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[CONTENTS]
[Canberra’s
Guide]
Entertainment
#515
Feb/Mar
Here We Go Again... Again
PETER GARRETT - MIDNIGHT OIL - MAKARRATA LIVE
p. 28
Mail: 36/97 Eastern Valley Way Belconnen, ACT 2617 Publisher Radar Media Pty Ltd General Manager Allan Sko T: (02) 6257 4360 E: advertising@bmamag.com Editor Allan Sko E: editorial@bmamag.com Accounts Manager Ashish Doshi T: (02) 6247 4816 E: accounts@bmamag.com Graphic Designer/Cover Design Juliette Dudley
BOX DYE
p. 15
FLAZEDA ALTERNATE ARTS HUB
KATIE NOONAN
p. 24
GOOD FOLK
p. 16
Film Columnist Cam Williams Entertainment Guide Editor Allan Sko Social Media Manager Allan Sko & Ruth O’Brien Columnists Ruth O’Brien, Josh Nixon, Niamh McCool, Alice Worley, Allan Sko Contributors Anthony Plevey, Rory McCartney, Ruth O’Brien, Vince Leigh, Dave Caffery, Noni Doll, Allan Sko NEXT ISSUE #516 OUT Thursday, 1 April EDITORIAL DEADLINE Friday, 19 March
p. 25
ADVERTISING DEADLINE Wednesday, 24 March ABN 76 097 301 730 BMA Magazine is independently owned and published. Opinions expressed in BMA Magazine are not necessarily those of the editor, publisher or staff.
EDM COLUMN
p. 28 18
PUNK & DISORDERLY
p. 20
METALISE COLUMN
p. 22
TIM FERGUSON
ES 199 T 2 PAGE 10
NIGEL FEATHERSTONE p. 26
YEAR OF CBR MUSIC
p. 34
BMA GIG GUIDE @bmamag p.42
FROM THE BOSSMAN BY ALLAN SKO [ALLAN@BMAMAG.COM]
Well! Here we go again. Again. Seems like an annual tradition to ‘welcome you back’ to BMA in print form. Despite having to tentatively wade into the swamp of uncertainty that is 2021, it is still a pleasure to do so. As Canberra and its surrounds slowly emerge from its pandemicinduced slumber, we thought it high time that BMA, too, swabbed the goo from our cryogenic sleep tank and got back to bluddy work already. And, he humble states, what a return this is. While here in Canberra we are cautiously opening doors - albeit to frustrating limited capacities despite people all but swapping sweat in shopping malls… but I digress - and shows are beginning to return, the creatives of Canberra passionately ground the pestle of inspiration into the crucible of uncertainty to produce the magical powder of art. Which is a shockingly clunky way of introducing the huge review section we have this issue celebrating the best releases of the past year (and there were plenty). Despite the ‘19 running rampant the globe over, Canberra musicians knuckled down and plied their craft in the most magnificent of ways. In fact, stop reading this - seriously, you’ve nothing to gain here - and flick thee to page 33 immediately (it actually starts on page 34, but ‘thirty-four’ didn’t rhyme). What’s more, this is merely Part 1, as we’ve another slew of cracking Canberra choons to share with you next issue. Perhaps most excitingly for many of you (judging by the fact I needed a multiple rib replacement last year after being nudged in the side so repeatedly about this) this issue also marks the permanent RETURN OF THE PRINT ENTERTAINMENT GUIDE! Five-plus tightly packed pages of sheer gigging wonderment. Then there’s informative articles on the Folkie morphing into the all new weekend concert series Good Folk, new arts hub Flazéda, Songs From A Stolen Senate, the return of the print guide, the lovely Katie Noonan, columns for all genres absolutely blushing with info, plus the print gig guide (yes, I’m going on about it, but if you’d spent as many flimmin’ hours as I did putting that BASTARD together, you’d harp on about it too...) Oh, and we had a wee chat to rights-fighting slick-domed Midnight Oil frontman Peter Garrett, no less. As always, this is literally the last thing I need to do before sending this badboy off to the printers, so welcome back, it’s so, SO damn good to ‘see’ you, and I hope you enjoy. Hmmm... Still some space left, I see. I’ll just stick in a couple of spaces until the end...
...There, that’s done it. facebook.com/bmamagazine
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[HOT TIX]
SummerSalt / Music and Community Festival/ Sat, 27 Feb / Stage 88 Zaccaria Concerts & Touring present SummerSalt 2021 - the live outdoor concert series that exemplifies the great Australian outdoor Summer. And for the first time they’re coming to Canberra with a solid line-up in tow: The Teskey Brothers, The Cat Empire, John Butler, Boy & Bear, Montaigne and Emily Wurramara. On top of showcasing the best of home-grown artists, it will also bring cultural attractions in a family friendly environment, placing an emphasis on local community and sustainability. From 1:30pm, tix $109.90 + bf ($69.90 for 2-17-yearr-olds) from Ticketmaster
Solquemia Trio / Live @ The Hive / Fri, 12 Mar / Queanbeyan Hive A night of Spanish guitar blending Latin + Jazz + Flamenco awaits! Alejandro Florez from Solquemia welcomes back Aya Kitaoji from SENES Flamenco on percussion and vocals, and introduces the young and talented Luke Koszański on guitar. No strangers to Canberra audiences, the trio will be presenting new Spanish guitar compositions and arrangements along with traditional favorites, coming together once again for an exciting evening of groove, melody and song. Two shows at 6pm & 9pm; tix $20 - $25 from humanitix.com
Celebrate Gungahlin/ Pride in the Northside / 20-28 Mar / Various venues Celebrate Gungahlin is a week-long jollification of all things arts, music & produce from the lovable northern Canberra region. The festival will showcase the incredible wealth of talented individuals, fantastic artists, hard-working community organisations and diverse local businesses that call Gungahlin and its surrounding suburbs home. It also features the Gungahlin’s So Talented contest (26 Mar @ George Harcourt Inn) which is open to almost any performance-based talent – comedy, music, dance, poetry, you name it – it’s all welcome! For more info, head to belcoarts.com.au/celebrate-gungahlin/ PAGE 12
UPCOMING EVENTS
Lights! Canberra! Action! / Local short film fest / Fri, 5 Mar / Stage 88 Competition meets creativity as Lights! Canberra! Action! once again shines a spotlight on Canberra’s talented filmmakers, who have been tasked with creating seven-minute short films incorporating 10 selected items on the theme of Hope. If that weren’t impressive enough, the filmmakers have a mere 10 days to shoot, edit and produce their film. Watch the fruits of the top twelve finalists’ labours at Commonwealth Park’s Stage 88, bring a picnic rug, cushion or chair, and enjoy a selection of local food and drink. Entry is free but registrations are required; 7pm
Doppel / Eucalyptograph Launch Party/ Sat, 13 Mar / Black Mountain Peninsula Using last year’s bullshit as fuel for creativity, Doppel set about creating his first album. Eucalyptograph gathered inspiration when Canberra was engulfed in smoke and surrounded by fire. The album emerged as a real work of the heart and remains true to his sounds that still vibrate on thousands of dusty dancefloors. To celebrate, a proper hometown launch party is being thrown, which has moved to a new location to accomodate surging demand. Scenic views, a banging rig, and – finally – a proper dance. From 1pm - 8:30pm; tix $20.90 - $37.40 from humanitix.com
Royale With Cheese / ‘90s Unplugged Sat, 4 Apr / The Basement Royale With Cheese is Australia’s premier ‘90s rollicking party show, playing rock and pop covers – including Seattle-sound to Grunge to Britpop and all the best Oz Rock – from one of the greatest and most influential decades in rock music. Comprised of five experienced musicians, the ‘Cheese bring their brand new performance, recreating the best MTV Unplugged shows a la Nirvana, Alice in Chains, Pearl Jam, Stone Temple Pilots, REM and Oasis as well as stripped down versions of classics from Red Hot Chili Peppers, Radiohead, Smashing Pumpkins, U2, Green Day, Foo Fighters and more. From 8pm, tix are $45.15 from oztix.com.au @bmamag
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LOCALITY
[THE WORD ON LOCAL MUSIC] WITH RUTH O’BRIEN. SEND YOUR GIGS AND INFO TO: [RUTHMVOBRIEN@GMAIL.COM]
Hey beautiful people! So good to be writing about the arts and events after whatever-the-hell last year was. Christ! I think we’ve well and truly harped on about that shitshow but it was a hard year for SO many people in the creative industries and, quite honestly, continues to be. Which is why you absolutely need to read this column, fill your calendar, and support every bloody local arts thing you can. And there’s a lot! Here we go! First up, you may have heard that the brothers from Slow Turismo bought, and are now running, cafe and bar Gang Gang. They’ve turned it into a pretty pumping music venue, hosting a variety of Canberra’s best and brightest. Keep an eye out for a full article next issue, to learn more about this groovy establishment IMMEDIATELY, head over to ganggangcafeandbar.com On Sunday, 28 Feb, MusicACT is hosting a Social Media & Digital Marketing session with Bolster music’s Paige X.Cho. This free 60-minute workshop is aimed at artists, venues, labels, promoters and festivals looking to connect with their music audiences online. The workshop will be held at Capital Brewing Co. in Fyshwick at 4pm. To learn more, head to musicact.com.au Applications for the M16 Artspace 2022 Exhibition Program are now open. The team welcomes applications from a broad constituency of cultural producers including artists, collectives, collaborators, writers and curators at all career levels. Proposals for exhibitions could include painting, sculpture, installation, sound, performance, film, and video works; supported by talks, reading groups, artist interviews, writing, classes, and panel discussions. Applications close Sunday, 14 March at midnight. To find out more go to m16artspace.com.au If you want to see some pretty incredible dance choreography inspired by our beautiful natural environment, head to the Australian National Botanic Gardens between 5-14 March to see Symbiosis by the Australian Dance Party. Part of this year’s Enlighten Festival, this intimate open-air experience explores human-ecological relationships. The work re-positions the human as a part of nature, and the response-ability [sic] we hold in shaping our ecological future. For more information about the season including accessibility, head to enlightencanberra.com On the topic of dance, local burlesque powerhouse, Jazida, has recently opened alternate performing arts hub, Flazéda! This space, situated on Emu Bank (just above Subway), is a social enterprise supporting performing artists whose styles fall outside the mainstream (for things like burlesque, drag, comedy, circus PAGE 14
and bellydance). Flazéda is a gorgeous performance space and studio that provides dance classes, performance workshops, variety nights and burlesque shows and embraces the diversity of humanity through bawdy celebration of body positivity. To find out more, head to flazedahub.com or flick to over to page 16! Staying on the Emu Bank strip in Belconnen (new place to be apparently!) the Boardwalk Bar & Nightclub has a variety of fun events, with something happening almost every night of the week. The last Thursday of every month is Open Mic Comedy. Every other Thursday is Queer People Reading Naked and Drag Trivia. Fridays is an Open Mic Karaoke Night with a monthly theme, Saturday = drag takeover and Sundays you can sit back, relax, sip a beverage of your choosing while practicing your painting skills at Paint, Sip, Laugh. Talk about variety! Head to theboardwalkbar.com.au for all the details. And while you’re stopping by this beloved part of Belco, don’t forget to pop into the newly refurbished Belco Arts Centre! Always something great happening, from exhibitions to shows to classes and workshops. To see the full program of events and opportunities, head to belcoarts.com.au For the poets out there, a brand new festival is forming in our nation’s capital. The Poetic City Festival will feature a range of workshops and events showcasing the diverse and increasingly popular medium. The festival organisers have several opportunities for poets and artists from around Canberra to get involved. Details & info poeticcitycbr.com or email poeticcitycbr@gmail.com Finally, if you’re a muso or music industry worker and want to keep up-to-date with grants, opportunities, jobs and workshops related to the Canberra music scene, be sure to sign up to my fortnightly newsletter, Upbeat. I started this in May last year, when the music scene was going through hell. So far, Upbeat has been thoroughly embraced by the beautiful CBR music scene and I’m glad I can share many of the opportunities I come across in a cohesive and efficient way to the people who might need them. Feel free to scan the QR code below and you’ll be taken straight to the signup form. Alternatively, head to the Instagram page @upbeatcbr. Upbeat comes of every second Wednesday evening by email. That’s plenty for this month. So good to be back in Locality writing mode! If you have any arts news/ opportunities you’d like to get a shout out for (from your new music release to an art competition or workshop) let me know and I’ll try my darnedest to crow about it. Have a great month! Ruth O’Brien - Singer | Songwriter | Writer | Lover of all things artsy and creative - email: ruth@bmamag.com @bmamag
BMA ARTIST PROFILE What are your plans for the future? Our goal for 2021 is to release some new tunes and take them on an interstate tour!
What makes you laugh? Myles’s ass (bodacious af). A bit grunge, a bit emo, but absolutely punk, this homegrown pissed off feminist three-piece boast huge tunes that’ll get stuck in your head. And with their support of Sydney grunge-witches BOYSCLUB coming up at The Basement on 12 March, we thought it high time to get fly with Box Dye.
What pisses you off? Mel’s ass (stanky).
Anything else you’d like to add? Artist name and origins: Box Dye - We frequently dye our own hair. It’s cheap and effective for temporarily curbing mental breakdowns (or succumbing to them).
Group members:
Huge thank you to all the fans and bands that have supported us in the last year. We couldn’t be more appreciative.
You can check out Box Dye’s cracking track Julia by heading to https://www.triplejunearthed.com/artist/box-dye
Melissa Sullivan - Guitar and vocals Alice Worley - Vocals and drums Myles Wrigley - Bass and backing vocals
Describe your sound: Take ‘90s Riot Grrrl, 2000s emo, a pinch of grunge, and a sprinkle of pop and stick it in a blender from Kmart that doesn’t handle ice very well.
Who/What are your influences, musical or otherwise? Positive influences include Green Day, No Doubt, Garbage, and all the bad bitches that we have in our lives. Negative influences include inequality, ignorance, the patriarchy, and anything that makes us more than a bit pissed off.
What are some of the most memorable experiences you’ve had as a band? Lugging our shit up a giant hill for an outdoor show, hoping it would be worth giving our mate an asthma attack, and it ended up being our favourite gig date.
Tell us about one of your proudest moments? Hearing positive feedback from people that see us overwhelms us with proud moments. We’re also particularly proud of how much we achieved as a new band in 2020. Despite COVID, we never slowed down. facebook.com/bmamagazine
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BMA Bossman ALLAN SKO catches up with multi-award-winning CBR Burlesque performer/ producer, RACHEL REID (aka JAZIDA) to talk about the newly opened Social Enterprise space for the Belconnen community. Rachel Reid (who struts the performance stage as the sultry Jazida) has been working in GRIST (the Social Enterprise Accelerator program) with Mill House Ventures to unpack her mission: expand the Jazida Produtions events outfit to build a viable and sustainable enterprise. And now, after much toil, Reid is bringing alternative arts to the community in a big way, through the launch of new community hub, the wonderfully named Flazéda. Reid is extremely well positioned for such a venture, recently receiving enough accoloades to make any proverbial trophy shelf groan. Jazida Productions won the Outstanding Performing Arts gong in the Canberra Local Business Awards; whilst Reid herself placed #46 in the most influential people in the burlesque industry (globally!), and was nominated for ACT Woman of the Year. So what does such a mighty burlesque brain have bubblin’ for tha ‘Berra? “We run dance classes, performance workshops, and produce vibrant fun variety nights and burlesque shows that showcase all kinds of people in fabulous celebrations of body positivity and diversity,” explains Reid. “The new space is a versatile canvas ready for artists to use in whatever way they see fit! There are two studio rooms that can be used independently or could be used as a green room and performance space. We have a bar, sprung flooring, theatre blocks, audience chairs, a PA and lighting system, a rigging point, a projector, mirrors, sequin curtains… Basically, we’re ready for good time!” Sounds like my old Uni apartment with a budget. Jazida Productions supports the professional development of alternate performing artists. Not just through classes and workshops available to the general public, but also through scholarship programs and paid performance opportunities to address barriers to representation for artists, particularly those who are gender diverse, culturally and linguistically diverse, living with disability and/or Aboriginal and Torres Strait Islander. The focus is on the fringe artforms outside of the mainstream; burlesque, drag, comedy, belly dance, and circus. There are myriad classes on offer, teaching hula hooping, vintage hair styling, Bellydance, Bollywood and, of course, burlesque. It also serves as a much needed venue, events coming up including the packed Belco Speakeasy Comedy night on 20 March and Red Light Confidential on 16 April. It’s a heck of a time for such a feat. The pandemic required a radical shift in the way Reid and the Jazida Productions team delivers their services, with the space not only hosting in-person classes but also providing an in-house live streaming service. It was the perfect time to develop a different type of business that puts purpose and impact first as Rachel rebuilt her venture. PAGE 16 PAGE 16
Photo credits: Staff on the red couch (middle left), hanging from the hoop (top right), launch classes (top left and top right) by Purvore Photography; Flazéda signage (top left) and crowd at opening night (bottom left) by MeThinks Photography. The rest provided by Rachel Reid (on the right on the hoop!)
