BMA Magazine #541 - Canberra's Music & Arts Guide - March 2024

CBR COMEDIANS @ COMEDY FEST CAN-COPHONY ORANGE GOBLIN THE CASHEWS @ THE FOLKIE I WANT IT THAT GAY CELL BLOCK 69

TomCashman

Dave Thornton

Fateh Singh, Jeff Shen and Mitchell Woolfenden

JeremySmith

Geraldine Hickey

AnnabelCrabb

Jimeoin

SarahIson

HarrisStuckey

NathValvo

Michelle Brasier

ANULawRevue

MelanieBracewell

Tom Ballard

Suma Iyer

FelicityWard

LizzyHoo

KirstyWebeck

Daniel Connell

Sh!t-faced Shakespeare

Fern Brady

Koori Crack-Up

Sarah Stewart & Caitlin Maggs

Nazeem Hussain

Ray O’Leary

LauraJohnston

Akmal

Chris

Heath Franklin’s Chopper Marlton

Nick Schuller

[Canberra’s Arts & Music Guide]

#541 - MAR 2024

On days when God is suffering from low selfesteem, d’you think They could be called an atheist... because they don’t believe in themselves?

Mail: 36/97 Eastern Valley Way

Belconnen, ACT 2617

Publisher

ABN 76 097 301 730 Pty Ltd

Managing Editor

Allan Sko E: allan@bmamag.com

Cover Design

Allan Sko (with images supplied by Canberra Comedy Festival)

Article Design

Marty Baker & Allan Sko

Entertainment Guide Editor

Allan Sko

Social Media Manager

Angel Nash

Columnists

Jannah Fahiz, Josh Nixon, Alice Worley, Chris Marlton, Suma Iyer, Allan Sko

Contributors

Carrie Gibson, Noni Kuhner, Vince Leigh, Jen Seyderhelm, Allan Sko

EDITORIAL

WHAT:

Enlighten: Up Late @ NGA

WHO:

Thelma Plum

Jem Cassar-Daley

Dan Sultan

Briggs

Jeremy Whiskey

+ many more

WHEN:

1 - 11 March

The NGA has gone BIG for this year’s Enlighten, putting on a string of FREE nights from 5pm–9pm filled with art, live music, and kids & family activities. After seeing Thelma Plum (Fri 1 Mar), Jem Cassar-Daley (Sat 2 Mar), Dan Sultan (Fri 8 Mar) and Briggs (Sat 9 Mar), head out and experience the incredible Enlighten illuminations, including Vincent Namatjira: Indigenous All Stars projection on the Gallery façade from 8pm. For the full program: nga.gov.au/events/enlighten-up-late/

UPCOMING LIVE MUSIC EVENTS

Marcel Cole brings to life the story of Northern English actor, singer-songwriter, comedian, and ukulele legend George Formby in his brandnew award-winning cabaret, The Ukulele Man, showing at Tuggeranong Arts Centre on Saturday 2 March. Don’t miss this, “hugely enjoyable, brilliantly executed cabaret experience.” City News.

Limited tickets left via the venue:

WHO: Marcel Cole

WHERE: Tuggeranong Arts Centre

WHAT: Ukulele Man

WHEN: Sat, 2 March

Revered Canberra rapper Indighost returns to the stage to launch his new EP - Flow State. The 5 track EP is the anticipated follow up to his 2019 LP, Illumination, and features a slew of talented collaborators (who may just make an appearance on the night). Indighost has been refining his craft for over a decade and steps into 2024 rejuvenated and sounding sharper than ever. Known for his potent delivery atop diverse, banging production, his live shows never miss. On support will be stylish Melbourne crooner Jimmy Harwood for his first ever Canberra performance, a DJ set from Canberra ex-pat/ producer Dom Cork, and the return of Maleezy. Hip-hop of the highest calibre at Smith’s.

SMITH’S ALTERNATIVE

SATURDAY, 6 APRIL

Legendary Midnight Oil frontman, Peter Garrett and his band The Alter Egos (featuring the Oils’ Martin Rotsey on guitar and Heather Shannon from The Jezabels on keys) are hitting the road to tout the 15 March release of Peter’s new album, The True North.

Peter will showcase new works alongside some Oil’s classics and is joined on the night by special guest, Olympia.

Tickets are on sale now for $89.95 + bf via Canberra Ticketing.

WHO: Hoodoo Gurus x Canberra Symphony Orchestra

WHAT: Symphony In The Park

WHEN: Sun, 10 Mar

WHERE: Kambri @ ANU

“We’re thrilled to be doing Symphony in the Park. It’s going to be extraordinary. The last time we performed in Canberra was 2017 and we can’t wait to get back.” So says Dave Faulkner, founder and songwriter of Hoodoo Gurus who will be joining in the Enlighten festivities by teaming up with the Canberra Symphony Orchestra for special renditions of hits from their 40+ year career. Can you imagine What’s My Scene, Bittersweet and I Want You Back with orchestral accompaniment? Soon, you won’t have to. Free event! 6:30pm – 9:30pm

CHURCH Presents

Nai Palm + Friends @ THE NFSA - Sun, 10 Mar

Three-time Grammy-nominated artist Nai Palm (Hiatus Kaiyote) brings her soaring vocals and signature style to the NFSA Courtyard for this special, intimate performance. Enjoy an autumn afternoon in the company of Nai Palm and Friends, with local brews on offer at the Church cafe and bar.

PROGRAM

4pm: Key (Lucky)

4.45pm: SAMATAR

5.30pm: GLO 6.15pm: Nai Palm

March Madness is on! This is a time to celebrate Canberra’s birthday, and celebrate live music in all its forms. That’s what this is all about. As such, I have a sizzling selection of the hottest gigs for you to get on out to over the next few weeks! Read ahead for my recommendations.

My first gig for you is on

Saturday , 2 March , at Live at the Polo . Catch Jack Biilmann with his band The Black Tide ; made up of Pat Quinn Quirke (guitar), Joel Cabban (bass) and Jono Warren (drums).

If you have yet to see this rendition of Jack’s show, it isn’t one to miss! His backing band brings his songs to a whole new level. The Barren Spinsters and Stella Eve will open the night and get those dancing shoes of yours worn in. Doors open at 7:30pm, and you can grab your ticket now for $30 + bf via Humanitix.

I recommend you get in early so you catch ALL the songs. The Enlighten Festival website has a full list of performances and special events, and there are many. The festival starts on Friday , 1 March

Upside Down Miss Jane is coming back to tha ‘Berra with locals B.C. and Dead Lazarus joining them. Head on down to Pot Belly Bar on Friday , 15 March at 8pm to enjoy some grungy alt-rock music guaranteed to knock your socks off. Come prepared, though, because Upside Down Miss Jane claims they’ve been “joyously offending audiences since 2005”, so it might get a little cheeky. There are no presale tickets for this one, so get in early and grab a ticket on the door for $15. Heading into April, the leaves start to drop, but so do the breakdowns. Our local legends, Deathbeds , are teaming up with Melbourne’s Some Heard Trouble for a killer show at The Baso on Thursday , 4 April

It’s been a hot minute since we’ve heard from the DBs, and with good cause. They’ve been brewing and perfecting sounds that are heavier than ever. You won’t want to miss their new and improved show.

On top of that, Some Heard Trouble is on high energy as they just released their latest single, Blind (Eye For An Eye) , which you can listen to now! Doors open at 7pm, and you can grab your ticket via Oztix for $15 + bf.

The Enlighten Festival is happening again, and swiftly turning into a long-standing tradition. With bright lights comes illuminating music! On the Festival Hub stage, you’ll see many locals you know and love... for free :O

On Thursday , 7 March , The Burley Griffin and Signs & Symbols take the stage.

Friday , 8 March , will have performances by Peach Lane , Sunsoli (NSW) and Rental Snake

Saturday , 9 March , includes Sophie Edwards , Vivid Kix and Salt and Steel .

On Sunday , 10 March , you can catch The Dalmatians And on the Canberra Day public holiday, Monday , 1 1 March , catch Lavers and Budjerah on Stage 88 . Car parking will be limited as this event gets jam-packed!

And to tie things off this month, I’ve got a special mention for those that like it a bit more on the chill side. Every Friday night at the Canberra Irish Club , you can see a talented local artist thanks to Tru Sound Music .

This collaboration is to support and showcase the vast array of Canberra talent we lucky locals have right on our doorstep.

The artists performing soon are:

1 March - Urban Drover

8 March - Mega Beige

15 March - The Bobby James Band + Black Cypress

22 March - The Cuttings

5 April - Sneaky Jeremiah

12 April - The Fuelers

This long-running weekly event is known as WTF (Welcome To Friday) , and it’s free of charge.

And that’s a wrap on this month’s edition! Get on out and explore some live music. This city has so much to offer you, and the level of professionalism is outstanding. Enjoy, and see you in the next one!

By Noni Kuhner

Canberra punters might be fooled into thinking that local legends The Cashews have long been regulars at the National Folk Festival. According to Alison Procter, the time between appearances has been much longer than you might realise.

Naturally, both Cashews expect a robust local contingent in their festival audiences. This said, they're confident that punters from further afield will connect with their songs.

"I reckon the last time we played, I was pregnant with Liam, who is now 11. So that was 2012," she says. "At that festival, Dan (my partner at the time) and I played 12 gigs across the four days…

“So, that sure as heck meant that I didn’t want to play another Folky for a while!" she jests.

Other half of the band, Pete Lyon, is surprised by this. "Is that why it’s been so long; I'm just discovering this now!?” he laughs.

They are over the moon to join the 2024 Folk foray, of course, marking the beginning of big band plans for the coming months.

"It does feel really great to be playing," Pete enthuses. "We got management recently, and it's been a hilarious ride, but it's resulted in things like applications for more festivals. It's helped us break through that."

So what, exactly, is on the cards in the short and long term?

"We want to do more of these guerrilla gigs that we've built a little reputation for doing," Pete explains. "If we could just organise to be in the right place at the right time!"

"This is such a beautiful time to be doing stuff and making [the] most of the good weather while it's still here. I'd love to have a season of those this year and [to] play a lot more of them."

He goes on to add that new material could also be on the cards: "We're looking forward to the songwriting we aim to do between now and Easter. [I have] a new song coming up for me on the subject of office romance," he teases.

Meanwhile, Alison whispers of new recordings sooner rather than later, which would be their first since their Details EP in 2017.

"It would be great fun to do live recordings this year, I reckon, in a similar vein to our first live recording album in a small room with a small group of people to get the new songs down," she muses.

"I don't want to answer with a cliché, but a lot of people love to think of us as a band that just plays songs about Canberra," Alison says. "But if you really listen, we play songs about what it means and how it feels to relate to life [while] firmly embedded in one place.

"It makes sense that a song about the Tuggeranong Parkway and having a broken heart on that amazing road will appeal to locals. But everyone's had heartbreak... and everyone's driven on roads! So, we can connect with Canberrans and visitors alike."

Both Pete and Alison aren't just excited about their own shows but the entire festival experience, with each of them sharing their highlights of previous years.

For Alison, it's the joy of mingled voices.

"I have really enjoyed the Singer's Room late at night" she says. "Upstairs, there's often a chorus singing session, and it gives me the chance to exercise my harmony singing OCD-ness… I greatly enjoy sitting around and singing songs unaccompanied with other people that I may or may not have ever heard before."

Pete says the social aspect is an added bonus.

"I love the chance to run into people who have just played sets that you might've really enjoyed or running into old friends; that reconnecting often in the space between the performance venues where you can say, 'Hey, I saw that set earlier!'"

Still, the affection between the band and their hometown runs deep. Pete even suggests a specialised tour to show those visiting some of the most important sights in the Territory.

"Not the big icon stuff," he clarifies. "The little stuff. Like riding down next to Sullivan's Creek underneath the Mark Oliphant Bridge in the ANU; emerging from the bottom of Sullivan's Creek where it meets the lake, and you see the mountain range of the Brindabellas with the framing of the bridge above it.

"I was just riding there today with a friend, in fact," Pete continues, having gotten himself going. "It made me realise what a golden little moment that is as you ride down, and there's this great reveal of nature. It's like, 'Yep, people should see this.'"

He pauses to jokingly add, "Not just The Cashews. We're not the only thing to come and see in the ACT… there's more!"

The Cashews will play at the National Folk Festival over the Easter long weekend. All the details and tickets can be found at folkfestival.org.au

Can I Kick It?

Yes, I CANcophony!

CANcophony is two worlds colliding, Canberra’s contemporary music scene, reimagined for Jazz Orchestra.

Come and see Canberra’s best artists perform their original music backed by Canberra’s 30-piece (30!) premier Jazz Orchestra Spectrum Big Band! Featuring; Citizen Kay, Bec Taylor and the Lyrebirds, The Burley Griffin, Lucy Sugerman, Gia Ransome, Peach Lane, Sesame Girl and super special guest Viktor Rufus. When better to showcase the Canberra music scene reimaged, than Canberra Day Weekend.

To celebrate this magnaminous occasion, BMA caught up with the megabrains-with-the-looks-to-match, Andrew Kimber, to learn about himself, his illustrious career, all things CANcophony from incepotion to fruition, and just how far we need crank the excitement dial past 11.

