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STRUTH BE TOLD
Nostalgia is a beautiful thing. A passing fondness for a reflection of a snapshot of the past that you have tucked away in the pool room of your heart. Romance and melancholy, desire and wonder make for a delicious verse / chorus in your mind’s ear. A rainbow of real-time vapour and moonlight, arching across the synaesthesic highway of your quiet flash-fantasies.
Nostalgia is your mind having a cup of tea and a biscuit. It’s putting its feet up in a plush velvet armchair. The beauty of nostalgia is it doesn’t even have to be for a time you’ve existed in. In my twenties, I was entranced by the 1970s. I wanted to see it from a brown velour beanbag in an orange swirl modular rumpus room. My catchphrase was:
‘I’ve never been there, but I want to go back.’
I liked the seventies more than the people who were there. The colours, the (bad) fashions, the thick bass sound of yacht-rock, doobie-tokin’ crazy-listening. Perhaps my seventies fascination was a way of belatedly, spiritually connecting by proxy with my emotionally disabled mother.
She seemed to pine for her youth through the many references to the past. Perhaps if I stared hard into the revolving swirl of the vinyl record label, I would be hypnotised into an astral dimension where I could play time-travel-detective - searching for any clues as to the whereabouts of my mum’s personality crown, of which key jewels remained missing.
I was at a Mac DeMarco concert at the Hi-Fi Bar in Melbourne in 2015. For his encore he played a version of Enter Sandman
‘What a weird choice,’ I thought. ‘It’s a bit… obvious.’
Then it occurred to me that to his generation, Metallica would seem exotic, in the same way Led Zeppelin were mysterious to me when I was that age.
‘Holy shit,’ I thought later. ‘I’ve just gone up a whole generation bracket!’
Now I see girls with Nirvana t-shirts on. I don’t mind. I’m glad the kids are listening to this music. Noel Gallagher once said Tears For Fears were the ‘Beatles of the eighties’; perhaps Nirvana were the ‘fab-three’ of the nineties.
Being (proudly) the youngest member of Generation X, I can remember when Kurt Cobain died. I was in grade eight. The goth type kids wore the oversized black T-shirts with Kurt’s face in painful focus. I thought it was all a bit much. It would be many years before I had the space to appreciate the power melodies of Nevermind
And on it goes, the nostalgia-cloud theme park. The rollercoaster empties as a new set of carnival graduates stroll into the hall of mirrors. *
Memory is directly linked to smell. The olfactory senses are old and wise, like turtles and elephants.
There is a certain flower scent that takes me back to 1990 visiting Canberra for the first time. I went to a huge video arcade, twice as big as anything back in Tassie. It wasn’t school holidays in the A.C.T, so I had the place to myself. Some kids yelled out to me across the street because they thought I was wagging. I blushed. The centrepiece of the arcade was the never-before-seen After Burner F-14 simulator. It had its own immersive cockpit to sit in. It’s the game Edward Furlong is rocking in the arcade scene in Terminator 2
Yesterday, I caught a footpath whiff of wood smoke. Smouldering pine cones. It made me nostalgic for my childhood. I instantly wanted to go back to 1993 and have a barbecue at Nan and Pops. We had so many over the years. When you’re young, you can’t imagine them ever ending. Barbecues on tap. An Olympic pool’s worth of pineapple rings. The fat-burst of teeth puncturing sausage - tongue basted in Nan’s home-made tomato sauce.
Yet, those days are long gone.
Oh, what I’d do to sit on the swing seat, listening in. I wouldn’t say much. I would even leave my many questions to one side (like, how World War I soldiers from Britain and Germany put their weapons away on Christmas Day and played soccer).
I fantasise about being looked after again, even if it is just
WHERE: The Street Theatre
WHEN: Friday, 13 December, 7pm
TICKETS:
$39/$35 + bf via venue
It wouldn’t be Xmas without a Darren Hanlon Chrimbo show, with 2024 marking its 19th (!) year. To celebrate, Hanlon embarks on a 19-show jaunt across Australia, spreading his beloved informal Hanlon-Solo cheer, exploring his ever-growing catalog of narrative songs.
This year is extra spesch, as he brings with him dear friend and musical collaborator, Kankawa Nagarra.
78 yr-old Nagarra is a Walmatjarri Elder, teacher, mentor, human rights and environmental advocate. Born in the traditional lands of the Gooniyandi and Walmatjarri peoples of north WA, she sings Aboriginal Australian blues, country, and gospel, and writes songs of empathy toward the struggles she sees around her.
Farriss AM, legendary songwriter and co-founder of INXS, on his Something Stronger tour, marking a significant new chapter in his solo career. The concert series celebrates Andrew’s illustrious career, blending iconic hits with new songs from forthcoming album, The Prospector, due 2025. Furthermore, the CBR show features emerging ACT country artist Dana Hassall. “Supports play an important role, both for the audience and for showcasing the talents of the musicians,” says Andrew.
This springtime the Lyrebirds are off on a mini-tour of the coast, valley and plains, finishing with a Canberra show alongside Sydney 3-piece folksters Bower at Smith’s Alt.
Expect an electrifying atmosphere where fans can rock out to Andrew’s dynamic performances, showcasing the best of
Six-piece Bec Taylor and the Lyrebirds deliver the “sound of what folk music did next” (Dancing About Architecture) with alt-folk-country music, rich instrumentation, and heartfelt lyrics. Beloved for their dynamic melodies, rich harmonies and an intimate vibe, as well as their acclaimed album Limbs & All. Guitars, keyboards, drums, bass, mandolin, cello, four-part harmonies and drums... The only thing missing... is YOU!
YOU remember Heaven Nightclub, right? Of course you do; it was a beloved Canberra institution between 1993 - 2001.
Well, bust out yer best hypercolours, coz SpringOUT are reigniting your favourite ‘90s Dance Anthems via the smooth skills of DJ YA-YA, JUST WAYNE and many more.
Drag performances, live music, and tippitytop vibes will play across The Vault’s multispace area, with plenty o’ room to groove.
Folk ‘Til Ya Punk Records are the crew behind Hobart’s long running folk-punk festival HOBOFOPO. Now they’re proudly presenting The Taxpayers to Oz.
The long-running experimental DIY genre-bending punk band started in Portland, Oregon in 2007. They have made a dream comeback in 2024 after an 8-year hiatus, selling out shows across the USA and Canada, and seeing their Spotify stats jump from 500k monthly listeners to a cool 1mil.
Their Canberra/Ngambri show will see them joined by beloved locals, A Commoner’s Revolt on support.
November. The month that transitions spooky into jolly. Some start their Christmas stress early; others bathe in the calm before the storm. Whatever your style, I have a guide to the gigs you should poke your head into this month!
Let’s start things off with an album launch! JD Band is launching their debut album ‘Down To The Water’ at the Old Canberra Inn, and they’re inviting you to celebrate with them free of charge.
Proudly touting the traditional and contemporary acoustic blues and roots sound, the event is on Saturday , 9 November , from 4pm . The LP, recorded locally at the beloved Pendragon Studio, it is 12 tracks ranging from upbeat tunes to slower ballads, all of which will be on full displayat the launch.
The next event I have is a beautiful chamber concert on Sunday , 10 November , which will be held at the Wesley Uniting Church in Forrest from 4pm
This event is titled Apeiron Baroque: Sanguine / Melancholy, and your performers for the evening will be Ella Bennets (Violin), Aaron Reichelt (Oboe), Anton Baba (Cello), John Ma (Violin) and Marie Searles (Harpsichord).
Tickets are available now via trybooking for $40, with concession prices available. It’s also free for primary/ secondary students.
The Ukulele Man is back in town with another outstanding performance! In the words of the Uke Man himself, it is:
“The true story of wartime comedian and ukulele legend, George Formby. From the Blackpool Music Halls to the battlefields of Europe, this is the untold history of Britain’s greatest entertainer!”
Marcel Cole will educate and entertain you with this musical experience, evidenced by the fact he has won multiple Fringe Festival awards for this show.
So don’t miss out, and catch this performance on Saturday , 16 November , from 4:30pm at Smith’s Alternative. You can grab your ticket now via the Smith’s website for $35.
Looking for a more upbeat, dancey kind of gig? Come on over to this ska/reggae/Latin night at Live at the Polo. Tickets are now on sale for $25 via Humanitix, which will all happen on Friday , 22 November from 7pm
The first up on the night is new band Salty Goodness. They’ll bring some electro-funk-pop mixed in with some punk to get the body moving.
Following them is Doxxed, bringing ska tones to all your favourite songs. Next is Agency Dub Collective, combining global roots and blues with soul and reggae. And headlining the night is the mighty Tropitec, blenders of jazz, Latin, electronic, and house.
And finally, on Saturday , 30 November , a night of fine jazz music spanning four decades awaits.
This event takes place at Blue Eyes Bar, a destination that transports you to the bars of old-timey NYC. You’ll feel chic and fabulous just sitting in this venue, let alone with the backdrop of Col Bernau and Martin Lambert showcasing all their favourite jazz, swing, bossa nova and funk songs. Music kicks off at 8:30pm .
And that’s that! I trust these events will bring you some memorable times. Grab a friend and grab a ticket. I’ll see you in the next one.
true blue james
Bossman Sko, here. I have recently had the pleasure to get to know our dear James Cahill, here, and can attest to the fact that he is a tippity-top chap. That he writes and plays life-affirming music akin to a cross between Slim Dusty and Thom Yorke... well... count me the fuck in. Over to you, James...
Describe your sound:
D iverse in range, especially on stage, where I improvise songs. I’ve been described as a cross between Slim Dusty and Thom Yorke if that helps. How did you start on this magical musical journey?
U ltimately, it could have been playing alto in the school band or my Dad giving me my first guitar in high school. Maybe it was my Year 10 teacher encouraging me to sing, or a colleague at CIT three years ago telling me to pursue art.
Or maybe... it was just magic. Key tracks people should check out?
M ake your way over to Spotify and other platforms. I’ve left a nice little surprise there for you! Influences?
B oundlessly inspired, especially by those who carve their own path—like Jack Straton, Thom Yorke, Donny Hathaway, and Stavtek.
What are some of your most memorable experiences?
Corrrr... Burning Seed 2023, I reckon. At a jam tent on Saturday night, I picked up the mic and discovered I could improvise one hell of a show.
What is it that you love about the scene?
U ndeniably, my scene is the doof and burn community—I love events like Tribe Ascension or the Canberra Winter Solstice Regional Burn. These spaces offer unique opportunities for radical self-expression. In the default realm, where you’re reading this article, there are too
many expectations—how to act and how to live. I’m an absolute weirdo, and everyone who makes the pilgrimage to these events is looking to express themselves freely.
It’s a place to take risks artistically, too. I love the genuine care for each other, wanting nothing but the best. It’s a chance to shed the skin of fear, doubt, and insecurity that this individualistic, extractionist society has painted on us.
It’s only a layer of paint and washes off with a single day of love. Tell us about one of your proudest moments:
Not long ago, I got recognised at SeaWorld by a French couple, right after I had been wiping away tears from watching the dolphin show. Apparently, I was their favorite part of Rabbits Eat Lettuce. Imagine— paying to see all these big DJ names, and their favourite part of the doof was a guy in lingerie singing about dicks.