Social Enterprise is the perfect fit for the type of business Rachel is creating, as it captures both the discipline of profitable businesses and the need for measurable impact to address disadvantage. Says Irene Lemon, Program Manager of the Mill House Social Enterprise Accelerator: “Rachel’s work with Jazida Productions, especially in the successes she has earned over five years of delivering incredible performances and classes, is the perfect foundation for a launch in social entrepreneurship. We have asked a lot of Rachel throughout the Mill House program, and she has risen to very high expectations to launch her new space, Flazéda.” Understandably, Reid is extremely excited about the new space: “Flazéda is a space where we can run more classes, more workshops, link artists up with mentors, and provide a performance space where new and established artists can perform and audiences can enjoy those performances in a safe and supportive environment. If you are looking for a space to play then get in contact! So far we’ve had successful parties, performances, video and photo shoots, workshops and classes, guided meditation sessions, catered events, and soon we’ll have stand-up comedy, life drawing and more. “I can’t wait to find out how you’d like to use the space too.” Flazéda is Canberra’s newest alternate performing arts hub at Unit 4, 68 Emu Bank in Belconnen. For more information go to flazedahub.com or visit instagram.com/flazeda.hub
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THE DROP
[THE WORD ON EDM/DANCE MUSIC] WITH NIAMH “IL VAMPIRO” MCCOOL [NIAMH.DOLFI.MCCOOL@GMAIL.COM]
Ahhhhh, Pop Remixes. The ubiquitous mainstream song tweak, popping up everywhere on SoundCloud and Bandcamp, something whipped out by DJs to spice up the mix.
hi hats are added, transforming the song into a trance tune. This style of remix is often called a ‘flip’ or an ‘edit’ EG Stand Up Tall Baile/UKG Edit. What I find interesting about X Song as X Genre remixes are their ability to make unfamiliar genres accessible, as they flip the exclusive and somewhat snobbish attitude of some music subcultures. What I mean by this is that Pop music is often considered to be ‘lowbrow’ art, regularly dismissed as vapid, generic, non-genuine and technically subpar, particularly by music nerds (I am pretty guilty of this too). When an artist remixes a pop song, transforming it into a different genre, they are attributing value to it; the remix becomes part of the music subculture. This exposes sounds and subcultures previously unfamiliar to people, and it also connects the subgenre to the wider music world in a genuine and sometimes moving way.
Remixes are not new by any stretch of the imagination and it’s hard to pinpoint exactly who started the practice and where; hip hop, disco, dub and dancehall were all involved in making Remixing what it is today. So today, I am going to take a little look at some of the remix trends I’ve noticed in the EDM community and explore the philosophy that underpins that curiously ubiquitous thing: the pop remix.
FKA Twigs in collaboration with Dazed Beauty, AVANTgarden and MUA Lyle creates beauty from Rubbish
Visual by Niamh Dolfi-McCool
What do I mean by Pop Remix? I am referring to the remixing, editing or ‘flips’ of songs which are, or have been, extremely popular. Songs that are instantly recognisable and have an iconic or nostalgic quality. A classic example of the Pop Remix is the bountiful crop of Toxic by Britney Spears remixes that have appeared over the last couple of years. There was a time around 2018/2019 when it was difficult to not hear some version of this iconic tune on the dance floor. There are a number of reasons why Pop Remixes are popular. The most obvious being that for smaller creators, audiences are more likely to click on, or respond to, something they already recognise than an unfamiliar original piece. The Pop Remix also has a distinct ‘internet’ flavour. Eduardo Navas in his book Remix Theory says a remix is: “...a global activity consisting of the creative and efficient exchange of information made possible by digital technologies…[and] supported by the practice of cut/copy & paste”. The referential nature of the internet is the perfect breeding ground for the Pop Remix. There is a style of remix that I am going to clumsily call ‘X Song as X Genre’. X Song as X Genre is pretty similar to your standard remix, in that the original melody or vocals is kept (mostly) unchanged but the production is completely changed. Like D v D remix of Naughty Girl by Beyonce, the vocals remain, while a driving heavy kick, synthy arpeggio, and crisp agitate PAGE 18 PAGE 18
Similarly, the ‘mash-up’ retains the quality to recontextualise and change the meaning of popular music. The mash-up is a pretty simple concept: combining two or more songs together. The unique quality of the mash-up comes from its ability to alter the meaning of the original pieces by combining them. Take Computer Jah, where VLVT Jones chops and combines Computer Love by Zapp with The Going Is Rough by Cocoa Tea, creating a unique mix of ‘80s computer pop and dub. Typically, the mash-up goes in one of two directions: combining songs that have an adjacent meaning or energy; or combining songs that are completely different from each other. With the former, the two (or more) songs emphasise and exaggerate each other, like DJ Gaylord’s bonkers mash up of Lady Gaga’s Lovegame and Crazy Frog. For the latter, you get interesting and unlikely combos like Kylie Vs Ludacris – I can’t lick you out of my head. There is a fair amount of criticism against remixes. Some of them fair, others not so much. Criticisms against big artists remixing lesser-known artists works and gaining all the credit is an issue. There are also the cases of individuals being remixed ‘out’ of their own songs like in the remix of Peng Black Girls where Amia Brave was cut out and ‘replaced’ with the more wellknown Jorja Smith. Remixing decisions like these should be criticised; they perpetuate the idea that there is only ‘one spot’ for women, particularly BIPOC women, in the music industry and that they are replaceable. The most popular critique I hear is: “Make something new”. Ironically, I think it captures one of the reasons why remixes, particularly the pop remix, continues to grow. It’s not really possible to make something new, not entirely, but by playing and transforming pieces, artistic innovation can occur. @bmamag
As mentioned before, as pop music is viewed as ‘low-brow’ art, it is not uncommon for it to be referred to as ‘trashy’ or ‘trash’. This point may be a little out there but hold on. In the wake of incomprehensible environmental destruction, climate change and the crushing weight of Capitalist consumption, our attitude or philosophy towards ‘trash’ or ‘garbage’ is (hopefully) changing. In the paper Recycling Traffic
DJ Blanket mixing at Femme EDM at Gang Gang Café
are unrecognisable to the originals. They sound new despite being made from mega popular songs: Charli XCX’s Let’s Ride in WWINGS’ case and Justin Beiber’s Baby in Ssaliva’s. “Transforming into sound is made of giving value to something that is not valued. This opens up the possibility for people to feel something new, that is, for their perception to be transformed.” WWINGS WARWARWAR Charli XCX ‘Lets Ride’ Remix Album Cover
Noise: Transforming Sonic Automobilities For Revalue and Well Being (which is a more interesting read than it sounds), the idea of recycling noise is discussed. The paper suggests that noise can be viewed as an intangible waste resource, which can be transformed or ‘recycled’. I think that pop music can be conceptualised in the same way. Often considered to be ‘trash’ due to the sheer quantity and disposable ‘one hit wonder’ nature of pop music, artists use this music that has been disregarded after having its moment in the limelight, pulling it apart and using the sounds like a paint palette. Remixes like WWINGS WARWARWAR and Ssaliva’s Believer are great examples of this. They
KLOUDII BUT Y THO? EP
Following the release of three singles, Canberra-based musician and producer Kloudii has just dropped an EP but y [ ] tho? Aka Tanner Clark, Kloudii’s latest is a relatively adventurous five-song fusion of electro-pop with eclectic atmospheric pop. But it’s perhaps more electro than pop. As well as knowing his way around some no doubt nifty software and softsynths and hardsynths and whatever else, Kloudii reveals himself to be an artist who is not afraid to adopt some old school textures—enter the guitar, and some quite dense distortion with that guitar too—and this gives the EP a level of grit and grime that even the most high-functioning of synths would have trouble competing with. Opening with Maybe, Kloudii persuasively presents a cocktail of amiable melodic turns with just a dollop of emo semi-angst. The rhythmic pull here is emblematic of most of the EP—eschewing straight tempo lines for the occasional drops and the jittery jumps and staccato slashings kind of works when listening to the entire set.
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What’s Happenings in Canberra??? The scene’s still recovering from the big CV-19 and continues to be limited by social distancing restrictions. But rejoice! You can now dance in clubs and bars in Canberra; a true privilege!.On the 7th of March, techno artists, Made in Paris, have an album release at ONE22 (formally Mr Wolf). sideway Bar will be opening up Saturday nights soon, kicking off with Sauti Systems crew from Sydney. Featuring R.Soze, Santoro, Kenfo, Juju-J and Boosie there’s a reason that tickets sold out in 24 hours and it’s not the limited capacity. Gang Gang Café has been holding some gigs; keep your eyes peeled for the next Femme EDM, the last one was incredible.
The second track Won’t Catch Me (Ft. Andrew Campbell) ventures into a lazy, restrained feel, with a few surprise chord changes and a mood spicing guitar-like solo. I say guitar-like because, well, one never knows; it just might be a splendid-at-mimicry piece of technology after all. But Tanner appears to know what he’s doing in both realms— the virtual and the real. And this EP quite convincingly allows the vocal performances to hover above the sonic environment judiciously, neither fighting it out with the computing power nor attempting to take over, but instead landing safely in its arms. It makes for a cohesive congress of seemingly disparate components. The electro elements only sprint off on slightly deenergizing tangents sometimes. For the most part, we are in the quite capable hands of an artist we will, undoubtedly, be hearing a lot more of in that very near virtual slash real future. VINCE LEIGH
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PUNK & DISORDERLY [THE WORD ON PUNK] WITH ALICE WORLEY
Well hello there, Canberra. Long time no see. What’s it been, like, two years since I wrote this column? Seems it’s not only is your beloved BMA that’s back, but so is your punk scene, and it’s about f**king time! Been a very strange time for music lately since the reign of C-19, but you all know that so I’m not gonna start; it’s been talked about plenty already. I just have my calloused fingers firmly crossed that all the rumours about Transit Bar reopening in a new location are true because boy oh boy do we need more music venues in Civic (RIP Phoenix). Must say, very happy that with the loss of the old Phoenix and its free entry Monday night Bootlegs, sideway have stepped up to the plate and are now having a free entry Band Night every Thursday. We really needed another accessible platform both for our local emerging acts, and the crowds that want to see them but don’t have a lot of spare cash, so kudos to sideway – the line-ups have been fab, so keep ’em coming! Now, who do we have to talk about this month? Well, I wanna talk about st.sinner!
Highland Light in full flight I saw them playing at sideway with local legends Slagatha Christie and The Dirty Sunflowers (who both absolutely slayed that night) and I couldn’t help but think, is anyone else getting Green Day vibes? All three members are just balls of pure energy. It was hard not to be entertained by them, and after snagging a support slot for Hands Like Houses, it seems these guys are doing quite well for themselves. If you’re keen to check ‘em out, I do believe they’ll be playing at The Basement with Parklands and Nina Leo on 24 February. If it ain’t sold out by the time this column is printed, I suggest you go along. If you’re keen for some very strong, femme, f**k off, hardcore punk energy, I highly recommend seeing Sydney grunge-witches BOYSCLUB when they grace us with their presence on their current tour. Perhaps you saw their new music video Best For You on Rage the other night. If not, you better look it up!
Ruffles, pictured here with crusty punk hype machine st.sinner If you’ve got your ear to the ground you might’ve heard their track Mr Prime Minister recently, and judging by the 28,000+ streams it’s claimed on Spotify since its release in mid-November, you probably have. By the time this issue hits the streets, their much hyped second single Dead For The Weekend will have come out. Prediction: We’ll froth it. Let’s see how right I am. We frothed it didn’t we? Yeah, I knew it. With no shows announced but another single release on the way, plus a music video released for Mr PM, and their own web series starting to emerge, I just wanna know; who are these guys and where the hell did they come from? Must take a second to applaud your hype building skills; they’re highly effective. I cannot wait to see you on that stage. I’ll be front and centre when it happens with my hands tented in a Mr Burns-style finger pyramid in eager anticipation of imminent shredding. Another band that seems to be catching people’s eyes and ears is Highland Light. PAGE 20
I personally am so excited to see these guys tear up the stage at The Basement, 12 March, with local punks Box Dye [Band Profile on the Dye back on page 15, don’t-cha-know - BOSSMAN SKO] warming up the crowd. Tickets are already available on Oztix and this *will* sell out my friends. Prepare your heat packs for the headbangers’ hangover you’ll have the next day. Before I wrap up, I’ve got a hot tip for y’all. The Noise Floor’s Joel Cabban has put together a playlist of Canberra bops and it’s *chef’s kiss* glorious. A few personal favourites of mine include Two Steps by Betty Alto, Slags Against The Machine by Slagatha Christie, and Dust by Boileroom. Check out Canberra New Music by The Noise Floor on Spotify. With new Canberra tracks being added all the time so you’ll never be out of the loop. Here’s to more Punk & Disorderly next time! @bmamag
PAINT STORE MAYBE
Canberra-based indie-rock band Paint Store released their debut album Maybe in 2020. Formed a couple of [ ] years ago, the band made its inaugural performance at Mulgara’s No Front Fences festival in March 2019 and since then have gone on to share the stage with touring bands including Majak Door, Destrends, and Canberra’s Teen Jesus and The Jean Teasers. Most of the tracks on Maybe eschew typical song structures, preferring to rely on a quiet onslaught of irascibly jangly guitars, disjointed rhythm, and a miscellany of textures that seem to be the optimum backdrop for Liam Smith and Pat Johnson’s soft punk nonchalance (Pat Johnson singing on the tracks Carseat Haiku and Dish Pig, with Liam Smith as the vocalist on all other tracks). The opener Damage Report sets the temper and the mood of the album, with Smith’s indifference the locus around which the band’s accents and unpredictable acts of dynamism flitter. The album is sprinkled with tracks that gather momentum robustly and surprisingly such as Carseat Haiku, People People and Patience while others, like the closer Yonder, seem to wander in a sonic effluvium of
DEPUTY CHIEF WARDENS DICKSON LIQUOR [
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Apparently, the musician behind Deputy Chief Wardens is an Indie teen from Canberra with an out-of-tune guitar and too much time on his hands’.
Well, that situation sounds like it’s working out quite well. Who doesn’t want to hear an out-of-tune guitar now and then? Dickson Liquor is an album bursting with songs by the aforementioned teen that run the full gamut of teen angst creative energy. It’s a bit punk in the vein of the classic kind such as The Clash, the modern sort in a Dune Rats kind of way, as well as strewn with splotches of rap punk that, in a stark reverberant way, reveal the extent of this teen’s quite entertaining and enlightening musical style. Pissed-off street panache. The subject matter is perhaps the same but the details differ. It’s not weed, it’s nangs. From the relentless party reportage of the opener to the deliriousness of the gloriously titled Skate Rat Scum, Dickson Liquor has as many barbed edges and hormonal expulsions as any work by an agitated artist who’s been imprisoned and let out for a weekend visitation.
