BMA Magazine #530 - Jan/Feb 2023

FROM THE BOSSMAN

BY ALLAN SKO [ALLAN@BMAMAG.COM]

Ahhhh, how quickly we find ourselves blindly windmill-punching through yet another new year. Like a small child awoken from a couch-bound slumber, doughy-eyed and blinking we wonder where we are, what the heck happened, and what now?

There’s a smorgasbord of feelings at this time of year - a smashing together of blind optimism, end-of-year indolence, sombre reflection, and a general sense of ‘Hang on… These aren’t my trousers...’ merry-making - that creates something magical about a new year.

Despite many negotiating the first few hours of January with a hangover that puts a heavy heartbeat in the head, it’s hard not to feel invigorated about opening a fresh pack of 365.

For those first few trembling steps of a new year, anything is possible. I will write that book. I will lose that weight. I will stop doing lists of three as often.

Before that, there’s the joy of making our way through the start-of-year rituals.

Rituals such as taking a spirited romp with a digital machete through the overgrowth of an inbox that, throughout December, has become lush with emails concerning Christmas well-wishes from people you’ve never met, offers to expedite

large sums of cryptocurrency from foreign lands, and invitations to spurn the size of one’s member via colourful pills.

And who can pass up the annual night-thrashings of anxiety dreams about all the various things you put in the ‘Do It In January’ basket - ie most of it - that threatens to rob you of decent sleep just when you need it most before work starts.

Then there’s being on the receiving end of the cuts, sharp prods, and knocking over of at least one precious item with a serpentine electrical cord as you, eventually and begrudgingly, put away the Christmas decorations.

And who doesn’t enjoy constructing a mini funeral pyre from those numerous pointless Christmas cards - where only a poorly-scrawled name is applied - and setting it ablaze.

Finally, there’s the knowing smirk elicited by fellow virginal gym go-ers when marvelling at sports clothes that have spent more time absorbing mothballs than sweat.

But this is the year. I’m finally going to write an album, and it will include tracks like the soaring I Like Parenthesis Titled Tracks (Or Do I?), the instant anthem for the world-wise recycling generation Can I Borrow a Peeling? and the heartfelt I REALLY Must Stop Relying on Three-List Gags

All I need now is to learn to play, write, and basically have anything to do with music other than talk about it. But the year is young!

So before we collapse into the inevitable and safe steady step of drudgery comprising the same failed dreams and bad habits that we subject ourselves to every year, enjoy this glistening moment of optimism.

Now if you will excuse me, I have a book to start, a musical instrument to learn, and a pair of trousers to find.

ALLAN SKO

One of the most highly anticipated regional music events of the year, Googfest is returning in 2023 with some of Australia’s most iconic home-grown performers. This free event will be headlined by the highenergy and infectious, roots-soaked blues rock of Joe Camilleri and The Black Sorrows. The Black Sorrows will be supported by the soulful blues of Chloe Kay and the Crusade, the dance inspiring Smooth Ops, as well as the beautiful voices and rich harmonies of The Faumuis. 5pm-9pm, free entry & free buses. For more info: googong.net/news-and-events/events/googfest-2023

again. Mark pulled his debut album together over the last three years while in self imposed isolation and recovery from heart failure. The ten-tracker is a serious but fun look at life that leaves the listener both humming and musing. Supported by the inimitable Matt Dent. 4pm - 6pm, free

Four completely different bands from four completely different cities playing One Huge Gig! DEAD (VIC) bring their unique bass driven heavy shit to town. They’ve toured the world, run their own record label, and released a fantastic new album. Hydranaut are Canberra’s stoner rock kings, with a brand new LP to boot. Rubber Necker, eclectic new wave post punk goodness, are the hottest band in Sydney. And The Leftards bring their free wheelin’ loonie live punk rock show direct from Wollongong. From 7pm, $12 via Trybooking/$15 on the door, price includes entry to band merch raffle

As extolled by CTC’s Head of Programming, Dan Clarke, on Kae: “They are a poet. A rapper. A truth teller. They are a change maker. They are a playwright and a novelist. They can fill out a large outdoor venue and also perform up-close in intimate venues. Kae is truly unique – political, poetic, and powerful. I’ve followed them since 2013 when I saw their epic work in Edinburgh Brand New Ancients. I’ve seen them live many times and the energy in the room is electric. Totally mesmerising and charged. I wanted more than anything for Canberrans to experience this.” 7pm, $55 - $65 + bf via venue

“It’s The Smith Street Band at their finest, with new album Life After Football highlighting a renewal of the group’s pub rock roots,” say Forte Magazine. Featuring the singles I Don’t Wanna Do Nothing Forever, Everyone Is Lying To You For Money, and A Conversation With Billy Bragg About The Purpose Of Art, the album embodies The Smith Street Band’s trademark prolific songwriting while offering some of the shortest and fastest songs the band have released to date. Perfect for the live stage! And coming along for the ride is Press Club, no less. 7pm, $56.10 via Oztix

Welter is music akin to a familiar friend: authentic, unpretentious, welcoming. From the Mountains of Tasmania to the coastal surf of NSW, they produce outstanding “Music for the good life”. Fans describe their songwriting as being conscious, aware of the world and the community around them, uplifting, and engaging their audience. Come along to hear new songs, plus an array of Welter gems from previous releases. The band is known for their exciting rootsy ’n’ rockin’ sound which encompasses everything from soulful ballads to

Produced by legend David Pendragon, Canberra singer-songwriter Mark Thomann bring us his debut LP Plastic Flowers, a collection of story driven country blues songs with quirky lyrics, catchy hook lines, and grooves that take you to the heart of modern Australia and back

entry

high-energy RAWK. 4pm, $20/$25 via Smith’s website

Mixed Bill Madness! / With DEAD, Hydranaut, The Leftards, Rubber Necker / Sat, 11 Feb / Pot Belly Bar

Googfest / Free all ages fest ft Joe Camilleri / Sat, 4 Feb / Rockley Oval, Googong NSW

Mark Thomann / Debut LP Plastic Flowers launch / Sun, 5 Feb / Canberra Irish Club

Kae Tempest / Rapper, writer, musician / Mon, 20 Feb / The Playhouse, Canberra Theatre Centre

The Smith Street Band + Press Club / Album celebration / Fri, 24 Feb / The Basement

Welter / Exciting & uplifting rootsy ‘n’ rock sound / Sun, 26 Feb / Smith’s Alternative

CSO and Elton John... Together At Last

If you wanna spend your afternoon on Saturday, 4 February outside being serenaded by lovely music from the Canberra Symphony Orchestra, you’d best get along to Queanbeyan’s Music By the River from 3pm - 11pm.

LOCALITY

[ THE WORD ON LOCAL MUSIC ] WITH RUTH O’BRIEN. SEND GIGS AND INFO TO: [RUTH@BMAMAG.COM]

Happy New Year!! How is 2023 kicking off for you? Hope you’re having a good time wherever you are and that you’ve had some downtime over the holiday period.

I had a very pleasant time myself, thanks for asking. Ate Macca’s on Christmas night for the first time ever, that was actually really great (Bossman Note: This is what happens when you AI image generate McDonald’s at Christmas).

Also got into an array of non-alcoholic beers; can totally recommend! It’s so great to see that cultural change. When I was in my 20s (which wasn’t very long ago tbh!), nonalcoholic beer was unheard of. Like, barely existed. Now, it’s becoming so commonplace that it’s almost (almost) becoming weird to WANT to drink alcohol. Getting sloshed just ain’t as cool as it used to be, apparently.

Anyway, great to see these shifts happening as we enter 2023 which, by the way, is looking to be a fantastic one for shows, festivals, and fun times all ‘round! Please see below…

Step Into My Salon

Coming up on the 3rd and 4th of February is another instalment of Ainslie Salon! Presented by Arts Capital at the Ainslie Arts Centre, Ainslie Salon is an exciting project that has been on the go since early 2022.

The program this year is dedicated to the Rocketman – A Tribute to Elton John, with Darren Percival as guest vocalist. There’ll also be some other local musicians performing including Canberra Harmony Chorus, Duralla Street Dudes, and Woodface. This event is all ages and is free in some areas. Paid tickets are only $12.10!

For all the details, head to cso.org.au

On Tuesday, 7 February, the Belco Jazz Band will be performing at Molly from 7:30pm until 11pm.

Led by Matt Dennett (piano and organ) and joined by Chris Johnstone (guitar) and Stephen Richards (drums), the trio will perform a variety of jazz classics and originals. For more info, head to molly.bar

Further Canberra Shananigans [sic]

On the Saturday, 11 February, The Basement (in collab with Shananigans Entertainment) brings you a right ol’ blast from the past with the 90s N 00s Music Festival

Potential @ Ainslie Salon

Produced and programmed by the ever-talented Sia Ahmad, Ainslie Salon this time ’round features Bree van Reyk (vibraphone) and Mick Turner (guitar) who will perform tunes off van Reyk’s new album, Superclusters

Performing on Saturday, there’s the wonderful dark-pop synth wave (plus sax) three-piece from Sydney, Potential. The band will be joined by local act Lost Coast, and are releasing their new LP, Normal, a concept album with the focus on the body within an ableist society. Find out more about all of the acts at Ainslie Salon via ainslieandgorman.com.au/whats-on

There’ll be eight acts (made up of local musicians) featured on the night who’ll be paying tribute to some unforgettable favourites including Korn, Linkin Park, Limp Bizkit, System of a Down, Guns ’n’ Roses, Deftones, Hole, Garbage, Nirvana and more besides.

Tickets can be purchased from the Oztix website for some coinage to the value of $30 + bf (or $25 if you get in quick!). Definitely a fun night to be had at this one.

That VERY SAME NIGHT, they’ll be a competing yet completely different event happening over at the amazing Flazéda Hub on Emu Bank from 7:30pm.

GlitterBox is a party for the LGBTQIA+ community, BIPOC folk and friends, and had several sold-out events throughout 2022! This one is the Valentine World Pride Edition and is all about love, kindness, freedom, and self expression. To book tickets, head to trybooking.com/ CFDON

On Saturday, 18 February at 5pm, Big Reef will be taking the Live at the Polo stage with local faves, Miroji. Also on the bill is Realname (Naarm/Melb) and My World Blurry.

Sisters Doing It For Themselves

And, just to give a li’l plug early on, BurntOut Bookings presents CBR GRRRLS To The Front on Saturday, 4 March at The Basement! The line-up includes VOIID, Box Dye, Masochist, and Pretty In Punk and is a celebration for International Women’s

Day

Gigs like this ensure the voices of women in our local music scene continue to be heard, and lifted.

And, in case this gig wasn’t already wholesome enough, $5 of every ticket sale will be donated to Girls Rock! Canberra to ensure more young people have the opportunity to play music from an early age. To buy tickets, head to thebasementcanberra.oztix.com.au

This one is only $13 for four bands, can you believe? For this absolute bargain you’ll see four up ’n’ coming acts plus you might even have a dance, have some remarkable conversations, meet the love of your life... who knows? Worth finding out for $13 bucks, I say!

That’s just a small snapshot of what’s going on in our amazing music community this month. Support local music where you can! It may seem small but it helps those in the scene immeasurably; possibly in ways you might never know.

See ya next month!

It’s been a year since we caught up with the hard-working “happiest metal band” that is the otherwise ominous sounding Chain Tombstone & The Dead Men, and whilst they’ve seen a lineup change, they remain Canberra’s leading exponents of the 2010 deathcore meets mid-2000s metalcore sound.

And they’ve a brand new single to tout - State Of The World - to boot, which they describe as their best work to date.

Let’s find out more about it, shall we? Over to you lads...

Group members:

Rheece Paulissen – Vocals

Ben Anthony – Guitar, Backing Vocals

Shea Coffey – Guitar, Backing Vocals

Sam Angel – Drums

Tom Williams - Bass

Describe your sound

Put metalcore, deathcore, and death metal between two pieces of bread with tangy comedic sauce. Very choppy riff-based content with a heavy but hilarious approach to the genre.

You’ve had a few line-up changes. How has that affected the band’s dynamics and sound?

Our sound remains as heavy as everyone likes it! We still have fun on stage and keep the shows engaging for all of you.

Tell us about your upcoming single; some of your best work, I hear?

State of the World is a favourite amongst the band. We all enjoy it and think it will be so much fun to play live. If you can’t enjoy listening to your own music then you should have a word with yourself!

What is it, in particular, about the new track that you’re so enthusiastic about?

It’s the second track to feature clean vocals, and it has a very enjoyable guitar duel halfway through. It’s an easy track to listen to and it flows well.

