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ISSUE 0015 / January 22nd - January 28th 2015


KEVAN KEELER ALSO INSIDE: Linda Gail Lewis, Ann Vriend Orchard Cider Festival, Dallas Crane, DJ Craig - GOSH! Plus BOB’s BITS, TOUR GUIDE & LOCAL MUSIC NEWS

AROUND THE TRAPS Who remembers Colourwheel? Well those who do will be interested to know that the Tim Hudspith-led Adelaide guitar pop outfit will be making a very, very rare appearance at The Grace Emily Hotel, 232 Waymouth St, on Saturday 31 January with talented Melbourne-based songwriter Michael Plater also on the free entry bill. The newly refurbish Hampshire Hotel, 110 Grote St, opened its doors on the same October long weekend as BSide Magazine first went to print. The hotel has now announced a free entry ‘official’ opening on Sunday 8 February at which Jay Hoad and Chris Finnen will be performing from 2-6pm. The pub also has live music every Sunday from 2-6pm and on Sunday 25 January will have Stuart Day of The Beggars playing some tunes for owner and operator Jimmy’s birthday, while on Sunday 1 February award winning blues an roots musician Mick Kidd will be joined by harmonica player Dave Blight. The pub opens from 8.30am for coffee and breakfast and boasts all-day dining from noon with vegan options and also has many drink specials. Dick Dale’s Trasharama A-Go-Go comes to Mercury Cinemas, Morphett St, from 7pm on Friday 23 January and will feature short horror films, grindhouse gore, schlock and so much, much more. Movies screen from 7.45pm, there’s a licensed bar and tickets are $15. It’ll all be over bar the shouting by around 10.30pm so plenty of time to rawk and roll around town to catch some live music. Rawk! Following on from their first gracefully drunken hit out last weekend, newly formed and quite rockin’ six-piece country outfit The Sloe Ruin will be supporting Tex Perkins & The Ape at what may now be sold out affair at Crown & Anchor, 196 Grenfell St, on Saturday 31 January also with Kitchen Witch and will then be launching their debut EP at The Wheatsheaf Hotel, 39 George St, Thebarton, from 9pm on Friday 6 February with Cosmo Thundercat as special guests. Tickets will be $15 at the door. Invisible Mantra is set to give its first ever performance at the Grace Emily Hotel, 232 Waymouth St, on Thursday 29 January. Expect extended jams, fuzz pedals and more when they hit the stage with the 1940 3D movie The Devil’s Bat – no it’s not about cricketer David Warner’s weapon of choice – to be screened on the venue’s silver screen and 25 super lucky people being given their own set of anaglyph spectacles. Boutique bar Nook Nosh, 111 Unley Rd, Unley, open from 3pm on Wednesdays through to Sundays, will have acoustic tunes from AP D’Antonio from 5pm on Sunday 25 January and Andrew ‘Wash’ Washington from 5pm on Sunday 2 February. Pop in for sips ‘n’ nibbles. The Governor Hindmarsh Hotel, 59 Port Rd, Hindmarsh, boasts some pretty talented staff who have now been coerced into playing a free entry show in the front bar from 9pm on Saturday 24 January. Head along and see Luke Willis (of Diesel Witch and Grandma’s Favourite fame) and comic Duncan M Turner as well as singer and chief bottlewasher Quantim McLoud and also hope against hope that bar manager Sam Davies also joins in on his lovely uilleann pipes. More cowbell please. The Dairy Brothers, who now all have lengthy beards, have announced a reunion show that will happen at Jive, 181 Hindley St, on Saturday 28 February and will be joined by Silent Duck and The Tony Font Show. Book quickly at Moshtix. Molting Vultures will play Valentine’s Day Wipe Out! on Saturday 14 February alongside Wrong Turn and Wild Rocket at the Grace Emily Hotel, 232 Waymouth St. Free entry, of course, and it kicks off at 8.15pm (apparently). Shaolin Afronauts will hit Rocket Rooftop, 142 Hindley St, on Saturday 7 February with a hoard of special DJ guests including Edd Fisher, Ben Taaffe, Medhi, Jimmy Caution and Sir Donald Badman. One for the music diary. Squeaker, who have recently inked an American deal, will


launch a new album on Saturday 21 March at Crown & Anchor, 196 Grenfell St, with guests acts to be announced soon. Relatively new Adelaide band Velvet Moth, featuring members of The Streamliners and GT Stringer, have kicked off a monthlong January residency at the Grace Emily Hotel, 232 Waymouth St, and it continues on Friday 23 January with Ride Into The Sun and finishes up on Friday 30 January with Vic Conrad & The First Third. All shows are free entry and set to kick off at 9pm. Medieval folk rockers Spiral Dance will make a welcome return to The Wheatsheaf Hotel, 39 George St, Thebarton, at 9pm on Saturday 31 January. Tickets will be $10 at the door. Local songstress Kelly Brueher is hosting an already successful open mic evening every second week at Café Komodo, 118 Prospect Rd, Prospect, with the next one being held on Thursday 29 January. Registration is from 6pm and the festivities conclude at 9pm. Pop along. Singer songwriter Tom West will conclude his Monday evening January residency at The Crown & Anchor, 196 Grenfell St, on Monday 26 January. Kick off time is 7pm and Tom will be joined by a special guest or two. The Stefan Hauk Band (with Damien Steel Scott on bass and Jamie Jones tucked behind the kit) was recently handpicked by Orianthi to open for her in Adelaide. They are now set to play the Grace Emily Hotel, 232 Waymouth St, on Saturday 24 January with Milush Piochard on bass duties this time and the lovely Buffalo Boyfriend as special guests. Max Savage & The False Idols are set to launch their digital EP, Little Flame, with a free entry gig from 4pm on Sunday 1 February at The Wheatsheaf Hotel, 39 George St, Thebarton, at which Carla Lippis will serve as special guest. Courtney Robb and Soursob Bob are set to play a series of Adelaide Fringe shows at the Grace Emily Hotel, 232 Waymouth St, from 4pm on Sunday 15 February, Sunday 22 February and Sunday 1 March along with regional shows in Mylor and Clare Valley. Book via FringeTix. Banjo Jackson will launch his new single, Western River Cove, with a free entry shindig at The Wheatsheaf Hotel, 39 George St, Thebarton, from 9pm on Saturday 24 January which will also boast the talents of Max Savage & The False Idols as well as Delia Obst. The Port Rocks, now a regular Adelaide Fringe event, returns to various heritage Port Adelaide live music venues on Sunday 22 February and once again boasts as stellar line-up as well as food trucks, retro fashion and classic cars. Come see a sensational line-up of Adelaide’s hip bands starting off at 11am with Prawnhead in Black Diamond Sq and The Memphis Suns at The British Hotel. Around the corner at 11 Nile St, check out ticketed event The Satellites and The Lincolns at Waterside Worker’s Hall which features a wooden dance floor, stage and bar. Or join the pub crawl and see Marlene Richards at Newmarket Hotel, The Dirty Roots Band at Port Dock Brewery, The Rustlers at First Commercial Hotel, The Party Cats at Dockside Tavern, In Like Flynn at Lighthouse Hotel and Big Smoke at Railway Hotel. Head to < ThePortRocks> for further information.

Bridgeway Hotel, Bridge Rd, Pooraka, is set to host a Bushfire Fundraiser from 7pm on Saturday 31 January featuring Mon Cheri, The Vinyls, White Collar Heroes and Frame Work with a $10 door charge, drink specials and raffles. Bearded Gypsy Band have kicked off a Thursday evening residency from 9pm at The Wheatsheaf Hotel, 39 George St, Thebarton, and on Thursday 22 January will be joined by Jess of The Villenettes and The Sloe Ruin and Häna of The Sloe Ruin, while the final evening, Thursday 29 January, will have Max Savage as special guest. Entry is free but donations will be readily accepted. Might this be Lily Mojito’s last ever guitarplayin’ gig? Find out on Thursday 22 January when she hits the Grace Emily Hotel, 232 Waymouth St, with dreamy indie folk darlings Hello, Lover and Coops & The Bird also on the bill. Free entry, of course, with music from around 9pm. The Brothers Grimm, the Adelaide-based love child of rock, grunge and The Beach Boys, will be bringing their party vibes to Glenelg Backpackers from 8pm on Friday 23 January where they will be sharing the stage with alternative rockers Jupiter Groove and the edgy jazz rock fusion of The New Yorks. The Audreys and The Yearlings have always had a bit of a crush on each other. So they are now playing at Crush Festival on Saturday 24 January from 6pm until late in the Old Woolen Mill behind Lobethal Bierhaus. Crush Festival runs from Friday 23 January until Sunday 25 January with full details available at < au>. There’s to be Music Instead Of Mayhem as a Bushfire Fundraiser at Kersbrook Tavern, 56 Scott Rd, Kersbrook, from high noon until late as a free entry affair with donations kindly accepted on Saturday 31 January featuring The Rolling Tones, Sweet Anarchy, John Jagt, Papa Leo & Louise, 100 Proof, Black Aspirin, Hot Chisel, Van Demons Band, Dino Jag and The Kaleidoscope Eyes as well as Tusk FM. The Spatchcocks, Dilettantes, It’s A Trap, Mountain Stranger and Jake Ward are all set to play a free entry pre-Australia Day party at Crown & Sceptre, 308 King William St, from 8pm on Sunday 25 January which will also boast a vegan BBQ. Adelaide band Skythief are set to rock Rhino Room, 13 Frome St, with special guests Flowerpunch on Friday 23 January. The bar opens at 9pm, bands are on stage at 10.30pm and it’s an easy $8 to get through the door. Orchard Cider Festival 2015 comes to Light Sq, Adelaide, from noon until 9pm on Saturday 24 January and, as well as cider from various companies including Aussie Cider and beery stuff, will feature original music from Ollie English, Sean Kemp, Iron Empire, Trent Worley, Spark & Ember and Squeaker along with DJ Pebble Catcher. There will also be live broadcasting from Hit 107FM. CONTINUED ON PAGE 12

OUR PHILOSOPHY Created by veteran Adelaide music guru Rob Dunstan, BSide Magazine is a weekly magazine totally focussed on what’s going on in the Adelaide Music Community. Every week we will be bringing you the latest news, up-to-date information and entertainment through: Regular music news updates Features and interviews Touring and gig guides Local music industry news Awesome competitions Live music and CD reviews Theatre news and interviews Plus, we welcome the return of BOB’S BITS in print. Our goal with BSide Magazine is to help rebuild the Adelaide Music Community, to refocus the emphasis on local music and uniting the different tribes encouraging and further enhancing a prosperous live music industry for all. We want BSide Magazine to be like Gaffa Tape. The thing that will hold everything together.