Plans for the future?
To just let it unfold. On December 3rd, around midday, I’ll be recording my single “Blue Eyed Raven” down at the Dickson Public Piano near the library—a piece I wrote on that very same piano last year since I didn’t have one at home (still don’t).
So come join me; I might need a hand or two.
What makes you laugh?
Incongruent juxtaposition. What pisses you off?
Sesquipedalian obfuscation. Anything else to add?
Oh, I love subtle clues. And I’m looking for a manager, so if there’s anyone out there...
Where can people check you out?
Keep an eye on my journey, and feel free to say hi on Insta @trubluejames. I’ll always have something going on. Don’t miss out on the lore!
In this chat, I caught up with David McCormack from Custard as they gear up for their double album release and tour. We discussed his experiences as a musician, the songwriting process, and the vital role of live shows today.
David’s candidness and wit made for an enlightening conversation, so strap yourself in!
James Cahill (BMA): So, Canberra—are you pumped?
David McCormack (McCORMACK): Yeah, I love Canberra.
That said, I never see much of it because we’ve always driven in on the day of the gig, done the sound check, played, and then left the following morning or sometimes even that night.
Which is insane. Next time we play there, I’m staying over for the night.
JAMES (BMA): Do you have any plans for when you’re here next?
McCORMACK: Wing it, just improvise.
Once, we found a pub where you could cook your own steak. It was huge—this big, pink, old place. They just give you the raw meat, and you whack it on the barbie.
Keen to play at The Baso, however. Last time we were there, it was an incredible vibe.
JAMES BMA): And what kind of vibe do you need to get the best( out of yourself?
McCORMACK: Any vibe. But I prefer The Baso vibe. Coupla beers, relax.
JAMES (BMA): The Baso is good! I played there a couple of weeks ago, and I love the venue.
McCORMACK: You’re an artist, James?
JAMES (BMA): Yeah, just starting out. What advice would you give to emerging artists like me?
McCORMACK: It’s different for everyone. For me, it’s about being open to the people you’re playing with.
When I was younger, I was pretty cocky and thought I knew everything. In my early 20s, I was like: “Play this, do that, stand there.”
But after 10 years of that, I realised other people have great ideas, too, and I love hearing what they bring to the table. I notice this, particularly during recording sessions. There are times when someone plays something unexpected, and at first, it’s not what I envisioned. But after letting it percolate, we listen back a few times, and I realise it’s so much better than anything I would’ve come up with on my own.
JAMES (BMA): And you have to allow that to happen.
McCORMACK: Exactly. You have to allow that to happen. My younger self, James, had so many internal rules—I would’ve been such a pain, back then. Now, I’m just happy we get to play music and record together.
JAMES (BMA): You recorded this album in Tasmania, right?
McCORMACK: Have you heard about the recording studio at MONA? It’s incredible! It has all this great old gear. We
WITH JAMES CAHILL
recorded on one-inch or half-inch tape—only eight tracks were available. We had three drum tracks, two guitar tracks, a bass, and a guide.
It was really limited, but that made the whole experience great. We just committed to it, you know?
JAMES (BMA): Do you like the restrictions of working with eight tracks?
McCORMACK: Loved it! I loved the restrictions. Sometimes, you go into a studio, and they have 16 mics on the snare and heaps of mics and DIs. We just went in and did 19 songs in two days.
JAMES (BMA): Two days!? That’s insane!
McCORMACK: It WAS insane, but it was good—nothing too complicated. A couple of weeks before that, we got together at drummer Glen Thompson’s house to sit around and take little cheat sheet notes, like: “Okay, this song goes from C to G to F.”
We did have a bit of rehearsal and pre-production, but it worked well. We’ve been playing music together for so long, there’s not much to figure out.
JAMES (BMA): Basically just chatting with each other and candidly recording it?
McCORMACK: Exactly, James; yeah, that’s it. I have a vague idea of what everyone will do, but they always seem to do it better than I thought.
JAMES (BMA): At least it’s better!
McCORMACK: And we weren’t doing vocals; just tracking. It was basic.
I took my songs back to my little bedroom home studio and worked on some parts there, which I found much better than going into a studio. In a studio, it feels like a “performance” because people in the control room—like an engineer—are looking at you through the glass.
At home, I can just be a complete nob. When I’m trying to figure out lyrics and melodies, it’s much better in isolation. In front of people, I get self-conscious and think, “I’m not going to try that because I might look silly.” At home, there’s absolutely no one who will hear it until I’m ready to share it. I can’t do it if someone is in the next room. I just wait until they leave.
JAMES (BMA): What makes it so challenging to be creative when someone else is present?
McCORMACK: I think it’s just human nature, you know.
We don’t want to embarrass ourselves. Even by yourself, it’s hard to let go, isn’t it? Often, I don’t have lyrics or melodies worked out beforehand, so it’s like a fishing expedition tool. Everything starts out like ‘nah, nah, nah, nah, nah... yeah!’. Keep on trying and see what bubbles to the surface.
JAMES (BMA): Speaking of melodies, I’ve had ‘Molecules Colliding’ stuck in my head for the last few days. What do you think makes those melodies so catchy?
McCORMACK: I don’t know, James! It’s a bit like just coming up with stuff without overanalysing. If we can remember the song’s melody, then maybe it’s okay. I take lots of little notes on my iPhone and things like that. It’s always a positive feeling when you come up with what you think might be the melody and can remember it later on.
JAMES (BMA): I guess that’s similar to your single ‘Someday,’ which you wrote 20 years ago.
McCORMACK: Yeah, it was written while I was at the house of Sarah Longhurst, my manager at the time. She had a friend, Serena Ryder, who had come over from Canada to do some gigs. We were just sitting around, had a couple of glasses of wine, and started strumming our guitars. That’s how we came up with the song. We quickly recorded it on a cassette or something, and then I completely forgot about it.
A year ago, I remembered the song. So I emailed Serena and said, “I’m going to do it. Would you sing on it?” She was all for it. We sent it over, and it turned out lovely. It’s something we’ve never done on a Custard album before— this co-lead, duet kind of thing.
JAMES (BMA): How do you think the landscape for artists has changed since you started, especially with the rise of streaming?
McCORMACK: It’s different now. Back when we started, every time you sold a physical copy of something, you got money for it. With streaming, you get next to nothing. Artists like us have to embrace live performance because, number one, it’s fun, and number two, you can make a little bit of money from it, unlike streaming.
JAMES (BMA): Yeah. What do you and the rest of the band do outside of Custard?
McCORMACK: Well, everyone has a job. I do music for TV shows. Paul’s in the medical psychology field, and Matthew’s in retail. So we all have other things we do.
For 90% of the year, we come together for a little recording session and do a couple of weekends of gigs at the end of the year. It’s good to have many different irons in the fire so that you have something else to focus on when it gets you down.
JAMES (BMA): What TV shows are you currently working on?
McCORMACK: NCIS Sydney, at the moment. I’m very lucky because I don’t have formal music training, so I’ve just learned ideas from others and tried to teach myself how to do it. So, yeah, it’s good. I’m very lucky to have a job that involves music.
JAMES (BMA): So lucky! It’s inspiring to know that there are paths involving music. Before we go, is there anything else you’d like to add?
McCORMACK: No, not really. Just make stuff up if you need more words!
JAMES (BMA): Roger that! I won’t make it too controversial. I really appreciate the chat, and I can’t wait for the good vibes at The Baso!
McCORMACK: Thanks, James.
METALISE
[THE WORD ON METAL] WITH JOSH NIXON [DOOMTILDEATH@HOTMAIL.COM]
Following a month of Witchskull every weekend, it’s time for the capital to transition from the stoner doom goodness of our hometown heroes to full-blown spring insanity.
And holy fuckballs... is there ever a plethora of shows to suck your wallet dry.
Friday, 8 November, is a massive kick-off to a huge weekend with pioneering Dutch legends Pestilence hitting The Baso on their first-ever Australian tour.
The death metal OG’s hit the road for five Aussie dates, and the run includes some killer support.
Alarum once took out Metal Album of the Year at the one and only time Metal for the Brain ran an awards show (and I should know; I organised it with the help of the Alchemist benefactors, and they drank so much Jagermeister that I almost ruined their set the following day).
More recently, 50% of the band were in Canberra psych death lads Levitation Hex, and it’s a treat to welcome the boys back to town along with Gosika to welcome our Dutch overlords to town.
Speaking of, Gosika also has a headline show at The Baso on Friday, 13 December, with Nubulam, Life Sentence, and Saltwater if you can’t make the 8th. Comedy doesn’t typically get a mention in this column, but when the former drummer of Slaughter Lord and Mortal Sin comes to town you put some damn respect on Mr Steve Hughes’ name and go to The Baso on Saturday, 9 November for what no doubt promises to be a great set.
On Sunday, 10 November, the “Weed meets the Speed” when King Parrot once again takes roost in the nation’s capital with an absolutely stellar bill tucked into the nest with them.
The USA’s long-running sludge lords, Weedeater, make for top-notch nestbuds, with emphasis on the buds. North Carolina sludge doesn’t come any finer, and it’s a warm welcome return to the country for the first time since Donald Trump first threatened democracy.
Throw in perennial two-piece favourites Astrodeath and the unbridled savagery of Melbourne’s Choof, and this positively insists on a Monday morning bangover. Sleep is not on the tickets.
Saturday, 16 November at The Baso marks the Ten Years of Torment tour which leans into the hardcore more than the Metalise.
But with Bloodmouth on the bill, I need to consider the consequences of not acknowledging their live actions, as I have a family to feed.
That said, I need to tell you that I’m totally reading the following of my own volition:
CARNIST PROPAGANDA BE DAMNED, BUT THIS MISSIVE MUST BE HEEDED BY ALL. CHAMPIONS, HONEST CROOKS AND SHINTO KATANA HAVE RECRUITED PLANT-BASED MERCENARIES ALONG WITH FAT LIP, MOVING VIOLATION AND STEP TO ME FOR ACTIONS ON SATURDAY 16 NOVEMBER.
THE ARBITRARY LETTER BOMB CAMPAIGN WILL SCATTER RANDOM CARNISTS AT OUR RANDOM WHIM. YOU HAVE BEEN WARNED.
Sheesh, you think these guys could just eat a burger and chill the fuck out.
The tail end of the year means one starts to turn their mind to end-of-year lists but damn if there hasn’t been a late surge of killer material in the last little while.
Mixed reactions from staunch traditionalist death metal fans aside, I can’t fault the new Blood Incantation record Absolute Elsewhere. Yes, its psychedelic death reminds one that Alchemist was 35 years ahead of their time. Still, holy crap, it’s a killer blend of 2 20-ish minute songs broken into three “tablets”, each blending the sci-fi death of 2019’s Hidden History Of The Human Race and their analogue synth explorations on 2022’s Timewave Zero into a nearly perfect record.
The Nails’ Every Bridge is Burning record is far less subtle and artistic but it is positively dripping with malice.
