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STRUTH BE TOLD
WITH JUSTIN HEAZLEWOOD [JUSTINHEAZLEWOOD.COM]
One of my favourite hobbies is giving friends advice that they should go and see a psychologist. I’m either a sucker for punishment, or a passionate advocate for mental health.
In my arrogant opinion, seeing a psychologist is the number one best thing you can do, period. It’s one of my most nonnegotiable beliefs along with vegemite does not belong in the fridge and it’s okay to like Lenny Kravitz.
My hobby has led me to see people in one of five camps: — currently seeing a psychologist — seeing a psychologist but don’t reveal everything — would like to engage a psychologist but can’t find one — had a bad experience and concluded therapy isn’t for them, and finally... — those that have decided they’re kinda above the whole rigmarole as a rarified, elite-level, self-diagnosing category of human who doesn’t require such a convoluted, abstract walk on the dark side of the moon.
I do feel sorry for those who have had a sub-optimal experience. Perhaps good mental health requires a certain amount of luck (such as being born with the right family, place and time, am I right?).
While mostly, technically, unlucky (in that I had a mum with schizophrenia), I have chanced upon two excellent psychologists. I saw Len in 2008 until his retirement in 2013. I found Nicole in 2014 and she is my spiritual mentor to this day.
So yeah - that’s 16 years of therapy (and counting). I credit it for everything that is good and strong and clear in my head and my mind and my gut.
Therapy is hard. So is going to the gym, theoretically. You flog your body until you ‘feel the burn’ and then walk away feeling lighter and fresher. Well, believe it or not, therapy is similar. You sit in a chair. You talk. You work parts of your brain that have long been asleep. You blow dust off the cupboards and drawers of your internal house and open them. It’s a spring-cleaning marathon, paced at 45-minute intervals.
Therapy plays the long game. It’s the opposite of a quick fix. There is a block of a problem. You want to chisel it into a sculpture that resembles yourself. You approach it in stages. It’s not like catching up for a coffee with a friend, but it’s not like going to the doctor either. It’s somewhere in between. A sort of netherworld of human relationship. Just like our dreams fit fascinatingly between reality and the subconscious - who is this expert stranger who takes your pain calmly at face value?
Psychologists don’t just listen. They acknowledge and validate. These simple intimacy mechanics are worth the price of the Medicare subsidised entry fee alone. I would wager that a majority of interpersonal calamities stem from the painfully simple omission of a most basic component of inter-human communication - actually respecting what another person has told you. Even a well-intentioned friend can give you the ‘amateur hour’ cut-price histrionics of a pseudo-counselling mis-step.
Friends are often programmed to dispense advice, solve problems, find solutions and maybe even ‘talk you down’ from your modest soapbox of frustration. Yet, speaking for myself, their efforts almost always feel hollow. What I actually want is a light-to-moderate proverbial pat on the head followed by a philosophical ‘there-there’. If they’re feeling especially flush, they can add a larrikin-Aussiestreetwise equivalent of the oldie-but-goodie ‘that must be hard for you.’
My nan famously didn’t believe in counselling. Having never experienced it, she felt qualified to denounce it. Like so many in her generation, she experienced childhood trauma and didn’t spend a single hour talking it through with a professional. Nearly every family I know is riddled with estrangement and littered with grievances, blindspots and even awkward postscripts of last will and testaments being fought over to the grubby, petty end.
Heck, Metallica brought in a counsellor to sort out their issues, as documented in 2004’s sublime Some Kind of Monster. They say a band is like a marriage. All families have a marriage at their centre. Each and every member of your family tree should be making sure their emotional roots are in order.
How else can we find the time and space to host each other in the kitchenette of our conscious minds? Who wants to hang out in someone’s cluttered lounge eating stale nuts?
I know there is an unprecedented demand on our health system and many good psychologists have their books well and truly closed. All I can say is: I urge you to persist in finding one. Mental health is a priority that justifies unbridled tenacity.
Sometimes life is just easier if you never, ever give up.
Justin Heazlewood is an author and musician.
His new book Dream Burnie releases 3 Februaryjustinheazlewood.com
The year is Two Thousand and Nineteen Eighty 24/25, and Corey is back.
Duanne Le Corey-Michaels has fully recovered from his skiing accident. He’s been hitting the gym, climbing cliffs with Diamond Dave, and sporting spectacular moves on the World Celebrity Croquet Tour.
The rumours about Duanne negotiating becoming the new Richard Simmons are
In 2025, the now-iconic South Coast NelliJam Music Festival will move into its 14th year! A boon for the community via original live music, it is also a grand excuse for us Ken Behrens to head seaward.
And with this kind of line-up, them waters be warm! To whit: The Radiators, Taxiride, Jeff Lang, Minnie Marks, Claude Hay and The Kung Fu Mustard, The Spindrift Saga, Andy Jans-Brown, Flavuh, Slightly Bent Choir, and Violet & Elsie.
From 11:30am - 11:15pm @ Steampacket Hotel Nelligen
20 & 21 Dec @ The Baso Mega Party Arena + 18 Jan @ Steampacket Stadium, Nelligen
true! All spawning from his post “skiing accident” return to work plan instructing low impact pump class on Tuesday mornings at the Betty Ford Clinic. He’s simply unstoppable!
So, what’s next? The seasoned sea of fans know that ROCK is next, as well as but to a lesser degree but still powerful, synth pop. And newbies? Well... you’d better brace yourselves for tomorrow, when the sound of yesterday is today. Right now.
Internationally acclaimed Hong Kong String Orchestra makes its highly anticipated Australian debut to welcome the Year of the Snake with an unforgettable gala of music.
Renowned for its masterful fusion of Eastern and Western classical music, the ensemble captivates audiences with a 20-piece + program, where Vivaldi sits alongside traditional pieces that honour the rich cultural heritage of the Lunar New Year. Expect a nostalgic touch with iconic Hong Kong ‘90s sounds, including music from popular TV drama Blossoms Shanghai, capturing the charm and energy of Hong Kong’s vibrant pop culture.
Following an incredible sold-out tour in May 2023, prolific Irish singer-songwriter Damien Rice returns to Australia.
Known for his hauntingly beautiful live shows, Damien Rice has the ability to transform the biggest of rooms into the most intimate spaces. Often performing
with no set list, Rice has built an incredible connection with fans that continues to evolve with each live performance. A veteran of the live stage, Rice continues to sweep audiences off their feet, commanding crowds in an innate way.
Royale with Cheese, return to The Baso on Saturday, 1 February 2025 with the iconic Ultimate ‘90s Rock Show.
The elite group of skilled musos play all ‘90s rock and pop covers – from Seattle-sound to Grunge to Britpop and all the best Oz Rock. Royale Not just a covers band - it’s a rollicking ‘90s party reviving one of the greatest and most influential decades in rock music.
From Nirvana, Pearl Jam and Soundgarden to Radiohead, Blur and Oasis to Silverchair and Green Day... If you missed the last one, don’t look back in anger; simply come as you, dance like a basketcase, and revel in the evolution (bay-bay!) of Royale With Cheese.
We’ve reached another festive season! This can be a hectic time of year, but no matter how you celebrate, an enjoyable event awaits. Let me show you the way.
If you want to see some of Canberra’s founders for the current music scene, you’ll enjoy this one. Three Canberra bands who were around in the naughties, The Rug , The Martins and Icecream Headache , are coming together for a night to relive the good times, and they’re bringing their friends What She’s Having This happens at Smith’s Alternative on Saturday , 21 December at 7pm. Head to the website for a $20 ticket ($10 concession).