IN THIS ISSUE Page 2 Around The Traps Our Philosophy Page 4 Heading To Town Page 5 BSide Tour Guide Page 6 Feature Article: Kevan Keeler Page 7 Linda Gail Lewis Page 8 The Clothesline Page 9 Orchard Cider Festival DJ Craig Page 10 MusicSA CD Reviews Page 11 Bob’s Bits Dallas Crane Page 13 Ann Vriend Page 15 The Bizzo BPlus: Explain Orange Advertising Enquiries Ph: (08) 8346 9899

Silent Duck, Gun It and The Raging Monkeys will be undertaking a gig at Worldsend Hotel, 208 Hindley St, on Saturday 24 January from 9.30pm with a $5 entry fee. Summer Feels will feature Adelaide’s Young Offenders and Charlie Monsoon as well as Carpedenim and will take place at the Governor Hindmarsh, 59 Port Rd, Hindmarsh, on Friday 30 January. Adelaide punk trio Grenadiers have announced the release of a new recording and a national tour. The tour will, however, have them home for the final night to play Crown & Anchor, 196 Grenfell St, on Saturday 14 February with My Echo, Beaver and Thrashboard.

ISSUE #0015 January 22nd January 28th, 2015


HEADING TO TOWN Rockin’ duo Jackson Firebird haven’t visited for a while so we’re pleased to announce they will play Jive, 181 Hindley St, on Saturday 31 January with Filthy Lucre as special guests. Pre-sale tickets via Moshtix are $10 but be quick. Melbourne punks Me-Graines are heading over the border to play a couple of gigs. On Friday 23 January catch ’em at Gaslight Tavern, 36 Chief St, Brompton, alongside Ben Gel & The Boneyard Saints and Soberphobia and at The Land Of Promise Hotel, 172 Port Rd, Hindmarsh, on Saturday 24 January with Fear & Loathing, Cock and The Toss. Japan’s world famous all-girl rock band Shonen Knife are stepping into overdrive and touring their latest album, Overdrive. It marks their 19th release and they will be hitting Jive, 181 Hindley St, on Thursday 22 January with Spain’s Za! and locals Glass Skies with tickets available now via Moshtix. The Wanderer’s Australia Day Party will boast the USA’s Linda Gail Lewis and Anne Marie Lewis as well as Melbourne’s Hank’s Jalopy Demons and Perth’s Rusty Pinto along with Lucky Seven, The Lincolns, Lady Voodoo, Memphis Suns and Shades Of Blue and also custom cars, international tattoo artist Randi Canik and more. It all takes place at Published Arthouse, 11 Cannon St, on Sunday 25 January with tickets on sale via <>. Gwyn Ashton, a Welsh-born, award winning guitar player who spent his formative years in Adelaide before relocating to Sydney and then Europe, has announced an Australian tour for 2015. Catch him at The Whitmore Hotel, 317 Morphett St, on Friday 6 February, Old Spot Hotel, 1955 Main North Rd, Salisbury Heights, on Monday 9 February, Gaslight Tavern, 36 Chief St, Brompton, on Tuesday 10 February, The Wheatsheaf Hotel, 39 George St, Thebarton, on Wednesday 11 February and McLaren Vale’s The Singing Gallery (with special guest Chris Finnen) on Thursday 12 February. Gwyn will also be inducted in the SA Music Hall Of Fame during his visit. Canadian indie soul songstress Ann Vriend has just released a new album, For The People In The Mean Time, as well as announcing an extensive Australian tour. Catch her at the Wheatsheaf Hotel, 39 George St, Thebarton, on Saturday 24 January with special guests Jupiter. Get set for a night of ghostly music when Queensland’s Ghost Notes launch a new album at Hotel Metro, 46 Grote St, from 9pm on Friday 23 January with help from Tiger et Ghost and Blood Plastic. The Crown & Anchor, 235 Grenfell St, will play host to Melbourne riff merchants Don Fernando on Sunday 25 January when they play alongside local rockers Emergency Rule and Thirteen Black. Tickets will be $10 at the door. Melbourne-based three-piece Chase City are currently receiving much attention for their sun-drenched pop and have just recorded an album with legendary producer Magoo. Catch ’em in action when they play The Exeter Hotel, 246 Rundle St, on Friday 6 February at which they will be highlighting new single, I Lost Myself. Here’s a thing! Melbourne rock band Dallas Crane were set to slug it out at a popular suburban venue in SA on Monday 26 January but are now hitting Jive, 181 Hindley St, on that same day. Book quickly at Moshtix. Victor Valdez & The Real Mexico Mariachi Band, who have played WOMADelaide and Adelaide Cabaret Festival in the past, are set to present a Mexican Fiesta at the Governor Hindmarsh Hotel, 59 Port Rd, Hindmarsh, on Saturday 24 January alongside Soul Macumbia. Book at OzTix or via the venue. Brisbane-based stoner doom rockers Lizzard Wizzard (not to be confused with the Melbourne reptiles with quite a similar name) are making their first trek to Adelaide to play Crown & Anchor, 196 Grenfell St, on Friday 23 January. Also on the bill will be Melbourne’s Watchtower as well as locals Hydromedusa and Tombsealer. Tickets will be at the door for $15.


Highly popular comedian Josh Wade will be making his way to the Ramsgate Hotel, 328 Seaview Rd, Henley Beach, on Thursday 22 January. Doors swing open wide at 7pm with tickets getting quickly snapped up now via Moshtix. Popular American punk outfit Against Me!, joined by Californian band Joyce Manor, will return to Australia to play Adelaide Uni Bar on Friday 5 June. There is to be a special Nashville-style Songwriters In The Round at The Bluebee Room, Pirie St, on Friday 6 February at which three artists will take to the stage together and each take turns in playing their songs one by one. As part of John Flanagan’s Whatever Makes You Happy national tour, he will join forces with two of South Australia’s top singer songwriters in the form of Kelly Menhennett and Cal Williams Jnr. John will also be playing The Exeter Hotel, 246 Rundle St, on Saturday 7 February alongside Emily Davis and Simon Peter. Mid Coast Meltdown 7 will feature Melbourne’s Cosmic Psychos alongside Filthy Lucre, The Lizards, Psycho Green, Sector III, Iron Feather and so many, many more punk rockers at Pt Noarlunga Football Club on Saturday 24 January. Gooch Palms, a duo of garage rockers from Newcastle who are soon relocating to the US, will be making their way to Hotel Metro, 46 Grote St, on Saturday 24 January with special guests to be announced soon. Stay tuned. Sounds @ Serafino will feature the sounds of Icehouse, James Reyne, Diesel, Wendy Matthews, 1927, Enuf Said and DJ Hollywood at McLaren Vale’s Serafino Winery on Monday 26 January. Tickets via <>. Northern Territory-based outfit Super Raelene Brothers, who formed from the ashes of irreverent yet highly popular Adelaide group Aunty Raelene, will play Café Komodo, 118 Prospect Rd, Prospect, from 7pm on Friday 23 January at which they will be presenting songs from their new album, Revolution Day, with the title song recently winning NT Roots Song Of The Year. Super! Welsh post hardcore act Funeral For A Friend have announced a tour to promote new studio album, Chapter & Verse, that will bring them to Fowler’s Live, 66-68 North Tce, on Friday 23 April at which Sydney’s Vices will be their special touring guests. Tickets on sale now via Moshtix. Melbourne-based garage rockers Magic Bones have announced a co-headline national tour with US band Harts. In Adelaide, catch ’em at Pirie & Co Social Club, 121 Pirie St, on Friday 23 January with special guests. The line-up for Kustom Kulture Weekender has just been announced for Highway Inn, Anzac Hwy, Plympton, as part of Adelaide Fringe. On Friday 13 March, it’s Sydney-based ska legends The Allniters alongside Fistful Of Trojans and Young Offenders, on Saturday 14 March it’s Big Sandy and Los Straitjackets from the US with The Saucermen, The Satellites and Madeleine DeVille, while on Sunday 15 March, it’s El Caminos. On Saturday 14 March, The Rememberz and The Jamjets will also be playing in the car park from high noon as part of the Hotrod & Kustom Showdown. Tickets via FringeTix. Melbourne bands Tequila Mockingbyrd and I Am Mine are getting together to head over the border and hit Worldsend Hotel, 208 Hindley St, on Friday March 13 at which they’ll have Jungle City as special guests. Hard rockin’ Aussie band Evol Walks are now based in Hollywood, USA, but are coming home for an extensive tour that will bring them to The Promethean, 116 Grote St from 7.30pm on Thursday 12 February where they will be joined by a top local line-up of The Motive, Jungle City and The Fortunes Of War. Tickets will be $10 at the door. Brisbane’s Man Of Attack at heading to town to play at a 50th birthday party of a well-known local lad which will take place at Land Of Promise Hotel, 172 Port Rd, Hindmarsh, on Friday 14 February with Northern Death Cult and Soberphobia as special guests.

Aggressive Sydney punks Hellions have announced a national tour to coincide with the release of Indian Summer and they will play Enigma Bar, 173 Hindley St, on Friday 20 March. Sumeru are a five-piece rock band from Sydney featuring members of Blkout, Lomera, Firearms, Shake Your Blood and No Apologies will hit Worldsend Hotel, 208 Hindley St, on Saturday 14 March. Stayed tuned for special local guest bands. Following on from the cancellation of his remaining US and Canadian tour dates, Frontier Touring regret to announce that due to ongoing family illness, Johnny Marr has been forced to postpone his tour of Australia and New Zealand). Johnny was set to play the Governor Hindmarsh in early February with revised dates to be announced soon. Hang on to those tickets. Melbourne-based rock band Holy Serpent have lined up a gig at Glenelg Backpackers for Friday 30 January and invited Filthy Lucre to be special guests. The date for the next Blues On The Parade has been announced for the Norwood Hotel, Norwood, and it’s to be held on Sunday 12 April with US act Donavon Frankenreiter as the super guest headliner with more great acts to be announced soon. Tickets via Moshtix. Following a recent visit to launch their debut album, Black Noise, Melbourne rock trio River Of Snakes are set to make a speedy return to play Worldsend, 208 Hindley St, on Friday 6 March with guests Filthy Lucre and Gun It. Chaotic Perth hardcore band Statues are touring their Together We’re Alone album and will hit Cavern Club, North Tce, for a licensed all-ages affair on Saturday 24 January with Heroes.