Other recent must checkouts include:
- More Insane from recent visitors Undeath
- the new Kruelty EP Profane Usurpation
- the Enforced-esque hardcore/thrash Gun by Ingrown
- the incoming claustrophobic catastrophe of Melbourne doom band Ghostsmoker and the early listen of their forthcoming Inertia Cult
Coupla big international tours were announced for 2025, as was the next instalment of Knotfest (Melbourne - 28 February, Brisbane - 2 March, Sydney -
8 March). The line-up has drawn a curious blend of ire in most of the social media I’ve seen, and yet the fans are voting with their dollars in that the early ticket sales have been reportedly robust.
Said line-up comprises: Slipknot, A Day to Remember, Baby Metal, Slaughter To Prevail, Polaris, Within Temptation, Enter: Shakari, a curious seemingly arbitrary “23rd-anniversary” celebration of Perseverance from Hatebreed, In Hearts Wake, Health, Miss May I, Vended and Sunami.
And finally, a little band by the name of Metallica also announced a 6-date run with support from Evanescence and Suicidal Tendencies, with tickets now on sale. I’m not overly familiar with them, but I’ve heard good things about the early stuff.
Right! Time to go work out the end-of-year lists!
Til’ next month, thrashers.
Pestilence guitarist and vocalist Patrick Mameli spoke of his career as if 25 years were 25 minutes. Which is impressive, considering how much there is to talk about. Now, to get you acquainted, take yourself back to the '80s, if you can. No, not the fluorescent, double denim, MTV-sporting part; I'm talking about the decade in which HEAVY METAL was born, a prodigious period in which the genre morphed and evolved...
THE HORSEMEN OF THE EPOCH O’ BLISS
The year is 1986, and a young Danish metal band by the moniker of Pestilence made a daring leap from the prevalent thrash metal market to a trailblazing new style baptised as... death metal.
So extensive and varied were metal inspirations at the time that Patrick's own comes as surprising and intriguing.
"As a kid, I found this band, The Osmonds, and this song called Crazy Horses," Patrick espouses. "I was probably four or five years old, just noodling on a guitar.
"I became fascinated with this music from a very young age. I knew I had to become a musician. I wasn't interested in school - music made me happy.
"Now approaching 57, it still makes me happy," Patrick enthuses. "I still love all of it. The composition, the creativity and, of course, performing live."
And so, with crazy horsepower driving this engine, Patrick fuelled a style that continues to drive Pestilence today.
As The First, you have authority to colour outside the lines. Before long, the market was awash with death metal denizens, swiftly turning the unique into the saturated.
Bands sprouted like weeds, and the market became incredibly competitive. The incursion of Possessed, Death, and Morbid Angel—underpinning the Floridian Death Metal movement— opened the floodgates to a tidal wave of bands from the US.
Meanwhile, Pestilence was forging the Scandinavian heavy metal market, casting a shadow over Europe with help from a then-fledgling record label known as... Roadrunner Records.
Pestilence found itself at an incredibly opportune time within heavy metal and grabbed it by the horns.
"I was 16 years old with a record label," Patrick comments. "It was a chaotic journey. This business is not all beer and Skittles."
In 1991, Pestilence gained ground in Europe and saw significant success with its third release—Testimony of the Ancients—which became the cornerstone of their sound. It was a bold stride in a different direction.
"Making this album was a triumph. There is a level of sophistication there that cannot be replicated."
The artists emerging at this fertile time were visionaries, innovators, and experimenters, people with whom inspiration and motivation can ping back and forth.
In a bold bid to stand out, Patrick floors me with his second unexpected revelation this interview: the calculated decision to refrain from listening to any style of heavy metal… Ever.
"When I realised this need to sound different, I stopped listening to heavy music," he confirms. "My inspiration comes from nature, not through offshoots of other styles or a hybrid of other bands' sounds."
Referring to this as a "soup of death metal", Patrick listened to anything but metal, instead indulging in a rich listening diet including jazz and electronic music.
"These subcultures have a completely different perspective on how music is produced", Patrick exclaimed.
"When you play music like we do, you work within certain dynamics -
distorted guitars, lower than low, at the same frequency of the bass, and faster and faster."
Patrick sought different dynamics.
"But the birth of death metal was a very exciting time," Patrick reflects. "It was the height of tape trading, and the music out of the States felt like a portal had been ripped open, and this brand new world was there for the taking.
"I loved this time in my life, and I feel blessed that I grew up when I did," Patrick continues. "I looked up to the bands leading the way and knew I had to be a part of it.
“The journey taught me to understand this style and what our music meant.
"Musicians and fans alike, we took this journey together. It has its ups and downs, but it is everlasting. Metal is timeless."
rolls into The Baso on Friday, 8 November with Aussie death metal pioneers, Abramelin, and the genre-defying technical wizards Alarum. Tix are $71.40 via Oztix.
If I were to describe King Parrot, imagine a rickety old wagon heading down a steep hill with questionable wooden wheels ~ Matt Young
King Parrot vocalist Matt Young and I have caught up plenty over the last ten years, and one thing continues to ring true: King Parrot remains the hardest-working band in the game.
King Parrot is your blue-collar band with a reinvigorated sense of comradery. Savvy, magnetic and humble - Matt Young is the triple threat. He took his acumen for both music and business to the world stages with four of the rawest chaps about. The distinct sound the band unleashed from the backstreets of Melbourne in 2010 was the fury Australian metal heads were waiting for. It’s no surprise the fans are still moshing along - King Parrot laid down those foundations HARD.
The ethos remains true; the blood, sweat and tears still flow. And on the cusp of yet another mammoth tour for these workhorses, Matt reflects on what has defined their success.
“Commitment is one of the keys to the longevity of this band,” he states. “Maintaining relationships with labels and artists alike is also paramount.” King Parrot is in the final stages of releasing their brand new album, and 2025 already looks exciting. The band roadtested some of the new material at Knotfest this year, and to say it went well would be a fucking understatement.
“It was frightening how well these new tracks did with the crowds,” Matt exclaims. “We have one song called F*ck You and The Horse You Rode In On. It was the first time the audience had sung the words back to us. This was really cool, and it was decided right there and then: Yep, this song will definitely work.”
And what else comprises a fourth release for The Parrot?
“We have an established sound,” Matt asserts. “And we’ve been fortunate enough to keep going long enough that we have honed it.
“We have rock ‘n’ roll, grind, we have thrash and death forming that established sound, and we can throw so many elements over it.
“It’s a great spot to be in as a musician,” Matt enthuses. “Most of our songs are not exactly rocket science, right? The simple structures are far removed from your technical death metal out there.
“It’s more about the songs - finding those hooks, especially as a vocalist, finding something interesting or fun or something that means something to me and delivering that along with your vision.”
As for their approach, King Parrot spent more time on the songwriting, laying down initial ideas, taking them away and jamming things out. Recording-wise, the band used a click track for the first time.
“The record is sharp and polished but has still captured that visceral angst and aggression fans have come to know,” Matt adds.
King Parrot has been going for 15 years now, and Matt Young still loves what he does. Rolling around in a stinky tour bus, punishing tour schedules, long nights in the studio... Youngy is having the time of his life, and you best believe he will never take it for granted.
“I have always wanted to do this,” he says. “I always aspired to do it, which I’m really proud of. We had no financial backers; we weren’t trust fund babies. We built this band from the ground up with uncompromising music; this is the reality of King Parrot.”
The diamond of this story is that even as a fledgling band in 2010, King Parrot’s vocalist
was not disillusioned by the music industry, showing great fortitude and taking suitable risks. So we dive into Chapter Two of this opus, where Matt Young adopted his business acumen.
“It was right at the end of my drinking career,” Matt reflects. “I wanted to get sober and, with that, adopt a new lease on life and a new attitude.
“I had to take a different approach to life essentially. Instilling integrity, honesty and values, which I didn’t really have when I was drinking and drugging.
“I wanted to apply the things I learnt in recovery to the business,” Matt continues.
“When the band started, it was evident that the level of commitment to the band’s business side was lacking - like, the guy in charge of sending out our t-shirts hadn’t sent out any apparel in over three months.
“So, I’m like, ‘give me the fucking t-shirts, I’m gonna do it myself!’ And from there, I took over management of the band.
“I made mistakes, made bad calls, and thrown money down the drain, sure, but I’ve learnt a lot and am very grateful for the opportunities to learn from people I consider my idols. People who have brought our band in and shown us how to do things.
“It’s been an interesting learning journey, and it continues today.”
King Parrot hits The Baso this Sunday, 10 November, with super special guests Weedeater, a boisterous crew hailing from North Carolina, USA, who need no introduction to any dabbler in the arts of stoner, sludge and doom metal. Add beloved locals Astrodeath and Choof and you have one helluva bill! Tickets are $49.90 via Oztix.
THE DROP
[THE WORD ON EDM/DANCE MUSIC]
WITH AEGIPAN SAMARAWICKRAMA - AEGIPAN101@GMAIL.COM
Your resident columnist and bass freak Pan here, coming to you for the second-last time this year. Which leads me to ask: How on Earth have we hit the home stretch of 2024 already?
This year has flown by, dear readers, and let me tell ya... it’s been an excellent one. It’s been even more excellent-er having the opportunity to deliver another column crammed with all the goss and goodness of electronic music.
Honestly, I’m having trouble keeping track of everything going on over these last couple of months, so I’m just as grateful for this column as you (hopefully!) are. So, please, feast upon another two pages of music recommendations and ripper gigs to pad out your already fattened calendars.
First up, let’s talk gigs, and let’s hop to it because 2024’s last two months are absolutely STACKED.
NSW record label Mullum Madness, in collaboration with local DJ and producer Microbial, are celebrating the release of their 25-track V/A with a huge launch party on Saturday, 23 November
The location is yet to be announced (keep an eye out on the Facebook event page), but this is a wall-to-wall line-up of deadset legends. To whit: Microbial, Tidy and Samwise, Burley Bassweight, Biscuit Bytes, Forrest Cult, Hydrasect, Luke Cannon, Solid Professor and more. We’re in for 12 hours of righteous boogs, so drink a double scoop of pre-workout at the top of the night to get you through to dawn and beyond.
For the fifth year in a row, Headz are Rolling is busting out their Jungle Bells bash at the Pot Belly Bar on Friday, 6 December. And this time round, they’re bringing the UK’s DJ Djinn back to our shores, breaking a Djinn drought dating back to 2018.
The rest of the line-up is TBA so far, but you know the Headz – it will be chock full of locals on support, and we’ll be partying all damned night to celebrate the end of the year.
On Saturday, 14 December, we’ve got the first inaugural Vision Music Festival. There’s a whole heap of details on this festival in this issue’s cover story (penned by yours truly), but if you need a quick rundown... <ahem>
3 stages, 25 international, interstate, and local artists across a diverse range of genres, food and, natch, the Territory’s best crowds lighting up Symonston Park from midday to 10pm
The full line-up is too long to list here, but I’ll give you a quick peek... among the headlines, they’ve got Kippo (UK), Mood Swing and Chevy Bass (one of THE coolest names I’ve had the pleasure to hear), Don Darkoe, Paul Abad, Vorpal, and Waxlily
The support acts are all local favourites who have been, and will be, mentioned frequently in my columns – 2 Stazy, Brittany De Marco, Burley Bassweight, Deejhammer, It’s A London Thing, Loose Cannon, Mariana Dub, Pann, Sweetheart, Tidy and Samwise, and more.