Feeling a bit like the Grinch and not in the Christmas spirit? This one should be right up yer chimney.
Krampus is hosting an Anti Xmas Celebration show on 22 December from 6pm at Smith’s Alternative Joining Krampus are Aquellex and Lulu and the Tantrums. If this sounds like a night for you, head to the Smith’s website to grab a ticket now for $20 ($10 concession).
Do you need some New Year’s Eve plans? I’ve got a Jazz-filled event to say goodbye to 2024 and bring in the new year.
The NYE Jazz Soirée is happening at Blue Eyes Bar from 9pm. The Nate Griffin Jazz Quartet will perform followed by DJ Liquid Sounds . You can get a ticket
for $38.37 via the Eventbrite website. There are also options to book a booth and food. Your ticket price will also include drinks.
If you didn’t know, Fun Time Pony has live music every Saturday night! You can catch talented local legends on stage from XXXX pm. They also have a comedy night every first Wednesday of the month . This could go into your regular rotation with your friends. Check out the Fun Time Pony social media pages and website for more details.
The last event I have for you is an evening of Bulgarian music and pan-Balkan dancing.
Marek Machine is performing at Smith’s Alternative on 19 January from 7pm. Your performers for the night are Desi Gancheva (Bulgarian-born folk singer), Alister Price (Merak Machine) playing the accordion, Rosco Heck playing the percussion, specifically the tupan (daouli) and darbuka, and Ben O’Loghlin on the electric bass.
Tickets are available from the Smith’s Alternative website for $20 ($10 concession).
That’s my showcase of gigs for the month. Get on out there and enjoy yourself. Stay safe this silly season and drink water (especially on the hot days)! - Jannah
Fred Smith
Valentine’s Day Special Concert
Friday, 14 February 2025, 6:30PM to 8:30PM
Smith’s Alternative
Fred Smith and band present, Domesticity.
Fresh from 5 star reviews on debut at the Adelaide Fringe, Domesticity is a beautiful, heartwarming song cycle that will touch you where you live: at home!
“Domesticity is a show highlighting a distinctly Australian songwriter at the very top of his game.” 5 STARS
- KEN GRADY, THE UPSIDE DOWN NEWS, 1 March 2024
“A stunning cycle of deeply personal songs about marriage, babies, love, tolerance, decency and the complexity of modern life... a sublime study in tenderness and vulnerability.”
- BRUCE ELDER - SMH
SCAN FOR TIX!
MagdaMayas
by Allan Sko
SoundOut 2025—the International Festival of Jazz Improvisation, Free Jazz & Experimental Music—will mark its SIXTEENTH instalment come 31 Jan - 2 Feb. In an increasingly turbulent market, the longevity of the now-iconic event serves as testament to Director/ Performer Richard Johnson and the numerous artists and attendees who have fanned the flames all these years.
It is further impressive given that SoundOut eschews the commercial, the mainstream, and the subsequent triple j-esque promotional streams.
“We see our role as fostering continued creative collaborations between some of the best artists the world has to offer with our own brilliant Australian talent, and showcasing these to the community,” Director Richard Johnson enthuses.
“In 2025, we have 26 artists from Australia, France, Germany, and the USA that will combine, crossfertilise, and move sound mountains.
“The aim is to uplift the ears and replenish the mind during the 3-day event, which should work out to be around 17 hours of music, over 22 sets.”
Government funding has been key in keeping this dream alive for so long, with SoundOut 2025 receiving assistance by the Australian Government through Creative Australia, as well as the ACT Government via artsACT.
This, however, hasn’t always been the case. Past events have seen Johnson further knuckle down to raise the necessary finances, calling upon the community that he, and SoundOut has grown and fostered over the years.
“There seems to be more people behind it and more people aware of how important a festival this has become than ever before,” he says.
“In the past, Jon Rose [avant-violinist] has backed it with material including books and CDs, which helps
a lot. Another entrepreneur in Sydney has been very helpful, and various friends and musicians are more aware of helping and spreading the word.”
Once again, the fest brings together a diverse array of artists, creators, and innovators who gleefully operate within the world of experimental and avant-garde music. With a well-earned reputation for its commitment to tickling the boundaries of what music and sound can be, SoundOut 2025 promises to continue this tradition with an even more ambitious line-up, showcasing a variety of performances, workshops, and discussions from some of the most cutting-edge artists in the world of experimental music.
To whit, there’s French quintet Hubbub (pictured below), who fellow publication Soundohm describe:
“Five men walk on stage, two carry saxophones, one a guitar, and the pianist and drummer sit down at their instruments. It looks like a conventional notion of a band…
“And then HUBBUB starts to play, and that visual presence remains in place, almost a tableau, as warm reminder and comforting insistence on the acoustic experience and the tradition of watching people play musical instruments rather than laptops, oscillators, synths and sampling machines. .
Hubbub
“In Hubbub’s hands, every technique for the typically discrete sound is regularly exchanged for a drone.”
There’s ZOSHA WARPEHA, a Minnesota-born, Brooklyn-based violinist, composer, and Hardanger d’amore player working in a meditative space at the intersection of contemporary improvisation and folk traditions.
Hailing from Canada, the festival also welcomes PEGGY LEE, whose remarkable structural ingenuity and globally admired improvised-music scene saw the Vancouver International Jazz Festival, held in late June, book Lee to perform with eight different acts during the ten-day event.
The Palestinian-born-and-raised, Berlin-dwelling MAGDA MAYAS is a pianist and composer/ performer who proves there’s more than one way to play a piano. Over the past 20 years she has honed a vocabulary via both the interior keys and the exterior parts of the piano, using amplification, preparations, and objects that become extensions of the instrument itself.
And there’s Italy’s GIANNA MIMMO, who has built an international reputation for his unique treatment of musical timbre and his exploration of the advanced techniques on the soprano saxophone.
This highlights but five of the 26 artists the festival offers.
To conclude with a circuitous continuation of the theme of community, the coming together of these bright and brilliant artists with the cybernauts of sound that are the audience has created some of the more singular live experiences a person can have.
“Festival newcomers can expect a deep listening experience to take them to new places in sonic awareness, and to marvel at new ways of approaching instruments and techniques,” Johnson says.
“It has the relaxed atmosphere of, say, a rock concert with a studied awareness.
“It’s a great festival,” Johnson gleefully concludes. “And a wonderful way to spend a weekend listening to exploratory music.
“AND you don’t have to travel all the way to Melbourne or Sydney to experience it!”
So, whether you be a lifelong fan of contemporary composition, sound art, improvisation, and exploratory electronic music or you are a bright-eyed, curious newcomer, SoundOut is here for you.
As it once again offers a vital platform for discovering new and exciting works that challenge the norms of traditional musical experiences, here’s to 16 more, says I.
SoundOut Improvisation + Art Workshops
Sound Drawing Workshop
Guided by visual artist Locust Jones with jazz drummer, Haley Chan
Friday, 31 January from 1 - 4pm
Drill Hall Gallery, ANU
Workshop in Free Improvisation
With the Hubbub ensemble, comprising:
Frédéric Blondy - piano
Bertrand Denzler - tenor saxophone
Jean-Luc Guionnet - alto saxophone
Jean-Sébastien Mariage - electric guitar
Edward Perraud – percussion
Saturday, 1 February from 9am - 12pm
Drill Hall Gallery, ANU
Workshop in Improvisation
With by renowned pianist, Magda Mayas
Sunday, 2 February from 9am - 12am
Drill Hall Gallery ANU
Gianni Mimmo
WITH JOSH NIXON DOOMTILDEATH@HOTMAIL.COM
By the time we go to print on the magnum opus that is the End Of Year Mega Wrap-Up, I will already be in a reflective mode, sparked by my attendance at this year’s MusicACT Music Awards for a very special nod to the Canberra metal community of my generation.