WEDNESDAY 25 FEBRUARY Stephen Malkmus & The Jicks (US) at Governor Hindmarsh THURSDAY 26 FEBRUARY Ruth Moody (US) at The Trinity Sessions Deltron 3030 (US) at Governor Hindmarsh FRIDAY 27 FEBRUARY Megan Washington (Melbourne), Montaigne and Greg Chapello at Governor Hindmarsh The Ugly Kings (Melbourne) at Glenelg Backpackers

THURSDAY 22 JANUARY Shonen Knife (Japan), Za! (Spain) and Glass Skies at Jive FRIDAY 23 JANUARY Me-Graines (Melbourne), Ben Gel & The Boneyard Saints and Soberphobia at Gaslight Tavern Lizzard Wizzard (Brisbane), Watchtower (Melbourne), Hydromedusa, and Tombsealer at Crown & Anchor Magic Bones (Melbourne) and Harts (US) at Pirie & Co Social Club Ghost Notes (Brisbane), Tiger et Ghost and Blood Plastic at Hotel Metro Super Raelene Brothers (NT) at Café Komodo SATURDAY 24 JANUARY Ann Vriend (Canada) and Jupiter at Wheatsheaf Hotel Victor Valdez & The Real Mexico Mariachi Band (Melbourne) and Soul Macumbia at Governor Hindmarsh The Gooch Palms (Newcastle) at Hotel Metro Mid Coast Meltdown 7: Cosmic Psychos (Melbourne), Filthy Lucre, The Lizards, Psycho Green, Sector III, Iron Feather and more at Pt Noarlunga Football Club mewithoutYou (US) at Adelaide Uni Bar The Audreys and The Yearlings at Robert Johnson Vineyards (Lobethal) Statues (Perth) and Heroes at Cavern Club Me-Graines (Melbourne), Fear & Loathing, The Toss and Cock at Land Of Promise Hotel Putkah (Melbourne), Faith Eater, Cum and Thrashboard at Hotel Metro SUNDAY 25 JANUARY The Wanderer’s Australia Day Party: Linda Gail Lewis (US), Anne Marie Lewis (US), Hank’s Jalopy Demons (Melbourne), Lucky Seven, The Lincolns, Lady Voodoo, Memphis Suns and Shades Of Blue at Published Arthouse Don Fernando (Melbourne), Emergency Rule and Thirteen Black at Crown & Anchor MONDAY 26 JANUARY Sounds @ Serafino: Icehouse (Sydney), James Reyne, Diesel (Sydney), Wendy Matthews, 1927 at Serafino Winery (McLaren Vale) The Amity Affliction (Melbourne), In Hearts Wake, Confession and Antagonist AD at Bridgeway Hotel Adam Brand (Melbourne), The Wolfe Brothers, Jasmine Rae and Matt Cornell at Hahndorf Old Mill Carpark Dallas Crane (Melbourne) and The Trafalgars at Jive THURSDAY 29 JANUARY Nas (US) and Dusk at Thebarton Theatre FRIDAY 30 JANUARY King Of The North (Vic/SA) at Jive Evil Twin (Melbourne), Rat Ta’ Mango and King Indecisive at Worlsdend Holy Serpent (Melbourne) and Filthy Lucre at Glenelg Backpackers SATURDAY 31 JANUARY The Reprobettes (Melbourne), The Villenettes, Stabbitha & The Knifey Wifeys and Madeleine DeVille at The Jade Monkey Red Emmett & The Katz (Sydney) at Governor Hindmarsh The Ape (Melbourne), Sloe Ruin and Kitchen Witch at Crown & Sceptre Caligula’s Horse (Brisbane), AlithiA, Ayssidia and For Millenia at Enigma Bar Michael Plater (Melbourne) and Colourwheel at Grace Emily Jackson Firebird (Mildura) and Filthy Lucre at Jive SUNDAY 1 FEBRUARY Pete Cornelius (Melbourne) at Semaphore Workers Club TUESDAY 3 FEBRUARY Suzi Quatro (US) at Thebarton Theatre

THURSDAY 5 FEBRUARY Kim Churchill (Merimbula) at Jive The Gaslight Anthem (US) and Chris Farren (US) at HQ FRIDAY 6 FEBRUARY Laneway Festival at Harts Mill (Port Adelaide) The Searchers (UK) at Her Majesty’s Theatre Chase City (Melbourne) at Exeter Hotel The Vanns (Sydney) at Rocket Bar Gwyn Ashton (UK) at Whitmore Hotel John Flanagan (Melbourne), Kelly Menhennett and Cal Williams Jnr at The Bluebee Room SATURDAY 7 FEBRUARY John Flanagan (Melbourne), Emily Davis and Simon Peter at Exeter Hotel Leo Sayer (UK) at Her Majesty’s Theatre Kieran Ryan (Melbourne), Julia Jacklin (Sydney) and Delia Obst at Wheatsheaf Hotel SUNDAY 8 FEBRUARY Sting (UK), Paul Simon (US) and Sarah Blasko at Coopers Brewery Shane Howard (Melbourne) at The Trinity Sessions Lamb (UK) at Fowler’s Live MONDAY 9 FEBRUARY Gwyn Ashton (UK) at Old Spot (Salisbury Heights)

SATURDAY 28 FEBRUARY The Smith Street Band (Melbourne), Pup (Canada), Great Cynics (UK) and Apart From This at Governor Hindmarsh SUNDAY 1 MARCH Cold Chisel and Spiderbait (Melbourne) at Clipsal The Smith Street Band (Melbourne), Pup (Canada), Great Cynics (UK) and Apart From This at Governor Hindmarsh WEDNESDAY 4 MARCH Foo Fighters (US) and Rise Against (US) at Coopers Stadium (Hindmarsh) THURSDAY 5 MARCH DZ Deathrays (Brisbane), Bass Drum Of Death (US) and Hockey Dad at Fowler’s Live FRIDAY 6 MARCH – MONDAY 9 MARCH WOMADelaide: Youssou N’Dour (Senegal), Rufus Wainwright, Neneh Cherry & RocketNumberNine+, The Gloaming, Abdullah Ibrahim Quartet, Balkan Beat Box, Public Broadcasting Service and so many, many more at Botanic Park FRIDAY 6 MARCH River Of Snakes (Melbourne), Filthy Lucre and Gun It at Worldsend SATURDAY 7 MARCH Crash & Burn (Melbourne), Speedmachine, The Menace, Hi Speed Life and Mark Bowley at Bridgeway Hotel

TUESDAY 10 FEBRUARY Gwyn Ashton (UK) at Gaslight Tavern CJ Ramome (US) at Crown & Anchor WEDNESDAY 11 FEBRUARY Kenny Rogers (US) and Amber Joy Poulton at Adelaide Entertainment Centre Yngwie J Malmsteem (Sweden) at HQ Complex Gwynn Ashton (UK) at Wheatsheaf Hotel Infected Mushroom (Israel) at Governor Hindmarsh THURSDAY 12 FEBRUARY Gwyn Ashton (UK) and Chris Finnen at The Singing Gallery (McLaren Vales) SATURDAY 14 FEBRUARY The Veronicas (Brisbane) at Adelaide Entertainment Centre Theatre L.O.U.D. Fest 2015: Dellacoma Rio (US), Love Cream, White Widdow (Melbourne), Sisters Doll (Melbourne), Speedmachine, Sweet Anarchy, Trash City, Odysey, Canephora, Hi Speed Life and more at Bridgeway Hotel Man Of Attack (Brisbane), Northern Death Cult and Soberphobia at Land Of Promise Hotel Bernard Fanning (Brisbane) at Bird In Hand Winery Chocolate Starfish (Melbourne) at Governor Hindmarsh SUNDAY 15 FEBRUARY Peter Hook & The Light (UK) at Governor Hindmarsh MONDAY 16 FEBRUARY Lindsey Stirling (US) at Fowler’s Live TUESDAY 17 FEBRUARY One Direction (UK) at AAMI Stadium Roxette (Sweden) and Boom Crash Opera at Adelaide Entertainment Centre FRIDAY 20 FEBRUARY Jo Quail (UK) at The Trinity Sessions Aled Jones (Wales) at Her Majesty’s Theatre SATURDAY 21 FEBRUARY Jo Quail (UK) at The Trinity Sessions Harry Howard’s Near Death Experience (Melbourne) at Hotel Metro The Delta Lions (Melbourne) at The Bluebee Room TUESDAY 24 FEBRUARY Angus & Julia Stone (Sydney) at Adelaide Entertainment Centre Theatre



KEVAN KEELER By Robert Dunstan Adelaide’s Kevan Keeler has already launched his debut album, Five O’ One Nine, with a sold out gig, but due to that success has selected a larger venue to further highlight the release with his nine-piece band. “Yeah, I did a launch a while back in my local area at Semaphore RSL,” the Semaphore Park native says, “and it completely sold out. And, if the venue had been bigger, we could have sold even more tickets. “So I approached the Governor Hindmarsh Hotel and asked if I could play there on the Sunday of the Australia Day long weekend and they were up for it,’ Kevan continues. “And some of the people who play on the album are scattered all over the country – Gordon [Lambie], the trumpet player, now lives in Canberra – but they were all keen and available. There’s a horn section on two songs and they are all originally from Adelaide’s Soul Commitments. “And I’ll have some backing singers too, including Diane Dixon and Becky Blake from Chunky Custard,” he adds. Many will know of Kevan from the glam rock band Hollywood Gun Club, essentially a cover band, but he has been writing original songs for a number of years. “Yeah, but an album wasn’t something I’d thought too much about,” he reveals, ‘because it wasn’t like I had a huge cache of songs. “But I had some mates over for dinner one night and over a few drinks and one of my mate’s young lad asked, ‘Why don’t you record some of your original songs?’ “So that set the ball in motion and I had visions of an album being very much a singer songwriter kind of thing,” he laughs. “I thought I’d just knock out a few tunes in the manner of someone like Jackson Browne or Tom Petty because I like a lot of that stuff – I’m a big fan of Warren Zevon and love his stuff – so I’d thought it would be along those kind of lines. “But when I mentioned it to a few mates such as drummer Howie Kehl and guitarist Ward Purcell, who are both big rock guys, they started coming up with some ideas. “Next thing I know, they are coming up with all these huge rock riffs,” he laughs. “And then Howie says, ‘Hey, I’ve got some ideas for about four songs’, so he came round and we ended up writing Rockin’ Rollin’ Man and It’s The Singer Not The Song. And, essentially, both songs were already written and arranged by Howie and I just worked on the melodies and lyrics a bit and changed a verse here and there. “And from there it became very apparent very quickly that the album was going to be much more of a rock recording that a


simple singer songwriter one,” Kevan says. “It’s ended up being a full-blown rock album. And I wanted to do it very much as the band would sound when playing live. “But I also had this blues tune, Black Cat Bone, I was working on with [guitarist] Pete Jenkins, so got in touch with Dave Blight to add some harmonica. I’d thought it would sound great with either some sax or blues harmonica on it. So we then thought of Dave. “And, Danny Bryan, who produced the album said, ‘What we want to do, Kev, is make a recording that people can listen to with their eyes closed and imagine it’s a band playing live on stage doing the songs’. So we tried to capture that as much as we could. “So we went up to Mick Wordley’s Mixmasters because it’s such a great studio and pretty much recorded five of the songs live in one day,” Kevan says. “Well, I grew up in Semaphore Park,” he then says of his band’s postcode name of Five O’ One Nine, “but while I have lots of guys from that area in the band and on the record, a couple of American dudes also play on the album.” The ‘American dudes’ Kevan speaks of are Detroit-born brothers Matt and Gregg Bissonette. Bass player Matt is currently serving time in Elton John’s touring group, while drummer Gregg is known for his extensive session work as well as once being a member of David Lee Roth’s band and a current member of Ringo Starr’s band. “I’m a drummer,” Kevan says, “but I don’t get to play much these days and because I’m not that match fit, I thought to myself, ‘Well, there are plenty of great drummers around Adelaide I can use’. “But a few years ago I’d been to a Gregg Bissonette drum clinic at The Arkaba’s top room which was just before he’d started playing with Ringo,” Kev says. “So afterwards I was chatting to Gregg and we were talking about stuff – mostly about The Beatles, ironically, as I was born the year they toured Australia – and he gave me his email address and, periodically, we’d keep in contact. “So when it came to doing the album and I was reaching out to people such as Dave Blight and [Wa Wa Nee guitarist] Steve Williams, I thought I’d also touch base with Gregg about adding some drums,” he laughs. “What’s the worse that could happen other than him not wanting to be involved? “Anyway, I sent Gregg some stuff and he said, ‘Well, I’m extremely busy but yes and we can chat about it when I’m next in Adelaide’. And that was when Gregg came back to do another drum clinic which, this time, was at the Governor Hindmarsh. “And when we met up, Gregg was really positive about it and said, ‘But you’ll have

to deal with it through my brother Matt because he takes care of all that side of things.