It’s rare to get a festival of this quality that combines the powers of numerous production crews and a vast wealth of talent, so make sure you promptly get down to the old greyhound racing track for what is sure to be A Proper Saturday in Canberra.
Damn, if we haven’t had ourselves some real UK heavyhitters out our way this year. Friction has got Stanton Warriors hitting Hopscotch on Saturday, 21 December to play a whopping 3-hour set, and will be ably supported by Mikah Freeman, Arkhon, It’s A London Thing ft JLP Peekz, and Dave Norgate
It’s another midday kickoff for this ‘un, wrapping up at the very reasonable time of 7pm. The previous breaks offering at Hopscotch was a ripsnorter of an afternoon, so expect this one to be big, too.
I’ll have to breeze through a few of the new releases this time since the column is packed with gigs, and, as is tradition, I will close it off with a super special non-EDM music recommendation.
by Dossa, The Outsiders, Ripple, Jon Void and more. The tracks are full of great hooks and uplifting beats, all with high-quality production.
You might not be able to imagine me getting into dancepop, but 3AM (LA LA LA) by Confidence Man is too infectious to ignore. Of course, my favourite track is Breakbeat, but the rest of the album is about as feel-good and high-energy as you will find in this genre.
Usually, I devote the end of this column to a few recommendations from outside the electronic music umbrella. I have only one this time, but it’s one of my favourite recent discoveries – YASSiN and Sean Terrio, an absolutely stellar duo from Oakville, Ontario. There’s a non-zero chance that you might have already seen one of their viral clips where Sean Terrio sings a popular song in the voice of Donald Trump while YASSiN plays piano and tries to keep it together.
I’m loving Like Sleep Without Dreams by The Archangel. There’s drum ‘n’ bass and jungle in here, to be sure, but there are also moments of ambient, proggy techno, cinematic soundscapes, and even introspective piano melodies.
The cover art is also stunning, although falling into a black hole is something none of us would be happy doing.
Amsterdam label Liquicity has released a dank little eight-track
V/A called Orbit, featuring songs
Their debut album, JUST, will be out by the time you read these words. I got to listen to it right before I submitted this column for publication, and I can tell you that very few artists come right out of the gate with such a massive debut.
Yassin and Sean Terrio are both fantastic vocalists and songwriters (with hairstyles that somehow outshine the mane of your intrepid columnist), and their tunes are powerful, emotional, uplifting, and fantastically produced. There’s some subtle genre experimentation, too, which I love to hear.
I genuinely cannot stop smiling when listening to All Summer and Take My Time, and found myself moved to tears by When They Don’t Feel The Same. The duo have put so much energy, passion, and effort into their debut, and they deserve the attention they will undoubtedly get from listeners and reviewers worldwide.
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Right, that’s it from me for this column. If you see me out on the dancefloors, be sure to say G’day. As always, any goss on gigs and new releases, send it my way.
Take care of yourselves out there, and see you again just before the year’s end!
It Came To Me In a...
The inaugural Vision Festival is nearly here. 3 stages, 25 international, interstate, and local artists across a diverse range of genres, food and, natch, the Territory’s best crowds light up Symonston Park from midday to 10pm
by Aegipan Baphomet Samara-Wickrama
Canberra’s had its fair share of music festivals. Some bigger and more mainstream (Spilt Milk and Foreshore, to name but two); many short-lived or died out for one reason or another; most catering to a niche (even while claiming to be multi-genre in content).
Canberra’s swell of electronic music fans haven’t exactly been spoiled for choice in this regard. Most options have been multi-day bush doofs outside our borders or far-flung fests requiring significant travel and time expenses. These are also genre-specific, significantly shortening the list of options for anyone with more diverse tastes.
If you’re anything like me, you enjoy getting out to the grander in scope than that of a humble club gig or typical rave, but crave a short trip home to collapse onto your own bed, partied out, yearning for the sweet embrace of temporary death that is a good night’s sleep.
This opportunity is made manifest by the inaugural Vision Music Festival—playing out at Symonston Park, Narrabundah—comprising but one reason for the fest’s deliciously enticing bature. The team behind it is a prime example of what can be achieved by working within the community and playing to your strengths.
“We’re still growing,” Ben, Director of Vision Entertainment, says. “We deliberately set out to do as much in-house as possible in order to keep ticket prices down.”
This small team, ably assisted by a slew of sound sleuths from within the scene, is responsible for everything – designing the festival’s three stages, setting up lighting and audio, and running the bar, all in a bid, as Ben says, to keep ticket prices down (an undeniable relief for the unrich raver suffering
from the inevitable end-of-year wallet tightening.
“Having those crews handle the stages is a massive weight off our shoulders,” Ben declares. “I can trust them to deal with it while we work on the big picture stuff.”
They even have their own professional and rave-conscious security and first aid teams, ensuring a space that’s as safe as it is fun.
The festival comes as a natural evolution for the group. Vision Entertainment emerged after the end of Canberra’s last COVID-19 lockdown, breaking the proverbial ice with a ripper of a party out the back of Tocumwal Lane. They intended to break out of the monotony of their day jobs and pursue something they’re genuinely passionate about –putting on gigs and showcasing talent from around the region.
It wasn’t until 2024, when they booked Germany’s Kaufmann that they locked down Symonston Park.
A former greyhound racing track, the Territory’s ban on racing led to its repurposing as a hire space for community events. Vision Entertainment locked down exclusive access to the venue for music festivals and raves, giving the EDM scene a familiar, safe, and inclusive space for parties unemcumbered by pesky noise restrictions.
In fact, the team even doubled the sound levels for their second gig at the venue, FKING HOT.
By all accounts, Symonston Park seems to be an ideal venue.
Unlike their first two events, Vision Music Festival will have multiple stages, including one outdoors with a bar and food truck. The stage for FKING HOT will feature bush techno, acid house, and prog aplenty, culminating in a three-hour closing set by Meanjin/Brisbane’s Paul Abad.
“He’s going right through to hard techno by the end of it,” Ben explains with evident glee.
“It’s going to be pretty ridiculous.”
The outdoor stage will kick off by showcasing more commercial house and rave music, finishing the night with drum ‘n’ bass. The room at the other end of the venue from the techno stage will be dedicated to bass music – D&B, dub, and dubstep, with the production handled by RPG.
“We’re expecting that to be pretty popular because there are some pretty decent acts playing there,” Ben enthuses.
Indeed, the line-up for the bass stage is stacked with severe heavyhitters from the local scene – Burley Bassweight, Mariana Dub, It’s A London Thing, Tidy and Samwise, and Kaliopi, to mention just a few.
The big pull on the festival line-up is Bristol’s Kippo, who plays an afternoon session on the main stage.
“We were talking to Tomorrow Agency, handling his tour here,” Ben explains. “They offered us to book him with a couple of their other artists.”
Make no mistake, Kippo’s appearance is a big deal. The DJ/producer is a rapidly rising star in the genre, with a slew of big releases and festival spots cementing him as one of D&B’s generational talents.
This year has seen many notable legacy acts from the UK D&B scene grace the Territory’s dancefloors, so bringing in new blood will only continue this happy tradition for years to come.
Vision Entertainment is set to break new ground for the Canberra scene with a stacked line-up, multiple stages, and a genuine collective spirit for the EDM underground. It is also, and pleasingly, a highly inclusive event, bringing various crews and their crowds into the same space.
“I think we’ve done a good job in creating an awesome, like-minded crowd that respects each other,” Ben says.
“As we grow, we’re going to try to keep that crowd as pure as possible.”
Great news for anyone who loves this scene and wants it to thrive.
With an eye on the future, Vision Entertainment hopes to turn this festival into an annual event, expanding and growing it, with more gigs in 2025. Before they came together, members of this crew used to throw hardstyle parties, so having a dedicated side-stage for other electronic music genres is within the realm of possibility.
“I want to keep it fresh,” Ben says. “I’ve even flirted with the idea of doing seperate metal gigs in future, too.”
Vision Music Festival is on Saturday, 14 December at Symonston Park. Of all Canberra’s stellar shindigs happening at year’s end, this is unmissable. Tickets are currently on third release through Humanitix, so dance them fingers across your keyboard and reserve a spot at what will surely be a day to remember.
I’ll see you there!
Discover the man behind Messiah, Water Music and the Coronation Anthems and meet some of the artists he collaborated with in Glorious! a beautifully inventive Salon experience using narration, music, mime and masks to magically recreate the experience of 18th century London where Handel’s influence was arguably greater than any monarch’s.
Countertenor and host Tobias Cole, along with his Salon players, including acclaimed soprano Ayşe Göknur Shanal, Baroque violinist John Ma, harpsichordist Marie Searles and pantomimist Marcel Cole will transport you as they explore the extraordinarily rich life of George Frederic Handel. Citynews arts writer Helen Musa will lead a discussion after the show with Tobias and the other performers. And to finish there will be a rousing encore!
ESSENTIAL ARTS EVENTS ESSENTIAL ARTS EVENTS
Steve Hughes is a national treasure. Don't be fooled by his UK residence; Steve is as Australian as they come. From Slaughter Lord to Spicks and Specks, Steve has carved out a varied career, a sharp steer from his first love of drumming in a heavy metal band.
Steve Hughes DRUMMING
heavy metal; war, religion, and the establishment," he wryly quips.
But make no bones about it; this is one funny guy. Thirty seconds into our chat, I'm already giggling.
So, what does lead one to transition from music to comedy?
"When you think about it, the themes you address in your sets are much like those in
"Being in bands for 17 years, I mean... I'd rather be a musician than a comedian, to be honest.
“I grew up in Australia, the outpost of the world where nothing ever happens.
"So after being in bands, rehearsing for five years, making albums, touring - then seeing your base player or guitarist become a junkie or something, you realise you can't leave your life in the hands of other people anymore.
UP THE FUNNY
BY CARRIE GIBSON
"We were all kind of into comedy throughout the '80s,” Hughes continues. “I was funny, and I could sort of act. I thought maybe I could do comedy.
“So, I enrolled into some improvisation and drama courses."
And then, in the true spirit of his home country, Steve just gave it a red hot Aussie go.
"It's a frightening thing," Steve admits. "Compared to music, especially. You can practice music; you can practice sport.
"Comedy is like surfing; you have to start in the sea. You can't start in the bath, can ya? Then your first show is always a complete failure."
Yet Steve, hailing from the western suburbs of Sydney, was hard as nails, with the metal motivation to match.
Cited influences of Hughes include Richard Pryor, Bill Hicks, George Carlin and Eddie Murphy, comedians who notably eschewed political correctness.
Through these influences, Steve realised his brand of humour aligned, creating a performance pivot point toward expressing dissatisfaction with aspects of the social construct. Criticisms of political correctness, religion, war, drug laws, colonialism and corporate capitalism were all on the table.
"Some of my earliest material was about the whole 9-5 thing being a complete lie," Steve recalls. "It's basically slavery. But they don't give us food or somewhere to live. This lie is still being realised today.
