BANDS / MUSIC / ARTS
ISSUE #526 JULY/AUGUST 2022
BMAMAG.COM
FREE
JESS HITCHCOCK
DYLAN VAN DEN BERG’S
XIBALBA
'ART' BY YASMINA REZA
BEAUTIFULLY INTIMATE ACOUSTIC
AMERICAN HARDCORE PUNK
NGADJUNG – MEMORY OF WATER
COMEDY SENSATION
EXPLORE PASTURES NEW OVER
INSIDE
CBR’s Bad Lunar tune up for their single launch Victor Valdes and his Big Mexican Mariachi Band Vika & Linda – Bull sisters bring The Wait to an end
200 EVENTS LISTED
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[CONTENTS]
[Canberra’s
#526
Entertainment Guide] july / august 2022
THE GRASS IS GREENER FESTIVAL
p. 18
Mail: 36/97 Eastern Valley Way Belconnen, ACT 2617 Publisher ABN 76 097 301 730 Pty Ltd General Manager Allan Sko E: advertising@bmamag.com Editor Allan Sko E: allan@bmamag.com Accounts Manager Ashish Doshi E: accounts@bmamag.com Cover Design Juliette Dudley
BAD LUNAR
p. 16
SARAH GAUL
p. 26
Article Design Juliette Dudley Entertainment Guide Editor Allan Sko Social Media Managers Allan Sko & Ruth O’Brien Columnists Ruth O’Brien, Josh Nixon, Sarah Gaul, Allan Sko Contributors Josh Eckersley, Vince Leigh, Chenoeh Miller, Allan Sko, John P Harvey, Michele E Hawkins NEXT ISSUE #526 OUT Thursday, 1 September
p. 28
VIKA & LINDA
p. 30
JESS HITCHCOCK
EDITORIAL DEADLINE Friday, 19 August ADVERTISING DEADLINE Wednesday, 24 August 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.
NGADJUNG
p. 31
‘ART’ BY YASMINA REZA p. 33
XIBALBA
p. 20
TIM FERGUSON
ES 199 T 2 PAGE 10
VICTOR VALDES
p. 32
CBR MUSIC REVIEWS p. 34
GIG/EVENTS GUIDE @bmamagp. 42
FROM THE BOSSMAN
The Street Theatre 1
BY ALLAN SKO [ALLAN@BMAMAG.COM]
The Canberra Writers Festival is on again. As such it seems an apt time to dedicate this column to the wickedness of language. Y’see, as an Editor/Publisher of some 20 years (yikes), I have seen and crafted a fair whack of words. Important and meaningful as they no doubt are, words are essentially just sounds; a combination of letters that form an utterance that represent an object, person, feeling or, well, anything. ‘Banana’ is a frankly ridiculous sound taken out of context (say it five times quickly if you don’t believe me), but splutter those silly syllables at a supermarket and the surly service person knows exactly what they haven’t got in stock for you. As such, when it comes to the creation of words, any combination of sounds will do. If not immediately, over time they will be adopted as ‘the name for that thing’. So, for all the loquaish nature and stuffy verbosity of those overseeing the creation of words back in the day, it is undeniable that they were also in possession of a certain cruel humour. For example, the word ‘lisp’. Of all the potential words in the English language - indeed, for all of the possible letters to be used to construct such a word - some smug git decided it would be ‘hilarious’ to include an ‘s’ at a key part of the word; a letter that ensures any sufferer of such a pronunciation malady is forced to demonstrate that they do, in fact, have a lisp. Efficient, actually, if not wicked. Speaking of pronunciation (pun intended) that’s another one. A proud ‘ow’ sound allows ‘pronounce’ to be, well, pronounced the way it is. But add an ‘tion’ to form ‘pronunciation’ and the ‘ow’ makes like a hiding Whoopi Goldberg and becomes a ‘nun’. When stirring the cauldron of creation, it seems the proverbial ‘eye of newt’ thrown in was the need for pronunciation to be set up to be mispronounced. Another word to vex those living with a speech impediment is the one used to describe when the flow of speech is disrupted by involuntary repetitions and prolongations of sounds - ie a stutter. A neat word, sure, but one seemingly crafted to cause the hassle of stammering through the sound to describe the very thing you have.
The Street Theatre 2
And ‘stammer’ sure as shitzu ain’t much better for the cause. Why not make it easier on those who stammer by calling it a ‘Mmmmm’? Equal and opposite are the words crying out for some cleverness and receiving none. Onomatopoeia—one of the first smartarse words you learn in high school—is an opportunity left begging. The formation of a word from a sound associated with what is named (eg ‘cuckoo’) could itself have been an onomatopoeia. I suggest ‘soundslike’. It would certainly clarify any dry literary analysis. “Here Shakespeare utilises a deft use of soundslike to embolden the effect of the thrown rose smacking Romeo in the face.” And why is ‘palindrome’—a word, verse, or sentence that reads the same backward or forward— not in itself, a palindrome? If anything, it should be a ‘palindromemordnilap’. Which, of course, would be pronounced ‘phhhhhft’. In short, I have another useful word to describe the folk who created these words. Bastards. facebook.com/bmamagazine
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[HOT TIX]
Rancid Eddie / Bristling indie-rock / Thu, 11 Aug / UC Hub Come get F*cked Up With Your Friends as this August will see Rancid Eddie pulling themselves up from a pile of crushed-up beer cans and cigarette butts to head to Canberra for the very first time. It’s been a huge 12 months for the boys from Mount Waverley with the release of their song Dry reaching the Top 20 in the ARIA single charts, plus the original Youtube acoustic video reaching over 3 million + streams on both Youtube and Tik Tok. A huge year is in the pipeline for the boys with a bunch of singles slated for 2022. Raucous shenanigans await. From 7pm, tix $24.50 via Oztix
School’s Out / Rock show for Bec Taylor School of Music Bandmates / Sun, 14 Aug / The Basement The Bec Taylor School of Music Bandmates Groups have been rocking hard all year in their classes, building up to busting out on stage at the grand School’s Out concert. Natural headliners, the fantastic ARCHIE top the bill, with a fun & fit line-up of future headliners in the offing: Eyeball This, Killer B’s, The Uh Ohs, Boom Flower, Midnight Moons, Stray Music, 8ve, Mrs Wednesday, Almost Dangerous, The Bongo Cats, Katusu, Empire Circuit, Red Wine Milkshake, and Us, The Drumkit Macaroni. It’s the sound of the future... right now! 3pm, tix $15 - $25 via Oztix
Death By Carrot / Psychonautic Earthborn grooves / Tue, 23 Aug / Smith’s Alternative Death by Carrot exude deep psychonautic Earthborn grooves, descending from the Black Sabbath meets Pink Floyd side of the rock ‘n’ roll tree. In Gina they rolled around Australia carrying Black Marsha, sharing our original & organic 100 proof riffs; seeking kindred spirits. The Death By Carrot Road Dog Division are very excited to be returning to Canberra to set up Black Marsha Jr and raise the riffs at Smith’s Alternative once more. From 7pm, $10/$15 viasmithsalternative.com/events/death-by-carrot-77155 PAGE 12
UPCOMING LIVE MUSIC EVENTS
The Burley Griffin + CJ Shaw & The Blow Ins / CBR double-header / Fri, 12 Aug / Smith’s Alt It’s an incredible double bill with legendary Canberra folkies The Burley Griffin and ARIA nominated CJ Shaw and the Blow Ins. Fresh from a sell-out album launch, The Burley impress with their knack for delicious folk melodies, musicianship, and penchant for hip shaking. And with an ARIA nomination under his belt, CJ Shaw is part poet, part yarn spinner, and all round Folkie, with a hint of Australiana and a touch of hip hop to get those toes a-tapping. Bands from 9:30pm11:30pm with late night DJs Wunderlust and Reverend Bones playing tunes from 11:30pm to late. $10/$15 via venue
BurnOut Bookings celebrate their 1st Birthday! 9 acts, 3 sessions / Sat, 20 Aug / Gang Gang Says BB head Sarah O’Malley: “Burntout Bookings has been booking shows, bands, and working with some of the best in the biz for a year now, and we want to celebrate! We’ve reached out to some of our favourite local and interstate acts and they’ve treated us with a set at our birthday.” And celebrate we all shall! Across three sessions, enjoy sets from greats Eilish Gilligan, HARRIS, Box Dye, Sophie Edwards, S.Wells, Morgues, A World In Colour, Chain Tombstone and the Dead Men, and Thantu Thikha. Sessions at 3:30pm, 5:45pm, and 8pm, $20.40 per sesh or $54.60 for all day via Oztix
Thelma Plum / The Meanjin Tour / Sat, 23 Aug / UC Refectory Seems a small age since the Gamilaraay singer-songwriter released debut album Better in Blak to much acclaim, placing second in the triple j Album of the Year listener poll and garnering nominations for the AMP Album of the Year, six ARIA noms, and APRA Song of the Year. With three songs in the Hottest 100 (the album’s title track at #9), she became the highest fan voted indigenous artist in the history of the poll. And now, Thelma Plum welcomes you to The Meanjin Tour - supporting the EP of the same name - a collection of brand-new songs from the heart about the heartland. 8pm, $61.57 via Moshtix @bmamag
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record, two unreleased songs, and a cover that Kim performed with LIV LI. I find that live recordings tend to bring out more vulnerability in the music, and can capture beautiful, unrehearsed moments.
LOCALITY
[THE WORD ON LOCAL MUSIC] WITH RUTH O’BRIEN & JANNAH FAHIZ. SEND GIGS AND INFO TO: [RUTH@BMAMAG.COM]
Well, hi there, Canberra music lovers. I very much hope this Locality bring you both light, and opportunities to meet with loved ones to share good times, as I’m sure BMA does for you anyway. This time, Locality has been written by the beautiful Jannah Fahiz of Between The Lines Events, who has stepped in at very short notice to help us through a difficult time. I recently lost an incredible and treasured friend, and having Jannah help out has been amazing. Thank you Jannah, I so appreciate you and all you do! The last few weeks have reminded me how fragile and fleeting life is. Please take care out there. Over to Jannah now… If you’re a fan of jazz then this one’s for you. Held at Smith’s Alternative on Thursday, 28 July from 7pm, Jazz Singers’ Jam gives singers a chance to get up on stage and perform no matter what level of experience.
The album is available to preorder now on Bandcamp where Kim says, “you can pay whatever you like. The funds will go towards my upcoming music project”. Over at Blackbird, on Sunday, 31 July at 3pm, MusicACT is hosting another awesome professional development workshop. I’ve been learning so much from going to these workshops and I’m very excited about this one! This event will have a special guest; Music Marketing Strategist, Paige X. Cho from Bolster. She’ll teach you how to break through the noise in an increasingly saturated market and give you some key tips for marketing your next music release. Paige is AMAZING, and you really don’t wanna miss this if you’re releasing music any time soon. Be sure to register for you free ticket via musicact.com.au As you can also read in our Band Profile (just turn the page!), Bad Lunar are releasing their new song See Ya Never and holding a good ol’ fashioned shindig to celebrate.
There’ll be a jazz band for accompaniment so you’ll feel like a star. Spectators are welcome/highly encouraged/ essential - there’s no performance without an audience! Tickets are $15 +bf, or free if you’re singing. To buy a ticket head to the Smith’s website or email Julia Walker if you want to sing - julia.isabel.walker@gmail.com Our local celebrity Kim Yang is releasing her live album Live at Smith’s Alternative on Friday, 29 July.
The event will take place at Live at the Polo on Saturday, 6 August from 8pm. If you don’t already know who Bad Lunar are, they’re a 4-piece alternative rock band and they’re on the rise! Bad Lunar says: “See Ya Never is a story of indifferent reminiscence - saying goodbye to a bond in a moment of clarity. It’s a farewell party for someone who cares more than you could requite.” Also performing on the night will be Box Dye, Rental Snake, and Spouse. Tickets are $15 +bf and are available to purchase via trybooking.com/CAXGM The Bec Taylor School of Music are holding their School’s Out show at The Basement on Sunday, 14 August from 3pm. It will be a day full of amazing local bands from the school and a very special guest, ARCHIE!
