51 minute read
THE BEST CANBERRA MUSIC OF 2021
RETURN OF THE
SUMMER RHYTHM
FESTIVAL
By Joshua Eckersley
Pictured: Top - FunkyTrop, Top-Right - Muesli, Middle- Shadow Ministers, Bottom-Left - DJ Suz Da Fuse, Bottom Right - The Burley Griffin
On New Year’s Eve we will see the long-overdue return of the Summer Rhythm Festival, which is shaping up to be the biggest local event of the year. With a jam-packed line-up that showcases a diverse range of Canberra’s best musicians, you can expect a full day of fun, food, and festivities that will carry us through to 2022. This month we spoke with the dynamic live music promoter/musician duo behind the Summer Rhythm Festival, Rafael Florez and Dan Luton, about their dedication to bringing back good vibes this Summer. Those of us that have been around the block a few times may remember the original Summer Rhythm Festival from way back in 2009. It started as a one-day event with two stages, and over the course of three years it evolved, ultimately building into a three-day event with four stages, over 80 bands, camping, and market stalls. The festival was a grass roots and community-driven success story that was a well-remembered and often reminisced event in this neck of the woods.
So why, in 2021, are we now seeing the resurrection of Summer Rhythm? We ask the diligent Dan Luton, who started the festival as a fundraiser for a friend, after suffering a motorbike accident, and he told us. “Ten years on, we still encounter people who remember the original Summer Rhythm Festival as one of the best events of their life,” Dan enthused. “This is why we are reviving it in its essence, over one beautiful night this New Year’s Eve. The event will be staged in The Wedgetail Pavilion at Goolabri this year, which alone is worth the experience. It is the only permanently installed, engineered stretch marquee in the region, nestled into the bushland.” Rafael adds: “I was a huge fan of the original event, especially the musical direction which showcased bands that bridged the genres of dub, reggae, hip hop, blues/folk and world music. It saw some of the best dub/reggae bands in the country perform, along with the cream of Canberra’s live music scene.” It stands to reason that the 2021 New Year’s edition of Summer Rhythm will continue the celebration of life, positivity, and good vibes, with a swag of top-notch entertainment already locked and loaded. The dedicated duo has secured “a hand-picked and packed line up of diverse and amazing live music, with over 10 artists There will be camping available, food trucks, and community market stalls too. We’ve worked hard on the programming so there is a natural flow to the event, starting quite chilled for those attending earlier (including a children’s act) and then ramping up as we get closer to midnight.” And what have these brilliant boys got planned for the big countdown to midnight, I hear you ask? Dan lets slip that, “we will have a special midnight piñata ceremony to see out 2021 in style!” Rafael adds, “The midnight countdown will be orchestrated by local samba drumming group Raio De Sol, so that will definitely be a cathartic communal experience.” Joining Raio De Sol on the night will be The Decideds, Shadow Ministers, The Burley Griffin, Funkytrop, Muesli, Nice Good Things, and many more exciting local artists. The musical genres, ranging from Gypsy and dub reggae to Latin funk and blues presents an eclectic mix of world music that is deliberately ambitious and curated to inspire a broadening of people’s musical appreciation and overall experience. Rafael explains: “At every step of the process, the perspective of the audience is central, especially with this line-up. We hope the punters might know one or two of the bands playing but will be exposed to many more that they have never heard of before. This year is particularly varied, but still holds true to the good vibes and reggae seeds of the original festival. And given we’ve not been able to experience a music festival for ages because of Covid, this event is going to be extra special.” Dan further explains: “Summer Rhythm has always celebrated diversity in music. It feels good to create a space where people are invited to cross over and experience different musical genres as one. It’s great to co-produce this edition with Rafael, who always puts on really uplifting and diverse shows, and understands how to put together a great line-up that flows well.” WHAT: Summer Rhythm Festival WHERE: Wedgetail Pavilion @ Goolabri WHEN: 3pm, 31 December - 1am, 1 January 2022 TIX: For further information, visit bit.ly/summer_NYE
RAFE MORRIS on
DECIDED-LY NICE GOOD THINGS
By Joshua Eckersley
With Summer heating up (finally!!!) and live music getting even hotter, local legend Rafe Morris of The Decideds and Nice Good Things dropped into BMA Headquarters to spread his sunshine around the office, and give us the inside scoop on what’s cooking in the Canberra music scene this month.
Guitarist, singer, and composer Rafe Morris certainly enjoys the best of both worlds as he fronts two stellar bands with very different vibes. If you enjoy potent live music that get your blood pumping and your feet moving, look no further than The Decideds. They are a jazzy, funky, gypsy mix of upbeat party music that always gets the crowd dancing. Or, if you’re more like me (the handsome, humble, quiet type) and are fond of a chilled-out, folk-roots experience, you are also in luck, because Nice Good Things have got you covered there. The fact of the matter is, whatever your preference might be, Rafe has got the musical antidote for those persistent Winter blues, and thankfully he is bringing a double dose of good times with him to the Summer Rhythm Festival on New Year’s Eve. Whilst The Decideds started out with PAGE 30 the simple goal to play festivals and get big groups of people moving, Nice Good Things evolved a bit differently. Wanting to do something with a bunch of acoustic pieces, written mainly whilst living in New York City, Rafe enlisted some local talent to breathe life into the songs. “I had received some funding from artsACT to work with composers and arrange music for a string quartet to accompany my songs,” Rafe recalls. “For a few reasons, that project didn’t achieve what it set out to do. So when I came back to Canberra, I took a few elements of the string quartet (cello and violin) and was lucky enough to be joined by the fabulous voice of Chanel Cole. Now the band has grown into this super wholesome, super chill, super pretty, contemporary folk thing.” The highpoint for both bands this year will be sharing the limelight at the newly revived Summer Rhythm Festival on New Year’s Eve. With an amazing lineup of artists, Rafe is hoping to catch a glimpse of the other acts in between his own musical obligations on the day. “I love The Burley Griffin, and I’m also excited to see FunkyTrop for some Latin vibes. Sam Harris is great! Everyone is good! I’m excited to see them all!” Rafe enthuses. “Canberra has got an amazing music scene that punches well above its weight, and this line-up is a great showcase of that.” Rafe is no stranger to the Summer Rhythm Festival, having performed at the first run of fests with Canberra classic band Dahahoo, a super fun, high-energy dance group from back in the day. His eagerness and enthusiasm for the event has not diminished at all, as he tells us: “I’m super excited that the Summer Rhythm Festival is back. The parties out at Goolabri are always good, debaucherous fun, and these things have a strict ‘no dickheads’ policy, so everyone will be feeling good and up for a random laugh. We’ve got a pretty exciting midnight countdown surprise, and the after party will go well into the next day.” To add even more weight to this huge event, we are told The Decideds actually had their very first gig at Goolabri as part of the last New Year’s Eve celebrations. So, this will essentially be their 1-year anniversary, and what better way to celebrate than to get everybody up and dancing all night long. Let the party begin! WHAT: The Decideds and Nice Good Things @ Summer Rhythm Festival WHERE: WedgeTail Pavilion @ Goolabri WHEN: 3pm, 31 Dec - 1am, 1 Jan TIX: For further information, visit bit.ly/summer_NYE
THE MAGIC OF MONTGOMERY CHURCH
Contemporary folk duo, Montgomery Church is heading down from the snowy mountain ranges this month, to soothe our troubled souls with their unique brand of Americana and bluegrass-tinged country music.
