut up!’ The thing is, when people stay stuff like that, you get guilted into doing it and it’s a horrible reason to have sex with somebody.” Barter went back into her hut, picked up her guitar and wrote Girlie Bits in ten minutes. While the track is often interpreted as a shimmery, ‘Fuck you!’ to misogyny and male double standards, Barter explains that it’s more of a “conversation starter” about
He said, ‘You just don’t understand what it’s like, babe. I’m a man and I have these urges and I need to have sex’.
gender expectations — both male and female. “That’s the beautiful thing about a song — it’s open to interpretation and other people can take their own meaning from it,” she muses. “I’m married to a beautiful man and we talk about the pressure on men to be men, the sense of expectations and pressures and reading the statistics about suicides, especially male suicides — that is a really virulent thing... I love people’s response to [Girlie Bits]; it completely blows me away every time. This song is meant to be inclusive and it’s meant to be a conversation starter. It is so nice, because women identify with it but men also identify with it... I think it’s a song about wanting to be understood. It doesn’t have to be a song just for women. We can ask those questions and sing them out loud.” Barter’s debut LP A Suitable Girl — taken from Vikram Seth’s novel A Suitable Boy — is awash with Barter’s scintillating soprano, blistering guitar smattered with a little grunt and grunge, and nuanced vignettes, riding the ebb and flow of Barter’s cycles of emotion — craving affection, vehemently protesting condescension and inequality, meditating on pain and power. “I feel like it’s sort of the story of my late 20s. That was a time where a lot of things change; there’s a lot of expectation and you’re entering into a lot of new relationships and new roles, and there’s expectation not only from other people but also of yourself,” she explains. “I had to really write it out because I didn’t know what to do with it; I just had to be really, really fucking honest about it. And that’s why these songs are so open and on the nose, because that was my process — I had to say it out loud to let it go. I have a lot of really strong female friendships in my life and, by saying it to them, I realised they were feeling similar things. A lot of it was stuff that I think — as women coming into this stage of our lives, early 30s, late 20s, where we think we should be something, we should act a certain way and there’s a lot of ‘should’ whereas we need to say this stuff out loud: ‘This is what I feel and that’s okay.’ And so that’s what this album is for me.”
What: A Suitable Girl (Ronnie Records/Inertia) When & Where: 18 May, The Foundry THE MUSIC • 17TH MAY 2017 • 19
ON THE NEW ALBUM “÷” (DIVIDE) OUT NOW 20 • THE MUSIC • 17TH MAY 2017
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Blues On Broadbeach
Confidence Is Key Drone Zone
Yes it’s true; she of the impossibly husky voice and big blonde ‘do will be with us shortly. Welsh national treasure Bonnie Tyler talks suitcases, German metal and learning songs by the piano with Paul Ransom. Move over bungy jumping, sky diving and paragliding – there’s a new extreme sport in town. Drone Diving is set to become the next big thing for adrenaline junkies. Pioneered by daredevil Latvian skydiver Ingus Augstklans, it involves being lifted more than a thousand feet into the air by a 28-propeller super drone before being dropped. Drone Divers then parachute safely back to terra firma. While this might seem like a lot of advance technology for a bit of fun, the giant 3.2sqm drone was actually developed as a potential rescue vehicle for victims stranded in places inaccessible to other vehicles or aircraft. Test jumps have so far gone off without a hitch, so watch this space thrill-seekers – Drone Diving is coming.
22 • THE MUSIC • 17TH MAY 2017
he first thing Bonnie Tyler wants to know about is the weather. The reason for this is not entirely clear at first and, not being long range forecasters, we can only offer scant advice. However, the husky-voiced Welsh singer of such standards as Total Eclipse Of The Heart and It’s A Heartache soon explains. With 40 years of touring and recording behind her, Tyler is not only over the hyperbole of stardom and marketing but content to do her own organising. “I don’t have an entourage,” she says. “I do it all myself. I pack my own clothes, buy my own wardrobe, carry my own bag. Y’know, I don’t fuss too much anymore.” Indeed, it is soon obvious that Gaynor Hopkins is quite at ease with the life and work of her Bonnie alter ego. Having endured the fleeting shimmer of sales and success, been to number one, fallen out of the spotlight (and back in again), she insists that she enjoys touring more than ever. As she explains, “When I was younger I worried about where we were performing and what I was going to wear and, y’know, the travelling was getting me down; but with
age you get much more relaxed about things. You don’t worry so much about what people think. You just go on and enjoy it and when you enjoy it people feel that.” Thus, when she arrives in Oz for a seven-date tour later in May, Tyler will hit the stage with a confidence born of decades. “Believe it or not, I used to be very shy,” she reveals. “I’d go on stage like a little girl but I’m not like that anymore. I’m very confident now and, y’know, I’ve got a great voice coach that I phone before every soundcheck, no matter where I am.” That Tyler still works on her famously smoky tones underpins her longevity and confidence, but also helps to keep the art form challenging. Having sung the songs so many times, maintaining their freshness and keeping the meaning believable across the years is pivotal. “I’ve lived with them for such a long time but now I think that I do put more feeling into them,” she explains. “When you first record a song, especially with someone like Jim Steinman [writer of Total Eclipse, Bat Out Of Hell, etc] you just learn it by the piano. I don’t read music so at first I just feel my way into them but now I sing them much better. Much stronger.” But of course aside from the endless back catalogue, there are always new horizons, including a date to make a record with John Carter Cash in Nashville and, in the last few weeks, a new single with German metalheads Axel Rudi Pell called Love’s Holding On. “It’s a really ballsy song,” she assures us. Be it country, blues or Teutonic rock, the self-organising Bonnie Tyler remains keen to ensure that black jeans will be okay for both Gold Coast and Melbourne weather.
When & Where: 21 May, Blues On Broadbeach
Blues On Broadbeach
Cash Savage chats to Brynn Davies about grief, Janis Joplin and writing a letter to the thing she didn’t know she wanted.
actually started a band in high school with Nick Finch who now produces the albums. I told myself I’d never be a country musician and we used to joke about it, that we’d become country musicians when we were 25 - at 15, 25 seemed a long time away - and low and behold, I play country music!” Cash Savage laughs over the phone. “I’m dishonest to my 15-year-old self.” Savage grew up in a musical family, with both parents musicians and her uncle being the one and only Conway Savage of Nick Cave & The Bad Seeds fame. “I haven’t really aspired to emulate many people, but I’ve always been a big Janis Joplin fan. I love how she phrases and structures the sound of her voice through the lines of her song, and that goes for Patty Smith as well. And Grace Slick from Jefferson Airplane,” she adds. “[Joplin] can just go from like zero to 100 in her voice; she’ll be doing these little soulful bits and then it just goes into this fuckin’ 100% crazy wail without any effort. It’s like she doesn’t even take a breath in-between.” Savage and her band The Last Drinks have been touring their third album One Of Us since 2015, and demand shows no signs of waining, just recently selling out Melbourne’s Corner Hotel. “It’s gotta be a dream, as a Melbourne musician it’s on the bucket list,” she enthuses.