The album is wonderfully packaged and full of great photographs by Scott McCarten, Louise Keelor and Jessica Eckermann.

“So I’m thinking, ‘You beauty’, because I then thought I might be able to get Matt involved as well. So I got in contact with Matt and he immediately came back with, ‘Any buddy of my bro is a buddy of mine’.

“Scott took many of them,” Kev reveals, “and that’s another connection because his uncle, Keith McCarten, is a good mate of mine and people may know him from his radio and voice-over work. And Scott is what I call an uban guerilla photographer because he takes great photographs in out of the way places in abandoned buildings around Adelaide.

“So we made it happen. And at that stage I was keeping a lid on getting the Bissonette brothers involved,” Kevan reveals. “But because Ward Purcell is into all that hard rock stuff – he loves Van Halen and all the other ’80s guitar stuff like that – and because both Gregg and Matt had played with David Lee Roth, I then let Ward know what was happening. “And he was like, ‘What? Are you for real?’, but what that did was set the bar much higher for us in terms of the songs,” he recalls. “I suggested to Ward that it was such a great opportunity that we really had to lift our game with the quality of the songs. “But, even though Matt and Gregg had agreed to be involved, always in the back of my mind, and because they are always so incredibly busy, was that they both may politely decline when it came time to do it. “And initially the Bissonette brothers were just going to play on two songs, Wrong Side Of The Tracks and She Dropped The Bomb because those were the ones Ward and I thought would work best. “There were other ideas floating around but those were the two we chose,” Kevan continues. “So Ward recorded his multitracked guitar parts with a click track and I just did a reasonably good scratch vocal. “They were then sent off to Los Angeles to Gregg’s producer, a guy named Davis Jones who works on The Family Guy and has a studio in LA called Hillside. “And here’s a bit of trivia for you, Davis’ grandfather, Stan Jones, wrote the song Ghost Riders In The Sky,’ Kevan then says of the now classic 1948 country song that has been recorded many times over the years including, quite recently, by Adelaide band Brillig. “So Gregg then sent back two takes of each song,” he continues. “And, with the bass tracks, Matt sent quite a few for each one. He said, ‘If you want a hard rock feel, this one will work. But if you want a different kinda feel, here’s another idea’. “I’m still smiling when I think about now,” Kevan then adds with a laugh. “To have two guys play on your debut album who are at the very top of their game and are two of the most in-demand players in the world is just amazing. “And, as it worked out, Gregg ended up playing on seven songs on the album and Matt plays bass on six of them.”

“He finds all these old places and locations and because each of the songs has such strong visual imagery, I knew Scott would be able to take some great shots. For example, the song Wrong Side Of The Tracks is loosely based on the story of [blues legend] Robert Johnson as told by a whizz bang young guitar player such as Orianthi who may have done some kind of deal with the devil. “So we did the photo shoot for that song on a railway line,” Kevan says. “And we actually got into a bit of trouble because I was standing in the middle of the tracks and someone saw us, thought we were up to no good, and called the police. “So we had a bit of explaining to do when the cops arrived,” he concludes with a laugh. “We probably only got away with it because of all the tripods and cameras.” Kevan Keeler & The Nine O’ One Band play the Governor Hindmarsh Hotel, 59 Port Rd, Hindmarsh, from 7.30pm on Sunday 25 January with special guests Cherry Grind and with tickets available via OzTix or at the venue.


LINDA GAIL LEWIS By Robert Dunstan

“I was born country and raised on rock’n’roll,” she then adds with another laugh.

them I bumped into Tom Jones who told me it was his favourite Jerry Lee record on the Sun label.”

Louisiana-born rock’n’roll piano player Linda Gail Lewis, cousin of American country musician Mickey Gilley and the youngest sister of rock’n’roll legend Jerry Lee Lewis, will turn 66 in July of this year, so is excited that she has finally made it down to Australia for the first time.

“And I’ll be playing a few country songs when I play Tamworth Country Music festival in a few days,” Linda announces. “But for the Adelaide show, because it’s for a car club, it’ll be a rock’n’roll show.

Sun Studios is still a going concern and Canadian singer Corb Lund recently told me there is a spot marked on the floor where Elvis Presley once stood.

Linda, who is touring the country with her daughter, singer Anne Marie Lewis, and in Adelaide will be performing at Published Arthouse on Sunday 25 January alongside Melbourne’s Hank’s Jalopy Demons and Perth’s Rusty Pinto along with Lucky Seven, The Lincolns, Lady Voodoo, Memphis Suns and Shades Of Blue as part of a huge event to celebrate The Wanderer’s Car Club’s 10th anniversary, says she always thought Australia might be too far away to visit. “It’s such a long, long way away,” Linda laughs over the telephone from Melbourne after playing her first gig in Australia the previous evening. “But now I’m here, I think it was well worth the trip. A lot of my friends have been here and just love it but Australia is too hard to describe in words. It’s so beautiful that no words can describe how great it is. You have to actually come here to experience it. “And one of the reasons I’d never thought about coming down to Australia is that I didn’t think I had any kind of career there,” she says. “I do really well in Europe because when I came out of retirement – I’d taken 10 years off to bring up my children – I got signed to a French record label, New Rose, for an album called International Affair.

“And the Adelaide show sounds as if it will be fantastic and a whole lotta fun,” she reasons. “That’s going to be a 100% rock’n’roll gig and I can’t wait to see some of the Adelaide bands. My daughter Annie, is very excited about the Adelaide show. She’s really looking forward to it.” Linda will have a backing band comprising of local players including guitarist Dean Barcello of swing band Lucky Seven. “And I know they are all great musicians,” Linda says, “because I’ve seen some things on the internet that they’ve done.” Linda was raised in Ferriday, Louisiana. “And also in a place called Black River in Louisiana,” she says. “My daddy was a sharecropper and we had moved to Black River from Ferriday, but things weren’t going well and we were very poor. We had a loo outside the house and my momma had but two dresses. One to wear at home and one for church on Sundays. “And then my daddy took my brother, Jerry, up to Sun Records in Memphis,” Linda says. “Well, actually, they went up to Nashville first but the people up there told my brother to stop playin’ piano and get a guitar. And that wasn’t going to happen.

“And that did really, really well,” Linda adds, “so I started travelling to places like England and France and going to other places in Europe. And then I started going to the Scandinavian countries and I now think I’ve released about five albums in Sweden. So I’ve been quite busy.”

“So then they went to Memphis and met [record producer] Sam Phillips and things really took off,” she continues. “Jerry got signed to Sun Records and as soon as he did that, he bought us a house back in Ferriday with his first paycheque and we moved back to town.

American rock’n’roll and rockabilly are very popular in that part of the world.

“And from there we made all these wonderful, magical trips up to Memphis to visit Jerry,” Linda fondly recalls. “We’d stay in the beautiful little motels – it was back when Holiday Inn first started up their chain – and we’d go swimming in the pool and our lives changed.

“Well, the audience there is mostly people that want to go out and enjoy good music,” Linda decides. “And they love all kinds of music so I throw in some country and a little bit of blues when I play those countries. “And in England I do a lot of the rock’n’roll revival festivals for all the young Teddy Boys,” she laughs. “Those are 100% rock’roll gigs – I just played Wildest Cat In Town Weekender in England and didn’t do one country song – but in Scandinavia I can do rock’n’roll as well as some country music. “And I can change very quickly if things don’t seem to going down as well as they should,” Linda says. “For me, the most important thing about a gig is that the audience is having a good time.”

“So I ended up spending a lot of time in Memphis with my brother,” she adds. “I was about 10 years old then and my momma, my daddy and my sister and I would go up to Memphis and spend up to two or three weeks at a time in Memphis with Jerry. We were a very close family.” Linda has recorded at Sun Studio. “Yeah, I did a song with Jerry called Seasons Of My Heart,” she says. “And you know, I never really liked that recording because I thought I could have sung it so much better – I was only like 12 or 13 or something. But

“Oh, it has a lot of history,” Linda agrees. “And there’s a lot of stuff there. There’s stuff on Johnny Cash, Carl Perkins, my brother and other Elvis stuff. It’s a place I can recommend going to if you are ever in Memphis. “I take all my European friends there,” she adds. “And we also go to the Stax Records Musuem as my husband, Eddie Braddock, has history there. And, of course, I take them to Graceland. Graceland is a must if you are ever in Memphis.” Linda says she still enjoys playing all the rock’n’roll classics and thereby pleasing her audience. “But it’s funny because when I worked with Van Morrison, he only liked doing the songs he liked,” she says. “And I said to him one time, ‘Van, you really need to do songs like Brown Eyed Girl and Gloria because that’s what your audience wants to hear’. “But Van really hates doing those old songs because he’s so tired of ’em,” Linda laughs. “And then Van said to me, ‘Linda, I bet Jerry Lee gets tired of doing Whole Lotta Shakin’ Goin’ On and Great Balls Of Fire every night’, and I was gettin’ set to see my brother that day so I asked him.

“So it was quite unpleasant for a day or so but that year spent touring with Van was fantastic and I’d have to say if I got the opportunity to do it again, I would. “And I had a ball recording You Win Again with Van because it was just so much fun. We did it live on the floor in the studio and we only did one overdub. “And do you know why we did that? Let me tell ya. On the song Jambalya there’s that line, ‘Later on, swap my mon, get me a pirogue’, and ‘mon’, of course, is short for ‘money’. “And Van sang it as ‘Later on, swap my mom, get me a pirogue’. So Van said, ‘Hey we really gotta change that otherwise my mother will kill me’. So we had to overdub the vocal on that one song. “Other than that, You Win Again was all recorded live in the studio,” Linda concludes. The Wanderer’s Australia Day Party will boast the USA’s Linda Gail Lewis and Anne Marie Lewis as well as Melbourne’s Hank’s Jalopy Demons and Perth’s Rusty Pinto along with Lucky Seven, The Lincolns, Lady Voodoo, Memphis Suns and Shades Of Blue and also custom cars, international tattoo artist Randi Canik and more. It all takes place at Published Arthouse, 11 Cannon St, on Sunday 25 January with tickets on sale via <>.

“And Jerry laughed at me and said, ‘I never get tired of doin’ those songs,” she continues. “So I went back and told Van and he said, ‘Okay, okay, so on this tour I’m doing with you we’ll do Brown Eyed Girl and Gloria’. And the audience really loved them. “And if I’m not playin’ with my brother I’ll always do Whole Lotta Shakin’ Goin’ On and Great Balls Of Fire anyway,” Linda adds. “They are just such great rock’n’roll songs and people still wanna hear them.” When speaking to Linda I wasn’t going to bring up the name Van Morrison as was of the understanding that their professional relationship, which included touring the album they did together, You Win Again, had ended with lawyers being involved. “I’d given Van my notice after touring with him as I wanted to get back to doing my rock’n’roll shows,” Linda says. “And Van didn’t like that because, as you probably know, he likes to get his own way. “So Van got angry with me but I never got angry with him,” she says. “I have nothing but nice things to say about Van because he’s a musical genius. And he was very nice to me and my daughter until I gave him my notice.