The MAMAs (MusicACT Music Awards) have inducted Metal for the Brain into the Hall of Fame, with OG organiser and Witchskull alum Joel Green and Pilots of Baalbek’s Adam Agius accepting the award for their respective roles in the fabled fest’s history.
Of course, Green was repping Armoured Angel and Agius Alchemist. Seeing all the ‘schmutz lads together onstage to accept the award was a real treat. Rod Holder, Roy Torkington and John Bray were instrumental in the festival’s growth from the first five all the way to its conclusion in 2006.
Both bands deserve a place in the MAMAs Hall of Fame without question, and, to former Sidewinder main man and award presenter Nick Craft’s credit, this was said in his opening remarks. The speech from Joel and Adam was great, and you can check that out now on the Metalise Facebook page.
Pulling together a bunch of photos and videos from the community brought back great memories as well as some sombre ones when I pause to recollect the life of Alec Hurley, whose brain injury out the front of a Civic nightclub dramatically altered his life through to his untimely death in 2011.
[BOSSMAN NOTE: Look, you’re here, so you prolly know this already but: Hurley’s lifealtering incident was the catalyst for Metal for the Brain and its fundraising efforts. Gotta love this community]
The well-earned recognition of the event celebrates what broadly served as a uniting of the national metal scenes and the creation of pre-internet touring circuits across Australia. All are based at their core on a genuine desire to help out a mate, not a promoter’s bank balance.
In that sentimental spirit, and in a year where 40-year-plus veterans like The Melvins and Hard-Ons continue to out-produce bands decades their junior and Judas Priest delivered one of the absolute best albums of the year with Invincible Shield, I reflect on some of my favourites.
2024 was an absolute bumper year in releases and shows, and this handy guide will help inform your 666mas stocking stuffers.
On the album front, I can’t go past one that will be high on the list of many this year: Blood Incantation and their masterpiece, Absolute Elsewhere. In a year where death metal has stormed back into prominence, this 2-part high concept work nailed what could have been a bloated self-indulgent marriage of ‘70s synth prog and blasting polyrhythmic death metal. They delivered a high precision, perfect masterwork that blends diverse influences into a stunning album where space and variety are balanced against an album recorded to near perfection at Berlin’s Hansa Ton Studio. There’s a great doco on the making of the album called All Gates Open. I can’t recommend this enough; buy one of the 20,000 vinyl variants to listen to in its intended format.
In Australia, there were dozens upon dozens of great releases. Religious Observance, Scarnon, Pod People (cough), Robot God, Hekate, Pilots of Baalbek, Kvll, Ghostsmoker, Aglo, Eaten by
Rats, Solemn Ceremony, Mental Cavity, and Sohnelm all have worthy places on the mantlepiece. But I listened to one 2024 Aussie release the most: the self-titled debut album from Sunshine Coast power trio, Emu.
It’s certainly not the heaviest record of the year, but it might be the grooviest. If you enjoy Budgie, Sir Lord Baltimore, Captain Beyond, and early Rush with your Sabbath and Zeppelin staples, this album should be at the top of your ‘70s rock revival list. The guitars runneth over (and over), the vocals soar, and the rhythm section lays a foundation that seems as stable as Göbekli Tepe. When one lives in a predominantly grim domain, sometimes you need to shake off the shackles. Emu has the grooves to shake off just about anything, and for fans of blues-based guitar playing with their riffs, you simply CANNOT go wrong here.
Locally, Ploughshare is absolutely in the conversation for the best of Australia’s wave of blackened death extremities. Their new album, Second Wound, is of
absolute quality and makes a case for the best heavy release in Canberra in 2024 and up there with any in Australia. The band ratcheted up their already suffocating atmospheres on this one. It’s a must.
Immorium also has a strong claim with their Rose Water Black album, which they toured nationally in the second half of the year and, along with Ploughshare, demonstrated international standards of top-quality production for our locally released content.
High On Fire changing drummers did little to stop the unrelenting riffage of Commeth the Storm. Nails, Ulcerate, Crypt Sermon, Bongripper, Full of Hell, Morgue Breath, Thou and Friends of Hell all stood out, while Chat Pile left me unsure whether to bang or scratch my head.
I don’t know if I heard a heavier new album in 2024 than Spectral Voice and their bone-jarring album, Sparagmos, while Pallbearer’s curiously less heavy turn contrasted the breadth of releases this year. The latter announced a national tour with none other than Conan in March 2025; have to travel to Sydney for that one.
Overall, my impression of 2024 was the smell of freshly slain death metal in all its permeations. It was inarguably a year where death metal came back into
prominence in a big way.
Gatecreeper delivered album Dark Superstition shortly after one of the shows of the year, on one of the nights of the year when Nic and Mick crammed Orange Goblin, Dr Colossus and Astrodeath in one room and Gatecreeper and Kruelty (who also just dropped a sick EP, Profane Usurpation) out the back of The Baso.
Undeath from Rochester also blasted through town on the back of their new album More Insane. Impetuous Ritual delivered the most confronting set of the year at the incredible debut metal fest, Essence Festival Like boulders falling down a hill building to a full blown an avalanche. The event has, pleasingly, just announced another tilt from 3-5 October, so put that on your ticket list for 2025.
RETURNS IN 2025!
Essence also saw Carcinoid reboot their lineup and tear through a set that marked them right up there in a pack of newer death metal bands in Melbourne, bludgeoning that dead horse back to life. Other bands of note were Faceless Burial, gimmicky but great Pizza Death, Munitions, and the rotten cherry on the 2024 cake in the form of the excellent Gutless. Their album High Impact Violence offers another smouldering deathly highlight for those brave enough to take them on.
Abramelin kept old school Melbourne represented in 2024 with their Sins of the Father release and a headline spot at Essence Fest that cemented their position in returning death metal to the top of the Australian heavy music hanging tree. While on the old-school Melbourne tip, there was the announcement of the return of Blacken out in the bush near Alice Springs in September, headlined by none other than a return from mainstay Melbourne grindcore kings, Bloodduster
Seems that Rizo’s public retirement from music did not last long.
Back on the death tip - internationally - the list is almost too long: Scumripper, Oxygen Destroyer, Necrot, Sanctuarium, Ripped to Shreds, Terminal Nation, Nile, Coffins... it’s as unrelenting as the blasts themselves and a remarkable and welcome return to ascendence from a genre that had been getting stale in recent years.
The stocking for new releases is so crazy you’ll need to buy a multi-pack to fit in all them riffs!
The wallet has never been stretched thinner on the live front in 2024, either. From the spectacle of Iron Maiden to the small room in The Baso and everywhere in between, 2024 will probably be viewed by chiropractors and osteopaths as “the great generator” for customers.
Cave-In was very high among my favourites, Thou and Full of Hell my saddest to miss, but there were literally hundreds of great gigs this year. Hard to go past what a fun night and unique opportunity the aforementioned Orange Goblin/ Gatecreeper night was.
But the Triumph of Death show was absolutely chef’s kiss perfect. The turnaround driven mainly by The Baso in consistent national and international heavy acts is almost miraculous.
Special mention and shoutouts to The Pot Belly and Kurt for significantly lifting the PA quality in that room and making it a helluva viable alternative, albeit not much cheaper for our south siders in their Uber fares. Kudos where it’s due, though. It’s a killer joint, and I had some great nights there in 2024.