The album’s blues grunt and mellow country tones recounts a difficult period for Savage. “This latest album is much more about grief than anything else... Between me and my partner we knew about four or five people who suicided. I’ve lost count now. Two of them were quite close, and none of them had anything to do with each other. It was just a weird time. But at the same time I was having wonderful times with the band, and our first international tour, and I got married, so it was quite a juxtaposition of emotions and that’s what One Of Us is to me, all those different emotions in one album,” explains Savage. Her appearance at Women Of Letters in April opened Savage up to an entirely new style of performance. “I was very much out of my comfort zone, I don’t normally stand and read! I know it probably doesn’t seem that different, but it is that different,” she muses. “I was quite nervous beforehand. It went really well, there’s a lot of love in the crowd. Everyone gets a heads-up that they’re not supposed to record or anything, so they set up a really safe space there so you feel like you can really talk about anything you want which is quite nice as a performer. “The theme this time was A Letter To The Thing I Didn’t Know I Wanted, which was a hard theme for me, but I wrote it to my marriage - not to my wife, but to my marriage. Who knows that they want to get married? Not me! I don’t know many people that would think about it in this day and age... but then when you get married there’s things that do actually change. The way that the world sees your relationship, which is an interesting thing. I dunno. I’m so fucking bored of how politicised my own marriage is, so it feels like a funny thing to talk about.”
When & Where: 19 May, The Zoo; 20 May, Blues On Broadbeach
The latest trailer for the upcoming It remake just dropped, and it’s offered a more nuanced look at the psychology behind Andres Muschietti’s much anticipated reboot of the Stephen King classic. It’s already been announced that the new film will be the first of two about a town stalked by a killer clown, the supernatural embodiment of the deepest fears of a ragtag group of misfit tweens. The latest trailer focuses on the members of the ‘Losers Club’. They are those plucky social outcasts familiar from most coming of age movies, but even in this two minute preview, they show a lot of heart and endearing comradery. The second instalment of this new It franchise jumps ahead to when the members of the Losers Club are all grown up, so it will be interesting to see how those relationships translate between films. This latest trailer is also notable for its very fleeting glimpse of Pennywise – King’s inspired horror nemesis – but that’s precisely why it’s so chilling. Bill Skarsgaard felt like an odd choice when the young actor was cast in this role – originally immortalised by the legendary Tim Curry – but any reservations we might have had about him pulling off the perfect Pennywise are definitely gone now. The film hits the big screen this September.
THE MUSIC • 17TH MAY 2017 • 23
Blues On Broadbeach
Answered by: Alan Boyle When did you start making music and why? Blues Arcadia formed early last year out of another band some of us were in. Individually, we come from different genres of music but have a deep and abiding love of blues and old soul. Sum up your musical sound in four words? Dirty, soul-infused blues. If you could only listen to one album forevermore, what would it be and why? Oh boy. Well, I guess B.B. King’s Live At The Regal would be a personal favourite. Such a killer album. It really captures the live experience from both the performer and the audience perspective. Greatest rock’n’roll moment of your career to date? We just finished a little tour down in New South Wales. After the last show, our drummer Beck whipped out a cheeseboard with crackers and dip. It was super hardcore. And we ate it all up, too. Why should people come and see your band? We put on a pretty damn good show. Lots of dynamic moments, lots of emotion and soul... 200%, every time. When and where are you playing at Blues On Broadbeach? 18 May, Broadbeach Mall Stage; 19 May, Surf Parade Stage; 20 May, TC’s Bar and Gaming Website link for more info? bluesarcadia.com
24 • THE MUSIC • 17TH MAY 2017
When did you start making music and why? When I was 13 years old I heard blues harmonica on a TV commercial and from that day I’ve been playing music. Sum up your musical sound in four words? Creative, fun, groovy, infectious. If you could only listen to one album forevermore, what would it be and why? Maybe Elvis Presley’s The Number One Hits, as he has a sound that feels fun, simple and tender. That’s the way I like to live. Greatest rock’n’roll moment of your career to date? There has been many but I remember playing at Byron Blues Festival in a venue that was actually moving from all the dancing. It was like we were on a trampoline.
When did you start making music and why? I started off playing music with my father in the church we attended as an eight-year-old. Sum up your musical sound in four words? Blues, country, and soul. If you could only listen to one album forevermore, what would it be and why? Derek Trucks Band’s Songlines because it is a masterpiece. Greatest rock’n’roll moment of your career to date? Working with Sarah Morrow on my second album Shake Ya Hoodoo. She has worked with many of the greats including Ray Charles and Dr John. The best trombone player on the planet.
Why should people come and see your band? I love what I do and share this feeling with my music. So fun and inspiring for all ages.
Why should people come and see your band? I will deliver a performance that will be very memorable, I never leave anything in the proverbial tank.
When and where are you playing at Blues On Broadbeach? 20 May, Griffith Stage; 21 May, Arts & Crafts Market Stage
When and where are you playing at Blues On Broadbeach? 19 & 21 May, Envy Hotel; 20 May Beachside Pavilion
Website link for more info? juzziesmith.com
Website link for more info? timgriffinblues.com.au
THE MUSIC • 17TH MAY 2017 • 25
n ordinary student will go through at least one period of senior year-induced anxiety during high school, however, singer-songwriter HannahMarie, born Hannah Jones, has left her peers in their puddles of cold sweat to complete an entire album. “Time load was a huge thing for me as I am currently completing my senior year, a diploma, traineeship, gigging and then also in the recording studio every week,” Jones says, referring to her upcoming album Such Is Life. “I’ve had to do some recording sessions during school and then have to make up time for school work.” If all of this wasn’t enough of an accomplishment, Jones has somehow managed to find time to pursue other musical
The Drop Bears
uick and upbeat, The Drop Bears frontman Pete Vanda describes the band’s sound as, “The Easybeats and The Kinks slapping each other with fish in the back of an XB coupe being driven by Nirvana and navigated by David Bowie.” We’re not entirely sure we know what that means, but it certainly paints a picture, something The Drop Bears do extremely well on their upcoming EP Hi De Ho. “We recently went on a small east coast tour,” enthuses Vanda. “The punters’ response and energy was awesome, and the songs on our forthcoming EP are definitely the ones that got the best responses live. We added more gang vocals, sped some songs up and shortened a few.” 26 • THE MUSIC • 17TH MAY 2017
outlets. “Recently I branched out into the world of busking and gigging, and I am in a band called Shotgun Shae.” Being a musician moonlighting as a student would presumably come with its own level of stress; however, Jones has been fortunate to have the support of her mum during the process. “While being in the recording studio for the past three months it was Slade, my mum and I.” Jones reflects, referring to Slade Gibson of Savage Garden, who recorded the LP. Jones suggests that Such Is Life is based on “life experiences, history and memories”. Of the album title, pulled directly from Ned Kelly’s now (in)famous quote, Jones explains, “I love history and was excited to write about an Australian Bushranger,” while other tracks from the album allude to that “special someone”. Proving her ability to surprise, Jones also divulges that for her album she “chose three covers, which are country classics by John Denver, Willie Nelson and Dolly Parton”.
When & Where: 27 May, Studio 188
The band was formed by “a bunch of good mates from the western suburbs” in the middle of some “tough times”, mostly at Vanda’s insistence that jamming “over a few bourbons might be a better option than therapy”. Since then, the two biggest problems faced by the outfit were the same looming hurdles that stumble most bands: finance and organisation - especially organisation. “One of the suggested names for the tour was ‘Herding Cats’,” jokes Vanda. With “over 15,000 live gigs” between them though, The Drop Bears don’t trip easy, and after boiling three album’s worth of material down to the cuts on Hi De Ho, they’ve been left with a testament to their years of experience. “The [record] is definitely one about loss, redemption and finding out who you are again and celebrating it,” says Vanda. “A few of the boys went through relationship break-ups a couple of years back, and after being full-time musicians together years earlier, rediscovering our love of performing rock together was incredible.”