quasi-dissonance and swampy atmospherics. The raw veracity here is disarming and curiously charming in equal measure, and there is a consistency of style and aesthetics that’s difficult to ignore. It’s not the up-in-your-face mode of punk happening on Maybe but more of a kind of punk brooding. And if there is a structural pattern to Paint Store’s artful insouciance, it’s noticeable in the method by which some of the songs ascend into an erratic blur, one that seems to confirm the alienation that precedes it. But there is also an element of amusing playfulness here, particularly regarding the track Dish Pig. The energy level is maintained throughout this debut set of songs, and it is this aspect and Johnson’s bewitching vocal performances, which sometimes veer into agreeable badinage, that linger long after. And that is, indeed, an admirable feat. VINCE LEIGH
these mostly short and sweet ditties is a dizzying example of what a bright and enlivened creative spirit can come up with using such humble means as Garageband and a few mics and guitars (out of tune, of course); a splendid spray of social revelation, a peek into that clandestine world which we have all stumbled and staggered and dragged ourselves our way through: teenagedom. Here it is, shimmering in its redrawness, resplendent in all its gratifying, gory detail. But it’s not entirely without light and shade; there is quite an intuitive dynamic at play here, with tracks such as Cry To Yourself and the closer Babushka rounding off the heady, tempestuous onslaught. Take a listen and hear for yourself what controlled energy can muster when it dips above the cyclonic waves long enough to take a breath and press record. VINCE LEIGH
The disjointed and fearless unrefined firepower expunged through
PRETTIEST KIDS STRAIGHT FACE
Prettiest Kids out of Canberra has just released their EP Straight Face, a fiery blend of teen angst pub rock [ ] punk-pop that seethes with urgency, humour, temerity, and a touch of melancholic fervour that casts a faint glow over this set of songs. The opener I’m Miserable & I Look Like Shit begins proceedings in an almost terrifyingly rambunctious way, a post-rap spit that Isaac Foreman dishes out with cyclonic power. And then the guitars land. Aside from the many curious and disruptively alluring aspects about this record is the stand-out highly intelligent use of guitar, at times a cross-pollination of jangly REM and at others a mongrelised take on The Angels colliding with any number of later day riff heroes. But at the helm, no doubt is Isaac Foreman, blisteringly candid and self-aware to the point of nonchalance. Restrictive and recycled arrangements are no use here; the song parts seem to congeal within the micro-world of their existence, forgoing the easy trappings and common targets of many post-punk pyromaniacal musical endeavours. However, there is colour here too, with the closer Smirk (Catharsis facebook.com/bmamagazine
Can Be A Bitch) presenting a very raw slather of attitude, with the admission of ‘I haven’t actually finished this song yet but…’ providing an insight into the seemingly reckless creative outpouring that underscores the majority of this EP. Featuring some splendid concoctions of sound, rebellion aesthetics, and vaguely prurient abandon, Straight Face explores a miasma of characteristics, adopts them to suit, and dishes them out with maniacal cheek. On occasions, we get a glimpse into the quite athletic capabilities of Isaac Foreman’s voice as it reaches perilously hazardous zeniths but manages to come out swinging with attitude (and voice) intact. There were moments when I thought this is startlingly fresh and intoxicating, and other moments when it came so close to it that it didn’t matter. Straight Face is worth checking out and Prettiest Girls no doubt an act to keep an eye on. VINCE LEIGH PAGE 21
METALISE
[THE WORD ON METAL] WITH JOSH NIXON I was thinking the title “New Year, Same Shit” would suit but I don’t want to give the impression, dear reader, on the glorious return to the printed page this month, that I was feeling anything less than staunchly prepared to battle through another upstream current of Covid related challenges. No, like any prepared Australian at a beach, I shall merely float on the rip as it takes me out to sea before coasting back to shore, having punched a few sharks along the way. After all, musically, it’s been a pretty inspired Q4 of 2020 and early part of the year to date. Now as of writing, the Victorian situation is on Day 3 of their week lock down and a cursory look at Google news is showing five articles from the Murdoch press and only one of them is updating us on the fact only one new case was discovered today and the rest are back to making out that Dan Andrews is essentially a sentient form of evil come to rob the Liberal party of any sense of leadership or accountability in this situation. Of course, you can read with far deeper analysis the political implications of all this in more appropriate forums, but what I want to know is how does this impact on Witchskull taking their long overdue trip to Melbourne to launch their A Driftwood Cross (pictured) with Butterfly and Burn The Hostages on February 27?!? In the meantime, the band take to The Polish Club for two shows this Friday which are long sold out. I interject this musical update at this point: noting that despite many weeks free of community transmission - and having gone out for an event last Saturday in the city where literally thousands of people freely roamed the streets in a perhaps Valentine’s Day induced display of ‘social closening’ - it strikes me as a bit baffling that you can check into a bar or club in Canberra and be in close proximity, yet sit down gigs at The Basement and in this case The Polish Club are still subjected to tightly reduced numbers? But I digress. As mentioned, a few weekends ago by the time this hits print, on the 19th and 20th of February, the mighty ‘skull took to the stage for two lucky audiences, BUT also eventually for anyone that wants to see it. How, you scream? Well, because the two shows will be filmed by a professional camera crew to produce a live event for all perpetuity at a later date. Hopefully the ticket holders for the aforementioned Melbourne show will not have to wait for its release to enjoy a live Witchskull performance. PAGE 22
Butterfly’s Doorways of Time is well worth your ears’ attention As an aside, I highly recommend fans of ’70s inspired traditional heavy metal to check out Butterfly album Doorways of Time. It is excellent. Also Burn the Hostages feature expat Canberran Aaron Osbourne on the riffstick playing some exceptionally heavy Eyehategodesque sludge with members of Blood Duster, Extortion and Religious Observance.You can check them out on Bandcamp. Having been through the wringer due to Covid and venue changes, Metal From The Grave, a celebration of the career of fabled Damaged drummer Matt Skitz Sanders will hopefully not be impacted from the latest hotel quarantine bonanza in Victoria.
Damaged drummer Matt Skitz Sanders can see into your soul The show moved venue, year, and is now scheduled for 15 April at The Basement in Belconnen with a current capacity of around 100 tickets as per the leaders of Covid gigs in The Basement’s management team. You will need to pick up your ticket quickly, however, as it is already over 50% sold, in order to witness material ranging from Damaged, Manticore, Hobbs Angel of Death, Misery and Terrorust, as well as hearing the man recount war stories from his many years of touring (I would especially like to hear about his time with Sadistik Exekution in Europe). Tickets through the Basement site/oztix. I’ve added some reviews this month for a single (Sumeru‘s Blood Ordinance) and an EP (Gatecreeper‘s An Unexpected Reality), you should add to your rotation, but I’d love to hear about what your band is doing, recording, performing etc at doomtildeath@ hotmail.com 2021 – we got this! @bmamag
SUMERU BLOOD ORDINANCE
Hold onto your hats, ladies and gents, but a Sydney metal band has done something that is strangely rare for a city of that [ ] size and that’s knocked my dick in the dirt. Other bands from the area do this, of course, but it is weird that the country’s largest city doesn’t produce nearly as much top notch stuff as, say, Brisbane or Melbourne. That is not the point though! We are here to discuss what we DO have, and that is a 7” single featuring two absolutely all-killer riff fests! Side one kicks off with Cold Chamber, a dirge-y descending chord progression that lifts off into a straight black metal inspired arpeggio riff and a pleasingly evolving drum pattern that builds to a sudden break. At 0.30 we enjoy a killer lead into an utter ball tearer of a riff. If this single receives the wide exposure that it deserves, and this riff is consumed whilst driving, Sumeru will be the subject of a class action suit due to the speeding tickets it will generate. And here Sumeru welcome new vocalist Jake Willoughby to the mic. Those familiar with past work Holy Lands and Summon Destroyer will note that Willoughby brings a decidedly more aggressive presence, and the band has harnessed that energy. That is not to say the band have reduced the scope on their sludgey, stoner and doom influences, but rather added old school death metal influences, making a welcome addition to their list of song writing ingredients. Cold Chamber evidences this well as the verse and chorus sections interplay with the intro riff coming back, with Willoughby only further enhancing the muscular riff with an excellent vocal performance that is a notable step up in production and execution for the band. I say that with great reverence and respect for previous vocalist Matt Power and their previous work, but my inner metal ming-mong has been especially
GATECREEPER AN UNEXPECTED REALITY [
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was had by all about the land.
Gatecreeper belted out a really fun top ten album of the year in 2019 called Deserted. It was a simpler time then; gigs could be attended, moshes induced, and joy
And then 2020 happened and the world turned to shit. Folks with creative energies had various levels of success dealing with this new world in which most of their friends in the broader music industry had to find new ways to survive. For bands, that meant having a bit of a think about how we create, and while some have replaced live shows with live streams, others have taken the creativity to the studio. Where 2019’s Gatecreeper hit on a fun balance of old school death metal with modern hardcore-esque delivery, 2021 Gatecreeper had a bit of a think about this EP, and it’s a near perfect triumph as a result. I could talk at length, or follow the music writing review tropes and dissect the EP, but I want to talk about here is what I consider a bit of a genius approach to the structure of the EP. You have seven songs that take up 7:55 of the 18 minutes available to us on this production, and 11:05 of those minutes are essentially in a different genre in the form of one fantastic long doom song. facebook.com/bmamagazine
pleased with this heavier turn. The song finishes with displaying the band’s appreciation for dynamics with yet another big riff and doom section. It’s missing some vocals over the doom riff at the end, and perhaps the melodic variation on the chorus riff that comes in at 3:10 needs to be a touch more prominent in the mix, which wasn’t as apparent on headphones as in the car, but otherwise just KILLER. Mike Deslandes has yet another winning heavy production under his belt here. The “B side” is really a case of side A and side 1. Foundry of Dread sets you up with that kinda AM radio mix of the intro riff that you know is going to kick your motherfuckin’ ass when the rest kicks in. Sure enough, the previous track’s speeding fine could well see your vehicle impounded, with drummer Andres Hyde’s swinging ride cymbal work over the top of Pete Bursky and Chris Wilsons guitars and Pat Taylor’s bass riffs. Again, Willoughby’s settled in, dropping vocal bombs over the song’s key riffs which build and swap the swing of the ride in the verse to the guitars in the chorus before a kinda breakdown finale that is going to add to Sumeru’s legal woes as being unsafe to necks due to critical bangovers. The only whinge is toward a weird harmony at 4:08 that may be a supplanted ear worm to hurt my brain and make me love the rest of the song even more, but there’s also a guitar solo so tasty that I nearly licked my fingers on its completion. In summation, or Sumeru-ation if you will, hurry up with an album of this! Operate heavy machinery while listening at your own peril. JOSH NIXON That is not to say that the 7 minutes and 55 seconds are not fantastic. As a good friend of mine said upon sharing this with them: “I love it, Sunlight Studios throwback straight up”, in reference to the home of the chainsaw death metal guitar home in Sweden, home of Entombed, Grave and Dismember. That’s a pretty accurate descriptor for the start of the EP; fast chainsaws dripping in an old death metal ethos but with a nice fresh modern production. There are seven songs on offer here and I emphasise again; the cool idea of ripping out seven barely one-minute-long songs are all bangers and I applaud the band for this idea. But there’s just one thing I would add to the execution living up to the idea, for me; I just wish they were all 20 seconds or so longer to bring back one of the key riffs in each of the songs. I like a bookend to reinforce the point. This is a minor gripe, though. Things are as they should be and it’s a bloody ripper of a 7 minute and 55 second ride. Emptiness shows that the band are not just capable of a face ripping death metal album, but also writing a near perfect doom song in the long form. Dynamic, heavy, a sense of musical narrative across the song’s bit-over-11-minutes… I mean I’m a doom guy, of course I love it. It’s not traditional doom, the production is very much in the vein and complimentary to the death metal blitz that proceeds it. The drums, in particular, sound triggered and perhaps lack the analog warmth of a traditional doom metal production – but the song writing is on point and I have no complaints about what it is. Well played, Gatecreeper. This work has seen the band sign to Nuclear Blast which I hope gives them the production support to further creatively approach the mid point of Covid and beyond. Ripping EP, everyone should get on it. JOSH NIXON PAGE 23
POLY-SERENADES CANBERRA THIS MONTH Since george, Noonan has gone on to continue to forge an incredibly diverse, successful and inspiring career. She’s recorded and played with the best of the best, in Australia, and around the globe. An advocate for collaboration and supporting fellow artists, Noonan has made albums with Paul Grobowsky, Karin Schaupp, The Brodsky Quartet, The Queensland Chamber Orchestra and the Australian String Quartet. She’s made three albums with her jazz trio, Elixir, which features her husband, Zac Hurren. She’s also released five solo projects over the years, comprising both original songs and covers of her favourite musical influences. These albums include Skin [2007], Songbook [2013], Songs That Made Me [2014], Late Night Tunes with Noons [2020], and most recently, The Sweetest Taboo [2020].
BY RUTH O’BRIEN Katie Noonan’s career has been an incredible journey to watch. From co-lead singer of the band george with her brother Tyrone, to building and sustaining a hugely successful and diverse solo career, Noonan is a real stand-out and leader in the Australian music industry. Those who know me well know how much of a fan I am of Katie Noonan; her voice and her music career. The privilege and opportunity to write this article about the key person who inspired me back in my teenage years, and about an album that inspired my own music career, really feels like a surreal, full-circle, pinch-yourself moment. When Polyserena hit the airwaves back in 2002, Noonan and the rest of the members of george were unaware that their lives were about to change. Even though they’d been touring as a band continually in the years leading up to the debut album release, Polyserena suddenly put them under the national spotlight. They were the “5-year overnight success” story. Noonan will be sharing more about the making of Polyserena at a special in-conversation style event at the National Film and Sound Archive on 6 March. She’ll be joined by Tyrone, who has also gone on to be a remarkable influence in Australian music in his own right. I asked Noonan if the band had any inclination of how successful they thought the album might be. “We had no idea…you know…number one records were by people who [were] played on commercial radio in Australia then, and we really weren’t. So it was really [thanks to] a very loyal fan base who had been coming to our gigs.” Noonan went on to talk about what it was like making the eventual double platinum selling album. “We were just doing our thing, and making that record was a very beautiful experience. Just five hippies hanging out at the Grove Studio [just outside Gosford]. “We simply felt so lucky to be able to be full-time musicians in a studio for two weeks to make a record! That was an incredible privilege and we could just, kind of, lose ourselves in the world of music making for a couple of weeks. Yeah. And then we emerged and it was done.” Though the band went on to release another album, Unity, they decided to disperse at the end of 2004 to follow their own independent projects and careers. PAGE 24
Noonan will be performing a selection of her favourites from over the years in just a few weeks (7 March at The Street Theatre]. She likes to connect with the audiences who have supported her and keeps her solo shows, “super, super relaxed”. While there’s a setlist, she’s open to taking requests of songs from throughout her career. “Some requests are really random, which is awesome; I try to figure them out on the fly,” she says. “But then people obviously connect with george songs like Breathe In Now and Special Ones.” Hopefully, you’re able to get along to at least one of these events over what I’m dubbing “Katie Noonan weekend”. However, it’s likely you’ve heard the recent and happy news that Noonan has just been announced as the new Artistic Director of The National Folk Festival. So, you may just see this musical powerhouse around our lovely city a little bit more over the next year or two. The keen collaborator that Noonan is, she’s keen to bring more local artists, makers and organisations in the creative industries on the journey - particularly after what’s been such a difficult year for the arts in Australia. “I’m just thrilled that I’m going to be [in Canberra more]…I’ve had some of the best gigs of my life in Canberra. From gigs at The Street, and Tilley’s, and The Canberra Theatre. I’m excited to be able to get to know Canberra better, get to know Ngunnawal Country and get to know the local Ngunnawal mob…[I’m excited to] get to know the place and meet the creatives there and get to know the scene.” Be sure to grab yourself a ticket to one or both of the events Katie has coming up (see details below) and get to know this world-class, and soon-to-be, honorary Canberra artist. Classic Australian Albums: Polyserena by george @ National Film and Sound Archives on Saturday, 6 March @ 7pm. $25 full/$20 conc from nfsa.gov.au/ events Katie Noonan: Solo & Intimate @ The Street Theatre on Sunday, 7 March @ 4pm. $49 from thestreet.org.au/ whats-on @bmamag
It’s Not A Festival; It’s a Bloody GOOD Concert Series BY NONI DOLL
Nobody had a good 2020, and those in the live music and entertainment industries were some of the hardest hit. In the early days of the pandemic when the first of the big, hard decisions were being made, HELEN ROBEN, the National Folk Festival’s managing director, doesn’t hold back when describing the emotion felt as it became undeniably clear the festival was going to be impacted. “It was tragic… After a year’s planning, you almost remain in a sense of denial; it’s not going to happen to us. All the work and effort,” she reflects. “But of course, that decision inevitably was made. It still came as a severe shock to the team that the festival that’s three weeks away has just been taken away in the blink of an eye.” While 2021 hasn’t signalled the return of the festival just yet, thankfully it has given birth to something new, exciting and tailor-made for the times. Going from cancellation by coronavirus to creative compromise, the team behind the Folkie return this Easter with Good Folk, a special Covidsafe concert series featuring a range of local favourites as well as notable names from across Australia. With a line-up that includes Fanny Lumsden, 19-Twenty, Mikelangelo and The Black Sea Gentlemen, Omar Musa, Little Quirks, Guyy and The Fox, Kay Proudlove and more, you could be fooled into thinking it was business as usual, just with a new name. But if you’re imagining the usual EPIC locale, you’re in for a big surprise: the venues for this new event are on the other side of the border, thanks to the support of QueanbeyanPalerang Regional Council, The Q, and an assortment of other QBN businesses and venues. While a hard decision, Roben says the town and the event’s partners have made it as easy as can be expected in the days of Covid-19. “It has all the facilities that we need to run a festival, and is [what] our community needs to come and attend the festival,’ Roben reveals. “The support and welcome by the Queanbeyan Regional Council has been overwhelming.” Roben also notes this decision was made in order to signal that Good Folk is something different, not just a replacement for the original event. “We’re not attempting for Good Folk to be a festival,” she says, firmly. “It’s is a concert experience. First and foremost, these venues, because they are fixed structures, will really help us [in] rolling out a Covid safe event, which is important… We can structure seating and ensure people are socially distant and safe. It won’t have stalls or bars outside, where people can wander through… that’s not what we’re trying to deliver. We are offering 20 plus concerts over two days. But it won’t be a festival.” While the Folkie is a big event for more recognisable names, it’s worth noting its strong history of supporting artists from Canberra and the surrounding region, regularly adding upcoming locals to its line-up alongside the bigger acts. As such, local musos lost big when the fest was cancelled, but were equally as keen to sign back up when approached about being part of the new endeavour. Roben says that their enthusiasm gave the organising team afacebook.com/bmamagazine massive boost.