"I mean, I recently watched a clip on YouTube with some young lad coming to grips with it. The 9 to 5... I couldn't fathom it. That, and university. I can
understand if you want to become a brain surgeon or an engineer, but I was an uneducated kid from the West; what was I going to do? Work in a factory?" Steve says with a knowing roll of the eye.
This candid conversation continued, covering the state of Australia and the world, culminating with the terrifying fact that Twisties are now $7.50 a pack.
"And when were the cigarettes more expensive than the Jack Daniels?" Steve blurts out. With pursed lips and wide eyes, I aggressively concurred.
So, aside from the laughs, is it Steve's deliberate intent to stir a social commentary within his audience, or is it strictly about the shits and giggles?
"It's strange to be a comedian," Steve ponders. "It's strange to be a musician. Musicians are too… serious. On stage, I mean. Unless, of course, you're Blink 182.
"That persona. When performing as a musician, the drama onstage is the complete opposite of a comedian. But I wasn't that political. I didn't start down this path of biting social commentary until the 2003 Iraq War.
"This is where I started going hardcore,” he continues. “Comedians aren't supposed to be serious, right? I make people laugh, so I called myself 'seriously funny.'"
This sounds rather like a cathartic release.
"Well, nothing is as cathartic as playing the drums", Steve insists. "It was one of the initial things I noticed during my first comedy bit. Drums are a way better release. It's more visceral, violent; you don't get that from comedy, and you can't get that visceral or violent in comedy."
And so concludes the 10% of the conversation I am allowed to report, with the other 90 of this conversation being off the record. You'll just have to catch Steve at The Basement on Saturday, 9 November before the UK reclaims him for several more years. Tix are $45.40 via Oztix.
SINGLE IN FOCUS
INEZ HARGADEN DEAR SONG
[ ]
Recorded at the venerable Amberly Studios, nn her latest single, Dear Song, Inez Hargaden takes what might have been an ordinary folk-pop tune and turns it into something altogether more elusive, more textured.
Hargaden, an Irish singersongwriter known for her evocative storytelling, brings a quiet intensity to the track. Her voice, shifting between tenderness and resolve, draws you in slowly before delivering the kind of emotional heft that leaves you both satisfied and searching for more.
This is no simple ballad; Dear Song builds itself into a delicate yet forceful meditation on loss,
healing, and the strange ways music can stitch together the fragments of a fractured heart. The track opens with a gentle acoustic guitar, immediately setting the tone for something reflective and intimate. The melody wears its folk roots on its sleeve, with just a hint of traditional inflection. There’s a familiarity in this intro, the kind that makes you lean in, thinking you know what’s coming next.
But Hargaden sidesteps predictability. When the chorus arrives, it doesn’t just lift—it expands, as bass and drums join the fray, subtly but decisively pushing the song into new emotional territory.
The real surprise, though, lies in the chord choices during the chorus. They don’t follow the well-trodden paths you’d expect. Instead, they reflect the emotional uncertainty at the heart of the lyrics:
When the storm falls so fast
The break is divine For the lost and the rest
wardrobe,’ a playful metaphor that gives way to lyrics baring poignancy:
Why won’t the chorus go on? Tears drip and dive in their time Throat’s catching ice and I learn that the songs that I love they are gone.
Here, the music takes on an almost tactile quality, as if the very act of songwriting is a struggle to grasp that which constantly eludes her. The electric guitar lines that slip between verses add to this sense of searching, their understated presence a counterpoint to the emotional weight of the lyrics.
And then, just when you think the song might settle into a predictable structure, the bridge arrives, and the mood shifts one more time:
Glory in the words of the raised king You cast your cold hand on life passed by me Hargaden’s voice is tinged with something like resignation. It’s a potent visual, grounded in the kind of poetic tendencies that elevate the track beyond mere sentimentality.
By the time the final chorus rolls around, you’re not just listening to a song anymore; you’re wrapped in it, carried along by its current. There’s a sense of catharsis, but also of unfinished business, as if the song itself is a letter that will never truly find its recipient.
Dear Song is a testament to Inez Hargaden’s ability to transform the ordinary into something deeply affecting. It’s a track that demands more than just a cursory listen, one that rewards you with new layers of meaning every time you return to it.
In a world awash with disposable pop, Hargaden’s music stands out—not because it’s flashy, but because it’s real, and because it stays with you long after the final note fades.
VINCE LEIGH
Mikelangelo Revives Leonard Cohen in One-Night-Only performance at The Vault
On the 8th anniversary of Leonard Cohen’s passing, Mikelangelo presents an unforgettable celebration to one of the greatest musical poets of our time. On Friday, 8 November, The Vault transforms into a nightclub of the afterlife, where the realms of the living and the dead collide in a joyous, soulful celebration of Leonard Cohen’s musical legacy.
Hosted by the charismatic Mikelangelo, this unique live show breathes new life into Cohen’s timeless songs, backed by The Band of Mercy. With a voice as rich as Cohen’s own baritone, Mikelangelo leads a handpicked ensemble of musicians, joined by a stellar line-up of special guests: Canberra legends Shortis & Simpson, Fred Smith, Alice Cottee, Tom Woodward, Tracy Bourne, and introducing the talents of Peter Campbell, Gemma Clare, and Lily Acheson.
Expect a moody, late-night groove as Cohen classics like I’m Your Man, You Want It Darker, Tower of Song, and Dance Me to the End of Love take centre stage. With sultry, club-style reworkings of Suzanne, Bird On A Wire, Famous Blue Raincoat, Hallelujah, and more, Club Cohen offers fans a rare chance to lose themselves on “boogie street” to the masterful words of Cohen.
“This show was born from a conversation with my old friend Martin Craft, whose work with Sidewinder and Jarvis Cocker,” Mikelangelo explains. “Putting Club Cohen together has reminded me of the sheer power and beauty of Leonard’s poetic vision. His songs shift the tectonic plates of my inner world—bringing tears, joy, and laughter, often all at once. Singing these songs with my friends is both an honour and a delight.”
“At 19, I stumbled upon Songs of Love and Hate in a second hand record shop. I knew nothing of Cohen at the time—it was the title that drew me in. The moment I heard
Avalanche, I was transported to a wild, dramatic, beautiful landscape. Cohen’s words and music inspired my own songwriting and helped me find my artistic voice as a young man. Now, more than 30 years later, his work still moves me.”
Leonard Cohen’s music continues to resonate deeply with new generations long after his death, and no one is more attuned to his poetic legacy than Mikelangelo. Internationally celebrated for his original work as a solo artist and the leader of his long term band, The Black Sea Gentlemen, Mikelangelo has spent years interpreting the music of Cohen, as well as other iconic artists like Nick Cave and Tom Waits.
Following Cohen’s passing, Mikelangelo was chosen to curate and lead a tribute to his life and songs at Sydney Festival, where the show was a sold-out success. Now, with Club Cohen, he offers a fresh, heartfelt celebration of the songs that have shaped his own artistry, delivering them with the natural ease and depth only someone steeped in Cohen’s legacy can provide. This performance promises to be an unforgettable, one-night-only experience.
The Vault will be transformed into a classic nightclub with a full bar. Seating is limited, so early arrival is recommended to secure a spot. Don’t miss this one-of-a-kind homage to Leonard Cohen, where the dance floor and the afterlife become one.
The Vault is located at 1 Dairy Road Fyshwick, access is available via Entrance 1 or 2, with entry via the P3 car park behind Capital Brewing Co.
Date: Friday, November 7, 2024
Time: 7 PM
Tickets: Available now.
More info: thevault.place @thevault
The Fauves’ appeal is difficult to define. Never fitting into any particular genre has afforded them a longevity rare in the music industry, while their extra-curricular talents have seen them involved in everything from hosting youth television programs to appearing on the popular TV quiz show Sale Of The Century.
James Cahill (BMA): An extensive tour coming up. What does prep look like for Andrew Cox?
Andrew Cox (COX):I haven’t done much so far, which is long overdue. We definitely need to whip ourselves into shape. I’ve been working from home as a Spanish and Portuguese-to-English translator.
BMA: So rock ‘n’ roll. How tidy does it need to be? Are you guys perfectionists?
COX: Quite the opposite! We’ll probably be at our best by the last couple of shows on the tour. So, yeah, make sure to catch one of those. I wouldn’t recommend coming to the early ones, to be honest. It’s really just about getting through without being booed off. Things could fall apart at any moment— that’s always been how we operate.
BMA: Do you guys improvise on stage?
Not a lot. I suppose there are one or two tracks with a little room for that, but generally, no. We’re mostly just trying to reproduce the songs in a vaguely familiar way. I listened to Tropical Strength earlier. It was exactly what I needed after a rough day—really fresh and uplifting. un-Australians is a bold way to kick off the album. What made you choose that as the opener? It felt like a natural opener, really. Once we recorded it, the whole thing seemed to jump out and set the tone.
BMA: What emotions are you trying to communicate through that track?
COX: I suppose there’s a bit of anger behind it, yeah. We were definitely trying to be a bit obnoxious. It’s meant to be pretty in-your-face and unapologetic.
BMA: Do you guys get off on being obnoxious?
COX: No, I’m a very different, introverted person in real life. Music is the only way I can show a side of myself that I’m too scared to reveal otherwise.
You can get away with a lot more in a band, which is probably one of the main reasons I got into it—to inhabit a different personality through music.
BMA: Music is a way to express what you can’t in this default realm.
COX: People inevitably think I’m a lot more interesting than I actually am. Those who’ve seen us play have been fooled into thinking I’m much more outgoing.
In reality, I’m always very aware that I can’t live up to the ideal of some rambunctious frontman. As I mentioned earlier, I’m a translator—honestly, I’m just one job away from being an accountant!
Though I probably shouldn’t be dissing accountants like that—they get a bad rap.
BMA: Nah, screw ‘em! Your next single should be called, Fuck Accountants.
COX: Hahaha, right! Well, looks like we’ve got a new concept album on our hands!
packed, but that’s something you don’t see as much these days.
BMA: How’s this interview going, Andrew? This is only my second one, y’know. It sounds highly professional, really casual. Trust me, I’ve done some terrible interviews over the last 36 years, so this is going brilliantly by comparison.
BMA: Good to know! So... What else has changed in the music scene since 1988?
Obviously, it’s changed a lot over the years. When we started, there was no internet, no mobile phones. We did a demo tape, and I mean an actual tape, and we’d walk around the city, going from pub to pub, asking to see the person who booked the bands, and handing them one of our tapes.
A lot of legwork was involved—driving around the city at midnight, putting up posters by hand. None of the promotional avenues that exist today were around back then.
Live music was probably more popular, too, since people had fewer entertainment options. I remember doing Tuesday night residencies, which weren’t
There are also far fewer venues now than when we started. I’m not trying to sound like an old-timer, but yeah, things were different back then.
That said, I have no idea what it’s like starting out now in 2024. I can only speak to how it was back in 1988.
And, yeah, I do feel like I’m sounding ridiculously old!
BMA: Whether it sounds old-school or not, I’m curious—how did a Melbourne band 36 years go about carving its own path?
COX: It was hard—but it’s hard at any time. In some ways, it was more brutal. The industry probably hasn’t changed that much, but it used to be dominated by a lot of macho, alpha-male types who were pretty tough to deal with. And that’s just for us white dudes!