When & Where: Hi De Ho (Independent)
Mt Coot-tha Songwriters Festival
Have You Been To Answered by: 8 Ball Aitken - Musician & Event Organiser Why should punters visit you? It is a 100% original music festival filled with blues, folk, country, roots, and plain old awesome Brisbane songwriting talent. The festival is supported by the Brisbane City Council and is family friendly and free entry. What’s the history of the event? This is the 12th annual event. Previously it was called Grass Roots Music Festival, however I have changed the event name this year as the gorgeous location of Mt Coot-tha is synonymous with the event. Any advice for first timers who want to visit the event? Bring a picnic, blanket, water, sunscreen, hat, and open ears to absorb some songwriters who are gifted at their craft. Who’s performing this time around? Harmony James, Brad Butcher, Danny Widdicombe, Jen Mize, Matt Angell, Dillion James, and my band too. If you love music of the bluesy, rootsy kind then we’ve got you covered. Do you have any plans for the event in the future? I only ever set out to run this event once. It started out as my TAFE assignment and the concept just stuck. After 12 years I feel fortunate to have showcased so many amazing songwriters. When and where for your next event? 28 May, Mt Coot-tha Songwriters Festival. Website link for more info? mtcootthasongwriters.com
Eat / Drink Eat/Drink
Smartphones ha ave revvol olutioni nised pr pre etty much evvery fa facet fe, from m the ways we socia iallise, to o tth he way we of modern life get our ne news fix ix, and d even how we fall in love ve. Anot otther he ansform med byy our de evi vic ces is how w we ea at. area of dailyy liliffe tra Wh hether you’re yo e a proud ud hom me cook ok o or ad addicted ed d tto ea ating hese are the food ap apps you ou n need d to dow ow wnl nload d today. y. out, the
For the stay-at-home
For the health
For the gourmand
For the restaurant
Home cooking apps are ten a penny, but this one is the leader of the pack. Epicurious is one of the most trusted recipe apps on the market, and with a beautifully conceived user interface, more than 30,000 tested and member-rated recipes, and extra functionality such as a shopping list manager and voice-activated commands for hands-free cooking, it’s easy to see why. You’ll find a range of different dishes from gourmet showstoppers to last minute munches for chefs of all experiences.
Eating right is only part of the secret of looking and feeling good. Lifesum goes beyond merely helping you track your nutrition by allowing users to build an all-around healthy lifestyle. Choose a specially tailored fitness plan, track your food intake either by inputting manually or by using the inbuilt barcode scanner, and select your goal, whether that be general wellbeing, weight loss or toning up. You can track your progress and get handy feedback too.
Want all the delicious variety of eating out without having to step outside your front door? There are many food delivery apps, but the most princely among them is undoubtedly foodora. Unlike many takeout apps, it only features a curated list of restaurants that serve up grub of the highest calibre. It also has a very handy tracking function that shows you exactly where your order is on the road and precisely how many minutes until your tucking in.
With its superbly streamlined interface, allowing users to compare restaurants by rating, distance, cuisine and popularity, Zomato - formerly known as Urbanspoon - is a must-have app for those looking to make the most of meal times whatever city they happen to be in. Check out menus, browse image galleries, read reviews by critics and food fans, and even make your reservation at this one-stop virtual shop catering to all your dining out needs. Bon appetite!
THE MUSIC • 17TH MAY 2017 • 27
Legen-Dairy EVERY CLOUD H AS AN EGGY LINING In the lead up to The Music Of Cream concert tour, Malcolm Bruce reflects on his dad Jack, Cream’s bass player, with Rod Whitfield.
Just when you thought smashed avo couldn’t make brunch any more pretentious, along come cloud eggs to jump the breakfast shark. The hot new food trend has lit Instragram up with images of billowing, fluffy eggs, more or less assuring that before long cafes across the nation will be serving them up and charging $12 a pop. Much like their avocado counterparts, the trick to cloud eggs is far from cordon bleu. It’s basically a regular egg with the yolk separated from the whites, the whites beaten then baked. Fancier versions have herbs and cheese added, but even so, it’s still going to be one pricey way enjoy your brekkie staple. Babyboomer outrage will be off the charts!
28 • THE MUSIC • 17TH MAY 2017
t’s been half a century since the phenomenal, ‘burn bright, burn out’ career of the legendary British psychedelic blues-rock supergroup Cream, a band that featured the illustrious talents of Eric Clapton on guitar, Ginger Baker on drums and Jack Bruce on bass and vocals. Bruce passed away in 2014, and his son Malcolm is putting together a massive tribute to his father and the band’s legacy, a tour called The Music Of Cream. The gravity of such a milestone is definitely not lost on Bruce. “Yep, it’s older than me!” he laughs. So what are your memories of growing up with your famous dad? “Well to me, he was just my dad, so a lot of it was just normal, like any family. But I guess there were a lot of really amazing things that were around me, amazing musicians, I saw lots of gigs, people like [jazz drummer] Tony Williams would stay with us. “Plus there were a lot of great memories of making music with my dad at home, just improvising together, writing and recording together, I played gigs with him growing up. It was all good. “I’m not going to say it wasn’t a challenge growing up in that sort of situation. My dad was an interesting character, and like a lot of
great artists he was a difficult guy, but at the same time he was very loving. “I’ve had to go through a lot of changes, a lot of growth myself to kind of come out of his shadow, which is what I’m finally doing. I’ve got [a] solo record coming out, so I’m following my own path now, and having this opportunity to come over and play Australia and New Zealand is just an amazing opportunity.” How inspiring was it to your own music career to have a father like that around? “It was very inspiring. I always had quite a difficult relationship with my dad. My parents split up when I was about ten, so I wasn’t living with him full time. He had his own challenges, his own issues, his own life. He re-married, so it was a challenging relationship. Neither of us are the easiest people to have a relationship with. “But what we shared was music, and it was an incredible bond we had through music. We made an album when I was 13, at home on a four-track, and we’d always just play together, piano and Hammond organ, or piano and guitar, or just make up music, talk about music and share things. What we had was a beautiful thing, and I can’t really replicate it with anyone else. “To me, the most impressive thing that my dad achieved was the writing. That’s what I would like to see remain in the public eye.”
When & Where: 29 May, Queensland Performing Arts Centre
Paying The Price
Slumberjack’s Morgan Then chats to Brynn Davies about the amount of work and equipment it takes to bring Fracture from the studio to the stage.
he Perth scene is tough, really tough,” muses Morgan Then, one half of future bass duo Slumberjack. “People like a lot of really, really heavy shit there, like drum’n’bass and dubstep and heavy trap. I love dubstep. Fletch and I are always chasing that feeling like when we first heard Bangarang by Skrillex. But a lot of dubstep that’s coming out now is very cookie cutter.” Then and I are chatting mid-Groovin The Moo tour — he’s in a Melbourne cafe about to attack a seriously orgasmic looking pork thing (he sent pics) and his co-’jack, Fletcher Ehlers, is already occupied with his lunch. Following on from this run of festival dates, Then and Ehlers are continuing on with their own headline tour in support of their second EP Fracture. The coinciding tours mark the first time Slumberjack’s songs are being performed live — “We bought crazy-expensive equipment to even accommodate the show. And this equipment isn’t even the centre of the show — people who froth on it are people like me and Fletch — nerdy tech guys. The fans and the audience see the end result and they don’t understand the hardware and technology that goes behind it. It’s insane. “We have this one thing called the switcher, and it switches when a laptop fails seamlessly. We have two laptops running the
show, and if a laptop fails, Fletcher and I won’t even notice that there was a problem in the set... And we’ve got two racks travelling with us. The whole thing has cost us a lot; a lot of money, a lot of frustration — but no frustration anymore because now when you’re on stage, nothing fails!” Did they find out the hard way that they needed a switcher? “We have, our second year of Splendour,” he laughs. “We were DJing, we had the laptop on stage and the tracks were playing fine. But when we were doing the next one it started playing backwards. And so Fletcher had to run back off stage and pick up a spare USB, so we weren’t running off the laptop anymore. When things go wrong, when they can go wrong, they will go wrong,” he says sagely. Though their current Fracture tour is Ozbound, the boys have worn tracks on festival circuits around the world. How do Aussie festivals and audiences differ from those they’ve experienced overseas? “Different,” he says decidedly. “I think America in general actually is more interested in the artists that are playing... We play shows in America and fans who have never heard of us before would do their research and listen to all our music and find out all about us... Australians also have a reliance on press and radio. “People here — not in a bad way — but they’re used to being spoon-fed music... We tend to be more laid-back because we know we’re gonna be served commercial music or mainstream music and independent music all at the same time and we get to take our pick. In America, most things on the radio, it’s very, very mainstream. So sometimes the dance music fans get sick of it, and they’ve learned that if they want new music and new artists they’re gonna have to do their own research.”