And a good track to play live, you say?

Oh yes. The crowd can finally sing along to our music! Plus, Ben and Shea enjoy playing the guitar duels. Was it a track that came-tobe as you workshopped it, or was there is a purpose in mind from the very beginning of the writing process?

We knew we wanted another song with clean vocals, and another track with a guitar duel. The only other song we have that has those components goes for about eight minutes, which sometimes makes it tricky to squeeze it into our sets.

The intro and pre chorus riff came to Ben straight away, but the rest

of the song and its structure took months to figure out. We just wanted to get it right.

What is it that you love about the scene? And in particular, your genre’s scene?

We love the dedication from the fans, and the following we have. We love those dudes holding onto the front barricade for dear life, and head banging til their neck hates them. Keep it up!

Tell us about one of your proudest moments? We’ve already touched on being called the ‘happiest metal band’ by a venue manager as a proud moment.

Now, it’s probably the fact that we’re growing as a band. We’re always continuing to impress ourselves with the progression this band is making as of late, and it always drives us to keep going.

Anything else you’d like to add? All good here! Just keep supporting the local metal scene! Where can people check you out?

People can check us out on Facebook, Instagram, and all available streaming services! We don’t have any shows planned as of yet BUT stay tuned as we will be hitting the stage sometime soon again we’re sure.

State Of The World is out on all streaming services on Saturday, 4 February. To read why their previous single, Beerpocalypse, made it into BMA’s Best of Canberra Music section, flick over page 37 why don’t cha?

A Grand Oud Time

Joseph Tawadros AM is a four-time ARIA award winner, master of the oud (a Middle Eastern lute), a composer, storyteller, and a dapper gent to boot.

This 19 February at The Street Theatre, Joseph will be joined by brother James Tawadros on the Req, Bendir (Egyptian percussion), Karl Dunnicliff on double bass, and Matt McMahon on the piano.

Ahead of this thrilling mix of Middle Eastern, jazz, traditional sounds, and contemporary innovations, us BMA-ers had the chance to catch up with the man to see what makes him tick.

“The oud is a strong symbol of Middle Eastern and Egyptian music,” Joseph says, when asked about his musical weapon of choice. “Being born in Egypt but brought up in Australia, I found the oud a good link to my heritage and, my family being Arabic music buffs, I couldn’t escape it.”

Joseph is a true international man; born in Cairo, raised in Sydney, and currently living in London. He performs all over the world and often plays with orchestras presenting his original works, including BBC Symphony Orchestra, Australian Chamber Orchestra, Melbourne and Sydney Symphony Orchestras and the Academy of Ancient Music in London.

Was his international fusion of sound an intention from the beginning, or a natural occurrence?

“It was always something I did naturally,” he confirms. “I love music and listening to all types, and I think the more you listen, the more your body soaks in the music, digests it in its own way and reinvents it in another way.

“I think all the musical styles I listen to stew inside me and create a music which is hard to categorise.

“My first and foremost love, though, is the traditional music of Egypt; the other genres add different flavours to my compositions.”

Speaking of different flavours, Joseph is know for incorporating improvisation into his performance.

“I feel it’s where a player can really shine and change the same piece of music every night,” Joseph enthuses.

“It’s that freedom that allows magic to happen with the other musicians on stage and the audience.

“Improvisations are, of course, dictated by scale, rhythm, and chords, but no player can ever plan what they will play. Good improvisers are good listeners and are sensitive to what’s going on around them. You can pick up on something a fellow musician is playing or the energy of the audience; that’s why it’s so special to me and a must when music making is involved.”

To date, Joseph has recorded a combined 16 albums of original music as wel as a few live specials, and he is the oud player you hear on the ARIA award winning Ali’s Wedding soundtrack. This is but a slice of what led to Joseph being able to affix an AM to his name.

“[Receiving a Member of the Order of Australia is] the greatest honour to be bestowed upon me as far as awards go,” Joseph enthuses. “To be recognised and be given the title of AM for my services to music is something very humbling and something I never could have expected.”

The awards, accolades, and audience devotion is certainly attributable to Joseph’s incredible talent, but it is ably matched by the desire and enthusiasm for his craft.

“[It’s about] connecting with strangers, providing a voice for others, an outlet, and a type of healing for people I haven’t met,” he says.

“My music is very personal and has an emotional depth, commenting on moments in my life. The audience identifies, and I think that’s why I feel very close to them when performing.”

After whipping through a few ‘getting to know you’ questions, such as which songs he would love to do an oud version (“Working Class “), what he does with his spare time (“I love going to museums and filling my mind with art and images”), the meaning of life (“create for the other and expect nothing; take the music seriously and not yourself”) and what makes him laugh (“I haven’t laughed for the last 10 years,” he says in a comically deadpan manner), before getting onto the big question: any tips for maintaining such spruce facial

“One must be dedicated to the cause,” he says, with great reverence; like an ancient

“Wash and condition everyday, fragrance regularly, and believe in its density.”

The Joseph

The Street Theatre on Sunday 19 February at 4pm.

Tickets range from $35 - $49 and are available via The Street Theatre.

Tawadros Quartet play at

BMA’s Allan Sko catches up with multi-instrumentalist, multi-award-winning, Order of Australia sporting JOSEPH TAWADROS AM ahead of his The Street Theatre show

Those Summer Nights...

Julia Stone reflects on music, family, and memory ahead of headlining SummerSalt 2023

By Sammy Moynihan

Folk duo Angus and Julia Stone are set to wow audiences at the upcoming SummerSalt 2023 festival on Friday, 27 January. On the sunny lawns of Stage 88, the fest celebrates the picturesque sights and sizzling sounds of an Australian Summer, continuing the connections we share with our families and friends via the great unifier of music.

For Julia Stone, music, and the connections it inspires, is synonymous with her childhood.

“We had very adventurous parents,” muses Julia. “Our holidays were always enjoyed on somebody else’s farm.

“Our grandparents are cattle farmers, so we spent a lot of time making music in the bush and working on the farm.

“We had this united experience that was also immersed in music,” she continues. “Dad is in the same band from when we were born, and they were always rehearsing in the house.

“We had this common thread of music throughout our lives.”

For Julia, these memories translated beautifully into their adulthood when the siblings began to perform together.

“When Angus and I came together to make music, that common thread was obvious,” she says. “It was like we spoke the same language in music. It made it so easy to harmonise, and find where we sat well in each other’s songs.

“That really has been something throughout all our life; making music after our childhood. “We can always connect with that experience. It’s kept us together and when we’re on stage.” Julia also notes that absence can make the heart grow fonder. While audiences can be moved by the chemistry the siblings share, it’s the lack of physical connection in their daily lives that strengthens the work.

“We don’t actually see each other that much outside of playing music,” she says. “That kind of distance feels really strong on stage because I think it means so much to us to make music together. We’re always grateful for music for that fact; it keeps us close.”

Known for their nostalgic sounds and powerful lyrics, the duo has achieved great success over the years. This has allowed them to forge impressive solo careers. Despite this, the duo keep finding themselves drawn back to each other.

“I sing in harmony with the guys in my band, and I sing in harmony with different people on different collaborations,” Julia states. “But there’s nothing quite like singing in harmony with a family member,” she enthuses.

“There’s something about the way your voices feel together. Here we are, brother and sister, singing songs about love and hope and pain, and singing in harmony together, in a family

that hasn’t always been harmonious.

“It makes me feel so proud and happy and nostalgic for all the memories that have come and gone.”

As well as reuniting with Angus, Julia is also excited to collaborate with other musicians at the festival. The impressive line-up also includes Ben Harper, City and Colour, The Reubens, and Alex the Astronaut.

Harper has been a particular inspiration for the duo.

“We grew up listening to Ben Harper a lot. I think one of the first songs Angus taught me to play on the guitar was Walk Away

“We’ve always been big fans, and it’s a huge honour to perform with him, and to get to watch him,” Julia gushes. “The line-up is amazing. It’s a really fun group of bands. It’s going to be incredible.”

With a stellar team of musicians, community events, and food, SummerSalt is set to be a beautiful celebration of all things the season has to offer.

“The atmosphere at a festival, and especially an outdoor festival, feels really alive,” smiles Julia. “The crowds makes you feel so alive.”

SummerSalt hits Stage 88 this Saturday, 28 January with a cracking line-up. Tickets range from $99.90 - $139.90 and can be bought online via Ticketmaster.

By Rory McCartney

The moniker ‘Cowboy Junkies’ creates images of deranged wild western horse riders with needles hanging from their forearms. However, these hombres, who include three siblings from the Timmins family, hail from Canada and they push alternative country/folk rather than drugs.

The band’s pedigree stretches back three decades and they’re now back to strut their stuff in Australia once again. Having played such famous venues as Carnegie Hall, Royal Albert Hall, and CBGB in New York, the Cowboy Junkies are now coming to Canberra.

BMA spoke with band guitarist and songwriter Michael Timmins in advance of the show, kicking off with an ask about the origin of the band name. Timmins reveals that it was a purely random selection. “There was no great thought in it,” he recalls. “Oddly enough, the music kind of evolved into the band name, rather than the other way around. It was a fateful choice.”

The band’s line-up has been consistent since 1986 and Timmins confirmed that having three family members in the outfit helped things hang together.

“Touring is hard, and is what breaks up most bands,” he says. “Personality things happen on the road and no band is free of that. With us, the family side helps so that when something does come up, we are able to solve it. We have common history and always thought that the music was more important than any petty arguments.”

Cowboy Junkies sought out interesting places to do the song writing for albums, including a lone house on an island, and an old mill. Timmins fondly recalls the old mill because of its beautiful location and because of, “the best part” of it.

“It was right before we had children, so it was the last blush of true freedom”.

The band also has a preference for using unusual recording sites such as a church, and heritage buildings. Recording and mixing in historic Abbey Road was understandably memorable.

“We finally had an album with a budget we could blow, so we decided to go to Abbey Road! That was pretty spectacular.”

Nowadays, the band uses its own home studio, including used recording equipment put together by the members themselves. Timmins said that it helped him progress music at his own pace without worrying about the cost.

“There is no commercial pressure to keep something, just because you’ve spent three days of studio time on it.”

Unlike outfits that serve up variations of the material, Cowboy Junkies has a strong focus on trying new techniques, recording, and ways of involving other musicians. All members have input to new material and sometimes songs lend themselves to other musicians.

RIDING INTO TOWN WITH LOADED GUITARS

“We’ve never been shy about bringing in other people to play on our records; that is part of the fun. It’s a big part of what we do and who we are.”

The band has gone through a number of phases, from blues to country rock to more mainstream rock. Australian audiences will get a sample of everything in the upcoming tour.

“The band is different in the studio compared to on stage,” Michael says. “On stage we have to deal with our entire catalogue. When we play live, you’ll hear a bit of blues and folk and the psychedelic side and rock side.

“Live, my favourite part is the more psychedelic elements, as it’s open ended with more room as far as music is concerned. The show is wide ranging, covering different eras of the band.”

As the songwriter, Timmins was asked about the themes in their latest album All That Reckoning, which talks about the ending and beginning of things. “It’s about where one is in life in relationships, including our partners and kids. At the same time there’s a connection to more social and political reckonings about where we are as a civilisation and society.

“So, there is a combination of micro and macro; the social and political and how they kind of blend together from song to song.”

Cowboy Junkies play at Canberra Theatre at 8pm on Monday, 6 February. Tickets $79.90 - $149.90 plus bf, with full details at canberratheatrecentre.com.au/show/cowboy-junkies/

Fish Makes Big Splash In Many Streams

By Ruth O’Brien

Samantha Fish has been making waves in the blues rock scene for the past decade, and is now bringing her live show to Australia for the first time. With four studio albums under her belt and a reputation for powerhouse live performances, Fish is quickly becoming one of the most respected and sought-after artists in the genre.

Fish has toured extensively throughout the US and Europe, and has played some of the biggest festivals and venues in the blues and rock scene. She has shared the stage with a who’s who of blues and rock legends, including Buddy Guy, Ruthie Foster, Joe Bonamassa, and Eric Gales. I recently spoke with Fish via video about her upcoming tour down under.

“I’ve always wanted to do a real comprehensive tour of Australia. This is like a dream come truegetting to come out there and do these shows.”

Born in Kansas City, Missouri, Fish grew up surrounded by music. Her father was a musician and introduced her to the blues at a young age. She began playing guitar at the age of 12 and was soon performing at local clubs and festivals.

Eventually, Fish moved to New Orleans, to be in the city from which many of her musical idols came. It was there that she began to develop her own sound, blending traditional blues with rock ’n’ roll, with a touch of southern soul.