The LP features Kim and her band (comprised of Hayden Kinsman, Naomi Smith, Tab Hart and Matt Nightingale) from the Ocean of Mind/Brave vinyl launch earlier this year which was held at, as the title suggests, Smith’s Alternative. The album features 7 tracks from the vinyl PAGE 14
You can expect a day packed full of rock ‘n’ roll. The school says, “all 14 of the Bec Taylor School of Music Bandmates Groups have been working hard all year in their classes, building up to rocking out on stage at our annual School’s Out Rockshow.” @bmamag
Tickets available at thebasementcanberra.oztix.com.au for the incredibly low price of $15/$25. Go get ‘em! Burntout Bookings Turns One! A year already? Yep, Burntout is celebrating its first birthday with a great line-up of bands both local and interstate. Come on down to Gang Gang Cafe on Saturday, 20 August from 3:30pm 10pm. There will be three sessions throughout the day with three artists performing in each one. Even better, this is an all-ages event and the venue is accessible. You can buy a ticket to one session for $18 + bf or stay for the full day for $50 +bf. Tix via tickets.oztix.com.au And that’s my highlights for events in Canberra! Keep warm, stay safe, and enjoy what our music industry has to offer. …also, hi, Ruth here again. Make sure you check out Between the Lines and all the work Jannah does. It’s people like her that keep music and events happening in this beautiful town. Sending love to you all!
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BMA BAND PROFILE
Canberra loud alt-rockers tinged with indie sleaze, Bad Lunar, have a scintillating new single out - See Ya Never - and a launch party at The Polo on Saturday, 6 August. As such, it’s time to catch up with the awesome foursome to see what makes ‘em tick! Group members: We’ve got Tasha up front on vocals, Luke’s on guitar duties, Brie on the drums, and Daniel’s on the bass. Where did the band name come from? Once we passed the casual jam dating stage, a name was the hottest topic. Countless hours of band name generators down the drain. Only for Luke’s wonderful mum, Lesley, to throw the first two letters of each of our names to form “Bad Lunar”. How did she manage that? We cannot comprehend. It just fits. How did you form? It’s all Luke’s fault - Luke and Tasha had met years earlier looking to line up a project that never came to be; Luke and Brie played in a band then life got in the way; and Daniel looked like he could play bass. One group chat later we were jamming Arctic Monkeys in Luke’s garage! Describe your sound: Loud alt-rock with a touch of indie sleaze. Think demanding vocals, guitar solos we’ve been told could split seas, heavy bass lines, and precise punchy drums to nicely tie it all together. We think it sounds alright. What key tracks should people immediately check out? You’ll be able to check out our debut single See Ya Never on streaming platforms after it comes out on 29 July! PAGE 16
The bare bones for this one lived separately in Luke’s voice memos and Tasha’s notes app - both from August 2017 before Bad Lunar was even on the horizon. It fell into place, a story of indifferent reminiscence and farewell set to an upbeat sound. It quickly became our favourite song to experience with a crowd. We recommend listening to this one in the car at full blast. Who/What are your influences, musical or otherwise? Tasha: Big fan of powerful fem vocalist and songwriters from most decades - I’m talking Bessie Smith, Janis Joplin, Shirley Manson, Liz Phair and Ann Wilson to Fiona Apple, Karen O and Hayley Williams. Throw in some Midwest emo, pop punk, and the current Phoebe Bridgers wave, and we’re good to go. Luke: I’d say my music taste is fairly eclectic, ranging from most rock varieties to pop, rap, and some electronic music. My main influences are based around bands like Muse (they initially got me into music and learning guitar), Nothing But Thieves, Royal Blood, and Rage Against the Machine. Brie: I’ve been influenced by a pretty broad range of music, anything from punk and rock to country and pop. A lot of Green Day, Blink 182, Sum 41, and Incubus, but also really into drum or punk covers of pop or rap songs on Youtube. Daniel: I listen to way too much Aussie pop/punk/rock - Sly Withers, Stand Atlantic, Between You and Me, The Dead Love, Slowy Slowly, and Ceres are all on my usual rotation. What are some memorable experiences you’ve had as a band? This one time at band practice, one of Luke’s neighbours dropped in on our rehearsal a little inebriated and demanded some good ol’ Acca Dacca. Luke very courteously obliged
and ripped out some Back in Black, but we politely had to end the party after Smoke on the Water was requested. What is it that you love about the scene? Your genre’s scene? There’s nothing better than playing a gig with our band besties. The Canberra scene is super supportive. We’ve met so many amazing musicians via local shows, whether playing or spectating. It’s such a diverse scene here in our Canberra bubble, where we get to celebrate the best every genre has to offer in such a unique, local way. We’re all connected in this space - no matter how hardcore, funk, or folk you are. Tell us about one of your proudest moments? Definitely when we all listened to the final master of our track together for the first time! It took us a bit longer than we anticipated but the payoff was so, so worth it. We recorded with Guyy at Amberly Studios who really brought the track to life. It was the first time any of us had recorded professionally and we had a blast. The wait was worth it! What are your plans for the future? After we’ve released and launched See Ya Never we’ll probably hit up the studio again and record a couple more of our favourites perhaps an EP is on the cards? We’ve usually always got a gig lined up so you can catch us live around town. What makes you laugh? Making gross reverb-y sounds into the mic at practice. Threatening to kick Daniel out of the band for telling bad jokes. Literally anything. It’s actually a problem. What pisses you off? Landlords, man.
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Where can people check you out? Come down to our single launch on 6 August! It’s at The Polo and we get to play with our mates Box Dye, Rental Snake, and Spouse. You can also chuck us a follow on Facebook and Instagram. Single Launch Tickets - trybooking.com/events/ landing?eid=929668& Facebook - facebook.com/badlunar Instagram - instagram.com/badlunarband
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Festival Pastures New
By Allan Sko
Starved as we have been for entertainment options these past two years, 2022 is shaping up to be an embarrassment of riches for such. To whit, the mighty The Grass Is Greener (TGIG) festival has summoned both the confidence, and desire, to take their jolly jamboree across Australia for the first time, including a stop to your favourite capital city and mine, Canberra.
afterward, came up with the dream of bringing a music festival to Cairns.
As such, BMA Bossman Allan Sko caught up with one of the Handpicked Group Bossmans, Oli Frost, to talk line-up, logistics, Canberrans, the magnitude of touring a festival, and what makes TGIG special.
And what they have just created now – in The Year of Our Lord 2022 – is an exciting amalgam of musical talent spanning the broad spectrum of EDM and hip hop.
But let’s begin at the beginning. Starting as a pipedream among mates, The Grass Is Greener quickly became a marquee festival in far north Queensland. Since its triumphant debut in 2016, the then two-stage event began to play a vital role fostering local emerging Australian artists in regional centres, alongside major Ozzy acts like Amy Shark, All Day, Hayden James, and Ocean Alley. TGIG also spotlighted international hip hop artist Tyga when he was at the height of his career. “With plans to grow The Grass is Greener into a national festival falling through in 2020, we couldn’t be more thrilled to bring regional Australia the truly unique offering they deserve,” Oli proud states. “We’d looked at locations since 2018. 2020 was going to be the year, but then our good friend Covid stopped by. We feel we have a product that is great and exciting for regional areas and would like to ensure that these places are not to be missed.” So how exactly does a “pipedream among mates” turn into a travelling treasure trove of titillating tuneage? Like all great notions, it came from a spa. “The idea came about after playing for Johnny [other Handpicked Bossman] in Cairns,” Oli explains. “Then we both went to Bali after my Sky Garden set and, sitting in a spa together PAGE 18 PAGE 18
“We ariived back to Australia and got stuck right in, trying to bring it to life. To be honest, the moment it really hit was when Will Sparks was closing out the festival. Up until then, and probably still a bit now, I think we both had no idea what we just created.”
“It’s definitely the best line-up we’ve ever booked,” Oli enthuses. “I am absolutely pumped about this line-up. We feel like it stands alone in the market and brings something very unique and exciting to these regional places. Personally, I’m really excited for Zhu and Maya Jane Cole, along with our Australian artists that we have seen grow. “PNAU are always so good, and the international appeal of Ty Dolla $ign and YG will get the crowd going. So many great acts it’s hard to boil down to one.” Putting on a show is a big enough enterprise, let alone assembling a festival, let alone taking that bad boy on the road. A humble punter like myself imagines that one’s gut would be a bubbling beaker of terror and excitement. “I don’t really get terrified,” Oil says. “I have a great belief in our brand and in our product to our ticket holders. Plus it’s a festival; what will go wrong, will go wrong, and I thrive when the going gets tough.” Creating a string of successful, memorable moments would certainly bolster one’s confidence at least. “That is like asking me what my favourite family member is,” Oli says, when I ask him to recall his favourite moments of the past six years. “I have so many it would be hard to pencil down one.
“But I think a massive pivotal moment of the TGIG lifetime was the dance stage at Gold Coast in 2019. That was absolutely iconic and really solidified our festival as a brand that was growing.” Part of this growing brand, counter to what such a marketing term as ‘brand’ may suggest, is a focus of the more Woodstock-esque community feel of a festival. “We pride ourselves on giving an incredible overall experience,” Oli continues. “We wouldn’t compare ourselves to other festivals because at the end of the day we just care about what we can control and what we can deliver. My favourite part is that once you have come along, you become a part of the TGIG family and our amazing community.” Oli and team are particularly keen, and happy, to include our beloved capital city into their fold. “Canberra has an amazing youth,” Oli attests. “We have seen that with events we have been to here. They really get behind their city’s events. “The line-up is unlike anything that has visited so without tootin’ our horn… You’ll love it.” And so, the festival will continue its pledge of creating memorable moments for regional punters with a considerable investment into the construction of each event. Multiple themed stages, adventurous activations, and a renewed VIP package program promises to provide festival goers with an unforgettable experience. But the real treasure is the friends we made along the way. “We are just stoked to be coming to a new place and meeting new friends,” Oli cheers. “I hope everyone loves it as much as we do.” The Grass Is Greener takes place on the Patrick White Lawns on Sunday, 23 October. Tickets and info are available from thegrassisgreener.com.au @bmamag
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BMA METAL PROFILE
American hardcore punk band from Pomona, California - XIBALBA - are coming to blister eardrums at The Basement on Sunday, 21 August alongside Facecutter, Trenchknife, and Bloodmouth. High time to give our CA guests the BMA Q&A treatment...
Tell us about one of your proudest moments?
Group members:
Play as many bad ass shows as possible!
Right now the touring line-up consists of Nate on vocals, Jason on drums, Scott on lead guitar, Alfredo on bass and myself, Martin, on 2nd guitar.
What makes you laugh?
Where did the band name come from?
What pisses you off?
The word “Xibalba” roughly translates to “Place of Fear” as written in the Popol Vuh texts of the Mayan K’iche people.
Interview questions like, “What’s your favorite color?”
How did you form?
Come check us out at one of our BAD ASS Australian shows and drinks some VBs with us!
The usual way that bands used to form… just a group of homies with similar musical interests that wanted to do our part to keep underground music alive. Describe your sound:
Being able to tour all throughout Latin America. What are your plans for the future?
Interview questions like, “What’s your favorite color?”
Anything else you’d like to add?
Where can people check you out? Our Instagram has all necessary info: @XibalbaCA Check out the bandcamp page! xibalbasl.bandcamp.com
Sorta like Morbid Angel and Disembodied going to war. Who/What are your influences, musical and/or otherwise? The Mayan peoples and their history, What are some memorable experiences you’ve had as a band? Being a group of sick ass friends that get to travel the world playing our music always makes for the best memories. What is it that you love about the scene? Your genre’s scene? The community aspect of the scene we’re a part of is one of the greatest things. Having no lines drawn between the people in the bands and the people coming to the shows is special. No one person is any better than the next. PAGE 20 20 PAGE
@bmamag
Hard Out! Set Times Street Trash - 3pm - 3:40pm Grand Duke - 4pm - 4:40pm B.C. - 5pm - 5:40pm
METALISE [THE WORD ON METAL] WITH JOSH NIXON [DOOMTILDEATH@HOTMAIL.COM]
From the depths of the icy tundra and windy slopes of Moncrieff I greet you Canberra thrashers layered in several purchases of domestic and international merchandise and hope this missive finds you warm.