Toy Boys (and Girls)
We’ll preface this fascinating piece of statistical research by pointing out that it was conducted by the retailer of the crucial hardware in question, but according sex toy retailer Love Honey, 22% of Australians own more than 11 sex toys. That’s 11 sex toys each, meaning that 22% of Australia possess 57,547,600 sex toys. The alarming figure was reached from surveying 715 male and 472 female respondents, of which more than half claimed to own more than five sex toys. Just 2% of Australians – if Love Honey’s figures are to be believed – live sex toy free lives. The survey was conducted to coincide with National Masturbation Month – which for those of you not up to date with your themed months is May. The results also revealed that 64% of respondents prefer alone time – presumably with their vast cache of intimate tools – to sex with a partner. What with Real Dolls, virtual reality porn and Tinder date murders, the human race should go extinct within the next century. Don’t say we didn’t warn you.
When & Where: 19 May, The Triffid
THE MUSIC • 17TH MAY 2017 • 29
Album / E Album/EP Reviews
Album OF THE Week
Wavves You’re Welcome
San Diego scallywags Wavves have been riding the highs of that surf punk sound for nearly a decade now - and why change a good thing? Far from meandering off on creative tangents to “mature” their sunny indie-pop in that time, the four-piece have kept a steady hand on the rudder and let that playful streak work its magic throughout their catalogue of short and long plays. Flirting with the major labels almost killed their vibe a few albums ago on Afraid Of Heights and V, but after parting ways, the band has pulled off one of their best releases to date, fusing those old slacker sentiments with bright, noisy, brash but polished production. Nathan Williams’ voice is the glue for this slight deviation into fresh territory, tracing the hazy guitar line in rampant opener Daisy, then following the crisp drum beat in Million Enemies with his usual deadpan drawl. His oft-relied on subject matter - getting loose and bagging the system - still runs riot, but sentiments of the heart make a welcome appearance in Stupid In Love and I Love You. It’s these little tweaks to the Wavves sound that make You’re Welcome their standout, and proof that these slacker surfer punks are still king of the beach. Carley Hall
The Mountain Goats
Do With Me What U Will
★★★★ Melburnian Jessica “Jessica Says” Venables’ live shows fall somewhere between karaoke and cabaret, weaving live cello, keyboard and breathy vocals around pre-recorded beats. Her second album - and first major release since recovering from a serious accident in 2010 - distills this same theatrical minimalism into its ten studio tracks. The cover portrays Venables on a bed on all fours, with a SpongeBob SquarePants balloon within arm’s reach, evoking the blend of kitschy and risque to be found therein. Lead track Xanax Baby sets the pace with its delectable double entendre, “I’m a Xanax baby, but I want to get off.” Vocally, Kate Bush is an obvious comparison, but limited, as Venables reconstructs an array of vintage 30 • THE MUSIC • 17TH MAY 2017
and contemporary sounds. Xanax Baby has a ‘60s pop lilt that recalls The Shangri-Las; Venables channels Debbie Harry on the menacing Look So Good Feel So Bad, and the bluesy strings-led Fun Factory has a hint of The Bad Seeds about it. The songwriting displays an audacity and strong sense of identity redolent of Venables’ hero Lady Gaga, so that there’s congruity despite the diversity. As such standout track Oliver, a piano-driven epic with staccato strings and a gorgeous cello solo, sounds right at home next to the balls-out disco and unsettling distortions of Queen Of The Night. Tim Kroenert
The Mountain Goats dedicating an album to the ‘80s Goth scene? Without guitars? Has the silly season begun already? Rain In Soho opens the album as The Sisters Of Mercy might, with pounding snares and Dominion-esque choir wails. But for the most part, Goths has a comfy west coast jazz feel, gentle tones and cosy arrangements. It’s less Alien Sex Fiend, more like Fields Of The Nephilim. On that subject, Goths should probably be docked a point for overlooking Carl McCoy’s Sergio Leone-obsessed, quasi-mystical horde. The unexpected upside of their new sound is that Peter Hughes’ bass has never sounded so central and authoritative, easily carrying the likes of Andrew Eldritch Is Moving Back To Leeds, which is another fine
example of John Darnielle’s intricate storytelling. But there’s a sickly odour of nostalgia that lingers through Stench Of The Unburied and elsewhere, while Wear Black for all its brilliant observations has a cloying album-orientated rock feel. Goths lacks the blazing intensity of The Mountain Goats’ live shows and signposts the way to an increasingly mature, reflective direction. But having tackled semi-pro wrestling and face-painted Sun Dodgers with their last two albums, it’ll be interesting to see where they end up next. Christopher H James
EP Reviews Album/EP Reviews
Raised By Eagles !!! (Chk Chk Chk)
I Must Be Somewhere
Shake The Shudder
Sweet Kind Of Blue
The Records Were Ours
The third longplayer by Melbourne Americana exponents Raised By Eagles builds strongly on the template they’ve been consolidating for years now, marked by a notable step up in both songwriting and production. This progress is immediately apparent in powerful streamlined opener Shape & Line, with the album diversifying to show more strengths such as the title track’s existential balladry, the ‘80s classic rock vibe of Night Wheels and the beautifully restrained Everyday Everyday, which sounds like a lost classic from Ryan Adams’ songbook. They may be somewhere now, but they’re definitely going places.
Going to the same party year after year would get tiresome. !!! have avoided that trap, subtly evolving from punk-funk instigators into an unorthodox pop act. Still able to call on commanding basslines — check Dancing Is The Best Revenge for a prime example — and deep cache of supple grooves, their pop instincts have become all the sharper, just bear witness to The One 2. The best material is front loaded into the first half, but there’s no knocking the resourcefulness of this party machine that refuses to die.
Right off the bat, Take Me Out kills it with its folk-rock guitars blaring while Jack and Pat Pierce’s rough but soothing vocals give off the blues and roots vibes. With nostalgic lyrics and graceful piano melodies Keep In Mind is magical, while Only One is humble, flooding the album with warmth. The Melbourne buskers took their music to the world stage with live track Brother (Live at Paradiso, Amsterdam) and Take A Shot (Live at Sydney Opera House) with singalongs from the crowd, giving the album a great finish showcasing their raw live talent.
Australian singer-songwriter Emily Barker brings the Memphis blues and roots back home in her new album Sweet Kind Of Blue. Barker’s self-titled track is a mixture of folk-rock with a hint of Memphis blues, before piano ballad Sister Goodbye sweeps listeners away with beautiful, soulful lyrics and Barker’s graceful vocals. Sunrise brings the funk into blues and roots, giving the song some soul and groove while Underneath The Honey Moon is soft and dreamy with its slow tempo and angelic lyrics. Sweet Kind Of Blue is beautiful and brilliant, however it lacks the joyful songs that would give it more soulful bliss.