Dear Andrew... Tell us about yourself:

I’m a proud Canberran and proud family man. I have played saxophone for 27 years [which is remarkable, considering the man is 26]. I am a public servant. I grow giant pumpkins. I’ve managed artists, run tours, been to 42 US states, and I once had a business hiring vans to touring musicians.

I’ve also been the Spectrum Big Band Music Director for two years. Big Band, you say? Do go on...

Canberra City Band Inc. turns 100 next year. It is the longest running community concert band in the country and comprises Canberra City Band, Spectrum Big Band (that’s us), John Agnew Band, and Prism Jazz Ensemble, who are the social concert band and Jazz ensemble of Canberra City Band, Inc.

That’s quite the pedigree. So, just where did this wonderfully mad CANcophony idea spring from?

I think the idea has always been in my head. As a kid I learned piano and then saxophone. I wanted to be a rock star, but played a very un-rockstar instrument. When I started my career as a professional sax player, I found that I was frequently encouraging people to put “horns with that”.

I think the Jazz Orchestra or Big Band format is incorrectly tied to a period of American Jazz music from the 1930s up to World War II. Following the swing era, a lot of people perceive the type of ensemble to be stuck playing music from that time. I don’t think

this is true and feel it is as socially relevant now, as it was then, the Revive Big Band is a great example of this.

How did you get such a lofty event happening?

The first step was a practical one masked in self doubt.

One of the first people I asked was Bec Taylor “I’ve had a bit of a crazy idea…”, and her response was “Sounds incredible Andrew!”. Once I said it out loud to her, I had to follow through.

From there it grew to include the arrangers, artists, seek funding from the ACT Government, support from sponsors, and partners like Colquhuon Murphy, UCX, Instant Colour Press, SideStage and, of course BMA, who have all helped to make the event happen.

Mostly, it wouldn’t happen without the insane crew of Spectrum members who put their faith in me and volunteer their time to make our events epic!

How did you go about selecting the talent for CANcophony?

This is the most ambitious thing I’ve done, and the biggest thing for Canberra City Band Inc. so it was important to make sure people were invested in the idea, and wanted to be involved.

I’ve reached out to a lot of artists and composers in the last 12 months; there are so many extraordinary Canberrans. We have amazing award winning composer Neille Williams, Canberra and Melbourne Jazz favourite Joe McEvilly.

We have the amazing artists [who you can hear from direct over the page] including Citizen Kay, whose recent album—so, where are we? —is the perfect material to perform with a jazz orchestra.

Bec Taylor and the Lyrebirds will be releasing their new single Photograph at CANcophony, and The Burley Griffin will be recording footage for the video clip to their song Cornerstone.

Add to that Gia Ransome, Ruth O’Brien, Lucy Sugerman, Peach Lane, and Sesame Girl and it’s going to be an epic night!

Remarkable talent, all. So, what can we expect on the night?

Your favourite Canberra music accompanied by a 30-piece Jazz Orchestra, all lit by an impressive light show courtesy of Canberra’s SideStage. And did we mention that we are part of Enlighten After Dark program???

Yes, you did. Just now. And all this will be pretty hard to top. With that in mind, what’s in store for 2024 and beyond?

Spectrum Big Band has another exciting year ahead. We will return to the stage for The Rat Pack Show, the music and humour of the famous Las Vegas troupe. We’ll again host an event for UNESCO International Jazz Day on 30 April, and head into the studio to record and release some original arrangements.

Joe McEvilly

How did you start in music?

I was lucky enough to grow up with a piano in the house, and started picking out songs by ear at a young age. Eventually this led to me coming up with my own compositions. Then, in Year 3, my school organised volunteer mentors to help kids with topics they were interested in. I chose composing. My mentor was a wonderful lady named Pip who got me composing formally and writing things down.

Tell us of a career highlight: When I was studying at ANU, I put together a nine-piece band and started writing music for it, and basically never stopped.

That band, Movement 9, has gone through a lot of permutations but it has brought to life so much of my music over the years.

A highlight would be recording a suite of my compositions and arrangements for national broadcast on ABC Jazztrack, and having a composition from that session featured on ABC’s Best Of Australian Jazz compilation. There have been many highlights over the years.

What’s your creative process?

I like to take long walks while I figure out the big picture of an arrangement or composition. That’s the most important part; if an idea is strong enough to capture my inner ear, it’s strong enough to write an arrangement around.

Then I’ll start honing at the piano or in a DAW like Logic Pro. I’ll brainstorm, walk away, and return to it over the course of several days with fresh ears so I can hear what’s working and what isn’t.

I don’t write a note of sheet music until the end, when the arrangement is almost done and I’m ready to start thinking about how best to communicate it to the musicians who’ll be playing it.

What are you excited to hear at CANcophony?

The possibilities are endless with a project like this. There’s such a vast array of artists, styles and instruments. I find some of the most compelling music happens when different styles crash together.

Where can we check you out?

Right now, I’m based in Spain and focusing on soaking in the musical richness that exists here, from the worlds of jazz, flamenco, salsa, boleros, tango, choro, and so on. There’s much to explore, with many colours to add to my musical palette for my future composing and arranging adventures.

Neille Williams

How did you start in music?

Around Year 9 in school. I was learning the clarinet and my parents couldn’t afford to buy me any new music - so I went and darn well wrote my own!

Tell us of a career highlight: Winning the 2021 Australian Women’s Wind Band Composition Award (both categories) was an amazing high. And to hear the pieces performed so beautifully by the Queensland Wind Symphony later that year was an absolute treat!

Your creative process?

I’m very melody-oriented. What musical elements in and around the melody help make it shine? I don’t compose at a piano, it’s purely in my head, so I sit down, let it float around in my imagination until all the elements start to appear and attach themselves to the melody. Then I use Sibelius Pro software to notate it all. And while doing that, occasionally other ideas jump right on in and I’ll change what I’m doing. It’s fun, chaotic, beautiful and exciting, and I’m my best self when I’m writing music and indulging in this creative process.

What are you excited to hear at CANcophony?

Beautiful songs reimagined as bigger, brighter, jazzier big band arrangements. It’s like taking one small exquisite gem and surrounding it with a cluster of diamonds - it’s going to be a wonderful evening full of spectacular music!

Where can we check you out?

A violin/clarinet/piano trio of mine called Eponymous is being included in a collection of autobiographical pieces, called 50/50-

CANcophony

When: Saturday, 9 March

Doors 7:30pm

Where: UC Refectory

11 Kinari Street, Bruce, ACT

Cost: $79 Adult/$59 conc.

+bf via Humanitix

Towards a Shining Light, that includes pieces from composers from all over the world. It’s been performed several times, published in the USA, and marketed globally. I was so excited to be included. Other than that, my website nwilliamscreative.com has many pieces for bands and ensembles, and my very cool family band, Manchild and the Blues Kids, keep me out there performing on the contemporary scene. There’s certainly lots to keep me busy!

Andrew Kimber

How’d you start in music?

Reluctantly, in my music degree. But I ended up enjoying discovering voicings and as a Sax player, it was essentially to be able to put horns to anything! Otherwise I’d never have performed half the cool gigs I’ve done.

Career highlight:

In arranging, it would have to be a fun project I did with PBS FM’s Black Wax program (Melbourne broadcaster). During Covid/lockdown, around 20 jazz musos arranged a James Bond Theme each. I overdubbed six saxophones in an arrangement of From Russia With Love. Was a lot of fun, great music, and given the situation, it was such a highlight of that period.

What’s your creative process?

When I arrange something, I try and play along to the recording or play the music an infinite amount of times. Each time, I’m looking for space; notes that aren’t played but “should” fit, and kind of fill the palette up with possibilities. I then essentially delete everything from my brain/notepads, and pursue the best idea.

Composing; it’s just trying to do something every day. 360 terrible songs a year, but you usually get five great ones… Maybe a few in between, if you’re lucky.

What are you excited to hear at CANcophony?

Luckily, I’ve been able to hear CANcophony. I’m most excited to see it! 50 musicians, all these great Canberra songs and artists, and all with a ridiculous amount of lighting that’s been designed especially for these songs!!!

And there’s a Lucy Sugerman arrangement by Joe McEvilly. That’s what I want to hear!!!

Where can we check you out?

An abundance of sleep after this ambitious event is over! A couple of recordings coming out this year, including some cheesy Christmas saxophone for Grandma’s Christmas table this December.

Gia Ransome

Tell us about yourself:

I read a book recently that said ‘whatever pain you can’t get rid of, make it your creative offering’. That really stuck with me, because that’s my songwriting. My songs are the most authentic expression of myself, and a place where I can be completely honest.

That’s what I love most about music - it’s where you can say all the things usually left unsaid.

Fave Canberra acts?

I’m a big fan of ARCHIE. They bring out a joy in me that’s rare to surface. My face always hurts from smiling during their shows.

What excites you about CANcophony?

CANcophony is such a cool idea. I can’t wait to see all of these artists’ songs reimagined for a jazz orchestra. I’m most excited to play my songs with a large ensemble - it’s always been a dream of mine to sing with an orchestra.

What led to choosing the songs you did for CANcophony?

The obvious choice was Belladonna, which I’ve always imagined being played with a big string section. It’s not officially released, but I play it at every show and it’s a bit of a fan favourite. I’ve previously performed Belladonna with cellists, and the arrangement for CANcophony is a flow on from that.

I also chose my debut release, Boots, to give it new life with a crooner style jazz arrangement. Using my debut single felt like a nice way to close the chapter that is my first year of releasing music.

Bec Taylor

Tell us about yourself:

I write, sing and play music in a few different genres.

The Lyrebirds is my alt-folk-pop project which I do with my wonderful band members, and I play piano, write, and sing in Hashemoto.

I play drums in country band Jason Recliner and mandolin in poetry folk band GWEN, and am really lucky to have recently joined cult-favourite Cell Block 69 as Kori-Ann Kennelly, which has been an incredible time. Favourite Canberra acts?

When I mentioned CANcophony to friends, they said they’d love to hear Thunder in the Night (from my EP Winter) with a large ensemble. The songs from that EP are from a really hard time in my life, which I have mostly moved on from. It’s nice to have a chance to give it a redo now that I’m in a better place.

Where can we check you out?

I’ve got a new single coming up soon called Buttercup, which is the last piece of the puzzle with the singles I’ve released so far. I don’t have a release date just yet but it will be in the next couple of months. After Buttercup, I’m going to be working on new material that’s a bit of a shift in musical direction, and I’m really excited to start that chapter.

There are just too many great Canberra artists. I am very humbled to be a part of CANcophany; everyone is so wonderful and inspiring.

What excites you about CANcophony?

When Andrew explained CANcophany, I thought, “Jesus, that’s ambitious! If he pulls it off, it would be amazing to see Canberra artists on stage supported by a full jazz orchestra”. What a privilege and an incredible musical moment. And it’s looking like he will pull it off.

What led to choosing the songs you did for CANcophony?

We chose Shed My Skin because it is a classic pop song from our first album that could be arranged in different ways, and I wanted to see how they would arrange it for the big band.

I chose Go On Without Me because it’s a story ballad about what happened the year after a break up, and it’s a song that I could hear orchestral instruments on. The arrangement that Spectrum did is beautiful and really did it justice.

Where can we check you out?

Bec Taylor and the Lyrebirds have just released new single, Photograph (on all the streaming platforms), and we’re really excited to release our new album Limbs & All in April. It’s our best work so far.

Cell Block 69 are playing at The Baso on the 23rd and 24th of March and it’s gonna be HUGE.

Peach Lane

Tell us about yourself:

We’re Peach Lane, made up of Madeleine, Hannah, and Pierre. We met and formed the band in Canberra, with Pierre living in Melbourne now and us mostly working on music together remotely. Musically, we’re a blend of our influences across pop, indie, folk, and ambient music. We often talk about The xx, Lorde, and Bon Iver as major influences, and we all had boygenius as a top artist in our Spotify Wrapped this year.

We love music – we love listening to it, seeing it live, making it, performing it. Music is such a powerful way to express feelings, thoughts, and emotions. Even when we’re not specifically creating songs for the band, making music feels therapeutic.

Favourite Canberra acts?

There are so many amazing bands coming out of Canberra. Some of our favs are Aya Yves, Sesame Girl, Teen Jesus and the Jean Teasers, Lucy Sugerman, and Genesis Owusu.

What excites you about CANcophony?

Amazing Canberra artists, amazing Canberra Big Band. We’re so excited to be going as fans, let alone performing!

What led to choosing the songs you did for CANcophony?

Watch Me Leave: When getting the song ready to record, we threw in some horns to punch up the choruses, and create a big marching band vibe in the outro. Being synth horns from a keyboard, we leapt at the opportunity to hear it with a real Big Band.

You Love Me I Hate Me: Such a fun, high-energy song, it deserved the Big Band treatment. We’ve been hearing this one on repeat in the lead up to its release so we were really keen to hear it reimagined.

Where can we check you out?

You Love Me I Hate Me comes out on 7 March, right before we play the Enlighten Illuminations stage on Friday, 8 March at 7:30pm, so it’ll be a big weekend for us! It’s the first song we’ve put out in over a year, so we’re super excited for people to hear it and we’re hoping to use it to kick off a series of releases this year.

Evan Buckley

Ruth O’Brien

Tell us about yourself:

I find music is a great way to express yourself and share stories you might not otherwise get to.