The Vee Bees - 6pm - 6:40pm Hydranaut - 7pm - 7:40pm Witchskull - 8pm - 9pm Killer show, be sure to grab your tickets! In a more brutal affair, definitely sans BBQ, the East Coast Murder Sesh lands at Sideway on Thursday, 18 August. Further incendiary anti-carnist actions come from Burn In Hell, Bloodmouth, and Kid Presentable. Free entry, no less. This will warm up the Bloodmouth boys in time for their Sunday, 21 August support of USA’s heavy-as-hell XIBALBA at The Basement.
Hard Out! is nearly upon us, and for our headliners Witchskull it was almost a case of them being a hard out. Their winter tour was interrupted having contracted Covid after their Melbourne performance, causing the cancellation of their Sydney leg. The band were recovered enough to take on their show at Flamingo’s in Goulburn on Saturday, 23 July which included Symptoms Persist, Bastardizer and Point 17.
But I digress! Witchskull headline the southside’s best rock festival in Hard Out!, brought to you by the Greenroom Canberra team on Saturday, 30 July at Rose Cottage. Winter outdoors, fire pits, BBQ, cold beer, and quadrophonic sound is the order of the day for all ages (with accompanying adult…not the cold beer bit). PAGE 22
Also appearing are Honest Crooks, Facecutter, and Trenchknife and you can pick up your tickets at The Basement ticket site.
Review – Facecutter Die Slow
Speaking of Facecutter, I have only recently been able to feel my face again having had it melted off courtesy of the bands ferocious new “full length” (if a 13 track album in 18 minutes can be considered a “full length”) album Die Slow. Lashings of grind and death coalesce with a bleak-as-fuck outlook and pleasing head nodding slam influences to
The band are fresh from a summer European metal festival appearance. And with heavyweights At The Gates and Dark Tranquility to boot you know they will be bringing it. Also along for the show are Orpheus Omega, Andy Gillion (UK) and Immorium. Tickets are available now via Oztix. thoroughly achieve what Andrew Coxhead of the band described to me as an ambition to create something “quick, unrelenting, and filthy”. Well Andrew, mission accomplished. This is nastier than a ’70s cannibal exploitation flick. That level of rawness converts into the production as well with Andrew informing me:
Heathen Fest IV has announced its line-up for an absolutely savage bill playing out on Saturday, 3 September at The Basement. Anarazel, Auld, Bastardizer, Black Jesus, Black Mountain, Cemetery Urn, Destruktor, Plague Dweller, Project Ultimate Satan and Thrall will bludgeon the eardrums and challenge the necks of the Belconnen faithful. You can get your tickets on the Basement ticket site.
“We wanted the production to be raw and as bare bones as possible. That way, each component of the music was clear in a chaotic environment.” The lightning six studio days was distilled in a mix from local musician and Blight Worms member Elliot Johnson. Be sure you check out Die Slow on the their Bandcamp.
Best of The Rest of Gigs
Finally Babirusa, deathcore warriors, are undertaking an Australian tour under the moniker Mandatory Malevolence Australian Tour in September. Canberra cops it on Monday, 6 September with support from Analepsy and you can pick up your tickets through the band’s Facebook.
Melodic death Melbournites Be’lakor hit The Basement on Friday, 26 August and bring the celebration of their latest album Coherence. PAGE 23
photo by Emma Fishwick
[SPOTLIGHT]
UPCOMING ARTS EVENTS
Step Change/ Painting + Video + Sound Exhibition / Until 21 Aug / Pivot Gallery - Belconnen Arts Centre
Demented / Magical-realism play about dementia / 11 - 18 Aug / The Q Theatre, Queanbeyan
“It comes with great honour to announce the east coast premier of the final collaborative artwork I produced with internationally renowned environmental artist Mandy Martin, before her death on 10 July 2021, and cellist/composer Tristen Parr,” says Alexander Boynes. Step Change is a large-scale painting, video, and sound work that explores the urgent need to transition in the age of climate crisis. Using the site of the Kwinana Industrial Area alongside Derbarl Nara, WA, the work shifts between the real and the sublime, as the still becomes moving, and the changing sonic atmospheres turn light to dark.
Demented is the latest work by acclaimed ACT theatre-maker and published playwright (Under My Bed) Ruth Pieloor, who, inspired by her deeply personal experience, turns her magic-realism trademark into an oddly comic, yet breath-taking and touching realisation of dementia. An exciting collaboration with local and regional artists, this unique production intercepts playful clowning, exquisite puppetry, dramatic dialogue, and an original score, to share a heroine’s captivating mother-daughter relationship, and dealing with dementia. 90 mins, $25 - $50 via venue
Canberra Writers Festival / Over 70 live literary events / 10 - 14 Aug / Various Venues In the spirit of passion for words and ideas, CWF are delighted to announce the 2022 Canberra Writers Festival will be staged from Wednesday, 10 August through to Sunday, 14 August, with a welcome return to a full program of live events. After two years of pandemic mayhem, a broad and popular line-up of authors has been assembled, whose work and words will engage, inform, challenge, and inspire. Across more than 70 live events, the festival offers a dynamic range of international, national, and local literary talent under the driving theme of Power, Passion, Politics. canberrawritersfestival.com.au
Sydney Comedy Festival Showcase/ Stand-up / Thu, 18 Aug / Canberra Theatre Expertly curated and lovingly presented, the Sydney Comedy Showcase features some of the Festival’s hottest acts live on stage for an incredible two hours of hard-hitting laughter. Featuring the titillating talents of MC Joe Shaffer, Mandy Nolan. Mickey D, The Stevenson Experience, John Cruckshank, Suren Jayemanne, and Steph Broadbridge. “The comedians all knew what they had to do to get a laugh, and had the crowd in constant stitches… the talent on show definitely left the crowd wanting more…” – AU REVIEW. 7:30pm, $42 + bf via venue
CSO Chamber Ensemble Australian Series / Hearing The Land / Thu, 1 Sep / National Museum
Caribé: Una Nueva Vida / Stories told via Cuban music & Latin jazz / Sat, 3 Sep / Belco Arts Centre
The vibrancy of Australian landscapes have inspired countless works; this program features Mirage by Michael Sollis, inspired by the desert, and Eric Avery’s Mists 1, a moving, personal perspective on place and healing. In Songs of Silent Earth, Natalie Williams challenges us to confront the consequences of a disharmonious relationship to the natural world. And Kirsten Milenko reflects on life cycles in Solace, posing the confronting question: do we perceive ourselves as guardians, or owners, of the natural world? 6:30pm, $15 - $60 via cso. org.au/event/australian-series-hearing-land/
Caribé comes to Belco Arts with their trademark high energy Cuban music and dance. Their new production Una Nueva Vida (A New Life) celebrates the stories of Caribé’s Latin American artists. Una Nueva Vida is a spectacular collision of beautiful memories, creativity, and multiculturalism set against a repertoire of original Latin Jazz. Caribé’s music is alive with a spontaneous, improvisatory interplay that showcases Adrian Medina’s dancing, and the recollections and anecdotes of the band. Caribé invites you to dance, sing and interact! 7pm, $42/$49 via belcoarts.com.au/caribe/
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Exhibitionist | Comedy in the ACT
Not Amish; just born in 1990 At the risk of sounding like a crotchety grandma sitting in a rocking chair throwing things at kids on my lawn – I truly am so thrilled that “back in my day” all I had to contend with was keeping my small herd of albino guinea pigs alive, and (in a truly millennial moment) my ongoing quest to get on the property ladder with the Barbie Dream House. While I assume my albino guinea pigs would have gone viral on every social platform (if you haven’t seen one, have a google – real satanic vibes), I’m still so thrilled I didn’t have to also manage my image across several different social media accounts before I was legally allowed to drive. I got my first mobile phone when I was 16 (something akin to a Nokia 3315; indestructible, and wicked for a game of snake). My first laptop arrived when I was 20 (one of those chunky white macbooks). And my first smart phone when I was like… 23, maybe. Adulty adults love a good whinge about kids being on their phones. I don’t identify as an adult, so I think they’re brilliant. What a wonderful way to stay connected with people you love (and keep tabs on people you hate).
To amuse ourselves, we’d put each other in recycling bins and wheel around the neighborhood; play nonsense park games involving mud pies and a noble quest to save an imaginary pack of stray dogs. If super bored, we’d rearrange our bedrooms and show our parents who were like ‘…yeah cool.’ While I didn’t have all the world’s knowledge at my fingertips, I had the friends who lived on my street. And my guinea pigs; and that was all I needed. The joy – and curse – of not knowing what anyone else is up to. Isn’t it wild to think that. If a friend went away on holiday, I just had to… wait until they got back to hear about it. I had to wait another two weeks for their photos to get developed at the Kodak store on the main street to see proof of anything. Then the photos get relegated to an album in a box in a drawer to be dug out when someone dies or gets married or turns an age ending in zero. In news that shocks no one, I was a dog and horse girl. I subscribed to this, errrr, monthly dog magazine, and there was this little section at the back for penpals. We would literally publish our home addresses in a (national) magazine. What a safe, great idea.
I’d have no idea what is going on with my friend in the UK if it wasn’t for Instagram. I eagerly await #aesthetic updates from my friend who is roadtripping around Australia. And I certainly wouldn’t know the wonderful success of my comedian friends if not for regular updates on Facebook.
From that magazine I gained a small army of penpals who I exchanged letters with for many years. Nothing beat the high of checking the mailbox for a letter brandishing my barely legible address scrawled in child’s handwriting. The precious letter inside detailed the humdrum of everyday lives across regional towns in Australia.
But – I still wouldn’t swap my analogue childhood for anything.
Currently, my roster of regularly received mail includes information from Transport NSW (it’s
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yet to be a speeding fine but maybe one day), assurances from my local member that they are doing THE MOST for their community and, of course, wedding invitations delivered in a staggeringly high quality paper stock. I guess the modern equivalent of a letter is – an email? An Imessage? A ten minute voice memo recorded while driving? It still stands – no matter what, it’s still a joy hearing from my friends, whether big (I’m adopting a dog!) or tiny (‘saw this and thought of you’). A person’s life changes irrevocably when they become constantly accessible. When they get a phone, or a smart watch (mine is analogue for the record, and I think it’s been 45 minutes behind for weeks now), you’re always on. Occasionally when I’m somewhere picturesque I think, “Today is the day I’ll put all my devices away and just be present.” But then I see a weird dog or a hilarious number plate or a guy in a great hat and immediately whip out my phone. “My friends would absolutely love this.” Yes, there’s joy in being disconnected. But there’s almost as much joy in sharing. Sarah Gaul is an award-winning musical comedian, writer, and actor who has toured world. You may have seen her in breakout Aussie comedy HOT MESS on Netflix, or on ABC’s TONIGHTLY. Catch her show WIFE at Smith’s Alternative for one night only on Friday, 29 July. Tix $20 - $25 via the venue. You can preview WIFE on Spotify right here.
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CHATS WITH CHENOEH:
Photo: Brian Purnell
Vika and Linda By Chenoeh Miller Vika and Linda Bull were the soundtrack to my university years in the mid-’90s. Their connection as sisters was powerful and inspiring. The sharing of their Tongan heritage was joyful. But most of all their music was palpable. I’m thrilled that they’re bringing this beautiful new album to Canberra. The Wait blends the influences from their various works over the years to create a contemporary, passionate new sound that rocks and sways the listener. Trademark harmonies weave their way through a seamless blend of gospel, folk, and rock that is just so satisfying as a long-term fan. I can even feel a Suzie Quatro vibe on Pigface and Calendular. Needless to say, the diversity of genres is impressive.
When we started looking for songs for The Wait, Raise Your Hand was the first song that came in from Kasey Chambers. We instantly like the melody and its message. Stand up for yourself and be heard.