Christopher H James
More Reviews Online Jade Jackson Glided
Bare Bones Bad Habits
Listen to our This Week’s Releases playlist on
THE MUSIC • 17TH MAY 2017 • 31
Live Re Live Reviews
All Time Low @ Riverstage. Pic: Terry Soo
All Time Low, Neck Deep, The Maine Riverstage 12 May
All Time Low @ Riverstage. Pic: Terry Soo
All Time Low @ Riverstage. Pic: Terry Soo
All Time Low @ Riverstage. Pic: Terry Soo
Neck Deep @ Riverstage. Pic: Terry Soo
32 • THE MUSIC • 17TH MAY 2017
Neck Deep @ Riverstage. Pic: Terry Soo
Brisbane’s youth are out in force on Friday night to celebrate the long-awaited return of the princes of pop punk, All Time Low, to Australian shores. The female-dominated audience, customarily attired in vans, black skinny jeans, brightly-dyed hair and band paraphernalia, swarm the pit of Riverstage to claim prime viewing positions for tonight’s star-studded show which includes supporting acts The Maine and Neck Deep. The Maine has the crowd’s undivided attention from the get-go, with the mosh pit writhing with screaming fans, jumping and raising their hands in elation. The Maine, headliners in their own right, deliver a wellpolished and highly engaging performance. They harness the zeal of the pit by inviting a lucky audience member on stage to sing along with them. The guy’s voice trembles into the microphone, as he seems hardly able to contain his excitement. The Maine exhibits a strong group dynamic and while the vocals are sometimes overpowered by the instruments, singer John O’Callaghan’s pitching and blended tones mirror polished record quality to suit the sugary-pop-punk theme of tonight’s catalogue. Neck Deep are heralded on stage by an accent-heavy rap verse thundering through the speakers, reflecting a clear shift across the Atlantic to the UK. The band launch straight into their set playing popular tracks from Wishful Thinking (2014), Rain In July/A History Of Bad Decisions (2014) and Life’s Not Out To Get You (2015). Fans hold their breath in the hope of hearing 2013 acoustic favourite, A Part Of Me, but are unfortunately disappointed
in this regard, as Neck Deep opt for a high-energy, fastpaced performance. Neck Deep’s lead singer Ben Barlow infuses his vocals with a boyish charm to compliment the coming-of-age themed lyrics. He seamlessly switches to
The band’s ability to engage the entire audience is impressive and their inter-song banter is wildly entertaining. harsher, gravelly tones to emphasise passages of raw emotion and revelation. The instrumentalists also exude a boisterous magnetism as they dance across the stage, spinning with their instruments in a world of their own. The rockers from Wales also take a moment to promote their forthcoming third album, scheduled to be released later this year. The venue plunges into darkness once more at 8.15, invoking a chorus of ear-splitting squeals as diehards re-converge in front of the stage. All Time Low arrive on stage to meet a sea of smiles and waving hands before opening with 2009 smash hit, Weightless. Band favourites Alex Gaskarth (lead vocalist) and Jack Barakat (lead guitar) hold their microphones (+ stands) up in the air for the audience to sing into. The crowd replies in turn by raising their voices and hurling a couple of bras on stage, promptly elevating the band to idol status with these worthy (and intimate!) tributes. The band plays popular songs from their last album
eviews Live Reviews
Future Hearts (2015), including Somewhere In Neverland and Cinderblock Garden. These works are enthusiastically received by the audience, however the contrast in energy generated by tracks from older albums and those from newer works is obvious, as the jumping and screams, while still significant, plateaus. They also perform A Love Like War, visually accompanied by a flurry of red and yellow strobes which ignites the stage against the cloudy evening sky. Backseat Serenade injects the audience’s spirits with a fresh dose of liveliness as Gaskarth inserts a call-and-response segment into the chorus. Tonight’s concert also includes the world premiere of All Time Low’s latest single Life Of The Party from their seventh studio album, Last Young Renegade, scheduled to be released on June 2. It reveals a clear creative maturation for the band, as it comprises a clear electronic element with prerecorded layers accompanying their live performance. While Gaskarth’s vocals do waver on the angular intervallic jumps in the first chorus (presumably outside of his usual live singing register), he succeeds in breathing his heart’s very essence into each lyric. This evening’s set list also includes Kids In The Dark, and the second single and title track from Last Young Renegade. Gaskarth takes the opportunity to thank the audience for their support throughout their artistic evolution, “I know it’s a bit different but thank you so much for giving it a go and getting on board... thank you for giving us a lane to work in and a very wide lane.” Following this, Gaskarth takes the stage solo for a stripped back rendition of beloved song from Nothing Personal (2009), Therapy. Looking around the audience, there are phone lights
illuminating the venue, friends holding each other close and tears streaming down faces. This undoubtedly is the song which means most to the fans. The second half of the concert includes Missing You, and an electric-charged cover of Lorde’s Green Light to which the mosh-pit turned into a euphoric dance party. Lead single from the upcoming album, Dirty Laundry, received a warm response from the audience who are more and more embracing All Time Low’s flirtation with electronica. The set also includes a electronic drum kit operated by drummer Rian Dawson, for those muted percussive tones, before switching the focus back to Bakarat who delivers an emotive guitar solo in the bridge. The final song of the main set is Take Cover which Gaskarth describes as a song released to help bridge the gap between Future Hearts and Last Young Renegade. The fans are treated to a three-song encore and with feverish energy, the audience jumps and screams to Lost In Stereo, as if their lives depend on it. They cheer in jubilation at the performance of Jasey Rae from the band’s 2006 EP, Put Up or Shut Up. The night very suitably finished with high-energy Dear Maria, Count Me In, which sent the concert’s final moments into overdrive as confetti cannons showered the audience in red and white. All Time Low prove themselves to be highly talented live performers as the quality of each song matches and even exceeds the skill captured in their studio recordings. Furthermore, the band’s ability to engage the entire audience is impressive and their inter-song banter is wildly entertaining (and hilariously inappropriate). Barakat is clearly the more mischievous of the two, unabashedly dolling out genitalia-themed humour,
which is of course met with the adolescent squeals and swoons of the predominantly female audience below. All Time Low cleverly utilise tonight’s show to assist their fans in making the transition from their clearly defined pop punk era, towards a more mature, developed and electronic space which reflects where the band is at in their creative and personal journeys. By the end of this evening’s performance, it is reasonable to assume that even those who are sceptical of this change have been convinced (or at least more so!) and are now ready to join All Time Low in the next, exciting chapter of their creative careers. Cristiana Linthwaite-Gibbins
Living Colour The Triffid 14 May A pint of Rogers and a serve of karaage chicken fuels us for take-off from The Triffid’s hangar-like venue for tonight’s journey, Living Colour. They’ve returned to throw decibels of technicolour funkin’ heavy metal rock our way after Melbourne openers Massive. In single file, the stage fills with four of the finest in rock music; Vernon Reid (rhythm guitar), Doug Wimbish (bass), Will Calhoun (drums) and lead singer Corey Glover. Celebrating