By Joshua Eckersley
Cielle Montgomery and James Church, the couple that make up Montgomery Church, mix the essence of old-school country music with their own modern interpretations of bluegrass and folk, to create something truly alluring and distinct. Their influences range from country outlaws, Willie Nelson, and Merle Haggard, to the more recent stylistic trailblazers like Gillian Welch and David Rawlings. Much like their influences, Montgomery Church share a sense of nonconformity to musical norms, and a uniqueness that only comes when artists choose to walk the path less travelled, irrespective of overt commercialism. Having started from a chance encounter at the Academy of Country Music in Tamworth, Cielle and James were naturally drawn to each other, thanks to their complimentary abilities and somewhat unusual backgrounds. With Cielle’s heavenly vocals and solid guitar skills, matched with James’ mastery of the dobro and harmony vocals, the pair quickly started sharing music and songwriting together.
As James recalls: “It was a strange point in both of our lives. Cielle had a talent for singing but had only written songs sparsely. She had been a paramedic and I’d been a full-time tennis coach for 10 years prior to the Academy of Country Music, but I’d also been involved with bands and playing instruments since I was little.
“For both of us, our lives were changing at that exact point, together, and our paths met and went in the same direction. It was one of those
‘right place, right time’ kind of things.” PAGE 32 In 2018, their debut album In the Shadow of the Mountain was released, featuring 10 wellcrafted original songs, plus a live recording of Bob Dylan’s I Was Young When I Left Home. To help create the required atmosphere and poignancy that the songs demanded, the recording session was held in an old country barn in the NSW Southern Highlands, with producer Syd Green (Iota, The Stiff Gins, Dominique Fraissard). The second single from that album, titled Gonna Love Her All The Time earned the duo a substantial amount of attention and kick-started a momentum and interest that continues to this day. What followed was global radio airplay, a top-10 spot on the Australian Country Radio charts and, most excitingly, a Golden Guitar Award nomination for Bluegrass Recording of the Year. Not bad for a 100% selffunded, independent release. Now, after a long 18 months of writing and recording, Montgomery Church are set to release their second album, Where The Quiet Can Hide, produced by Grammy-nominee, Producer, Erick Jaskowiak, and featuring some of Australia’s finest instrumentalists, including Paddy Montgomery (mandolin), Isaac Gunnoo (double bass), Rachel Johnston (cello), Gabi Blissett (fiddle), and Syd Green (percussion). James tells us: “For this record, we made a dream-list of people we wanted to work with. The first person we thought of was Erick Jaskowiak, who was based in Nashville at the time. We talked about going over to record with him, but he was actually moving over to Australia, which was an extreme stroke of luck.” James adds: “He came over to our house to play music and see if the relationship worked, which was great, but then COVID hit, and he had to produce the album by proxy.” The end-result is a collection of 10 stellar country-folk songs that Cielle and James are bringing for a very special live performance at The Street Theatre. They are bringing the full band experience to ensure the new songs get the justice they deserve on stage.
James informs us: “We are playing with our band of double-bass, mandolin, and fiddle, and we’re really excited to be able to flesh the music out a bit and bounce off these other great players that we’ve got. We’ve also got Charlie & Jensen, a great duo, playing support for us, and they are fantastic instrumentalists and players that will also hop up with us to play throughout the show.”
In staying true to their roots, James leaves us with a little clue as to what kind of magic we can expect from the live show.
“Whenever we can, we all play around a single microphone, just like that old school bluegrass style which sounds so beautiful when everything is working right. It’s a really nice, responsive way to do things live.” Montgomery Church will be performing the Where The Quiet Can Hide Album Tour at The Street Theatre, on Friday, 11 February at 7:30pm. Tix are $27/$32 via thestreet.org.au @bmamag
Set Adrift with Bec Taylor and The Lyrebirds This month we caught up with Canberra’s very own musical chameleon to hear all about her debut album
By Joshua Eckersley
Bec Taylor has cultivated a reputation as one of the hardest working musicians in Canberra. Having spent years actively touring in the raucous punk band Glitoris, and the alt-pop band Fun Machine, she is now heading up a new project, Bec Taylor and the Lyrebirds, and this month they certainly have a lot to crow about (sorry, bad bird pun).
Her debut album Adrift, produced by Loius Montogmery at Infadel Records (SAFIA, Peking Duk) is finally ready to be unleashed after a long 15-month gestational period where the duo meticulously crafted each song into its own unique sonic landscape. The result is a masterful collection of thoughtful and pensive tunes that delve into the uncertainty, fear, and elation of these turbulent times.
“It’s not an overly chirpy album, and I think the pandemic and the anxiety I was feeling definitely came out in the song writing,” Bec reveals. “The song, Boat Without an Ocean, is directly about lockdown and that feeling of being stuck without anywhere to go. I’m really proud of this album and I’m excited to finally get it out.”
The journey of creating and releasing the album has been both challenging and fulfilling for Bec, and started with a pilgrimage to Nashville in 2019 to immerse herself in the song writing process.
“I always wanted to go to the song writing Mecca of the world and it was so inspiring for me. I thought, ‘God I’ve got to do a solo album!’ It’s taken a long time to have the confidence to be in the spotlight myself, as a frontwoman, because I’ve always played collaboratively, and I’ve loved playing in bands,” Bec tells us. “I was the drummer and singer in Glitoris and I played piano and drums in Fun Machine. In Bec Taylor and the Lyrebirds, I mainly play guitar and piano but the album itself was entirely recorded with just myself and Louis. I played all the instruments except for bass, which Louis is really good at.”
This impressive approach puts a whole new spin on the saying ‘If you want something done right, do it yourself’. It does, however, create a logistical problem when performing the songs live. Hence, Bec enlisted the talents of Hannah Beasley, Sam McNair, Sophie Chapman, and Clarke Finn to form the Lyrebirds and to animate and invigorate the music on stage. She couldn’t be more pleased with the new line-up, telling us:
“After we finished the album I thought, gosh I really want a band to play these songs live because suddenly there is all this interest in it.
“So, I got these musicians together and they are amazing! The songs have transformed with the full band experience, and it sounds very rich. It’s really lovely to hear the songs played by the Lyrebirds.”