Can you describe a shocking moment that you experienced at a live gig?
Do you think it was somehow serendipitous that touring with the album was so significantly delayed? What do you think The Wait album means for audiences in 2022?
What are three things that you know about Canberra?
Yes it was, because it has given people more time to listen to the record and get to know the songs more intimately. Given that we spent so much time gathering and recording them, it has given people time to listen and enjoy so that when they come to the show they will be familiar with our whole set.
I was fortunate to grab some time and have a chat with Vika in advance of their upcoming show at Canberra Theatre Centre.
I have no doubt that many from my generation are coming in droves to your gigs. What has been their response to the album?
What was your favourite moment in the last 24 hours?
The response has been very positive. We have had some beautiful messages from people saying how much they love the new songs which is very satisfying because we love them too.
Setting up internet banking for our 88-year old parents and trying to explain to them how to use it. It was incredibly frustrating and funny. One of the most captivating songs on the album is Raise Your Hands – it’s so vibrant and soulful. What do you raise your hands for? And tell us a bit more about this powerful song. We raise our hands for many things but mainly for our daughters to be strong and independent and to fight for their rights because that is what our mother taught us.
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I am loving the experience of my 13-year-old daughter having Kate Bush albums on repeat lately, given the comeback! What is it like to be bringing your new music to new generations? People of our generation listen to our music and hopefully, when they have it on in the background, their kids will like it too. We have had many young adults approach us saying how much their mums love us and that makes us happy because we made their mothers happy so everybody happy!
Being spat at while we were on stage because this one particular person didn’t like the colour of our skin.
- Canberra became our capital to end an argument between Sydney and Melbourne that both wanted to be the capital of Australia - the people of Canberra love live music (DO WE EVEEERRRR!) - suburbs of Canberra are named after ex Prime Ministers Is there something unexpected or suprising that Canberra audiences will see at the show? We have a fantastic band and two wonderful backing vocalists will be joining us on tour as well. Linda and I love harmony and to have these two singers join us on this tour is just the icing on the cake. We have never had the luxury of being able to afford backing singers before and we are really looking forward to singing live with them. What can’t you live without? We can’t live without music. Vika & Linda play at the Canberra Theatre Centre on Thursday, 11 August at 7:30pm. Tickets are $79 + $5.95 booking fee via canberratheatrecentre.com.au/show/vikaand-linda-the-wait/
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THE UNBREAKABLE
Jess Hitchcock By Joshua Eckersley Melbourne-based Indigenous singer-songwriter Jess Hitchcock is headed to the Queanbeyan Performing Arts Centre in August to bring us songs from her new album, Unbreakable. Jess Hitchcock has been making waves in the Australian music and performing arts scene as a genre-defying force. Her powerful voice and knack for storytelling has seen her shine on operatic, theatrical, and mainstream music stages across the country, working with some of the biggest names in the business. If she’s not on stage with Paul Kelly or Kate Miller-Heidke, Jess can be found belting out her impressive mezzo-soprano vocals with Victoria Opera, or with Australia’s Indigenous opera company, Short Black Opera. Jess also recently featured in the theatrical performance,
Wudjang, with the Bangarra Dance Theatre. The work, directed by Stephen Page, combines poetry, storytelling, and dance, and features a talented cast of First Nation, Aboriginal, and Torres Strait Island artists. The point I am trying to make here is: this level of artistic diversity and adroitness is seldom seen in someone as young as Jess, and the way she navigates her own creative path is nothing short of inspirational. It is impressive enough to read her list of achievements, but it pales in comparison to actually hearing her voice. My dear readers, if you are not already familiar, please take a moment to search for the live version of Paul Kelly’s Every Day My Mother’s Voice, featuring Jess Hitchcock. The live rendition was recorded in The Domain, in Sydney, and released as a single by Kelly on Mother’s Day 2021. The sheer power of Jess’ voice cuts through and elevates the overall performance to the status of instant classic. The live recording originated after Jess, having met Paul a few times, was asked to sing the song at the APRA Art Music Awards by Paul himself. Jess recalls: “I work as Kate Miller-Heidke’s backing vocalist, and Paul knew I was going to be on tour with Kate (as his supporting act). He decided to put the song into his set, and he asked me up on stage to sing.” Jess explains that Dan Sultan, who originally sang that part, is also an Indigenous artist, and Paul thought that was appropriate. “So, for the whole 2019 Making Gravy tour, I jumped up on stage and sang it as a duet with him,” she explains. “It was very special, and a little bit nerve-wracking, but definitely a highlight of my career so far.”
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Collaborating is certainly one of Jess’ strengths, which is evident with her latest efforts, featuring on the single Summoning by Lisa Mitchell. The song is a beautiful slice of Americana-Folk from Mitchell’s recent album, A Place To Fall Apart, that boasts delicate, intertwined vocal performances from both artists. Jess tells us the song came about from a writing session, where the pair bonded over their connection with nature. “At the time she (Lisa) was going through a break-up, and I was going through some changes in my life as well,” she says. “We started talking about how we love to adventure out in nature, and specifically how old Wollemi pines are, and how much they have seen in their lifetime. “It all stemmed from there. In the end, the song sort of created itself. We didn’t have to work too hard on it.” And this brings us to Jess’ yet-to-be released album, Unbreakable, and her upcoming show at The Q. Jess will be presenting an intimate acoustic concert to road-test the new songs against a live audience, and also to provide a little teaser of what to expect when the album drops. She tells us: “Unbreakable is a collection of stories I wrote mostly during lockdown. They are songs about resilience and hope. I think it’s going to be a fun little tour and a good test of the music. The stories are relevant to the time we are going through right now, so I wanted to share that now.” WHAT: Jess Hitchcock - Unbreakable WHERE: Queanbeyan Performing Arts Centre, The B (Bicentennial Hall) WHEN: Wednesday, 10 August, 8pm TIX: For more info, visit theq.net.au @bmamag
By Allan Sko
“Ngadjung means water, or water hole. It’s a Ngunnawal word. We are absolutely privileged to have permission from the United Ngunnawal Elders Council to use Ngadjung as the title of the work. I’m so delighted by this. It’s been a true collaboration with Aunty Caroline Hughes, who has provided critical insights into the work—connections to water—and to give us permission to use other elements of language throughout the play.” So says the human perpetual motion machine that is Canberra’s Dylan Van Den Berg, who I managed to snare in between working on a Hothouse Theatre show in Wodonga. He’s on a short break before a staged reading that night. This is typical of Dylan’s vibrant creative work ethic. You may remember his acting turn in Metamorphosis at The Street Theatre or, more recently, recall his own production of Milk. Upping his game once more, Dylan has now written and, for the first time, is directing his new play Ngadjung in collaboration with Belconnen Arts Centre. “The play came from a provocation from the Artistic Director at Belco Arts, Monika McInerney,” Dylan explains. “She said, ‘Could you write something around water, and the human connection to water?’ She brought in Aunty Caroline, a local Ngunnawal elder, and gave me a free slate to do what I wanted to do.” As a self-described “fair skinned Aboriginal person”, the play continues Dylan’s exploration of First Nations people, culture, and identity as examined in Milk, albeit with a futuristic twist. “It feels like a responsibility,” Dylan says of his distinct voice in theatre. “But at the same time, it’s a real privilege to be able to tell stories and collaborate with other Aboriginal and Torres Strait Islander peoples right across the country. For me, there’s pressure to write a certain kind of Aboriginal story that comes from white companies, whereas I feel a real freedom and privilege to tell stories that matter to me; where I can take the lead. “This is why I’m really excited about this opportunity to direct my own play. A terrifying, amazing, great opportunity.” facebook.com/bmamagazine
Dylan is also using his platform to explore an important topic through the lens of First Nations people. “I’ve been thinking a lot about the climate crisis,” Dylan says. “A lot of us are. And I thought, what a great opportunity to consider water, and First Nations peoples’ connections toward it. Waterways hold our stories and our histories. And if they dry out, we’re not just losing a resource; we’re losing tens of thousands of years of connection, and stories. “What happens if that happens? What lengths will we go to to make sure we don’t go without water? What is it that we remember? “I also just love a bit of sci-fi,” Dylan enthuses. “So I incorporated the idea that, in the future, multinational corporations are hunting down people searching for water, and I explore how this plays out between the two Aboriginal women—one older, one younger—who come together, and work through their differences to try and find a solution.” Another theme of Dylan’s recent works is that of different generations. Whether this is a deliberate artistic choice remains mysterious. “I don’t think it’s conscious,” Dylan says. “It’s interesting; when I look at my work, I include young people, old people, people in between. I’ve had a lot of wonderful Aboriginal people in my life—my dad and my great grandmother— and I think about the way that each of us has responded to colonisation, what life throws at us. I’m fascinated by wading into different ways of seeing the world. But it’s not conscious. Maybe I’m just plagiarising myself,” he quips. You might as well steal from the best, right? Speaking of which, Dylan often starts with the ending and writes from there; as he did with Milk. Has he mercilessly stolen this writing process from himself too with Ngadjung? “It was a little bit different, due to having the provocation from someone else,” Dylan reveals. “The ending did come very early in the writing process, though. I’d written the first ten pages, which essentially sets up an ending. You’re hoping to reach the inverse of the starting situation; a reversal, restoration, or change. So
I jumped straight back in and wrote the last five pages, then filled in the gaps.” Further filling in the gaps is the erudite team Dylan and Belconnen Arts Centre have assembled to bring Ngadjung to life. “I’m absolutely delighted by the team we have,” Dylan enthuses. “Lisa Maza’s been treading the boards for longer than I’ve been alive. Kylah Day is new to the theatre. And then, of course, there’s Aunty Rachel Maza, who is mentoring me with directing. It’s a great mix of experience; I look forward to learning so much in six weeks.” Of course, any project is a learning experience, the volume and quality of which is only exemplified when you are the writer/creator. What’s been Dylan’s big takeaway from the experience to date? “Probably the climate space,” he says. “I don’t think I realised the concern for the future I was carrying. We’re at a point where we’re finally deciding to listen to Aboriginal peoples in terms of cultural land management practices, and such. And it feels like too little too late. “Now there’s an enormous pressure on First Nations people to solve all the problems. But of course, you know, the landscape is different. It’s been colonised. It’s not the same land that we were managing custodians of for thousands of years. It’s not an instant fix. “So I realised I was really interested in that, and very, very concerned about the future.” With concern and education will come compelling storytelling by a learned and skilled hand, expressed by captivating central performances. And, as Dylan keenly states, it’s a play for everyone. “I hope it appeals to First Nations peoples,” he says. “But it is also a play for everyone; the climate is a concern that we all have to share. We collectively share the burden. So I hope it resonates with people from all backgrounds.” Dylan Van Den Berg’s Ngadjung is on at Belconnen Arts Centre from 18 - 20 August, and 25 - 28 August. Tickets range from $30 $45 and are available via belcoarts.com.au/ ngadjung/ PAGE 31
Victor Valdes IN CONCERT
By Joshua Eckersley The world-renowned virtuoso, Victor Valdes, is bringing his masterful mariachi stylings to The Street Theatre for an incomparable night of traditional Latin and Mexican music. Born and raised in Veracruz, Mexico, Victor’s love of music started with the vibrant sounds and rhythms of his hometown. From a young age he was selected to be part of a music and dance ensemble in school, and from this moment onwards, it became his life’s passion and eventually, his career. Victor first came to Australia in 1992, performing with his highly acclaimed Mexican Folk group Tlen Huicani. With numerous concerts under his belt, including a whopping 20 performances at the Sydney Opera House, he fell in love with the country, eventually settling in Sydney in 1998.
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Music has no barriers, and I feel so inspired to continue doing what I love. To see people smiling, singing along, dancing, or even shedding a tear of joy, it fills my heart with happiness and accomplishment.