be included on their upcoming LP, Shade. One of heavy rock’s most versatile music acts, and 30 years on since their first release, their music is still canvassed across an enormous spectrum of genres. They churn out their catalogue of hits — mainly off 1988’s Vivid and 1993’s Stain LPs — before swinging back with their most recent rap rock call to protest on Biggie Small’s Who Shot Ya?. Pulling no punches, Glover reels off the figures of African-American deaths in the US before flying the flag of funk with their much-adored Love Rears Its Ugly Head — giving Reid a chance to flaunt his undoubted virtuosity. Their first intermission leaves Wimbish on stage to perform Swirl — from his second solo album CinemaSonics (2008) — and the bassman’s showmanship isn’t missed by the crowd. Back on stage a hilarious exchange between Reid and Glover, who argue over whether Elvis was indeed dead, segues into Elvis Is Dead — which includes a Hound Dog moment by Glover. Calhoun’s glow stick drum solo gives the band their final breather and they push through with the all-time hit Cult Of Personality before an encore of Glamour Boys and Time’s Up. Rip Nicholson
One of heavy rock’s most versatile music acts. their first album since 2009’s The Chair In The Doorway, Living Colour take flight with a cover of Preachin’ Blues — an ode to blues singer/musician Robert Johnson — rumoured to THE MUSIC • 17TH MAY 2017 • 33
Arts Reviews Arts Reviews
moviegoers love to fear. Mashing these two storylines together could get messy, but how Alien: Covenant presents it, it’s worse — it’s just kind of so-so. Of course, it’s not completely disappointing. For one thing, Scott couldn’t compose an ugly frame of film if he was blindfolded, and Alien: Covenant is consistently gorgeous to look at, even when the images get a bit bloody. The Covenant of the title is a spacecraft bound for a new world where the 2000 passengers in suspended animation will awaken and begin colonisation. But when the ship is damaged mid-flight, and some of the crew (including the captain) are killed as a result, new captain Oram (Billy Crudup) is keen to make an unscheduled stop at a habitable planet sending out a distress signal. A landing party led by Oram, second in command Daniels (Katherine Waterston) and resident robot Walter (Fassbender again) soon discovers the planet is indeed lush and lively...but it’s also where David landed ten years ago after flying into space at the end of Prometheus. During that time, David has been experimenting with alien DNA, coming up with even more exotic and dangerous lifeforms. But he needs new test subjects to continue his research (and act as human incubators), so it’s very lucky a crew of humans have come knocking on his door, isn’t it? Watching David explore the possibilities of alien evolution, happily endangering hapless humans to do so, and trying to rope his synthetic “brother” Walter into his scheme is compelling in a sinister and blackly funny way. But having the aliens burst out of bodies and run amok is getting a little stale, Scott has talked about another few chapters in this story, possibly even filming the follow-up to Alien: Covenant next year. Maybe he should take the time to really re-evaluate what he wants to say with this saga, Because in space, everyone can hear you yawn. Alien: Covenant
Alien: Covenant Film In cinemas now
★★★ Since the largely unpopular Prometheus, Ridley Scott has realised that audiences are keen to see, well, aliens when they hand over their hard-earned money for an Alien movie at the box office. But at the same time, Scott isn’t entirely ready to abandon the heady ideas he introduced in that movie — notions of what happens when a creator is disappointed by their creation or when a creation surpasses its creator. Alien: Covenant tries to have it both ways by continuing the story of David (Michael Fassbender), the Prometheus android with a God complex, and by introducing a new spaceship crew which is destined to run afoul of those nasty extra-terrestrials
34 • THE MUSIC • 17TH MAY 2017
American Gods American Gods Television
★★★★ I came to the new TV series American Gods, airing in Australia on streaming service Amazon Prime, with no expectations, not having read the Neil Gaiman novel on which it’s based. At the same time, however, I came to American Gods with high expectations, lured in by the name of Bryan Fuller, co-creator of the series — after all, after Hannibal, Fuller’s remarkable reimagining of the Thomas Harris novels featuring brilliant serial killer Hannibal ‘The Cannibal’ Lecter, I was eager for another course of the man’s lush, baroque visual and aural feast. I am only one episode into American Gods, and I already feel somewhat sated. The story is off to a tremendous beginning, with jailbird protagonist Shadow Moon (Ricky Whittle, whose cool, sturdy stoicism provides a strong fulcrum for the series) sprung from jail early after the untimely death of his wife. As he attempts to make his way home for her funeral, Shadow finds his path constantly crossing that of Mr Wednesday (Ian McShane), a charming, persuasive grifter-type who seems to know a lot about... well, just about everything, including Shadow. Reluctantly taking on a job as Mr Wednesday’s righthand man, Shadow discovers he’s been drawn into a conflict between old and the new gods. And neither side appears keen to fight fair. Hannibal devotees wondering how Fuller would operate without the constraints of commercial TV need wonder no more — American Gods revels in its violence and sexuality but not in a tacky or pointless way. There’s thematic meaning to the show’s excesses, one the series seems primed — indeed, eager — to explore. Take the trip with it. Guy Davis
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THE MUSIC • 17TH MAY 2017 • 35
Comedy / G The Guide
Brisbane Big Band Festival: Brisbane Jazz Club, Kangaroo Point
Mark Sheils: Runcorn Tavern, Runcorn Royal & The Southern Echo: The Bearded Lady, West End
Ben Wright Smith: The Triffid (Courtyard), Newstead
The Music Presents
The Cactus Channel & Sam Cromack: 2 Jun The Brightside
Brisbane Big Band Festival: Brisbane Jazz Club, Kangaroo Point
Mick Thomas: 10 Jun Milk Factory
Faux Bandit + Wakan Phoenix: Crowbar, Fortitude Valley
Orsome Welles: 16 Jun Black Bear Lodge Horrorshow: 29 Jun Miami Marketta; 30 Jun The Northern Byron Bay; 1 Jul Max Watt’s Luca Brasi: 30 Jun The Triffid Bello Winter Music Festival: 6 - 9 Jul Bellingen Maroochy Music & Vis Arts Festival: 26 Aug, Old Horton Park Golf Course At The Drive In: 2 Oct Eatons Hill Hotel
Sara Tindley + Abbie Cardwell: Junk Bar, Ashgrove Moondog Blues: Lefty’s Old Time Music Hall, Brisbane Free Metal Thursday feat. Caetera + Reptillian Civillan + Scumbag: New Globe Theatre, Fortitude Valley Kim Churchill: Old Museum, Fortitude Valley
Pour Vous, Mon Amour Following off the back of the recent release of his single Mon Amour featuring Brisbane newcomer Austen, Kuren is the main support to Perth dancefloor duo of Slumberjack. Jump around and hit your daily step goals 19 May when they play The Triffid.
Nowhere Else + Antechinus + U-Verse-U: Parkwood Tavern, Parkwood
Junkie Kid: Wharf Tavern (The Helm), Mooloolaba
Raise the Frequency with Lucid Gecko + Cosmoganic + Jesswah + Outlook: Solbar, Maroochydore
Drew Wilson: Solbar (Lounge Bar), Maroochydore
Bart Thrupp: Solbar (Lounge Bar), Maroochydore
Wolf Shield + Browning Mummery + Scraps: The Bearded Lady, West End
Brisbane Big Band Festival: Brisbane Jazz Club, Kangaroo Point
The Inbetweeners Trivia: The Brightside, Fortitude Valley
A Music Industry Summit: Crowbar, Fortitude Valley
Birds Of Tokyo
The Elliotts + Indigo Parade + Catchpole + Rachel Gilligan: Currumbin Creek Tavern, Currumbin Waters
Le Tupperware: The Bearded Lady, West End
Ministry of Sound - The Reunion Tour 2005 x 2008 feat. Sneaky Sound System + Bang Gang DJs + Goodwill + John Course + Riot In Belgium: Eatons Hill Hotel (Grand Ballroom), Eatons Hill Running Touch: Elsewhere, Surfers Paradise William Crighton: Imperial Hotel, Eumundi
Taking Flight Birds Of Tokyo are in the midst of a regional SE Qld and northern NSW tour alongside their set at the Big Pineapple Festival. You can catch them headlining at The Northern 28 May.