“They’re very much fans and big supporters of our events,” she says. “So I think with the opportunity to come and play, all of them were incredibly positive and they thought it was a great idea. Which made our life very, very easy from a programming perspective, because every single person we contacted said, ‘Yes, we’re in.’” There’s also an aspect of sharing around the little good fortune available as a result of the concert series getting up, she goes on to explain. “I think from a festival perspective, it’s really important that we provide that opportunity for them, but also they weren’t given an opportunity for any income from us last year either. So I think the fact that we can actually pay a good number of performers for Good Folk is also, for us, really, really important that we continue to support them.” While Roben understands and shares the disappointment that some might feel knowing that we won’t see a return of the National this year, she firmly believes that what she and the team have put together will be a balm for the souls of those missing their Easter folk fix. “Good Folk is an opportunity to reconnect with your friends, reconnect with the community and also reconnect with folk artists and folk music. It’s something that we, as the National Folk Festival… we haven’t had the opportunity to do that for two years. We’re really excited that we can bring good people to Good Folk and bring good music as well. “It’s going to be different, but it’s going to be to lots and lots of fun.” The Good Folk concert series runs across Saturday, 3 April and Sunday, 4 April, with a range of artists playing across both days at different venues across Queanbeyan. Ticket prices range from $10 to $45. For more information, or to book tickets, head to folkfestival.org.au/good-folk
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Exhibitionist | Arts in the ACT
EVERYTHING WILL BE ALRIGHT A NEW SHORT STORY BY NIGEL FEATHERSTONE
I
found it in a wine barrel, a half-barrel, though not at a winery but at my local railway station. I had gone to Sydney for work and there it was, growing – trying to grow – in the dry, grey soil, the only plant there. At first I had only glanced at it, a single pink flower sitting on top of the dozen or so leaves, all of them small and pale and wilted. I was tired from travelling and long hours of meetings, so I was keen to walk up the road and be home in bed. But something made me turn back and have another look at the plant that was clinging to life in the half-barrel. Who had put it there? Was it the last plant to survive a failed beautification scheme? Or had a railway worker brought it in to cheer up the place but then forgot about it, his or her mind lost to other priorities? The answer was not for me to know, but I stayed there a moment longer, gazing at that pink flower and the dozen or so little leaves, at the soil that looked as desiccated as dust. Then I just did it: I reached down, pulled the plant from what I had decided was its jail, and then darted away into the darkness. When home, I put it into a shot glass, which I filled with water, placed the glass on the windowsill in the laundry, and then promptly forgot about it. ~ Days later, I saw it there, on the sill, the little pink flower still present, the leaves greener, more alert. I put two fingers to a leaf, felt the soft furriness between my fingertips. I put my fingertips to my nose, smelled the pungent scent of a geranium. I smiled, and then put on a week’s worth of washing. ~ That smile – this is true; I am remembering it correctly, I’m not embellishing in any way – stayed with me all day, as though my mouth, my face, could not do anything else. But it was not just a look: I could feel the smile in my chest and belly, even in my legs. The next day, I decided PAGE 26
the geranium deserved to be outside in the sun and soil, good soil, soil that I would be sure to water. I found a small black plastic pot, scooped up some rich, damp soil from beneath the cherry tree, patted in the plant, gave it some water, and then put it on the laundry windowsill but on the other side of the glass from where it had been. Again I gently squeezed one of the leaves between my fingertips, and again I smiled, and I felt the smile, though this time a memory came to me: I was young, a little boy, and had been given a kitten – perhaps it was my family’s new cat though I had taken a particular liking to it. But then, a month later, the cat disappeared. The boy next door found her body beneath a shrub – she had been hit by a car and went there to die. I remember the way I laid in bed that night, my body askew, my legs feeling too long, because death – my first experience of it – made me feel different, as though the event had made its way into my blood and bones. I gave the little geranium leaf another squeeze. This time when I thought about the kitten I had a memory of her being an adult cat and giving birth to kittens, and then being an old cat, dying at the age of twenty-one as she lay peacefully on her cushion in front of the slow-combustion fire in the kitchen. ~ The following day, I went outside to check on the geranium. The flower was gone and only three leaves remained, the others having shrivelled and fallen. ~ I cared for that plant: I watered it; I made sure it got enough sun but not enough to get burned; I brought it in at night in case there was an early frost. I made sure to not squeeze any of the leaves as they returned. Eventually the plant came back fully to life, the leaves bigger and greener and there were more of them; then a new flower, and then another, and another – three bright pink flowers. ~ Three months after I had first found the geranium struggling in the barrel at the railway station, I was sitting on the bench beneath the laundry window, where I liked to have my morning coffee. By now I had moved the plant into a bigger, terracotta pot, which I had placed on the ground at one end of the bench. The plant was thick with leaves and there were too many flowers to count. Because by now it was late autumn and the morning cool, winter only days away, I reached out and squeezed one of the largest, healthiest leaves. As had happened previously, I smiled. Also as had happened previously, I found myself remembering: my husband, who despite generally being not a good cook – ‘I’m too busy to learn,’ he had told me many times – was able to make the most delicious roast chicken once a month on a Sunday, the meat moist and tender, the skin crinkly, the stuffing @bmamag
Exhibitionist | Arts in the ACT packed with fetta and olives, also roast potatoes, carrots, onion, and garlic; Eric could also make gravy from scratch. How wondrous. But then I remembered waking early one morning to find my love for him was gone. It felt like he had become a stranger, someone who I did not want to touch. I fought the feeling; I tried my hardest to reconnect with him. When the next month’s Sunday came around and Eric made his roast, the food was tasteless, as though I was eating nothing but stale air. I squeezed the leaf a second time; again the memory changed: we were having a picnic in the back garden – roast leftovers: divine! – and our daughter, Bea, was sitting cross-legged opposite us, nibbling a chicken wing slowly, as if she never wanted it to end. ~ The next morning, I went out to the bench. All the geranium’s flowers had fallen off; only a single leaf remained – a small one at the base of the stem. ~ All winter I cared for the geranium. I kept it inside so it would be protected from frost, though most days I put it out for an hour at noon to catch the best of the sun; sometimes I put it out while it was raining so it could be wet all over, the soil moist. When inside I kept it away from the dry air of the heaters, and should a leaf begin to wither I removed it – with a surgical snip of the scissors – to make sure the plant remained healthy. Because of my daily care and attention, and because I was careful to not squeeze any of the leaves, the geranium survived, even thrived, and I was able to begin putting it outside during the day for longer periods.
[A New Short Story by Nigel Featherstone] had happened before, the memory changed; it turned into a series of recollections, all true, I know: I am walking my daughter to school, for her first day of high school; I am farewelling her at the airport, a backpack on her back so she can fly around the world; I am meeting her for lunch in the café at the bottom of the tower where she works as a barrister; then her wedding; then the birth of her first child, a daughter, the birth of her second, a son; then I am watching her stride purposefully from the courthouse after winning her first high-profile case. Now I smell the pungent scent of a pressed geranium leaf. Bea is sitting next to me; I know that is true too. She is holding my hand while I lie on my back, the mattress thin beneath me. Even I can hear the rattle in my throat, but that doesn’t matter, because my daughter is by my side, squeezing my hand gently again, and again, and again. Nigel Featherstone is the author of Bodies of Men, a novel published by Hachette Australia, and The Gift of a Father, a digital essay commissioned by the Tuggeranong Arts Centre. Bodies of Men hachette.com.au/nigelfeatherstone/bodies-of-men The Gift of a Father thegiftofafather.com/
~ On the first day of spring, with the geranium already offering three flowers, I sat on the bench, the plant by my feet and in its pot. I needed to know what had happened to my husband and daughter. I reached out to squeeze a leaf, but then I stopped myself. What if I was asking too much of the plant? What if it died? I had become used to its company, reliant even; I needed its powers and the possibilities they offered. But if things could be changed so that Eric and Bea were sitting in the garden with me, even sitting on either side of me on the bench, was it not worth the risk? I squeezed a leaf very gently – I did not want to do any damage to the plant. I smiled. I remembered: Eric and Bea on the picnic blanket in the back garden, Bea nibbling the chicken wing slowly. But then I saw them standing in the front doorway, Eric gripping a suitcase, Bea, a bee-shaped backpack on her back, beside the car in the driveway. Eric stepped up to me. ‘I’ve done as much as I can to help you,’ he said. ‘You need to acknowledge that all is not well with you. You need professional assistance. There’s only so much I can do. By staying, I’m not helping you – I’m hurting you.’ He paused then. I waited. And waited. Eric smiled, but it was a smile that carried a weight, and a great pain. ‘Please know,’ he said, ‘that I loved you dearly, and deeply.’ And then they were gone. I squeezed the geranium a second time, but harder, pressing my fingertips, my skin turning red and white. As facebook.com/bmamagazine
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BY ANTHONY PLEVEY Trust is a powerful thing. Knowing Peter Garrett was a busy bloke and that only we had a short time to talk together, I had to trust that he was able to respect my personal experiences of attitudes toward Indigenous people. The risk taken, the trust came through, and we were able talk freely and confidently about The Makaratta Project, Midnight Oil’s strong links with First Nations issues, their hopes for the impact of the album, and the larger Makaratta Project and future. We then talked of the structure and shape of Midnight Oil’s newest work, and how it traverses the physical, emotional and political landscape of Australian’s relationships with its First Nations People. Moving across this landscape, we talked about the album and the ongoing touring project, its stories, its personal, artistic and cultural impact and hopes for the future. When I referred to the opening two tracks First Nation and Gadigal Land as evocative of, and even directly referencing, the anthemic titles of the ‘80s, Peter quippied: “Well, we are the Oils and we do like to be loud!” More seriously, Peter acknowledged this connection, which he returned to across the conversation, often referring to Diesel and Dust as if it was a fulcrum point. Peter made it clear that he and the band, despite the twists and turns since he embarked on a musical career as a student at the ANU in the ‘70s, has never lost sight of Indigenous rights issues. “Even before Diesel and Dust, even as far back as Head Injuries and Place Without A Postcard, part of our yearning has been to better understand and connect, recognise, acknowledge, and ground ourselves in the real history of our country, which you can’t ultimately ignore. You know invasion Australia or Settler Australia might always try to just shrug it off and look at a big city full of skyscrapers and say, ‘Ah well, it was a long time ago’. “Well, it wasn’t a long time a go.” First Nation, its music plugged into The Dead Heart from the Diesel and Dust album, opens up the issues for Indigenous people today. Its driving plea “…still waiting…when?” reminding us that these injustices/issues remain to be resolved and that Midnight Oil’s commitment to give these voice hasn’t gone away. “There’s reason that First Nation culture and community is the longest existing culture,” Peter emphasised. “Its strength and resilience and depth is a powerful, powerful thing. It hasn’t gone away. It may have suffered an incredibly difficult time, but there’s plenty of evidence on the sporting fields, in the schools. “I hear it in music. I see in the poetry and in the vision and determination of the people who came together at Uluru to draft the Statement From The Heart.” PAGE 28
Gadigal Land is another song pivoting on that ‘80s Midnight Oil sound, which backhandedly celebrates all the ‘gifts’ that Europeans brought; disease, poison and dispossession. Its tonguein-cheek joy reflects the openness to the conversation, which Indigenous people seem to maintain, even though as Peter said: “…all of the impacts of people having their land stolen and their family torn apart are still felt every day, every day. “It’s the right song to have up front because it is so clear, and with the additional voices coming in to contextualise what is being said, you end up with something that is thought provoking. There’s no hiding in the corners when you hear a song like that.” Noting that the third song, Change The Date, for me was a bridge to a different, more collaborative, feel in the album, I asked Peter if he felt that changing the date of Australia Day was already too politicised and had lost some of its gravitas. “I reckon we need such strong symbolic action backed up by real concrete steps, legislation and resources,” Peter responded. “It is not a gift that Anglo culture bestows on First Nations, it’s an acknowledgement and a stepping to one side to allow that strength of First Nation culture to come through.” Then we came to the unsettling Terror Australia. For me a key piece of the album, and the moment of trust. Terror Australia takes a perspective on relations with First Australians that places the fear in the hearts, not of Indigenous people, but in the hearts of Europeans. Contextualising my reaction to Terror Australia’s 180 degree spin by explaining that the name of a common brand of cheese was a term often heard in relation to Aboriginal people within my extended family. I explained how the song hit me between the eyes and that I saw that it’s not just the powers that be, the rich blokes, the ‘money and ignorance’ of the corporates. It’s us who hold this fear which was expressed through this casual, almost traditional racism in language and attitude. Agreeing to the almost antithetical proposition: the First Nations people, who’ve been here for thousands of years, are quite comfortable in their land and that it is us who are the uneasy ones, Peter went on: “The failure of the political process to essentially make good a wrong means that its left to citizens, wherever they are and whatever their station, to pick it up and to carry it forward and to demand of political leaders that they respond. “It’s challenging for a culture to front up to that. I think we can do so but we really have to be prepared to lose some of our own apprehensions and assumptions; to think very hard about what happened.” In a somewhat emotional telling of the creation of Terror Australia, Peter recounted that it came about in the mid ‘80s when the band was travelling the western desert and Arnhem Land with the Warumpi band, recording Diesel and Dust. @bmamag
“It was one those songs. I started off with some words and at the time our dear departed brother in music, Bonesy Hillman, was still around. It was one the few co-writes that we ever did. “So when we tipped all of the songs out on to the table, it was one of the ones that fell out. “But I think the truth of it is that Terror Australia couldn’t have had the force, I agree it really does on Makarrata, if it weren’t for the fact that it was sung by an indigenous performer. Alice Skye really found the right place to sing it and communicate that sentiment, which needs to be heard. It has more force and presence as a result.” Speaking of the later songs, Peter emphasised the strength in the collaboration of Desert Man, Desert Woman and Wind In My Head, as well as the album as a whole. “It’s what you’d call a multi-colab,” he says. “It was incredible to have access to previously unreleased material from Gurrumul. Incredible to have Sammy Butcher, who we knew from Warumpi days, to fly things in for us and be at the back end of Wind In My Head. “Kev Carmody, one of Australia’s great poets, and Jess Mauboy and Neil Murray from Warumpi, too . It’s a very rich field of talent that came and worked on this record with us.”
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Raising the final song, Come on Down, which comes after the heartfelt reading of the Statement From The Heart and calls people to ‘…come on down to the stomping ground, to come the fire’, I asked Peter if he really thought that a big enough fire can be made to attract enough people to come on down and unite around Makarrata? “There are points of light amid lots of clouds and storms and darkness,” he responded. “The station walk offs, the referendum, Vincent Lingiari and the Gurindji, the Bridge march, Kevin Rudd’s apology. “We’ve also got the original response from some Europeans who didn’t accept that fact that the country should be stolen, the resistance by First Nations people which we are only now starting to find out about thanks to oral and written accounts of the times. “You’ve got reason to be sceptical,” Peter continued. “…we’ve been so let down, particularly by the national parliament. Since the Rudd apology some time ago, it has been a weedy field of dried out corpses and we need to bring it to life again. “But we, Midnight Oil, really believe in the good will of people and the good will of the Australian polity; if it has the opportunity to consider things to in a clear way.
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“It might not be one big fire in the middle of the western plains but there’ll be a bunch of fires everywhere that we all sit around and I definitely think that we can get there… “And more people can come by voting, writing letters, protesting... any small thing. The fire will grow.” Shifting the focus to Midnight Oil as a band, and referencing Taylor Swift’s efforts to regain control of her music, I asked about their curative approach to managing not just the music but the band, as well as what the band stands for across so many years and how this empowers their success and longevity. “You’ve nailed something there; people who’ve looked at the band over the years would see it’s a big part of what we do,” he responded. “We really want to sketch out the ground on which we are creating and playing. We’re not too interested in anything other than ourselves finding that common place as 4-5 musicians; that’s where we need to be first. “We create something that isn’t necessarily hostile to commerce but certainly is not at all interested in commerce determining what we should do with our art. “Our art, our performance and our political views have to come first and they’re have to come in a way that makes sense to us, without any interference or watering down or compromise as a vision which we try to play out when we play on stage. “I think the whole purpose of this is to not only have people who can, and do have connections to the band, to say that here’s some music that can move us around, but also to share that music with others and to invite people who are not necessarily Midnight Oil fans just to come and try.” Having generously extended the interview, and with the band warming up in background for another rehearsal, Peter continued speaking of the Makarrata Project album and our conversation.
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“It is interesting to hear how you are responding to Makaratta,” he says. “The fact of it is that this is the album we had to make. When the songs tumbled out it was key to involve Aboriginal and Torres Strait Islander performers and singers. That’s what walking together, what the Uluru Statement From The Heart, is all about and that’s what our future looks like if we are to have a decent future at all. “Midnight Oil certainly tries to make a sense of how individuals are relating to songs, how they feel about things. As a band, it’s about what we want to say, and finding a way to communicate that which stems from the music and the primal sort of heart-driven emotion; adding a layer of history and fact to the lyric. We’re not churning out fast food, we’re trying to make something that sticks to your ribs a bit more. “We’re incredibly proud of this record with its collaborations. We feel the opportunity to tour it live and have other guests with us has the making of something very, very special. “We’ve obviously played in lots of places; big world tours and all that. But I think in some ways this will be the most important bit of touring we do. “It gives the opportunity not only to present the songs but to share the experience, and in that sharing we will find that people will walk away both humming and thinking…” My trust repaid with a rewarding interview, it is hoped that all Australians can trust in each other and with courage trust the issues raised, and solutions suggested by, Midnight Oil’s The Makaratta Project. For all you need to know about their big Canberra show, flick your eyes to the right page just there.