“When I relocated to New Orleans, I really didn’t know very many musicians,” she says. “I had dipped my toes in the scene. But it’s different. Growing up in a place, you literally know everyone; I knew exactly who to call for this and that.

As a result, Fish co-opted some help.

“My manager helped me put together the last few bands.

“Ron, my bass player, I started working with in 2020. We started doing some trio work together.

“And then Matt, my keyboard player, was a recommendation through a friend.

“And then my manager found Sarah through a tour manager in Nashville. I saw a video of hers and was like, ‘Oh yeah, she’s great!’ and the four of us just gelled together.”

Fish’s most recent album, Faster, was released in 2021 and was produced by Martin Kierszenbaum, who’s worked with the likes of Lady Gaga and Sting, no less. Fish gave me some great insights into her writing process and what it was like working with this acclaimed producer.

“I made Faster before I met any of the people [in the band],” she reveals. “I’ve had several different iterations of the band over the years.

“When COVID hit, there was nowhere to play, so we all went our separate ways. That’s when I started writing, and I met with Martin Kierszenbaum, who has done some incredible work in the pop world.

“It was exciting for me, because I felt like he could really take my songwriting to that next level.”

Always fascinated to hear how other singers work with producers (being a vocalist myself), I was intrigued to hear how Fish wrote some of the songs solo and for others.

It seems Martin would come in with an idea and they’d flesh it out together.

“That’s how that record came about,” she says. “I went to this amazing studio in L.A. in December of 2020 and cut this album with Josh Freese, Diego Navaira, and Martin Kierszenbaum.”

Fish has most recently finished recording a new collaborative project with Jesse Dayton - a “country badass” out of Texas.

“We wrote a lot of the material, together” she says. “It’s a little different than my solo projects; I don’t normally do a lot of duets. Jon Spencer produced it, and it’s going to be coming out really soon, so I’m super excited about it.”

Expanding on this in a recent interview Fish did with OhioMusicX.com, she says:

“Working with Jon Spencer definitely coloured this album in a way that is vital to how it turned our. He’s got a great sense of production and songwriting. He was really, really key in the whole sound of this upcoming record. I think it turned out better than I could have ever imagined.”

Having someone like Fish come through Canberra is a huge treat, providing an opportunity for blues musos and fans alike to have a taste of the dynamic version of the genre that Fish brings to the stage. She’s been described as a “force of nature” in her performances and has become known for her powerful guitar playing and emotive singing.

Samantha Fish will be performing at The Basement on Sunday, 19 February. Tickets are $61.20, available via Oztix.

Photo: Kevin King

“But moving to New Orleans, it was a completely different ballgame.”

METALISE

[THE WORD ON METAL] WITH JOSH NIXON [DOOMTILDEATH@HOTMAIL.COM]

Blink and you miss it, they say. And in preparing for this 2022 wrap in Metalise world, you start reflecting on the year that was at odd moments.

In my case, that odd moment was a tweet from the host of triple j’s The Racket, which was posited back on 20 November: There’s normally a handful of metal records every year that stand above the rest in terms of wider cultural reception/impact but it’s hard to think of any that fit that for 2022. Plenty of great records... but which ones will stand out for the history books? Idk

Idk indeed. Thus, I began to look into my 2022 collection and, on the surface, he was onto something...

Metal in the 2022 Zeitgeist

Internationally, Ghost won a Grammy, but they’re not really smashing the culture barrier.

I don’t know if it’s recency bias, but it feels like the biggest international story was the reunion of Pantera with Charlie Benante and Zakk Wylde taking the respective roles of the late Vinnie and Dimebag.

Domestically, the biggest metal radar blip I could think of would be the also-quite-recent appearance on ABC’s Australian Story by Parkway Drive

Pot Belly’s resurgence is largely thanks to their Canberra stalwart sound engineer, and adept musician, Kurt Neist, who somehow conjures great mixes out of a little iPad. He’s done this for shows from Melbourne’s Remains at their Grind ‘Til Death launch, to Sydney’s Potion winter tour, and a tonne of other stuff.

I was discussing the pleasing developments of the improving health of the venues with Mick at the Witchskull/Reaper show a couple of weeks ago, and he said he was stoked that it’s happening.

As the demand for spots on Canberra stages grows, there’s more options to fit local shows in with competitive touring schedules.

Canberra Metal New Releases

As such, there’s a bunch of local bands in, or soon to be in, the studio, with new music either out or just about to drop.

They were enduring a quasi Some Kind of Monster episode, with facilitated mental health counselling sessions. They also put out a new album called Darker Still and, while I am supposed to cover this genre for you fine folk, I have to admit I’ve not listened to it.

I enjoy their success, I loved Viva The Underdogs and the Australian Story piece. But stadium metalcore was not heavily featured on my Spotify end-of-year wrap genre list.

I love that they made Jia “Pie” O’Connor a full member after all these years, tho.

A Snapshot of Metal in Canberra 2022

Locally, it was a year of rebuilding audiences and venues, with The Basement and Transit Bar leading the charge, and the Pot Belly Bar taking large strides toward being a regular home of great gigs.

Expect output from PLOUGHSHARE, Wretch, Hydranaut, Pilots of Baalbek, Bloodmouth, Hekate (pictured), Witchskull, and Pod People to name just a few.

As the local scene’s creative vein throbs, so too does the national and international in turn.

Good Things bought back a big scale, old-and-new heavy festival back in late 2022, and the line-ups for the big European summer fests are all on the up. Covid is still with us, but I think my vibe of ‘22 into ‘23 isn’t one of a lack of history - as The Racket suggested - but one of rebuilding and rebirth.

Death To All!

Australia, and Canberra, had some cracking tours last year.

DEATH CONGREGATION + BLOOD INCANTATION

Dead Congregation and Blood Incantation did a wildly well received double header that, I sense, is at the nerve of current metal underground tastes; essentially stating that death metal is having a serious comeback.

From the gods of gore Carcass dropping at the end of last year, Autopsy released yet another insanely good record in Morbidity Triumphant just recently.

And it’s not just the old guard bringing eyes to the genre. Undeath and their It’s Time...To Rise From The Grave record is a fitting call to arms for younger ears to come to the party.

PARKWAY DRIVE

HEKATE

Faceless Burial, who graced us some weeks back, also brought something to the celebration with At The Foothills of Deliration and toured it to great effect off the back of the supports they did on the Dead Congregation/Blood Incantation run.

This barely scratches the surface of the death metal material that came out this year. It’s shaping up to be a real golden age as we plough through 2023.

The Best of Local Shows 2022

If I look at one of the Local Show Highlights of last year, Canberra Metal Fest (CMF) topped the many standouts with pleasing old school flavoured DM, complete with Abramelin in career best form.

Another triumph—with an incredible performance—and my award for Filthy Bass Tone Of The Year went to Melbourne’s Carcinoid. These guys are in the studio as I type and I’m really looking forward to what they produce.

My Discovery Of The Year for 2022, and a band that put in two stunning sets at both Sun Burn and CMF, was the rule eviscerating Goat Shaman.

It’s no secret to you folks that I’m a doom fiend at heart, and these four blokes under 25 bring a hefty sense of anticipation for their forthcoming album. Seriously, what a concoction: 4-piece, three singers, seven-string guitars, the most insanely talented drummer I’ve heard in years and, most importantly, crack level addictive good songwriting. I’m all about it. Sus out their self-titled and produced EP, and don’t miss them at the upcoming Sunburn and CMF respectively in 2023.

Dark Mofo

A huge highlight for 2022 I can’t leave out was 16 mad drunken hours in Hobart at Dark Mofo in June. It was my third trip to the DM festivities, and it never disappoints.

Hymns Of The Dead was the main metal night on the program and saw Tom G Warrior bring it back to the early ‘80s with the Hellhammer set with Triumph of Death, plus stunning performances from Cthe’list, Krypts, and Dakestrah.

From my conversation with the promoters for next year’s event, book airfares and accommodation now. It’s not just the gig, it’s the whole festival: the food, the art, the giant red neon inverted crucifixes at the airport... Get on board.

Best Metal Music of 2022

Departing from gigs & show to the topic of releases, and great music was in no short supply.

I am not going to do an ordered list, but if I were, it would be hard to top the guitar tone on the comeback record for Cave In on their Heavy Pendulum release. Just listen to the first song New Reality - it makes the case all on its own.

Norway’s Kryptograf produced a stunning ‘70s flavoured masterpiece in The El Dorado Spell, with my streaming statistics telling me they were my most listened to artist last year (after Nicki Minaj and Justin Beiber. I share the account with my sub 10 year-old daughters. That’s my story and I’m sticking to it).

In terms of dense, almost suffocating extremity, look no further than our own PLOUGHSHARE - Ingested Burial Ground. It’s a phenomenal listen. Don’t be scared.

And Extortion (finally!) were able to deliver their recorded work from early in the pandemic, with 15 songs in ten ferocious minutes proving to be an absolute face melter.

In no order, my respect,

congratulations, and appreciation go to the following for their art this year:

Voivod - Synchro Anarchy

Friends of Hell - Friends of Hell

Plague God - Absent in Body

Reaper - Veridian Inferno

Hydranaut - Hydranaut

Ghostsmoker - Astral Realm

Religious Observance - Religious Observance

Emu - Freedoms Power

Nembutolik - All Along The Frankston Line

Early Moods - Early Moods

Conan - Evidence of Immortality

Deer Creek - Menticide

Wormrot - Hiss

Blood Incantation - Timewave Zero

Wadge - Grindcore Penitentiary

Gargantuan Blade - Gargantuan Blade

In Conclusion

So! Did the history books get impacted this year for metal?

Maybe not, at least as far as sticking the metal head over the cultural parapet of the mainstream goes.

But really, it’s a bit like the controversy surrounding The Chats taking home the Aria for Best Metal release. Who gives a shit about what’s happening in a mainstream that doesn’t get, or understand, metal?

There’s so much here for those already on board. The question of what’s happening outside of metal, or it’s perception in the mainstream, is utterly redundant.

With 2022 well and truly recapped... It’s on to all things 2023...

Over the summer, there’s a couple of big announcements for upcoming shows near and far.

Darkest Hour are back and at The Basement on Friday, 10 February with Immorium, Primitive, and DepriVation. Tickets going fast.

Variety is the spice of life, and when a variety of bands congregate at a bar with a variety of beers, there can only be one winner. You, the punter!

Doing exactly what it says on the

tin, Mixed Bill Madness! is on at Pot Belly Bar on Saturday, 11 February and features DEAD,

DEAD

Canberra Metal Fest - Saturday, 18 February Line-up

Misery, Psycroptic, 100 Years War, 12 Gauge Rampage, Alarum, Anoxia, Black Rheno, Burst, Cruciform, Flaming Wreckage, Gape, Gosika, Hidden Intent, Laceration Mantra, Munitions, Naugrim, The Neptune Power Federation, Outcest, Pizza Death, Pod People, Point 11, Reign of Terror, Remains, Religious Observance, Womb to Tomb, and Wretch.

Your tickets are available at Oztix right now.

{Not} Going Hammer and Tongs

Hydranaut, Rubber Necker, and The Leftards. Will be a good complimentary mix!

Coming up sooner than you think, you have the aforementioned Canberra Metal Fest happening on 17 & 18 February. Both nights are stacked. To whit:

Canberra Metal Fest - Friday, 17 February Line-up

Abramelin, Werewolves, Arkane, Carnal Viscera, Forakt, Goat Shaman, Lucifungus, Mytile Vey Lorth, Nembutolik, The Plague, Post Truth, and Shockwave.

Fuckin’ Anvil are here on Tuesday, 21 February!

[*RECORD SCRATCH!* At least, that’s what we’d love to report, but sadly, right on deadline, we just got the following communique from promoter Hardline Media:

“Hardline Media are sorry to say that the ANVIL Australian tour has had to be postponed due to unforeseeable circumstances. The band hope to reschedule at a later date with their new album. Refunds can be sought from point of purchase, we are hoping for new dates soon.”

Sigh. Fingers crossed for that reschedule, and we’ll be sure to keep you updated as soon as we hear anything - BOSSMAN SKO]

More old school neck damage is up for grabs on Tuesday, 7 March with Sacred Reich and Vio-lence coming to The Basement and your tickets are on sale now.

The brains trust that curates Dark Mofo’s heavy bands each year have started a new fest in Melbourne called Into The Fall and it’s happening on Saturday, 18 March at The Croxton. The line-up, unsurprisingly, is STACKED.