Bec mentions the liklihood of a gig at the exciting notion of a newly relocated, newly refurbed, and newly opened Transit Bar in January, details for which are still being finalised.
But whenever and wherever it is, there will be merchandise on sale, with everything from vinyl to t-shirts and tea towels [which will be a mighty fine way to support the new Mum; congrats on the bub, Bec! - BOSSMAN ALLAN SKO] The new album, Adrift, is out now on Buttercup Records. Bec Taylor and the Lyrebirds are set to play Transit Bar on Friday, 21 January. Check venue for details closer to date. PAGE 33
GROOVY DAUGHTER I DON’T CARE [ ]
Canberra’s Groovy Daughter has followed fifth single, Harsh, with I Don’t Care. Early this year, Harsh attracted notable support from the industry. This included landing GD the coveted title of triple j Unearthed Feature Artist. Since the release of her debut Tyro Dreamer in 2018, Groovy Daughter has enhanced her performance profile. She did a series of shows with Slum Sociable, Thandi Phoenix, and Groovin the Moo. Never one to rest, during the 2020 pandemic, she took part in a series of online events. This included a performance on the IsolAid line-up alongside beloved singer-songwriters Courtney Barnett and Alex the Astronaut. Groovy Daughter has once again worked with Warm Water and Kay Ansah on this new release, fleshing out the fall-out from a soured relationship with an assortment of elements, including a sly groove, quirky percussion, atmospheric swells, and her sensual yet assertive vocal. Lyrically, Groovy Daughter pulls no punches on this latest. She utilises a terse series of proclamations to establish the title’s straight-shooting articulation. Most engaging is the unexpected sonic backdrop to the affirming decrees, the irony solidified by a high chill factor feel, with an ever-present muted guitar part eagerly acting as reinforcement. The vocal performance here is R&B flavoured. This helps intensify the lyric’s semi-eruptive spirit, putting smouldering dark layers to lines such as: I don’t care that you left me just maybe the lies And: I don’t care that you hate me Because you I despise If not fighting words, then very close. Juxtapositions just work. Consider the optimistic, love-filled chorus set against a minor chord sequence or a major set of chords underpinning a doomsday narrative—they fulfil our expectations to a point. That point then becomes the focus and, in turn, a more enticing musical experience. I Don’t Care employs this dichotomy. The chorus’ smooth melodic hook pulls one into the lyric’s defensive avowals, the emotional bruises well and truly on show but quite exquisitely ordered and revealed. REVIEW BY VINCE LEIGH / PHOTO BY MORGAN SETTE
Accomplished singer-songwriter AVA Martina heralds from the Northern Beaches of Sydney but currently resides in Canberra. AVA has recently released her debut EP, Peculiar Minds, and Ms Self Destructive is the lead track. What’s immediately apparent from this foray into some pleasing blues country terrain is AVA’s lustrous voice. It slides over the guitarbased backing, effortlessly providing a series of pacifying melodies. This compelling combination conjures a noon sprawl in the back garden, the sun marinating the air. What we have here lyric-wise is perhaps incongruous in this setting, referencing a self-defeatist state of mind that overstays its welcome. I guess that mental disposition is never really welcome; in some way, The Self is partly to blame. Said contradiction is certainly welcome here. Sad words with bright major based melodies—joyful declarations with dark, minor based melodies. This dichotomy typically works; the push and pull, the oscillating temperature, all converge and contrive to create a more nuanced creative device. And AVA has that going on here. A laidback pace, an effective dynamism, lyric lines that fall on certain sweet spots of voice and melody. This is enhanced by the gradational style of the accompanying instrumentation; neatly building, leisurely accommodating. The song’s centre, the chorus, manages to do a number on you. This steady, sustained charm is bolstered by a surprise. This comes in the form of an elevating second chord change that adds weight to that whole incongruity idea. AVA’s performance is dreamily consistent, perched and pitched at a euphonious, semi-sanguine emotional level without straying. The production bears mentioning too, with its discreet merging of acoustic elements with the machine kinds; persuasively used to conjure the track’s easy-going rhythm. Ms Self Destructive reveals an artist who is perhaps not so selfdestructive after all, with a charm that is almost irreproachable if it wasn’t so hopefully astute. The line that convinced me of this opens the second verse: ‘Can I keep my inner child alive?’ Indeed, it’s a valid question, wedded to an equally credible song. VINCE LEIGH
SAULÈ UNTIL THIS BLOWS OVER (SORE) [ ]
Canberra-based singersongwriter Saulé has been practicing and honing her craft for years, refining a brand of soulful indie-pop with every release. Until This Blows Over (sore) is the third single from her debut EP. The London-born musician has been influenced by artists such as Chicago, Regina Spektor, and Norah Jones, to name a few. Saulé’s new offering relies heavily on a highly persuasive, resonating element—her voice. The production is quite bare, divested of layers and studio trickery that might usually expand a sound, whether for diversion or illusion. The song is filled with the residual effects of Saulé’s tender, emollient tonal qualities. The nuances and subtleties are light yet salient, revealing deeper, denser ulterior constituents. For most of the track, Saulé’s vocal accompanies various textures. Electric and acoustic piano with a non-intrusive six-eight groove add support and rhythmic weight by the first chorus. There are the odd atmospheric additions also, significantly reverbed repetitions of some of Saulé’s lines that add to the residuals mentioned above. However, these merely morph into sonic dapples. An afterglow, if you will. The song’s melodic sway is perhaps not up for scrutiny. It’s just not that kind of track. Yet these parts are well-defined, with the sustained notes of the chorus carrying its more soul slash pop-hook tendencies to a pleasing resolve. What we’re listening to here is an altered form of intimacy. There’s a vulnerability that, ironically enough, one might discover on many self-assured, accomplished records. This track invokes the kind of intimacy that feels as raw as if it weren’t intended for us. The lyric might be the kind of collection of expositions left on someone’s voicemail, late, late, late at night. Who is that someone? Yes. That’s the key to it. The key to its transferability, its transparency and, ultimately, its efficacy. Until This Blows Over (sore) is bittersweet and tranquil, moodinducing, and a mood all of itself. VINCE LEIGH
IT’S THE CAM WILLIAMS BEST OF TV AND FILM ANNUAL EXTRAVAGANZA!!!
Yes, friends, it’s the best film and television series of 2021. Once again, we had a lot of time on our hands this year due to the thing that shall not be named. Yet somehow it was not enough time to watch the ridiculous amount of film and television on offer. If you’re still trying to catch up, here’s a list of stuff that’s worth your time.
BUMP
Stan hit Australia right in the heart with this charming series about the ripple effect of a teenager’s surprise pregnancy on her family and friends.
ONE NIGHT IN MIAMI
A brilliant hypothetical dramatisation of a real-life conversation between Cassius Clay, Jim Brown, Sam Cooke, and Malcom X.