@bmamag Photo credit: Awais Butt
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Featured image: Warren Williams, one of the composers of Songs from a Stolen Senate. Photo by: William Thomson
BY ALLAN SKO ”I think this is exciting not just for indigenous composers but for Australian music. We were once hearing indigenous culture filtered through the hands of white composers. Now people are saying they want to hear indigenous culture from indigenous composers.” These are the thoughts of Chris Sainsbury – Dharug composer, and lecturer in Composition at the Australian National University – about his involvement in Songs From A Stolen Senate. More on this worthy topic later, but first some background. Initially birthed as part of the Where You Are Festival, Songs From A Stolen Senate is an Australia-wide, cross cultural collaborative musical project that makes us think about where we are, our history, and the great shames and hope-filled triumphs they hold. “It’s a collaborative project between The Griffyn Ensemble and six of Australia’s leading First Nation musicians,” says Griffyn head and composer Michael Sollis, who is overseeing the project. “They’ve written these pieces for us to perform, taking words that have been spoken in parliament that have some personal meaning and significance. It’s about hearing the diversity of First Nation voices by putting their reflections on Australian Parliamentary history into song.” The assembly of composers/musicians is a mighty one, comprising Aranda country musician Warren Williams, one of Australia’s most well-known Indigenious country music singers; prolific Perth-based Noongar performers Gina Williams and Guy Ghouse; Mua Island artist Norah Bagiri; and two classical Canberra creators in Yuin composer Brenda Gifford and Dharug nation Christopher Sainsbury. PAGE 32
Their subsequent dig through the parliamentary archives, with the aid of poet and research assistant Melinda Smith – revealed inspiration equal parts fascinating, disturbing, and deeply personal. “Each composer has done a very different thing,” Sollis says. “Some of them have been quite political; we’re talking quotes that were spoken only a bit more that 100 years ago about chaining Aborigines around their neck so that they can’t escape when they’re walking hundreds of kilometres to missions.” Another shocking and saddening event has been deaths in custody, a topic that had touched Yuin composer Brenda Gifford personally. “I really wanted to write a musical response to deaths in custody,” said Gifford in an interview leading up to the event. “When we were younger we had that issue. Twenty years down the road, it’s a toss of the coin regarding what has changed. We’re still talking about black lives and deaths in custody now. This issue affects Aboriginal families, especially our youth. “[This composition] was a way to respond to this issue and have power – to protest, and voice our stories. It’s so important to voice our stories through the medium of music, combined with these words spoken in parliament.” This individuality of response, and the freedom of expression, was very important to Sollis and co when assembling the project, to the extent that they were happy to bend the rules on the project’s origins. “The original brief was to use text that was spoken in parliament, but even that went off track a little bit,” Sollis reveals. “It depended on which issues were significant to the composers. @bmamag
“For example, Norah Bagiri wanted to write about the sea levels rising in the Torres Straight, because that’s where she’s from, and very little had been talked about that in parliament. She worked with Melinda Smith to gather the words, which ended up being spoken in the UN. “Equally, Gina Williams was interested in AO Neville, who was a notorious figure in Western Australia politics, so they used some text from a WA sitting. So it was all really driven by the composers, which is why there are five different pieces that all have different angles.” Indeed, Perth-based Noongar singer Gina Williams had a refined focus when approaching her piece, zeroing in on the essence of language to explore identity. “I was really interested in any references to the words ‘stolen’ or ‘freedom’, as well as AO Neville who was the chief protector of Aborigines here in Western Australia, whose policies had widespread devastation and destruction across the country,” Williams says. “As far as I’m aware, there is no word for ‘stolen’ and ‘freedom’ in our language [Noongar] … I thought that would be an interesting thing because these are recurring words when people are talking about Aboriginal people. “So that became the basis of the song. It was quite painful to read some of the transcripts – but taking difficult subjects and words and making them beautiful is a way we can look at it differently. “Maybe we’re not that far from where we once were, and we still need to learn those lessons – maybe these songs are ways to do that.” As well as this tragedy and pain, there also emerges stories of triumph and hope. For this, we return to Dharug composer Chris Sainsbury and his piece Red Kangaroo Standing. “I worked with lyricist Melinda Smith, who adapted a maiden speech by Indigenous Affairs Minister Ken Wyatt, and a couple of his other speeches into lyrics, and then I set it to music,” Sainsbury explains.
“I hope people take away a sense that Aboriginal people are on the front foot with hope and determining our own Indigenous futures. It is here than we return to where this article started. “I think this is exciting not just for indigenous composers but for Australian music,” Sainsbury continues. “We were once hearing indigenous culture filtered through the hands of white composers. Now people are saying they want to hear Indigenous culture from indigenous composers. This has been a big shift over the last five years – there is still more traction to be gained in that shift, but it’s certainly started, which is pretty exciting.” This echoes the sentiment of Michael Sollis, who sounds both elated and exhausted by the countless hours he has put into the project. But his toil, and that of his fellow composers, will be very much worth it, as Songs From A Stolen Senate gifts the world with an exploration, and celebration, of our First Nation people and our realtionship, and responsibility, to each other. “I hope people will place these stories, and place indigenous musicians, at the forefront of Australia’s artistic expression,” he says. “It’s a project around supporting different perspectives, about thinking about the world around us in a different way. “What we’re doing is part of an ongoing narrative, and an ongoing work that all Australians are involved in; to ensure our artistic, cultural and creative expression not only represents the diversity of this country, but also is rooted in this incredible history both good and bad that we’re all a part of; about how we came to be a nation. “Even now, looking over the Brindabellas in my house in Flynn, there’s a renewed sense of place and the footsteps that came before me.” Songs From A Stolen Senate has two performances on Saturday, 13 March at 2pm & 7pm. Tickets are $45 adult/$35 concession and are available from belcoarts.com.au/songs/
Members of The Griffyn Ensemble (Chris Stone, Kiri Sollis, Holly Downes, Michael Sollis) with composers Christopher Sainsbury and Brenda Gifford facebook.com/bmamagazine PAGE 33 at Mulligans Flat.
[BEST CANBERRA MUSIC OF THE PAST YEAR - SINGLES] The Raven’s Rock has followed last year’s social conscience charged track 6 Minutes to [ ] Midnight with a new release, Smoked A Cigar, another highenergy, raw-edged example of the band’s contemporary indie rock style.
THE RAVEN’S ROCK SMOKED A CIGAR
Less folk-like than their previous releases, Smoked A Cigar reveals a more amiable sonic palette, taking on some identifiable elements of the compendium of classic rock and blending it with their restrained yet nonetheless vibrant spirit. Kicking off with a galvanizing musical motif of chorused guitars and accented stadium rhythmic patterns, the song maintains its measured power throughout, ascending towards an alleviating and quite satisfying chorus. The protracted notes here, as
opposed to the verse’s conversational nuances, seem to act in tandem with the sinuous nature that underpins the entire track, one that is displayed from the outset. Another point of difference is the arrangement, holding back on releasing the chorus’ swirling attributes until a run of two-verse to pre-chorus sections have expired. This acts as part of that well-established and always welcome surprise factor, inherent in all satisfying records, perhaps a characteristic even more rewarding as it relates to tracks that rely on that delicate interplay between variegation and accessibility. The post-chorus resolve, which acts as an opportunity for the vehemence contained in the chorus to rest up a little, is most welcome, and is subverted at the track’s conclusion to become the final flourish, with the accompanying lyric—’and the chaos is your home’—fittingly spectral and definitive. The Raven’s Rock manage to retain an earthly glow, an unprocessed candour most evident here in the vocal performance, and perhaps even heightened this time around by the forthright glide of the instrumentation, as it dips and swerves around the melodic terrain. A valid follow-up to their last release, Smoked A Cigar sets this Canberra outfit on a no doubt veracious, elevated path. VINCE LEIGH
SPUTNIK SWEETHEART ROLLING [
]
It’s not every day you that you get to listen to a track inspired by a novel. Tim Winton’s Breath, no less.
they are, are merely the amiable antecedents to the post-bridge assault, complete with feel change and mood change. It is the kind of moment one hopes to hear at a live show, threaded to the inbetween bits; a fully nourished band letting rip.
As frontwoman Nette France has said of Sputnik’s Sweetheart new single Rolling:
Part of the appeal of this second apogeeic moment is the arrangement; the aforementioned hooks never get another round.
“The lyrics are inspired by Tim Winton’s coming of age novel, Breath. It’s a story about growing up and navigating through the changes that come with new and old relationships.” Formed in 2018, the four-piece alternative rock band has quickly established quite a reputation for delivering emotive, high-energy performances.
Ah, keep the punter primed to the end. Rolling is idyllic, peppered with power-pop bursts, as well as nuanced and littered with unburdened, modest finesse. And it sounds like Breath has induced more than just the lyrical conceit; it sounds as if the performances, the intentions, have all emerged from out of the depths of some boundless, pelagic entity. VINCE LEIGH
They have also garnered a notable list of achievements including: the prestigious title of Triple J Unearthed Feature Artist in June 2020, surpassing 200,000 streams on Spotify, and sharing the stage with some big guns on the Australian music landscape including Ball Park Music, Joyce Manor, British India and Kingswood. What we get with Rolling is a stirring mix of abandon and observation, with Nette’s sinuous vocals frontloading slick hooks in a raw style. The guitar parts here are also jostling for position and harnessed to the lurching feel of the drums and the fulminating sonics. The picture is indeed a bright one and harmoniously aligned to the moment. The peaks are here, slathered between the disrobed verses, yet these climaxes, as melodically persuasive as PAGE 34
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[ BEST CANBERRA MUSIC OF THE PAST YEAR - SINGLES] LUCY SUGERMAN I WANNA KISS BOYS COS I’M BORED
In 2019, Lucy Sugerman sold out her headline shows at Smith’s Alternative, opened for X-Factor [ ] winner Dami Im, and spent the year writing alongside a plethora of Australian writers and producers (Alex Lahey, Dustin Tebbutt, LANKS, Dylan Nash). Lucy was named the National Folk Festival Youth Ambassador in 2020, was the recipient of one of APRA AMCOS’ Women in Music Mentorships as well as a part of their inaugural Song Generations writing camp at ANU School of Music and featured on, and cowrote the track, I’d Do It All Again with Australian artist LANKS as part of his anticipated upcoming double album Spirits. Lucy has been performing around Canberra since she was nine and this has served her well, going on to share the stage with such notables as Sheppard, Ali Barter and Nicole Millar at Canberra Day in the Park, and John Farnham and Daryl Braithwaite at the Anthems concert at the National Arboretum Canberra.
sweetness of the keys and beachside breeziness of the acoustic guitar also contrive to frame this track as an unapologetic leap of lucid, alluring melodic invention. And Lucy’s courtly performance is, of course, more than just the proverbial icing. In the verses, the low register hums with a knowing cadence, in the chorus the hook is solidified by the sweeping swirl of a semi-swagger, a confidence that in no way betrays the hint of vulnerability we sense in the song’s title. i wanna kiss boys cos i’m bored seamlessly blends an untethered element to a very defiantly pop aesthetic, creating a leisurely, atomizing musical experience, with a touch of playful, idiosyncratic enticement thrown in for good measure. VINCE LEIGH
Lucy has just released i wanna kiss boys cos i’m bored and that title alone is enough to endear the track to these ears. Yes, there is a confessional element to this semi-sassy pop daydream but it’s communicated with what seems like such a sense of extemporaneous poise that it feels more judicious, as though Lucy understands the nature of her declaration is a little more than mere admission. The surrounding surfeit of fuzzy pop ingredients, the thick lo-fi goodness of the drums, its fly-in-fly-out tendencies, the chiming
GROOVY DAUGHTER HARSH [
]
I think I’m scared to move on, I’m a lake after droughts, I am nothing.
Now, we have Harsh, a team up with ubiquitous Canberra hip hop producer prodigy Citizen Kay, and a self-assured meditation on selfcriticism—the irony here is worth noting—featuring Wilde-Carr’s contained yet simmering-with-tension vocal performance which is one part Amy Shark, one part Beth Gibbons, but more persuasively operating in her own corner. When neutered from Wilde-Carr’s hyper-galvanic disconcertment, the music—muted guitar lines, trip-hop ’90s flavoured drum loop, various sonic textures—pleasingly adheres to deputy status. And this is most evident when the vocal shifts up an octave during the second chorus, exposing us to a skilful vocalist’s sweet high spots.
This is quite an escalation. In a sense, the rate of diminishment here might, in a microevolutionary form, reflect conversely the speed of our lives. And those careering towards the threshold of adulthood might feel this acceleration more acutely. Or maybe not. Personal hurt expelled through the lens of self-analysis. Maladaptation that’s related to society.
The melodic elements team up effectively, with the line, ‘What if I, what if I, what if I let go of the pain?’ convincingly reiterating the swell of anxiety, said swell mirrored also in the groove’s languor, invoking a palpable sense of indecision, irresolution. However, the track sounds as if it’s on the cusp of revelation, with its exquisite rendering of unease and emotional malaise. Identification is perhaps the trigger point for engagement here, and Harsh will undoubtedly resonate with many. VINCE LEIGH
The above line is from Harsh, the fifth single for the Canberrabased outfit Groovy Daughter. Since the release of her acclaimed debut Tyro Dreamer in 2018, Nicole Wilde-Carr AKA Groovy Daughter has gone on to nurture an ever-expanding profile, performing in a series of shows with Slum Sociable, Thandi Phoenix, as well as strutting the Groovin the Moo boards. During the 2020 pandemic, Groovy Daughter took part in a series of online shows, including a performance on the Isol-Aid line up alongside Courtney Barnett and Alex the Astronaut, as well as Live In Ya Lounge. And just recently, she found herself as the triple j Unearthed Featured Artist. facebook.com/bmamagazine
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[BEST CANBERRA MUSIC OF THE PAST YEAR - SINGLES] In 2019 Canberra based indie folk artist Kim Yang toured her debut EP Ocean of Mind after [ ] a sold-out EP launch. She also shared the stage with ARIA and APRA-awarded alt-country artist Tori Forsyth and many others.
KIM YANG DOMINOES
Kim performed at the National Folk Festival 2019, Enlighten Festival 2020 and Canberra Theatre Centre’s online CTC@ Home series during COVID and organised the International Women’s Day Concert 2020, gathering female musicians of Canberra and the general public to celebrate the day. Now, Kim has released new track Dominoes, a subdued folk meditation with some restrained pop edges that will soothe your aching soul the minute Kim’s luxuriously hypnotic cadences enter your ear. Anchored by an acoustic guitar riff slash chord progression that doubles as a thematic marker, Dominoes is the sort of song that transports you geographically and emotionally.
This one does, emphatically, yet in the most unemphatic way; with a restrained push into the deepest river of your yearnings. This track contains all the elements for artistic durability; an idiosyncratic voice whose obvious vulnerability is strengthened by a searing high-register that pierces with every passing note. In fact there are many attributes about this track that are restrained; the performance, the melodic tangents, the production. Sure, there is a pulse of underlying melancholia with Dominoes, but there’s something about that recurring acoustic guitar line, together with Kim’s voice, that seems to offer more than just a muted glimmer of hope too. These are perhaps the track’s most potent elements; the dualistic tenet that calms as it triggers a memory or leads you to that cliff; the thought of swaying in the otherworldly current atop that falling off point is most often more intense than the fall. VINCE LEIGH
And believe me, one doesn’t expect to get transported—musically that is—every time a new track attempts to state its case.
CITIZEN KAY DON’T BLINK [
]
Australian rapper and ARIAnominated Citizen Kay has had a successful run since the release of his first track Yes! all the way back in 2013.
Having attracted tremendous support from many key players such as Spotify, Tone Deaf and The Music, as well as touring extensively with some of the greatest exponents of the rap genre, including Public Enemy, Run The Jewels, Ice Cube, Danny Brown and Wiz Khalifa, Citizen Kay has followed up the gains achieved from his last release Funny Business feat. Genesis Owusu with this new track, Don’t Blink. The track kicks off with an alluring combination of bass guitar and siren. Yes, you heard it, a wailing-just-on-the-horizon siren, and I imagine nothing else instantly instils a sense of drama and grimy pop danger into the unsuspecting listener like this heterogenous combo. A word about the bass riff, as it features quite heavily here, and heavy it is too; a marauding block-rocking slice of bottom end
bite and undulation that underscores the seismic layers of combusting fervour from Citizen’s worked-up swagger. Don’t Blink has thrills and spills to spare, a mobilising and quasimenacing few minutes that effectively blend rap, rock, and hip hop without sacrificing any of the tantalising elements of those genres’ finer points. With the title a consolidating refrain billowing forth in the aftermath of the chorus, this compendious, minacious ode has a pleasing amount of mayhem and entertainment value and manages to avoid any sense of monosyllabic tendencies by the sheer amount of good stuff it contains, with the thriving rhythmic bones decorated by Citizen’s terse indoctrinations making it a must. Whereas Funny Business explored a few well-worn ‘80s vistas, Don’t Blink ventures forward, almost unadorned but undaunted about its hybridity and claiming an area that embraces what is seemingly perhaps not so embraceable. And for that alone, it’s hit the spot. VINCE LEIGH
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[FILM REVIEWS]
THE WORD ON
FILMS with Cameron Williams ELLIE & ABBIE (& ELLIE’S DEAD AUNT) [
NEWS OF THE WORLD
Tom Hanks is one of the most reliable actors of his generation. Exhibit A: News of the World. Set in 1870, Hanks plays a former member of the Confederate army, Captain Jefferson Kyle Kidd, who works as a newsreader. Kidd travels by cart from town-totown reading newspapers to local crowds for a small fee. What’s making news? Pandemics, political instability and a new president; it’s all way too familiar when you consider what’s making news in 2021. During a reading in a southern town, the pro-Confederate crowd rages when they hear about the amendments to the U.S. constitution, which includes the abolition of slavery. Kidd calms the crowd by providing context: “these are difficult times.” Hanks is stoic in these moments when he’s bridging the gap between facts and public opinion. Kidd even tweaks the news items he reads in each town – an old school version of Facebook’s news algorithm – to suit the audience; during one reading he only picks good news stories to provide the crowd with an escape from reality. Like the nightly news on television, it’s a mixture of theatre and current affairs. But what doesn’t make the news? That lands in Kidd’s cart in the form of a white girl in native American clothing named Johanna (Helena Zengel). The progress of
America is dependent on the displacement of its indigenous population, and Johanna is a survivor of the collateral damage. Kidd must reunite Johanna with her surviving relatives and they become an unlikely duo looking for their place in a country that’s rapidly changing and being torn apart around them at the same time. Even the presence of Hanks surrounded by mostly unknown actors enhances the sense of isolation Kidd and Johanna experience. The relationship between the news and what’s happening in each community fractured
by the Civil War is the most fascinating part of News of the World. Throughout, Hanks is a constant reminder that you’re in capable hands even when the film trots along slowly, which is a change of pace for director Paul Greengrass (The Bourne Supremacy, Captain Phillips) who is best known for shaking up action cinema. Greengrass’ patience with the story evokes thoughtful westerns like Meeks Cutoff and True Grit with a colonial sprinkle of The Last of the Mohicans, but it requires a little fortitude. News of the World is currently streaming on Netflix.