SMALLWAR By David Robinson SmallWaR, a gripping exploration of the tragedy of warfare, and of human-kind’s propensity towards killing, is coming to the Adelaide Festival 2015. This one-person show creates powerful imagery using video projections and audio loops to augment the monologue, and the English-language version of the play met with critical approval when performed in Edinburgh and Plymouth. The Clothesline speaks with writer and sole performer Valentijn Dhaenens and asks how audiences have received the show so far. “I’ve been very happy with the reaction,” Valentijn begins. “It’s actually a follow-up piece to a play I did in Adelaide [2014] called BigMoutH. That one was like a history of the world through famous speeches and, often, how the result of those speeches is war. This time I wanted to stress the trauma of war. “I was a bit scared in the beginning. The play was very well-received in Belgium. I wasn’t sure about the English [speaking] audiences though, who can be slightly different in their perceptions, but I was very happy with the reaction.” Is there something about the so-called ‘Great War’ that captures the imagination more so than subsequent wars? Why were you attracted to use this conflict as the setting for SmallWaR? “The First World War was fought where I grew up,” Valentijn explains. “When I was young, there were kids in my class whose farming parents were still finding shells in their fields. Every two months or so, a bomb would explode while they were ploughing. “The First World War has, for me, always been the symbol of war in general,” he adds. “It was the first industrialised war. They thought it would end by Christmas but it took so many years. And nothing really changed. It was a war totally without reason, and so many people were killed. “I was very attracted to the stories of young nurses that came over from America to help in the French hospitals. If you read their diaries you can see them change from being very idealistic to being very cynical. That attracted me very much; to see how one naïve, beautiful person – who thinks of herself as kind of an angel who is going to help the soldiers – can turn into a terrible, cynical old woman in just a matter of weeks. “And I think this human side of conflict is what affected me most. That made it possible for me to make this show.” I’ve read diary extracts, letters and other writings from soldiers, nurses and civilians. There was a sense of world-weariness and cynicism creeping in. It’s quite striking, yet quite understandable. “I think it was the last war where, if you read the diaries of the soldiers, they all felt


like fighting,” Valentijn suggests. “That is amazing! It was such a different time; they were so willing. For them, when they left for war, it was like a big adventure.” Your research, although largely based around stories and diaries of the First World War, also led you to events that happened much later. How have you worked more modern aspects of warfare into the play? “I wasn’t interested in making a piece about the First World War,” he says. “When I make something, I want it to be about being here and now, at this point in history. I wanted to have material from many other wars to help show whether anything has changed at all. “It was very important to have letters from soldiers in Afghanistan next to [letters from] soldiers of The War, and even earlier. I think the earliest thing I used is a speech from Attila the Hun, and the most recent is from 2007. I wanted to stress the point that a letter written by a soldier to his unborn child – that could be the same letter today as it was in the 16th Century.” What is the one message that audiences will take away from SmallWaR? That it is the ordinary person that pays the ultimate price in war? “Yes, that’s the big point,” Valentijn agrees. The other big thing is where this urge to kill each other comes from. “On one level, we look at the politicians who send soldiers or the world into war, time and time again,” Valentijn concludes. “On the other level you see that it’s also inside human beings to kill each other.” SmallWaR runs at Space Theatre, Adelaide Festival Centre, at various times from Monday 2 March until Wednesday 4 March. Book at BASS. For the full interview, head to

THE SEARCHERS By Michael Coghlan It’s been 50 years since Love Potion No. 9 stormed up the hit parades (remember them?) in the US and Australia. It was one of a string of hits that made The Searchers a household name in the ‘60s. Fifty years on and these boys from Liverpool are still performing to enthusiastic audiences around the world and are making their way to Adelaide for one night only on Tue Feb 6. The Clothesline speaks with The Searchers’ front man and bass player Frank Allen, via email, on the eve of their Australian Anniversary Tour and ask when it was that the band last came to Australia and what his memories were of that visit. “We did a six-week tour at the end of January 2014. It’s a regular routine for us these days and has been for the last 14 years. Apart from that we’ve been visiting off and on since our first trip in 1964 when we headlined over Del Shannon, Peter & Gordon, Eden Kane and Dinah Lee. We then returned in 1966 co-headlining with The Rolling Stones. “The years following it was mainly club work as opposed to our current regime of theatres and the larger RSLs where we present a fairly complete history of The Searchers in a two-hour show. “Our significant memories are mainly of the early tours. Our original drummer Chris Curtis, who was the showman of the group back then, was having a bad time mentally during the tour with The Rolling Stones and at the end of the trip, which included him collapsing as we were about to perform on a TV show and being rushed to hospital, and he decided that was the last time he would perform with the band.” Why are you calling this an anniversary tour? “In truth we could have an anniversary tour every year. It is 52 years since the band turned professional and fifty-one years since our first hit Sweets For My Sweet went to number one. At this particular time we are still celebrating fifty years of the band’s biggest success, Needles And Pins, reaching number one in the UK. “Of course this year also turns into the 50th anniversary of Love Potion No. 9 taking the US by storm. Although it was never a single in the UK, it was our greatest chart success in The States and so many other territories.” Fifty years is a long time to be in any business. How have The Searchers managed to survive for so long? “Although we didn’t know it at the time, The Beatles caused such a cataclysmic explosion in the music industry that any artist achieving chart success during the period known as ‘The Sixties’ had a guaranteed longevity if they wanted it. That’s the reason why we had the opportunity to last.

“Why we are still performing? We love what we do and we still have our health. Most people look forward to retirement because it frees them up to enjoy the pursuits they really enjoy. What we enjoy is what we’ve done for over fifty years and therefore we see no reason to stop.” Many artists credit The Searchers as a major influence on their music, including The Byrds, Tom Petty and Bruce Springsteen. Who were your influences when you first started? “All the first rock‘n’roll stars of the ’50s: Elvis, Little Richard, Buddy Holly, Fats Domino, Gene Vincent, Jerry Lee Lewis. I could fill the whole page names. It was and always will be the most exciting time in music for me as a teenager when rock‘n’roll first came to town.” Is there anything else you would like to add? “I just want to say to anyone who hasn’t been to one of our concerts to come and try it one time. It’s not just a band playing songs to you; we include stories and anecdotes about our career and we very often change the programme in mid-flight if someone suggests one of our old hits that we are still able to play. “As I said before, this is a live show. We think you’ll have the best time of your life and go away feeling, as we always do, that you have spent an evening in the company of good friends.” The Searchers perform their Live-On-Stage Anniversary Australian Tour 2015 at Her Majesty’s Theatre from 8pm on Friday 6 February. Book at BASS. For the full interview, head to




As well as an Australian tour, this year, Trent will be recording his new album, Planting Seeds.

DJ CRAIG By Libby Parker

The cider will be flowing when Orchard Cider Festival and some sparkling entertainment will take in Light Sq from noon until 9pm on Saturday 24 January.

But before that, he will be at The Orchard Cider Festival enjoying a cider in the sunshine.

For a decade now, an alternative to clubbing in Adelaide has been Jive, a venue dedicated to live music and indie club nights.

Live music and entertainment, some of the city’s best street-eats and an excellent selection of ciders will be on offer. On the bill to serenade punters as they sample ciders and local fare will be Squeaker, Ollie English, Iron Empire, Spark & Ember, Sean Kemp and Trent Worley.

“I don’t know if I’m a cider fan but I’ll definitely will be on the day! When in Rome, hey?” Trent laughs. Guitarist, drummer and songwriter Sean Kemp, however, is fairly definitive about his opinion on the drink being celebrated at the festival in Light Sq.

For those who want to party but aren’t keen on Top 40 music, Jive has always been a haven, particularly nights like Gosh! and DiG. The man who spins the tracks on those nights is DJ Craig; a man dedicated to providing our fair city with a refuge for indie clubbers and a man who loves his job.

Trent Worley (pictured) will be playing his first ever Orachrd Cider Festival and is looking forward to the event.

“I love cider,” Sean says. “It’s a beautiful drink, when not consumed excessively. I’m a big fan of apple cider with plenty of ice on a hot summer’s day,” he says.

Craig Flanigan started his DJ career in the ’90s after finding there was nowhere in town for him to go to listen to good music.

“I’m used to playing pubs and venues, so this is probably the biggest thing I’ve done. I’d like to get into doing more festivals so it’s a great step for me,”’ he says.

Sean, who also plays in Adelaide band Surviving Sharks, will be rocking his solo act (joined by his brother Drew) at the open-air festival and is pretty keen to be a part of it.

Trent, who now writes songs about peace and love entered the music scene out of pure rebellion against his much loved nanna and a nasty boss.

Building a following and a reputation for keeping a dance floor moving, Craig now hosts three nights of alternative music around town every week and he loves his job.

“I’m looking forward to playing for people who may not normally get to see or hear me. Festivals are brilliant that way, I’ve discovered. I’m on at 3pm which is a great festival slot,” he says.

“I remember being seven and I told my nanna I wanted to play music and she laughed at me. That ignited a little flame. After my nanna passed away, she left us a bit of money so with that, I bought a guitar and a little amp so she was a bit of an inspiration in that way,” Trent recalls. “Then from about the age of 14 I was working in a pub as a glassy. I would come home from work on a Friday night, sit in my room and write songs about my arsehole manager and all the people I was serving. It was like therapy.”

“It’s usually a time when punters are most attentive and preparing for the night ahead. This year my brother Drew will be joining me on additional guitar and backing vocals.” Sean has supported the likes of Hot Chocolate and Boney M and opened for Spandau Ballet’s Tony Hadley. He’s played festivals, venues, weddings, parties and probably hens’ nights too; but this year, he’s got a few tricks up his sleeve and aces to play.

Building a career from a punk rock ethos and turning it into what producer Matt Hills calls, ‘Psychedelic rock with ambient soundscapes,’ Trent now gigs around Adelaide and is planning a tour of Australia.

“I’m about to do a tour with my new line-up, which I’ll reveal soon. Then I’m off to Los Angeles and Hollywood for shows and good times,” he says.

“This year I’m trying to book a tour up the east coast in March and April. I haven’t really toured outside of Adelaide,” he says.

“When I come back I’ll do some more support shows and have plans to work with some great musicians in Adelaide on a new recording. So, this year is looking like an exciting one!”

“I love playing here. I can play a gig, drop my gear back home and then head back to town; but I feel like I’ve done the hard yards now and I want to tour elsewhere.” Despite doing the hard yards back home, a recent tour to the US offered many incredible opportunities for Trent, like recording a song in Jack White’s 1947 VoiceO-Graph booth in Nashville and being in bed with Madonna. Alright, so that’s not strictly correct, but his song, Take Me Away, was recorded in New York City on the top floor of The Music Building in Madonna’s old bedroom. “Yeah I suppose it was a little dirty,” he laughs. “Not really. Apparently Madonna was living pretty rough in the early days and was working at a hot dog place and The Music Building had about 36 studios in it. The top floor was vacant and she sweet talked the owner and they made the top floor her space.” “She lived there for a good couple of years in the heart of New York right near Times Square. That building is where The Strokes still rehearse and record and Billy Idol wrote White Wedding in that building too,” Trent says.