The Tall Grass: Junk Bar, Ashgrove Dots + Loops: Compulsion feat. David T Little + Lotte Betts-Dean + Alex Raineri + Vanessa Tomlinson + Solstice Trio + Nonsemble + Software Of Seagulls (DJ Set): Lightspace, Fortitude Valley The Wet Fish + Dinero: Lock ‘n’ Load Bistro, West End Musique: Logan Diggers Club, Logan Central Bruce Kulick + Four By Fate + Sisters Doll: Max Watt’s, West End
Ali Barter + IV League: The Foundry, Fortitude Valley Lizzie Weber + Quiet Achiever + Tiarne: The Milk Factory Kitchen & Bar, South Brisbane Asa Broomhall + Wilson & White: The Star (formerly Jupiters) (J Bar), Broadbeach Common Kings: The Triffid, Newstead
36 • THE MUSIC • 17TH MAY 2017
Heavy Breathing Riding the wave of latest release Made Of Breath Only post-rock outfit sleepmakeswaves aren’t slowing down, jumping into supporting Canadian metal group Devin Townsend Project. Limber up and prepare to kick the walls down of The Triffid on 20 May.
The Lyrical : Miami Marketta, Miami The Weight Of Silence: New Globe Theatre, Fortitude Valley
Cheated Hearts with DJ Jane Doe + DJ Sezzo + The Gatling Gun + Lu-Na + more: The Brightside, Fortitude Valley
Seyka + Monique + Sophia Koop + Tesla Coil: Night Quarter, Helensvale
BLESS: The Foundry, Fortitude Valley
Slim Jim Phantom Trio: Noosa RSL, Nambour
Jordan Merrick + Aiden Bradley + John Smethurst: The Loft, Surfers Paradise
Gigs / Live The Guide
The Dagwood Dogs + The Eagle Junction + The Dillon James Band: Green Room, New Farm Gypsy Adventures: Lock ‘n’ Load Bistro, West End
Mantra Trio: Logan Diggers Club, Logan Central Zdravko Colic: Max Watt’s, West End Dezzie D & The Stingrayz + Bronte Parkinson: Miami Marketta, Miami
Big Kids Now The fun-filled live sets of Sydneybased Middle Kids have scored them the support slot of the legendary Ryan Adams. Help them warm up the crowd 24 May at The Northern. Shanon Watkins: The Milk Factory Kitchen & Bar, South Brisbane Ben Wright Smith: The Spotted Cow, Toowoomba Harrison Craig: The Tivoli, Fortitude Valley Slumberjack + Kuren: The Triffid, Newstead Cash Savage & The Last Drinks: The Zoo, Fortitude Valley
Sat 20 Jess Locke: Barbara Bar, Fortitude Valley Brisbane Big Band Festival: Brisbane Jazz Club, Kangaroo Point Blues On Broadbeach feat. Ian Moss + Bonnie Tyler + Slim Jim Phantom Trio + Harts + Kevin Borich + Ray Beadle + Cash Savage & The Last Drinks + The Shane Pacey Trio + Cheap Fakes + Lachy Doley & The Horns Of Conviction + Phil Manning + Hussy Hicks + Claude Hay + The Turner Brown Band (feat. Nikki D Brown & Dom Turner) + The Vibrolators + The Flaming Mudcats + Ezra Lee + Austin Walkin’ Cane + Little Billy + Jimi Hockings Blues Machine + Darren Jack Band + Louie Shelton + Juzzie Smith + 19 Twenty + Aaron West & the Custodians + Asa Broomhall + Nick Charles + Phil Barlow & The Wolf + Matt Stillert + Devils Kiosk + Tomcat Playground + The Johnson Stompers + West Texas Crude + Byron Short & The Sunset Junkies + Wards Xpress + Mitch King + Bag O’ Nails + BB Factory + Kenny Slide + more: Broadbeach, Broadbeach Brett AM + Dom Bird: Cafe Le Monde, Noosa Heads Elvis and Friends feat. Dead Hand Blues + The Flame Fields + Brown Doubt + Moondog Blues + The Duke: Chardons Corner Hotel, Annerley Night Legion + Awaken Solace + Seraphic + Wartooth + Dragonsmead + Twin City Riot: Crowbar, Fortitude Valley No Doubt & Gwen Stefani Appreciation Night: Empire Hotel, Fortitude Valley
Wallace + Tiana Khasi + Rohan: The Milk Factory Kitchen & Bar, South Brisbane Spiderbait + Major Leagues + Bugs: The Tivoli, Fortitude Valley
Devin Townsend Project + Sleepmakeswaves: The Triffid, Newstead Songs You Know & Love with Danny Widdicombe: The Triffid (Beer Garden), Newstead
Sounds of Sunday feat. Hemingway: Broadbeach Tavern, Broadbeach Chris Corsano + Tony Irving + Adam Cadell: Junk Bar, Ashgrove Kerry Raywood: Lock ‘n’ Load Bistro, West End
Roo’s Live Experience 1st Birthday Show with Baltimore Gun Club + Buzzkillers + Being Jane Lane + The Disgruntled Taxpayers + Bazooka Fist + Ellie Jane + The Unknowns + Aiden Bradley: New Globe Theatre, Fortitude Valley Bad Pony + Neighbour: Night Quarter, Helensvale William Crighton: Old Museum, Fortitude Valley Tobias + Karin Page: Queen Street Mall, Brisbane Katie Noonan + Karin Schaupp: Queensland Conservatorium, South Brisbane Royal Chant: Ric’s Bar, Fortitude Valley MIX FM Live feat. Ross Wilson + Steve Kilbey + Glenn Shorrock + Dragon + Eurogliders + Uncanny X-Men + Mi-Sex + more: Sandstone Point Hotel, Sandstone Point Ben Wright Smith: Solbar (Lounge Bar), Maroochydore The Jensens + Concrete Surfers +
Bleeding Knees Club
Bleeding Gums Murphy Cheeky garage rockers Bleeding Knees Club are in the midst of Chew The Gum tour. Hear new material from the EP of the same name when they hit up The Foundry on 26 May with The Pinheads and Voiid.
The Allniters + Shandy + Kingston Stompers + Pick It Up: The Zoo, Fortitude Valley
Sun 21 Bad Pony + Neighbour + Amela: Black Bear Lodge, Fortitude Valley Brisbane Big Band Festival: Brisbane Jazz Club, Kangaroo Point
Herding Sheep From Bieber to Brisbane, pop-rock group Sheppard are bringing their upbeat, dance party tunes down the east coast. Catch them quick at Eatons Hill Hotel 27 May, before they fly off to the UK.