Fave Canberra acts?

Venus Mantrap, Lucy Sugerman, Citizen Kay. What excites you about CANcophony?

The chance to share my songs in a different way, and to a different audience with people hearing the songs for the first time. Not to mention the Big Band backing and arrangement, which is amazing. And it’s all Canberra! Being able to share the stage with such great talent is so uplifting.

What led to choosing the songs you did for CANcophony?

They’re my favourites to sing! I didn’t actually think too much about which ones would sound particularly good with an orchestral backing, and instead lent toward those I had a fondness for.

Tell us a bit about yourself:

Big ask! I grew up feeling very isolated, so songwriters were my closest friends. In childhood, I had some folk music and hymns, then got into pop and punk as I got older and continually found new songs that made me feel understood; like the song itself was listening to me.

Increasingly, I’m learning to write in a way that incorporates my love of dancing and groove.

Favourite Canberra acts?

Kilroy, Big Reef, Micah Heathwood, Smart Casual, Mr Industry (now Melbourne based), Dog World (now Melbourne), Cathy Diver (now Tasmania) and, of course, all the amazing acts on the CANcophony line-up!

What excites you about CANcophony?

I’ve only heard the midi instrument versions of the arrangements, created by the great Neille Williams, but I can hear so many beautiful harmonies emerging. We’re rehearsing with Spectrum BB tonight, and I’m thrilled to have many talented musicians lend their ears, lips, fingers and spirits to these songs I’ve raised from infancy to satisfying fruition!

What led to choosing the songs you did for CANcophony?

I picked one song (Being Alive) because it has plenty of space in it, and the other (Cornerstone) because it’s already the most epic song that Louis Montgomery and I arranged on The Burley Griffin’s most recent record. I can’t wait to hear what kind of dizzying heights we might yet achieve with CANcophany.

Where can we check you out?

Along with Enlighten and CANcophany we’re also playing Canberra’s newest venue, Funtime Pony, with Kilroy on Thursday, 21 March at 10pm. Besides a bunch more shows, we’re also working on a new 12 song album with Louis Montgomery again. We’ve made some progress, but until I figure out grant writing, I’ll just be chipping away at this record in stages until it’s done.

I’ll keep you posted on that one!

Where can we check you out?

My most recent release, Songs For Abby EP, came out last year and is a collection of four songs about my beloved (and sadly now departed) cat, Abby. Available on streaming platforms!

Lucy Sugerman

Tell us about yourself:

I’m a songwriter and artist from Canberra, writing indie-pop and acoustic-folk music. I use music to process the world and my emotions, and as a personal outlet. It’s also extremely fun! And to have it as such a deep part of my personal and professional life is such a blessing. Music can touch a heart like no other.

Favourite Canberra acts?

It changes all the time, but right now I’m bumping a lot of Citizen Kay, Apricot Ink, and Jett Blyton. Also been loving Artist Running Club and ARCHIE.

What excites you about CANcophony?

Getting to hear everyone’s song in grand Big Band form. It’s such a privilege to have our songs arranged by some of the best arrangers and composed, and blending traditional elements of music with contemporary tracks.

Andrew has worked so hard to deliver a new and exciting experience for fans of Big Band and CBR music. It’s a beautiful display of community spirit and people striving for excellence.

What led to choosing the songs you did for CANcophony?

They are more upbeat and grand than some of my other tracks and I felt like they would lend themselves well to a jazz/Big Band vibe.

Where can we check you out?

Many-a-gig to play, and many-a-song to be released soon. Make sure to follow me on the socials to see when they happen.

WITH ALICE WORLEY [ALICE.WORLEY@OUTLOOK.COM]

First up, P&D extends a massive congratulations to the organisers of Belco Bowl Jam this year. It was a massive event with talented people attending over one huge weekend.

Talk about an after-party! The Vee Bees, Affordable Payments, Grytt, and Sketch Method all managed to squeeze into The Baso along with hundreds of skaters, and the moshing was IMMEDIATE.

A mate unknowingly popped a rib out in the first set, which I didn’t even know you could do. Was it worth it? He thinks so, but maybe the adrenaline has yet to wear off. I’ll ask again in a week.

I felt so fortunate to bear witness to the crowning of a new Belco Leg Wrestling Tournament champion. Congratulations to Woody #2 for defeating Conz, the previous champion, in a sweaty, shirtless battle for personal glory whilst We Are The Champions bellowed out of every sloshed skate rat in the building. I salute you.

Another keen congratulations goes out to Gutwrench Records on the Sum of Our Parts release!

What an absolute gem of a compilation, showcasing so much talent in one fantastic tracklist. What an effort, and thank you so much for documenting and preserving a moment in the A.C.T.’s musical history (which you can check out on Spotify or secure yourself a hard copy on tape). Kudos and bravo for this and for your fortnightly D.I.Y. Summer shows!

goes to The Mighty Hoopsnake, Australia’s favourite ecology-themed garage/punk/psych/doom group, who are launching their debut EP Terra Australis!

Joining them for this momentous occasion will be local favourites Kilroy and some Cetacean for you to throw some shapes to. Get down to Gang Gang on Sunday, 10 March, so you can congratulate them in person!

Absolute legends and personal faves, C.O.F.F.I.N.

(Children Of Finland Fighting In Norway), are finally heading to Ngunnawal/Ngambri Country! Get ready for some fast love on Thursday, 28 March, when the foursome are set to resoundingly blow the bloody doors off The Baso for your listening pleasure. It shames me to admit I have never seen these guys live, but I have my ticket and cannot wait for that to change. Invite all ya mates to this one!

Lastly, I would really like to take a minute to honour a local icon and say a big ol’ Happy 30th to the legendary Gus Bamberry - the most magnificent door bitch that’s ever been (even better than Kimberley Diane Craig herself).

Gus is the legend that has stamped your wrist a thousand times from the yesteryear of The Phoenix, Transit being on Akuna St, and up to the present day at all your favourite gigs at The Polo. In the in-between that is BMA’s editorial deadline to the publishing date, Gus is having (has now had as you read this) a kick-arse birthday party at The Polo with Slagatha Christie, Box Dye, Lady Denman and Strawberry Prince. If you weren’t there, be sure to wish the always smiling and colourful Gus the happiest of belated birthdays.

If you’ve been seeing all the awesome footage and photos of these said D.I.Y. shows and want to be kept in the loop of any guerilla gigs in future, go follow Gutwrench Records on all the socials so you don’t miss out. They also post their own gig guides, Gutwrench Recommends, every now and then, and they never miss, so keep an eye out for those too.

And yet ANOTHER hearty round of congratulations

Much love to you, Gus, our fun summer boy.

PUNK GIG GUIDE

Thursday, 7 March - The Porkers @ The Baso

Friday, 8 March - Private Function w/ Tee Vee Repairman and Box Dye @ The Baso

Saturday, 9 March - CBR GRRRLS To The Front w/ Moaning Lisa, Cherish, Bad Lunar, Lily Begbie, Sophie Edwards (DJ set) @ The Baso

Sunday, 10 March - Vee Bees w/ King Hits and Dirtbag @ The Pot Belly

Sunday, 10 March - The Mighty Hoopsnake Terra Australis E.P. Launch w/ Kilroy and Cetacean @ Gang Gang

Tuesday, 19 March - Guttermouth w/ Box Dye and Signs & Symbols @ The Baso

Thursday, 28 March - C.O.F.F.I.N @ The Baso

Belco Bowl Jam - 2024

AUTUMN

By Jen Seyderhelm

For the first time, Cell Block 69 is back again, again, for the last time ever (tautologies are essential with this band). Yes, the Coreys are to coral at Belconnen's The Baso Megadome for two hotly exclusive shows.

Capturing the essence of frontman Duanne Le Corey-Michaels is like witnessing a total eclipse of the heart or capturing a careless whisper (song lyrics stolen from CB69 by George Michael, but we'll get to that).

Donning my most robust UV-protection shades in a feeble attempt to protect from his potent glow, I caught up with Le Corey-Michaels for a pow-wow.

JEN (BMA): How do you respond to the famous local quote, "You know it's Christmas in Canberra when you do Cell Block 69?"

DUANNE LE COREY-MICHAELS: Canberra?

Oh! You mean Canberry! Then I reply in the affirmative! In fact, the Canberry Legislative Assembly are changing the name Christmas to Corey-mas. I think.

Canberry is a must-go destination on the travel itinerary for any self-respecting globe-trotting band. You have one of the world's most wonderful yet hidden underground stadiums at The Baso!

JEN: So, back again for the final show, like last year? And the year before? And the...

DUANNE: Last year was to be our last, true. But every year, we break up, spend time on our respective Caribbean Islands, and eventually, I'll call up Corey Rok SiXXXxxXXX, and we make up over a bottle of Cointreau. Or two.

That's just the emotional turmoil of being a Corey, I s’pose.

JEN: Speaking of emotional turmoil, I hesitate to bring this up, but you're still sore about the George Michael thing, eh?

DUANNE: When you sing, "Guilty feet have got no rhythm,"... I mean, as much as George did an excellent job of that, he didn't write it, did he?

George was a wonderful man, a very generous man. A very generous man who generously helped himself to our songs, made mega hits, and UN-generously ignored its creators. And they even had Andrew Ridgely make some ludicrous doco saying he wrote them!

JEN: Onto a happier topic, I must say, you look sensational.

Duanne Le Corey-Michaels: Yes, you must.

JEN: Favourite piece of clothing?

Duanne Le Corey-Michaels: Whatever I wear at the given moment. Being a rock star is a 24-hour-a-day job.

That said, I do have a special wristband, but it’s in The Louvre. They got it in safekeeping for most of the year, as they should. It’s a work of art.

JEN: And what exactly should us masses wear to the show?

DUANNE: Clothes that make your '80s soul sing. Ones that bring out the inner Pat Benatar that lives within each Canberryan. You'll know it's right when you cry: "A-HA! "THIS is what I was always meant to wear!" This moment may occur when you have nothing on it at all. Just listen to your inner Pat.

Oh, and for Rock Gods' sake, REMEMBER YOUR SUNGLASSES! You'll be out until the morning.

And bring a towel for when you step out of the jacuzzi, of course.

AND a passport, to be safe. Never know where you might end up.

JEN: Surely it’s better NOT to bring a passport to prevent one from leaving the country in some fugue state?

DUANNE: Waking up in another country is every pop-rock fan's God-given right.

JEN: Of course. So, how many Coreys are there this year?

DUANNE: Nine, plus potential guest Coreys. We usually have Corey McCorey, who pops in with a bit of bagpipes. Corey

O'Seven does some extra vocal work. Then there's Corey Burley-Griffin, Corey-Anne Kennerley, Corey Farnham... Oh, and The Horny Coreys.

JEN: Who are The Horny Coreys? Groupies?

DUANNE: Good gracious, NO. They play the horns, of course. All 13 or 14 Coreys of them. It’s a veritable cavalcade of Coreys! (NOT a ‘plethora’; that’s actually a pejorative term. Read a book, people!)

JEN: That's a lot of Human. Makes me think; what does the '80s smell like?

DUANNE: Oh, many things. There's always a base level of 4711 wherever you are. It smells like Rexona mixed with a man's chest hair and moisture; moisture that smells like Scandinavia with a hint of Pat Cash. It smells like a headband after a long night out. Like a soupçon of eyeliner powder and foundation mixed with the heady, slightly acrid smell of chlorofluorocarbon hairspray.

I've got cans of this stuff up here. I've been told by the CSIRO that I can use it, but for 25 years and not a day over.

JEN: Sights, sounds, smells... Is this what to expect for this year’s farewell concert?

DUANNE: Ahhhhh, "people" and their expectations. They can expect whatever they like; it won't make a difference.

We'll still deliver the SINGLE GREATEST POP-ROCK EXPERIENCE of their insignificant little lives.

So don’t hold out for a hero til the end of the night. BE that hero. Be at a Cell Block 69 concert.

Profound? Probably not. But truthful? Also, probably not.

The single greatest pop-rock experience that is Cell Block 69 hits The Baso on 23 & 24 March. BUT... the 23 March show is SOLD OUT, leaving only the 5pm, 24 March slot left. Quick! Tix are $42.35 via Oztix. And don’t forget your sunnies.

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

Summer is over. As the trees begin to prepare to fill the streets with leaves, one can look forward to donning their battle jackets and whipping out the long sleeves once again.

Still, a few molten hot shows take us through the change of season, and an absolute ripper kicks off this reporting period that will unquestionably provide bangovers to all who attend.

3pm - Doors

4pm - Blasfemancia

4:50pm- FLESH

5:40pm - Stalker

7pm - Midnight

The USA’s highly vaunted Midnight joins New Zealand serial visitors Stalker for a Sunday afternoon Baso brutalising on 3 March. The four band build rounded out by Blasfemancia and FLESH, and plays out thusly:

The hooded menaces are set to fire up the stage to fulfil your hellish expectations. Tickets on The Baso ticket site; get on those at once.

Sunday, 10 April is about as big a gig juggle as I have had to manage at one venue with two separate shows.

The Baso has landed one of the most extensive international stoner rock tours in years, with the UK’s Orange Goblin taking in the Canberra leg of their Australian tour, joined by two of Australia’s absolute best proponents of the genre.