LOKI
Fate and predetermination examined from the point of view of Marvel’s favourite trickster. One of the best sciencefiction series of the year, and one hell of a trip across the multiverse.
MINARI
A family is forged in hardship in Lee Isaac Chung’s sublime semiautobiographical film about South Korean immigrants who buy a farm in rural America.
SUCCESSION
Three seasons down and the Roy family continue to astonish with their petty power plays and extreme privilege.
HACKS
Jean Smart (Mare of Easttown, Watchmen) and Hannah Einbinder are a dynamic comedy duo in this hilarious series about a Las Vegas stand-up comic who tries to reinvigorate her career with the help of a younger comedian.
THE GOOD FIGHT
The spin-off of The Good Wife continues to outclass everything on television at the moment. The Good Fight is in its own league and tapped into the post-covid landscape brilliantly in its fifth season.
SQUID GAME
Bench the global phenomenon and the hype and just focus on the show, which is an enthralling dip into the financial extremes of modern life under the thumb of capitalism.
RESERVATION DOGS
Sterlin Harjo and Taika Waititi put their heads together and conjured the best teen comedy/drama series of the year. Universal teenage woes play out on an indigenous reservation in rural Oklahoma.
GET BACK
Peter Jackson’s 8-hour documentary about The Beatles is a joyous immersion into their creative process, and an insightful look at the creative forces within the band. Release the 60hour version you cowards!
THE MITCHELLS vs THE MACHINES
A kooky family road trip in the middle of the robot apocalypse brought to life with inventive animation from the same folks who made SpiderMan: Into the Spider-Verse.
HONOURABLE MENTIONS - Why Are You Like This - Invincible - The White Lotus - Only Murders in the Building - Star Wars Visions - Preppers - How To with John Wilson
As keen readers of BMA Magazine can attest, Vince Leigh has been an absolute workhorse in 2021. He’s one of the best music writers I - Bossman Allan Sko - have had the pleasure of working with. He has lovingly cranked out review after review of considered, erudite, passionate, and well crafted words, the reading of which is a highlight of this ragged Editor’s job. As such, it was only right we asked Mr Leigh for his favourite tracks for 2021. Read on, and rock out!
True Seekers by Sleigh Bells
The duo returns with a seamless convergence of electro power pop, swirling with gorgeous synths, muted guitar brilliance, and big hit worthiness.
Crutch by Band of Horses
The new one for the Seattle group does not disappoint. A carefree and brisk wildfire of sweet melodic spots and Ben Bridwell’s typically endearing vocal spark.
Stacking Chairs by Middle Kids
This song sounds as if it comes from the depths of rock history, a record reinforced by restraint, allegiance, and a quiet emotional power.
The Fine Line of A Quiet Life by FUR
This steams ahead like an unstoppable pop rocket of glam and retro rock with dashes of The Strokes.
A Hero’s Death (Live) by Fontaines D.C.
A bit of Irish post-punk from the 2021 release Live at Kilmainham Gaol. The opening refrain of ‘life ain’t always empty’ initiates a welcoming stream of raw sentiment. ‘Never let a clock tell you what you got time for’, indeed! It unfurls and unfurls like the most unlikely of messages.
How Not To Drown by CHVRCHES (feat. Robert Smith)
CHVRCHES are consistently notable and this, featuring Robert Smith’s trademark touch, makes for an utterly irresistible piece, with a monster downtempo groove and tantalising melodies.
Hometown by Sea Girls
Utilising the same gregarious melodic heights as U2 and Coldplay, Sea Girls add a layer of grit and excitable invigorative energy, finessed with a classic guitar choke hold.
Seventeen Going Under by Sam Fender
A coming-of-age rock pop embedded tale, Seventeen Going Under’s measured abandon is highlighted by an assured vocal and an almost tender, rueful lyric.
It Won’t Always Be Like This by Inhaler
Another Dublin outfit, merging the high-flying melodics with a spirited, gallant rock stance.
The Angel of 8th Avenue by Gang of Youths
A neo-Springsteen meditation, continuing the band’s poetic drive and strident rock delivery.
DMC Canberra-based music MEMORIES artist DMC has a new [ ] release titled Memories. The single is his fourth and is already attracting attention, with triple j calling it, “supercatchy… a real jangle-pop nugget”. Memories utilises some of the same sonic nuances noted in DMC’s last single Searching but expressed in a somewhat less sombre, open-eyed tone. Memories is DMC reflecting a seemingly more joyful and whimsical state. From the onset, with the buoyant bass line introducing the equally insouciant drum groove and funk-pop style guitar flourishes, the track establishes a free-flowing, easy-going centre from which DMC’s celebratory dispatch reveals itself. The jaunty nature invokes a somewhat naïve musical sensibility; fittingly, one might argue, considering the man’s declarations and outpourings. The opening lyric of the chorus will undoubtedly get hijacked by besotted bliss seekers everywhere. If one needs to proclaim the statement, ‘I’ve been thinking about you again’ through the conduit of a pop tune, look no further than DMC’s latest. The chorus goes on to refer to memories ‘trapped inside my brain’. The negative connotation of ‘trapped’ echoing the unconscious regurgitation of fresh, head-recalibrating imagery associated with discovering the complexities and sledgehammer effect of romantic convergence. Or indeed, yes, love. Aye, this is what DMC is reliving; sanctified moments. But perhaps ones he obviously has no hold over. And just as this sense of control loss has impacted DMC, and the lyric’s cleansing tone, the musical accompaniment also attempts to mirror the somewhat wild nature of the oncelived experience. There are moments between the upswing of the chorus when the sparse production and the restrained instrumentation allows DMC’s vocal to attain a conspicuous level of intimacy that one can easily perceive as authenticity. And rightly so; this is how the song weaves its way into your brain. The track’s hook encompasses a totality. It is not necessarily concentrated in one area but instead strewn all through its quixotic temperament. It’s feather-light and modestly honeyed, making for a solid pop experience. VINCE LEIGH
JACK BIILMANN THE DEVIL’S GOT A BED [ ]
Jack Biilmann’s new single, The Devil’s Got A Bed, is taken from his latest album, Full Circle. The track is raw, gritty, and simmering with an inauspicious kind of playfulness. A guitar-driven roots, blues, and rock showdown whose dynamics and carefree heat allow Jack to veer from the low, almost spoken cadences to the rock-edged palatable rasp of the chorus. A straight time feel is augmented by an off-in-the-distance percussive pulse, as well as some earthy, rousing handclaps, that push into a territory that reflects the thematic side of the song. It’s a western gothic; visions of dry, dusty terrain, steeped in myth and classic metaphor. A highlight, of course, is the care given to the guitar work as it weaves its way through the track, establishing the central musical motif initially, then adding texture, character, and another fervent voice alongside Jack’s vocal. In the chorus, it redoubles the melodic line, intensifying both the sound and the mood. ‘The devil’s got some vacancies, the devil’s got a bed for me,’ Jack sings. Indeed, I suspect the devil is open for business most of the time. If this track is exploring the precarious nature of temptation, or perhaps even further down that road, regret, then it certainly sounds like it. By the time the last run of choruses arrives, we’re sure some diabolical action has taken place. But we’re not sure what. The chorus vocal lines are doubled yet again. This time there’s gang chants, reinforcing the dark elements by clouding the nuances with a layer of dishevelment. It’s as though the voices were embodying the very nature of the tension at the heart of this narrative. ‘What you see ain’t what you get’, another line warns. And that’s the case here. Jack Biilmann’s latest not only brings to light some expressive and impressive musicianship but uses that light to create a saturnine yet immensely immersive musical trip. VINCE LEIGH