Internationals Obscura, Gatecreeper, Stabbing, Undeath, and Cryptic Shift join Australian legends Inverloch, Freedom of Fear, Altars, Carcinoid, Resin Tomb, Pestis Cultis, and Growth. That is a massive kick off for what is intended as an annual event, and tickets are on sale now.

That’s all for now. I hope you had a Merry 666mas - see you up the front in 2023.

That’s yer lot for this month. Until next time.

ANVIL

Catch Jazida is a critically acclaimed, multisensory experience that merges burlesque and theatre. Criminal thief, Jazida, is on the loose having been accused of stealing a large sum of money. She drops her clothes, and you drop your guard... But our private eye is on the case. Follow her as she flees through every speakeasy, cabaret club, circus tent, and burlesque bar in town. A noir burlesque extravaganza that merges burlesque and theatre, starring Rachel “Jazida” Reid and Artemis Seven. Fri, 10 Feb & Sat, 11 Feb at 7pm; Sun, 12 Feb at 2pm. Tickets $30/$38 + bf via Canberra Theatre

Ahead of Sydney WorldPride 2023, join in for one big inclusive night of queer joy as we explore and celebrate our diverse cultures and histories. Bring your friends and chosen family to the National Museum for an evening of dazzling drag shows, curious collection stories, a pop-up queer exhibition, dance workshops, and more! From rainbow storytime and queer history trivia to drag, ballroom and dance, drag queen glow-up, and a Queering the Museum Q&A, there’s sure to be something to see to get every member of your chosen family excited and involved. 6pm - 10:30pm, $12.50 - $20 via Eventbrite (bookings essential)

Award-winning London-based Egyptian composer and songwriter, Hayat Selim, fuses Western cinematic sound with world music influences, electronic music, and voice in her work as composer for TV, film and games, and as singer. Mirage, the concert named after Hayat’s award-winning song, includes fascinating music from cinema, museum immersion, and the gaming world, including original compositions, and covers. Soaring, heartfelt, powerful, experience Selim’s extraordinary voice and captivating musical creativity, with the multiskilled Dianna Nixon as collaborative pianist. 7:30pm, $35 - $45 via the venue

Paul Summerfield is a digital artist who blends traditional painting and drawing techniques with digital mediums. His work has appeared all around Canberra, from coffee cups, books, to bus wraps, hospitals, and illuminations for the Enlighten Festival. As Paul says of his new exhibition: “Mycelium Sky is inspired by recent research into the role fungal filaments play in connecting the plant life of our planet; enabling communication and mutual support between species. This body of work follows these fine interconnecting threads.” Opening 6pm on Friday, 10 February; free entry

1 in

Auslan & 7pm); Sun, 26 Feb (5pm). Tix $25 - $35 via Humanitix

6 people suffer a stroke in their lifetime. A Stroke Of Luck is an intimate exploration of stroke by survivor Gretel Burgess, age 42. A triptych of dance/theatre works (Coagulation, Diversion, and Liability) portraying Gretel’s experience leading up to, during, and post stroke. It examines the causal factors that impact on the physical and mental self, including the broader impact that stroke has on family members. Starring Chloe McDougall and directed by Pip Buining. 1 hour performance - Fri, 24 Feb (7pm); Sat, 25 Feb (1pm

Catch Jazida / Noir burlesque extravaganza / 10 - 12 Feb / Courtyard Studio, Canberra Theatre

Night At The Museum - Queer / Big inclusion night of queer joy / Fri, 10 Feb / National Museum of Oz

Paul Summerfield/ Mycelium Sky - a digital arts exhibition / 10 Feb - 26 Mar / Belco Arts Centre

Hayat Selim - composer, songwriter, singer / Mirage - concert / Thu, 16 Feb / The Street Theatre

A Stroke Of Luck / 24 - 26 Feb / QL2 Dance, Gorman Arts Centre

Australians & Hollywood is a Canberra-exclusive exhibition celebrating iconic moments in contemporary Australian film, and the people and stories that brought them to life. Get up close with personal treasures from Baz Luhrmann and Catherine Martin, Eric Bana, Paul Hogan, David Michôd, George Miller, Norma Moriceau, Mia Wasikowska, and more. See beloved cinema moments, rare behind-the-scenes footage, and costumes and props from the NFSA collection on display for the first time. The exhibition is open daily from 10am - 4pm and until 8pm on Friday nights. Tix via nfsa.gov. au; 15% off when booking online

Australians & Hollywood Exhibition/ Ozzy treasures of cinema / On now / NFSA

Photo by Olivia Fyfe

Disco Prince Widower

Chris Marlton investigates the Channel Nine Executive who has just signed a $75 billion dollar deal with Genevieve Stockton, the Bowral Widow who rules the Australian Underground Disco world with an iron fist.

Disco or Discus: YOU CHOOSE!

The 1936 Olympic Games, held in Berlin, introduced Australia to its next great sporting hero: Discus champion William ‘Floodgate’ Stockton.

Born in the New South Wales rural town of Bowral in 1919, William - or Billy to his lovers - was always a natural athlete.

He had the choice of representing his country in the 1936 Olympics in either 100m and 200m sprints, 10-metre diving, rhythm gymnastics, rifle shooting, equestrian, pistol on horseback, or discus.

Billy Stockton chose discus. “Mostly because of how popular it was with the ladies…” he was famously quoted.

Rhythm gymnastics hinted at the real talent this young man held… he was the greatest disco dancer alive.

It would be seven years before even he fully found this out.

War - What is it Good For? Absolutely Marrying Someone From Overseas

Seven years after he won six gold medals for his country (Standard Discus, Team Discus, Discus + Pole Vault Mixed, Dodge Discus - trial sport for 1936 chosen by host nation, Wet Man Discus, and Discus on a Stick), Billy Stockton was stationed in Manchester, designing military dance shoes for the allied troops to wear at the Dance Halls where soldiers on leave danced with the wives of men overseas (often bedding them also).

He was a talented cobbler, and the troops were dancing better than ever with the comfort and style afforded them by Billy’s modern designs.

It was at one of these very dances, trialing a pair of pink and green dove-tipped wingnails, that Billy met Genevieve.

It was love at first sight, and they married the next morning.

Bowral Discotheque

After the war, Genevieve and Billy moved to Australia, where they opened the world’s first “Butchery Discotheque.” Butchers by day, Disco by night.

Billy inherited the shop from his father, Stephen ‘Stocky’ Stockton, who was famous for the size of his loads, which he claimed was a genetic gift, despite his 23 ex-wives describing him as cursed.

The nightly disco-dancing competitions, where the top ten placings won huge meat-platters, ensured that the local dancers were well-muscled, high in iron, and rarely hungry. The shop was called The Bowral Discotheque, and was adorned with a memorable cartoon cow in sunglasses as an iconic logo.

Genevieve was quoted as saying Billy’s loads were significant also, probably because of the 2-3kg of red meat he consumed daily.

“Not quite as large as Stephen’s, but I’ve always preferred quality over quantity,” she remarked.

The Dark Days

Meat provider by day, dancing king by night, Billy Stockton was living every man’s dream.

His wife Genevieve turned a blind eye to his many ongoing affairs with local women around Bowral and the local shire (many double his age), and he never asked her about the weekly chess lessons she was having with his father.

“Family is family,” he told the Southern Highland News, in an interview after he won the local newspaper’s annual dance competition for the eighth straight year.

“Billion Dollar Deal No Surprise,” says

But as the years went on, Billy’s red meat consumption continued to increase.

In her tell-all interview with Ray ‘Copperhead’ Martin on 60 Minutes in 1974, Genevieve said: “It was common for him to consume a whole leg of lamb for breakfast, a suckling pig for lunch, and three racks of beef ribs for dinner.”

This was when Billy had his first heart attack; the first of thirtythree heart attacks he was able to endure.

Pigs and Wigs

“I started getting a new heart every Christmas,” said Billy in 1978. “A pig heart, mind you. I’m not an animal.”

But 13 pig heart transplants, three cow lungs replacements, nine owl livers, and eleven duck spleens later, he was slowly turning into an animal.

Inspired by Ray Martin, Billy starting wearing a wig to cover his meat-induced baldness.

By 1986, Billy and Genevieve owned over 100 ButcheryDiscotheques across rural Australia, as well as seven in New Zealand.

Meat & Rhythm Co. began trading on the stock exchange, and soon the couple were the world’s first Disco Billionaires.

1992

In 1992, a day after the death of musician and entertainer Peter Allen, Billy published his best-selling autobiography, A Million Meats for Me

Two weeks later, as it topped the Dymocks top-reads list for the second week in a row, Billy died of pneumonia, collapsing on his bicycle which he rode home at 3am each night.

The autobiography has been famously the highest-selling life story to never be turned into a film or mini-series.

But, when Genevieve declared bankruptcy earlier this year, the writing was on the wall. Last week, the famed Stockton widow sold the rights to make A Million Meats for Me into a Channel Nine mini-series.

Channel Nine Chief Executive Hugh Marks was ecstatic in his doorstop interview the morning after the rights were sold.

“We were willing to pay up to $100 billion for this story,” he said. “It’s the great Aussie battler, throwing discs, throwing shapes, eating meat and dropping massive loads in all takers.

“What more could you want for a mini-series? Getting it for $75 billion is a dream come true.”

Chris Marlton is a comedian, writer, painter, and film-maker. His latest comedy special, Mephisto Waltz, is available to watch for free on YouTube. To see what Chris is up to, head to https://linktr.ee/chrismarlton.

Jimmy Carr

An Awful Lot Of Fun

By Allan Sko

BMA Bossman Allan Sko goes deep with UK comic Jimmy Carr, talking about the history, psychology, and power of comedy; from laughter’s vital role in our evolution, and how we glean light from the darkness, to the nuance of his craft and redefining the Dad Joke.

Jimmy Carr knows all about the power of comedy. The darkly-tinged, rapid-fire joke teller has dedicated his life to the craft, and not just at the surface level of making people laugh and selling out tours. He is a devoted student to the very nature of comedy.

Jimmy Carr takes his comedy very seriously. Selling a hefty 120,000 tickets on the opening day of sales for his Australian tour, Carr is naturally delighted, but understands why.

“I’ve toured often enough over the years,” he says. “All I’m doing when I’m on the road is a promotional pitch for my next tour; I always want people to come back and see the show. And thankfully, they do have a good time. Because I don’t think people have to remember what you say; they just remember how you made them feel.

“Also, there’s something going on post Covid, where people just want to go out and be with other people, whether it’s seeing music, festivals, or comedians. Even just eating in a restaurant. We just want to be out.”

Carr expands on this sense of direct connection further.

“It feels like there’s the biggest disparity between watching a screen and being in a room when it comes to comedy,” he says. “You can watch footage of Glastonbury on YouTube, and it’s pretty good. You can hear the songs and you get the gist of it.

“But with comedy, you’re not looking for someone to just enjoy; you’re looking for a response. I’m looking for people to make a very specific noise, and to release endorphins into their own system. And if they don’t do that, I’ve failed in my job.

“I believe the stat at the moment is that you’re 30 times more likely to laugh out loud when you’re in the room than when you’re watching it on a screen. Which is kind of great. It’s like, one of those things where ‘you had to be there’.”

Whilst extolling the virtues of the increased potency of seeing comedy live, Carr is well aware that the internet, and streaming services, have been a boon to his industry. “Netflix has been incredible for stand-up comedy; there’s something for everyone,” he enthuses. “I mean, LORD knows I’m a strong flavour. I’m not for everyone. But there is something for everyone. Whether you want it mild or heavy, you can find something that is tailor made for you, which is kind of fantastic. It didn’t used to be that way.”

As for Carr’s particular flavour of comedy, he has firmly held his philosophy that a comedian’s job is simply to make people laugh, with a mantra of “2 hours, 300 jokes, job done”. Has this been his modus operandi from the very beginning?

“I think it has been. I mean, that’s my edge, right?” he muses. “That’s what I can do better than anything else. I change it up a little bit for my own amusement, and to get better. If you’re working in any category of industry, you’re always trying to get better. And so I do slightly more of a ‘routine’ now.”

Carr is quick to clarify this point.

“By ‘routine’, I don’t mean I’m telling a six minute long story with one laugh. My love language is one-liners. But I’m trying to put more of them together and make it into a kind of cogent routine that’s eight to 12 minutes long.”

It’s of little surprise that such a work ethic leads to scant time off. Carr doesn’t seem to mind, though.

“I don’t take many days off, but I think I’ve got an easier job than most people,” he says. “I’m very lucky. You always come back to that idea of ‘pressure is a privilege’.

“I think some people look at it and go, ‘Oh, my God, you’ve got to do a show in front of

2000 people tomorrow night, it must be nerve racking!’ And I go, yeah… but what else would you rather be doing?