Melbourne Simpsons

stone(r)cutters, Dr Colossus, and Sydney’s hardest working 2-piece, Astrodeath, make for a tantalising bill presented by the fine folks at Soundworks. Tickets from The Baso website. That’s the big room.

Out the back room are 2 absolutely killer internationals in the form of USA’s death metal darlings Gatekreeper and crushingly heavy Japanese slam lords Kruelty. Both bands played Australia last year to rapturous responses from those lucky enough to attend.

This will be a mental amount of riffage to fit into that tiny room along with Aussie’s World of Joy, who are along for that whole run thanks to Destroy All Lines. You can get your ticket from the Destroy All Lines website. Choose wisely!

If the In Flames performance with Kreator last month didn’t satiate your desire for Swedish melodic death metal, The Baso will host Scar Symmetry on 12 April.

Canberra gets a welcome visit from the Swede’s brandishing their new album The Singularity (Phase II Xenotaph) and a stop off on the Xenotaph Australian tour to promote it. You can also pick up a ticket at The Baso website.

As if that’s not enough international action for the month, how about a 4/20 visit from an absolutely titanic death metal band? Suffocation makes a warmly welcomed return to Australian shores with equally welcome guests for the whole jaunt, Revocation.

The Hymns From the Apocrypha tour lands on 20 April at The Baso with GA and VIP ticket packages available for all of you long-time Suffo-natics.

charming post-gig pic of Dr. Colossus by @photospunctuatemylife

Photo by @trentonwoods

The new album was rapturously received at the end of last year, so there will be a welcome serving of new and classic riffs from these pioneering explorers of brutality. With Revocation bringing material from their 2022 album Neatherheaven to the fore, it’s a night not to miss, so ensure you pick up a ticket from The Baso website.

Rotting Christ announced an Aussie tour recently with the Greek black metal pioneers booking a May 3rd date for the Baso that you might want to squirrel away a few back to save for this one.

On the black metal front, I’m hearing some really unexpected and exciting rumours for an extensive tour in Q3/4 this year, which I will tell you about once the promoter has nailed down the venues; it will be one the tree will not want to miss.

Of course, Sunburn tickets are also on sale at the Baso site, and I got RSI typing out the names last time, but Clagg, Goat Shaman, Isua and Budd are more than enough to get me out of the house for a riff-fest, let alone the rest of that enormous bill.

Pleased to see The Ocean have announced an Australian tour for the start of winter, and that will take in The Baso on 7 June. Even more amped for the show because the band have announced Cave-In are in for 7 of the 8 Australian dates. The Bostonians released an absolute ripper of an album in late 22 in the form of Heavy Pendulum, and I can not wait to cop some of that material live this winter.

Canberra bands with a new release or upcoming gig, hit me up at doomtildeath@hotmail.com so I can give you guys a glow-up on these pages, too. See you up the front.

NP: Sparagmos Spectral Voice - for fans of .dISEMBOWELLMENT, crushingly heavy death doom.

By Carrie Gibson

“This tour came about from constant pressure from fans!” Ben laughs.

“Obviously, we were out of action for a few years due to COVID and Martyn [Millard, band co-founder] leaving.

Touring as part of Soundwave was an incredible experience,” Ben says, reflecting on 2013’s last Australian jaunt. “But we never got to do our own headline shows. So we look forward to doing that for the first time. Australian fans have always been crazy enthusiastic.”

Said fans have further reason for crazed enthusiasm, with news that the band is raring to unleash a new album, their tenth, no less. Ben declares that the impending LP is set to be a significant part of the Orange Goblin legacy, with 2024 seemingly about carving out a fresh epoch.

As the band stares down the barrel of thirty years, a milestone not absent from Ben’s mind, their renewed enthusiasm is a joyous thing for fans to see.

“We’re still here and doing this because we never got ahead of ourselves,” Ben reflects. “We’ve never taken ourselves too seriously; we don’t have big egos. I think we are a damn good band, sure, but we had no aspirations of superstardom or touring the world in the early days. It was just four guys that wanted to get together. We were simply bored boys who wanted to start a band that catered to our musical taste.”

Thus, Orange Goblin was born.

It was a fortunate time for the band to head out into the scene; the UK in the mid-’90s enjoying a stoner rock boom.

We’re talking Electric Wizard, Cathedral, Paradise Lost, My Dying Bride; the heavier end of the musical spectrum thrived. Soon, this fresh new sound was crafted by acts like Kyuss, Brant Bjork and Monster Magnet.

Fortuitously, Orange Goblin was selected as a reliable support whenever these bands came through town, propelling them ever upward.

“Lee Dorrian [Cathedral] was a big fan, showed us amazing support in those early days, and signed us to his record label,” Ben recalls. “We soon pumped out five albums! So we went from four bored kids on the dole to riding on a tour bus with our heroes touring Europe.

“And we still enjoy it. If a day comes when we don’t, we’ll stop and go annoy others.”

Orange Goblin has grown over 30 years, experiencing unimaginable highs and punishing lows. In the spirit of looking back to move forward, we lovingly prod Ben to reflect on his time with the band, his own craft, and future-proofing OG.

“It has been a big learning curve,” Ben conveys. “I had no experience with the industry in the beginning; I didn’t know how it all worked. I thought it was one big piss-up and just having fun, and I didn’t take it too seriously.

“Looking back now, I would like to change how I went about things,” Ben admits. “I was out of control at times, and I can see how I embarrassed the record labels and disappointed people by turning up drunk to things. When you are young, you don’t consider those things.

“The world has changed so much in 30 years,” Ben continues. “When we started, we had to do it the hard way; sending demos and letters. There was no internet to spread the word.

“I think that instilled in us a lot of resilience, something many bands these days don’t have,” Ben proclaims. “I like to think that this is the reason for our longevity - our resilience. It’s a different world now but just as exciting.”

Speaking of exciting, the band have just wrapped up the makings of a new LP, with recording complete and mixing ongoing. Produced by Mike Exeter—an institution in the UK sound engineering world working with the likes of Black Sabbath, Judas Priest and Heaven and Hell—the lads have been given a preview.

“Everyone says it, but it’s our strongest album so far,” Ben asserts. “The material sounds brilliant. That core Black Sabbath/ Motorhead influence is still there, yet there’s something different this time.

“The material is more mature - and vocally, for me, it’s my strongest performance to date,” Ben enthuses. “I’ve been sober for two years now, which has greatly benefited my health and what I can do with my voice. I’m really keen to hear what fans think of it.”

with Harry Armstrong on bass since Martyn left. Harry is a very accomplished musician - guitarist, keyboard player, powerful singer. Having him around helped us further raise our game.”

It is perhaps no surprise that Harry has been such a positive influence on the band. When the decision was made to leave the band, Martyn stated: ‘If I’m going to stand down, I want Harry to take the bass role.’

“Harry was the obvious choice; it was unanimous across the board,” Ben affirms. “Having been in and around the band since its inception and even contributing to vocals on the Big Black album, Orange Goblin knew precisely what they were getting with Harry.”

“Harry is one of us,” Ben continues. “He has fit right in, settled in nicely. And we were quite fortunate that the world shut down with COVID after Martyn left when we were set to do our 25th anniversary shows.”

The forced global break allowed Harry the opportunity to learn the songs and contribute his ideas and riffs to the new album.

“Once we finally got together to introduce him to the band, he had already hit the ground running,” Ben recalls. “It is still a group effort. The only difference was that the troupe raised their game because a new body was in the room.”

The album is the band’s first with Peaceville Records, a label that has shown a great interest in elevating the band to where many believe it should be, including Ben.

“The 2018 album was our last with Candlelight [Records], and we feel it was somewhat swept under the carpet, “ Ben discloses. “That irked us - so now that we have this campaign laid out with Peaceville, it’s exciting again.

“It has given the band a new lease on life. The band is enthusiastic, and you’ll hear that on the record and see that in the live shows. We feel refreshed and ready to go.”

Aiding this feeling of renewal, Ben says, is the new album’s recording process.

“After 30 years of this, I think we’ve finally cracked it,” he enthuses. “It was a different recording process and the first time

Canberra Comics CrushIt At

The CCF returns to Tuggeranong Arts Centre on March 14 with two backto-back shows: Unedjamacated and Laugh Bites. Who needs a proper job when you can disappoint your parents as a comedian? Come and see the next big things in stand up, sketch show and comedy magic.

Tuggeranong Arts CentreThursday 14 March @ 6:30pm

Jeremy SmithMeandering

Jarring and effective, Jeremy Smith is bringing his debut solo show to audiences this year. Featuring a mix of stand-up, musical and visual comedy, Meandering is a snapshot of his real life experiences with a funny observational tilt. Jeremy has been gigging on the Canberra scene for a few years now, developing a clever and often lowkey style, punctuated by surprising bursts of silliness and unexpected genre changes.

Street 2, The Street TheatreSaturday 16 March @ 6:30pm

Sarah IsonYou Laugh, Therefore I Am

with Chris Marlton

Then stay for a 60-minute showcase featuring Tom

Gibson, Chris Ryan, Caitlin Maggs, Sam Silla, Stell Muses, Ethan Kirk, Jacqui Richards and Harris Stuckey in Laugh Bites.

What’s funny about philosophy? A lot, apparently. Sarah Ison turns her considerable comedy talents to a fresh, silly analysis of the world’s great thinkers. An imposing task to some, Ison is taking this challenge in her stride for her first solo hour of comedy. Be prepared to laugh joyously and possibly discover the meaning of life while you’re at it.

The Courtyard Studio, Canberra Theatre - Wednesday 13 March @ 8:30pm

Laura Johnston - That’s… Brave

Belying her young age, Johnston is a veteran of sketch comedy from her days writing, performing, directing and producing university comedy revues. Now, well and truly making her mark as a solo performer, Laura is taking the Australian comedy scene by storm. That’s… Brave is a mix of sketch, musical, and stand-up comedy from the mind of a very funny comedian with a whole lot to say and a lot of ways to say it.

Street 2, The Street Theatre

Saturday 16 March @ 9:00pm

Nick SchullerStill Dry White

One of Canberra’s favourite sons is back in town with his new hour of dry, witty thoughts. After a stellar national tour in 2023, you can see one of the best joke writers in the country bring his new show to the town where it all started. He’s fast, he’s sharp, and you’ll be able to tell people you saw him before he got famous.

The Courtyard Studio, Canberra Theatre CentreFriday 15 March @ 8:00pm

The 2024 Canberra Comedy Festival boasts as good a line-up of Australian and international stars as any comedy festival in the world, yet again punching above its weight with names like Wil Anderson, Melanie Bracewell, Guy Montgomery, Felicity Ward, Fern Brady and Luke Heggie.

And while you definitely should check out the big names, you’d be doing yourself a disservice if you didn’t check out the smörgåsbord of Canberragrown comics putting on top-shelf shows as well.

They’re funny, they’re relatable, and they developed their comedy chops right under your noses!

Sarah Stewart & Caitlin MaggsBefore and After

National finalist in the RAW comedy competition only a couple of years ago, Caitlin Maggs is demonstrably funny, with a natural charisma and a powerful stage presence. Sarah Stewart is late to comedy, but catching up fast with a world of experience, and she’s not afraid to show it with her startling stories and creative anecdotes.

Street 2, The Street TheatreSaturday 16 March @ 7:45pm

Harris StuckeyCan Stop, Will Stop

He’s back in Canberra for his first show here since 2019. The sardonic and analytical comedy of Harris Stuckey will be on display in his old comedy stomping grounds. A confident and unique storyteller, Stuckey has the ability to make you laugh about things you may have never previously considered.

Street 2, The Street Theatre -

Friday 15 March @ 6:30pm

Chris Ryan - Good-O

Her comedy career has taken Chris Ryan all around, but she’s back in Canberra this March to tell you all about it. She has a way of viewing and explaining the world that will have you rolling. Her takes on life’s frustrations are insightful and poignant, with a turn of phrase most comedians would die for. Chris is one of the best comics around.

The Courtyard Studio, Canberra Theatre

Centre - Saturday 16 March @ 8:00pm and Saturday 23 March @ 6:30pm

Suma Iyer & Felix McCarthyThe Burden of Excellence

Juxtaposing two hilariously different and hilariously funny comedians in a split-bill hour, this is a must-see show this year. Humour reverberates out of every part of Felix McCarthy as he turns mundane subjects into flights of fancy and lets everyone in the room be part of the fun. While the endlessly talented Suma Iyer cleverly constructs elaborate and relatable stories with observations that you’ll be laughing at long after the show has ended.

The Courtyard Studio, Canberra Theatre CentreSunday 17 March @ 8:00pm

CRYING WOLF with CHRIS MARLTON

Revhead Mania 2024 Car Comparison Guide

Hyundai Bliss LVT v Lexus Armada S

Some cars hum and some cars are fun. Chris Marlton is the resident car enthusiast/reviewer/obsessive/designer/ engineer here at BMA Magazine and he’s gonna tell you which car to buy. You’re an idiot if you ignore his advice (AN IDIOT!).

The car market, especially in Australasia, is undergoing a major change, both from a technological and cultural perspective.

Choosing the right car, and choosing the right time to choose the right car, let alone choosing the right place to choose the right car at the right time, has never been harder to get right.