TRACK IN FOCUS
HOPE WILKINS MY HEAD (I’M NOT SORRY)
Following the release of her acclaimed debut EP Coffee Cups in late 2020, Hope Wilkins spent the past year selling out a string of live shows, gaining airplay on triple j, as well as receiving a nomination for the Best Live Act in the ACT at the National Live Music Awards. Her new release, My Head (I’m Not Sorry), reaffirms not only her considerable songwriting skills but also ventures down a more roots flavoured road. The song eschews an instrument-driven production in favour of a bare-bones, low-key variation of her previous endeavours. This style reflects the nature of the song; a personal self-assessment. The assessment is more effective when not coming up against competing sound sources or inessential elements. That’s not to say that My Head (I’m Not Sorry) is without embellishment altogether, though. There are a series of striking vocal harmony parts, most poignantly used post bridge section before the resolving chorus cycle. There is also a suite of light touches including pads, additional guitar lines, and the recurring vocal chant effects. These enhance the idea of the internal with a very external embodiment of the stated declarations. A subtle jazz-blues like strumming style via an acoustic guitar establishes the rhythmic pulse of the track early on. This becomes the underpinning groove around which the song evolves. The verses flow effortlessly into the chorus, which ascends to its crowning line after a cleverly appropriated use of ‘sorry’, which one can easily imagine an audience finding allegiance with. Yet, this seemingly innocuous apology is turned on its head with the end line. It’s an admission that sounds more like a reflection of self-discovery. Hope’s voice is finely attenuated to this realisation, with the verse’s subtle confluences differentiating fluently with the chorus’s admissions. My Head (I’m Not Sorry) lures in the same way it appears to comfort. It eases you into moments of introspection that are awash with pleasing musical motifs that seem both rejoiceful and consoling. REVIEW BY VINCE LEIGH PHOTO BY CLAIRE WARREN
NORTHBOURNE FLATS TOO MUCH TO ASK [ ]
The fourth single, and first in over a year for Canberra band Northbourne Flats, is Too Much To Ask. The new one follows Paralysed, which featured vocalist Ruby Delgado and helped to broaden the folk-rock band’s established sound palette. The latest track also coincides with Ruby officially joining the band. Too Much To Ask makes for a fluid transition from Paralysed, one that harnesses more of the band’s altrock tendencies. A striking feature present is the band’s ability to merge these inclinations with the melodic sensibilities of folk. The rhythmic energy on display is a blend of lightfunk rock and blues. Every section of the song contains this dual-mode. Whether it’s the verse, chorus, or bridge, the melodies are imbued with a feeling of yearning. Suspended in a state of unquietness. It’s a striving for an elusive emotional corroboration that’s somewhere beyond the abstract. The lyric featured in the chorus, ‘is it too much to ask that we remain friends?’, embodies this sense, turning our attention towards the interior. This is what Northbourne Flats seem to do quite effortlessly. Their performances is on par with the intensity of those inner workings. The vocal work, in particular, is notable for its power to rouse our attention through restraint and repose. A slew of dynamics are also on show here. The surprise bridge section— the lead vocal accompanied by a lone guitar—is a particular highlight, as though stripped of all accoutrements, the song’s pure mechanisms are brought into stark and thoroughly disarming relief. The surprises continue with the chorus end utilising a modified rhythmic emphasis, one consistent with the natural progression of the chorus’s reappearance. The vocal layers and harmonies, an essential and perhaps defining aspect of the band’s sound, is evident on Too Much To Ask, elevating and substantiating the song’s focus, and coating the record with a sophisticated sheen. Yet, the raw bite of the intimate is still what’s most persuasive and most sustaining about Too Much To Ask. VINCE LEIGH
CHINS ELOISE IS CRYING Canberra-based Chins dropped the follow-up to [ ] their last single Back in the 80s, released earlier this year. The new one restates the governing focus of the band, an amalgamation of raw edge and dream pop melodic overlays, and features Madie Cook’s vocal at the helm once more. It’s a straight-ahead, forward motion groove here and one significantly blanketed by a dual guitar approach. In fact, the ‘signature’ sound of the track—aside from Madie’s voice, of course—is a reasonably wellmodulated guitar sound. A flange or a phase kicks off proceedings with a few rounds of an innocent enough chord progression. This segues into an all-firesburning condensed power riffing that one imagines would initiate a decent crowd swell. But we’re soon taken back down, with the verses displaying the band’s penchant for writing memorable melodic lines. When casually and intuitively applied, these create an effective foil for the bustle of the band in full flight. The alternate tom-based drum groove helps distinguish the parts and adds a sliver of primal colour. One can determine the chorus’s strength after one pass, with the third in particular (and the chord beneath it) carrying us on a charged-up sustained ride through to the cycle’s end. The inherently strange punk beauty of Madie’s unenhanced vocal on Eloise is Crying—evident also on Back in the 80s—specifically in the tail end of the chorus, is in keeping with the modulation theme of the track. There are curvatures and inflexions that are more like emotional waves rather than a pitch-perfect assignation of the target. And anyway, who wants that? What is the target? There is none. It’s an outpouring, a grief machine, rendering the unrenderable in an abstract fusion of sounds. The verse-chorus times two arrangement on Eloise is Crying is cleaved by two musical interludes, highlighting extemporaneous seeming guitar work, one elevating a heavily reverbed melodic line, the other a series of funked-up chord flicks. It’s then back to the chorus, which sees the track out—the only fitting way to end the song after all. Eloise is Crying is a worthwhile addition to the band’s growing output, reasserting their creative energies through a bracing, more than meets the eye new track. VINCE LEIGH
KIM YANG BRAVE EP
Singer-songwriter Kim Yang has released her second EP, Brave, a project partially funded by artsACT. The EP launch will be held at The Street Theatre on Friday, 17 December 2021.