Speaking of which, a great way to wrap up the year is on 21 December at The Pot for a ripping local bill featuring a long overdue return to the stage for the most stoneriest of stoner rockers Hydranaut and one of the best bands to come out in recent years and one I’m looking forward to a big 2025 from Voodoo Acid Space Kings. See you at the Pot for a pint.
Thanks to you all for your contributions to Metalise in 2024. Follow Facebook or Instagram or tag it for shares on socials, and if you have a show or a release you want me to add to the listening list.
And I’ve added a Spotify playlist with a bunch of tunes that came out in 2024. You can check it out through the bma.metalise insta account.
See you in the pit in 2025!
By Noni Doll
Rhys Darby is doing his first stand-up tour in ten years in 2025, but is he nervous? Absolutely not. After all, even when he’s not doing comedy, he still lives a touring lifestyle.
“It feels like getting back on a bicycle,” he says in his instantly recognisable New Zealand twang. “I already travel a lot for acting jobs. Hotels and airports: I basically live in them. Almost more than home, I think.”
Fortunately for us, a Canberra hotel is but one place he will keenly plant the Darby flag.
“I like Canberra. It feels like a very well-planned city…” he says, before expressing a little bit of disappointment he doesn’t get to spend more time getting to know the places he’s gigging in.
“It’s getting quite scary [but] it’s my silly take on it.”
Heavy topics are a regular element of comedy these days, but it’s not one many associate with Darby’s work. As a result, did he feel obligated to include something deep and meaningful in his new show?
“You don’t need an agenda, but people always ask for it!” he says, expressing a shade of surprise. “It’s nice to walk away with something. It’s not smashed into your face, but there’s some thought-provoking,” he explains, somehow ending the sentence on the phrase as a verb rather than the usual descriptor (which, of course, he somehow makes work).
“We can tackle some topic you talk about in the kitchen with friends and laugh about it, going ‘Hahaha… oh shit, we better think about that’.
“I kick the night off with some local re-par-tway,” he says, mispronouncing the word for comic effect. “I want to have a look around; it’s very important to me. I love going out after the show, getting a bit of the local nightlife, meeting fans…”
For his new show, boldly titled The Legend Returns, Darby has one big target in his comedic sights: technology.
“I’m touching on the artificial intelligence stuff happening and Elon Musk’s idea that we’ll all have a robot and how ridiculous that is,” he reveals. “The phone’s doing everything these days… and the phone was something I didn’t need!”
However, among the silliness, he says there’s a serious issue at its core. With the potential to negatively affect himself and his industry, he’s more than slightly worried about it.
“The strikes with the writers and the actors—and a lot of it is because of AI—the more we advance down this route, the less creative and human we risk becoming.”
It is ironic, then, that this passion has kicked off his own very human creativity.
“[The show] is my take on, ‘Is it the right choice to go down this route, or can we decide that being human is more important than this tech stuff?’
Because I also do voice work, which might be thrown back at me. ‘You don’t even need to come in now! We’ve got machines that do this!’
“But at the same time, there’s pure escapism. I enjoy doing that, too. I dance around, the audience woohoos, then I do some impressions, I improvise... So I can go off on a tangent,” he says, before acknowledging he gets to do something most stand-up comics could only dream of: “There’s a part in my show where I get to sit down!”
While some might say that age could be a factor in his newfound semi-Luddism, Darby—who cracked the big five-oh in 2024—insists that it’s brought him a comfort he wasn’t expecting.
“Initially, I was very upset by turning 50,” he reveals. “You think, ‘Oh my gosh... now I’m OLD!’ The decade of being in your 40s was so much fun. Your kids are older… For me, one’s gone to New York, he’s in his second year of uni—that was weird, but I’ve gotten used to that—and our younger son is 15, so he’s in the final years of school, and we’re helping him through that.
“But since my birthday in March, I’ve been really comfortable with it. We are where we are. I know everything I need to know,” he says. He continues with an air of contentment.
“There’s a certain respect you get from age,” he ponders. “I still feel like a kid. That’s great to have inside you, but a big part of me also enjoys keeping up with global events.”
He pauses to laugh before adding, “As well as having a coffee in front of the fire with the cat on my lap.”
As for his former partners in crime, Jemaine Clement and Bret McKenzie of Flight of the Conchords (the role of the band’s manager Murray in the show remains one of Darby’s most iconic roles), and filmmaker and actor Taika Waititi, age and schedule means they don’t get to spend the amount of time together they used to.
“We see each other less and less, so it’s really cool when we get to hang out,” Darby says. “The guys from Flight of the Conchords have lived in Wellington this whole time; I’m in LA; Taika’s got a place in LA and Auckland. So,
we always try to go out for dinner when we’re in Wellington.”
It’s easier for Waititi and Darby to spend time together, though, given they’re more likely to be on the same continent. “My wife [producer Rosie Carnahan-Darby] and I were looking at houses for him!” Darby states, possibly hinting at a future in real estate. “You know the drill: ‘This one’s a nice one!’ and ‘This one’s too close to ours, so that’s not a good idea…’” he chuckles.
Life in LA is a long way from growing up in New Zealand in the ‘70s, a time spent harbouring a love of British comedy to the point where being a comic actor was all he wanted to do.
“Monty Python; the David Croft catalogue, Dad’s Army, Hi-de-Hi!, Open All Hours, The Goodies... I just watched these British comedy shows over and over. They made me laugh, and I wanted to be one of them. It was just silly comedy and really connected with me.”
Finally, given Darby’s brief stint in the NZ Army in his 20s, it seemed fitting to ask if he had any guidance for those studying at one of the capital’s key institutions: the Royal Military College, Duntroon. Unsurprisingly, his words were full of encouragement.
“Stick with it; you’re on the right path,” he says with pride before adding, “And do what you’re told!”
He then adds that the skills he learned in the service also serve him well in civilian life.
“It’s important to have a hobby so you don’t get too engrossed in the discipline you’re living under,” he says. “When I left, it made me really proud of what I’d achieved and to have developed the discipline to do what I do: turn up on time, be honourable, that sort of thing.”
That’s good advice for everyone.
Rhys Darby brings his show The Legend Returns to Canberra Theatre on Saturday, 19 April, at 7:30pm.
Tickets range from $71.60 to $81.85 and are available from Canberra Ticketing
THE DROP
[THE WORD ON EDM/DANCE MUSIC]
WITH AEGIPAN SAMARAWICKRAMA - AEGIPAN101@GMAIL.COM
Greetings, citizens of Pan-berra! (forgive me for that god-awful pun).
Well, well, well... The End-o-Year is here, and with it the last issue of BMA for 2024. As is its wont, everything’s getting a little bit more hectic before the holiday season and heading into the New Year.
I don’t claim to know what the future has in store for us, but I can guarantee that I’ll be back in 2025 to keep writing these columns for you.
The last couple of months have been jam-packed with unreal gigs and festivals, but if I had to pick a recent favourite, it would have to be the Spring Beach Party out at Black Mountain Peninsula hosted by Escape Ferocity, RPG, and Soul Jazz.
An incredible job was done setting up three stages from the car park to the lake’s edge. The crowd was full of gorgeous, kind people; every act that took us through the afternoon and into the night absolutely killed it. It was great to see people bringing their kids out for a boogie before the sun set and the party got extra wild, too!
If my words have any weight around these parts, I want to say that I’d be stoked to see more parties like that one, especially at that location. If no one’s willing to chuck another one on down there, I might have to give it a whirl myself, and you can bet your sweet bippy I’d be putting one of my famous puns in the party’s name...how does PANdemonium sound?