]
Ellie (Sophie Hawkshaw) is a positive, confident and widely capable teen, who finds herself suddenly floundering under the cool gaze of her classmate Abbie (Zoe Terakes). Taking charge of her feelings, Ellie decides to talk to Abbie, setting out on a quest to find the perfect way to ask her to the senior formal. After Ellie comes out to her mother Erica (Marta Dusseldorp), she is suddenly visited by the ghost of her vibrant and outspoken gay aunt Tara (Julia Billington). What follows is a hilarious colliding of worlds, begging the question, “Is being gay such a big deal anymore?” As Ellie and Abbie slowly get to know each other, two separate (yet truly relatable) queer stories begin to develop. Ellie facing the repercussions of coming out to an uncomfortable mother, and Abbie still reeling from a public “outing” years before. As the connection between Ellie and Abbie deepens the truth about Ellie’s aunt Tara begins to emerge, unfurling some hard truths about Australia’s own queer history. Gently reminding us of the sacrifices others have made to lead us to a new age of free love and self-acceptance. While society is beginning to accept queer emergence and understanding of sexual orientation as a natural hurdle for modern teenagers, we are still yet to see this reflected in our theatres. Director Monica Zanetti sought to write a story of first love that rang as true as any other. Insisting that there is a whole world outside of the traditional coming out story - Zanetti puts forward a film of true Australian talent, with a diverse female cast, and brilliant, lovable characters. The dialogue in this film shines. Scenes between Hawkshaw and Dusseldorp are delightful and hilariously uncomfortable, seamlessly capturing the tricky conversations between a gay teenager and a parent that doesn’t know just quite what to say. Ellie & Abbie (& Ellie’s Dead Aunt) leans into the rollercoaster that is first love, with the upbeat, self-deprecating humour that Australian film is known for. Showing a new generation of LGBTQIA+ Australians that our love stories are just as important, just as real and just as bloody awkward. LAUREN EVERS
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[ THE BEST OF CANBERRA MUSIC - SINGLE/ALBUM] BLACK CYPRESS CROW’S NEST
Canberra’s Black Cypress has released track Crow’s Nest back in 2020. The song reflects a [ ] lilting, haunting amalgamation of folk, both traditional and modern, dark blues. Anchored to a hypnotic 6/8 time signature, Crow’s Nest offers a vast array of textures and tonal treasures. From the ethereal voice blend of siblings Rosie and Sam Harris to Huw’s eloquent fiddle playing, the song reaches for a sublime state and pretty much attains it. Underscored by dynamic use of acoustic guitar and voice, Crow’s Nest channels an ancient time without forgoing a very present articulation. One is immediately transfixed and transported. To where? It is certainly somewhere otherworldly, yet there is a somewhat familiar core intimacy at work here too, as attractive as the subtle melodic structures. The performances are self-assured and effortlessly compelling. Black Cypress is doing its own thing here; yes, it is in the folk vein but it floats around several different tributaries of that genre. The shamanic spirit is alive and well here, turning from steady guitar picking and strumming to the dense dreams of the fiddle, which seem to enclose the musical space with a very commanding ambience. Crow’s Nest works on many levels but it is perhaps the most effective when it is simply surrendered to. Just like the surrounds, the band have professed to wanting to reflect the
NISSAN: UNSTOPPABLE CEREAL SOUNDS [
]
NISSAN: Unstoppable, the artistic front for former member of Canberra band Pleased to Jive You Morgan Quinn, released album Cereal Sounds at the end of 2020. It’s yet another collection of sonic surprises; an array of hip-twisting, mind-bending, mood-inducing sound palettes that never ceases to be as unpredictable as the song titles promise.
Opening track Leaving Alice, balances on a blend of disjointed funk rhythms, wah guitar and rap-like crooning, reminiscent of something Beck may have conjured during his germinal incantation. Leaving Alice segues into Excerpt—though it must be said that the entire album is threaded by a series of segues—a brief slice-of-life interlude that includes ominous footsteps, a sliver of beat poetry over slide guitar, with a vista of drama providing a muted counter layer in the background.
remote wilderness areas. They have succeeded in usurping the flowing, primordial spirit and have channelled, through their significant talents, a sensory experience that, it seems, music is meant for. The band has stated the song is: ‘... atale of a lonely sailor battling through a vicious storm, experiencing the whole thing from up in the crow’s nest.’ And no doubt it is. But despite the dark aura of this track, it intones a sense of the cathartic too, as though the organic blend of instrumentation, voice, and melodic movement, at the end, are also a statement of the sailor’s survival. Crow’s Nest is an entrancing musical treat, and one well worth giving in to. VINCE LEIGH
Another caesura arrives with Down Bastard Alley, a sound-splice of warring voices, traffic and general urban chaos, which is usurped by the jaunty funk-pop of Party on Elm Street, one of the endearing tracks that contrast well with the more obtuse portions of this collection. Next track, Dr. Morsecode’s Error unassumingly begins with a plucked guitar until it morphs into another blend of the identifiable with the not-so; a rhythmically nebulous arrangement of sounds and melodic contours interjected by a series of studded snippets of arctic wind. A reprise of Excerpt precedes the final track When the Heat Strikes First and the Earth Moves Forward…, a quick-paced splash of funk set against a varied conglomerate of pleasing melodic infringements, beguiling vocal work, and usual litany of brash, stupefying choices. Absorbed in one session, Cereal Sounds makes for a salubrious indictment on NISSAN: Unstoppable’s untethered creative zeal, and perhaps most significantly, his artistic intransigence. VINCE LEIGH
There is another short interstice with Feeding Bell, which turns on the surprise factor of the album by surprising us with a direct correlation to the title: yes, a series of stark bells accompanied by seagull sounds whisks us away to the next song. What follows is one of the few tracks that allow for some easier accessibility (there are perhaps three of these, if one is to be precise), a piece titled The 5th Season, featuring a gravelly guitar intertwined with vocal bites, clumpy rhythmic textures, samples colliding with other samples until we reach a rather lazily luring melodic line before a final rap section.
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LUCIFUNGUS TRANSPYRAMID PROJECT [
]
You don’t necessarily have to be a fan of Lucifungus to appreciate this EP (though that does help) but merely an inquisitive connoisseur of the stoner doom slash sludge metal genre in general. The Canberra band’s new EP comprises of S.F.M, a cover which was originally performed by early ’90s doomsters Slug, as well as three versions of Lucifungus’ track Transpyramid from their album Derek released earlier in 2020. The EP’s opener is a multi-textured track; varying tempos, converging dynamics, split-tone guitar fire, with all these attributes imbued with the expected degree of unrelenting, apocalyptic subharmonic and pharaonic might. About half-way through S.F.M, the track seems to unspool into a heaving cyst of desolation, a devolving which is soon fittingly crowned with what is akin to a
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demented gothic choir; their paroxysms reaching into the depths of the abyss. And we can thank the wonders of glorious mind-altering distortion for a lot of this. The remaining three tracks, of course, operate within the same interzone as S.F.M, with the delineating aspects being alternate and additional vocal and guitar performances: Track two, version one, includes bonus vocals by members of Dr Colossus. Track three includes added vocals and guitar by Blackie from Hard-Ons and Nunchukka Superfly. And version four has vocals by Hiroyuki from Japan’s Sithter and Church of Misery, and guitar solos by Craig Westwood from Christbait, Dern Ruttlidge and The Ruiner. Quite the assembly of talent. Although the vocals are not the centrepieces here, the various hues and ornamental differences in the guests’ cadences can still be glimpsed. For example track three, where the performance is injected with considerable malice and manic veracity when pitted against track two, which evokes a rather more restrained attack, though an effective attack nonetheless. The Transpyramid Project is an aptly titled assembly, and should go a long way to appeasing Lucifungus’ legion of doom metal disciples. VINCE LEIGH
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[THE BEST OF CANBERRA MUSIC - ALBUM REVIEWS] HOPE WILKINS COFFEE CUPS
The debut EP for emerging Canberra singer-songwriter Hope Wilkins contains three previously released [ ] tracks, L.I, You & Other Drugs, and Fly for Me—all of which have received unanimous high praise—and two new songs, Bloodless and Coffee Cups. Actually, I might rescind my use of the word emerging; I don’t know why I and others use it anyway; it’s quite a vacuous descriptor, expired as soon as it’s uttered. Hope is not emerging. Hope is already here, fully-formed, beautifully haunting amid an expanse of guitar effusions and double-barrelled lyric projectiles, spinning in this fine balance of indie spark and mainstream fare. First up is Bloodless. A slow shuffle feel, ghostly guitar notes and Hope’s burning cadences, wonderfully restrained at this point in the EP’s narrative.
L.I follows, with its relatively optimistic tilt and countrylike effervescence despite the quite surprising, but no less enjoyable, expletive that turns this track into an outpouring with bracing grit. With You & Other Drugs, the heat gets turned up, with Hope’s voice augmented by some playful muted guitar spearheading the track and a series of vocal chants that will no doubt make a good departure point for some excellent artist and audience symbiosis. Hope’s last single Fly for Me is up next, a swirling acoustic guitar and vocal fragility that creates what is initially a sensuous sort of amalgamation that ascends into a maelstrom of soaring, crosscurrent lines and band dynamics. This segues efficiently into the last track, Coffee Cups, with its fiery stadium rock opening and high and low voltages throughout. Hope’s set finale? I bet. A perfect closer. It carries within its pulsing veins many of the stand-out characteristics of this artist who, despite this being a debut EP, effortlessly reveals an implacable emotional sophistication on every track. Coffee Cups the song is a musical peroration that certifies all that has come before; a series of tunes with affecting raw valour, flair and finesse. It’s music for the aching heart. VINCE LEIGH
SPACEMAN AFRICA THE MUSICAL I NEVER FELT SO ALIVE
Canberran writer and musician Spaceman Africa’s curious history would usurp most of the oxygen of this review if one allowed it. [ ] Followers of the Spaceman have compared his music to Lou Reed and Bob Dylan, which is quite a call, but nonetheless Spaceman has geared up for the release of this six track EP I Never Felt So Alive and the accompanying events, of which I will endeavour to provide some of the details. The EP launch was an online event spread over seven days featuring exclusive content. Each day featured a different song and a link to new and never before seen content, such as music videos, live performance videos, interviews, photos and behind the scenes footage.
As for the EP itself, at a glance, that is, upon first perusing the titles, one assumes a humour-laced musical ride is what is in store for us, and for the most part that is correct. This collection is eclectic, despite the fact that it operates within a constrained genre, one that is primarily raw sounding, guitar shepherded and performative-based, it is wild and vaguely subversive; yet it’s a deconstruction that’s imbued with an unadorned theatricality, which is expected I suppose, when considering Spaceman’s label of ‘musical’ to describe his EP release. There is a varied series of moods here, an array of constructs that will amuse, entertain, and perhaps even beguile, and this is no doubt the intention. A grab bag of musical flavours is consolidated by Spaceman’s transmuting vocal and a spread of narratives underscore these performances; one that refers mainly to the stylistic tics of rock but is not averse to adopting a few folk traits. VINCE LEIGH
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[THE BEST OF CANBERRA MUSIC - ALBUM REVIEWS] The new album for blues-rock singer-songwriter Owen Campbell follows three studio albums and several years of national and [ ] international touring. He’s had a number one album—Sunshine Road (2014)—and performed across the globe from the US to The Himalayan Blues Festival in Kathmandu, Nepal.
OWEN CAMPBELL THE ROLLING THUNDER OF LOVE
After listening to The Rolling Thunder of Love, it’s easy to understand why Owen has done so well. The album is a set of songs steeped in tradition yet offering a recalibrated version of that history—requisite instrumentation enhanced by intelligent production, admirable writing spiritedly communicated by Campbell’s ragged, ripened voice, all forged into an affecting, baronial landscape sans pomposity. From the semistomp of the opener Presidents’ Man to the contemplative gaze of the closer, Gentle Breeze, Campbell escorts us through this well-trammelled terrain with artful composure and skilful resolve. Some of the reasons this album makes it over
The new album from singersongwriter Dean Abbott comes in the wake of a series of singles, an EP, and [ ] no doubt a whole bunch of followers, fans, likers, and whatever else audiences are called these days.
DEAN ABBOTT LETTING GO
Letting Go is a uniformly determined and stable set of songs, compositing a sound and style and adhering to it throughout. And, of course, Dean Abbott’s voice—amiable and textured by a faint throatiness—is the governing instrument here, delivering in a persuasive, intimacy-suggesting manner the more disquieting nature of some of the themes explored. Because something of an unsettling nature indeed has happened here, with lines such as ‘I’ve done a lot of healing’. Part of our curiosity mixes with part of our own personal history and that folks, is when the transference is made. This is a record of heart-on-a-sleeve balladeering with a few reggaetinged tracks assigned the job of overall dynamic variance. At a sweep, this seems to work, offering the listener an opportunity to take a breather before entering the recurring realm of truth-telling.