The Hyundai Bliss is the Korean motor vehicle manufacturer’s first foray into the dream-car market. But can it also be a bit of a nightmare.

Meanwhile, the Lexus Armada is incredibly costly, hard-to-find, and almost impossible to drive. Yet when you’re after time travel, no one has done it better than this Japanese giant.

These two ground breaking automobiles have never been compared in a head to head battle… Until now!

Performance

The Hyundai Bliss is powered by a 3.2 litre, twin-turbo, sixcylinder, 24-valve engine that produces 387kW at 8,500rpm and almost 600Nm of torque.

It’s fast.

Paired with a six-speed heavy-duty manual gearbox (the clutch is, no surprises here, quite resistant), the car delivers extreme acceleration, reaching 100km/h in 3.1 seconds.

The AWD-system gets the power to the 9-inch wide, 19-inch diameter Michelin tyres with very few problems, providing a satisfying experience for the driver.

The Lexus Armada has a Quantum-Core Boron-Reactor (QCBR) in the rear of the vehicle which isn’t measured in kW power.

Instead, as a time-machine, the vehicle simply travels forward or backwards in the temporal space instantly.

The Standard-Drive mode, patented by Lexus as Evadrive, removes the need for any kind of additional combustion engine by simulating real driving with 500 time-travels per second at the time and distance required in front of the vehicle to simulate the appearance and feel of real road driving.

As the Armada can reach 100km/h instantly, it tips the balance against the Bliss.

Verdict: Hyundai Bliss 0 - Lexus Armada 1

Spacetime Continuum

The Hyundai Bliss is not able to enter into the spacetime continuum with any noticeable success, due to a lack of hyperspace drives or Quantum reactor.

The Armada’s QCBR easily slides the vehicle in and out of phase and dimension to safely allow for time-travel jumps of up to 720 years at a time. The phase-shifting is required to account for our solar system’s movement in space around the centre of the Milky Way at 720,000km/h.

A clear winner in this round.

Verdict: Hyundai Bliss 0 - Lexus Armada 2

Interior

The Hyundai Bliss has a living botanical interior made up of restored flower petals, also known as Zombie-Pourri. The smell is a bit grandmotherly, but still nice, and the touch is delightful. Being surrounded by up to 15 zombie-butterflies while you drive sounds like it could become distracting, but it’s actually really lovely. These butterflies have been genetically modified to double as air-bags in the event of a crash.

The Lexus’ interior is all matte copper to allow for the clean passage through space and time. Combined with the mandatory, irritating, cold chain-mail driving uniform, the physical experience of riding in the Lexus Armada leaves a lot to be desired.

The Bliss gets its first point on the board!

Verdict: Hyundai Bliss 1 - Lexus Armada 2

Cost

What price can you place on achieving happiness? Once a philosophical question, Hyundai have answered this with a simple price tag of $525,000+ on road costs.

The Lexus Armada is currently unavailable to purchase without a deposit of $4.8 million. An additional $35 million is required at pickup before you can phase-shift off the lot (government charges not included).

Verdict: Hyundai Bliss 2 - Lexus Armada 2

Comfort

The suspension on the Bliss uses a patented pneumatic shocksystem, filled at regular service intervals with happy thoughts and imaginative empathy. Hyundai claim all of these spiritual warmths have been sourced humanely, but are yet to divulge where supplies are from.

Driving in the Lexus Armada for any period of time results in extreme and permanent headaches. Lexus are refusing to release long-term studies on the effects time-travel and phase-shifting can have on the human brain.

It is recommended—nay, demanded—that owners take a heady paracetamol and ibuprofen cocktail before driving. The fact this mix isn’t kind on the stomach gives the Bliss the edge here.

Verdict: Hyundai Bliss 3 - Lexus Armada 2

Existential

The Hyundai Bliss’ main selling point is its ability to reduce allcause depression and any niggling sadness within 4 - 8 weeks, assuming 40 minutes a day driving time. The Bliss’ comfort, love, and warmth is impossible to describe. But it’s important to know that the entire car interior is rich burgundy; like a nice, red wine.

Lexus have no psychologically beneficial tech in the Armada, with many owners claiming to be suffering manic episodes and blackouts after multiple time-jumps in a single week. The owner manual does advise against this, but has provided very little in the way of firm guidelines. The Lexus spokesperson I asked about this said, “People buy $40 million time machines because they’re already miserable, DON’T BLAME US!”

Verdict: Hyundai Bliss 4 - Lexus Armada 2

Storage

Baggage space in the Bliss is minimal. Despite having quite a spacious cabin in the front and back seats, the rear boot is taken up mostly by the storage tanks that houses dreams and happiness (plus high shocks from the AWD suspension).

The Lexus Armada has infinite storage space. Literally.

Verdict: Hyundai Bliss 4 - Lexus Armada 3

Munitions

Both vehicles have the legally required pair of Dan Wesson DWX under the front seat and a KelTec KS7 in the boot with four-year standard supply of shells. The weapons we tested during our time were all well-oiled and serviced, firing straight and true.

Verdict: Hyundai Bliss 5 - Lexus Armada 4

Fuel Efficiency

The Bliss uses around 25 litres of petrol for every hundred kilometres, when driven hard. This makes it the least fuel efficient car I’ve ever driven. Some experts have suggested that the 3.6 tonne kerb weight of the vehicle may be responsible.

The Armada’s nuclear reactor has enough dialysed boron in the chamber to operate 24-hours a day for approximately 120 years.

Verdict: Hyundai Bliss 5 - Lexus Armada 5

Summary

In the end, these are two very capable vehicles in their own way. Scoring an even 5 points each on our comprehensive test system, we leave it to you, the reader/driver to decide if you prefer to be happy, or to have a time machine.

Chris Marlton is a comedian, writer, painter, and filmmaker. Tickets for his 14 March Canberra Comedy Festival show are on sale now at www.linktree/ChrisMarlton. Follow @chris.marlton on Instagram, Facebook and on YouTube to see his latest comedy clips.

My Cats are Gay in Every Way

We as humans take it for granted that we have a level of enjoyment in the reproductive process that other animals do not.

Broadly, that’s probably true. It doesn’t seem like most animals don’t enjoy sex. From what I can tell, animals have intercourse with dead eyed certainty. It is a purposeful act for them, and little else. Sex equals babies. That’s it.

Once, I was sitting upstairs in a café looking down on a church, and I saw two pigeons of top of one another on a church steeple. If there was any thrill at all, it was from the balancing act. The female pigeon was pinned on top of the spire, with the male pigeon fatly grinding on top of her.

He finished in seconds and they parted ways. No pleasantries were exchanged, and I don’t reckon he texted her afterwards.

However, I contend that there can be exceptions to this rule.

I have two cats, and they are proud (and I mean PROUD) members of the LGBTIQ+ community. I know this because, the morning after I brought them home, I came downstairs to find them gently rimming one another with real skill and affection in what can best be described as a Tight 69 formation.

I’m trying to be a good cat guardian, so I sat them down to talk about the birds and the bees. At first the cats were very interested in this subject, but when it became clear that I wanted, in fact, to talk to them about sex and intimacy, they swiftly ignored me.

I do not know how long they had been in the throes of that particular ecstasy. Possibly all night.

This is, I might add, shortly after they had just met. People can be partnered for years longer than the life expectancy of the average cat, and not attempt that particular move with the same confidence.

The love those two have is quite cute, but it’s not very wholesome (pardon the pun, eww). Maybe that’s exactly what it is. They do a fair bit of rimming. They make a little loop sometimes on the couch, just this feverish, arse eating loop, where you can’t see the separation of face and rear. It’s like an ouroboros. It’s the love that dare not speak its name, because its mouth is full of arse and it may lose its tongue hold.

Which is fair enough. They can lick their own butts, let alone each other’s, with great expertise, and there’s nothing about intimacy that I could impart to two creatures capable of sucha feat. So, I’m trying to be a supportive cat parent but it’s tough. The thing is, they are also very confrontational. It’s bad enough that they’re constantly giving a colon-centric masterclass in functional intimacy, but I could do without the ongoing critique of

On one occasion, my partner put his head on my shoulder while we were watching telly. The cats just stared over at us with their big, judgy eyes, like, Ugh, that’s so heteronormative and gross.”

The cats treat every day like Pride March, even though they’ve made love on every surface in the house, so I don’t know that there’s any space that needs reclaiming.

And every meal like the Stonewall Riots; the fridge is their safe space and I’m the one raiding it. Which is weird, because they’re the ones who’ve proven that they can live on a diet of chocolate starfish, and I’m so beta for needing bread and milk as sustenance.

I don’t want to sound like I’m hating on them. They seem to get a lot of things right. They don’t need jobs, they sleep all day, they have fulfilling erotic lives.

And I guess if I’m not the one having sex on the living room floor, the dining table, the couch and in the vegetable crisper, I guess I’m glad they are.

Suma Iyer is a Canberra-based comic and proud cat parent. She has a show at the Canberra Comedy Festival with Felix McCarthy—The Burden of Excellence—on Sunday 17 March at the Courtyard Theatre. Tickets are $20 + bf via the Canberra Theatre

By Allan Sko

Nina Oyama’s had a helluva year. Years, really. As well as the bread and butter of standup, the multitalented comic has flexed her performative chops in Utopia, Taskmaster, Deadloch, and The Tonightly with Tom Ballad, lit up the podcasting circuit, and even just last week won a writing award for Koala Man.

You’d be forgiven for thinking, as we plough tenaciously through another year, that she’s rushed off her feet. Not the case, it seems.

“A lot of those were made in the pandemic and just now dropped, so people think I’m incredibly busy. I’m not; please hire me!” Nina reveals. “The reality is, I’ve just been going to the beach and really need something to do because I’m addicted to work and without it, I have no purpose. So please hire me.”

[speaking to Nina post-interview, she informs me in the short space of time that has elapsed, she is now inundated with work. You snooze, you lose]

This said, of course… “I’ve got a comedy tour coming up, which has been exciting to use a different part of my brain.”

I take this opportunity to award her promo poster for the Nina Oyama Is Coming Best In Show for the festival.

“Me on the washing machine turning the dial up?” Aye, that’s the one, Nina. “I’m glad you said that. A lot of people don’t understand that it’s me being horny; all they see is a funny photo of me being domestic. They obviously haven’t seen Madmen, or at least the scene with January Jones alone in the house.”

The photo shoot that produced this winning image also came with a very different kind of framing for Nina.

“As is often the case with a photo shoot, you have a lot of options,” she explains. “I had a big discussion with the photographer about which to choose: ‘This one’s funny; I like this one for you; your face looks good in this one, but this one is a better pose’.

“But I remember there being a big debate about shoes off versus shoes on. In the end, we went with shoes on. Otherwise, it’s somehow too intimate.”

Despite Nina being delightfully open about sex and sexuality (more on that later) this was a surprising blind spot in the oeuvre of horny. “I never thought of bare feet as too much skin,” she admits. “Apparently, it is. Female comedians always have their shoes on. There’s a long legacy of barefoot male comedians.

“Tim Minchin was a huge barefoot guy, and Wil Anderson; thongs were his whole thing for ages. But women, we can’t do it, you know, because it’s just too distracting. Too many pervs rock up.”

The conversation at hand offers a segue into sex and sexuality, a topic that often falls within Nina’s comedic purview, gleefully exploring every sticky crevasse.

upward to cast eerie shadows across her otherwise flawless features.

“I was hoping it was still in the lounge room,” she heroically continues. “When I came into the house, it was on the door and followed me as I made my way through the house. I can only assume that it missed me and was grateful that I was home.

“But I am terrified of it. If it was the size of, like, a 50cent piece, I could handle that. The ones that are the size of your hand? That’s just excessive.”

Nina has given me the most raging sense of cognitive dissonance I have experienced. My mind wrestles between the revulsion of an arachnid spindling its wicked mesh of legs ever closer to my precious eyes, and the adorably quaint notion of its eagerly bounding after its human friend like a lovesick puppy.

“I just like gross-out humour!” Nina effuses.

“And I like being relatable. I started doing comedy when I started being sexually active, so it’s existed my entire career. I have no interest in being a clean comic. I think clean comics are secret sociopaths.”

At this point, light banter is had regarding being wary of those who listen to lounge music. As I like to do with any boundarypushing comic, this soon leads me to ask whether there are any no-nos subjects.

”Anything is good if it’s honest,” Nina states. “With good comedy, if you’re saying something disgusting but it’s rooted in relatability or touches on a universally human feeling, then yeah, I think you can say it on stage.

“Like, I don’t think you should say things that have… like, you know… Oh, God…”

Nina starts frantically looking around her apartment, a twinge of panic evident in her eyes. I swiftly go from being on tenterhooks for her half-finished answer to concern.

We would never return to this topic. For something altogether sinister and terrifying was at hand. Something that would show the strength and courage of Nina Oyama. - - -

“Sorry,” she explains. “I just came into my house, and there’s this huge spider.”

Naturally, I offer to end the interview immediately so that Nina can evacuate the country without a moment’s delay. She clearly has a bigger issue to deal with. She has to put her house on the market for a start.

Speaking of which, Nina’s plan for humane spider containment doesn’t end there. Her thinking, much like the spider in question, is big.