“My great problem in life is that work is more fun than actual Fun.

“Oh, we’re going out to dinner and to see a movie, are we? I mean, that’s great, but I’ve just done a gig in front of 2000 people, and it was amazing and the atmosphere was incredible.”

It certainly sounds like such a successful public career can lead to an adrenaline deficit for regular ol’ life?

“I don’t know,” Carr muses. “I mean, you’d be amazed how quickly human beings get used to stuff. I started a family just before the lockdown, so I got lucky in that I could just be there full time, and throw myself into that.

“Now, I have a series where I’m trying to redefine the Dad Joke. Not shitty cornball stuff, but incredibly harsh parenting jokes. Which is an awful lot of fun.

“So wherever you are, you get used to it. It’s a weird thing being a comic, but everything’s weird, right? Everyone’s doing their thing.”

Further to his cemented reputation as a stand-up comedian, Carr seems to be collecting TV gigs like Pokémon as the years roll by, simultaneously spearheading the Big Fat Quizzes, 8 Out of 10 Cats (and Does Countdown), and the relatively recent I Literally Just Told You Did Carr plan to amass such an impressive media base?

“My job has always been stand-up comedy,” he states immediately. “I’ve always been very clear about that. And then there’s some gravy, some little extras you get to do.

“So you get to do TV, but someone else makes that decision. I’ve always thought that’s a very precarious situation.

“There’s such pleasure being on TV and making TV shows, but at some stage, someone somewhere will say, ‘Ahhhh, that’s enough for him; give someone else a go’.

“And someone else would be hosting those shows or doing those things. And that’s fine.

“But stand-up is special. You have a relationship with an audience that you build over years and years. And people will keep coming to shows as long as you deliver for them. You’re in charge of your destiny, and I find that very empowering.

“It’s also a reason to keep doing it. I’ll travel anywhere and play any field you want. As long as there’s people there, I’ll go and tell jokes.”

It is perhaps this point, reflecting on the core passion of comedy, that allows this chat to take a turn for the philosophical.

“Comedy is endlessly fascinating,” he says. “I see humour as an incredibly important thing for our lives, and culture. There’s a whole theory on laughter, on the idea that we were able to form larger groups, known as the Dunbar Number, and were able to specialise as a result. We could ‘remote group’, and we did that through laughter.

“Laughter is about a million years older than language, which is a really extraordinary thing. We develop the ability to laugh before we develop language.”

In for the ride, I jump in further, asking Carr why we laugh; what’s this pleasurable yet undeniably strange thing for?

“I think it’s the rewards,” Carr says. “If you think about what laughter rewards, it rewards noticing differences, which is an incredibly important part of development. It rewards linguistic ability. So it’s a strange kind of Darwinism. It creates learning. But in the meantime, you’re getting all these endorphins firing off because you’re having a bloody good laugh at the same time.”

And why do we release these endorphins?

“I think it’s because we’re doing something important,” he says. “It’s good for us as a group. It’s important that we get on with each other. And in a very fractured world, sitting in a room with 1000 people all laughing together strikes me as a very good use of your time.”

“My great problem in life is that work is more fun than actual Fun.”

Combining this philosophical bent with the modern day stagecraft of stand-upparticularly in light of Carr’s brand of gallows humour - talk turns to his upcoming and aptly named tour, Terribly Funny, and his terrifically titled latest special His Dark Material; as much a clever William Blake/Philip Pullman inspired moniker as it is a cautionary sign for the show.

“I put this thing into the beginning of the tour, essentially saying: ‘Look, this show contains jokes about terrible things, terrible things that may have affected you or the people that you love. But these are just jokes. They’re not the terrible things’.

“I like to think of myself as an equal opportunist offender, in that I offend everyone. And hopefully that means no one’s offended.” Taking offence, crossing a line, PC culture and its ilk has always been a hot button item when it comes to comedy, and it’s one Carr has a lot of thoughts on.

“Jokes are essentially taking the power back from the terrible thing you’re being ruled by. There’s a very good theory called Benign Violation theory. The guy that came up with it is actually a friend of mine. It’s the idea that humour takes a violation, something bad, and looks at it in a different way. And to make it benign, you joke about it to make it okay.

“My problem is when one of my jokes escapes and finds someone that doesn’t share my sense of humour, and it arrives out of context

of the comedy show; written down in the paper at nine o’clock in the morning.

“But I enjoy the jokes. And my audience enjoys it. I’m not offending them. I never offend my audience. If you read the reports, you would think I was offending the people at the show.

“My jokes are from the head, not from the heart. It’s not like I’ve got an agenda. I’m not trying to change your voting habits. I’m just trying to make you laugh solidly for two hours. If you think there should be political correctness in comedy, you just don’t realise where you are. You don’t understand what’s going on.

“And that’s fine. Not everyone has to join this party. But you’re not going to see AC/DC and say, ‘this a bit loud’.”

Eventually, this all leads back to the power of comedy and the purity of laughter. Its potency is not lost on Carr, and is likely the engine for why he works so hard, delivering a powerful statement to finish.

“Sometimes, you’re bereaved,” he says. “You get a bad diagnosis, you lose your job, you’re getting a divorce. Something awful is going on. And you’ve got to accommodate.

“A lot of people go to shows in order to laugh again, because you need to access that part of yourself. Some people need comedy desperately.

“I’m in a privileged position; I get to tell jokes to hundreds of thousands of people. And I’m

always very aware, at every show I’m in, there’s someone suffering. Most people have a lot to fucking deal with. Comedy to them has a very different resonance.

“When you need it, you really need it. It performs an incredible function. When times are hard, when you’ve lost someone or some other terrible tragedy has occurred, laughter, whether it’s about that thing or tangential to that thing, or whether it’s just laughter about something else entirely, can really help.

“If you decide to react to the slings and arrows of life with laughter and lightness, all I can tell you is, life is easier.

“Of course, there aren’t rules on these things; you can choose to react however you want.

“But it’s extraordinary how many people I meet that come to my shows with a healthy attitude towards adversity. You meet people, who are literally dying, and they come to see a comedy show. It’s not uncommon for that to happen.

“That’s the thing, when you’re on a long tour; you need to remind yourself that, sometimes, this is someone’s last night out. You better deliver here.”

Jimmy Carr has three rapidly selling shows in Canberra, on Monday, 13 February, as well as 6 - 7 March at the Canberra Theatre. Tickets are $89.90 - $99.90 + bf via the venue.

“ My love language is one-liners. ”

ALBUM IN

FOCUS

HYDRANAUT HYDRANAUT

If the name of the band is a conscious re-spelling of the word hydronaut—a crew member of a deep-sea vehicle—

then it’s an apt descriptor.

The world we’re in here is an energized stoner rock landscape that appropriates some of the doomy depths of a harder, dense terrain, utilising detunings, elephantine-like grooves, time changes, and guttural inflexions to create a hybrid form of grit, merging some retro Led Zep (at their heaviest) stylings with a tincture of death metal and other assorted hard rock markers.

However, despite the sonic sweep, there is a consistency, the kind that centres around a riff-based engine, that seems to guide the compositional features.

With this in mind, we are given a multi-dimensional view of Hydranaut’s capabilities.

more guitar-sourced power—an intentional decision that helps to blur the distinction between styles.

There are several examples of time changes, subtle and not so; these give the tracks nuance, freeing it from the superiority of the guitar licks and phrases, if only temporarily.

There are a few surprises, such as Give ‘Em A Drink, which blasts in and out in just under a minute and thirty-six seconds, and Hunt, an instrumental with some bluesy, laid-back characteristics that showcase the band’s penchant for curious musical arrangements and convulsive dynamics.

The new album for Hydranaut follows the band’s debut EP, This is HYDRANAUT, released in 2022.

Formed in late 2021, Hydranaut members include Nik Davies (8Ft Sativa), BeRad and DD (Pod People/Lucifungus) and Damian Blankley (smeg and Using Three Words).

The album opener, for one, contains a vaguely psychedelic air about it, one that soon segues into a purer form of stoner rock.

As far as the vocal goes, it’s mixed somewhat behind the fire of the band, which imbues the tracks with

The album is sure to appease metal fans who know their history, and for those who perhaps don’t, the band’s self-assured intensity is easily appreciated, and its stylistic approach undoubtedly welcomed.

VINCE LEIGH

SINGLE IN FOCUS

CHAIN TOMBSTONE & THE DEAD MEN BEERPOCALYPSE

Canberra’s Chain Tombstone & The Dead Men have released Beerpocalypse , the first single since the band’s 2021 album Realm of Pain . That album was a fusion of speed and death metal, unyielding and aggressive and featuring all the tropes of the genre one would expect. And yes, the performances were just as you’d also expect, revealing technique and know-how required for blasting out warp-speed phrases, licks, fills, and twin kick drum delights.

Of course, a curious juxtaposition exists here. Judging by the grinding, distortion led surface, one can immediately and unthinkingly conclude the anti-establishment angle, the raucous transposed as rebellious, the thunderous aligned to anti-social sentiment. And no doubt, for some, this is the style’s appeal.

Yet, to be proficient enough to pull off such a musical language, some backbreaking, finger-furrowing labour would have been required. I’m alluding to discipline, and there is a tonne of it on show here.

That being said, Chain Tombstone & The Dead Men —now, no doubt, wishing to extend its capabilities beyond acceleration and ferocity—have indeed done just that and more on this new one. Kicking off with a spoken vocal bite, one embellished to become a slice of amusing dialogue in the bridge,

Beerpocalypse utilises a swinging, albeit heavily undulating sixeight time signature to set the parameters. The guitar phrases are fastened to this groove, giving the vocal, that is, the melody, plenty of room, making use of some relieving and effective space.

As the track rumbles on, one is assured by what’s on offer and goes along with the triplet guitar and drum interplay, the grunts and growls and some sporadic backing chants.

But once the chorus arrives, one realises things are not so erratic.

Beerpocalypse features a series of hooks that may seem at odds with

what surrounds it, the organised bludgeoning designed to sound disorganised, unveiling a distinctly ordered series of melodic choices that transform the track and give it depth and ambiguity.

There are some ‘90s, emo rock touches here, and these do not detract but invigorate.

Chain Tombstone & The Deadmen have exposed another aspect of its brand of metal, and this is a rewarding progression.

VINCE LEIGH

SINGLE

IN FOCUS

JANNAH FAHIZ THE BEST DAY

Jannah Fahiz’s debut release, The Best Day, comes after many years of working in the music industry as an event organiser, artist manager, and promoter.

The new track is post-punk-pop revivalist in nature, quite raw and exuberant with an edge of vulnerability, fragility, and, I guess, an enthused, almost breathless cathartic spirit running through it.

Jannah has given herself entirely to the song’s combustive core, and this commitment is reflected back at us. The opening lyric reveals the theme on show here:

Can’t shake this feeling and I gotta know What is like to just let go? Why don’t we paint the town and run away Just be free.

Ah, yes, freedom. Escape. These idealistic ambitions are always there inside us, but it is the venturesome, the relative neonates that remind us of their persuasive power.

The track’s guitar-guiding pulse mirrors this, as does the rhythm section’s backgrounded verve and, of course, Jannah’s vocal, delivered in a matching unprocessed and rebellious kind of brightness.

One might attribute this narrative to a youthful hedonist streak, but I’d consider it a more developmental urge.

After all, the pre-chorus reveals this: Take it slow Don’t let go Break away Find your day.

The ‘day’ here is amplified, symbolic of more than just a fleeting fun-filled night out. Your day is the day, hence, the best day.

Lyric interpretation aside, The Best Day also highlights Jannah’s melodic sensibilities, with all the sections— verses, pre-chorus, chorus, bridge— highlighting a levelled attention to

detail that assesses what can make certain lines memorable, what can provoke unspecified emotion, and what might induce a sense of defiance and explorative resolve. The chorus, for example, is decently structured, containing within its centre a counterpointing melodic variation that acts as a release valve, taming the urgency of the preceding lines and encouraging us to consider the lyric:

stay a while won’t you stay the year in a different light; the best day has been extended. The narrative suddenly becomes imbued, elevated with a suggestion of essentiality.

Add Jannah’s expressive rendering of this more substantial take, and The Best Day becomes a doublebarrelled, appealing post-punk pop track worth your ears.

VINCE LEIGH

[IT’S

THE VINCE LEIGH TOP TEN TRACKS OF 2022 SPECTACULAR!]