the line relate to its breadth and depth; the unguarded application of a style, a well-honed, ageless style, one that never seems to lose its conjuring powers. Of course, one can detect the conspiring intimations of Campbell’s influences— let’s call them his forebearers— Springsteen, Dylan and co—and this embracement is absolutely fine and quite welcome considering Campbell’s measured, almost graceful appropriation of these fellow singer-songwriters’ artistic leanings. Yet one need not be a fan of Highway 61 Revisited or Nebraska to appreciate this rewarding collection of tunes. It convinces, not with argument nor with any kind of denuded, pop perversity but with inherent ease. Amid the varying temperaments and tempos and tenors of this assemblage are a few common threads; the elasticity of the guitar playing, the conscientious textures of the production (the reverbs, the drum sounds, the rational use of compression etc) and Campbell’s spired focus; a consistency of not only attitude (though this plays a critical part) but fallibility; a resolute frankness. And if I’m permitted to be frank, which I hope is not such a rare instance throughout the course of my musical excursions, I would suggest an impartial listen to The Rolling Thunder of Love; it will be entirely worth it. VINCE LEIGH
That is a particularly good part of my transference deal indeed. Thinking or feeling, either of these is acceptable. As highlighted in Love To Keep, there are some strong hooks welded to the sometimesearnest sometimes-candid words Dean conjures. But the focus is a thirst for communication. As in the track—and single—Dad. Communication and connection are drivers here. In a sense, they’re the drivers of the entire album; one senses, feels, hears this need in varying degrees but it all amounts to the same thing. VINCE LEIGH
Or something like that. And Dean is aware of the problem of truth, as he states in Love To Keep, one of the more melodically effervescent songs on the album and a wise choice for opener: ‘The truth was always hard to tell / what if I got it wrong and failed?’ Dean posits a curious theory about truth, and perhaps the omission of it: do we not reveal the truth because it’s just too difficult? And what if we do reveal the truth and that failure mentioned is merely a failure of acceptance, not of telling? Well, there’s one thing: this record got me thinking. facebook.com/bmamagazine
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THURSDAY 25 FEB SW Band Night pres. Neko Pink, ZUKO and LIV LI Free live music every Thursday at sideway. Aperitivo 5pm – 7pm; music from 8pm SIDEWAY Doco Of The Month: Finke – There and Back For the riders, the spectators and the town of Alice Springs, the Finke Desert Race is more than a race. Narrated by Eric Bana, Finke: There and Back explores what drives the riders to put their lives on the line when they strap their helmets on. Tix $12/$10; 6pm ARC CINEMA Band Beng Bing Bong Bung In these dark days of Covid, with scarce few venues for bands to play at, Smith’s wants to provide a space for emerging bands to have a go, to practice their stagecraft, play for their friends/supporters and, hopefully, develop their audience. Tix $10/$5; 7pm SMITH’S ALTERNATIVE Silentia Drummer-less Taliesin playing acoustic covers. From 7:30pm THE BASEMENT My Cousin Vlad — People Are Gonna Lose It Having been compared to Guido Hatsis, Nick Giannopoulos, The 12th Man, and SuperWog, My Cousin Vlad brings the funniest parts of European culture twisted with modern corporate professionalism in the most unpredictable way. Tix $40.95; 8pm THE COURTYARD STUDIO
FRIDAY 26 FEB Friday Matinee: Casablanca 10:30am, tix $12/$10 from NFSA website ARC CINEMA Shannon Noll Live The Australian icon Shannon Noll will be performing at The Abbey backed by his full band. The Aria award Nominated, 4 x Platinum artist will be delivering a high energy show full of surprises. Tix $81.94 – $93.49 from eventbrite. com.au; 6:30pm THE ABBEY FUNCTION CENTRE Gypsy Jazz Night - CanManouche CanManouche will be playing the sweet sounds of Django Reinhardt and other gyspy jazz from 7pm onwards. CanManouche call for other accomplished musos and PAGE 42
gypsy jazz lovers to join them in a jam after their house set. Free entry; from 7pm GANG GANG CAFE Sex On Toast Sex on Toast are an 6 - 8 piece explosion who specialise in raw early ‘80s funk, hard-edged new jack swing, blazing improvisation and heartfelt blue-eyed soul. Lady Denman support. Tix $34.92 from moshtix.com.au; from 7:30pm THE WELL KISSOFF The Australian KISS Show Silverback Touring encapsulate the essence of being a Kiss fan with KISS OFF – The Ultimate Kiss Party, which will pay homage to both the ‘70s and ‘80s eras. Tix $44.15 from oztix.com.au (VIP package option); from 7pm THE BASEMENT Arc Out Loud: Mommie Dearest – Bad Movie Bingo Continuing the series of interactive, ‘out loud’ screenings. Some films deserve hushed reverence and quiet contemplation… these are not those films. Tix $12/$10 from NFSA website; 8pm ARC CINEMA Bruce Mathiske: Guitar Artistry, Live Music & Live Art World acclaimed guitar sensation, and vibrant, exciting performer, Bruce Mathiske, adds the didgeridoo to his six string virtuosity, with percussionist/ artist Adam Manning, taking you on the musical journey of your life. Tix $42-$37 from venue; 8pm THE STREET THEATRE C.W. Stoneking — Solo It’s easiest to describe C.W. Stoneking as a blues artist, but the term disguises what makes his music special. It’s a 1920s pre-war blues sound, with helpings of New Orleans jazz, jugband music, hokum, country, and calypso, and he’s lately brought in elements of jump jive, early rock ’n’ roll, and gospel. Tix $54.95–$64.95 from venue; 8pm THE PLAYHOUSE Karaoke @ The Boardwalk Bar From 8pm THE BOARDWALK BAR & NIGHTCLUB Vinyl DJs From 8pm Spinning a variety of retro, jazz, funk, and more THE OLD CANBERRA INN Hip Hop Takeover w/ Sophiegrophy, NAØMI & Kilusan Tix from fctn.intix.com; from 9pm FICTION CLUB
SATURDAY 27 FEB The Story Of Film: American Cinema Of The ‘70s This episode examines the maturing of American cinema between 1967 and 1979. Tix $12/$10 from NFSA website; 1pm ARC CINEMA Film: Taxi Driver Tix $12/$10 from NFSA website; 2:30pm ARC CINEMA Pop! Goes the Muso Pop! Goes the Muso presents free, family friendly live music for your Saturday afternoon on the shores of Yerrabi Pond. From 3pm - 6pm YERRABI POND DISTRICT PARK Enlighten Festival: Enlighten Illuminations From 6pm – 11pm PARLIAMENTARY TRIANGLE The Miriam Lieberman Trio An enticing and uplifting musical experience with an accomplished and polished sound. Tix $32/$29 from venue; 7:30pm THE STREET THEATRE Fiona O’Loughlin — The Unreliable Witness Fiona lays bare her life and does not spare herself as she details the ugly reality of living with addiction and the harsh truth that recovery is not easy. Plus comedy. Tix $54.95 from Canberra Theatre; 8pm THE PLAYHOUSE Live Acoustic Sets From 2pm THE OLD CANBERRA INN Miss Ink 2021 From 8pm THE BASEMENT RedHook - Cure 4 Psycho The Sydney heavy mutants, with supports Spinning Plate and Sign & Symbols. Tix $17.97 from moshtix. com.au; 8pm THE WELL
SUNDAY 28 FEB Life with Paint Presents Happy Heifer - Afternoon Session A guided two-hour painting session from start to finish. No experience needed to have a fantastic time! From 3pm - 6pm THE BOARDWALK BAR & NIGHTCLUB Sunday Vibe Fiesta @ Sideway w/ Los Chavos + Friends From 3pm SIDEWAY
Caribe Havana Return Cuban Jazz, Dance, Chanting, Story Telling and Participation Cuban jazz, dance, chanting, storytelling and participation. Tix $35/$32 from venue; 4pm THE STREET THEATRE Life with Paint Presents Happy Heifer - Evening Session 6pm - 9pm THE BOARDWALK BAR & NIGHTCLUB Live Acoustic Sets From 4pm THE OLD CANBERRA INN
MONDAY 1 MARCH Enlighten Festival: Enlighten Illuminations From 6pm - 11pm PARLIAMENTARY TRIANGLE
TUESDAY 2 MARCH IQ Trivia Arrive 6pm for 6:30pm start THE OLD CANBERRA INN Enlighten Festival: Enlighten Illuminations From 6pm - 11pm PARLIAMENTARY TRIANGLE
WEDNESDAY 3 MARCH Old Timey Jam Luminaries from the local old timey/folk/acoustic scene will gather at Smith’s to lead an open session of Americana/old timey music. Free entry; 4pm - 6pm SMITH’S ALTERNATIVE Live Jazz From 6:30pm THE OLD CANBERRA INN Deep Sessions ft. DJ Liquid Sounds Enjoy some deep house and progressive sounds on the decks with amazing views of the lake during Summer. Free; from 7:30pm - 10:30pm THE BOARDWALK BAR & NIGHTCLUB
THURSDAY 4 MARCH SW Band Night pres. ENFANTS, Northbourne and Trace Free live music every Thursday at sideway. Aperitivo 5pm – 7pm; music from 8pm SIDEWAY
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Irma Gold: The Breaking Book Launch Join Canberra author Irma Gold as her debut novel, The Breaking, is launched by bestselling author Karen Viggers. From 6pm THE STREET THEATRE
FRIDAY 5 MARCH Enlighten Festival: Lights! Canberra! Action! The evening will shine a spotlight on Canberra’s talented filmmakers, who have each been tasked with creating a seven-minute short film exploring the theme ‘hope’ and incorporating 10 selected items. Free; 7pm - 10:30pm STAGE 88 John Mackey: Melting Pot – Wave Lengths Suite John Mackey’s World Premiere of the Wave Lengths Suite is an improvised series of movements dedicated to the ever-changing nature of our global community. Tix $35/$32 from venue; 8pm THE STREET THEATRE Karaoke @ The Boardwalk Bar From 8pm THE BOARDWALK BAR & NIGHTCLUB Owen Campbell Renowned local street musician and AGT’s ‘Angry Busker’, blues aficionado Owen Campbell returns to his hometown. From 8pm SMITH’S ALTERNATIVE
Monthly D&D and RPG Meet Up Want to learn to play D&D or another RPG? Play something new, or meet some other RPG players? We’ve got you covered with our monthly Saturday night meetups. $5 via eventbrite.com; 6:30pm 9:30pm REVOLUTION CD WODEN Classic Australian Albums: Polyserena by george Join Katie Noonan and Tyrone Noonan as we delve into the creation of Polyserena, the influences and styles, and the process of what made Polyserena a classic Australian album. Tix $25/$20 from nfsa.gov.au; 7pm ARC CINEMA John Sharkey III Record Launch Written and recorded amidst the devastating bushfires which ravaged his adopted hometown Canberra, just before the wave of pandemic broke, Shoot Out The Cameras reveals John Sharkey III to be a master craftsman. Support by Nick Craft. Tix $10/$15 from humanitix.com; 7pm - 9:30pm RALPH WILSON THEATRE Nights Of The 666 - 6 bands/6 line-ups/3-city minifest Beats Cartel has put together NIGHTS OF THE 666, a 6 band/6 line-up/3 city minifest featuring some of the best heavy acts from around the country. Supports Hekate, Hence the Testbed, The Narcissists, Grand Duke and Dead Lazarus. $25/$30 from oztix.com. au; 7pm - 11:30pm THE BASEMENT
Life with Paint Presents Autumn Evening Session THE BOARDWALK BAR & NIGHTCLUB Enlighten Festival: Symphony in the Park Back by popular demand, the Canberra Symphony Orchestra will once again be taking to the stage with BABBA to perform ABBA’s greatest hits. 6:30pm – 10:00pm STAGE 88 Larry’s Garage ft. Trent Rackus + Jack Burton, Clique and Waxlily The newly rebuilt Friction presents introduces Larry’s Garage, an exciting night of house and disco at the newly rebuilt Knightsbridge Penthouse in Braddon. From 9pm, tix on the door KNIGHTSBRIDGE PENTHOUSE Live Acoustic Sets From 4pm THE OLD CANBERRA INN
MONDAY 8 MARCH Enlighten Festival: Enlighten Illuminations From 6pm - 11pm PARLIAMENTARY TRIANGLE
TUESDAY 9 MARCH Enlighten Festival: Enlighten Illuminations From 6pm - 11pm PARLIAMENTARY TRIANGLE
Vinyl DJs From 8pm Spinning a variety of retro, jazz, funk, and more THE OLD CANBERRA INN
SUNDAY 7 MARCH
Science in the Pub International Women’s Day 2021 Come and hear six amazing local scientists sharing their research in short, creative talks. Free, register at smiths alternative.com; 6:30pm – 8:30pm SMITH’S ALTERNATIVE
Sunday Session with Paint Store From 3pm - 5:30pm SMOKEY HORSE
IQ Trivia Arrive 6pm for 6:30pm start THE OLD CANBERRA INN
SATURDAY 6 MARCH
Life with Paint Presents Autumn Afternoon Session A guided two-hour painting session from start to finish. No experience needed to have a fantastic time! From 3pm - 6pm THE BOARDWALK BAR & NIGHTCLUB
FEEL ft Blanke With supports Squeef, Kaliopi, Reubok and Toucan. Tix $32.23 from fctn.intix.com/; 9pm - 5am FICTION CLUB
The Gadflys Two Shows, 7pm and 9pm The legendary pub band who have had crowds dancing their arses off since the ‘80s, are hitting the Hume once again to bring their jungle rhythms and liquorice stick shrieks. $35 from venue SMITH’S ALTERNATIVE Enlighten Festival: Canberra Balloon Spectacular From 6:15am - 9:15am PATRICK WHITE LAWNS
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Live Acoustic Sets From 2pm THE OLD CANBERRA INN
Katie Noonan: Solo & Intimate 5 x ARIA award winner Katie Noonan’s technical mastery and pure voice make her one of Australia’s most versatile and beloved vocalists. Tix $49 from venue; 4pm THE STREET THEATRE
WEDNESDAY 10 MARCH Deep Sessions ft. DJ Liquid Sounds Enjoy some deep house and progressive sounds on the decks with amazing views of the lake during summer. Free; from 7:30pm - 10:30pm THE BOARDWALK BAR & NIGHTCLUB
Old Timey Jam Luminaries from the local old timey/folk/acoustic scene will gather at Smith’s to lead an open session of Americana/old timey music. Free entry; 4pm - 6pm SMITH’S ALTERNATIVE
THURSDAY 11 MARCH NFSA Livestream: Backtrack Boys Director Catherine Scott’s observational documentary follows participants of BackTrack Youth Works, the highly successful program which turns around the lives of at-risk young people. $5 from nfsa.gov.au; 6pm ARC CINEMA SW Band Night pres. Lady Denman, Lily Morris and Flik Free live music every Thursday at sideway. Aperitivo 5pm – 7pm; music from 8pm SIDEWAY Tommy Francisco, Chris Eaton and Anna Therese From 7pm THE BASEMENT
FRIDAY 12 MARCH BOYSCLUB Best For You Single Launch w/ Box Dye Sydney’s BOYSCLUB send off the patriarchy with a blast of furious, energised punk rock. From 5:30pm til late THE BASEMENT Mark Wilkinson: Hand Picked Vol 3 Album Tour Recorded on a farm in the NSW Southern Highlands, each song captured as a live take with one microphone, the natural setting of the surrounds adds a beautifully unique sonic texture. $35 from venue; 7:30pm THE STREET THEATRE Karaoke @ The Boardwalk Bar From 8pm THE BOARDWALK BAR & NIGHTCLUB Vinyl DJs From 8pm Spinning a variety of retro, jazz, funk, and more. THE OLD CANBERRA INN
Live Jazz From 6:30pm THE OLD CANBERRA INN
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FRIDAY 12 MARCH Solquemia Trio [Flamenco - Latin - Jazz] A night of Spanish guitar blending Latin + Jazz + Flamenco. Alejandro Florez from Solquemia welcomes back Aya Kitaoji from SENES Flamenco on percussion and vocals and introduces the young and talented Luke Koszański on guitar. $20-$25 + bf from humanitix.com THE QUEANBEYAN HIVE Sarah McLeod (Superjesus) One Electric Lady McLeod will be performing solo on her upcoming tour, and this powerhouse and self-confessed lover of touring has some seriously impressive plans for the shows. Tix $72.95 from oxtix.com.au; 8:30pm ROYAL HOTEL QBN Sydney Comedy Festival Showcase Boasting a line-up of Festival favourites and some of the freshest emerging talents including Cam Knight, Tom Cashman, Amanda Gray, Chris Ryan, John Cruckshank, Floyd-Alexander Hunt & Anthony Locascio. $40 + bf from venue CANBERRA THEATRE CENTRE
SATURDAY 13 MARCH The Teeny Tiny Stevies With irresistible melodies and helpful tips for navigating life’s little challenges, sisters Byll and Beth perform kids songs with a purpose and focus on acceptance. $20-$30 + bf from venue; 10:30am CANBERRA THEATRE CENTRE Escape Ferocity Present: Doppel - Eucalyptograph Launch Party More buttery than your nan’s pumpkin scones and more Aussie bush than Ned Kelly, Doppel is so Canberran he should be enshrined in bronze on Lonsdale St and rubbed daily for good luck. BYO day party. Tix $20.90 - $37.40 from humanitix; 1pm - 8:30pm BLACK MOUNTAIN PENINSULA Songs from a Stolen Senate 2pm & 7pm Following the hugely successful online stream, The Griffyn Ensemble have commissioned three more First Nation artists, including Ngunnawal custodian Richie Allan and hip-hop artist Jimblah from the Larrakia nation. $45/$35 from venue; show at 2pm & 7pm BELCONNEN ARTS CENTRE
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SENES Flamenco Ensemble Flamenco Dance & Music Experience the art of movement as SENES Flamenco Ensemble bring their live flamenco dance & music to Canberra for one night only. Tix $30 from venue; shows at 6pm and 7:30pm SMITH’S ALTERNATIVE
SUNDAY 14 MARCH
Pop! Goes the Muso Pop! Goes the Muso presents free, family friendly live music for your Saturday afternoon on the shores of Yerrabi Pond. From 3pm - 6pm YERRABI POND DISTRICT PAR
Live Acoustic Sets From 4pm THE OLD CANBERRA INN
Jan Preston: 88 Pianos I Have Known “Jan Preston is a crusader of the keys…she carries the torch for the piano culture.” Melbourne Age. $35/$32 from venue; 4pm THE STREET THEATRE
MONDAY 15 MARCH