“We should breed huntsmans, like how we bred wolves to become adorable little dogs,” she says. “Breed huntsmans so that they just get small and adorable. Because yeah, I’m fucking stressed right now.”

With a promise to be her eyes for what’s behind her, the decision is made to bravely push forward with the interview. After all, Nina has a show to promote… - - -

Now, where were we? Ahhh, yes. To take her mind off the impending situation, I ask Nina if she has a particular approach to the writing of a new show. “I’m very shambolic,” Nina professes. “I have my little scratchpad and write down everything that’s on my mind in a stream of consciousness. Some of it has comedy angles, some of it doesn’t, and some of it is one liner-y type jokes.

“And then when I come to doing trial shows, I will pick those bits, and I’ll put jokes in them and punch them up. From there, a theme tends to emerge organically.

“That’s what I usually do, and it’s how I wrote this show,” she says, of …Is Coming. “That said, the last show was different. I had a bit with Chris Kenny’s news report about me, when he read out my tweets about politicians. I just thought that was so funny, I had to play the video of it.

“It’s been in the lounge room,” she explains with remarkable calm. “And I’ve been keeping it there. I turn the light on so that bugs come in and it gets fed. I figured if I keep it in the lounge room like a pet then I never have to worry about it wandering about the house.

“But then I went away for a week…”

“One of the tweets was along the lines of, “There are rumours that Malcolm Turnbull had his backbone removed so he could suck his own dick.” And Chris Kenny read that out, live, with a straight face, on Sky News. I just that’s pretty funny.

And, of course, it is.

One of Nina’s many shining qualities is she is never backward in coming forward nor, indeed, is she ever inward in coming out.

“I always joke that I was the first ever bisexual girl comedian,” Nina says. “When did I come out—about 2015, I think, some ten years ago—nobody was doing bisexual material. I had headliner comedians tell me I was unique in that regard.

“Now, you can’t throw a rock without hitting a bisexual comedian—which is fine! I’m glad that people are discovering their sexuality. But I’m actually thinking of becoming straight now because that’s way more rare.

“But yeah. I did start it. So you’re welcome,” Nina concludes, with absolutely no irony whatsoever.

This is too much for me. What was, only seconds prior, a relaxed Zoom chat has instantly morphed into an exchange akin to a 2am campfire horror story. It takes all my mental strength not to imagine Nina clutching a flashlight under her chin, the beam facing

From here we pontificate and extrapolate (me the former, Nina the latter) on all things sexuality and identity through the exploratory lens of comedy.

“I think bisexuality goes hand in hand with standup,” Nina muses. “Traditionally, it’s a very masculine form and was dominated by men. Even now, it’s dominated by women wearing flannel. So, with that comedy space existing for the bisexual community, I’m glad that we’ve finally got a thing.

“Sexuality is extremely interesting and extremely complex, changing across the whole ever-widening spectrum,” Nina continues. “And identity politics is intriguing. It helps you understand yourself, but it can also be incredibly limiting or can become such an obsession with defining your identity that you forget to go outside because you’re too busy online defending being pansexual.

“So it’s interesting and useful, but everything in moderation. That’s my attitude.”

My two-cents to this discussion involves one of my great loves of comedy; as well as the build up and release of something as joyous and connective as laughter, it is an arena in which the taboo can be deboo’d, ideas and concepts can be explored in a safe environment, and discoveries about oneself—be it sexual identity or otherwise—can be made.

From my observations, I suggest that ethical nonmonogamy will be the next bisexual in terms of comedic exploration. Nina has thoughts on this and, somehow, this segues into talk about children. Let’s see how this was managed, shall we?

“I love ENM (Ethical Non-Monogamy, remember?) and the concept of it. Honestly, I think everyone should be ENM,” Nina asserts chipperly. “The problem, sometimes, is when people forego the E, and then it’s just, like, gaslight city.

Quick note to my parents if they’re reading this: she doesn’t mean YOU. You’re one of the good ones, hehheh-heh-heh.

It is at this point that Zoom reminds me that I’m chronically poor by announcing my free 45-minute slot is nearly at an end. This also has an alarming effect; I’ve really pilfered THAT much of Nina’s precious time? She has a show to polish, awards to collect, beaches to comb, and an eight-legged monolith to feed.

As such, I ask if Nina has anything in particular to share before we lovingly part ways. “My show is really filthy!” she says, with admirable assertiveness. “So don’t come if you don’t like filth!

“I’m always really scared that people will see I’m performing and think, “Oh! It’s the girl from Utopia and Taskmaster! I’m gonna bring my kids, and my grandma, and people who like family comedy.

“THIS IS NOT A FAMILYFRIENDLY SHOW.

“But I love the idea of ENM, and I’ve seen it work. I would like to try it myself.”

“Like, I cannot stress this enough. It’s disgusting. So don’t come if you’re easily repulsed by grossout comedy.”

The E, of course, being the ‘ethical’ part of the equation, and something that can be navigated through the super-simple, age-old method of The Big C: communication. I mean, how hard could that be?

“Everyone always says, ‘Oh, communicating is SO easy; just communicate your feelings!’ Communicating is actually one of the hardest things you can ever do,” Nina states. “If you have a feeling that you feel stupid or embarrassed about, of COURSE you don’t want to communicate that.

“I’m a 30-year-old, and the people I know who are having kids now are so well versed in emotional language and therapised that I really feel like the next generation of kids, Gen Alpha or whatever they’re called, are gonna be so mentally healthy.”

As well as taking a quick moment to write down the term “therapised” to steal for later, this comment sparks the proud father in me, enthusiastically agreeing with Nina by referring to my two beautiful daughters as Exhibit A & B for this point. Having barely scraped double-digits each, they are already more world-wise, self-aware, and in charge than I’ll ever hope to be.

“Yeah, I hope she grows up and becomes Prime Minister,” Nina ethuses, kindly ignoring my manic energy. “When I get older, I’m gonna be the opposite of old people. I’m going to be so pro the children of the future. Like you say, they’re way smarter than me and more emotionally intelligent than I’ll ever be. I’d rather learn from them.

“Anyone older than me, especially baby boomers, I’m like, ‘Shut up!’ Everything they say, it’s like, you don’t know anything about the world! And you spent so much of your life emotionally destroying the generation after you.”

Perhaps, I timidly offer, in the spirit of this chat and its exploration of comedy as a ground for self-discovery, it may open people’s minds?

“Nah, I want to preach to the choir, man! I don’t want to do any heavy lifting. It’s basically me talking about my pussy for an hour. So, if you’re into that, come. And if you’re not, that’s okay, I won’t be offended. I don’t know you.”

Nina Oyama Is Coming is on at T2, Kambri Cultural Centre, at The ANU. To hear Nina talk about her pussy for an hour is $32 + bf via Moshtix and is, quite frankly, a God damn bargain.

filling the halls of the vibrant Tuggeranong Arts Centre, I Want it That Gay is a celebration of diversity and inclusion through the queerification of pop classics of the ‘90s and 2000s.

The performance perfectly aligns with the Centre’s ethos. With a small yet dynamic team, Tuggeranong Arts Centre is committed to delivering exceptional visual arts alongside a diverse performance program featuring theatre, live music, and the legendary Fresh Funk dance classes and shows.

Their mission is clear: fostering resilient communities and shaping cultural identity by addressing equity, diversity, and inclusion issues through art. With this firmly in mind, we return to I Want It That Gay

Cara’s cabaret-comedy sheds light and humour on the challenges of growing up with starkly heteronormative music, pop stars, and paradigms.

Learning that we can expect all the big hits from the 1990s-2000s through a queer lens prompted my excitement to chat with Cara in Sydney and delve deeper into its significance.

What was the best thing about your day?

When I arrived home from work, my puppy leapt out of my partner’s arms to give me sloppy kisses.

What is the best performance that you have seen in the last 12 months?

The Visitors by Jane Harrison at the Opera House.

I walked away with a visceral experience of being a visitor on this land. Absolutely gobsmacked. It should be played everywhere and studied in every school.

Can you elaborate on how the show came to fruition, especially with both you and Andi Gambrill involved as creators?

IWITG has lived in three cities - the initial idea was born in Vancouver, Canada, towards the end of 2020.

Words by Chenoeh Miller Photo by Clare Hawley

My visa ended abruptly after the lockdown, so I immediately lost my income. Soon after, I also ended a relationship, all in the space of five days.

I sang Britney in the shower, where all great ideas are born. I noticed the video clip playing in my imagination where I was trying to entice the aforementioned partner back into a relationship.

And I thought, “Hey... I wonder if other queer people modify lyrics and images like this?!”

I called my ex for approval, and the show was born.

Time Out magazine described your show as a mix of trauma therapy and educational satire. Could you delve deeper into how you use pop culture references to explore queer lived experiences?

Forbes tells me that “trauma therapy is a form of therapy specifically focused on helping someone cope with the emotional response caused by a traumatic event.” So, the show can be healing for some people. We’ve received messages from audience members saying it helped them come out to themselves and their families as non-binary or genderqueer.

Straight friends tell me it’s given them the language to talk to the queer people in their lives, and parents of young children have thanked us for the light-hearted education should their child ever come out as queer.

Those conversations are moving and rewarding, and that’s why we do this show.

Pop culture is a common language that helps us interrogate the default way of being. Most of us in the Western world were only given default heteronormative examples of how to be, look, feel and act.

By using blatantly heteronormative pop songs and flipping them into queer narratives, we can highlight the space between these narratives, creating room for experiences outside the default.

Destiny’s Child’s ‘Say My Name’ and The Backstreet Boys’ ‘I Want It That Way’ are examples of how you reimagine pop songs to convey LGBTQ+ themes. What’s the process like in choosing and reinterpreting these iconic tracks?

It’s so fun! The process starts with asking what story we want to tell now. For each of the formative moments we shared, we asked ourselves what we wished we could say out loud but never did.

Then, we chose songs that fit the unsaid thoughts.

The first song we parodied was that same Britney hit I was singing in the shower, and it became a sultry breakup anthem. The parody of the lyrics starts with changing a few words and moves from the pedestrian to the utter ridiculous both in words and expression.

Think of the sexy music video vibe you see in your head. In the reinterpretation process, we are careful to keep the themes universal. That way, someone of any gender or sexuality can relate. This isn’t just a show for queers; its themes of belonging, self-acceptance, and selfexpression are relatable to all.

How do you balance entertainment against conveying profound messages about identity and acceptance?

Particularly in Australia, we love to make fun of ourselves for art, so that part was quite natural. Knowing what is appropriate to talk about in a funny way for our audience is challenging.

I find that the parts of my queer experience that I have processed are entirely safe and quite light-hearted, though they weren’t at the time!

The recent discoveries concerning the intersections of identity are more raw and contrast nicely with the comedy. Also, the journey is still ongoing! And we wanted to be clear on that. Like my favourite wine - it’s fluid!

I’m still unravelling pieces of identity, and I know many members of our audience are, too. So, I want to invite them all to enjoy the process along with me.

Can you share a memorable moment from one of your performances that significantly impacted you?

My mum came to the show at Theatreworks in Melbourne. She said, “After this show, I understand you better!” So that was pretty special.

Everyone, bring your mum!

Do you have a connection to Canberra?

Leah Maddocks, aka drag King Guy Alias, who runs Canberra Drag at Smith’s Alternative, is a gem of a human being and a leader in the drag king community. My partner Becks Blake, aka Jim Junkie, has performed at this event, and it was such a well-curated variety show, incredibly welcoming, and a highlight of Jim’s drag adventures.

What are three things you know about Canberra?

It is green, there are many roundabouts, and there’s a giant statue of an owl that looks like a… well, YOU know...

Considering the diverse range of audiences your

CANBERRA MUSIC]

GIA RANSOME MORNING LIGHT

The latest from singer-songwriter Gia Ransome wraps up a successful year marked by the debut single Boots in March. Said track earned a nomination for Music ACT’s Best Independent Debut and was contending in the 2023 Canberra Short Film Festival for its music video.

Following this, Gia released two singles, Crush and Thunder in the Night an acoustic EP, Australia’s east coast. Her new track was penned during this tour.

Morning Light’s musical elements co-exist splendidly with Gia’s lyrical concerns here, which explore some of the vagaries of emotional and physical attachment. Utilising an energised guitar-led rock and pop blend as a foundation, Gia’s voice shimmers with untethered vibrancy, with all of her vocal nuances adding a distinctly haunting appeal.

The mood of the melodic inventions suits the back and forth of the narrative. This mood is also enhanced by the overall jangly nature of the production— raw, dotted with beat turnarounds and inflamed crescendos—and a kind of unrelenting tenacity related to the theme.

There appears to be mixed feelings related to the revealed intimacy. As the chorus informs us, there is no intention to ‘own’ the subject in question, yet in the second verse, the tables are turned, with the subject then being accused of having the narrator ‘on a leash so tight’ they’d never walk away.

[BEST OF CANBERRA MUSIC]

HANNAH GILLESPIE PAPER HEART ANGEL [ ]

It’s been a long wait for this. Hannah Gillespie’s Paper Heart Angel album has released over a decade after her last work (All The Dirt, 2011) and marks a significant comeback very much wortht he wait.

The collection of tracks was produced by renowned ARIA Hall of Famer Kasey Chambers, a collaboration that originated from Hannah’s entry in a competition commemorating the opening of Chambers’ Rabbit Hole Recording Studio in NSW.