As keen readers of BMA Magazine can attest, Vince Leigh has been an absolute workhorse in 2022. He’s one of the best music writers I - Bossman Allan Sko - have had the pleasure of

Belinda Says by Alvvays

working with. He has lovingly cranked out review after review of considered, erudite, passionate, and well crafted words, the reading of which is a highlight of this ragged Editor’s job.

From their album Blue Rev , which features several superb indie pop moments, Belinda Says relies on a descending chord change in the chorus to augment a bittersweet narrative and an equally capacious soundscape.

Broken Record by Somebody’s Child

This Dublin band’s track merges the subdued with the soaring, all aided by a combustive straight rock feel.

Shotgun by Soccer Mommy

This is taken from the Nashville artist’s third studio album Sometimes, Forever , a bass heavy verse explodes into swirling melodic pop terrain.

Who By Fire by PJ Harvey & Tim Phillips

This Leonard Cohen song, revamped for the Bad Sisters soundtrack, is splendidly rendered here.

As such, it was only right we asked Mr Leigh for his favourite tracks for 2022. Read on, and rock out!

Edge of the Edge by Panda Bear & Sonic Boom

An enchanting, irresistible meeting of indie pop and The Beach Boys like melodic lines and voices.

Bad Love by Dehd

From the band’s album Blue Skies , this record mixes hooks, ragged hearts, and an infectious mood.

Oceans of Darkness by The War On Drugs

A bonus track taken from their fifth album I Don’t Live Here Anymore , this song stomps into your consciousness with nostalgic blood in its bones and a conclusive afterglow.

Running Up That Hill by Kate Bush

Not theoretically 2022 but this track never seems to stop revealing its delights, on every level, from the production to euphoric emotional energy.

I Love You by Fontaines D.C.

Irish post-punk band Fontaines D.C. keep doing it, returning with more idiosyncratic fervour and fire with their third album, Skinty Fia , and this track, a menacing stand-out.

As It Was by Harry Styles

An effortless blending of smooth pop harnessing an ‘80s Aha-inspired groove and synth sprinkle lines, all aiding a series of subtle but lasting melodic lines.

THE FABELMANS

[ ]

In the early 1960s, the young Sam Fabelman (Mateo Zoryan) discovers the ability of cinema to cast a spell over the mind and, with the help of his mother, Mitzi (Michelle Williams), makes the first of many short movies on the Super 8 camera that his father, Bert (Paul Dano), uses to record family events, including Sam’s Bar Mitzvah.

Sam involves his three sisters, his friends, and classmates in his ever-more-ambitious film productions, entertaining audiences of parents and children with the results. Along with his mother, it is his father’s best friend and work assistant, “Uncle” Ben (Seth Rogen), who mostly supports Sam’s artistic endeavours.

But, by Sam’s teenage years (now played by Gabriel LaVelle), his father is increasingly concerned with Sam’s education and future career.

When Sam’s grandmother dies, Mitzi’s Uncle Boris (Judd Hirsch) appears at the family home to share the period of mourning. Whilst Uncle Boris, a fearful figure from Mitzi’s childhood, has a large, even intimidating, presence, he brings an extraordinary vitality into the home and has a profound effect on Sam. Uncle Boris tells it straight. Either Sam will face the hardships and heartbreaks incumbent on the true artist’s pursuit of his unquenchable passion or he will be a prisoner to an unfulfilled, if financially and socially successful, life. The choice is Sam’s.

Soon afterward, Sam suffers a shock through the power of film to capture and reveal devastating truths, leaving him angry and bereft of faith. And, just when things can’t seem to get any worse, his family moves to another state, and Sam finds himself in an unpleasant world of antisemitism and bullying that is condoned or ignored by all around.

Williams’s and Hirsch’s especially engaging characters of Mitzi and Uncle Boris, diverse personalities as familiar as those we meet in our own lives, and performance subtleties all round lend The Fabelmans a rounded credibility that succeeds in drawing us in to Sam’s nascent filmmaking career. Referring as the film evidently does to the early years of its director, Steven Spielberg, the film helps us see the world as does somebody with an enormous talent for storytelling in film.

Screening at Dendy, Palace, Hoyts, and Limelight cinemas.

— JOHN P. HARVEY

I WANNA DANCE WITH SOMEBODY [ ]

When legendary recording mogul Clive Davis first heard Whitney Houston sing, he spontaneously commented to a colleague that he may have just heard the greatest voice of her generation.

Since Houston’s death, a documentary and a television movie have been made on her. However, Davis felt that both had failed to capture many key elements: her soul, her dignity, what people want to know about her, and, most importantly, her music and her voice.

So Davis became an enthusiastic co-producer of a movie that aimed to do all that.

I Wanna Dance With Somebody covers the major events of Houston’s life from a short time before Davis’s discovery of her as a singing talent to her last hours, with Naomi Ackie playing Houston. These events include big tours; Houston’s marriage to rapper Bobby Brown and his subsequent influence on her career and health; family relationships, including that with her daughter; and (at least tangentially) her role, co-starring with Kevin Costner, in The Bodyguard

The film effectively limits itself to those events with the greatest effect on Houston’s career and relationships, from her family and the lover who later became her assistant, to her abidingly loyal recording executive producer.

One of the great things about I Wanna Dance With Somebody is that it gives us again a good taste of Houston’s best-loved recordings. Though Ackie as Houston sings a couple of pieces herself in behind-the-scenes mode and makes a creditable job of them, the filmmakers made the right decision in having her lip-sync perfectly to Houston’s voice.

Without prying too deeply into her personal life, I Wanna Dance With Somebody provides a sympathetic insight into Whitney Houston’s decisions, relationships, and life changes; into her family’s various roles in her career; and into the destructive toll that smoking took on her voice and her career.

Most memorably, it lets us feel what she felt in choosing and singing the songs by which we best remember her.

Screening at Palace, Dendy, Hoyts, and Limelight cinemas.

— MICHELE E. HAWKINS

PUSS IN BOOTS: THE LAST WISH

Swashbucklng adventurer Puss in Boots (voiced by Antonio Banderas) is living the high life of the fearless and beloved hero, defeating monsters and basking in the adulation of all when he discovers, to his horror, that he is now on his ninth and final life.

Overcome by a sense of fear and defeat he decides to follow medical advice, hang up his boots, and quietly retire to a cat refuge, with all the indignities that attend care en masse. But then his miserable life changes when he learns of the opportunity of using the limitless last wish of a fallen wishing star to recover his lost lives and return to heroics.

Puss in Boots is naturally not alone in seeking the wishing star. A cast of other keen and colourful starseekers ranges from Goldilocks (Florence Pugh) and her Crime Family of bears, to one formerly little Jack Horner (John Mulaney) — now the grotesque king of the pie industry — and his Baker’s Dozen gang.

These rivals display motives from the merely personal (such as the wish for a family) to the obscene (sole possession of all the world’s magic).

On top of that, Death himself — in the form of the Big Bad Wolf (Wagner Moura) — is seeking to extinguish our hero’s life; and Puss in Boots, having met him before, knows that he can’t cheat Death.

Puss in Boots is fortunate to have help in facing these various threats: principally the loyalty of a cute, dauntless chihuahua, Perrito (Harvey Guillén); and the love–hate of alluring professional thief Kitty Softpaws (Salma Hayek), with whom Puss in Boots shares some personal history.

The skilful animation and choreography of Puss in Boots: The Last Wish would suffice to make it a well-produced action animation. But it packs extra punch through the emotional realism imbuing its lead characters and the sophisticated creativity of its humour.

Its imaginative story, plots aplenty, universal motives, and jokes and gags galore make Puss in Boots: The Last Wish an engaging animated action comedy for young and old.

Screening at Dendy, Palace, Hoyts, and Limelight cinemas.

— JOHN P. HARVEY

MARCEL: THE SHELL WITH SHOES ON

[ ]

Marcel (Jenny Slate), a young shell, lives with his grandmother, Connie (Isabella Rossellini), in a beautiful human house that would appear to now be devoid of owners. Naturally, being only a few centimetres tall, the home and its furnishings are not Marcel- and Connie-sized or fit for their needs, calling for imaginative adaptations.

Marcel makes the most of everything and enjoys life, but he misses the rest of his family, who, along with the rest of his community, vanished one traumatic night.

Dean (Dean Fleischer-Camp), a human who has come to stay in the house, becomes Marcel’s confidante and, with Marcel’s permission, documents Marcel’s life on video.

Marcel shares with Dean how his daily life works, the innovations that allow him to meet the challenges imposed by size, how the rhythms of the seasons bring beauty to their lives, and how he and Grandmother Connie celebrate what they have. And he tells Dean about his family and their inexplicable disappearance, lamenting never having had the chance to say goodbye to them.

Dean regularly uploads his videos of Marcel to the internet, and Marcel soon has a huge fan base, but neither of them imagines what will follow.

Marcel: The Shell With Shoes On is a quiet, thoughtful film. Though relating the perspective of another species, its strength lies in its universality. Marcel and Connie are us, writ tiny. They too live with life’s inevitable, and sometimes painful, changes and challenges, along with its surprises, beauty, and opportunities.

This is a positive, gentle film about the power of gratitude and imagination and our potential, no matter what huge things outside ourselves confront us, to live rich, fulfilling, inventive lives.

It offers a view beyond the mundane but necessary in our lives to the simple beauties and pleasures all around us that we can so easily overlook, and it’s a poignant reminder of what really matters to us and why it does.

Screening at Dendy and Palace cinemas.

— MICHELE E. HAWKINS

THUR 26 JANUARY

Australia in Harmonie Joe Camilleri and The Black

Sorrows tops a collaborative line-up of stellar First Nations and German artists. 4:30pm, free, although reservations are all taken at time of print. Head to Eventbrite to join the waiting list

THE ZEPPELIN ROOM

Deborah Conway & Willy Zygier

The legendary lead singer of Do Re Mi comes to Smith’s with long-time collaborator and husband, Willy Zygier. 7pm & 9:30pm

SMITH’S ALTERNATIVE

Bourbon Street

Our live acts will blow the house down with their highenergy tunes and swinging good vibes. A night of raucous music and vintage-inspired vocals awaits. 9:30pm, free MOLLY

FRIDAY 27 JANUARY

SummerSalt Festival

The big summer fest returns to Canberra, featuring Angus & Julia Stone, Ben Harper, City and Colour, The Rubens, and Alex The Astronaut. Runs 4pm - 11pm, tix $99.90 - $199.90 via Ticketmaster

STAGE 88

Northbourne w/ Highland Light and The Midnight Tides Canberra grunge band Northbourne kickstart 2023 with a bang with local legends Highland Light plus Midnight Tides all the way from Wollongong. As well as some bangers from their recent debut album They’ll Never Find Us Here, the lads will be road testing some brand new material. 7pm, $15 via Oztix THE BASEMENT

Capital Punishment

It’s Thyme! Let your heart skip a Beet for Capital Punishment - we’re back for a final show before taking a three month Paws, and this month’s theme is Flora and Fauna! So this show is kind of a big Dill. 7pm, $15 via venue, free for competitors

SMITH’S ALTERNATIVE

Daniel Champagne

The finest guitar player of this generation, a leading light in acoustic music. 7:30pm, $35 via venue

THE STREET THEATRE

Midnight Removalists

Midnight Removalists are canberra based 4-piece, playing everything ranging from solo acoustic rock, to blues and rock’n’roll, to indie rock. 8pm, free entry

DICKSON TAPHOUSE

Tachérie’s Throwback Dance Party!

Canberra’s favourite horned DJ, Tacherie, is heading overseas for a few months and is stopping in at Smith’s for once last Dance Takeover before she goes! 9:30pm, $15 via venue

SMITH’S ALTERNATIVE

SATURDAY 28 JANUARY

Midnight Removalists

Midnight Removalists are back and ready to show you everything they’ve got, ranging from solo acoustic rock, to blues and rock’n’roll, to indie rock. 2pm, free entry

OLD CANBERRA INN MAMMA MIA!

On Repeat: ABBA

Mamma Mia! ABBA has announced a new album and we’re throwing a party in their honour to celebrate! Calling all Super Troupers, Chiquititas and Fernandos - you’ll be saying Gimme! Gimme! Gimme! as we play all the best ABBA songs all night long. 7pm, $18.40 via Oztix

THE BASEMENT

Freelings

Single launch and farewell(ish) show. 9pm, $10/$15 via venue

SMITH’S ALTERNATIVE

SUNDAY 29 JANUARY

Chris O’Connor

Chris O’Connor plays vintage blues as if they were written yesterday. 4pm, free entry

OLD CANBERRA INN

Gia Ransome

Gia Ransome is a singer/ songwriter who, with her band, will make you feel like you’re living a great romance in an old school dive bar. 4pm, free DICKSON TAPHOUSE Music in the Mountains: Brass Knuckle Brass Band

Brass Knuckle Brass Band are bringing the funk and a whole lot of fun! With woodfired pizzas, local brews, and Corin Forest’s 1.2km Alpine Slide, there’s something for the whole family. 5pm, tickets $20 via venue

CORIN FOREST

Strawberry Prince

Since making his debut in 2021, Strawberry Prince has become a staple of Canberra’s music scene, with his lyric-driven folk songs striking a balance of sincerity and silliness. 7pm, $15 via venue

SMITH’S ALTERNATIVE

TUESDAY 31 JANUARY

Bang!! Beng!! Bing!!