That said, it also fostered a strong sense of unity within our band. We became each other’s protection, which brought us closer.
But despite all that, we had heaps of fun. I hope you’re also discovering that—whether you succeed or fail, putting yourself out there creates great experiences.
It’s all about experience. Has it been the same for the members of the band?
We’ve had just one line-up change in the last 25 years; one change in 36 years is doing fairly well, right? And, touch wood, no one’s died yet.
But we’re all getting older, so that’s becoming a more distinct possibility.
When we started, I never thought death would be the thing that might break us up. But now, more and more, I’m starting to think we’ll probably keep going until one or more of us passes away.
It’s a bit morbid, but I could never have imagined this when we started all those years ago.
BMA: Yeah, that’s impressive. You’ve been consistently releasing albums over the years. What keeps bringing you back? What drives you to keep recording, releasing, and touring?
COX: Honestly, it’s a pure vanity project at this point. There’s no commercial imperative—we don’t sell many records or make any money from it. We just love doing it together.
And yeah, it’s still about that feeling of having something to say. Whether or not anyone else thinks we do doesn’t really matter. If we believe we’ve got something to share, that’s all that counts, right?
BMA: Do you think that’s because you’re all secure in your jobs outside of music?
COX: To varying degrees, yeah. We’ve moved beyond that phase where we thought we could make a living out of music. There was a brief moment—maybe three or four years—where it seemed possible. We were on a major label, but when we got dropped, we
had to face the reality: we would never be a massive band, and we’d need to get day jobs.
That’s usually the point where a lot of bands call it quits. But for us, it was actually quite freeing. We no longer had to answer to anyone or worry about whether our music would get played on the radio or if people would like us.
And that’s why we’re still going—it’s purely for the joy of it now. The commercial pressure is gone, and when that disappears, you either realise you’re not that into it or you find out you still love what you’re doing. We’re still best friends, so we’d hang out regardless of the music. If we feel that way, there’s no reason to stop.
BMA: Like I said, the album sounds fresh—it doesn’t feel dated. How do you manage that after 36 years?
COX: I appreciate you saying that! We still sound like ourselves, but hopefully, we’re also staying connected to what’s current. We’re all interested in new music and what’s coming out now, and I think that filters through to keep us feeling a bit more contemporary—despite having that “dinosaur element” to us.
But yeah, we’ve never felt like we were forcing anything. We’d probably know it was time to stop if we ever thought it was getting tight or forced in the studio. So, as long as it’s fun and we enjoy the music, it’s worth doing. And if people like it, great. If not, that’s okay too.
BMA: Thoughts on playing Canberra?
COX: It’s been a while; I’m trying to remember the last time. It was probably about five years ago, maybe when we played there with Regurgitator.
Before that, there was a bit of a gap, but we used to play there regularly back when we were gigging a lot, usually at one of the unis or different venues that opened and closed over time in the CBD.
I’ve always liked Canberra. It gets a bit of a bad rap, but I’ve always enjoyed visiting. It feels very Australian to me, and I’m a big fan.
BMA: I’m working on a track titled “**** ****,” which will be released in the upcoming edition of BMA.
COX: Talk about coming out of the blocks hard. You’re not aiming for Triple M radio play with that.
BMA: Not for this song, at least. I call myself an Anti Perfectionist; I’m intentionally using a garage band for the “shitness” of it.
COX: That’s really interesting, especially considering how much recording has changed. Nowadays, it’s so much easier to do everything yourself at home.
Back in the day, your only option was to find a really expensive studio. Now, you can just open a laptop and have a whole recording studio at your fingertips—it’s so much more accessible.
There’s something special about creating your music from scratch. It gives the music its personality and a unique character from the DIY approach.
BMA: Personality IS key. If the concept is good, how d’you know when a song is done without overworking or overthinking it? When is time to let go?
COX: Oh, for sure, yeah. So many outstanding
records are barely produced, and when bands start overproducing, they often lose something.
Part of it, I suppose, is that we’ve always had limited time in the studio, so we couldn’t go down those long rabbit holes, spending months on production. The music we’ve always liked has been pretty minimally produced—fairly direct, indie/alternative, whatever you want to call it.
I also think you realise early on with a song: if you start feeling like you need to throw too much at it, you need to step back and ask, “Is the song any good?” Great songs tend to shine through naturally, even with minimal production.
That’s not to say production isn’t essential, but great music sounds good when it’s fairly unadorned.
BMA: Well, I guess we’ll wrap this up. I can’t wait to see you guys. Anything you’d like to leave us with?
COX: I don’t have anything all-encompassing to say or particularly profound. So, maybe you could end it like the final episode of “The Sopra..
THE FAUVES hit up their favourite haunt,The Baso, on Friday, 29 November, with super special guests, CUSTARD. Tix $60 via Oztix.
THU 7 NOVEMBER
Girls Jazz+ Open
Rehearsal (ANU
Community Music Centre)
Come along to see what Girls Jazz+ is all about! Check out a rehearsal and even join in if you're game. 4:30pm, free!
BIG BAND ROOM, PETER KARMEL BUILDING, ANU
Mortal Komedy Roast
Join comedic talents Marky Worthington, Cy Fahey, Laura Johnston, Chris Marlton, and your guest Roast MC for the night, Jez Margosis. 7pm, tickets $20 via OzTix
THE BASO
Yeevs Album Tour ft.
The Burley Griffin + Strawberry Prince
Yeevs will be touring their new album this November with a stop in Ngunnawal with beloved locals The Burley Griffin, and Strawberry Prince. 7:30pm, $15 + bf via Humanitix
DISSENT CAFE AND BAR
FRI 8 NOVEMBER
Live Baby Live:
The INXS Tribute Show
Party with Australia’s most celebrated and exciting tribute to the legendary kings of rock 'n’ roll - INXS! 7pm, tickets $35.20 via OzTix
THE BASO
Pestilence Consvming
Avstralia Tour ft. Alarum
For the first time ever, and after an agonisingly long wait, legendary extreme Dutch metal act Pestilence are set to conquer Australian territory! Pestilence was one of the first major bands to emerge from the Dutch metal underground of the 1980s, and they're here to show the what & why of their longevity. With very special guest, Alarum. 7pm, tickets $71.40 via OzTix
THE BASO
Dobby's Boiled Room
Experience the ultimate boiler room with the UC Hub's 360° stage debut. 8pm, $28.48 via Moshtix
UC HUB
Johnny Reynolds Band
Johnny Reynolds has an impressive background as an international performer for the past 40 years starting in the Dublin circuit in 1982. His credits include joining B.B. King on stage at the National Stadium in Dublin. 8pm, free
OLD CANBERRA INN
Last Call
Last Call blend their sound of soulful vocals and surprising solos 'n' riffs that will have you reminiscing about that old flame. 8pm, free DICKSON TAPHOUSE
SAT 9 NOVEMBER
Steve Lynch in US of Eh?!?
Steve Lynch’s award-nominated one-man show about his year living in the craziest place in the world - America. 2pm, $20 via smithsalternative.com
SMITHS ALTERNATIVE
La Fiesta!
Canberra's Latin Festival
The City Centre is about to come alive with the art, sounds, and flavours of Latin America!
La Fiesta - Canberra's Latin American Festival is returning, and it will be a day full of energy, music, food, and art! 3pm, free LATIN AMERICAN PLAZA, CIVIC (OUTDOORS)
JD Band Album Launch
Original blues & roots from local supergroup comprising DorothyJane on vocals & harmonicas, and Jeff Prime on the resonator & electric guitars. Complete with swampy rhythm section, the new LP and subsequent performance showcase well-crafted songs from upbeat foot-stompers to expressive ballads. 4pm, free OLD CANBERRA INN
Chris Ryan Special Filming
— Good-O
Join the live audience for the filming of Chris Ryan’s 2024 Festival show, Good-O, in her home town of Canberra! A chance to support for Chris, and for live gigs. 4:30pm, $30 FUN TIME PONY
Smile: The Story of Charlie Chaplin
From the award-winning creators of The Ukulele Man comes a brand new physical comedy show about the life and films of Charlie Chaplin. 6pm, $38 Full / $32 concession via TicketTailor
TUGGERANONG ARTS CENTRE
Steve Hughes
Australian comedic legend Steve Hughes returna to Australia after spending the past four years in the UK. Fans in Melbourne and Sydney fell in love with him all over again after riotous shows in January and now Steve will be sharing his comedic ire with us Canberrans. 7pm, tickets $45.40 via OzTix
THE BASO
Waiting For Godot By Samuel Beckett
Witty and absurd, poignant and profound, Waiting For Godot is a timeless take on what it means to be human. 7:30pm, $45 - $59 + bf via venue
THE STREET THEATRE
SUN 10 NOVEMBER
John Stokes
An afternoon acoustic performance at the Canberra Irish Club. 4pm, free entry CANBERRA IRISH CLUB
Apeiron Baroque PresentsSanguine / Melancholy
Dueling violins, Gulliver’s Travels, reflections on Life and Death, and a dialogue between a Sanguineus and a Melancholicus attempting to convince each other through musical interaction! 4pm, $40 - $0 via TryBooking and at door WESLEY UNITING CHURCH, FORREST
Moondog
Moondog performs solo and as frontman of the Moondog Blues Band. He is a master of the blues harmonica and a formidable guitarist, singer and song writer. His voice holds a deep authenticity reminiscent of the great Blues singers of the old. 4pm, free
OLD CANBERRA INN
Inez Hargaden
Inez Hargaden is an Irish singersongwriter from County Cavan. She draws from folk, pop, rock, and jazz to commonly reflect on the joys and tribulations of life. 4pm, free
DICKSON TAPHOUSE
King Parrot + WeedeaterWhen The Weed Meets The Speed Tour w/ Weedeater, King Parrot is widely regarded as one of Australia’s most ferocious and chaotic live acts having created a sound and identity uniquely their own. Weedeater hail from North Carolina, USA and these sludge-toned tarheels need no introduction. With rollicking local support via Astrodeath and Choof. 5pm, $49.90 via OzTix
THE BASO
Steve Lynch in US of Eh?!?
Steve Lynch presents his awardnominated one-man show about his year living in the craziest place in the world - America. 6pm, $20 via smithsalternative.com
SMITH’S ALTERNATIVE
TUE 12 NOVEMBER
Waiting For Godot By
Samuel Beckett
Witty and absurd, poignant and profound, Waiting For Godot is a timeless take on what it means to be human. 6:30pm, $45 - $59 + bf via venue
THE STREET THEATRE
WED 13 NOVEMBER
Waiting For Godot By
Samuel Beckett
Witty and absurd, poignant and profound, Waiting For Godot is a timeless take on what it means to be human. 6:30pm, $45 - $59 + bf via venue
THE STREET THEATRE
THU 14 NOVEMBER
Waiting For Godot By
Samuel Beckett
Witty and absurd, poignant and profound, Waiting For Godot is a timeless take on what it means to be human. 7:30pm, $45 - $59 + bf via venue
THE STREET THEATRE
The Boney M Xperience and Fabba
Relive disco magic with these legendary groups. Secure your ticket and grab your disco attire for an unforgettable night of nostalgia, fun, and music. 8pm, from $49.50 via theq.net.au
THE B - QUEANBEYAN PERFORMING ARTS CENTRE
FRI 15 NOVEMBER
Chamber Musicale (ANU Community Music Centre)
Join us for two chamber music concerts presented by the chamber and vocal ensembles of the ANU Community Music Centre. Two concerts at 6pm and 7:15pm. Free!