With Australia now his home, Victor made it his duty, and his mission, to promote Hispanic culture, which he says has been, “a great journey, to share my music, my culture, and language with many audiences in Australia. Having the acceptance of so many people from different multicultural backgrounds has enriched not only my musical knowledge, but also my soul.” Over the years, Victor has worked with many high-profile international artists, such as Los Lobos, and Aloe Blacc, but it is his work with the great icons of Australian music that has proved truly memorable. Victor recalls: “From touching the hearts of children while performing with The Wiggles, to rock ‘n’ roll with Jimmy Barnes; these are experiences that I could only describe as unforgettable and magical. It is impossible to pick a favourite artist that I have collaborated with. They are all brilliant in their own way, and I am grateful to have shared this musical journey them all.” Victor will be joined by his Big Mexican Mariachi Band at the Street Theatre in September, and hopefully there will be enough room on stage to hold them. Featuring harp, violins, vihuela, guitarróne, guitar, trumpets, and percussion, the only things bigger than the Big Mexican Mariachi PAGE 32
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Band is their love of music, their repertoire, and their hats. The band will be playing some classic, old time Mexican torch songs, such as Cielito Lindo, Las Mañanitas, La Paloma and the Mexican Hat Dance. The lyrics of these much-loved mariachi songs speak of love for the land, religion, nature, and the strength of the country, amongst other things. The songs will also be accompanied by some folkloric and colourful Mexican dancers. Mariachi music is known for its positive and uplifting effect on listeners, and The Street Theatre audience should expect nothing less, according to Victor. “Music has a strong healing power, no matter the genre. Music has no barriers, and I feel so inspired to continue doing what I love. To see people smiling, singing along, dancing, or even shedding a tear of joy, it fills my heart with happiness and accomplishment.” To top off this massive musical and cultural extravaganza, Victor’s personable interactions and storytelling will feature prominently throughout the concert. He tells us:
“I like to engage with audiences by giving them a little explanation and background to the music we are playing. And of course, if the Mexican rhythms take possession of your feet, and you feel the urge to get up and dance, then why not?” For those of us looking for a spirited night of Mexican music and culture, be sure not to miss Victor Valdez and his Big Mexican Mariachi Band. They make music to uplift your soul and get your feet moving. And if you are ever wondering how to keep smiling through life’s vagaries, just remember Victor’s personal philosophy: “Love what you do. Have dedication and commitment, and always respect yourself and everyone else. With these three elements, I have been able to lift myself up from difficult times and succeed with this wonderful artist career.” WHAT: Victor Valdes In Concert WHERE: The Street Theatre WHEN: Saturday, 24 September, 7:30pm TIX: For further information, visit, www.thestreet.org.au @bmamag
Yes, but By Joshua Eckersley
IS IT ART?
Are you who you think you are, or are you who your friends think you are?
works, because the play is about people that have been friends for 15 years.”
This is one of the provoking questions raised in the contemporary classic, ‘Art’, written by acclaimed French playwright, Yasmina Reza. The satirical comedy is coming to The Street Theatre in September, so we caught up with Director Shelly Higgs, and actor/comedian Shane Dundas, to find out what Art is all about.
Higgs focused much of the audition process on getting the right chemistry, and ended up with three actors who all have a very interesting approach to comedy.
‘Art’ tells the hilarious story of three friends divided by an expensive purchase of a modern artwork. Simply put, Serge bought the painting, Marc hates the painting, and Yvan attempts, unsuccessfully, to placate both sides. On the surface, the premise is straightforward enough, but delve a little deeper and you start to see the connections to many different facets of society. The play explores sustaining friendship through disagreement, however it also draws parallels to other topics that can bisect and break down bonds, such as politics and religion. ‘Art’ holds up a mirror to society, revealing our flaws, but it also serves as a channel through which we can laugh out loud at those flaws. A play with such wide-reaching topical tendrils needs to be handled with skill and finesse, and hence, Director Shelley Higgs has put together a dream cast and crew. Higgs, who has worked tirelessly over the years, as Director and Arts Program Producer with the Street Theatre, has recruited the side-splitting Shane Dundas (better known as one-half of The Umbilical Brothers) for the role of Serge. Joining Shane is Christopher Carroll and Craig Alexander, two of Canberra’s most celebrated actors, for the roles of Marc and Yvan. Higgs reveals: “The biggest challenge in selecting the cast is getting a dynamic that facebook.com/bmamagazine
“Shane is very well known for his work with The Umbilical Brothers, and he’s an incredibly funny man in real life, but we need the right actors who can bounce off that and give him something back. This is what Chris and Craig were able to do well in the rehearsal room.” The audition and casting process has been an interesting journey for Shane who, despite his early training as an actor, is suddenly stepping out of his comedy duo comfort zone after 30 years. Shane explains: “It’s a big deal for me. It’s daunting because I don’t have my mate beside me. Luckily, I’ve now got two new mates beside me, which is exciting. We’ve established a chemistry, and there’s a bit of fun there, which is crucial to this play. The actors have to be enjoying it.” According to Shelly, ‘Art’ is a production that The Street Theatre has wanted to do for a long while, given how relevant the play remains in modern times. ‘Art’ dates back to 1994, and it has played all around the world, from Broadway to London’s West End. When pondering the longevity of the work, and the significance in today’s world, Shelly states: “‘Art’ is a comedy, and I think we can all agree that it would be nice to be together, and to laugh. We need a shared experience of laughing.” She continues: “Lately, people are so divided in their opinions. It is very polarised in the discourse around politics and big issues. This battle between the friends is a good lens to show that through. It speaks to so much of our
Shane Dundas and Shelly Higgs
experience, so I see it as a playground for us to explore and bring our own perspectives to.” Shane’s parting words poignantly sum up the experience, giving a glimpse of the energy and excitement we can expect from ‘Art’. He muses: “The most important thing is to make all this flashing, back-and-forth dialogue work, so the audience are surfing on the words as we go through the play. “I use that analogy because there are certain nights when you are connected to the other person on stage, and you are connected to the audience, and there is an energy moving you forward. You feel like it could go anywhere at any time, and everyone goes there together, and that feels like surfing.” ‘Art’ will run from 5 - 11 September, with a special Meet The Makers pre-show on Sunday, giving the audience an insight into the making of the production. WHAT: ‘Art’, By Yasmina Reza WHERE: The Street Theatre WHEN: Mon, 5th – Sun, 11th Sept TIX: For further information, visit, www.thestreet.org.au PAGE 33
[BEST OF CANBERRA MUSIC] ANIRBAN JEE WILL ABOVE MY WISH
Will Above My Wish is Anirban [ ] Jee’s new track, a follow up to two recent releases, Move Out and Mayday. Anirban is no stranger to chart success: a previous release, Deep Down, featuring X-Factor artist Mary Ann Van Der Horst, attained the number-one position under the International Category at the 2017 Australian Songwriting Awards; and several of his tracks secured Top 10 placements in multiple categories at the awards.
Will Above My Wish is a smooth contemporary urban R&B and pop blend, merging this fused musical palette with a reflective lyric. Anirban says of the new release: “Will Above My Wish is about realising that sometimes our dreams or wishes will remain unfulfilled despite our ardent efforts. But eventually through life’s humbling experiences, we realise that those desires wouldn’t have yielded the best outcome for us. This makes us ponder whether there is some Will above my Wish that paves the possibility for something much better.”
The success of these tracks sits alongside other numerous awards and achievements Anirban has collected recently, including winning the International Category at the 38th Australian Songwriting Contest 2018; Ballad Category at the Australian Songwriting Contest 2018; Contemporary POP Category at the 35th Australian Songwriting Contest 2017, and many, many more. The multi-faceted musician is also a busy collaborator, working with many sought-after music producers, such as Simon Cohen (will.i.am, Guy Sebastian, Vera Blue, Thelma Plum), Adrian Hannan (Delta Goodrem, Gabriella Cilmi, Taxi Ride, The Androids), Sven Tydeman (Josh Pyke, Tina Cousins, Candice Alley), Tony Cvetkovski, David Gugliotta, and Daniel Diaz.
NICHOLAS COSTELLO DOUBT GROWS
Canberrabased indie [ ] rock singersongwriter Nicholas Costello has just released his new single, Doubt Grows, which recently premiered via Scenestr. The single is taken from his upcoming sophomore album Chronos (set for release later in 2022), which was recorded with producer Tim McArtney (Gang of Youths, LANKS, Jarryd James, James Vincent McMorrow, Hoodoo Gurus). The folk-fused semi-rollicking foundation featured on Doubt Grows amplifies the vulnerable, intimate nature of Nicholas’s vocal performance. The song allows room for a few subtle edges—organic textures, imperfect touches—endearing the listener to its dreampop tendencies. Despite the consistency of the shuffle-based rhythmic countenances and uniformity of the instrumentation, there’s a spareness in the melodic construction and use of dynamics. The track’s thematic guitar-like part—an open, melancholic riff that appears throughout—acts as a counterbalance to Costello’s earthy and amiably gentle vocal, which together helps contour this dynamic. PAGE 34
The song is measured, yet has a series of subtle hooks — expectedly during the chorus’s two-part structure. It’s a genre hybrid: not quite pop and not quite R&B. Its central focus is its theme: “The truth will out”. That, despite anything one does, the truth will surface eventually. VINCE LEIGH
The choice of falsetto during the chorus is an inventive method. It not only optimises the lyric, enhancing the alternations and establishing an appreciable difference regarding the mood of the track, but also compels us towards an even greater degree of alliance with the performer. The voice’s softer cadences quickly establish a sense of unavoidable intimacy. The transparency of the track’s title implies the narrator’s psychological awareness. It’s a clue as to what the listener might be in for—loss, heartbreak, an agitated emotional landscape. Yet the ambiguous nature, and the production’s piquant approach, create an agreeable discrepancy. As such, it is far more engaging than if a more earnest musical strategy had been adopted. Since his debut EP in 2014, Nicholas Costello has added three more EPs and an album to his recording output. Doubt Grows, a satisfying indie-folk pop-rock hybrid, is his most definitive release yet. It’s a song that reveals the scope of his persuasive and spirited artistry. VINCE LEIGH
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HYG INTO THE NEW WORLD
Canberra band HYG has been steadily developing a reputation for putting on high[ ] impact live shows via their heady brand of krautrock and jazz-inspired experimental sound. Despite taking cues from various other purveyors of art rock, the band’s latest track, Into the New World, is a hybrid instrumental that seems to straddle a heady conglomerate of genres. Its plucky bass-fuelled introduction sets up the track’s thematic heart, a five-four pulse whose circuitous, wandering anchor point allows the various hues of the band’s radiant musical palette to create, throughout the track, a dense convergence of rhythm, sonic texture, and hypnotic emotional power. The arrangement cleverly and evenly allows a swelling succession of attributes—the acquiescing drum parts after a minute, elevating pads soon after, more layers after that—to generate a sense of orderly, almost grand unearthly turbulence, one that eventually drops, or instead is extinguished like a blaze, segueing into a reiteration of the introductory signature phrase. It isn’t too long before Into the New World indeed transports us into another, slightly differentiated musical realm. As if wrenched from the intestinal make-up of the primary melodic phrase, a Middle Eastern flavoured articulation
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emerges and takes hold, enveloping the surrounding build-up of textural and harmonic components, creating a new dominant entity, harnessing accented strikes, and igniting a feverish turn in the energy of the performances. All constituents begin to percolate from this point, with high registered guitar-like (or actual guitar) wails in the distance juxtaposed like an entreating but concordant voice. The listener is eventually pushed to the brink. A cascading pummelling by the entire suite of appropriated sounds follows— the hyperkinetic drums, the seemingly restless determination of the musical phrases —all merged and submerged and riding out on a multitiered onslaught. The listener only too aware of the breathless finale that arrives. VINCE LEIGH
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[BEST OF CANBERRA MUSIC] SPUTNIK SWEETHEART LINDY HOP [