We also had another excellent free Royal Rollers gig hosted by the deadset legends at Headz are Rolling, and if I may say so I reckon it was their best yet. The usuals brought some proper heavy sets, and
Sydney’s DJ Reload brought it home with a killer headliner. It was also the first birthday for Squeaky Clean, and their anniversary bash out the back on Verity Lane provided even more entertainment just beyond the back door of Reload Bar. It’s been a good while since I’ve seen the city this so chock full with good people and good vibes. You love to see it.
As usual, I’ll be covering some recent releases and upcoming gigs this month. My calendar’s looking a little light for the first month of 2025, but I’ve got the goss on an extra special Christmas gig and an NYE party that stretches into the first few days of January (if you have the tenacity to seek it out).
First up, let’s talk new releases. For some reason, November releases are quite psytechheavy. Heck... I’m not complaining! Frisson Records released a remix EP on 26 November containing four fresh takes on Call of the Carnyx by V:Code. The EP features Basam Chemma, Soulphonious, Tophee, and Pann (with two ‘n’s to differentiate between him and yours truly!) rehashing the track in their own inimitable fashion.
This release is a part of Frisson’s endeavour to push out some fresh new sounds and stylistic fusions heading into 2025. Across the four remixes, you’ll find variations on the psytech sound incorporate pagan and ethnic folk elements that they’ve labelled as Ritual Tech.
I, for one, wholeheartedly endorse anyone looking to push musical boundaries. Naturally, I got right into this EP, revelling in how these genres blend together to breathe new life into V: Code’s excellent original track. I’m certain that I will be shouting out new releases from Frisson a lot next year, and I can’t wait to hear what their roster has in store.
Mexican producer and owner of Dark Synths Recordings, Zipacyuhualle, has signed with local label and friends of the column, Soliq Records, to release his two-track EP Deeper.
There’s nothing better than deep bass whomping away under mesmerising beats, but Deeper takes it up several notches and propels the trance-inducing nature of both tracks with frankly intense layers of texture and frequency hovering and shifting just above the beat.
I’m not sure where else you’ll find such a fascinating and complete sonic journey playing across a tight 16 minutes of music.
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Just in time for this column’s deadline, Soliq Records also released the follow-up to their Unusual States of Matter V/A series, coming only four months after the first volume dropped.
By now, it should be abundantly clear that Soliq is making a consistent effort to probe and push the boundaries of electronic music.
Here, they’ve given five artists free rein to experiment and explore a diversity of styles to create something unique and distinctive, and I’d say the end result is a smashing success.
I’m all for finding new and exciting ways to step outside boxes.
I went into both compilations blind and did not know what to expect, and I found a lot to love about them,
discovering a host of new artists to keep an ear out for. Soliq has been doing the Canberra scene proudly for 18 months since the label came into being. They’ve been throwing parties on the regular, promoting their brand and roster consistently, and pulling in a wealth of talent in the process.
I am always stoked to mention what they’ve been up to when writing these pages.
Cracking on, let’s look at upcoming gigs. Perhaps to be expected, there is little happening in January while everyone takes some time off to rest and recuperate. But I’m sure I’ll have a lot more info to entice you with for the next issue!
Right out of the gate, I want to quickly (yet sternly) remind you that Stanton Warriors are hitting up Hopscotch from midday to 7pm on Saturday, 21 December with a massive 3-hour set with a stacked line-up of supports.
That’s going to be a hectic couple of days because... Local icons, Burley Bassweight, fresh off the back of their firstever Dragon Dreaming set, are throwing their second Naughty List bash the night before at Reload. This one will have some real genre diversity with a line-up featuring Tidy and Samwise from the Headz crew, Zala, Microbial/Manganater, Rascal and, of course, Burley Bassweight themselves. You’re probably already aware of how much love I have for the Burley crew, and yeah, I’m pretty biased. Gammacel and Cetacean were my introduction to the scene two and a few years ago, and through
their gigs, I’ve found not just a lot of new friends but also family. Without Burley Bassweight, I would not have the great pleasure of writing this column for you all.
If you’ve ever been to one of their gigs, you’ll know that family vibe is huge and brimming with love, so if you’re dreading spending Christmas with your rellies this year, come on down to Reload and join our big, bass-loving family. I’ll even give you a hug!
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Finally, a New Year’s doof is hosted by RPG Events and Off Tap Productions from 31 December to 3 January.
I’m not sure how much I’m allowed to say about this one because RPG’s events are usually smaller and more private, but if you’re in that circle, you can find all the details through the usual channels.
That’s all I can say. Any more, and it’s the snipers...
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Finally, a few recs outside the EDM umbrella to diversify your listening.
I simply can’t stop listening to Canadian prog metal icon Devin Townsend’s and his latest PowerNerd LP. His most personal record to date, it was written during a recent turbulent period. But doom and gloom it ain’t – there’s a nuanced, uplifting message accompanying the bombastic riffs, soaring synths, and Devy’s signature sonic wall of layered vocals.
Want more prog metal? Opeth released their 14th studio album and their first in five years, The Last Will and Testament, and it’s thoroughly deserving of the acclaim it’s received.
The band bring back deaths growls and heavier riffs not heard since 2008’s Watershed while still utilising elements of prog rock that defined their previous four albums. And, it’s their first concept album since 1999.
I discovered an absolutely rocking local four-piece alt-punk act called Degenerate at the Squeaky Clean anniversary bash. The next day, I delved right into the two EPs they’ve released so far, and I’m low-key in love with their tunes. You can tell who their influences are, but they still keep their sound fresh and original, and somehow they also sound uniquely Canberran in a way that I can’t quite put my finger on.
DEGENERATE
They put on a hell of a show, too, so if you get the chance to see them live, you best not miss it.
And that’s a wrap for 2024!
Big thanks to the Bossman for the extra word limit, and I hope you forgive my verbosity. I’m on a writing streak this month (more on that next year), and I was simply unable to cram everything into 1300 words.
And an even bigger thanks to YOU for being here and giving feedback, kind words, sending info on gigs and new releases, and being present, beautiful, and bloody fantastic. I am truly honoured.
Writing my own column has been a dream of mine for decades, and giving back to the scene and community is the intoxicating icing on the most delectable cake. Have yourselves a ripper holiday season, stay safe, party hard, and rest well. Remember to leave out a White Russian and a tray of magic brownies for jolly old Pan-ta Claus (goddamnit, I did it again).
ALBUM IN FOCUS
MOANING LISA FAINTER
Moaning Lisa’s sophomore album, fainter, unfolds as a carefully crafted tapestry, blending emotional candour, instrumental finesse, and compelling narrative tension. The Melbourne-neeCanberra quartet, fresh from sharing stages with indie luminaries like Mitski and Midnight Oil, flexes their growing artistry with this record—a meditation on vulnerability, resilience, and the quiet storms that rage inside us all.
The album opens with its title track, riding a steady groove that walks a precarious line between melancholy and hope. Slide guitar and harmonies swell into a cathartic crescendo, transforming a straight-ahead introduction into a lush emotional landscape.
fainter sets the stage gracefully, beckoning the listener into the album’s heart.
wayside continues with measured precision, driven by an arpeggiated
synth line and a fuzzed-out chorus that’s as potent as it is catchy. The bassline is a subtle powerhouse, grounding the track while the guitars flirt with distortion.
Then comes lead single 4am (where have you been?), a smartly constructed anthem of interpersonal miscommunication, carried by stabbing guitar riffs and a soaring, bittersweet hook. Its mix of jagged edges and melodic warmth exemplifies the band’s knack for tension and release.
Midway through, agoraphobia strips things back. Acoustic-led and lyrically raw, it addresses isolation with focused energy, with a building intensity that mirrors the song’s narrative weight.