Since 2019 Kim has played many festivals, including National Folk Festival, Enlighten Festival, and Floriade. She also released her debut EP Ocean of Mind. In 2020, despite the global pandemic, Kim released a bushfire tribute Garden of Eden, and Dominoes, which premiered on triple j Roots N All. Kim recently performed at the Stage 88 Australia Day Concert, Carole King’s Tapestry Concert, TedxCanberra Women: Fearless, and sold out her headline show at Good Folk 2021.
She has also joined artists Tori Forsyth, Josh Pyke, and Ben Lee on their respective Canberra tours. All of which have lead to the Brave EP.
Both tracks mentioned above feature on the new release, a collection of songs that reveal the various stylistic shifts of Kim’s writing. The EP’s opener, Brave, explores self-preservation, utilising a series of strong melodic lines to enhance the blue though a not disconsolate undercurrent of the lyric. The verse melody is reminiscent of a 1960s classic folk-pop tune. Its abstract magic instantly takes hold of you, providing a welcoming point of entry into Kim’s world.
Dominoes, the following track, reveals a more subdued folk approach at play, the restraint of the verse and chorus parts wedded to the circuitous acoustic guitar chord progression. Its prominent notes add another hook and further emotional pull. Garden of Eden is the EP’s most powerful testament to Kim’s creative energies, undoubtedly because of its autobiographical nature. The track’s stark fragility works in tandem with the rawness and clarity of the lyric. The EP’s closing track, Fantasy, harnesses a more personal angle. When coupled with the easy shuffling groove of the musical accompaniment, it feels less dramatic but no less authoritative.
Kim’s narratives are perhaps as critical as her melodic creations, mining the personal to achieve a relatable balance, with universal appeal a natural consequence. This idea is perhaps most notable in Dominoes, with lines like, ‘We build our own roads’ and ‘We will find our path when the time comes’, both of which one might absorb as subliminal hope and connect with more directly. Either way, Kim’s inner quests and discoveries are our delectations.
REVIEW BY VINCE LEIGH PHOTO BY CHRIS WALSCH
Angela Lount & Wayne Kelly Lunchtime live music in the Civic centre as part of the Lunchbox Acoustic series. 12pm - 1:30pm CITY WALK, NEAR MERRY-GO-ROUND
David Helfgott in Concert Celebrating the 25th anniversary of the Academy Award winning, Australian film, Shine, the 74 year-old is a national treasure, awarded an Order of Australia Medal for his service to the performing arts following a career spanning seven decades. 7pm CANBERRA THEATRE
Live & Local Thursday - Carnival Road & Craig Williams Carnival Road is a Canberra based original band, performing a special blend of folk/blues/roots/alt rock. Craig Williams performs as a singer/guitarist, known for his pleasant vocal quality and unique signature when performing both covers & original material. 7pm, $15 + bf via Eventbrite HARMONIE GERMAN CLUB
Fundamentals Christmas has come early as Fundamentals is back to bring you some festive lols in mid-December. This month’s show features Canberra scene legends Anthony Tomic and Taylor Coughtrie. 7pm, $20 via venue SMITH’S ALTERNATIVE Christopher Samuel Carroll’s One-Man Play - The Stranger Renowned as one of the great character studies in modern literature, The Stranger is Nobel Prize winner Albert Camus’ masterpiece. One of Canberra’s most celebrated actors, Christopher Samuel Carroll, delivers a performance of searing intensity in this solo adaptation of a modern classic. Two new shows, 16 - 17 Dec. 7:30pm, $25 - $30 via Humanitix RALPH WILSON THEATRE, GORMAN HOUSE
JEP at Blackbird Bar Canberra’s most in-demand jazz trio is back at Blackbird with their chill grooves and hypnotic beats. 7:30pm, free BLACKBIRD
Santa’s Comedy Sack Live comedy show featuring Daniel Townes with local back-up and MC Cy Fahey. 8pm, $20 via Trybooking BOARDWALK BAR BELCONNEN
FRIDAY 17 DEC
Vinyl DJs From 8pm Spinning funk, soul ‘n’ more THE OLD CANBERRA INN Jim Dusty (Single Launch) Canberra icon Jim Dusty releases his new single with help from friends. 7pm GANG GANG CAFE & BAR
Hiatus Kaiyote - Mood Valiant Album Tour Hiatus Kaiyote returns in 2021 with their new album. 7pm, tix start from $49.90 via Moshtix UC HUB
Kim Yang: Brave EP Launch Kim’s ethereal blend of sounds balances delicately between vulnerability and power. Performing with a 5-piece band, plus support from The Burley Griffin’s Evan Buckley. 7:30pm, $25/$30 via venue THE STREET THEATRE
Welcome To Friday (WTF) Live Music - The Chris Harland Blues Band Every CHBB set remains a memorable, musical event, revisiting the best of the Blues standards: B.B. King, Buddy Guy, Muddy Waters… the list is long, the excitement sustained. 8pm, free entry CANBERRA IRISH CLUB
Smith’s Irish Jam Some of Canberra’s finest exponents of trad Irish tunes gather for a jam. 5pm, free SMITH’S ALTERNATIVE FEEL Presents - Touch Sensitive The man with an ear for hooks and impeccable taste will be joined on the night by Unknown Avenue, Burg, Aunty Daniel, and Kaliopi. Tix are $16.57 - $27.01 depending on when you get in, available from fctn.intix.com FICTION
ONE22 1st Birthday - Boogs Disco Set Hailing from the lovely city of Melbourne, the legendary Revolver Upstairs and Thick As Thieves resident, Boogs, makes his way back to the booth to celebrate the big first birthday. With support from Gate Five, Chloe Maguire, Amando & Don Worry, and Wally. Paid entry will commence from 9pm ONE22
SATURDAY 18 DEC
Frank Sultana Frank Sultana joins OCI for a free, all ages set. 1pm OLD CANBERRA INN
Smith’s Summer Series: Scroggin True to their namesake, Scroggin play an eclectic, high-energy mix of delightful morsels both savoury and sweet. Well-rooted in bluegrass standards, they also branch into Celtic folk, Australiana, and Western swing, with a sprinkling of country songs for more sombre moments. 2pm, $10 via venue SMITH’S ALTERNATIVE
Ross Noble - 2021 Comeback Special With an on-stage presence like no other, Ross Noble’s exuberance, spontaneity, and cerebral style have established him as one of the world’s best-loved comedians. 8pm, tix $54.90 via venue CANBERRA THEATRE