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Canberra band Sputnik Sweetheart has released Lindy Hop, the follow-up to the eclectic energy of last year’s indie-rock single Jealousy. The new track adds to the band’s growing list of triumphs, which include Triple J Feature Artist in 2020, nationwide radio support, and appearances at major festivals alongside Ball Park Music, Joyce Manor, British India, Spacey Jane, Kingswood, Hands Like Houses, The Grogans, Teen Jesus and the Jean Teasers, and BUGS. With Lindy Hop, the band waste no time setting up an imperturbable temperament. A straight kick warpath march segues into a wash of post-punk dark light and kinetic ambience. We’re taken by the scruff and led from the zest and punch of the set-up to an equally strident verse foundation peppered by a semi-clipped vocal melody that suits the trip we’re on. In fact, as we fall deeper into the controlled vortex, we’re treated to a tantalising visual: Now we’re running at the speed of light you are running left, I’m running right, you’re out of sight. Indeed, it seems we are in fact running at such a speed. But the track opens up to a few surprises, not the least of which is the efficient use of dynamics in the pre-chorus. These dynamics include a cut-time recalibration and a melodic lift from its last two lines. Rather than explode in a manner to which we might be accustomed, it instead tapers down to a brief musical interlude, sans the thick guitar grunt. A breather is what we have here. The chorus draws its power from this temporary abatement, giving us an alternate form of aural swirl, no less measuredly chaotic but with vocalist Nette France’s punk seethings expanding into the chorus’ focus. Lindy Hop’s thematic concerns—love in a time of honeymoons and homophobia—wrestle atop the eruptive freneticism of the performances. The pairing is a dazzlingly heady and rewarding amalgamation that will undoubtedly add to the band’s skyrocketing reputation. VINCE LEIGH
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HIGHLAND LIGHT 300 K’S The debut EP from Highland Light, the post-hardcore band from Greenaway ACT, features an assured collection of songs, performances, and authentic collective firepower. With just two previous single releases to their credit—Absolute (2021) and Star Buffet (2020)—the band’s fasttracked development is evident here. Opening grenade, Cradle, is a straight grooved relentless ride; true to the band’s self-styled post-hardcore label. It wastes no time imploring us with its convincing rock charms. The lead vocal establishes, or instead reinforces, what has already been outlined via the band’s first two releases. No American twang here, folks. This is refreshing for more than a few reasons. Poignantly, because it gives Highland Light a notable jumping off point regarding any kind of identifiable sonic signature. But I digress. There’s a tight little riff running through Cradle, which also identifies the splendid hybrid heavy
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post-grunge guitar work on display, that acts as an effective adhesive in a more general sense. The title track that follows rests a large part of its appeal on a series of highs and lows, from a clean guitar introduction to an evolving internal pulse that allows the vocal to present us with all its marks of vulnerability and fragility, even as it’s pushed to some kind of emotional limit. The track that bisects the EP, Down, is a highlight; a swerving conglomerate of raw, quasi-emo rock turbulence that encompasses confession, culpability, and explosive disintegration. The lyric effortlessly reaches for the throat with lines such as: Don’t stop calling if I’m ignoring your help. It’s a reminder to us all, right? Under the Debris follows the swelter of Down, revealing another clean guitar starting position that soon turns into fully charged chaotic grit. The closing track, What is the Problem We Created? not only
bears an intriguing title but is the most unprocessed and brief offering on the EP. This impressionistic piece fittingly leaves us with a landing pad that soothes, if not serenely, in a more sobering way. As this line tells us: You’re the only one that I see. There’s a lot here to like. 300 K’s sees a band morphing into a solid, thoroughly convincing rock entity with an undercurrent of advanced know-how that shimmers beneath a combustive surface. VINCE LEIGH
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[BEST OF CANBERRA ALBUMS & EP] NORA BLACK WATTLE
The Midwest emo band from the Mideast of Australia, NORA, has released its debut EP, Black Wattle. Comprising McAlister (guitar and vocals), Johnson (bass), and Bates (drums, shouts, and backing vocals), Black Wattle is a cohesive collection of tracks with a discernible connective thread to first releases. NORA’s debut single, muted lights, was a raw guitar-driven indie-rock offering with a sense of unrestrained urgency that made for an apt coupling with the group’s second release, Monkey Grip, an equally unprocessed record yet sparse and trepidatiously laid back, containing a seething disquiet whose emotional focus was the conclusive force of the track. The four songs featured on Black Wattle use these initial releases as starting points from which a more distinct version of the band’s power emerges. The set opener, Duffy St., harnesses a subtle melodic hook and echoes of the more elemental excursions of post-grunge. As such, it delivers not only a fitting introduction to the EP, but a succinct linking of the band’s strong points.
MADI CREECY AUTUMN AWAKENING
These strong points include: vehemently persuasive execution, musical arrangements infused with incontestable dynamism, and unwavering vocal performances that reflect a general sense of the band’s darkly euphoric underpinnings. Lonsdale St. follows on from the opener. A faster-paced song, it culminates in the band’s propensity for blazing accents. One soon learns this is another aspect of the group’s composite style. The supervening title track is a mere two-chord sequence. It’s a slow boil with a limited palette and gloriously suffused ambience bending and breaking in starkly emotive ways. The closer, Retirement, merges all of the detonating compulsion of the band’s wares. Not least of which is the anarchic drum work which forms the base for the song’s rhythmic fire. It also contains an uplifting melodic allure, tethered to a series of frantic accents. Although delineated, they’re part of the track’s genetics. Black Wattle is a uniformly powerful musical statement, with a compelling mix of emo rock thrills and electrifying nuance. VINCE LEIGH
Canberran Madi Creecy’s first EP, Autumn Awakening, follows two 2020 single releases, Mind Open and Vanilla. The new collection maintains Madi’s obvious interest in blurring lo-fi, electro, and ambient genres, arriving at a palette that’s unpredictable, sonically comforting, and intransigent.
Yet, Madi’s instrumental explorations lead us down a path that, at times, can feel slyly disquieting for this three-pronged approach. No doubt that was some of the thinking behind this suite of tracks. In a general sense, one can use the word ephemeral, with three of the six inclusions coming in at just under a minute-and-a-half. But the impermanence can also be ascribed to the emotional undercurrents on display, with the disassembling that appears to be part of the overriding style of Madi’s tracks, mirroring a feeling of illusion that is constantly being reassessed throughout.
their brevity, the first two tracks do seem to generate a languidness associated with time, as though the spaces Madi has used to cushion the sound and rhythmic choices have stretched those choices to reach a gentle standstill. The track that follows, Cotender, feeds off this elongation and provides one of the EP’s strongest corrugations, emitting from a low-note percussive nerve centre, a saxlike solo phrase that would have been at home during any number of 1980s psycho-sensual film soundtracks. Saturn is the EP’s biggest surprise, with its cyclical piano pattern, tympani strikes, and synth swells again conjuring a strange balance of tension and meditation which, when diffused, reveals itself as a measured tentativeness. Autumn Awakening is a series of imprints whose most vital energy source comes from the act of rearranging phrases, lines, and textures, arranging them into an atypical haunting entity, displaying Madi’s penchant for musical risk-taking, which is always a worthy artistic endeavour. VINCE LEIGH
During EP opener Floating, we are given cascading synth lines, interspersed with piano phrases and ambience—all establishing a measured allure. Yet, the appeal is used quite literally, creating an overriding impression of prepping us for the unknown. Second track, Essence, persists with this, suggesting an anticipatory state reinforced by the introduction of overtly inorganic textures, such as the dark electro rhythms. For all PAGE 38
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ALBUM IN
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Place, utilising rhythmic changes to emphasise the optimism of the lyric—nothing says uplifting quite like the sound of a kick and rimshot hammering away. The closing piece is a low-key atmospheric work-out with a few surprises, including a guitar solo— or is that a virtual guitar solo?—a sonic detour that fuels the resolve of Big Picture. Along with a raft of decent melodic choices, programming decisions, and vocal performances that reveal fragility as much as they do tenacity, Ellero’s EP also points to honing a particular style within the very difficult to stand out in the electro-pop genre.
And he achieves just this in several ways, including restricting his sound palette (which may be his preference for certain sounds playing out), which helps link each track and having a good grasp of dynamics. Ellero dresses up lines, performances, and parts in a way that helps sustain the listener’s interest in them for the duration of the EP. A compelling and worthy debut extended-player. VINCE LEIGH
ELLERO KEEP UP WITH ME Canberran singer-songwriter and producer Ellero has unveiled his debut EP, Keep Up With Me, his first release for 2022. The collection follows a string of tracks dropped in 2021 that explored a mix of electronic subgenres including dance, club, and pop. The EP maintains this musical approach, mixing EDM with synthbased pop hybrids. The title track begins proceedings with an arpeggiator-driven dose of pop whose dark and shadowy narrative offerings, predominantly during the verses, juxtapose effectively with the chorus’ chant-like declaration and its accompanying descending chord progression. The track builds just as we hoped it would, taking these cues from EDM as much as it does from considered song structure and production. It’s A Good Day follows, which contains perhaps the most robust suite of hooks merged into one of the four tracks here, reaching memorable highs and giving the listener a reason to sing along—its affirmative lyric a no-brainer when trying to connect with the masses; we all want to be repeating this truism to ourselves, even when we perhaps know it’s not necessarily deserved. The last two inclusions explore a variegated electro landscape, with one track, in particular, A Better
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PAGE 39
FILM REVIEWS
HAUTE COUTURE
MARGRETE - QUEEN OF THE NORTH
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Esther (Nathalie Baye) has been head seamstress at Dior’s Avenue Montaigne workshop for many years. Dedicated and talented, she knows all about haute couture. She is also nearing the end of her career and is preparing to hand over the reins to her colleague Catherine (Pascale Arbillot), with whom she has a warm, trusting relationship. But Esther has no plans for life after Dior and no idea about how to heal her longstanding and painful estrangement from her daughter. One day, on her way to work, Esther is robbed of her handbag by Jade (Lyna Khoudri) and her friend Souad (Soumaye Bocoum). Later, Jade, recognising the significance of something in the handbag, returns the bag to Esther. Though realising that Jade was the thief, Esther decides that Jade has the potential to become a dressmaker — well, at least the right hands for embroidery — and offers her the chance to intern at the Dior workshop. Difficulties soon arise, both at the workshop and at Jade’s home. Jade’s mother has mental-health difficulties, and Souad fears losing her friend and partner in crime. The costumes and fabrics in Haute Couture are understandably superb, and the feel of the workshop is quietly professional, like an extension of Esther’s personality. The standards of design and creation are extremely high, and the seamstresses who work there are at the top of their game. This is probably what exposes the film’s greatest plot hole: that a woman of Esther’s professional standing, responsible for not only the best creations on the catwalk but also the finances associated with their production, should hire, for some inexplicable reason, a street thief who can’t even hem a piece of practice calico — a thief who hasn’t shown the slightest interest in making clothes; has bad manners and a chip on her shoulder; and lacks all gratitude. That said, the acting is terrific, and it’s easy to warm to most of the characters. The Dior gowns are, of course, beautifully glamorous, and the overall feel of the film is appealing.
]
The year is 1402, 15 years since Denmark’s Queen Margrete (Trine Dyrholm) gave her heir, Oluf, a burial following his untimely death. In the meantime she has a new heir by virtue of having adopted Erik (Morten Hee Andersen), now King Erik, when he was five years old. Margrete, who knew continual warring while her father was king, made it her life’s mission as Queen to unite Sweden, Norway, and Denmark in a stable peace. And, under Margrete’s Kalmar Union, the region has prospered through five years of peace — a peace that could be shattered by invasion with overwhelming force by Prussia. In a few months’ time, King Erik will become betrothed to Princess Philippa of England, a union through which Queen Margrete intends to cement a military alliance that will protect both England and the Union from Prussia’s depredations. But negotiations for the alliance are halted when a man (Jakob Oftebro) arrives from Graudenz, in enemy Prussia, claiming to be the long-dead Oluf, escaped from long imprisonment and ready to claim his throne. Margrete is doubtful; Erik wants the man executed for treason. And the English won’t negotiate the royal marriage while the royal lineage is in doubt. But could the man from Graudenz be Oluf? And, if he is, what can Margrete do to save the Union? Director (and co-writer) Charlotte Sieling’s first feature film since The Man [Mesteren], Margrete — Queen of the North builds intricately upon a real-life mystery, one that the destruction of vital court documents ensured would remain unresolved. And the story builds a credible hypothesis as to what may have occurred over the few days of this tectonic drama as truth and pragmatism, history and security, and lies and spies battle for dominance, the entire region’s welfare hingeing on the outcome of a battle for royal legitimacy.