Meanwhile, the cheekily titled getting over you is on my list of things to do (but not at the top) hurls us into post-grunge nostalgia with delicious ‘90s embellishments and a hook-laden refrain that lingers long after the song ends.
The experimental flutey shifts the album’s tone, leaning into psychedelic textures and swirling
ambient sounds, offering up a well-timed, introspective interlude.
anything, anyone and flower take a more restrained, acoustic path, balancing poetic lyricism with evocative instrumentation. Both tracks display the band’s range, emphasising their ability to reduce the volume without losing impact.
Closing with comfortable 2 (alone), the album delivers its most poignant moment.
Cinematic washes and folkinspired strumming crescendo into an exhilarating finale, leaving the listener galvanised and contemplative.
With fainter, Moaning Lisa has created an album that resonates deeply, every track a testament to their evolving sound and storytelling prowess.
It’s the sound of a band coming into its own—and inviting us to do the same.
VINCE LEIGH
- 6 rehearsal rooms - Fully equipped recording facility - Post-Production/Mastering - Live stage - Photography & Videography also available
EP IN FOCUS
ANNA RANSOM TIDES [ ]
It’s no surprise that Anna Ransom’s EP Tides claimed the Debut Independent Record of the Year at the 2024 MusicACT Music Awards. It’s a collection of songs that don’t just knock politely on your door but barge it down before setting up camp in your living room and insisting on telling you stories you didn’t know you needed to hear.
With an emotional honesty that feels almost indecent, this troubadour channels the ethos of folk but isn’t afraid to twist it into new, exhilarating shapes. The result is a five-track study in quiet rebellion, where
intimacy meets ambition and heartache flirts with catharsis.
It begins appropriately with Exeunt, a track that sidles up to you like an old friend who’s been through some rough nights themselves. The acoustic guitar is warm, the strings subtle, but it’s Anna’s voice—a quivering, raw-edged instrument— that pulls you into her orbit.
‘When promises fold,’ she sings, and you’re left staring at the wreckage of your own dashed hopes, whether recent or ancient.
It’s a song about endings, yes, but there’s a flicker of compassion that saves it from collapsing under its own melancholia.
Then comes Australia Burning, a song that straddles the line between lament and celebration. The harmonies have a campfire glow, but the lyrics—full of smoke, honey, and regret—cut through any sentimental haze. This is not your typical ‘Save the Trees’ anthem. It’s an elegy for what’s lost and a rallying cry for what’s left, delivered with a wry smile that suggests Ransom isn’t above laughing through her tears.
Him is where the EP further tightens its grip.
Summonging a slow-building storm of melody and tension, Him drags you into its swirling vortex with a groove equal parts tender and ominous.
‘I kissed your fist,’ she sings, and the line lands like a punch to the gut.
It’s a song about power—how we give it, take it, and sometimes lose it entirely. The arrangement is taut, the drama palpable, and you’re gasping for air by the time the final refrain hits.
Instrumental interlude Theme for a Movie is a deep breath after Him’s claustrophobic intensity. Its twinkling piano and ambient washes plays like a cinematic overture, inviting the listener to fill in the blanks with memories and musings.
It’s a moment of stillness that prepares you for the EP’s crowning achievement, Slow Climb. Closing the EP, it’s the kind of song that sneaks up on you, starting with a subdued piano line before unfurling into a soulful anthem of resilience.
Ransom’s voice soars, brushing against the higher registers with a startling and stirring vulnerability. ‘Hard times, slow climb,’ she sings, and it’s not just a lyric—it’s a mantra for anyone clawing their way out of the darkness. The rhythm section kicks in, swelling the song to a crescendo that’s as much victory lap as it a rallying cry.
Not only a debut, Tides is a statement. Ransom has pulled off the rare feat of making the deeply personal universally resonant. Like the water it’s named after, this EP moves with a quiet power, eroding defences and leaving you changed. In an era of disposable tracks and fleeting trends, Anna Ransom has delivered something lasting—a reminder that music, at its best, both entertains and transforms.
VINCE LEIGH
Sonic Reducer SKEWBALL
Sonic Reducer, the plucky Canberra quartet of talented 20-year-olds, delivered an electrifying debut EP in SKEWBALL , blending post-punk revival intensity with raw, unfiltered energy. Tackling themes like toxic masculinity, dating, and class systems, the EP exuded chaos and control. With sold-out shows, accolades, and relentless drive, Sonic Reducer’s sharp lyricism and fierce sound signal their place as a compelling new voice.
Gia Ransome
Buttercup
Buttercup showcased Gia Ransome’s evolving artistry, blending smoky blues and jagged alt-rock with raw emotional depth. A whispered count-in set an intimate tone while her seductive vocals navigated lust and regret over fluid arrangements. The track preserved Gia’s signature style while introducing fresh, idiosyncratic elements, affirming her as a dynamic force ahead of her debut LP.
Sophie Edwards Transience
Sophie Edwards blended bold artistry with confessional intimacy. From triple j Unearthed airplay to her Transience EP, Sophie’s accomplishments— including winning the Spilt Milk artist competition and championing nonmale creatives—highlighted her ongoing impact, while tracks like 4kInMyBrain showcased her vocal finesse and meticulous production.
TOP TEN CANBERRA
As keen readers of BMA Magazine can attest, Vince Leigh has been an absolute workhorse. The Pseudo Echo sticksman and co-writer is one of the best music writers I - Bossman Allan Sko - have had the pleasure of working with. As such, I charged him the noble task of proving something we already know all too well:
Moaning Lisa fainter
Moaning Lisa’s fainter was a bold step forward, weaving emotional candour, refined instrumentation, and compelling storytelling. The title track sets a melancholic yet hopeful tone, leading into highlights like the anthemic 4am (where have you been?) and the raw, acoustic agoraphobia.
Balancing post-grunge nostalgia with introspective folk, fainter showcased a band confidently exploring vulnerability, resilience, and growth, cementing their place in the indie rock landscape.
Peach Lane You Love Me, I Hate
Canberra indiepop trio Peach Lane—Madeleine, Pierre, and Hannah—craft ethereal, atmospheric tracks blending live and electronic elements inspired by The xx and Bon Iver. Their release, You Love, Me I Hate Me , is built on lush vocal layers, undulating keys, and intricate production. With a bittersweet narrative and captivating sonic textures, the self-produced track bolstered Peach Lane’s reputation for intimate, introspective indie-pop richness.
MUSIC CLASS OF 2024
That Canberra fucking rocks.
And so here we have but ten shimmering examples of enthralling, beguiling, heartbreaking, uplifting, and toetapping brilliance from some of Canberra’s finest. Enjoy - ALLAN SKO
smartcasual
Disgusting
smartcasual’s single
Disgusting perfectly balanced straightforward indie rock with nuanced storytelling, highlighting their knack for dynamic songwriting. Clean guitar tones and a standout single-note riff intertwine with a memorable melodic hook that evolved rather than repeated. The track’s structure showcased the band’s mastery of tension and release, seamlessly blending restraint with exuberance. With precise vocals and deliberate instrumentation, Disgusting was a polished testament to smartcasual’s ability to craft an engaging and impactful alt-rock experience.
Big Reef
Hasta Luego
Big Reef kicked off 2024 with Hasta Luego , a 7-minute indie pop journey that showcased their unpredictable artistry within an ’80s-infused framework.
The track weaved together four dynamic sections, moving from hypnotic verses and a repetitive hook to bursts of prog-rock energy and a chorus layered with cascading synths and melodic payoffs. Bold, whimsical, and adventurous, Hasta Luego perfectly captured the siblings’ knack for blending humour, experimentation, and irresistible melodies.