Kirklandd - The SUCCESS $TAINS Live Series Following a recent co-sign from T-Pain and his new release, SUCCESS $TAINS, Kirklandd unleashes his Canberra show for the release, with able support by ARCHIE & Lil Spacely. From 6pm, $23.18 via Moshtix UC HUB
Headz Are Rolling Present: Jungle Bells III A massive line-up of D&B delectables: Crooked Sound, System, Tidy, Samwise, Moonstompa, DanFran, Xujih, Raggz2Riches, Rascal, Gamacell, Mariana Dub, Karuna, Fourthstate, DJHRH, and KeySeismic. You get all these fine people for a humble $20 + bf change via events.humanitix.com POT BELLY BAR
Crown Ruler - Ruby Savage & Zjoso The Wildheart label creator and former Brownswood Recordings label manager Ruby Savage is joined by stablemate and Tribqu founder Zjoso. Supported by Frasier Brigz. $20 - $30 + bf via Humanitix SIDEWAY
Jack Phemister & The Wine Tasters With Charlie Violet and adelaidethegirl, enjoy an evening of original, and beautifully crafted folk/jazz/rock music from some of Canberra’s finest writers. 7pm, tickets $20 - $25 + bf via Humanitix HIGHROAD Kilroy (Single Launch) Guitar pop dreamboats Kilroy release their new single with help from friends. 7pm, $17.35 via Oztix GANG GANG CAFE & BAR
Polo Party! Featuring the 8-piece explosion of Latin reggae energy that is Los Chavos; the sublime rhythm engine creators Kopasetic; the boots n all rawness and real pub floor abandon of Nina Leo; and the catchy guitar riffs and unapologetic lyrics of 5-piece punk rock band The Dirty Sunflowers. 7:30pm - 11:30pm, $25 + bf via Trybooking THE POLISH WHITE EAGLE CLUB
HYG A psychedelic journey that transcends time and sound. Yours to experience. 9:30pm, $10 via venue SMITH’S ALTERNATIVE
Paco Lara Australia’s own Spanishborn, critically acclaimed flamenco guitarist, Paco Lara, presents a wondrous evening of Spanish guitar. Special guest Angelica Casado is a Canberra-based flamenco dancer. 5pm - 7pm, $30/$35 (sold out at time of publishing, check venue for cancellations) SMITH’S ALTERNATIVE
Canberra Blues Society Xmas Party Blues Jam The Jam will be hosted by The Cyril B. Bunter Band. Join in the end of year celebration, with Xmas raffle, Marymead Giving Tree, and some of the region’s best musicians jamming together for a great afternoon of live blues music. 1pm-4:30pm, $5/$10 + bf HARMONIE GERMAN CLUB
Cathy Diver @ Queenies Cathy Diver plays a free all ages set at Queenies. From 2pm QUEENIES (KINGSTON)
Smith’s Summer Series: Bella Groove Get set for Sunday afternoon jazziness as Elise Walsh leads Bella Groove, her soulful voice and smooth flute playing complimenting the music perfectly. 2:30pm, tix $10 via venue SMITH’S ALTERNATIVE
Live Music @ Edgar’s Pub Live Music in Edgar’s Beer Garden every Sunday 3-6pm EDGAR’S PUB
Sunday Summer Sessions Sunday afternoon tunes on the deck. From 3pm CANBERRA IRISH CLUB
Frank Sultana Frank Sultana plays a free, all ages set from 4pm DICKSON TAP HOUSE Renae Stone Renae Stone joins in for a free, all ages set at OCI from 4pm OLD CANBERRA INN
Alpha Wolf - A Quiet Place To Die Australian Tour Destroy All Lines & Greyscale Records Present Alpha Wolf with special guests Diamond Construct and more. 7pm, tickets $34 via Oztix THE BASEMENT
The Tuesday Weld Experience + Family Therapy A Sunday double dose of local music! The ‘Weld Experience is all about original music; with maybe a nod of the head to Paul Kelly, and Mick Thomas & Weddings Parties Anything. Family Therapy are an alt-rock 4-piece band from the nation’s capital. Expect inspiration from the likes of Nirvana, Queens of the Stone Age, and the Ramones. 7pm, tickets $10 via venue SMITH’S ALTERNATIVE
A Luminous Christmas - Love Is Born Luminescence Children’s Choir perform traditional Canadian and French carols, as well as Aussie ones by Paul Stanhope and James Valentine. You can find more info and ticketing by heading to cimf.org.au WESLEY UNITING CHURCH
Canberra Symphony Orchestra A series of ensemble performances, bringing Christmas cheer to the capital. Picnic rug provided to sit and listen with up to 5 friends; you’ll need to register via Eventbrite - it’s free, they just need numbers. From 11am - 2pm HAIG PARK VILLAGE MARKETS Johnny Huckle Lunchtime live music in the Civic centre as part of the Lunchbox Acoustic series. 12pm - 1:30pm CITY WALK, NEAR MERRY-GO-ROUND
TUESDAY 21 DEC
The Angelic Rowan Phemister & Lucy Marcourt Lunchtime live music in the Civic centre as part of the Lunchbox Acoustic series. 12pm - 1:30pm CITY WALK, NEAR MERRY-GO-ROUND
Band Beng Bing Bong Bung Half hour “open mic” sets from local bands. Ft Banipreet Kaur, Craigie Marsh, Saul Alexander, Chr!st, Chris van Reyk, and Cuddlefish. 8pm, tickets $10/$15 via venue SMITH’S ALTERNATIVE
Open Mic Comedy with Marky Worthington Whether it’s to enjoy some great food from Chompy’s and watch; whether you’re a seasoned professional looking to tryout some new stuff, or if it’s your first time, head on down and check it out. 7pm, free entry THE BASEMENT
IQ Trivia From 6pm THE OLD CANBERRA INN
WEDNESDAY 22 DEC
Live Jazz From 6:30pm THE OLD CANBERRA INN The Smorgasbroads Lunchtime live music in the Civic centre as part of the Lunchbox Acoustic series. 12pm - 1:30pm CITY WALK, NEAR MERRY-GO-ROUND
THURSDAY 23 DEC
FRIDAY 24 DEC
Jade Le Flay With special support by Kilusan, plus locals Tevinho, Divito, Edstar, and Toucan. Tix range from $11.34 - $21.79 via fctn.intix.com FICTION
Welcome To Friday (WTF) Live Music - Wesley and The Crushers Fun ‘n’ funky rock ‘n’ roll band from Canberra playing music to make you dance while singing words to make you laugh and think! 8pm, free CANBERRA IRISH CLUB
SUNDAY 26 DEC
Friction Presents - K.I.M (The Presets), Mashd N Kutcher (DJ SET) With support from Stace Cadet. There’s only final release tix left, $52.02 via Moshtix, but they’re not expected to last long! ASSEMBLY - THE PEOPLE’S PUB
The Sunset Bros Playing their trademark fusion of NRG, house, techno, and trance. JaySounds is the main support for this event, with ample contributions from Vivace, Toucan, Daron K, and Edstar. Tix range from $21.79 - $32.23 depending on when you get in, available from fctn.intix.com FICTION