For light entertainment and visual treats, Haute Couture may well be the ticket.
Margrete — Queen of the North combines nice swordplay, great scenery, and fabulous acting in a beautifully filmed, gripping human drama that you won’t forget in a hurry.
—MICHELE E. HAWKINS
—JOHN P. HARVEY
Screening at Palace Electric.
Screening at Palace Electric.
PAGE 40
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ENTERTAINMENT GUIDE
THURSDAY 28 JULY
FRIDAY 29 JULY
SATURDAY 30 JULY
Bangarra: Terrain Bangarra’s award-winning Terrain returns for a 10th Anniversary Tour of Australia. Choreographed by Frances Rings, Terrain is a breathtaking exploration of our largest salt lake. The nine-part show performance evokes the power of body and land converging to bring spirit to place. 7:30pm, 1:30pm matinee, $79 – $99 + bf via venue
Amber Lawrence Living For The Highlights An album of strength, power, honesty, and raw songwriting. 7pm, $32.57 via Eventbrite
Inez Hargaden Inez Hargaden is an Irish singer-songwriter from County Cavan. She draws from folk, pop, rock, and jazz. 2pm, free entry
CANBERRA THEATRE CENTRE
Romeo & Juliet Still powerful and relevant and filled with some of Shakespeare’s most memorable characters and poetry. REP’s Romeo and Juliet will be fresh for those familiar with the text and thrilling for those coming to it fresh. 28 July - 13 August, $38 - $49 via venue
CANBERRA REPERTORY
West Thebarton UCX welcomes students back to campus with the Semester 2, 2022 O-Week celebrations! Catch Sesame Girl and Crocodylus supporting Adelaide rockers West Thebarton. 8pm, $18.07 student or $35.02 via Moshtix
UC HUB
Lez Zeppelin - All Girls. All Zeppelin “The most powerful all-female band in rock history,” says New York’s Spin Magazine. Playing the music of Led Zeppelin. 7pm, $55.60 via Oztix
THE BASEMENT
HARMONIE GERMAN CLUB
Frenzal Rhomb Gone To The Dogs Tour ”As far as pandemic pivoting goes, here at Frenzal Rhomb we’ve been manoeuvring around the hand vaulting horse, balance beam and trampolines, and we’ve somersaulted into some new tour dates! Let’s hope we stick the landing.” With special guests Totally Unicorn and Charlotte & The Harlots. 7pm, $45.40 via Oztix
THE BASEMENT
Sarah Gaul - WIFE The award-winning musical comedian is thrilled to bring her show WIFE to Canberra for one night only. For more on Gaul flick to page 26! 7pm, $20 - $25 via venue
SMITH’S ALTERNATIVE
Transista Groove Three seasoned musicians, who met by chance in 2019 and decided to play cover songs, but instead, during Covid, wrote a 13 track album Fantasy to Reality. 8pm, free
CANBERRA IRISH CLUB
Friday Fiesta: Los Chavos + Pachamama Transition into your weekend with Friday Fiesta - a monthly session of Latin, reggae, roots, world, folk, and ska. Entry includes basic drink on arrival. 8pm, $12 - $15 via Humanitix
TRANSIT BAR
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Woodface Woodface is a local duo creating memories that last. With these entertainers you will be raving about them for ages. 6pm, free entry
MAGOO’S CAFE AND BAR
Phoenix 5 w/ Sam Spurling ‘60s, ‘70s & ‘80s Night Come and join Phoenix 5 as they perform a huge 90min show of some of the biggest hits from the ‘60s, ‘70s, and ‘80s, including music from Led Zeppelin,The Beatles, Pink Floyd, The Rolling Stones, Black Sabbath, Deep Purple, ZZ Top, The Angels, Creedance Clearwater Revival + heaps more. 7pm, $29.60 via Oztix
THE BASEMENT
Raucous Swinging gypsy disco. 8pm, $20/$25 via venue
SMITH’S ALTERNATIVE
SUNDAY 31 JULY Tim McNally Acoustic singer-songwriter singing a slew of sultry songs. 2pm, free entry
QUEENIES AT KINGSTON
Craig Sinclair Original folk/blues music from Sydney via south-west Australia. 4pm, free entry
OLD CANBERRA INN
Ben Drysdale Ben Drysdale colours his heartfelt lyrics with musical shades of indie folk, reggae, blues, funk and soul, deftly tailoring the energy of a set to the venue: whether engaging a thoughtful listening crowd or filling a dance floor. 4pm, free
DICKSON TAPHOUSE
TUESDAY 2 AUGUST Comedy @ The Basement With award winning UK Comedian Christian Elderfield as seen on Britain’s Got Talent and Just For Laughs at The Sydney Opera House. Each ticket gets you an entry into the $50 bar tab lucky door prize, announced at the end of the night. 7pm, $20 via Oztix
THE BASEMENT
THURSDAY 4 AUGUST An Inconvenient Groove Having spent the winter months hibernating in the secret tunnels underneath Parliament House, An Inconvenient Groove have awoken with a vengeance, and will not stop until they have satisfied their hunger for FUNK. With brand new pop duo, Sweaty Biscuits. 7pm, $15/$20 via venue
SMITH’S ALTERNATIVE
Parklands Cyanide Single Launch It’s been a long couple of years for all of us and Parklands have been busy bringing together their new single Cyanide with the four-piece taking a step away from
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ENTERTAINMENT GUIDE garage rock toward apocalyptic beach rock with their new track. Come and grace your ears with a pleasure-filled pop-rock explosion. With guests Miroji + Xanthe Campbell and band. 8pm, $15 via Moshtix, $20 on the door
UC HUB
FRIDAY 5 AUGUST Winter Schnappsfest 2022 Beerhall-style celebration with schnapps, beers, wines, spirits, German social games, and one of Canberra’s finest akkordeonists band. 6pm, $16.84 – $252.97 via Eventbrite
HARMONIE GERMAN CLUB
Mark Hennessy Mark loves to get the crowd involved and can often be seen walking through the audience while playing. For a great night out book your spot now. 6pm, free entry
MAGOO’S CAFE AND BAR
Emo Night Linkin Park Party Free Emo Makeover Station with Rawr Visuals. $10 early bird tickets. Best fishnets win a $100 prize. 7pm, $29.60 via Oztix
THE BASEMENT
Phil Jamieson The frontman/singer/ songwriter/ guitarist for Grinspoon will be hitting the road for a run of shows to celebrate the release of his debut album Somebody Else which will be released 29 July on vinyl, CD, and digitally through Cheersquad Records & Tapes. 8pm, $49 via Moshtix
UC HUB
The Year of Magical Thinking Joan Didion’s celebrated memoir is brought to life by Green Room Award-winning actor Jillian Murray in a critically-acclaimed solo performance. 8pm, $30 $65 via venue
THE Q - QUEANBEYAN PERFORMING ARTS CENTRE
Betty Alto + Bobby James Band Rock/pop, dual guitar, party time with Betty Alto, plus acoustic based folk/blues ballads, with the neatly wrapped together soaring bass lines and worldly beats, of the Bobby James Band. 8pm, free entry
CANBERRA IRISH CLUB
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On the Stoop From Sydney, one of the best bands you’ve (probably) never heard of. Brilliant musicians playing many genres, excellent to dance to or to just marvel at their musicality. 9:30pm, $15/$20 via venue
SMITH’S ALTERNATIVE
SATURDAY 6 AUGUST International Blues Music Day 2022 Canberra Blues Society celebrates International Blues Music Day with 11 fantastic acts on 2 stages. From midday, $45 + bf via Humanitix
HARMONIE GERMAN CLUB
Lines Like Water Live Lines Like Water is Rob Hortle, a singer-songwriter and poet (self-published at age 7) from the Southern edge of the world. A mix of originals and unique covers, folk-punk, golden oldies, Oz classics, pop princesses, and occasional rapping. 2pm, free entry
OLD CANBERRA INN
Maison Hall After a sold-out Australian East Coast run earlier in 2022, Maison Hall are embarking on their biggest ever tour to celebrate the release of their sophomore record, Rose Coloured Everything. 6pm, $15 via venue
SMITH’S ALTERNATIVE
No Scrubs: ‘90s + Early ‘00s Party Calling all Barbie Girls, Teenage Dirtbags and All Stars: join No Scrubs for a ‘90s and early ‘00s party that will be Larger Than Life. 7pm, $20 via Oztix
THE BASEMENT
Neko Pink Fearless, gritty, and danceable beyond doubt, Neko Pink are redefining the look and feel of Australia’s pop-underworld. Launching in 2018, Neko Pink duo Africa and Gus quickly rose to the top of their hometown with evocative and unique live performances, along with a lush fusion of deep house, hyper-pop, and synthwave. 7pm, $18.07 via Moshtix, $23.18 on the door
UC HUB
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ENTERTAINMENT GUIDE Hetty Kate + Creswick: A double bill of vocal jazz artistry. 8pm, $25 - $35 via venue
THE STREET THEATRE
Bad Lunar See Ya Never Launch Alt rock 4-piece, Bad Lunar, are releasing their debut single. Come celebrate at The Polo with their mates Box Dye, Rental Snake, and Spouse. 8pm
LIVE AT THE POLO
The Year of Magical Thinking Joan Didion’s celebrated memoir is brought to life by Green Room Award-winner Jillian Murray in a criticallyacclaimed solo performance. 2pm, $30 - $65 via venue
THE Q - QUEANBEYAN PERFORMING ARTS CENTRE Romance Of The Three Kingdoms Rave ASIAA presents the biggest rave/hardstyle/EDM event in the nation’s capital. 8pm, ASIAA members $29.73, general $39.98 via Moshtix
MANNING CLARK HALL KAMBRI AT ANU
SUNDAY 7 AUGUST The Queen Bee Sessions A weekly event consisting of three quality female artists performing over the day. From 2pm, free entry
QUEENIES AT KINGSTON
Inez Hargaden Inez Hargaden is an Irish singer-songwriter from County Cavan. She draws from folk, pop, rock, and jazz to commonly reflect on the joys and tribulations of life. 4pm, free entry
DICKSON TAPHOUSE
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Sal Live Discovering Joan Jett at the age of 14, Sal is extremely passionate about women in heavy music. She regularly performs with her pop punk band, Sal & The Mandas, but also enjoys her regular solo shows. Expect covers including the likes of Pixies, Fleetwood Mac, and The White Stripes. 4pm free entry
OLD CANBERRA INN
WEDNESDAY 10 AUGUST Canberra Writers Festival Across more than 70 live events, the festival offers a dynamic range of national, international, and local literary talent under the driving theme of Power, Passion, Politics. 10 - 14 August, for more info head to canberrawritersfestival. com.au
VARIOUS VENUES
THURSDAY 11 AUGUST Capital PUNishment Capital PUNishment brings you Back to the Future (1991 style), with the theme TV Shows. Come join in for a Sense8tional Night! 7pm, $15 via venue, performers free
SMITH’S ALTERNATIVE
Rancid Eddie Come get F*cked Up With Your Friends as this August will see Rancid Eddie pulling themselves up from a pile of crushed-up beer cans and cigarette butts, as they head to Canberra for the very first time. 7pm, $24.50 via Oztix
THE BASEMENT
Vika & Linda: The Wait Vika & Linda are set to embark on their biggest tour yet, celebrating their 2021 album The Wait, their first new album of original songs in 19 years. 7:30pm, $79 + bf via venue
CANBERRA THEATRE CENTRE
Live From the Brew Deck Next up on the Capital Brewing Co’s brew deck are two amazing local bands, Single Mums and Muesli. This is a great night of live music you don’t what to miss. 8pm, and psssst.... it’s free
CAPITAL BREWING CO
FRIDAY 12 AUGUST Trapped Under Ice #7 10 bands, 2 stages! Mid-winter metal mayhem. 7pm, $24.50 via Oztix
THE BASEMENT
Jayne Denham - Wanted A movie for your ears. A completely nailed throwback campaign hidden in a modern musical masterpiece. 8pm, $32.57 – $69.31 via Eventbrite
HARMONIE GERMAN CLUB