The Chats: Solbar, Maroochydore Spirit Bunny + Low Season + Leavings: The Bearded Lady, West End Parkway Drive covered by Outlive: The Brightside, Fortitude Valley Running Touch: The Foundry, Fortitude Valley
Blues On Broadbeach feat. Slim Jim Phantom Trio + Bonnie Tyler + The Turner Brown Band (feat. Nikki D Brown & Dom Turner): Broadbeach, Broadbeach Sam Haven + Cloud Tangle: Crowbar, Fortitude Valley Khan Harrison + Karrie Hayward: Solbar (Lounge Bar), Maroochydore La Pegatina: The Flamin’ Galah, Brisbane Rock Against Humour feat. Hillsborough + The Songs of Tom Smith + King Kongo + The Loveless Union: The Foundry, Fortitude Valley Tobias + Karin Page + Jason Ayres: The Milk Factory Kitchen & Bar, South Brisbane SASY: The Tivoli, Fortitude Valley Americana Sunday Sessions with Mexico City: The Triffid, Newstead
Ryan Adams + Middle Kids: The Tivoli, Fortitude Valley
Wed 24 Brealyn Sheehan: The Bearded Lady, West End Saviour + Hindsight + The Comfort: The Brightside, Fortitude Valley Belrose + Jamie Hogg + Hannah McLeod: The Milk Factory Kitchen & Bar, South Brisbane Triffid Acoustics with Andy McDonnell : The Triffid (Beer Garden), Newstead
Thu 25 Rotten Mind + Deafcult + Turnpike: Crowbar, Fortitude Valley Clea + Pool Shop: Junk Bar, Ashgrove Doc Halibut: Lefty’s Old Time Music Hall, Brisbane Sampha: Max Watt’s, West End San Cisco + Thelma Plum: Miami Marketta, Miami Northlane + Hands Like Houses + Saviour: Miami Tavern (Shark Bar), Miami
THE MUSIC • 17TH MAY 2017 • 37
Comedy / G The Guide
Dan Horne: Solbar (Lounge Bar), Maroochydore
Tim Solly + Zac Gunthorpe: Solbar (Lounge Bar), Maroochydore
Ben Wright Smith
Adam Sandler Trivia: The Brightside, Fortitude Valley
Northeast Party House + Mosquito Coast + San Mei: The Brightside, Fortitude Valley
What Band Was That? with The Bent Bullets + Tracks + Atticus Chimps + Pleasure Seeker: The Brightside, Fortitude Valley
Rock Against Humour feat. Dale Peachey + Mexico City + The Songs of Tom Smith + Screamin Stevie: The Foundry, Fortitude Valley
Jade Imagine: The End, West End
Under 18’s Only Show with San Cisco + Thelma Plum: The Met, Fortitude Valley
Polish Club: The Foundry, Fortitude Valley
Innes + Jody: The Milk Factory Kitchen & Bar, South Brisbane
The Spaces + Deadbeat Society + Catalina: The Milk Factory Kitchen & Bar, South Brisbane DJ Shadow: The Tivoli, Fortitude Valley
The Smith Street Band + Joyce Manor + Ceres + Allison Weiss: The Tivoli, Fortitude Valley
Dangerpenny + Fight Ibis + Port Royal: The Zoo, Fortitude Valley
Americana Sessions with Fanny Lumsden: The Triffid, Newstead
Fri 26 Borneo: Black Bear Lodge, Fortitude Valley Future Haunts: Black Bear Lodge, Fortitude Valley Crypt: Crowbar, Fortitude Valley
Radical Face + Kyle Lionhart: The Zoo, Fortitude Valley
With an APRA Award nomination and an Australia Council grant up his sleeve, Ben Wright Smith’s 2017 is looking pretty good. Catch him supporting his latest release, The Great Divorce, on his Aussie tour at The Triffid on 17 May.
Bliss N Eso: Eatons Hill Hotel, Eatons Hill
Royal & The Southern Echo
Suicide Country Hour: The Bearded Lady, West End
Hannah Marie + Marco Ghikas + Kasey Michelle: Studio 188, Ipswich
Ben Salter: The Bison Bar, Nambour
Bloodletter + Rottem: The Bearded Lady, West End
Alex Lahey + The Football Club: The Brightside, Fortitude Valley Junkie Kid: The Met, Fortitude Valley Northlane + The Brave + My Friend The Betrayer: The Spotted Cow, Toowoomba San Cisco + Thelma Plum: The Tivoli, Fortitude Valley
Royal Treatment We can never shut down the opportunity of a free gig, and there’s one happening at The Bearded Lady 17 May. Catch Royal & The Southern Echo stripped back acoustically with just a man and his trusty guitar.
Village People + Bjorn Again: The Star (formerly Jupiters), Broadbeach
The Casuarinas: Junk Bar, Ashgrove
Insomnium: Crowbar, Fortitude Valley
The High Grade: Miami Marketta, Miami
Sheppard + Reece Mastin + No Frills Twins: Eatons Hill Hotel, Eatons Hill
Bleeding Knees Club + The Pinheads + Voiid: Miami Tavern (Shark Bar), Miami
Jesse Morris: Miami Marketta, Miami
Lara Frew + Sarah Frank + Royes + Kirsty Abrahams: Night Quarter, Helensvale
Fat Chance + Rocqdor + Aussie Bottlers + Believed + Karma: New Globe Theatre, Fortitude Valley
Hobo Magic + Transvaal Diamond Syndicate + Los Laws + Zong: Solbar, Maroochydore
Bliss N Eso: Night Quarter, Helensvale
38 • THE MUSIC • 17TH MAY 2017
Bleeding Knees Club + The Pinheads + Voiid: The Foundry, Fortitude Valley
Smoking Martha: The Zoo, Fortitude Valley
Polish Club: Elsewhere, Surfers Paradise
Jordan Merrick + Chris Flaskas: Solbar (Lounge Bar), Maroochydore
San Cisco + Thelma Plum: The Spotted Cow, Toowoomba
Foosteps Home feat. Shellie Morris + Emily Wurramara: Brisbane Powerhouse (Visy Theatre), New Farm
Lisa Hannigan + John Smith: Old Museum, Fortitude Valley Buzz & The Blues Band + Dan Hannaford + Jamie Symons: Royal Mail Hotel, Goodna
The Music of Cream: Queensland Performing Arts Centre (QPAC), South Brisbane
Northeast Party House + Mosquito Coast + San Mei: The Brightside, Fortitude Valley
OKA + 420 Sound + Highlife + Pick It Up: The Triffid, Newstead
Mickey The Band + Alpha Pi + Hawkmoon: Bloodhound Corner Bar, Fortitude Valley
Slava Grigoryan + Australian String Quartet: Queensland Conservatorium, South Brisbane
Vera Blue: The Zoo, Fortitude Valley
Tim Solly + Ruby Gilbert + Pepper Jane: The Milk Factory Kitchen & Bar, South Brisbane
Airling + Jack Grace: Black Bear Lodge, Fortitude Valley
Big Pineapple Music Festival 2017: The Big Pineapple Complex, Woombye
Knock Off-Kick Off-Kick On with Aimon Clark: The Triffid (Beer Garden), Newstead
Methyl Ethel: Woolly Mammoth, Fortitude Valley
Davey Romain: Lock ‘n’ Load Bistro, West End Mark Sheils: Samford Valley Hotel, Samford Village Crystal Castles + Crooked Colours: The Tivoli, Fortitude Valley
The Smith Street Band + Joyce Manor + Ceres + Allison Weiss: The Tivoli, Fortitude Valley Songs You Know & Love with Dana Gehrman: The Triffid (Beer Garden), Newstead Sera + Elba Lane + Fragile Animals + Dear Sol: The Zoo, Fortitude Valley Methyl Ethel: Woolly Mammoth, Fortitude Valley
Sun 28 Airling + Jack Grace + Ellie: Black Bear Lodge, Fortitude Valley Justin Bernasconi + Sian Evans: Junk Bar, Ashgrove Boo Seeka + Gold Member: Miami Marketta, Miami Borneo: Prose Art Space, Miami
Forget Nothing After releasing their album Everything Is Forgotten back in March, Methyl Ethel finally hit the road on to tour it. You can catch them at the Woolly Mammoth on 27 & 28 May.
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40 • THE MUSIC • 17TH MAY 2017
The Music is a free, weekly magazine of newsstand quality. It features a diverse range of content including arts, culture, fashion, lifestyl...
Published on May 17, 2017
The Music is a free, weekly magazine of newsstand quality. It features a diverse range of content including arts, culture, fashion, lifestyl...