BIG BAND ROOM, PETER KARMEL BUILDING, ANU
Tuck Shop Ladies
The Tuck Shop Ladies make a rare appearance in Canberra, supported by Felicity Dowd. 6:30pm, $20 / $15 conc via Smith's Alternative website
SMITH'S ALTERNATIVE
Basement SpacemanVoyager & The Golden Record
Melbourne's Basement Spaceman presents Voyager And The Golden Record, an engaging, highly visual, psychedelic show. 7pm, $10 on the door POT BELLY BAR
Loose Surface -
The Cheap N' Dirty Tour
The hard-rocking and facemelting party maniacs Loose Surface are turning it up to 11 with their breakout debut EP tour, Cheap N' Dirty. With supports Parrots Piercings, Sonic Death Ray, and DSM-6. 7pm, $18.40 via OzTix
THE BASO
Pop Filter (VIC)
Featuring members of beloved Melbourne bands The Ocean Party and Cool Sounds, Pop Filter are launching their third album, Ray and Lorraine's. Supported by Lily Morris, and Petre Out and the Tyreslashers. 7pm, $20 via Humanitix
SHADOWS NIGHTCLUB
Waiting For Godot
By Samuel Beckett
Witty and absurd, poignant and profound, Waiting For Godot is a timeless take on what it means to be human. 7:30pm, $45 - $59 + bf via venue
THE STREET THEATRE
DJ Jordan Harrison
Spinning grooves from every decade of modern music, Jordan brings the vibes with everything from reggae to disco. 8pm, free OLD CANBERRA INN
SAT 16 NOVEMBER
TAC Grand Day Out
Enjoy a series of performances from community groups and artists based south of the Lake. Spearheaded by TAC’s own Fresh Funk, these performances will include a variety of dance, music and singing. From 10am, free on the door
TUGGERANONG ARTS CENTRE
Chris Harland Blues Band
Every CHBB set remains a memorable, musical event, revisiting the best of the Blues standards: B.B. King, Buddy Guy, Muddy Waters et al. 2pm, free OLD CANBERRA INN
Posseshot - Operation Blunder Rap Tour
Having earned a reputation as one of Australia's most chaotic live acts, hip hop duo Posseshot return with another national tour to round off 2024. 7pm, $49 via OzTix THE BASO
Honest Crooks -
10 Years Of Torment
10 years deep into their existence, Honest Crooks have melded combinations of metal and hardcore to shape a sound that resonates with the band's growth and purpose. With a merry gaggle of supports, incl. Shinto Katana, Bloodmouth, Fatlip, Moving Violation, and Step To Me. 7pm, $29.60 via OzTix THE BASO
Waiting For Godot
By Samuel Beckett
Witty and absurd, poignant and profound, a timeless take on what it means to be human.
7:30pm, $45 - $59 + bf via venue THE STREET THEATRE
SUN 17 NOVEMBER
Trainspotting |
Book Club at the NFSA
Trainspotting offers a window into Edinburgh's drug scene through the perspectives of its anti-heroes. Ewan McGregor is Renton in Danny Boyle’s film, a young man who tries to get clean. Followed by a discussion with author Bram Presser. 1pm, $20/18 via NFSA
ARC CINEMA, NFSA ACTON
Dan KellyGold Feels Album Launch
Multiple ARIA and AMP Award
nominee Dan Kelly (flying solo) will be launching his new LP, Gold Feels. 4pm, $25/$20 conc
SMITH’S ALTERNATIVE
Eden Plenty
Eden Plenty is one of Australia's most beautiful original voices, his talent is matched only by his love of creating and sharing music. 4pm, free
DICKSON TAPHOUSE
Inez Hargaden
Inez Hargaden is an Irish singersongwriter from County Cavan. She draws from folk, pop, rock, and jazz to commonly reflect on the joys and tribulations of life. 4pm, free
OLD CANBERRA INN
Waiting For Godot By
Samuel Beckett
Witty and absurd, poignant and profound, Waiting For Godot is a timeless take on what it means to be human. 4pm, $45 - $59 + bf via venue
THE STREET THEATRE
MON 18 NOVEMBER
Wamburang Women's Choir Concert (ANU Community Music Centre)
An evening of choral music led by Ngunnawal musician, Alinta Barlow, the Wamburang Women's Choir explores contemporary music and the Indigenous languages of Australia. 6pm, free! BIG BAND ROOM, PETER KARMEL BUILDING, ANU
TUE 19 NOVEMBER
Jazz Junction (ANU Community Music Centre)
An evening of jazz presented by the ANU Community Music Centre's Jazz Combos and Girls Jazz+ programs. 5:30pm, free! BIG BAND ROOM, PETER KARMEL BUILDING, ANU
Waiting For Godot
By Samuel Beckett
A timeless take on what it means to be human. 6:30pm, $45 - $59 + bf via venue
THE STREET THEATRE
Open Mic Comedy
The free entry Open Mic Comedy night held on the 1st and 3rd Tuesday of each month. Doors at 7pm, show at 7:30pm. $0 via OzTix
THE BASO
Dept of Rock 2024 Battle of the Bands - Semi Final 1
It's semi final time at Dept of Rock! Come cheer on six bands of public servant rockstars as they try to play and slay their way into the Grand Final. Fun, friendly and very Canberra! 7pm, $20/$10 via venue
SMITH'S ALTERNATIVE
WED 20 NOVEMBER
Waiting For Godot
By Samuel Beckett
Witty and absurd, poignant and profound. 6:30pm, $45 - $59 + bf
THE STREET THEATRE
AleksiahYou're Never Getting Rid of Me Tour w/ Ixaras
Embarking on her third headline tour, You’re Never Getting Rid Of Me sees Aleksiah present new music and established favourites. 7pm, $29.10 via OzTix
THE BASO
Anh Do - The Happiest Refugee Live!
When one of Oz's most talented comedians delves deep into his own life’s joys and sorrows, the result is an unforgettable night that leaves an audience uplifted and quite simply experiencing… happiness. 7:30pm, from $69.90 via theq.net.au
THE B - QUEANBEYAN PERFORMING ARTS CENTRE
THU 21 NOVEMBER
YunggabilliFirst Nations Open Mic
Welcoming Wiradyuri woman
Rechelle Turner, offering the opportunity to learn weaving while enjoying music by the Gugan Gulwan Youth Music Program. 5:30pm, free on door TUGGERANONG ARTS CENTRE
Elana Stone Married To The Sound album launch Elana Stone will be hitting the road with her trio to celebrate her new album Married To The Sound. 6:30pm, $25/$30 SMITH'S ALTERNATIVE Waiting For Godot By
Samuel Beckett
The absurd, timeless take on what it means to be human. 7:30pm, $45 - $59 + bf via venue THE STREET THEATRE
FRI 22 NOVEMBER
For The Record - Market & Gig! w/ DOWNGIRL, Sandy Dish, Licklash, Charlotte & the Harlots, Scrambled Record & Artist stalls + live bands rolled into one all killer no filler day. Local creatives and record vendors kick things off, offering a range of goods for sale such as second hand vinyl, CDs, band tees, and handmade clothing. 4pm, $24.50 via OzTix THE BASO
Lakeside at 5: Lachlan Coventry and Eric Ajaye
For the final Lakeside at 5 event of 2024, Eric Ajaye and Lachlan Coventry present their own compositions plus treatments by some of their influences in music. 5:30pm, entry by donation on the door
TUGGERANONG ARTS CENTRE
ENTERTAINMENT
Jazz Jambo (ANU Community Music Centre)
Join the CMC's adult jazz combos as they present an evening of smooth tunes & swinging beats. Pop by after work (grab a bevvie from the bar) and let this soundtrack the start of your wellearned weekend! 6pm, free entry BIG BAND ROOM, PETER KARMEL BUILDING, ANU
SciNight: Refraction
Experience Questacon after dark for a vivacious celebration of science and pride. Featuring Drag King Guy Alias, Meridian, the Dead Puppet Society and Qwire alongside activities, science demonstrations, shows, food, drinks, cocktails. 6:30pm, $30 QUESTACON
Irish Film Festival Australia
A celebration of Irish cinema over three nights. 7pm, $24 + via irishfilmfestival.com.au/ DENDY CINEMAS
Waiting For Godot By Samuel Beckett
Witty and absurd, poignant and profound. 7:30pm, $45 - $59 + bf via venue
THE STREET THEATRE
Blues Piano Night
@ The Zeppelin Room
It’s back! One of the most popular events of the year. Featuring five different players, playing solo & together, offering different takes on the many genres of blues piano styles. 8pm, $25 ($20 CBS members), $30 on the door
HARMONIE GERMAN CLUB
CHROME - Goth || Industrial || EBM || Dark Electro
Canberra's home of Goth, Industrial and Dark Electronic music is back for our last event for 2024! Bringing two amazing interstate guests, DJ Acidtrixx (Melb) and DJ Filthyghoul (Syd), plus house DJs D.Cipher and OSIONS! 8pm, $15 RELOAD BAR AND GAMES
Flynn Marcus Quartet
4-piece blues/jazz Outfit performing some of the smoothest Jazz you can wrap your head around! 8pm, free DICKSON TAPHOUSE
Lounge Baby
Members Robert, Peter, Dave and Maeve playing original songs. 8pm, free OLD CANBERRA INN
SAT 23 NOVEMBER
Sneaky Jeremiah
A Canberra-based feel-good, good time band delivering soul, blues, R&B, anthems, Americana, and classic rock. 2pm, free OLD CANBERRA INN
Orpheus Omega w/ Carmeria
Melodic death metal powerhouse
Orpheus Omega (VIC) and Symphonic Gothic Metal masters Carmeria (NSW) join forces for the Embers Of Tragedy Australian tour. 7pm, $34.69 via OzTix THE BASO
Waiting For Godot By
Samuel Beckett
A timeless take on what it means to be human. 7:30pm, $45 - $59 + bf via venue
THE STREET THEATRE
SUN 24 NOVEMBER
Benedict Moleta
Illuminated Numbers Launch Western Australian singersongwriter launches his ninth album Illuminated Numbers with supports Nicole Smede and Abi Main. 4pm, $20/$15 via venue SMITH'S ALTERNATIVE
Flik
Canberra based singer/ songwriter, Flik, combines featherlight fingerpicking with lucid and comforting vocals, all brimming with vulnerability. 4pm, free entry
DICKSON TAPHOUSE
Tiernan
Alt folk artist who draws from traditional Irish and modern global influences. Lyrical themes of reflection and growth are backed by intricate guitar to create a warm sound. 4pm, free OLD CANBERRA INN
Waiting For Godot By
Samuel Beckett
4pm, $45 - $59 + bf via venue
THE STREET THEATRE
Bill Kirchen (USA) and The Detonators (VIC)
Bill Kirchen, King of Dieselbilly, playing one night only with Australia's High Priests of Blues Rock 'n' Roll, The Detonators. A must-see for any lover of roots music. 5pm, $65 + bf or $100 + bf for dinner + show via Humanitix
HARMONIE GERMAN CLUB
TUE 26 NOVEMBER
Dept of Rock 2024 Battle of the Bands - Semi 2 It's semi final time at Dept of Rock! Come cheer on six bands of public servant rockstars as they attempt to play and slay their way into the grand final of our band comp. It's fun, friendly and 'very Canberra'! 7pm, $20/$10 via venue
SMITH'S ALTERNATIVE
WED 27 NOVEMBER
Teen Jesus and the Jean Teasers At The Canberra Wave Teen Jesus and the Jean Teasers will play at the Rising Tide Canberra Wave, a protest against new coal and gas; a twoday occupation of Parliament lawns asking Albo: when will you stop coal and gas? Catch their gritty grunge-pop after the mass rally. 1pm, free PARLIAMENT HOUSE LAWNS
FRI 29 NOVEMBER
Opening Party - Carol Jerrems: Portraits
Celebrate the work, life and legacy of one of Australia’s most influential photographers. See the exhibition for free, grab a drink, and soak up DJ Charlie Villas’ genre-and generationbending beats. 6pm, free NATIONAL PORTRAIT GALLERY
A Midsummer Night's Dream
Join a cast of our region’s finest (and funniest!) actors for an evening of laughter and romance, moonlit woods, love potions run amok and misunderstandings.