The original plan was a single, which arrived in the form of Ain’t It The Best. But Chambers clearly clicked into Gillespie’s sound, and the inspirational cup overfloweth, so the partnership swiftly transformed into an album.

And quite an assembly of songs it is.

Veering from barebones representations of the Americana slash Australian country genre to fuller embodiments in which Hannah’s exquisitely searing vocal

is joined by a vigorous rhythmic accompaniment, piano, or reaffirming vocal harmonies, the album is multidimensional and cohesive without straying from its focus.

As though chosen for its fitting thematic concerns, the album’s opener, Wade Out, ushers us effectively into Hannah’s universe of yearning, family life, love, and lament.

We hear:

So let’s jump right in and swim out to the middle

The request mirroring our own jumping off point.

From the scenes of moveable domesticity in the aforementioned Ain’t It The Best—which features what might be one of several symbolic lines of the album: ‘Put your whole damn life in a wishing well’—to tales of misaligned connections, the heft and heartache of Hannah’s central themes are superbly matched by her performance and convincingly reinforced by the

This is as raw as the genre is required to be, not to mention uncompromising and poignant; a combo that’s not always easy to pull off.

Seasoned with sprays of the minutiae of

Friends say they’d find the hours too hard ...amid metaphoric imagery, such as in

When there will be light you see Washing down these walls

Were it is meant to be

But why’d you have to leave ...the narratives extend beyond the typical, contrasting the two storytelling tools within a song to create an irreproachable depth and temper of spirit.

And this characterization aptly applies throughout this stirring record’s entirety.

VINCE LEIGH

BIG REEF

HASTA LUEGO

Big Reef’s first release for 2024 follows in the wake of a catalogue of gloriously varied tracks, an appetising assortment of styles, sounds and quirks.

And Hasta Luego is not about to disturb the siblings’ artistic flow.

The brothers have attempted to cram as much as possible into this indie pop trip. That said, with a running time of seven minutes, they’ve allowed themselves plenty of scope to do so.

Big Reef can never be accused of being predictable, despite working within the framework of ‘80s infused pop. Hasta Luego veers from a guitar crunch sample introduction to a soundscape that seems to mirror the title, a lingering that blends a chorus outro with cascading keys and sliding guitar lines, a whimsical kind of parting that acts as a suitable bookend to that which lies in between.

There are four prominent sections that each possess a form of appreciable, connective power. The verses rely on a reiterated lyric to strengthen what is a hypnotic melody.

This is followed by more repetition —you certainly won’t forget the name of the song by the end of it all—and, as Big Reef so often like to do, a spirited thrust of unadulterated prog rock energy.

It’s not until another verse—and what one might term an alternate version of that verse—that we get a cut time section until the chorus arrives.

The chorus fulfils the expectations of the preceding parts easily, adopting a more robust rhythmic element, and reinforced with a background of dappling synth lines. The vocal moves to those sweet places, providing the melodic payoff we were all hoping for.

Although the semi stop-start of the grooves that follow suggest a desire to give the track a less congenial ride to and from the chorus parts, the strangeness and minimalistic intent allows the bridge—very minimal indeed, at least until it grows into a more fully realised motif—to provide a fitting and alluring juxtaposition for the chorus end.

Hasta Luego is adventurous in spirit and execution, yet also hits the mark melodically, all the while maintaining discernible artifacts of the band’s humorous tendencies.

VINCE LEIGH

THE WILDFIRES WILDFIRE [ ]

Wildfire is the second single release for Canberra band

The Wildfires, featuring Wease Wade, CC Hall, Robert Campton, Niall Howe, Craig Marshalsey and Finlay Marshalsey. The new one is a thoughtful follow-up to the band’s debut, Lovin’ Arms, maintaining the same stylistic approach yet giving us a more robust version.

The track kicks off with an all-in riff, with the band making the most of the accents and creating a unifying intro for the rollicking groove surfaces, merging a southern rock rhythm coloured by country blues inflexions, mainly via the opening bass and guitar parts.

But it’s the lead vocal that immediately pulls us in and becomes our focal point. This is achieved in a few ways. Firstly, it sits just above the band in the mix and is aided by a well-attenuated production.

Yet it’s also the performance; selfassured and inviting, revealing a natural intimacy while delivering a restrained kind of power in the process. The arrangement takes us from the opening riff to a stripped-back verse, pre-chorus, and a full-blown chorus. This is intercut by a

guitar solo segue and a repeat of this pattern until a bridge section, which features a modified mood, allowing the end chorus stream to achieve maximum impact.

Wildfire manages to mix traditional and classic genre elements yet also contains an even more persuasive component—the chorus hook. Indeed, when this appears, we are taken on quite the contemporary country-pop road, with the long notes and solidifying background vocals helping to expand the melody and lyric.

Self-produced Canberra act Apricot Ink, featuring Sara and Tom, has consistently released tracks notable for their polished production and rhythmic grooves, and o boy do they have CV that attests to that quality.

In 2023, the group performed at Tassie’s Party in the Paddock and appeared at Canberra’s Groovin the Moo in April. The Ink rounded off the year with a series of live shows and festival appearances, and had well-deserved nominations for Best Live Act in ACT at the National Live Music Awards as well as recognition at the MAMAs (MusicACT Music Awards).

The duo’s debut double single, Lucky Rainbow/ Carmelyzed Crusade, has generated over 3 million streams since its release, which is quite an achievement in this world of saturated music content. The latest single, Love Potion, contains just the right amount of genealogical kinship to the band’s previous tracks, which all maintain an essential focus on groove, an intimate vocal style, and lush accompanying sounds and textures, whether utilising synths, background vocals or guitars.

Following the bridge section, the hook is utilized to its fullest, with a stop chorus and more intensive playing, all contributing to a general vamping up of

A pertinent lyric line is reinforced, ‘When love is so wrong that it’s right’, confirming our understanding of the narrative, with the final phrase ending on ‘wrong’ whereby we are left high and dry but thoroughly convinced by The Wildfires’ latest slice of classic, retro country rock.

VINCE LEIGH

Following a breezy wah-wah guitar progression, the vocals set the mood from the get-go, with a gentle command over the melody and lyric.

Ushering in the next section is the reggae-tinged pulse, which retains its subtle energy throughout.

Adding contrast and somewhat of a varying dynamic is the chorus, with its run-on lines and galloping vocal attack, increasing the intensity and undoubtedly reflective

With its reliance on space and a breathless application of the title, the post-chorus tag does an excellent job resolving the chorus’ nuanced fire. The bass aligns seamlessly, as it would, with the machine kit, maintaining a firm and cohesive rhythm. At the same time, the rhythm floats alongside the lead vocal, aided by various guitar and ambient textures, positioned finely in the mix, allowing enough sonic colour and tone to be as unintrusive as it needs to be.

Love Potion certainly sounds like a project whose style—a broad sweep of a brushstroke in the playful contemporary-pop and soul blend genre— is evolving splendidly in all key aspects: production, song structure and performance.

Suitably rousing stuff.

VINCE LEIGH

APRICOT INK LOVE POTION [

THU 29 FEBRUARY

WAVEFORM - Music Production Fundamentals

Hosted by lamedudecampbell, the first WAVEFORM seminar promises a comfortable, educative night of teaching attendees of all musical proficiency necessary to form the building blocks for producing music. 6:30pm, $10 via TryBooking + at the door BLANK 15 MOORE STREET, CITY

Future Classics

Kill the fat calf, Luke Heggie and Chris Ryan are back! And they’ve got a new bunch of new jokes to run by you. No weird sh*t. 7pm, $25 via theq. net.au

B BAR, QUEANBEYAN PERFORMING ARTS CENTRE

The Sunshine Club

The Sunshine Club is a gloriously energetic, thoughtprovoking and above all entertaining night of theatre. Written and directed by

Wesley Enoch, music by John Rodgers, and produced by HIT Productions. 8pm, $57$65 + bf via venue

GOULBURN PERFORMING ARTS CENTRE

FRI 1 MARCH

Free Comedy at Kambri Amphitheatre

Free Friday after work/uni comedy show at the ANU Kambri Amphitheatre featuring Daniel Muggleton, Jenny Tian, Laura Johnston, Jeff Shen and Charlie Thomson. 5:30pm, free via TryBooking KAMBRI AMPHITHEATRE, ANU, ACTON

Vinyl Lounge: International Women’s Day

Bring your favourite records, share your music stories and hear what’s spinning on the NFSA’s turntables this month. In March, we’re celebrating International Women’s Day with a focus on music by women and LGBTQIA+ artists. 5:30pm, $5 via NFSA NFSA (THEATRETTE)

Jack Botts Australian Summer Tour 2024

Fast becoming an annual staple of the Australian Summer, Jack Botts will bring his sunsoaked jam-packed live show to an abundance of venues along the East & West Coast. Joined by special guests Jordy Maxwell and Neptune. 7pm, $51.76

UC HUB

The Baso Trivia

Grab your friends and create a team of up to 10 membersparticipation is free! From music and general knowledge to pop culture, our diverse range of topics will keep you on your toes. 7pm, $0 via OzTix

THE BASO, BELCONNEN

Irish Black Comedy Film Series - In Bruges

In this whip-smart crime comedy, assassins Ken (Brendan Gleeson) and Ray (Colin Farrell) are sent to the sleepy town of Bruges to lay low after a hit gone awry. A tour de force, blending smart dialogue with hard-hitting themes and

action. 7pm, $12–16 via NFSA (series pass available) NFSA (ARC CINEMA)

Harry Manx (CAN)In Concert

Fusing Eastern musical traditions with the blues, switching effortlessly between conventional guitars and the decidedly different Mohan veena. 7:30pm, $60 + bf bia venue

THE STREET THEATRE

Bohemian Rhapsody starring Thomas Crane

Australia’s longest-running Queen Tribute, “Bohemian Rhapsody,” led by Thomas Crane, returns in 2024 with Made In Heaven. 8pm, $45-$70

GOULBURN PERFORMING ARTS CENTRE

Salsa Night with DJ Paisa

Happening on the first Friday of every month, get your Salsa grooves ready and be prepared to hit the dance floor. 8pm, free OLD CANBERRA INN

1st Urban Drover

8th Mega Beige

15th Bobby James Band + Black Cypress

22nd The Cuttings

5th Sneaky Jeremiah

Enlighten After Dark:

Neon NightsChungking Express

Blurry panning shots and saturated colour dominate this critically acclaimed anthology from auteur Wong Kar-Wai, exploring loss and connection. Ticket includes access to Neon Nights activities from 7.30pm: immerse yourself in neon glam. 9pm, $20–25 via NFSA (includes access to Neon Nights)

NFSA (ARC CINEMA)

SAT 2 MARCH

Future AV

Future AV is a music, arts, and community networking experience. This free event features music performances, fire and roving performances, workshops, panels, an art gallery and projection mapping. 9am, free entry

SARATON LANE, 34 EAST ROW, CIVIC

Panel Conversation:

Telling National Stories

How do we understand our collective history? Where are the lines drawn between truth and mythology? How do contemporary interpretations shape perceptions of the past? And what role does the artist play? 1pm, free (bookings essential) via NFSA (National Stories Day Pass available) NFSA (ARC CINEMA)

Double Feature: Botany Bay (35mm) + Wills and Burke (35mm)

John Farrow’s technicolour Botany Bay presents a pivotal moment in Australian history through a Golden Age Hollywood lens. Bob Weis gives two of Australia’s most famous and unfortunate explorers a satirical treatment in Wills and Burke. 2:30pm, $16–20 via NFSA (National Stories Day Pass available)

NFSA (ARC CINEMA)

Super RatsRomanian Folk

Romanian tavern favourites on the exotic cimbalom, accordion, violin and double bass. Join Canberra’s masters urban

folk from the backstreets of Bucharest: Super Rats for a tavern party at Smith’s. 6:30pm, $25 book at smithsalternative.com

SMITH’S ALTERNATIVE

The Proposition Screening

The Western meets the colonial Australian frontier in this tense drama from the pen of Nick Cave. Guy Pearce stars as Charlie, an outlaw faced with a chilling proposition that forces a choice between brothers. 6:30pm, $12–16 via NFSA (National Stories Day Pass available)

NFSA (ARC CINEMA)

Bayang Tha Bushranger

Best rappers in Australia come to sideway for one night only. Featuring lil ket, Sidney Phillips, Twinlite, and Nerdie b2b with Jex Wang 7pm, $25 + bf vis Humanitix

SIDEWAY

B.C. | Gate of Thorns | Proxy Diver

Get ready for a night of electrifying energy as The Baso proudly presents a powerhouse lineup on Saturday, March 2nd. Brace yourself for a sonic assault with heavy hitters B.C., Gate of Thorns, and Proxy Diver taking the stage. 7pm, $10 via OzTix THE BASO

Dancing In The Shadows Of Motown

10-piece all-star band perform your favourite Motown hits. 7:30pm, $46 + bf thru Eventbrite HARMONIE GERMAN CLUB

Bandaluzia Flamenco Meets Tango Piazzolla

A uniquely Flamenco perspective to the Argentine Tango music of Astor Piazzolla. 7:30pm, $45 - $50 + bf via venue THE STREET THEATRE

Enlighten After Dark: Neon Nights - Drive

Ryan Gosling, Carey Mulligan and Christina Hendricks star in this high-action crime drama. Ticket includes access to Neon Nights activities from 7.30pm: immerse yourself in neon glam. $20–25 via NFSA (includes access to Neon Nights)

NFSA (ARC CINEMA)

SUN 3 MARCH

Ozploitation Film Series -

The Man From Hong Kong

When a Hong Kong drug courier is arrested at Uluru, Inspector Fang of the Hong Kong Special Branch comes to Sydney to handle his extradition. Celebrating Stunt Double at Canberra Theatre Centre.