Women Who Rock Show 3: In Support of Karinya House Part of the CBR Women in Music 3 Day Festival, Show 3 on Saturday starts at 8.30pm and features an amazing local line-up: Matriarch, Slagatha Christie, and The Black Souls. In honour of International Womens Day the artists are proud to donate a share of the door to Karinya House POLISH WHITE EAGLE CLUB
Selby & Friends Presents: Exotic Strudel Dubbed “chamber music at its best” (SMH), iconic Australian pianist Kathryn Selby AM brings Selby & Friends back to live, on-stage concerts. $77.50 - $59.15 from Ticketek; 7:30pm LLEWELLYN HALL
Touch Sensitive with Biblemami and Neko Pink Touch Sensitive is the ultimate triple-threat; as a producer, in-demand live performer and DJ, he’s a treasured slashie for artists and audiences alike. $49.90 from moshtix.com.au; from 6pm KAMBRI PRECINCT
IQ Trivia Arrive 6pm for 6:30pm start THE OLD CANBERRA INN
Live ‘n’ Local ft Clarity Of Chaos, Atrocita, Black Mountain, Blissphorus A night of hard and heavy music. $20; 7pm THE BASEMENT Joel Creasey’s Messy Bitch Tour Joel Creasey, Australia’s Crown Prince of Comedy, returns for another season of sauce and sass with his latest stand up show. $42 + bf from venue; 7:30pm CANBERRA THEATRE CENTRE Tim Freedman Solo Show Hot Autumn Nights 2021 Previewing three more songs from The Whitlams’ forthcoming album Gaffage and Clink, and also premiere reworkings of some of his favourite tracks from Joni Mitchell, Neil Young and Randy Newman. $55 + bf from venue; 8pm THE PLAYHOUSE Live Acoustic Sets From 2pm THE OLD CANBERRA INN
TUESDAY 16 MARCH
WEDNESDAY 17 MARCH Midnight Oil: Makarrata Live w/ Dan Sultan & Leah Flanagan Seeking to elevate The Uluru Statement From The Heart which calls for a Makarrata – or “truth telling” – to account for the theft of lands and displacement of First Nations people. $112 standard or $142.59 – $173.17 seated from ticketmaster.com.au STAGE 88 Deep Sessions ft. DJ Liquid Sounds Enjoy some deep house and progressive sounds on the decks with amazing views of the lake during summer. Free; from 7:30pm - 10:30pm THE BOARDWALK BAR & NIGHTCLUB Old Timey Jam Luminaries from the local old timey/folk/acoustic scene will gather at Smith’s to lead an open session of Americana/old timey music. Free entry; 4pm - 6pm SMITH’S ALTERNATIVE Acoustic Soup A monthly night of music and a meal! Local musical delights and a bowl of organic, vegan and gluten free warming goodness. $15-$10; from 7pm THE FOOD CO-OP SHOP & CAFÈ
Live Jazz From 6:30pm THE OLD CANBERRA INN
THURSDAY 18 MARCH SW Band Night pres. Moondog & W. Wade, Freelings and Special Guests Free live music every Thursday at sideway. Aperitivo 5pm – 7pm; music from 8pm SIDEWAY
FRIDAY 19 MARCH The Gruffalo’s Child The team behind The Gruffalo, Room on the Broom and The 13-, 26-, 52-, 78- & 91-Storey Treehouses return with The Gruffalo’s Child, bringing together physical theatre, music and puppetry to deliver songs, laughs and scary fun for children aged 3 and up, and their adults. Tix are $25 - $34 + bf from venue; 10am & midday sessions CANBERRA THEATRE CENTRE Mahalia Barnes - Early Show The powerhouse soul and blues vocalist. Dinner & show $89.80 from oztix.com.au; 5:30pm arrival, 6pm start ROYAL HOTEL QBN Karaoke @ The Boardwalk Bar THE BOARDWALK BAR & NIGHTCLUB Vinyl DJs From 8pm Spinning a variety of retro, jazz, funk, and more THE OLD CANBERRA INN
SATURDAY 20 MARCH Celebrate Gungahlin Festival Celebrate Gungahlin is a week-long celebration of all things Gungahlin from 20-28 March 2021. This multi-day festival will showcase the incredible wealth of talented individuals, fantastic artists, hard-working community organisations and diverse local businesses that call The G and its surrounding suburbs home. belcoarts.com.au/ celebrate-gungahlin/ VARIOUS VENUES, GUNGAHLIN Belco Speakeasy Comedy A night of quality, sparkling laughs from some of Canberra’s finest MCd by Felix McCarthy and featuring Emo Parsonson, Laura Campbell, Daniel Mehareb, Polly Hemming, Grant Follett, Joey Richards and Chris Ryan. Be warned; this has probably sold out! FLAZÉDA @bmamag
The Gruffalo’s Child Tix are $25 - $34 + bf from venue; 10am, midday & 4pm sessions CANBERRA THEATRE CENTRE The Song Company: Dances Of Passion Beautiful voices and exquisite harmonies in sublime song. $55/$45 from venue; 7pm THE STREET THEATRE Live Acoustic Sets From 2pm THE OLD CANBERRA INN
SUNDAY 21 MARCH Live Acoustic Sets From 4pm THE OLD CANBERRA INN
MONDAY 22 MARCH Recent Work Readings: Paul Collis and James Lucas (with Open Mic) As part of the That Poetry Thing readings and as part of the Poetic City Poetry Festival in Canberra, join us at Smith’s Alternative for the launch of two new Recent Work titles. Bookings from venue; 7pm SMITH’S ALTERNATIVE
Anh Do The Happiest Refugee - Live When one of Australia’s most talented comedians delves deep into his own life’s joys and sorrows, the result is an unforgettable night at the theatre. $69.90 + bf from venue; 8pm CANBERRA THEATRE CENTRE Live Jazz From 6:30pm THE OLD CANBERRA INN
FRIDAY 26 MARCH Gungahlin’s So Talented As part of the week-long Celebrate Gungahlin Festival, the contest will feature almost any performancebased talent – comedy, music, dance, poetry, you name it. From 6:30pm - 9pm GEORGE HARCOURT INN Mi Sex - Early Show Party like it’s 1980 when Mi-Sex brings its massive live show and unique blend of rock meets new wave, meets punk meets discotheque. Dinner & show $86.70 from oztix.com.au; 5:30pm & 8:30pm ROYAL HOTEL QBN
Creed Bratton (The Office US) Creed’s variety show includes live music, stand-up comedy and untold stories from both his life and time on The Office. 7:30pm THE BASEMENT
Drinking Lizards and \Metropolis/ ROCK The Basement! “Two of Canberra’s best rock acts on one night!” $15 from oztix.com. au/$20 on door; 8pm THE BASEMENT
TUESDAY 23 MARCH
Karaoke - Boardwalk 3rd Birthday Pajamas Party THE BOARDWALK BAR & NIGHTCLUB
IQ Trivia Arrive 6pm for 6:30pm start THE OLD CANBERRA INN
Old Timey Jam Luminaries from the local old timey/folk/acoustic scene will gather at Smith’s to lead an open session of Americana/old timey music. Free entry; 4pm - 6pm SMITH’S ALTERNATIVE Fangirls - The Best Pop Concert You’ve Never Been To A dazzling cast, witty dialogue, and infectious songs, it’s an ode to love that smashes all generational generalisations. Run til 28 Mar. $49 - $99 from venue; 7pm THE PLAYHOUSE facebook.com/bmamagazine
The Oils Tribute In an explosive energetic 2-hour live concert style Midnight Oils tribute show, the inclusive songbook takes you on a ride of pure oz rock nostalgia. $40 from oztix.com.au; from 7pm THE BASEMENT The Superstars of Country: Then & Now - Hayley Jensen and Jason Owen Two of Australia’s most popular singing stars come together for the first time in a spectacular new 2-hour showcase featuring songs from the biggest country music superstars of our time. $42.75 from venue; 8pm (6pm for dinner & show) CANBERRA SOUTHERN CROSS CLUB (WODEN)
SUNDAY 28 MARCH Live Acoustic Sets From 4pm THE OLD CANBERRA INN
TUESDAY 30 MARCH
Vinyl DJs From 8pm Retro, jazz, funk, and more THE OLD CANBERRA INN
IQ Trivia Arrive 6pm for 6:30pm start THE OLD CANBERRA INN
SATURDAY 27 MARCH
WEDNESDAY 31 MARCH
Pop! Goes the Muso Free, family friendly live music for your Saturday afternoon on the shores of Yerrabi Pond. 3pm - 6pm YERRABI POND DISTRICT PARK
Glenn Starr Sings The Songs You Grew Up With! Glenn Starr will flawlessly serenade you with memorable tunes from the 50s and 60s. $28 from Queanbeyan Performing Arts Centre; 10:30am BICENTENNIAL HALL, QUEANBEYAN
WEDNESDAY 24 MARCH Deep Sessions ft. DJ Liquid Sounds Deep house and progressive sounds. Free; from 7:30pm THE BOARDWALK BAR & NIGHTCLUB
Cy Fahey Thinking Man’s Bogan Described as an “engaging presence” (Chortle, UK), three-time Deadly Funny National finalist Cy Fahey has a weirdness and confronting sense of identity to his humour, but what else would you expect from a Malaysia-born Aboriginal that looks Greek? $20 from try booking.com; shows at 7:30pm & 9:30pm THE BOARDWALK BAR & NIGHTCLUB
Bandaluzia Flamenco Acclaimed modern flamenco ensemble Bandaluzia led by ARIA nominated Flamenco guitarist Damian Wright present a spectacular new show that showcases contemporary flamenco dance and music whilst displaying the essential characteristics of the flamenco tradition. $35/$32 from venue; 7:30pm THE STREET THEATRE Live Acoustic Sets From 2pm THE OLD CANBERRA INN
Deep Sessions ft. DJ Liquid Sounds Enjoy some deep house and progressive sounds on the decks with amazing views of the lake during summer. Free; from 7:30pm - 10:30pm THE BOARDWALK BAR & NIGHTCLUB Old Timey Jam Luminaries from the local old timey/
folk/acoustic scene will gather at Smith’s to lead an open session of Americana/old timey music. Free entry; 4pm - 6pm SMITH’S ALTERNATIVE Glenn Starr’s Hit Parade Through his beautifully-smooth vocal style, to the faithful and charming renditions of your favourite music and memories, Glenn sings the incredible hits of the 50s and 60s like they’re all brand-new. $47-$27 from Queanbeyan Performing Arts Centre; 8pm THE Q – QUEANBEYAN PERFORMING ARTS CENTRE Live Jazz From 6:30pm THE OLD CANBERRA INN
THURSDAY 1 APRIL Short Stack Joining Short Stack for each of their five headliner performances will be Australian pop-punk band Between You And Me. $59.90 – $99.90 from eventbrite.com.au; from 7:30pm FICTION CLUB Patrick Topping & Choomba The rescheduled Fiction 1st Birthday is finally here! Playing an epic 3-hour set. Tix from intix.com FICTION CLUB
FRIDAY 2 APRIL Karaoke @ The Boardwalk Bar THE BOARDWALK BAR & NIGHTCLUB
SATURDAY 3 APRIL Good Folk: Kristabelle & The Southern Jubilee Ringers + Den Hanrahan & The Rum Runners Good Folk is the scaled down Folk Festival event featuring 22 concerts over two jam-packed days in classic Queanbeyan venues. $30 from Queanbeyan Performing Arts Centre; 10:30am BICENTENNIAL HALL Good Folk: 19 - Twenty $30 from Queanbeyan Performing Arts Centre; 9:15pm THE Q – QUEANBEYAN PERFORMING ARTS CENTRE Good Folk: Chloe & Jason Roweth - Songs And Poems of Henry Lawson “Jason and Chloe Roweth are without question two of our finest interpreters of Australian traditional folk music.” – Ruth Hazleton. $15 from venue; 10:45am ROYAL HOTEL QBN PAGE 45
Good Folk: Alex & Annette Hood ‘A Tribute’ supported by Paverty Bush Band Featuring 22 concerts over two jampacked days in classic Queanbeyan venues. $20 from Queanbeyan Performing Arts Centre; 1:30pm BICENTENNIAL HALL Good Folk: Omar Musa with Guyy and the Fox Queanbeyan’s very own esteemed author, poet and rapper returns to the ol’ stomping ground. $35 from venue; 2:30pm THE Q – QUEANBEYAN PERFORMING ARTS CENTRE Good Folk: Stiff Gins with Kim Yang $40 from Queanbeyan Performing Arts Centre; 5:30pm BICENTENNIAL HALL Good Folk: Little Quirks Good vibes from the Central Coast trio. $30 from venue; 6:30pm THE Q – QUEANBEYAN PERFORMING ARTS CENTRE A Taste of Ireland – The Irish Music & Dance Sensation World-class Irish Dance show with new sets, costumes, tunes and effects. $74.90 – $109.90 + bf from venue; 7:30pm CANBERRA THEATRE CENTRE
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Good Folk: Fanny Lumsden with Montgomery Church 2021 Golden Guitar Awards “Female Artist of the Year” Fanny Lumsden is joined by the majestic Montgomery Church. $45 from Queanbeyan Performing Arts Centre; 8:30pm BICENTENNIAL HALL
Good Folk: Timothy James Bowen National Folk Festival is partnering with Queanbeyan Palerang Regional Council to deliver this COVID-safe, inclusive and innovative festival alternative for 2021. $30 from Queanbeyan Performing Arts Centre; 2pm BICENTENNIAL HALL
SUNDAY 4 APRIL
Good Folk: Kay Proudlove Emotional and witty, Kay is a Wollongong raised indie-folk singersongwriter with a remarkably agile, engaging, honest, soul-bearing voice and a wry, dry-ice sense of humour. $10 from venue; 2:30pm ROYAL HOTEL QBN
Good Folk: Chloe & Jason Roweth - Songs And Poems of Henry Lawson Drawing their inspiration from the warmth of old-style bush entertainment and folklore, the Roweths work with vibrant arrangements of new and old traditional Australian songs, poetry, yarns, and dance tunes. $15 from venue; 10:45am ROYAL HOTEL QBN Good Folk: Mikelangelo & The Black Sea Gentlemen The long-awaited return of one of Australia’s most enduring musical ensembles. $40 from Queanbeyan Performing Arts Centre; 11am BICENTENNIAL HALL Good Folk: Little Quirks Good vibes from the Central Coast trio. $30 from venue; 2:30pm THE Q – QUEANBEYAN PERFORMING ARTS CENTRE
Good Folk: FourPlay String Quartet This Easter weekend, Queanbeyan will come alive with a vibrant program of indoor concerts and outdoor entertainment as part of Good Folk – a folk experience in Queanbeyan. $40 from Queanbeyan Performing Arts Centre; 5:30pm BICENTENNIAL HALL
Good Folk: Kim Yang Trio Inspired by Joni Mitchell and Bon Iver, Canberra’s indie-folk singersongwriter Kim Yang writes songs that speak from her experiences as a partner, a woman, a traveller and an insecure soul. Her ethereal sound balances delicately between vulnerability and power. $10 from venue; 7pm ROYAL HOTEL QBN Good Folk: Kristabelle & The Southern Jubilee Ringers + Den Hanrahan & The Rum Runners Rounding out the Good Folk mini-fest in jaunty style. $30 from Queanbeyan Performing Arts Centre; 8:30pm BICENTENNIAL HALL Good Folk: 19 - Twenty $30 from Queanbeyan Performing Arts Centre; 9:15pm THE Q – QUEANBEYAN PERFORMING ARTS CENTRE
Good Folk: The New Graces With Montgomery Church $30 from venue; 6:30pm THE Q – QUEANBEYAN PERFORMING ARTS CENTRE
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[SPOTLIGHT]
Tennessee Williams’ Cat On A Hot Tin Roof / Theatre/ 18 Feb - 6 Mar / Canberra Rep In Tennessee Williams’ Pulitzer Prize-winning Cat on a Hot Tin Roof, the dysfunctional but wealthy Pollitt family gathers to celebrate aging patriarch Big Daddy’s birthday. For the Pollitts, the truth is as hazy as the late summer sun in Mississippi, and sometimes the only way to find it is to journey through the lies. $45 - $36 + bf; canberrarep.org.au/content/cat-hot-tin-roof
Australian Dance Party Presents: SYMBIOSIS / 5 - 15 Mar / Australian National Botanic Gardens A unique sensory work of illuminated live dance, music and spoken word from award winning dance company Australian Dance Party and collaborating artists on this exclusive after dark walking tour. This intimate open-air experience explores the volatility of the natural world in the age of the Anthropocene; an embodied study of symbiotic relationships: parasitism, mutualism and commensalism. Includes a Audio Description + Auslan interpreted show (Sat, 13 Mar, 6pm). parksaustralia.gov. au/botanic-gardens/do/whats-on/symbiosis-enlighten/
Enlighten Illuminations/ Visual Arts / 26 Feb - 8 Mar / Parliamentary Triangle Celebrating its 11th anniversary, Canberra’s beloved Enlighten Illuminations will again bring the Parliamentary Triangle to life after dark. Be immersed in stunning architectural projections displayed on some of Canberra’s most loved and iconic buildings. Programming starts at 5.15pm, with the architectural projections firing up from 8pm to 11pm each night. Use the Check In CBR app before you check out the projections at: Australian Parliament House, National Portrait Gallery, National Library of Australia, Museum of Australian Democracy, National Gallery of Australia, and Questacon. facebook.com/bmamagazine
UPCOMING ARTS EVENTS
You Want It Darker by Stephen Harrison / Art Exhibition / 5 Feb - 21 Mar / Belconnen Arts Centre Stephen Harrison has been a professional artist for over 35 years. Stephen Harrison uses a variety of materials and themes to express his ideas and thoughts. From evocative lighthouses to beaten WW2 aeroplanes and lonely thylacines, his work is inspired by many things including Shakespeare, animal rights, mythology, dreamscapes and comics. His continued drawing practice has been overshadowed by sculpture, especially bronze works. Check belcoarts.com.au/darker/ for opening times & more info
LAMB / Play by Jane Bodie/ 4 - 6 Mar / The Q - Queanbeyan Performing Arts Centre From multi-award-winning playwright Jane Bodie, and featuring original songs by Mark Seymour (Mark Seymour and the Undertow, Hunters and Collectors), LAMB is the story of one family on an Australian sheep farm, over generations — the guilt of those who left; the lost desires of those who stayed behind. Developed through Red Stitch’s INK program, LAMB is a new Australian play full of lyrical longing and humour. It is a story of the land, and of lies told and secrets kept to protect those we love. $57-27; theq.net.au/whats-on/subscriptions/lamb/
Fangirls / Musical Theatre 24 - 28 Mar / The Playhouse, Canberra Theatre Fangirls follows the uproarious story of Edna, a plucky misfit scholarship girl who believes that she alone can win the heart of the world’s biggest pop star; Harry. Sure, he has 38 million other fans, but for Edna, that’s merely a hurdle. Because there’s nothing she won’t do to meet Harry. NOTHING. With a dazzling cast (including Aydan from The Voice), inexhaustibly witty dialogue, and heart-pumping, infectious songs, it’s an ode to love that smashes all generational generalisations. Whether or not you’ve ever been a fangirl/boy it will move you and leave you with an involuntary grin. $49 - $99; canberratheatrecentre.com.au/show/fangirls PAGE 47
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