Nina Leo Blind Spot
Nina Leo captivated all with her track Blind Spot. Blending femme rock and raw storytelling, the track channelled resilience and self-discovery. Produced by Louis Montgomery, its muted guitar intro, soaring melodies, and shoegaze-inspired choruses reflected Nina’s journey from hurt to empowerment.
ARCHIE
ARCHIE’s terrifically-titled EP showed further artistic growth via a refined, genreblending sound. Tracks like Beat Won’t Fail Me Now , and Lowtide balanced chilled grooves with uplifting hooks, while Flow and Out of the City showcased their knack for dynamic, soulful melodies. And with closer Purpose , the EP solidified ARCHIE’s confident evolution and exciting potential.
Leila
Stranded In Cairns
Leila’s Stranded In Cairns , inspired by her cyclone experiences, built on the soulful folk-pop foundation of her 2023 debut, Missing Piece . With evocative vocals, intricate acoustic textures, and a standout violin solo, the track blended emotional depth with dynamic song structure. Its alluring chorus and nuanced arrangements illuminated Leila’s evolving artistry and positioned her as a rising talent in contemporary Australian folk-pop.
THU 19 DECEMBER
Carol Jerrems: Portraits
Carol Jerrems: Portraits is a major exhibition of one of Australia’s most influential photographers. Jerrems’ intimate portraits of friends, lovers, and artistic peers transcend the purely personal and have come to shape Australian visual culture. From 30 Nov, 2024 – 2 March, 2025. Adult $20 / Conc. $18 / Circle of Friends
$16 / Under 30s $10 / Under 18s free NATIONAL PORTRAIT GALLERY
FRI 20 DECEMBER
Cell Block 69 - The Neverending Corey!
The 1980s have prevailed through the ages. The ages of Rock, and to a lesser extent but never to be underestimated, Synth-Pop. Cell Block 69 are back! 7pm, $55.10 via OzTix
THE BASO
Adventure St
The 4-piece rock band delves into many genres via the use of bongos, bass, electric drums, djembe, trumpet, harmonica, and mindmelting guitar solos. Expect originals with flavours of jazz, blues and psychedelia. 8pm, free entry
OLD CANBERRA INN
Salonistas
Salonistas’ sound has been described as “velvety altcountry soul” which they reckon pretty well nails it. They play tunes they love reinterpreted with their own unique twist, spanning genres including country, Americana, rockabilly, blues and soul. 8pm, free entry
DICKSON TAPHOUSE
SAT 21 DECEMBER
OCI Xmas Party
In classic fashion, The OCI shall be sporting a wide array of Christmas themed beers, along with live music, decorations & fun games for the whole family to enjoy. 12pm, free entry OLD CANBERRA INN
The BIG Hootenanny 2024
The BIG Christmas Hootenanny is back again in 2024, extolling the musical delights of Grand Final, Dumbells, and many more. Huge line-up; amazing bands. 6pm, $25 + bf via Humanitix
LIVE AT THE POLO
Cell Block 69 - The Neverending Corey!
The 1980s have prevailed through the ages. The ages of Rock, and to a lesser extent but never to be underestimated, SynthPop. Cell Block 69 are back! 7pm, $55.10 via OzTix THE BASO
Friction Presents: Stanton Warriors (UK)
The legendary breaks act has been touring the Capital for over 20 years and this time, the Stanton Sessions party will be even more special with a bombastic 3-hour set. Joined by supports Mikah Freeman, Arkhon, It's A London Thing, JLP Peekz, and Dave Norgate. From 7pm, $31.31 via Moshtix HOPSCOTCH BAR
SUN 22 DECEMBER
Eden Plenty
Eden Plenty is one of Australia's most beautiful original voices, his talent matched only by his love of creating and sharing music. 4pm, free entry
OLD CANBERRA INN
Croaker & The Honeybee
If you're looking for a truly unique, dynamic group that delivers stellar performances, then Croaker & The Honeybee are for you! They connect effortlessly with all age groups and are complimented on their eclectic choice of material. 4pm, free entry
DICKSON TAPHOUSE
An Anti Xmas Celebration Ring in the next 31,536,000 seconds on your calendar with an evening of rockin’ punk, grinchcore, and chiptune breakcore madness! Featuring Krampus, Lulu and the Tantrums, and Aquellex. 6pm, $20/15 via venue SMITH'S ALTERNATIVE
SAT 28 DECEMBER
Moondog Band
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 songwriter. His voice holds a deep authenticity reminiscent of the great blues singers of the old. 2pm, free entry
OLD CANBERRA INN
SUN 29 DECEMBER
Croaker & The Honeybee
If you're looking for a truly unique, dynamic group that delivers stellar performances, then Croaker & The Honeybee are for you! They connect effortlessly with all age groups and are complimented on their eclectic choice of material. 4pm, free entry
OLD CANBERRA INN
TUE 31 DECEMBER
No Scrubs: 90s + Early 00s
New Years Eve Party
Calling all Teenage Dirtbags and All Stars! Are You Ready to be Jumpin’ Jumpin’ and bring in 2025 with the best throwback '90s and early '00s tunes at our No Scrubs Party?! Say You’ll Be There and Let’s Get Loud to say Bye Bye Bye to 2024. 7pm, $30 via OzTix THE BASO
Baby Freeze NYE PartySingle/Video Launch
The Drummer’s Birthday Immortal Line Up Dave’s New Venue We Play The Whole New Record We Play Your Favourites We Dance We Love You. 9pm, free DISSENT CAFE AND BAR
FRI
3 JANUARY
DJ Paisa Salsa Night
First Friday of every month, Old Canberra Inn is hosting a Salsa Night so get your grooves ready and be prepared to hit the dance floor! 8pm, free entry
OLD CANBERRA INN
Black Owl Quartet
The Black Owl Quartet play Gypsy Jazz manouche style music, heralding from right here in Canberra. 8pm, free DICKSON TAPHOUSE
SAT
4 JANUARY
NeonHoney
NeonHoney is a music producer and songstress from Canberra, Australia. 2pm, free entry
OLD CANBERRA INN
Headphones Jones (MELB) + This Way Orkestra (ACT)
A big band double header of funk, afrobeat, ska + Latin vibes. Start off your 2025 with dancing shoes firmly ON! 7:30pm, $20/$25 via venue SMITH’S ALTERNATIVE
SUN 5 JANUARY
Lewis DeLorenzo
Lewis is a singer-songwriter who’s inspired by music that tells a story, while expressing the beauty & challenge of the human experience. 4pm, free entry
DICKSON TAPHOUSE
Tim McNally
Tim McNally has brought his live set to venues all across ACT & NSW. With a vast array of covers at his disposal, McNally's smooth vocals and effortless guitar playing leaves the audience stunned by his easy grooves and rhythmic melodies. 4pm, free entry
OLD CANBERRA INN
FRI 10 JANUARY
Damage Inc - Australia's Leading Metallica Tribute20th Anniversary Show
Australia’s Premier Metallica Tribute Band, Damage Inc., celebrates their 20th anniversary with Australian Tour. 7pm, $50 via OzTix
THE BASO
Chasing Titans - The Infinite Paradox Tour w/ Naugrim, Nora, Hokkaido
For the first time ever, New Zealand’s hardcore heavyweights Chasing Titans are storming Australian shores to unleash their crushing riffs and raw intensity. 7pm, $20 via OzTix
THE BASO
JD Band
A Canberra-based traditional and contemporary acoustic roots music duo/trio/band. 8pm, free entry
OLD CANBERRA INN
Flynn Marcus Quartet