Trent Worley and Sean Kemp make up a stellar line-up of musicians at what looks to be an exciting festival. As well as live music, food, and ciders by Aussie Cider, Hills Cider, Appelation, Keller Meister and Three Oaks Cider Co, there will also be tunes from DJ Pebble Snatcher and live broadcasting by Hit 107FM. Orchard Cider Festival 2015 comes to Light Sq, Adelaide, from noon until 9pm on Saturday 24 January as a free entry event and will feature original music from Ollie English, Sean Kemp, Iron Empire, Trent Worley, Spark & Ember and Squeaker along with DJ Pebble Catcher.

“What do I love about my job? Everything! I get to play music I like,” he says. “The whole reason I started all this was so I had somewhere to go that I enjoyed going to. It’s cool now because people I know come along, and I like to see them all having fun. People come up and say they love what I do and it’s a buzz.” “The fact that I can make a living out of it is really great. I don’t have another job, this is the only job I do and it supports buying my house, paying my bills and all the things I like to do so that’s a privileged position; it’s been many years in the making but it has arrived.”

it won’t work unless you’re playing to 20 of your friends. What I do complements the bands, even though the band crowds tend to leave before I start.” Craig attributes the success and consistency of Jive’s culture to owner Tam Boakes who he says never compromises on music quality. “Part of the reason Jive is such an excellent venue is because Tam likes to keep the music to a certain type of music and she doesn’t compromise. Even if it means there are not as many people coming in; it’s not all about that,” he says. “There’s obviously an element of wanting to keep the place busy and open, she won’t go for something completely off centre, but she’s willing to sacrifice for the purity of the music. I think that’s what makes Jive a bit more special.” While the price of admission hasn’t increased, Craig says there are other costs facing venues such Jive that make it difficult to survive, but despite the odds, the club pushes on. “The cost of entry hasn’t changed, but the costs of licensing has gone up massively. The cost of complying with the new late night trade laws is huge, which we’ve finally got after 18 months,” he says. “Now we have the ability to open later, but that requires spending money on CCTV and metal detectors and that sort of stuff.” While Jive is the longest running indie venue, DJ Craig isn’t the only alternative club DJ in town, nor are his nights the only gigs around for the more discerning clubber.

Through Gosh! at Jive, Craig has created a culture which complements the live music, while also standing independently as a weekly event.

Craig also recommends Transmission at Rhino Room and a night at the Kings Head held quarterly by DJ Mark Yusef Wilson.

“I wanted Gosh! to be a sanctuary; a sanctuary away from commercial R&B, hip hop, dance music and pop. I want it to be somewhere I’d like to go. Also, we only charge $5 at the door. There are clubs out there that charge $20,” he says.

But to get a dose of what does, you can catch him playing indie music at Gosh! on Saturday nights, ’60s music at DiG (the first Saturday of each month), ’40s and ’60s music at The Austral on Wednesdays and ’50s and ’70s tunes at The Wellington on Sundays.

The music at Gosh! is varied, but always indie, and Craig has introduced ‘Master Sessions’ to the mix.

And coming up around Adelaide Fringe time, Craig will be teaming up with Sons Of Mod front man Andrew McCulloch.

“With my Master Sessions, I post three bands up on the Gosh! Facebook group. Group members vote for the band they want to hear. Then on Saturday night, I’ll play 10 songs from that one band. If the place is going crazy I might play, 14 or 15 songs.

“The event we’re doing around Fringe time will be 50s versus 60s, which will have The Sons Of Mod; and The Lincolns will do their ’50s stuff which will be interesting. I will play some music in between,” he says.

“The idea is to create a democratic culture and ownership of the night. I do about one a month,” Craig explains. Gosh! happens after the bands are finished for the night, at 11.30pm, and Craig says they are usually two fairly distinctive crowds; but he enjoys being the transition between them. “What I do is the intermediary between the local bands and the more mainstream music. I won’t suggest for one minute that I play hardcore indie music that only six people know, or the latest b-side from an unknown band from the UK,” he says.

Until then and most probably for many years into the future, Craig will continue enjoying his job and playing the music he loves. “If I don’t like a song, I’m not going to play it. If you play music you like and you’re doing things you want to do, it becomes less of a job and more of a love affair,” he reasons. Catch DJ Craig at Jive (Saturdays), The Austral (Wednesdays) and The Wellington (Sundays).

“It’s all stuff that’s popular, but it’s indiebased and if it wasn’t popular, we wouldn’t be getting 300 people in. It’s all very well playing something weird and wonderful, but




Music SA is a not-for-profit organisation committed to promoting, supporting and developing contemporary music in South Australia. We are thrilled to be working with BSide Magazine to bring you reviews of South Australian artists. Want to see your CD reviewed here? Go to for details on how to submit your EP or LP.

JUST FOR NOW Self Titled Reviewer: Craig Atkins 3/5

TOMORROW RISING Oasis Reviewer: Craig Atkins 3.5/5

LONELY SPECK Presence Reviewer: Craig Atkins 3.5/5

RIDE INTO THE SUN Sky Flowers Reviewer: Phil Catley 5/5

Four piece punk band Just For Now is ‘Kirkules’ (guitar & vocals), ‘Sivs’ (drums & vocals), ‘Roddo’ (guitar & vocals) & ‘Shaun MCD’ (bass & vocals), who have dropped their self titled EP. Recorded and mixed by Robbie Colvin, the 7 tracks (plus a hidden track) feature drum and riff driven punk with loads of attitude.

Tomorrow Rising are a 5 piece Alt Punk Rock band from the Adelaide Hills (and coast), with members Callum Parr (vocals), Steff Esposito (guitar), Kierren Mason (guitar), Max Lambert (drums), and Jacob Bosley (bass).

“Lonelyspeck” is the stage name for Sione Bouts Teumohenga, crafting electronic ‘post dub-step space junk’ ambient soundscapes that have been captured in the home recorded 6 track EP ‘Presence’, 18 minutes of slow reverb washed beats, meandering waves of synth and flowing vocals.

Ride Into the Sun has been busy since forming in 2010. They have released 3 albums, a mini LP, two singles, a 7” vinyl, toured USA, the eastern States of Australia, played some big gigs, and now their new EP “Sky Flowers” has been released and is being toured nationally.

With the initial listen conjuring up similarities like ‘Massive Attack’ and ‘Portishead’, the production has an interesting, almost analogue, vinyl quality to it; there is a lot of care taken with the arrangements to allow the music to breathe and let it float … If water was a sound, this would be very close to being it.

Their sound is ‘60s psychedelic, guitar oriented pop, but also draws on the late ‘80s Manchester sound and the more recent “stoner rock” resurgence for inspiration. I would call this “paisley pop”, but this genre is commonly called “shoegaze-rock” because of the languid, repetitive, introverted nature of the music.

The stand out track for me would be track #3 ‘Disinter’, it has a very easy vibe with a simple beat and airy vocals that all blend really well to create a sonic texture that is a very easy listen.

Well known bands like The Velvet Underground, The Brian Jonestown Massacre or even the Stones Roses could easily slot into this category if you are searching for a reference point. I got a whiff of The Monkees, too (don’t underestimate them!).

The packaging is well developed, with amazing artwork by Nathan Benger which immediately conjures thoughts of a themed CD of greed of governments and corporations profiting from war. The CD includes a 8 page booklet with lyrics which is a great addition; background information for track 5 ‘Pull That Trigger’ (the standout track for me) reveals it is about the mental health issues and PTSD of soldiers who have returned from armed conflict. The similarities in the vibe and attitude that come to mind are along the lines of SUM14 and Blink182 to name a few, though surely the band have a long list of other influences – but not listed anywhere online I could see. The mix and production quality provide a solid balance of instrumentation and vocals, and have captured a great energy. One minor criticism of the production is the overuse of the background vocals with the “whoas” and “woos” – just my opinion. While some of the subject matter on the recording is deep and heavy, such as the opening track ‘Armed Forces’ theme of war, and the aforementioned ‘Pull That Trigger’, it is also clear this is a band that doesn’t take themselves too seriously.  Overall this is a tight, solid recording with some great variety in its arrangements. For anyone that is into punk, definitely have a listen and decide for yourselves. For me it’s three out of five raised middle fingers to the man.


In December of 2014 their 5 track EP ‘Oasis’ was released, offering a solid feel, a tight rhythm section and thoughtful mix of guitars. This all lays a strong foundation for the vocals to highlight Parr’s use of growl and melodic overtones, similar to the style of Chester Bennington in some places. The production has a perfect balance of all instruments; this is a quality recording that has captured a polished and energetic performance by this band. The stand out track for me is “Emperor”, starting with a clean guitar riff and fresh vocals, then kicking into distorted guitar and robust vocals which are carried by a weighty rhythm section…there is a break about two thirds through that slowly begins to build the drama again. Great arrangements and dynamism in this track. With a sound forged by influences like Blink 182, Rise Against, Nirvana and Silverchair, “Tomorrow Rising” has an honest, riff based rock sound, with a commerciality about it as well. Overall it’s a very well grounded recording.

This is definitely one of those recordings to help you unwind from your day, or set a relaxing mood with a few candles and your favourite incense and a glass of red. It is very consistent in its mood throughout, and being quite slow may have its few moments to play, but definitely worth a listen for those who enjoy chilled beats and atmospheric electronica.

“Sky Flowers” comprises five songs, and my favourite is “Johnny Blossom”, (which artfully fades into “Give or Take”), but this EP is one of those releases where it’s fair to say that if you like one song, you will like them all. That’s the thing about “shoegazer-rock”; if you do it well, it is infectious. The band comprises Ant (Guitar/Vocal), Jordan (Bass), Yuk (Drums), Sam (Guitar), and they clearly have a good thing going here. “Sky Flowers” is available on Bandcamp so I recommend you have a listen.


They say that things come in threes. Over the last week or so I’ve experienced a number of strange coincidences related to music, musicians, music venues and expanded compact discs.

DALLAS CRANE By Rob Lyon Melbourne rock band Dallas Crane will make a grand return to Adelaide to rock out Jive on Australia Day with local lads The Trafalgars. Adelaide fans have been quite vocal for some time and the band has responded by adding Adelaide to their national tour. Front man Dave Larkin talks about the rejuvenated Dallas Crane and the challenges of navigating through the music industry. It’s all systems go in Dallas Crane world at the moment. You must be pretty excited to be going on a national tour throughout January? “It is! I was just saying to someone the other day that I still get really light-footed when there is a tour on, I get very excited. I think I like touring more than anyone else in the band. Put it that way.” Have you been surprised with how vocal some Adelaide fans have been to get the band here? “It has been pretty reassuring since we booked the show. There has been no stage in our life span where we haven’t been worried with how we are going. “Adelaide, in general, is always really strong for Dallas Crane and I think per capita we’ve sold more records there than anywhere. We have always had good support in Adelaide and good to know there’s someone out there who still gives a shit.” Is it getting harder for bands to make a buck from touring? “This is one of the reasons why we are taking time to leave Melbourne. It is a totally different ball game on that front now because there are so few opportunities for bands to get heard of outside of their own state on a mass level. “Even with the internet you still need to be found somehow and there still is a massive divide between the triple j acts and the non-triple j acts and how they’re all doing. I don’t think that rings true anymore, when we were on triple j you could pretty much go anywhere in Australia. The minute the tap turned off just as any band you have to double your workload to retain your numbers.” With Dallas Crane now getting played on Double J, has that helped? “I don’t know, time will tell. triple j don’t owe any band a living and without them we would have been totally stuffed. At least Dallas Crane have been able to build based on the reach that we had. The run on triple j may have been shorter than we would have liked but it would crazy to go on a tirade against triple j.