Bong!! Bung!!

Smith’s version of the openmic. BBBBB is 5 songs from singer-songwriters, new to performing, new to town, or trying out new material, in front of a friendly audience. 7pm, $5 via venue

SMITH’S ALTERNATIVE Jazz on the Rocks Escape with Molly every Tuesday night for an evening of live jazz with your favourite tipple on the side. Canberra’s best local talent will treat you to smooth sounds custommade for Molly. 7:30pm, free MOLLY

WEDNESDAY 1 FEBRUARY

Plini w/ Protest The Hero and I Built the Sky Plini and co will be joined by the inimitable Protest The Hero (Canada), returning to Australia for the first time since 2017, and Melbourne’s I Built The Sky - guaranteeing an evening of mind-bending musicality from all angles. 7pm, $59.90 via Oztix THE BASEMENT

Tom Fell Quintet

Tom Fell leads this outstanding group in a concert featuring original music and hard-bop classics. 7pm, $20/$25 via venue

SMITH’S ALTERNATIVE Comedy Club featuring Brett Blake Brett Blake - the man, the mullet, the legend. A whipsmart, high-spirited stand-up who has performed widely across Australia. Appearing with local supports. 7:30pm, $25 via Trybooking

TRANSIT BAR

THURSDAY 2 FEBRUARY

nozl cessation : singalong After an extensive campaign the Anti-nozl League has managed to serve nozl with a cessation order under section 32 of the Political Information Act. Unfortunately this means that nozl will be performing their FINAL GIG at Smith’s. 6pm, $15/$20 via venue

SMITH’S ALTERNATIVE Redd Volkaert (USA) and Ray Beadle

Grammy Award Winner Redd Volkaert (USA) & Australian guitar legend Ray Beadle have teamed up to bring us a guitar double bill show created in heaven. 7pm

ROYAL HOTEL QUEANBEYAN

UCLivex pres. JK-47 with YNG One + Cloe Terare

Whether you know hip hop hero JK-47 as the triple j Unearthed Artist of the Year, or from his jaw-dropping Like A Version of Changes by 2Pac, you would already know that the talented Indigenous artist is a force to be reckoned with. 8pm, $40.53 via Moshtix

UC HUB

Electronique

An evening of electronic music - featuring: MundtPhais, Avalent, and Reuben Ingall. 9pm, $10/$15 via venue

SMITH’S ALTERNATIVE Bourbon Street

Expect high-energy tunes and swinging good vibes! Get ready for a night of raucous music and vintage-inspired vocals. 9:30pm, free

MOLLY

FRIDAY 3 FEBRUARY

Ainslie Salon presents Bree van Reyk + Mick Turner Bree van Reyk (vibraphone) and Mick Turner (guitar) debut as an instrumental duo, performing music from van Reyk’s superclusters album and new collaborative works. 6:30pm, $22 - $33 via Humanitix

AINSLIE ARTS CENTRE

Mangrove w/ Ivy Lore & Sonic Reducer Mangrove are building a reputation for creating a live experience. More than just music, the improvisational nature of Mangrove, and chemistry between the members, is a spectacle to behold. Joining them on the night are Ivy Lore and Sonic Reducer. 7pm, $13.30 via Oztix

THE BASEMENT

The Burley Griffin + Jack Phemister

A double dose of delightful troubadours. 7pm, $15 via venue SMITH’S ALTERNATIVE

Amaru Tribe (Melb) + KaiMáN JiMENeZ (Melb) + Los Chavos

It’s Latin Folktronica & roots! Explore the intersection between cultures through traditional music from Latin America and contemporary electronic sounds. 7pm, $25-$30 via Trybooking

TRANSIT BAR

M. Ward - Celebrating 20 years of Transfiguration of Vincent Hailing from Portland, Oregon, prolific singer-songwriter and guitarist M.Ward will head to Canberra this February to celebrate 20 years since the release of his critically acclaimed album Transfiguration of Vincent. 8pm, $65 + bf via venue

CANBERRA THEATRE CENTRE Feast w/ Henry Saiz (Natura Sonoris/ES) presented by Escape Ferocity

Welcome a legend of textured techno in a sexy restaurant, a 6-course dinner, your own table, and an intimate dance floor. We’re partnering with INKA, to create a wonderful culinary and sonic journey. 8pm, $155$165 via Humanitix; tix are very limited and sold out last time INKA

Chris Harland Blues Band

Resuming Friday nights in style with Chris Harland Blues Band. When this trio works a room, people buy another drink, move towards the music, and applaud ‘n’ shout for more. 8pm, free entry

CANBERRA IRISH CLUB

Moondog Live

Moondog performs solo and as front man of the Moondog Blues Band. He is a master of the blues harmonica and a formidable guitarist, singer, and songwriter. His voice holds a deep authenticity reminiscent of the great blues singers of the old. 8pm, free DICKSON TAPHOUSE

Select Music presents: The Prize w/ Sonic Reducer

Melbourne based The Prize will be bringing their irresistible signature style of power pop inflected rock ‘n’ roll to sideway in Canberra for the first time. Supported by energetic, local punks Sonic Reducer. 10pm, tickets $13.30 via Oztix SIDEWAY

SATURDAY 4 FEBRUARY

UC O-Week Mini-Fest 2023: Trophy Eyes, Eliza & The Delusionals, The Buoys

We’re rounding off UC O-Week with an epic afternoon for you and your mates in the sun with indie rockers Trophy Eyes, Eliza & the Delusionals, and The Buoys, plus local legends dogworld and Flowermarket. 2pm, tix $56.87 via Moshtix

UC HUB LAWNS

Moondog Live

Moondog performs solo and as front man of the Moondog Blues Band. He is a master of the blues harmonica and a formidable guitarist, singer, and songwriter. His voice holds a deep authenticity reminiscent of the great blues singers of the old. 2pm, free OLD CANBERRA INN

With Heavy Heart ‘23

Some of the country’s best doom bands. 7pm POT BELLY BAR

IL Bruto

Arch rock ‘n’ roll reprobates and recidivists IL Bruto return for a late Satdee arvo of mostly full tilt boogie played the only way they know how... with passion and righteous energy! 4pm, $10/$15 via venue

SMITH’S ALTERNATIVE

Tombeau & The Idiots with Spouse, Freezer & Dedfeds Gutwrench Records’ second show coming to The Sea Scouts Hall in Yaralumla for an all ages $10 entry show. 6pm

LAKE BURLEY GRIFFIN SEA SCOUTS HALL

Ainslie Salon presents: Potential

Potential is a weirdo dark-pop synthwave plus-a-sax threepiece from Gadigal & Wangal land in so-called Sydney. Potential is launching their 2023 album Normal with locals Lost Coast. 6:30pm, $16.50$22 via Humanitix

AINSLIE ARTS CENTRE

Kingswood - Hometowns Tour

Never a band to call a capital city run a ‘National Tour’, and not afraid to get their boots a little dusty, the boys you know and love are ready to make up for lost time with their record breaking Hometowns tour of 2023. 7pm, $35.20 via Oztix THE BASEMENT

Cosentino: A Decade of Magic Australia’s world-renowned entertainer and International Magician of the Year, Cosentino, celebrates 10 years as Australia’s most successful magician, illusionist, and escape artist with his new show Decennium, the greatest hits tour. 2:30pm & 7:30pm, $71.55 – $237.10 + bf via venue

CANBERRA THEATRE CENTRE

SUNDAY 5 FEBRUARY

Mark Thomann Plastic Flowers

Album Launch + Matt DentSunday Session on the Deck

Two great local storytellers showcase their respective albums recorded at Pendragon Studio with the Pendragon Studio Session Band (Stuart King, Valdis Thomann, Matt Nightingale, and Jonathan Jones). 4pm, free entry

CANBERRA IRISH CLUB

Julian James and the Moonshine State - Live at the Star Album

Julian James and the Moonshine State bring a high energy, Americana Hill Country sound, featuring whiskey drenched fiddle, bass, and drums. 4pm, $20/$25 via venue

SMITH’S ALTERNATIVE

Gia Ransome

With her band, Gia Ransome will make you feel like you’re living a great romance in an old school dive bar. Described as a marriage between Nick Cave and Lana Del Rey, you can expect an experience of suave, bluesy rock. 4pm, free entry

OLD CANBERRA INN

NeonHoney

NeonHoney is a music producer and songstress. 4pm, free entry

DICKSON TAPHOUSE

MONDAY 6 FEBRUARY

Cowboy Junkies

Canadian alt-country pioneers

Cowboy Junkies will return to Australia, and it’s been a long time coming. 8pm, $79.90–$149.90 + bf via venue

CANBERRA THEATRE CENTRE

TUESDAY 7 FEBRUARY

Me First and the Gimme Gimmes! Don’t miss seeing US punk rock supergroup join forces as the world’s greatest cover band. 7pm, at time of print no tix available but you can sign on to a waiting list at Oztix

THE BASEMENT

THURSDAY 9 FEBRUARY

Everclear30th Anniversary Tour

With their 30th anniversary having toured the US and the UK, remastered debut album World of Noise, and recently released new single Year of the Tiger, Everclear are ready to bring it. 7pm, $70.90 or $223.90 via Oztix

THE BASEMENT

Eric Bibb - Solo: Ridin’ Tour

The ultimate ‘blues brother’ and a fiery singer with true soul. 7:30pm, $65 via venue

THE STREET THEATRE

Anh DoThe Happiest Refugee Live

By popular demand, Anh returns with his smash hit show! When one of Australia’s most talented comedians delves deep into his own life’s joys and sorrows, the result is an unforgettable night at the theatre that leaves an audience uplifted. 8pm, $74.90 + bf via venue

CANBERRA THEATRE CENTRE

Bourbon Street

Our live acts will blow the house down with their high-energy tunes and swinging good vibes! Get ready for a night of raucous music and vintage-inspired vocals. 9:30pm, free MOLLY

FRIDAY 10 FEBRUARY

Mycelium Sky - Solo Exhibition

by Paul Summerfield

Paul Summerfield’s 10th solo exhibition is being launched on 10 February at Belconnen Arts Centre and runs through till 26 March. The show launches alongside two other exhibitions at the gallery, and they all open at 6pm. Free entry

BELCONNEN ARTS CENTRE

Victoria K: Kore Australia Tour Melbourne symphonic prog metal band Victoria K are hitting the road this February in support of their latest album Kore which was released October 14, 2022 via Rockshots Records. 7pm, $18.40 via Oztix

THE BASEMENT

Darkest Hour

US metalcore icons, Darkest Hour, helped define the new wave of American Metal sound, blending the passion, energy, and soul of punk/hardcore, with the vengeance and fury of melodic death metal to forge a sound that became the template for modern metal. 7pm, $66.30 + bf

THE BASEMENT

8 Ball Aitken + Taya

Zambezi Sounds

Zambezi Sounds plays a vibrant mix of contemporary and traditional African music. Come and enjoy traditional Zambezi mbira music and river drumming sure to get you up and dancing. From 8pm

CANBERRA IRISH CLUB

Escapado Sol

Providing country, soul, Latin, jazz & funk-based solutions since the late Quaternary period! 8pm, free entry

DICKSON TAPHOUSE

SATURDAY 11 FEBRUARY

Adventure St

Adventure St are a 4-piece rock band that delve into many genres; we use bongos, bass, electric drums, djembe, trumpet, harmonica, and mind melting guitar solos to take you down every musical avenue. Adventure St’s originals have flavours of jazz, blues, and psychedelia. 2pm, free entry

OLD CANBERRA

INN

The Heavenly Light Quartet

The Heavenly Lights are dedicated to digging up the roots of soul and R&B musicreviving in detail and in spirit the Black Gospel a capella music of the male gospel quartet during the ‘Golden Age’ of Gospel (1940-1960). 3pm, $30 via venue

SMITH’S ALTERNATIVE

90s + 00s Music Festival

Featuring 8 acts performing tributes to some of the biggest bands to come out of the ‘90s and ‘00s. 6:30pm, tickets $35.20 via Oztix

THE BASEMENT

High Voltage Rock’n’Roll

The best of the Bon Scott era of AC/DC and Oz Pub Rock. 7pm, $34.67 by Eventbrite

THE ZEPPELIN ROOM

Mixed Bill Madness!