Four-piece local jazz outfit perform some of the smoothest bops in town! 8pm, free entry
DICKSON TAPHOUSE
SAT 11 JANUARY
Dean Edgecombe & The Seventh Sons
The Seventh Sons play a great mix of classic and original R&B, blues and roots. 2pm, free entry
OLD CANBERRA INN
Nightmare on the Northside | Facecutter
Skullcrushing riffs and enough slams to beat your friends up to. Facecutter celebrates its first release after two years of silence and is joined by fellow hellions
Burn In Hell, Curses, and Step to Me. 7pm, $20 via OzTix
THE BASO
Creeping Jenny
A fierce, feminist punk-rock outfit from Eora/Dharawal, Creeping Jenny celebrate the release of their highlyanticipated debut EP Milquebox, 8pm, $15 +bf DISSENT CAFE AND BAR
Speed (All Ages)
Speed is hitting the UC Hub for an all-ages show performing anthems from their widely praised album Only One Mode. 3pm, tickets $35 via Moshtix
UC HUB
SUN
12 JANUARY
Busted Chops
The ‘Chops do not come up short with tasty horn lines and dirty grooves to get you up and dancing, so be prepared to bring the boogie; the party will be provided. 4pm, free entry
OLD CANBERRA INN
Moondog
Moondog performs solo and as front man of the Moondog Blues Band. He is a master of the blues harmonica and a formidable guitarist, singer and song writer. His voice holds a deep authenticity reminiscent of the great Blues singers of the old. 4pm, free entry
DICKSON TAPHOUSE
THU 16 JANUARY
Dear Seattle
TOY Album Launch
Love, loss, addiction, nostalgia, and every salient moment of life in-between beats at the insatiable core of TOY, the forthcoming third studio album from Sydney alt-rockers Dear Seattle, due out January 17, 2025 via Domestic La La. 7pm, $24.95 via OzTix
THE BASO
The Screaming Jets - Rock n Roll on Summer Tour w/ Lola
Get ready to ROCK this summer with The Screaming Jets as they bring the ultimate holiday soundtrack to the East Coast on their Rock 'n' Roll on Summer Tour 2025! Kicking off the year with a full-throttle celebration of Aussie rock. 7pm, $61.20 via OzTix
THE BASO
Beijing Bikini & Dead Lazarus & Faking Clever
Sydney’s underground rock and post-punk band Beijing Bikini release their new album, Once So Pretty. They are joined by Canberra’s own grungey alternative stoner rock band Dead Lazarus and indie/cowpunk/new wave Sydney band, Faking Clever. 8pm, $15 on the door
POT BELLY
FRI 17 JANUARY
Steve Backshall’s Ocean
Steve Backshall’s Ocean
is a love letter to the most exciting environment on our planet and a great way to learn about what we need to do to save our seas. Stunts, experiments, props, cutting edge science and big screen footage from two decades in TV all help Steve bring the icons of the big blue to life.
7pm, tickets $49.90 – $81.90 + bf via venue
CANBERRA THEATRE
Future Static Liminality Tour w/ The Last Martyr & RinRin
One of Australia’s most talked about breakthrough heavy acts, Future Static unveiled their highly anticipated fulllength debut album, Liminality, in November via Wild Thing Records. 7pm, tickets $29.99 via OzTix
THE BASO
DJ Pactman
Blending genres from soul, hip hop and funk, Pactman has solidified himself as one of the most entertaining DJs to dance to in town! 7pm, free OLD CANBERRA INN
Tilt Trio
Playing jazz standards, Latin, blues, and crossovers. 8pm, free entry
DICKSON TAPHOUSE
SAT 18 JANUARY
Battle Of The Brewers
Grand Finale
Dickson Taphouse is proud to present the longawaited finale of The Battle of the Brewers. A plethora of fantastic beers from some of Australia's finest independent craft breweries await, along with bar games & hourly giveaways all to the background of local live music inside and outside the venue all day! 3pm, free entry
DICKSON TAPHOUSE
SUN 19 JANUARY
NeonHoney
NeonHoney is a music producer and songstress, set to provide the perfect soundtrack for a laconic summer afternoon. 4pm, free entry
DICKSON TAPHOUSE
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 entry
OLD CANBERRA INN
WED 22 JANUARY
Blind Girls - An Exit Exists Tour w/ Frail Body (USA) & Gil Cerrone
Gold Coast group Blind Girls have spent the last decade
perfecting their razor-sharp concoction of chaotic hardcore and screamo, culminating in a highly celebrated third full-length album, An Exit Exists. 7pm, $44.90 via OzTix
THE BASO
THU 23 JANUARY
Enforcer (SWE) w/ Firestorm, Voodoo Acid Space Kings & Shockwave Sweden's unstoppable force of heavy metal, Enforcer, take their maiden voyage to Australia. 7pm, $47 via OzTix
THE BASO
Trophy Eyes - Summer In Slow Motion Tour
Trophy Eyes return to the UC Hub for their Summer In Slow Motion Tour. 7:30pm, $56.87 via Moshtix
UC HUB
FRI 24 JANUARY
The ENA Trio
The ENA Trio's eclectic mix of music reflects their diverse tastes, including everything from jazz, Latin, blues, gospel, funk and even hip hop. 8pm, free entry
DICKSON TAPHOUSE
The Blooz
The Blooz are four musicians playing the great blues songs that fuel modern music. 8pm, free entry
OLD CANBERRA INN
Matriarch
Catch Canberra femme punk/grunge grande dames Matriarch as they play an extended set for their first gig of 2025! 8pm, free entry
CANBERRA IRISH CLUB
SAT 25 JANUARY
The Cuttings
Playing original songs with members Robert, Peter, Dave and Maeve. 2pm, free entry
OLD CANBERRA INN
On Repeat: One Direction Calling all Directioners! We’re back with Call Me Maybe to bring you another party celebrating the greatest band ever! 7pm, $22 via OzTix
THE BASO
SUN 26 JANUARY
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 entry
DICKSON TAPHOUSE
Divine Devilles
Two well-travelled souls, each with a suitcase full of songs, hearts on their sleeve and a love of that sweet, swinging, shuffling, grooving place where jazz and blues meet. 4pm, free entry
OLD CANBERRA INN
THU 30 JANUARY
Damien Rice
Known for his hauntingly beautiful live shows, Damien Rice has the ability to transform the biggest of rooms into the most intimate spaces. Often performing with no set list, Rice has built an incredible connection with fans that continues to evolve with each live performance. 8pm, $99 –$129 + bf via venue
CANBERRA THEATRE
FRI 31 JANUARY
SoundOut 2025
- 31 Jan - 2 Feb
Now in its 16th year, SoundOut is one of the gateway exploratory musicart events in Australia, providing a much-needed avenue for brilliant musical endeavors. 26 artists from Australia, France, Germany, and the USA combine and cross-fertilise during the 3-day event, which spans approximately 17 hrs of music over 22 sets. 7pm11:30pm, from $25 + bf via Humanitix
DRILL HALL GALLERY
Wheatus AcousticDirtbags Across Australia
Wheatus frontman and allround nice guy, Brendan B. Brown along with his better half, fellow Wheatus member Gabrielle Sterbenz return to Oz for an epic 14-date run. 7pm, $60.10 via OzTix
THE BASO
Teen Jesus and the Jean Teasers
Set against the beautiful backdrop of the North Concourse Lawns, we are bringing recent ARIA Award winners and homegrown heroes, Teen Jesus and the Jean Teasers to campus! 7pm, $25 - $60 via Moshtix
UC CONCOURSE