“I think it is as there are two types of bands now. There are ones with hits and there’s everyone else. I think so much more is going in to production and studio side of things than the live show. That is really evident when you go and see live shows because I think people are rationalising that your future is dependent on the strength of your song. “I think it kind of always has been that way but it is a weird conundrum because bands have no record company or publicity pushing things along any more. There’s no easy way to do it apart from writing really great songs. I think Gotye is the perfect example of that by working away at his thing for a few years and keep getting better and better at his craft. Finally the world caught on.” Do you think you would still be so much DIY than ever before? “We started out very DIY and we were ferociously independent before we got signed and never really waited around for something to happen. We were always tailing council trucks going down the street waiting for them to rip down the posters so we could put ours up and get a week’s worth of attention. “We were savvy on mailing lists back in the day. It is good to get back to that as bands are essentially a small business. I have many conversations with young artists about what do we do, what do we do? You just have to work and have some fun. There is no machine any more, it is a total lottery chamber of ping pong balls all trying to get down this one little hole. So have fun bouncing around the table and don’t take it to seriously.” Dallas Crane has a bit of new look with Steve Pinkerton and Chris Brodie joining the band. Do you think that’s revitalised guitarist Pete Satchell and yourself? “Absolutely, I think one of the main reasons why we took a break initially was in every way we exhausted ourselves physically, emotionally, musically and artistically we were just rooted. We started making terrible decisions so it was good that we took some time off to find ourselves.

Let me explain further. The other day I ventured into the big city of Adelaide expressly to attend to some pressing personal issues and then reward myself by purchasing a copy of The Sports’ debut album, Reckless, in remastered form with heaps of bonus songs across two shiny compact discs. I must say it took me a while to find it – it actually took me even longer to actually find a compact disc shop in the city – but eventually discovered it waiting for me and duly grabbed it. When I arrived home, however, instead of carefully placing one of the compact discs in my compact compact disc player and giving it a bit of a spin, I elected to check my beloved Facebook page. What surprised me was to find a personal message from guitar player Ed Bates, an original member of The Sports and whom I had not actually chatted to for a few years, asking if I knew if Adelaide band Rum Jungle, who are reforming to play Adelaide Fringe, were going to be doing any gigs in Melbourne. I responded by saying that I did not think so and proudly added that I’d just bought the expanded version of Reckless. “Ah, yes,” Ed duly responded, “Fifteen minutes of fame followed by another five minutes 35 years later.” Anyway, one of the (many) reasons I had bought the expanded version of Reckless was so that I had a copy of The Sports doing the old rockabilly song Nothin’ Shakin’ (But The Leaves On The Tree) on CD as while I have it on vinyl, it’s much more accessible on CD. As it happened, while listening to the song I zipped onto the internet and discovered the song had also been recorded by The Beatles, Dr Feelgood and Linda Gail Lewis, the young sister of rock’n’rolll legend Jerry Lee Lewis.

be doin’ Nothin’ Shakin’ (But The Leaves On The Tree) when she played in Adelaide at Published Arthouse on Sunday 25 January alongside a host of other like-minded acts. “I’ll do it if the rest of the band know the song,” Linda said of her backing musicians for that shindig which will include guitar player Dean Barcello of Adelaide swingers Lucky Seven. And then another odd coincidence happened. I was supposed to undertake a telephone interview with Atlanta-based musician Curtis Harding (which didn’t happen in the finish) and was desperately trying to think of the iconic live music venue in his hometown that I had once visited. I couldn’t for the life of me think of the venue’s name, so was secretly glad for once that the interview with Curtis about his great debut album, Soul Power, had been postponed, but awoke the following day to see that conveniently Canadian singer songwriter Steve Poltz was playin’ Atlanta venue Eddie’s Attic the following day. Eddie’s Attic. That’s it. Thanks Poltz. So it’s likely that venue will come up in conversation when I chat to Mr Poltz about his forthcoming Australian tour which, in SA, will have him once again gracing the rural township of Peterborough on the evening of Saturday 28 March. And here’s another one. In preparing to interview Canadian singer and piano player Ann Vriend about her coming to town and launching her new album, For The People In The Mean Time, at The Wheatsheaf Hotel on Saturday 24 January, I noted that a musician by the name of James Black plays bass on her album on the song Long Road. Could this be the very same James Black of RocKwiz fame who once used to play with the aforementioned legendary Adelaide band Rum Jungle alongside Sia Furler’s father? Sadly, I must report that the coincidences all end here as it’s not the same person at all. The James Black who plays on Ann’s souldrenched offering is a Canadian musician who mostly plays lead guitar with rock band Finger Eleven.

So, the following day, when speaking to Linda, as you do, I asked if she would likely

“We got our original bass player Chris back who played on the first two albums and replacing our drummer was something we needed to do. It wasn’t like the other guys weren’t asked, they were just busy with their businesses in Melbourne. “They’re both publicans now and doing really well so it was a win/win for us. It allowed us to refresh again,” Dave concludes. Dallas Crane and The Trafalgars play Jive, 181 Hindley St, on Monday 26 January with tickets via Moshtix.

“The problem isn’t triple j, the problem is that there is only one of them and there is this massive surplus of traffic trying to break into a small artery to the masses. It’s not their fault, they are totally over-saturated with demand.” Is it like trying to win the lottery having that one single that could change the band’s fortunes?


AROUND THE TRAPS CONTINUED FROM PAGE 2 The Saucermen will be flying into the Grace Emily Hotel, 232 Waymouth St, on Saturday 7 February to undertake a free entry gig with The Jamjets. Crown & Sceptre Hotel, 308 King William St, will host the free entry Crown & Sceptre Ball from 9.30pm on Friday 13 February and it will feature 12-piece funk band Funk Latin Union, Headphone Piracy and Jupiter. There will also be a bubble show at 10.30pm from Dr Bubble of Bubble Art. After a big hit out last weekend, Adelaide band Dirt Playground have another show coming up at Worldsend, 208 Hindley St, on Friday 6 February. Special guests for the gig are to be announced soon. Stay tuned. Imogen Brave will fall or fly when they launch their second EP, Fall Or Fly, at Jive, 181 Hindley St, on Saturday 7 February. They’ll likely fly as alongside them they will have the now legendary Dexter Jones as well as The Crown. Pre-sale tickets, via Moshtix, are $12 or you can take your chances at the door for $15. Local metal band Octanic, whose drummer, Scott, lost the family home in the recent bushfires, have organised a benefit concert with donations going to The Bushfire Relief Appeal at Cavern Club, North Tce, on Saturday 7 February at which the band will also be joined by Arcadia, In Case Of Emergency, Behold The Sea and By The Breakwater. It’s an all-ages affair with doors from 7.30pm and tickets at $12. Gaslight Tavern, 36 Chief St, Brompton, is set to host a Battle Of The Bands which will run for nine weeks and kick off on Saturday 24 January. Please contact Pete at the pub for more information about how to register and all that. There is to be a Mods Vs Rockers Vs Swingers Ball to take place at Published Arthouse, 11 Canon St, Adelaide, on Saturday 7 February which will feature The Fab Four, The Lincolns and Lucky Seven. Tickets are $20 plus booking fee and available now from <> or will be $35 at the door. Adelaide guitar wizard David Mazzocchetti (AKA Foxx Qu) will be performing at The Cancer Council Of SA’s Hope For A Yellow Cause Charity Ball from 7pm at Cypriot Community Centre, 5-8 Barrpowell St, Welland, on Friday 6 February alongside illusionist Nicholas Tweedy, singer songwriter Alex Hosking and Hyperdance Dance Crew. For more information, contact The Cancer Council Of SA. Fresh from storming to victory in the publicly voted Favourite Artist and Favourite Song gongs at the recent Fowler’s Live Awards, South Australian songstress Julia Henning has released a new single, Drifter, and has backed it up with a national tour which winds up in her hometown. Catch Julia at McLaren Vale’s The Singing Gallery on Saturday 31 January with special guest Kelly Menhennett before she plays WOMADelaide. Adelaide singer Kevan Keeler (of Hollywood Gun Club fame) recently issued the album Five O’ One Nine for which he enlisted the services of famed US drummer Gregg Bissonete and his brother Matt Bissonete (currently playing in Elton John’s band). Following a sold out launch at Semaphore recently, Kevan Keeler & The Five O’ One Nine Band, a group made up of talented local players, will hit the Governor Hindmarsh, 59 Port Rd, Hindmarsh, on Sunday 25 January with special guests Cherry Grind. Book at OzTix or via the venue and don’t forget that the following day is a public holiday for most.


Brothers Demons & Angels is The Angels’ founders John and Rick Brewster with their sons Sam Brewster (bass), Tom Brewster (drums) and Harry Brewster (guitar). The show is about the musical journey of Rick and John Brewster taking fans on a musical journey back to pre-Angels days when the Brewsters first surfaced as The Moonshine Jug & String Band. The show also covers The Angels era and then onto their Brewster Brothers time. Catch the

show at The Promethean, 116 Grote St, on Friday 30 January. There is to be yet another of the fabulous The Porch Sessions at a secret location on Sunday 8 February and will feature Timberwolf, Cookie Baker and Ollie English. You know the drill. Book very, very, very quickly at Moshtix before it sells out. Oh, sorry, it already has. Well done to all who scored a ticket. Dreamy Adelaide electronica outfit Flamingo have just announced their first ever headline tour. Last year included spots at Groovin’ The Moo and Splendour In The Grass as well as support slots with Rufus, Bonobo and Classix. Flamingo also released their debut EP, Heavy Load, in July so catch ’em drip away at Jive, 181 Hindley St, on Saturday 21 February. Book at Moshtix. East Texas have a slew of upcoming gigs commencing with Hotel Metro, 46 Grote St, from 3pm on Sunday 1 February, The Gaslight Tavern, 36 Chief St, Brompton, from 5pm on Sunday 15 February with The Pumpin’ Piano Cats and The Cadillacs and a free entry front bar gig at The Governor Hindmarsh Hotel, 59 Port Rd, Hindmarsh, from 9pm on Saturday 21 March. Fresh from yet another European jaunt, much-loved bearded Adelaide band The Beards have announced a show at the Governor Hindmarsh, 59 Port Rd, on Saturday 28 March. Tickets via OzTix or at the venue. Ronnie Taheny will be undertaking her annual concert at the Governor Hindmarsh, 59 Port Rd, Hindmarsh, on Saturday 7 February with support from Ben Ford-Davies. Book quickly via Moshtix for dinner and show or show only as Ronnie’s gigs invariably sell out all too quickly. Moonlight Cinema has returned to Botanic Park and continues until Sunday 15 February. Expect the screening of new releases as well as classics. Explore the full program at <>. Poolside is a family-friendly event providing young musicians the chance to showcase their talents to the community and run annually by the City Of Norwood Payneham & St Peters on Australia Day at Payneham Swimming Centre. Poolside 2015 will be held on Monday 26 January from 2pm until 6pm. Youth bands, solo artists, DJs and other musicians of all genres will be performing after being curated by council’s Youth Advisory Committee (YAC) via Music SA. The next AMC (Adelaide Music Collective) Sessions is to be a celebration concert at Mortlock Chamber, State Library, North Tce, from 7.30pm on Monday 9 February and it will feature 14 local acts including The Masters Apprentices, The Twilights, Bev Harrell, Doug Ashdown, John Schumann, Rockin’ Rob Riley, Chris Finnen, Peter Combe, The Timbers, The Beggars, Vincent’s Chair, The Baker Suite and Brillig. The event will also coincide with the SA Music Hall Of Fame’s Yesterday’s Heroes exhibition. Grab tickets very quickly at <trybooking.com112033>. As part of Adelaide Fringe 2015, Motown Connection, who pay respect to the Motown era, will be performing a special show at the Governor Hindmarsh, 59 Port Rd, Hindmarsh, on Saturday 21 February. Book quickly at OzTix or via the venue as these shows sell out rather quickly. The Villenettes are set to launch their debut album, Lady Luck, on Saturday 31 January at The Jade Monkey, 160 Flinders St, and the all-female rockers have announced Melbourne combo The Reprobettes as just one of their special guests as well as Stabbitha & The Knifey Wifeys and also burlesque performer Madeleine DeVille.