The Decideds The Decideds are a rootsydubby-funky-Latin-jazzygypsy 8-piece band formed in 2020 with a who’s who’s of CBR musical talent. 8pm, free
CANBERRA IRISH CLUB
The Burley Griffin + CJ Shaw & The Blow Ins Head down for some of the tastiest, freshest folk boogie stylings Canberra can offer. An incredible double bill featuring legendary Canberra
folkies The Burley Griffin and ARIA nominated CJ Shaw and The Blow Ins. 9:30pm, $10/$15 via venue
SMITH’S ALTERNATIVE
SATURDAY 13 AUGUST National Science Week Celebrate all things science across Canberra with fun events for all ages. National Science Week showcases the amazing science occuring right here in our nation’s capital. Head to scienceweek.net.au/ your-state/act/ for all events and listings
VARIOUS
Kav Temperley (Eskimo Joe) Eskimo Joe frontman, 8-time ARIA award-winning Kav Temperley, is off on a regional tour in support of his highly anticipated second solo release Machines of Love & Grace, playing a rare, intimate show. 9pm, $30 + bf via venue
THE COURTYARD STUDIO
Rufino and the Coconuts Rufino, crooner and violinist, renowned for his work internationally with Mikelangelo and the Black Sea Gentlemen, presents his acclaimed show of ‘tropical noir’ with a full 8-piece band to stir the bones and bring the steaming jungle to Smokey Horse. From 5pm, $22.19 via Eventbrite
SMOKEY HORSE
Dan Challis Dan Challis paints a vivid picture of emotions, places, and people that resonate intuitively with listeners on a most humble level. Through Dan’s sophomore album No
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ENTERTAINMENT GUIDE Lonely Road, we ebb and flow on his journey of love, loss, and reflection. 2pm, free entry
OLD CANBERRA INN
The Originals III Showcase series featuring some of the best national and local original artists of our time, making each event a memorable and highly entertaining night. 6pm, $22.90 via Huamanitix
HARMONIE GERMAN CLUB The Gadflys Like T. Rex on alligator wine; cool, rootsy and sublime! Shows at 7pm & 9:30pm, $35 via venue
SMITH’S ALTERNATIVE
Shananigans Entertainment The Emo Pop Punk Tribute Featuring So Last Summer performing a huge 2-hour set of all your favourite hits from Fall Out Boy, Simple Plan, Sum 41, Avril Lavigne, My Chemical Romance, The Offspring, Yellowcard, Taking Back Sunday, Jimmy Eat World + more. 7pm, $24.50 - $35.20 via Oztix
THE BASEMENT
Adam’s Parade Adam’s Parade are located from Illawarra in NSW. They describe their music as LTMC or Light To Moderate Core. Pulling influences from poppunk, hardcore, and rock, their music creates a blend of new and thrilling music. 7pm, $13.30 via venue
THE BASEMENT
Between You and Me Touring sophomore album Armageddon. Every Between You & Me headline show has sold out well ahead of show, so don’t sleep on tickets! 8pm, $22.97 via Moshtix
UC HUB
SUNDAY 14 AUGUST Bec Taylor School of Music School’s Out Rockshow The BTSoM Bandmates Groups have been working hard all year in class, building up to rocking out on stage at School’s Out. The fantastic ARCHIE will be headlining the show. Doors open at 3pm for a fantastic afternoon of musical talent. $15 - $25 via Oztix
THE BASEMENT
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Sheku Kanneh-Mason & The Kanneh-Mason Family On this first Australian tour Sheku will be joined by sister Isata, now one of Britain’s leading young pianists, in a performance of greatly loved sonatas for cello and piano, and, in the second half of the program, by the entire family. The program will feature works by Schubert, Mendelssohn, Shostakovich, Gershwin, Liszt and other popular composers. 2pm, $79 - $119 + bf via venue
CANBERRA THEATRE
The Queen Bee Sessions A weekly event consisting of three quality female artists performing over the day. From 2pm, free entry
QUEENIES AT KINGSTON
James Southwell Southwell’s music comes from a deep love of the blues with heavy inspiration from rock & roll influences. This band is set to capture your attention as James projects himself off the stage and through you with his music. 4pm, free entry
OLD CANBERRA INN
Sal Live Join Sal and her handmade, Cole Clark acoustic guitar as she takes you through a list of her favourite covers including the likes of Pixies, Fleetwood Mac and The White Stripes. 4pm, free entry
DICKSON TAPHOUSE
Dark Matter in the Pub One of the greatest mysteries of science is dark matter - an invisible substance that seems to be all around galaxies, affecting how they rotate. Maybe it’s right here around us as well, but we can’t see it! Explore this phenom further. 7pm, free entry
SMITH’S ALTERNATIVE
TUESDAY 16 AUGUST Open Mic Comedy Whether it’s to enjoy some great food from Chompy’s and watch, or whether you’re a seasoned professional looking to tryout some new stuff. Even if it’s your first time, head on down and check it out. Doors 7pm. show 7:30pm, free entry
THE BASEMENT
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ENTERTAINMENT GUIDE
THURSDAY 18 AUGUST
FRIDAY 19 AUGUST
Ngadjung Commissioned by Belco Arts and written by celebrated local playwright Dylan Van Den Berg, Ngadjung marks Dylan’s first foray into directing with support from Melbourne-based Ilbijerri Theatre Company Artistic Director Rachael Maza. Featuring a stellar team of both First Nations and Ngunnawal residents, Ngadjung is a visionary new work that is not to be missed. 18 - 27 Aug, $30 $45 via venue
Frankie J Holden & Wilbur Wilde Classics Two of Australia’s legends of rock’n’ roll deliver a superbly entertaining, energetic, and professional show! 7pm, $48.32 – $85.05 via Eventbrite
Patient Sixty-Seven Wishful Thinking Australian Tour With Harroway, Bury Me, and A World In Colour. 7pm, $19.40 via Oztix
SATURDAY 20 AUGUST
BELCONNEN ARTS CENTRE
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Sydney Comedy Festival Showcase Tour Tearing up the freeways of Australia to bring the best of the 2022 Festival to Canberra! 7:30pm, $42 + bf via venue
CANBERRA THEATRE CENTRE
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HARMONIE GERMAN CLUB
The Fuelers The Fuelers take their name from nitro-fuelled drag cars. Once these things get going, the only thing that’ll stop them is a parachute. 8pm, free entry
CANBERRA IRISH CLUB
BurntOut Bookings First Birthday 9 bands over 3 sessions ft. Eilish Gilligan, HARRIS, Box Dye, Sophie Edwards, S.Wells, Morgues, A World In Colour, Chain Tombstone and the Dead Men, and Thantu Thikha. Sessions at 3:30pm, 5:45pm, and 8pm, $20.40 per sesh or $54.60 for all day via Oztix
GANG GANG CAFE
Renae Stone A warm and personable performer, Renae delivers with strong husky vocals and a killer set list to get everyone up dancing. With over 15 years’ experience in bands, and as a soloist, Renae has performed across hundreds of venues and events across Sydney and NSW. 2pm, free entry
OLD CANBERRA INN
Ben Drysdale with Niall Howe Ben Drysdale colours his heartfelt lyrics with musical shades of indie folk, soul, blues, funk, and reggae. A solid solo performer in his own right, Ben has enjoyed teaming up with Irish keys-extraordinaire Niall Howe for a series of exclusive acoustic duo shows. Howe’s roots in Irish folk and jazz piano complement Drysdale’s genre bending style perfectly. 4pm, $10/$15 via venue
SMITH’S ALTERNATIVE
Floor Element Dance Competition 2022 A combined amateur, semiprofessional, and professional floorwork competition with
local dancers coming together to show off their talents and compete for the winning place! 6pm, $40 via Oztix
THE BASEMENT
Milena Luna Rising from the ashes of the Mallacoota Bushfires, a presentation of a poignant and timely album - This Is Now. 7pm, $20 via venue
SMITH’S ALTERNATIVE
Prada Clutch’s: All-Drag Revue Flanked by gorgeous men, Australia’s six-foot something songstress Prada Clutch & her ‘girls’ pay tribute to the history of Aussie drag – in concert. 8pm, $68 + bf via venue
CANBERRA THEATRE CENTRE
ABLAZE - Ivy Lore, Mangrove & The Dirty Sunflowers Hard rock guitar riffs, head banging drum beats and loinquivering bass grooves will get your fists pumping and your liver begging for mercy as the beer-soaked crew from ABLAZE hits Canberra. 8pm, $15 + bf via Trybooking
LIVE @ THE POLO
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ENTERTAINMENT GUIDE
SUNDAY 21 AUGUST
THURSDAY 25 AUGUST
Northbourne They smashed onto the CBR scene with 5 amazing singles and debut LP They’ll Never Find Us Here. All ages gig with friends Nora, Major Arcana, and Ricky’s Breath. 6pm, $23.18 via Moshtix
Pete Murray: Before I Go Tour Multi-platinum selling Pete Murray is hitting the road for the first time in three years to celebrate the release of new EP Before I Go. 8pm
UC HUB
The Australian Tenors Five of Australia’s best tenor voices bring a stirring program to instil the beauty and demand of an authentic tenor voice. 2pm, $75 - $85 + bf via venue
CANBERRA THEATRE CENTRE XIBALBA (USA) Hailing from SoCal, with four albums and many splits and EPs, XIBALBA has become a staple in metal and hardcore circles. With supports Honest Crooks, Facecutter, Trenchknife, and Bloodmouth. 3pm, $45 via Oztix
THE BASEMENT
James Southwell His music comes from a deep love of the blues with heavy rock ‘n’ roll influences. 4pm, free entry
DICKSON TAPHOUSE
Chris O’Connor Fond of 1920s and 30s blues, Chris uses a small bodied 6-string guitar, a rich deep 12-string, and a well-worn steel bodied National resonator to muster his vintage blues songs. 4pm, free entry
OLD CANBERRA INN
The Queen Bee Sessions A weekly event consisting of three female artists. 2pm, free
QUEENIES AT KINGSTON
TUESDAY 23 AUGUST Django Jam A monthly Django Reinhardt jazz jam hosted by The Gypsy Project. 5pm, free entry
SMITH’S ALTERNATIVE
Death By Carrot Deep psychonautic grooves via the Black Sabbath meets Pink Floyd side of the rock ‘n’ roll tree. 7pm, $10/$15 via venue
SMITH’S ALTERNATIVE
Volumes - Happier? Tour The LA quartet bring twisted melodies and bone-shattering grooves via latest opus Happier?. With Defying Decay & UNI/VS. 7pm, $61.10 via Oztix
CANBERRA THEATRE CENTRE
FRIDAY 26 AUGUST Be’lakor Coherence Tour Melbourne melodic death metal masters hit the stage with their latest album opus Coherence. With supports Orpheus Omega, Andy Gillion (UK), and Immorium. 7pm, $34.69 via Moshtix
THE BASEMENT
Diesel Greatest Hits: Alone With The Blues With the recent release of his studio ode-to-life-in-the-burbs, Sunset Suburbia, Diesel is hitting the road again, in solo mode. 8pm, $70 + bf via venue
CANBERRA THEATRE CENTRE
Chris Harland Blues Band The CHBB sound is strong; assured; enticing. When this trio works a room, people buy another drink and move toward the music. 8pm, free entry
CANBERRA IRISH CLUB
SATURDAY 27 AUGUST Ivy Lore Gloria Tour Ivy Lore are setting out on an epic East Coast tour to celebrate spunky new single, Gloria. 7pm, $17.33 via Moshtix
TRANSIT BAR
Kid Presentable While the band epitomises the traditional attitudes of hardcore, sonically they offer an entirely unique experience. With supports Facecutter and Purity. 7pm, $23.18 via Moshtix
UC HUB
Thelma Plum The Meanjin Tour Celebrating the EP of the same name released on August 12. With an absolutely stellar line up including the wonderful GRAACE. 8pm
UC REFECTORY
THE BASEMENT
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