6:30pm, Pay What You Feel via theq.net.au
AUNTY LOUISE
BROWN PARK
Custard - Open the Curtains Tour w/ The Fauves
Those lounge reclining soothsayers of the suburban interior return! Expect tales of the intimate, the awkward, and the everyday. 7pm, $60 via OzTix
THE BASO
Daniel Muggleton –Blinded by the Whites
This show is named after a song by The Streets called Blinded by the Lights about taking ecstasy in a British nightclub. The more you know, I guess. 7pm, $35 FUN TIME PONY
Jackie Loeb
Winner of the Australian Mo Award for Best Live Comedy Act, Jackie Loeb is a stand-up comic, actor, singer, musician. 7:30pm, $35/$30 + bf conc via venue THE STREET THEATRE
The Taxpayers (USA)
Experience the legendary genre-bending punk band, back selling out shows after an eightyear hiatus. Support from local folkpunks A Commoner's Revolt. 7:30pm, $30+bf via Humanitix
LIVE AT THE POLO
The Italian Tenors
Showcasing the brilliance of their renowned arias, beloved Neapolitan classics, captivating Popera, and a delightful array of surprises that promise to leave audiences in awe. 7:30pm, from $59.90 via theq.net.au
THE B - QUEANBEYAN PERFORMING ARTS CENTRE
Tessa Devine
Tessa presents a uniquely refreshing show, blending her emotional taste for music with an irrepressible desire to amuse herself, plucking ordinary memories and turning them into musical gold. 8pm, free DICKSON TAPHOUSE
The Cuttings
Members Robert, Peter, Dave and Maeve playing original songs. 8pm, free OLD CANBERRA INN
SAT 30 NOVEMBER
Barry MorganAll Key'd Up
Barry is back from the UK and All Key'd Up! With his trademark smile and flair he invites you to experience his high-energy excitement and mastery of the magnificent home organ (oooer!) 2pm, $35 full $30 concession SMITH'S ALTERNATIVE
The Classical Guitar
As part of TAC’s Saturday Salon series, local classical guitarist Callum Henshaw performs a program of the fine music from Europe and Latin America. 2pm, $38 full / $32 conc via TicketTailor TUGGERANONG
ARTS CENTRE
‘90s ‘n’ ‘00s Music Festival
11 amazing acts will pay tribute to some of the greatest bands from the '90s 'n' '00s. From 6pm, $45.40 via OzTix
THE BASO
Music at The BunkerMonthly Band Night
A fun & feisty mix of punk/ grunge/rock from Canberra bands Matriarch and Napoleon Ice Cream! 6pm, $20 donationFree BBQ & BYOB to boot
THE BUNKER, QUEANBEYAN
Titus O’Reily – Sport: The Unauthorised History
Titus O’Reily returns to the stage with a new show. 7pm, $45 FUN TIME PONY
Adam Harvey - Let The Song Take You Home Tour
Country music legend Adam Harvey in an unforgettable evening of classic country to celebrate his 17th studio album. 7:30pm, $45 + bf via venue
THE STREET THEATRE
Canberra Choral SocietyElijah by Felix Mendelssohn
Starring internationally acclaimed operatic Bass, Teddy Tahu Rhodes in the title role, with soloists from the National Opera in Canberra: Sonia Anfiloff (Soprano), Christina Wilson (Mezzo Soprano), and Damian Arnold (Tenor). Plus CCS’s 70-strong choir, augmented by 100 Come and Sing choristers and a 42-piece orchestra! 7:30pm, $30 - $100 + bf via Ticketek LLEWELLYN HALL
Pisco Sour
A fun and energetic all ages gig! 8pm, free registration via Moshtix
UC HUB
SUN 1 DECEMBER
The Vampires + Jess Green
Join The Vampires & Jess Green inside the Windsong Pavilion for an afternoon filled with ‘texture and tone, buoyed on irresistible riffs’. Choose from delicious food offerings for a picnic with friends and groove to two sets. 3pm, $45/ $35, 16&U free
FOUR WINDS
CONCERTS, BERMAGUI
Inez Hargaden
Inez Hargaden is an Irish singersongwriter from County Cavan. She draws from folk, pop, rock, and jazz to commonly reflect on the joys and tribulations of life. 4pm, free DICKSON TAPHOUSE
Josh Veneris
Josh Veneris' smooth vocals and guitar covers of mainstream and indie hits make him perfect for a relaxing afternoon. 4pm, free OLD CANBERRA INN
Viktor Rufus - Ciao For Now
Farewell Concert
Guitarist and composer Viktor Rufus presents one last ensemble concert before relocating to the northern hemisphere. 4pm, $30$40 + bf via venue
THE STREET THEATRE
TUE 3 DECEMBER
AXIX Band
Road to '24 w/ Mutthi Band
AXIX Band is the one of the legendary pop rock bands of Nepal. 7pm, $40.30 via OzTix
THE BASO
FRI 6 DECEMBER
DJ Paisa Salsa Night
On the first Friday of every month, the OCI hosts a Salsa Night. So get your Salsa grooves ready and be prepared to hit the dance floor! 8pm, free entry OLD CANBERRA INN
Johnny Reynolds Band
Reynolds has an impressive background, supporting the likes of B.B. King and James Brown, no less! 8pm, free
DICKSON TAPHOUSE
Stripping in the Name OfLive Punk & Burlesque
The ultimate in live music and burlesque entertainment. 7pm, $45.40 via OzTix
THE BASO
Owen Campbell & Shaun Kirk
Renowned blues musicians
Owen Campbell and Shaun Kirk will be gracing the stage for a night of foot stomping blues! 7pm, $37.50 thru Humanitix SHADOWS NIGHTCLUB
SUN 8 DECEMBER
Emma |
Book Club at the NFSA
A joyous take on the muchloved classic, Autumn de Wilde’s Emma is a quippy romp of period frivolity delivering Austin’s sharp satire of Georgian high society. Discussion with producer Dr James McNamara after. 1pm, $20/18 via NFSA ARC CINEMA, NFSA ACTON
NeonHoney
Canberra's own music producer and songstress. 4pm, free DICKSON TAPHOUSE
Ben Drysdale
Heartfelt lyrics with musical shades of contemporary indie folk, soul and blues, taking audiences on a journey of reflection and hope. 4pm, free
OLD CANBERRA INN
Dept of Rock 2024
Battle of the Bands - Grand Final
From 24 bands in 4 heats to 12 bands in 2 semi-finals, now the final count down is here as 4 bands full of public service rockstars look to be crowned Winner of Dept of Rock 2024. 6pm, $20/$10 via venue SMITH'S ALTERNATIVE
FRI 13 DECEMBER
Pon Fé Hi-Fi
Reggae Sound System
Reggae Sound System share the love of roots, reggae, dub music, community, and dance. Happening all day from 2pm. And it’s free! OLD CANBERRA INN
Andy Golledge BandRegional Tour
When Andy Golledge performs, people take notice. Many years of performing live has honed his skills in knowing how to write a killer song and how to knock an audience off their feet. 7pm, $29.60 via OzTix
THE BASO
Gosika w/ Nebulam, Life Sentence and Saltwater
Canberra, it's Friday the 13th, and there's no better way to embrace the darkness than with a brutal night of death metal at The Baso! Gosika (NSW) and Nebulam (VIC) are bringing the carnage, with local heavyweights Life Sentence (CBR). 7pm, $18.40 via OzTix
THE BASO
Darren HanlonXmas Show 24
It's soon Xmas which means it's nearly time for Hanlon's annual CBR jaunt! Playing solo, and dipping into his expansive and ever-growing catalogue of narrative songs. 7:30pm, $39/$35 + bf via venue
THE STREET THEATRE
Moondog Band
Master of the blues harmonica and a formidable guitarist, singer and songwriter. Moondog's voice holds a deep authenticity reminiscent of the great blues singers of the old. 8pm, free entry
DICKSON TAPHOUSE
SAT 14 DECEMBER
Chris Harland Blues Band
Every CHBB set remains a memorable, musical event, revisiting the best of the Blues standards: B.B. King, Buddy Guy, Muddy Waters… 2pm, free OLD CANBERRA INN
Vision Music Festival
Canberra's Hottest new Summer Music Festival is here! With a fine selection of music, food, art, drink and good times. From 12pm - 10pm, tickets $50 - $90 via Humanitix
235 NARRABUNDAH LANE, SYMONSTON
Frank's Jukebox
Frank Mills was a passionate player and punter in Canberra's underground music scene for decades up until his passing in 2018. IL Bruto and Snake Oil Preachers come together in a Frank Celebration and hope you can join in too! 3pm, $20/$15 via Smith's SMITH'S ALTERNATIVE
The Jazz Haus: Gene Perla
Remembering Elvin Jones: Live at the Lighthouse. Revisit powerful music from the iconic 1972 Live at the Lighthouse gig with one of the group’s founding members, bassist Gene Perla. 7pm, $45 full / $38 concession via TicketTailor
TUGGERANONG ARTS CENTRE
SUN 15 DECEMBER
Ben Drysdale
Ben Drysdale colours heartfelt lyrics with musical shades of contemporary indie folk, soul and blues taking audiences on a journey of reflection and hope through introspective ballads to upbeat foot stompers. 4pm, free
DICKSON TAPHOUSE
Inez Hargaden
Inez Hargaden is an Irish singersongwriter from County Cavan. She draws from folk, pop, rock, and jazz to commonly reflect on the joys and tribulations of life. 4pm, free OLD CANBERRA INN
FRI 20 DECEMBER
Cell Block 69 - The Neverending Corey!
The ‘80s have prevailed through the ages. The ages of Rock and, to a lesser extent but never to be underestimated, synth pop. That’s right… Cell Block 69 is back! 7pm, $55.10 via OzTix
THE BASO