ANN VRIEND By Robert Dunstan Soulful Canadian songstress and piano player Ann Vriend is pleased to hear that she’s in for relatively mild weather when she hits town to launch her new album, For The People In The Mean Time. The last time Ann was set to perform in Adelaide, her show was cancelled due to the excessive heat. “Yeah, the contract for the gig had an Act Of God clause in it and because it was 45C, it got cancelled and I didn’t get paid,” she recalls with a chuckle. “But the heat that day was just insane for me coming from Canada. I think it was the hottest day I’ve ever experienced.” The stringer then struggles to remember where the gig was set to take place, but recalls that it was to be in a tent somewhere. I suggest that it might, perhaps, have been in a tent-type structure within The Garden Of Unearthly Delights, but Ann assures me it wasn’t there. “No, no, because I did The Garden Of Unearthly Delights the next year when I came back after the other show got cancelled,” she says with confidence. Ann is touring her new, Tino Zolfo-produced album, For The People In The Mean Time, which she released late last year. The album has the feel of that of an old-school soul album and Ann says that’s what she intended. “I’d done a demo with Tino to kind of see what he’d be like to work with,” she says of the Toronto-based producer. “And that demo was just a piano and vocal of A Need So Wide (You’re The One) but that was good enough for us to decide to record a whole album together as a kind of blend of that old-school sound with some contemporary ideas. “But the thing is, we didn’t do this album in a very concise way. It was done over two years because Tino’s studio is in Toronto and I live in Edmondton. So we would work on it whenever I happened to be in Toronto. “And Tino would also work on it independently of me and then send me stuff to check out,” Ann continues. “So it was a fairly long process because it wasn’t like we bunkered down in the studio for two weeks to do an album. “And in a way that ended up being kinda nice because it gave a bit of distance to it,” Ann decides. “We could leave them alone for a while and then come back to the songs with more objectivity. It’s not like you are listening to them intently a thousand times a day because you are in such a rush to get things done.”

terms of the arrangements.” she adds. “And there was another song that ended up so differently to the original way I had it that Tino just had to get a co-writing credit.” The Greatest Killer is a co-write with Dan Hill, the Canadian singer songwriter who penned (the somewhat schmaltzy) Sometimes When We Touch back in the ’70s. “I’d met Dan a few years ago at a songwriters in the round event,” Ann says. “There were eight of us in total but Dan and I got talking backstage for quite a while before the show and then after he’d heard some of my songs, he said, “Hey, I like what you do. Let me know if you’d like us to try and write some songs together’. “So, whenever I was in Toronto working on my record with Tino, I’d drop by Dan’s place for an afternoon and spend the time writing together,” she continues. “So we’ve now written about four songs together but I’d said to him that I wanted to put The Greatest Killer on my new record. And Dan said, ‘Sure! Go ahead’.” More recently, Ann worked with Grammy Award winning American producer Joe Chicarelli. “That was because Joe came to town to teach a production and engineering course to a bunch of aspiring audio engineers,” Ann explains. “And the guy who was putting the whole thing on was asking for a band to be the example musicans for Joe to work with. “So I applied for that because I thought it would be an awesome experience, which it was, and me and my band got picked,” she continues. “So we spent three days in the studio and Joe actually ended up producing a song for us. “And I really liked how it turned out so I let Joe know that and said it had been great to meet him and learn from him,” Ann says. “And Joe said he really like the song so we’ll see what happens with all that. “He’s quite out of my price range though,” she adds with laugh. Ann will be heading to town armed with just her voice and piano. “So it’ll be quite an intimate kind of show in Adelaide,” she concludes. “But I’ll have a band with me in Sydney and a guitarist up in Brisbane.” Ann Vriend will launch For The People In The Mean Time at The Wheatsheaf Hote, 39 George St, Thebarton, from 9pm on Saturday 24 January with special guests Jupiter and tickets at the door.

Tino also helped write a few numbers. “I had the basis of all the songs with the exception of Rush Of Your Wings and that was one Tino came up with a bass-line and a groove for,” Ann says. “He said, ‘Hey, I’ve got this little groove’, and we worked around that. So that song was the really the only one that felt like a real co-write. “The rest of the songs were ones where Tino made some slight changes here in there in






WHAT GOES INTO CREATING YOU FINISHED CD By Corey Stewart If you’re a musician, chances are you’ve made a CD or two in your career but what you might not know is that there’s a fair few elements involved in creating a CD and this article outlined the different elements that goes into finishing a CD product.

CD Master The recording of the music is what we musicians are most involved with in the CD creation process and of course a CD is only a piece of plastic without music burnt onto it.

Artwork A completed CD package without artwork is going to look very boring, bland and nondescript. CD artwork allows the package to be unique and therefore, the artist/band brand to be a much more recognizable entity. Ideally, the artwork (whether it be images, photos or a blend of the two) would be in an image file format ready for printing such as .jpg or .pdf and have a minimum resolution of 300dpi. CD Artwork that’s print-ready can be prepared by the artist/band themselves however it normally works the best if the preparation was handled by an experienced graphic designer with knowledge in either Adobe Photoshop and/or InDesign Phase 2 - CD Production This is where the actual CD product elements (CD disc and paper parts) are printed from the prepared artwork elements plus the CD master Packaging Type The type of packaging that the CD will fit into will determine how the artwork is prepared and how the paper/cardboard parts are printed. Most CDs are packaged in a plastic dual case however, packaging from simple CD sleeves to more complex recycled cardboard structures can be used. Below are some examples of some different types of CD packaging on offer

This week’s BPlus feature band is Explain Orange, a bunch of talented year 12s from Unley High School.

“We have played these throughout the year as they run every Wednesday. The audience’s reception was great and we had feedback that our stage presence and energy was great. We intend to improve our energy further as we play more gigs.”

All 17 years of age and all in the same music class at school, the group formed when they decided to audition for a school concert.

This is where all of the separate elements that make up a CD are grouped together in readiness for the CD to be created

A CD Master should be provided to you by the recording (or mastering) studio once recording has completed.

were invited to play on the main stage as part of their Open Mic Showcase, which was big for us,” he says.

Explain Orange is made up of Caelyn Judson (rhythm guitar and lead vocals), Barnabas Bosisto (lead guitar), Nathan Clarke (bass and vocals) and Cain Roselt (drums).

Phase 1 - Pre-Production

At the end of the recording process it would be ideal that the finished music would be mixed and (preferably) mastered into a series of .wav files and put onto a CD Master in the order that they’ll appear on the finished CD for duplication.


Printing The printing that takes place in creating a CD product happens in two areas. 1. Actual CD (Disc): CD artwork is printed onto the actual CD disc using a CD specific printer 2. Paper/Cardboard Parts: This is where all of the paper/cardboard parts of the CD package are printed. This is done using a commercial digital printer CD Duplication From the CD Master, blank CDs are placed into CD duplication towers and copies are made from it. Part of the CD duplication process is the spot checking of the product for duplication errors and quality issues Phase 3 - Post-Production This is where the printed elements are assembled into the finished product ready for shipment Product Assembly The paper parts are printed out in the different sections and the CDs are duplicated and printed separately. Now it’s time to put it all together to create the final CD product.

The Gov open mic nights have given Explain Orange the confidence to take their live appearances further, and this year, they’re setting goals to do just that.

“We first met each other in the various classes that we’ve had together over the years. Our band officially started at last year’s school concert called the Big Day In that runs every year in March,” drummer Cain explains.

“With the success we’ve had at our many performances at The Gov, our group has decided to try and gain more exposure by performing at other venues, like The Grace Emily and The Gaslight Tavern. We are also lined up to play more shows at Unley High School,” Cain says.

“It was one of our assignments in music class to play in the Big Day In, so for fun we decided to work together and play the school concert, which turned out to be a great fun and a success. We enjoyed playing together so we decided we would keep getting together as a band.”

“We are looking into playing acoustic, and busking as an option to garner more exposure through our music, which should be great fun for a change of environment, exposure as a group, and maybe a bit of money if we are lucky!”

Explain Orange plays alternative indie rock, and has a desert rock undertone, but appear to be quite versatile in their style and composition. Influenced by some of the major players in the music industry, Cain says the band works hard to develop their own identity. “We are influenced by such bands as Artic Monkeys, The Strokes, Pixies, silverchair, Weezer, The Cure and Foo Fighters, although we try to have our own identity and sound,” he says. “We all listen to different genres of music and have hugely varied music tastes. Some of us like completely different genres, but we have been diligently working on writing original songs to express ourselves.”

Rehearsing at guitarist Barnabas’ house, the guys have been working towards putting together a demo, which they’ve started recording at Unley High. “We managed to record four songs, three original songs, and one cover. We got the opportunity to do “studio-like” recordings because Unley High School recently built in a new mixing and recording room which, we were able to utilise for a whole day,” Cain says. Explain Orange are aiming to get out and about a bit more in Adelaide’s live rock scene this year so show some support to this hardworking band and check them out, or maybe just ask them to explain orange.

For now, Explain Orange have been playing a lot of school based gigs at Unley High, such as Big Day In, Ragefest and school assemblies; but Cain says they’ve also been playing regularly at The Gov. “We are playing a lot of open mic nights at The Governor Hindmarsh Hotel, who have made us feel very welcome. Recently we

This final part of the process can be pretty time intensive depending on what type of packaging is required. There can be a lot of sorting, collating, folding, gluing and taping going on to create the CD product into it’s final form. If you have recorded some music and are now wanting to turn those songs into a finished CD product, look no further than BSide Media for all your CD duplication and printing needs. We are able to do short or long CD runs plus we have a number of packaging options for you to consider with short turnaround times. We can even help you co-ordinate with your next CD launch. Give Alec a call on 8346 9899 and find out how we at BSide Media (proud publishers of BSide Magazine) can help you and your band.



BSide Magazine Issue #0015 The newest kid on the Adelaide Music block. BSide Magazine is full of up-to-date info on what's happening in and...

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