2pm, $10–14 via NFSA

NFSA (ARC CINEMA)

Cigány Weaver: Album Launch

Join Cigány Weaver for a Sunday afternoon at Smiths Alternative as they celebrate the release of their second album, ‘Still Water’ with a multi-date Australian tour. 4pm, $25/$20 conc via venue

SMITH’S ALTERNATIVE

Midnight w/ Stalker

US Black N Rollers Midnight make their way back to torment Australia with support from NZ Speed Metal Stalker.

7pm, $46.45 via OzTix

THE BASO

THUR 7 MARCH

CSO Down South

The CSO Down South series continues with a stunning program of chamber concerts performed by members of the Canberra Symphony Orchestra. 6pm, $38/$32 conc

TUGGERANONG ARTS CENTRE

Ozploitation | Turkey Shoot

In the totalitarian near future, prisoners become human prey in a ‘turkey shoot’. If they can evade their hunters until sundown, they will be set free. Part of the Ozploitation series, celebrating Stunt Double at Canberra Theatre Centre. 6pm, $10–14 via NFSA

NFSA (ARC CINEMA)

The Porkers

Hot Dog Daiquiri

25th Anniversary Tour

7pm, $35.20 via OzTix

THE BASO

Happy Meals, Happy Kids

Breakfast Club on the edge of the apocalypse. A new play by young local artist, Jade Breen. 7:30pm, $25 via theq.net.au

THE Q

Enlighten After Dark: Neon Nights - Tron

Step into the fear of the unknown at the dawn of cyberspace, as our protagonist finds himself trapped inside a neon-drenched digital world. Ticket includes access to Neon Nights activities from 7.30pm: immerse yourself in neon glam. 9pm, $20–25 via NFSA (includes access to Neon Nights) NFSA (ARC CINEMA)

FRI 8 MARCH

Private Function w/ Tee Vee Repairman & Box Dye

Australia’s beloved punk-rock reprobates and two-time ARIA chart toppers Private Function have decided to whip around Australia with some of their favourite bands before they succumb to the New Zealand wilderness for the very first time. 7pm, $35.20 via OzTix

THE BASO CANBERRA

Complexant

Bleeding Art Collective presents Complexant w/ AtrocitA, Project Ultimate Satan & Chain Tombstone. 7pm, $18.40 via OzTix

THE BASO

Luka Bloom50 Songs in 50 Years

His incredibly gifted electroacoustic guitar playing guarantees an impassioned live performance of his original, poetic and melodic songs. 8pm, $68.50 + bf via venue

THE STREET THEATRE

Pleasure screening

An aspiring star confronts the complex, gendered landscape of consent in the adult film industry. Graphic but mesmerising, this feature from writer/ director Ninja Thyberg inverts the male gaze. 8pm, $12–16 via NFSA ticketing NFSA (ARC CINEMA)

Tom HarringtonEvery Full Moon Tour

An indie-folk artist, who grew up on a central Victoria farm, before falling in love with the coastal life. A humble singersongwriter with a compulsion for raw, captivating storytelling and connection when his acoustic guitar is in hand. 8:45pm, $20/$15 conc via venue

SMITH’S ALTERNATIVE

SAT 9 MARCH

Ozploitation | Mad Max

In a dystopian future, Max (Mel Gibson), an officer with the Main Force Patrol, launches a personal vendetta when his wife and son are murdered. Part of the Ozploitation series, celebrating Stunt Double at Canberra Theatre Centre. 2pm, $10–14 via NFSA NFSA (ARC CINEMA)

CBR GRRRLS

To The Front Vol. 2

After a killer first year, we’re back with CBR GRRRLS To The Front Vol. 2 - a celebration of International Wom*n’s Day! This year we’ve secured Moaning Lisa, xCherishx, Bad Lunar, Lily Begbie, and DJ Sophie Edwards to provide the tunes. 7pm, $23 via OzTix THE BASO

Irish Black Comedy Film Series - The Guard

Local Irish cop Gerry (Brendan Gleeson) is paired with uptight FBI agent Wendall (Don Cheadle) to bring down a major drug trafficking ring. 7pm, $12–16 via NFSA (series pass available) NFSA (ARC CINEMA)

CANcophony

CANcophony is two worlds colliding. Canberra’s contemporary music scene, re-imagined for Jazz Orchestra. Witness Canberra’s best artists perform their original music backed by Canberra’s 32-piece premier Jazz Orchestra Spectrum Big Band! Featuring Bec Taylor and The Lyrebirds, The Burley Griffins, Citizen Kay, Gia Ransome, Lucy Sugerman, Peach Lane, Ruth O’Brien, and Sesame Girl. 7:30pm, $79/$59 conc UC REFECTORY

SUN 10 MARCH

CHURCH Presents Nai Palm + Friends

Nai Palm is the kind of artist that arrives once in a generation. A unique and intimate performance from three-time GRAMMY-nominated artist Nai Palm, live in the NFSA Courtyard. 3pm, $50 via NFSA NFSA (COURTYARD)

Braidz | Luke Mac | Martian (VIC) + Locals

Melbourne Hip-Hop Powerhouses Braidz, Luke Mac, and Martian, hit the nation’s capital for the first time, supported by local talents MN Cappo, Grizzly The Hermit, & Punktuation. 8pm, $20 via Eventbrite

BLACKBIRD BAR

The Vee Bees, The King Hits, Dirtbag

Farken Hell its a Rock’n’Roll extravaganza of incomprehensible proportions. Brace ya selves for a night of rip roarin’ rawk! Yep this gig is on a Sunday night, but Monday is a public holiday so you can cut loose as a goose. Honk honk! 8pm, $15 on the door

POT BELLY BAR

WED 13 MARCH

Canberra Comedy Festival

Canberra Comedy Festival is back for 2024! Canberra Comedy Festival is looking forward to sharing some great comedy shows with you. Featuring the Gala, Jimeoin, Wil Anderson, Melanie Bracewell, Daniel Connell, Lizzy Hoo, and loads more. 4pm, Various Prices

VARIOUS VENUES

FRI 15 MARCH

Unreliable Histories Series - Inglourious Basterds

Quentin Tarantino rides roughshod across the face of Nazi history in Inglourious Basterds, altogether eschewing the facts in favour of an entirely alternate history. 6pm, $12–16 via NFSA

NFSA (ARC CINEMA)

Cog w/ Yomi Ship & Kodiak Empire

The wheels are firmly in motion for the return of beloved Aussie prog rockers Cog to the stage in 2024. Primed to tour across the east coast next February and March. 7pm, $79.90 via OzTix

THE BASO

SAT 16 MARCH

Unreliable Histories SeriesAcute Misfortune + Q&A

Acute Misfortune details the final years of controversial, Archibald Prize-winning artist Adam Cullen, as portrayed by Australian journalist/author Erik Jensen, whom Cullen recruited as his biographer. Followed by a Q&A with Jensen. 2pm, $17–20 via NFSA NFSA (ARC CINEMA)

New Orleans Funk Party

A colourful New Orleans party with funky 10-piece showband Cajun Moon. 6pm, $30 + bf thru Eventbrite

HARMONIE GERMAN CLUB

Emo vs Gamers

Choose your fighter and join us at a big night of EMO and cosplay. Dress Code: Gaming Cosplay! 7pm, $29.60 via OzTix

THE BASO

Irish Black Comedy Film Series - Calvary

The McDonagh/Gleeson oeuvre extends into new and darker territory in this bold drama that pairs a highly comedic cast – including Chris O’Dowd and Dylan Moran – with confronting subject matter. 7pm, $12–16 via NFSA (series pass available) NFSA (ARC CINEMA)

SUN 17 MARCH

Paddy’s Day at

The Old Canberra Inn

Showcasing some of the best Irish-style beers from independent breweries across Australia with a few nibbles in the vain of Irish cuisine to boot! Live music from 2pm! 12pm, free entry

OLD CANBERRA INN

Unreliable Histories SeriesJojo Rabbit

Propaganda, reality and childlike curiosity collide in Jojo Rabbit, which takes its place in the wellestablished cinematic tradition of irreverent depictions of Nazi Germany. 1pm, $12–16 via NFSA NFSA (ARC CINEMA)

TUE 19 MARCH

Guttermouth (USA) Are Covered With Ants and Demading Fan Requests

Guttermouth is coming back for 16 shows across Australia & NZ, playing the whole Covered With Ants album and demanding fans choose the rest of the setlist for each show. With able local support by Box Dye and Signs and Symbols. 7pm, $49.99 via OzTix

THE BASO

THU 21 MARCH

Irish Black Comedy Film SeriesThe Banshees of Inisherin Pádraic is devastated when longtime friend Colm abruptly ends their relationship in a remote, one-pub community on an island off the Irish coast. This recent release explores masculinity, friendship and vulnerability with striking pathos. 6pm, $12–16 via NFSA (series pass available)

NFSA (ARC CINEMA)

Old Mervs - Comin To A Town Near You! Tour

Australia’s fastest rising indie-rock outfit and loveable larrikins Old Mervs are heading on an absolutely mammoth regional tour in 2024 from Byron Bay to Bunbury and everywhere in between. 7pm, $39.50 via OzTix

THE BASO

FRI 22 MARCH

Art Meets Film SeriesCunningham

Cunningham traces Merce Cunningham’s artistic evolution over three decades, from early years as a struggling dancer in New York to his emergence a visionary choreographer. Presented in partnership with the National Gallery of Australia. 5:30pm, free (bookings essential via NFSA)

NFSA (ARC CINEMA)

ENTERTAINMENT GUIDE

The VANNS

The VANNS are returning to the regions! Following a huge year with the release of their second album, Last Of Your Kind, the band are bringing their acclaimed live show to regional centres across the country throughout early 2024. 7pm, $44.90 via OzTix

THE BASO

Ballroom Blitz

70s Glam Rock Show

A flashback to the era of loud and proud Glam Rock! 7pm, $39 + bf thru Eventbrite

HARMONIE GERMAN CLUB

Cult Classics with Venus

Mantrap - Suspiria

Set inside a renowned dance company in 1970s Berlin, Suspiria follows an American ballerina whose studies are overshadowed by the expulsion and murder of another student. Part of the three-part Cult Classics: Season of the Witch miniseries. 8pm, $14–16 via NFSA

NFSA (ARC CINEMA)

SAT 23 MARCH

The Name’s Bond: The Music of 007

Every Bond theme meticulously arranged (shaken, not stirred) with spectacular vocals and instrumentation by the Smooth Ops mega 10-piece band. 6pm, from $55 + bf, via Ticketek

CANBERRA SOUTHERN CROSS CLUB

Mixed Bill Madness

A mixed bill of bands featuring Buddhadatta (tribal rock monk punk from Japan), Pilots Of Baalbek (space rock, proto punk and heavy metal), Thee Cha Cha Chas (garage pop rock punk from Melbourne), and The Absentee (instrumental prog rock). 7:30pm, $20 + bf via Try Booking POT BELLY BAR

Kevin Borich Express

@ The Zeppelin Room

Kevin Borich Express will be raising the roof with their funkin’ rockin’ blues. 8pm, CBS members $30/$35 via CBS website

HARMONIE GERMAN CLUB

Unreliable Histories Series

- Spencer

Larraín distils the tumultuous life and troubled marriage of Princess Diana into a single Christmas at Sandringham. This historical drama delves into Diana’s psyche. 6pm, $12–16 via NFSA

NFSA (ARC CINEMA)

Daniel ConnellLittle Aussie Battler

Daniel Connell returns to the Canberra Comedy Festival with his new show. 8:30pm, $35 + bf THE STREET THEATRE

SUN 24 MARCH

Book Club at the NFSA | Jasper Jones + Discussion

Rachel Perkins’ adaptation of Craig Silvey’s novel, which interrogates youthful innocence, race and violence in regional Australia. Presented in partnership with Canberra Writers Festival, with special guest Julieanne Lamond. 1pm, $18–20 via NFSA

NFSA (ARC CINEMA)

WED 27 MARCH

Science. Art. Film. Series

- Black Orpheus + Panel

Marcel Camus reimagines

the Greek myth of Orpheus and Eurydice, setting this romantic tragedy in Rio Di Janeiro amidst Carnival. Afterward, the panel will explore questions around culture and representation. 6pm, free (bookings essential via NFSA) NFSA (ARC CINEMA)

THU 28 MARCH

C.O.F.F.I.N. Regional ‘N’ Rural Tour ‘24

Sydney’s very own hard-biting rockers; C.O.F.F.I.N. is a four piece, full force, boogie rock ‘n’ roll band featuring snarling lead vocals from behind the drum kit, high voltage lead guitars, and steady rhythms that keep you stomping along. 7pm, $29.60 via OzTix THE BASO