WEDNESDAY 29 DEC
Live Jazz From 6:30pm THE OLD CANBERRA INN Summer Rhythm - New Years Festival An all local community festival for ACT + NSW - offering 10 hours of live bands and unlimited good vibes! The roots, folk, and reggae fest features BMA cover darlings The Decideds, Muesli, Shadow Ministers, The Burley Griffin, FunkyTrop, Nice Good Things, Alec Randles, Raio De Sol, Sam Harris, Lucky Jim, and Rafa Change. Market stalls and a well stocked bar will be there. From 3pm, tix $20 for kids, $40 for adults via Humanitix GOOLABRI
Fiction NYE Ring in the new year with Fiction faves Brittany De Marco, Divito, Edstar, Haylee Karmer, Reubok, Take-Tu, Toucan, and Vivace. $21.79 - $32.23 via fctn.intix.com FICTION
Shananigans New Year’s Eve Party 7 huge sets of live music, burlesque, and free bubbly at midnight. From 5pm, $40.30 via Oztix THE BASEMENT
WEDNESDAY 5 JAN
Live Jazz From 6:30pm THE OLD CANBERRA INN
Summernats 34 The four-day festival of cars returns after a two-year hiatus, with more comps, more cars, more events, and the party starting antics of Hot Dub Time Machine, Hooligan Hefs, and Kerser. Runs from 6 - 9 Jan; Day passes, Season passes, and Platinum passes available via summernats. oztix.com.au EPIC - EXHIBITION PARK
Gœse and Friends Gœse is a local, original rock band writing the most creative music you will ever hear. Join them, Milou, and Small Talk for one night only at Canberra’s premiere live music venue. 6:30pm THE BASEMENT
FRIDAY 7 JAN
Welcome To Friday (WTF) Live Music - Mega Beige 8pm, free entry CANBERRA IRISH CLUB
Metal Days Featuring Australian metal bands from all genres. 8pm HARMONIE GERMAN CLUB Sooshi Mango: Off The Boat The trio’s rise in Australian comedy has been nothing short of meteoric, with their viral online videos amassing over 120 million views and counting. Their characters have made their way from video skits in their parents’ garages, to television screens across the country and stages around the globe. Running 12 - 14 Jan, 7:30pm, $65 - $199 + bf via venue CANBERRA THEATRE
TUESDAY 11 JAN
Band Beng Bing Bong Bung Half hour “open mic” sets from local bands. Ft Arley Black, David McRedmond, George K, 11:11, James Cahill, and Brad McInnes. 8pm, tickets $10/$15 via venue SMITH’S ALTERNATIVE
IQ Trivia From 6pm THE OLD CANBERRA INN
WEDNESDAY 12 JAN
Live Jazz From 6:30pm THE OLD CANBERRA INN
Old Timey Wednesday Luminaries from the local old timey/folk/acoustic scene will gather at Smith’s to lead an open session of Americana/old timey music. 4pm, free SMITH’S ALTERNATIVE Northbourne with Nora, Highland Light and Spinning Plates An all ages gig celebrating Northbourne’s two new singles Hideaway and Money Maker. From 7pm, tix $18.07 via Moshtix UC HUB
Canberra Metal Fest Canberra Metal Fest is a benefit concert, donating to Headspace Canberra, showcasing over 30 of Australia’s finest metal bands over three huge days. Head to the Metalise column on page 23 for a full run down of the fest! $130 via Oztix THE BASEMENT
FRIDAY 14 JAN
Dear Seattle - The Way Out Tour Crunchy and memorable, Way Out finds Dear Seattle vocalist Brae Fisher deep-diving into themes like codependency and resentment building in a relationship lacking honest communication and space. 7pm, $29.89 via Moshtix UC HUB
Smith’s Irish Jam Some of Canberra’s finest exponents of trad Irish tunes gather for a jam. 5pm, free SMITH’S ALTERNATIVE Welcome To Friday (WTF) Live Music - The Bobby James Band Acoustic based folk/blues ballads, with soaring bass lines and worldly beats, wrapped together neatly by rhythmic piano/keyboard. 8pm, free entry CANBERRA IRISH CLUB
Holy Goof Described as “a driving force at the very forefront of UK bass culture” and “a key protagonist in the scene, with a sound that’s had a huge impact on electronic music.” Tix $21.79 - $32.23 via fctn. intix.com FICTION
SATURDAY 15 JAN
Bucky’s Budweiser Big Birthday Bash & ALOHA! Blues & Roots Charity Gig Annual Blues & Roots music gig fundraiser for Rise Above Cancer Support Group. Featuring 8 fantastic acts, silent auction & raffle prizes. From 1pm, tix $25 + bf via Humanitix HARMONIE GERMAN CLUB
On The Stoop Don’t be fooled. Just when you thought it was safe to feel charmed by the lilt of a melody and the gentle wit of the words, On the Stoop impales your ears with the unexpected. Sometimes the music hurtles at you with such velocity that you have to fight the urge to duck, but the warmth, good humour, and zany imagination always draws you in again/ Check venue for times and tix SMOKEY HORSE
Circus of Illusion Escape into a world where sawdust and sequins combine with cutting-edge illusions to create an extravaganza of mystery and mayhem. 2pm & 7pm, $59– $69 + bf via venue CANBERRA THEATRE
Smith’s Summer Series: On The Stoop On the Stoop could be eight bands from eight corners of the world but it’s more like one fevered collective musical brain firing off ideas like fire crackers. 4pm, tix $10 via venue SMITH’S ALTERNATIVE
Jungle Giants (DJ Set) With supports by Stacie Fields, Clique, Brittany De Marco, Jack Burton, and Zac Knows. From 2pm - 10pm, $62.22 via Moshtix ASSEMBLY - THE PEOPLE’S PUB
MONDAY 17 JAN
Yotam Ottolenghi Flavour of Life He’s the trail-blazing chef, prolific author, TV personality, and restauranteur whose name has become a cooking style. 7pm, $109 – $139 + bf via venue CANBERRA THEATRE
TUESDAY 18 JAN
IQ Trivia From 6pm THE OLD CANBERRA INN Live Jazz From 6:30pm THE OLD CANBERRA INN
THURSDAY 20 JAN
The TerrySonic Mixtape Tour The Terrys are hitting the road with their tools in tow on their first national tour. “New Terrys hitting like a well timed 2nd beer. I can confirm this (Cost the Peace) was a big singalong moment when the band dropped it live recently,” says Dave Ruby Howe (BMA alum!) 7pm, $29.92 via Moshtix UC HUB
The Empire Strips Back: A Burlesque Parody Be prepared for some seriously sexy Stormtroopers, a dangerously seductive Boba Fett, some tantalising Twi’leks, a delightfully lukewarm Taun Taun, a lady-like Skywalker, the Droids you are looking for, and more! 8pm, $56.50-$149.50 + bf via the venue CANBERRA THEATRE