Chani

Swamp-blues-rocker 8 Ball Aitken and Sydney soul singing sensation Taya Chani at the Zeppelin Room. 8pm, $30 via Humanitix

HARMONIE GERMAN CLUB

Four completely different bands from four completely different cities play one huge gig! See Hot Tix on page 12 for more details. 7pm, $12 via Trybooking

POT BELLY BAR

This Way Orkestra!

Formerly known as Nyash, This Way Orkestra! features a rampaging rhythm section with dual guitar attack, plangent organ, heroic brass, and sing along chants. 9:30pm, $20/$25 via venue

SMITH’S ALTERNATIVE

SUNDAY 12 FEBRUARY

Tim McNally

Tim McNally has brought his live set to venues all across ACT & NSW. With a vast array of covers at his disposal, Tim McNally’s smooth vocals and effortless guitar playing leaves the audience stunned by his easy grooves and rhythmic melodies. 4pm, free entry

OLD CANBERRA INN

Tash Eloise

Tash Eloise is a singer, song writer, and multiinstrumentalist. Her style encompasses indie soft rock, elements of jazz,

contemporary pop, and soul, and her lyrics are raw and endearingly honest. 4pm, free

DICKSON TAPHOUSE

Kristabelle and

The Southern Jubilee Ringers

Saddle up your finest steed for some cowpoke songs around the campfire. 7pm, tix $10/$15 via venue

SMITH’S

ALTERNATIVE

Black Cypress - Single Launch

Borne by dark and chimeric altfolk blues, Black Cypress pay a melodic homage to the savage and the beautiful. 4pm, $15/$20 via the venue

SMITH’S ALTERNATIVE

THURSDAY 16 FEBRUARY

Hayat Selim - Mirage

Works in Arabic, English, ancient Egyptian, Spanish, Italian, and old Irish language bring focus to crossculturalism, inclusion, and diversity. See Spotlight on page 28 for more details. 7:30pm, $35 - $45 via venue

THE STREET THEATRE Rental SmakeSleep In/The Edge Tour Rental Snake are heading on their first tour to celebrate the release of their two new singles Sleep In and The Edge

FRIDAY 17 FEBRUARY

Canberra Metal Fest 2023Night 1

The

FuelersSunday Session on the Deck

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

Supported by local bands Parrots with Piercings & Pretty in Punk. 8pm, $5 on the door

SIDEWAY

Bourbon Street

Their live acts will blow the house down with their highenergy tunes and swinging good vibes! A night of raucous music and vintage-inspired vocals awaits. 9:30pm, free MOLLY

Featuring some of the greatest stoner, metal, doom, and thrash bands Australia has to offer, Canberra Metal Fest 2023 now has single day passes for those who can’t make both days, and a discounted two day pass for those wanting to fill their weekend with some of the heaviest riffs around. Featuring Abramelin, Werewolves, Arkane, Carnal Viscera, Forakt, Goat Shaman, Lucifungus, Mytile Vey Lorth, Nembutolik, The Plague, Post Truth, and Shockwave. From 5pm til late, $127.50 for both days via Oztix

THE BASEMENT

SATURDAY 18 FEBRUARY

Canberra Metal Fest 2023Night 2

Featuring some of the greatest stoner, metal, doom, and thrash bands Australia has to offer, Canberra Metal Fest 2023 now has single day passes for those who can’t make both days, and a discounted two day pass for those wanting to fill their weekend with some of the heaviest riffs around. From midday til late, $127.50 for both days via Oztix. See page 22 for full line-up

THE BASEMENT

Mahesh & Tapestries of Sound

Mahesh & Tapestries of Sound return to Canberra for an afternoon of world folk vibes to launch their new EP Circling Beyond the Square. 3pm, $10/$15 via venue

SMITH’S ALTERNATIVE

MZAZA In Concert

International touring band MZAZA is bringing their award-winning blend of folk to Canberra. The band is led by mesmerising FrenchSephardic vocalist Pauline Maudy, and features incredible musicians from Bosnia, Brazil, France & Australia. 6pm, $25/$35 via venue

The BeezSunday Session on the Deck

A yodellin’, thigh slappin’, lederhosen wettin´dancefest of German flavoured music with The Beez´Deta and Rob. 8pm, free entry

CANBERRA IRISH CLUB

Cabaret Voltaire

Welcome to an evening of avant-garde art and performance, inspired by literary masterpieces / Aestheticism and the essence of ‘l’art pour l’art’ (art for art’s sake). 9pm, $25 via venue

SMITH’S ALTERNATIVE

SUNDAY 19 FEBRUARY

CBS February Blues Jam hosted by The Bamford Blues Band

The Bamford Blues Band hosts CBS Feb Jam. The host band will be followed by some of the finest musicians in the region jamming together for a great afternoon of live blues music. 1pm, $10 + bf via Humanitix

HARMONIE GERMAN CLUB

Joseph Tawadros

Virtuosity and lyricism and the striking contemporary musicality of his oud. 4pm, $35 - $49 via venue

THE STREET THEATRE

Samantha

Fish

TUESDAY 21 FEBRUARY

Anvil (POSTPONED! OH NO!)

Just as we were ready to hit the big red PRINT button on this edition, this unfortunate piece of communique came in: “Hardline Media are sorry to say that the Anvil Australian tour has had to be postponed due to unforeseeable circumstances. The band hope to reschedule at a later date with their new album. Refunds can be sought from point of purchase, we are hoping for new dates soon.” Sigh THE BASEMENT

Open Mic Comedy

Come along to the next Free Entry Open Mic Comedy night held at The Basement. Doors at 7pm show starting at 7:30pm.Whether it’s to enjoy some great food from Chompy’s and watch, or you’re a seasoned professional looking to try out some new stuff, even if it’s your first time head on down and check it out. 7pm, free entry, register via Oztix

THE BASEMENT

WEDNESDAY 22 FEBRUARY

Honest Crooks w/ Kruelty (JPN)

FRIDAY 24 FEBRUARY

The Smith Street Band & Press Club

The Life After Football Australian Tour will see The Smith Street Band joined by friends and previous touring buddies Press Club, who are fresh off a huge European tour in support of their latest album Endless Motion. 7pm, $56.10 via Oztix

THE BASEMENT

A Stroke of Luck

1 in 6 people suffer a stroke in their lifetime. A Stroke Of Luck is an intimate exploration of stroke by survivor Gretel Burgess, age 42. A triptych of dancetheatre works (Coagulation, Diversion, and Liability) portray Gretel’s experience. 7pm, $25 - $35 + bf via Humanitix

QL2 DANCE THEATRE, GORMAN HOUSE ARTS CENTRE

SATURDAY 25 FEBRUARY

AMPLIFYTributes at the Arboretum

SMITH’S

ALTERNATIVE Bandaluzia Flamenco

An experience to ignite the senses, powerful performances, unique sound, and explosive displays of dazzling musicianship and virtuosity. 7:30pm, $35 - $45 via venue

THE STREET THEATRE Multicultural Comedy Gala

Part of the 2023 National Multicultural Festival –Multicultural Comedy Gala is a side-splitting celebration of Australia’s rich cultural diversity, by a world class selection of the most acclaimed and celebrated comedians in the nation. 8pm, $59.90 + bf via venue

CANBERRA THEATRE CENTRE

American artist, singersongwriter, and guitarist Samantha Fish is one of the fastest rising stars in the world of blues and rock ‘n’ roll. Building an enviable worldwide reputation with her extraordinary guitar skills and visceral live shows, Samantha and her band are returning to Australia. 7pm, tickets $61.20 via Oztix

THE BASEMENT

MONDAY 20 FEBRUARY

Kae Tempest

Kae Tempest is a writer and musician from Lewisham, South London. Their first two solo albums Everybody Down (2014) and Let Them Eat Chaos (2017) respectively, were nominated for the Mercury Music Prize. 7pm, tickets $55$65 + bf via venue

CANBERRA THEATRE CENTRE

On their long-awaited debut album The Sounds of Hell, the NSW/ACT based death metal/hardcore group Honest Crooks stand tall as a fully realised band. 7pm, tickets $35.20 via Oztix

THE BASEMENT

MayeFlower w/ Big Gun, Snakewitch and Goese Sydney based rockers MayeFlower have embarked on an independent tour of the East Coast of Australia after spending the start of the month at the Grove Studio recording an album’s worth of material. 7pm, $13.30 via Oztix

THE BASEMENT

Bringing together three of Australia’s finest tribute bands: sway and sing along with Diamond, a musical tribute to Neil Diamond that’s backed by a nine-piece band; Elton out of the Closet® will have you rocketing to the dance floor with his dynamic and flamboyant performance; and have your spirits lifted and be that dancing queen with BABBA, an ABBA tribute band with iconic outfits and disco dance moves. Doors 5pm, performances 6pm, $75/$90 via StickyTickets

NATIONAL ARBORETUM

A Stroke of Luck

1 in 6 people suffer a stroke in their lifetime. A Stroke Of Luck is an intimate exploration of stroke by survivor Gretel Burgess, age 42. A triptych of dancetheatre works (Coagulation, Diversion, and Liability) portray Gretel’s experience. 2pm & 7pm, $25 - $35 + bf via Humanitix

QL2 DANCE THEATRE, GORMAN HOUSE ARTS CENTRE

Tessa Devine

Tessa Devine is a singer songwriter that sings from her soul, weaving stories of heartbreak and hope. 7pm, $15/$20 via venue

SMITH’S ALTERNATIVE

Call Me Maybe: 2000s + 2010s Party!

Calling all Sk8r Bois… Just Dance and Shake It Off while we play all the best Party Rock Anthems from the ‘00s and 2010s on Replay!! If you’re All About That Bass, I Gotta Feeling you’ll be partying all night. 7pm, first release tix $15.30 via Oztix

THE BASEMENT

The Great Awake w/ Sketch Method, Shadow League and Parrots with Piercings

Wholesome punk rockers from Sydney, The Great Awake, have just dropped their sophomore album, QUIT, resonating with songs of love, friendship, making memories, and doing what makes you happy. 7pm, $18.40 via Oztix

THE BASEMENT

John LennonSongbook In Concert

All the songs you love, and even some you didn’t know you did, in a dynamic show for all generations. 8pm, tickets $55 via venue

THE STREET THEATRE

Women In Blues

Canberra Blues Society proudly presents a very special night of Women In Blues, featuring Fiona Boyes, Anna Scionti, Ali Penney, Sweet Felicia & Naomi Smith. With special guests DJ Gosper, Michelle Van der Meer, Gaye Reid & Marji Curran. 8pm, $30 + bf via Humanitix

HARMONIE GERMAN CLUB

SUNDAY 26 FEBRUARY

Welter

From the Mountains of Tasmania to the coastal surf of NSW, Welter are producing outstanding “Music for the good life”. 4pm, tickets $20/$25 via venue

SMITH’S ALTERNATIVE

A Stroke of Luck 1 in 6 people suffer a stroke in their lifetime. A Stroke Of Luck is an intimate exploration of stroke by survivor Gretel Burgess, age 42. A triptych of dance-theatre works (Coagulation, Diversion, and Liability) portray Gretel’s experience. 7pm, $25 - $35 + bf via Humanitix

QL2 DANCE THEATRE, GORMAN HOUSE ARTS CENTRE

MONDAY 27 FEBRUARY

Doug Stanhope

As part of his 2023 Australian Tour presented by True Comedy Australia, Doug Stanhope will be returning to Canberra in partnership with Marky Worthington Comedy. Come see Doug at The Basement, where you can be up front and personal with a living comedy legend. 7pm, $76.40 via Oztix THE BASEMENT

TUESDAY 28 FEBRUARY

Manish Pingle

A night of Indian classical and folk music with master of the mohan veena, Manish Pingle. 7pm, $30/$35 via venue

SMITH’S ALTERNATIVE

WEDNESDAY 1 MARCH

I Have No Enemies

Cyberpunk Detective Story meets Maniacal Ted Talk meets Live-Action ‘90s Hacker Movie. Confronting, enlightening, and absurdly entertaining, IHNE is radical contemporary theatre that decodes the uncomfortable truth of life through a lens. 7:30pm, $27.50$38.50 + bf via Humanitix

RALPH WILSON THEATRE, GORMAN ARTS CENTRE