BMA Magazine #535 - July/August 2023

FIERCE, FUN, FRENETIC, AND FEMME

NATIONAL PHOTOGRAPHIC PORTRAIT PRIZE 2023 COME AS YOU ARE — FOURPLAY NEIL GAIMAN APPROVED MIRIAM LIEBERMAN TRIO BRING A TRANSFORMING EXPERIENCE — FANNY LUMSDEN USHERS IN A NEW DAWN TO COUNTRY RANDY FELTFACE ON THE FABRIC OF POLITICS — MONICA MOORE CBR BLAK STRENGTH VIA SOULFUL BLUES/FOLK RICH KIDS: A HISTORY OF SHOPPING MALLS IN TEHRAN — ASKS, ‘HAVE YOU GOT ANY CHANGE?’

THE SPOOKY MEN’S CHORALE ALL TOGETHER OOKY — MILL THEATRE’S GOOD WORKS CLASSIC AUSSIE PLAY

[Canberra’s Entertainment Guide]

#535 july/august 2023

Given this issue’s content, I guess we can call this the Punk ‘n’ Poetry Edition. Which pleases me greatly.

Mail: 36/97 Eastern Valley Way

Belconnen, ACT 2617

Publisher

ABN 76 097 301 730 Pty Ltd

General Manager

Allan Sko

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Editor

Allan Sko

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Accounts Manager

Ashish Doshi

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Cover Design

Marty Baker

Article Design

Marty Baker & Allan Sko

Entertainment Guide Editor

Allan Sko

Social Media Manager

Angel Nash

Columnists

Jannah Fahiz, Josh Nixon, Alice Worley

Chris Marlton, Allan Sko

Contributors

Morgan Quinn, Josh Eckersley, Tamsin

Kemp, Anthony Plevey, Monica Moore, Chris Marlton, Allan Sko, Vince Leigh

NEXT ISSUE #536 OUT

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BMA Magazine is independently owned and published. Opinions expressed in BMA Magazine are not necessarily those of the editor, publisher or staff.

FROM THE BOSSMAN

BY ALLAN SKO [ALLAN@BMAMAG.COM]

All The Small Things

It’s coming up to that time of year where we start thinking big. Big footy finals, big Floriadal flower displays, big lists of three. But, as cited in The Book Of Blink, Chapter 1, Verse 82, we should not forget about all the small things. Those crucial bits of everyday detritus that are so easily overlooked, but are always, just, there

5c Pieces

Good news, everyone! I’ve solved our inflation crisis. And it’s all due to our humble, oft-maligned friends: the 5 cent piece.

In a world of touch-free transactions—where purchases are made with a series of disturbing eye tics—the 5c piece seems more anachronistic than ever. I know a person who simply throws their 5c pieces away. I mean, what can you get with five cents? We should send them the way of the 1c and 2c pieces and phase them out.

Heck, why stop there? Cast 10c, 20c and 50c discs into the fires of irrelevance while we’re at it. Let the smallest denomination be $1, making us all feel rich and slightly confused when buying 20c lollies.

Well, no. The 5c piece is the ant of the denominational world. By itself, it is small. Weak. Pitiful, even. But together? They are Legion. Just think of all the discarded fivers adorning wallets, purses, old jeans, and sofa cracks the land over. If we gathered together all the discarded 5c pieces across the land, we’d solve our debt crisis. Look after the pennies, and all that shit.

Paperclips

Back in 2004, I bought a box of paperclips. About a year ago, I was shocked to discover they had finally ran out.

I fell into a state of mourning. Sure, I didn’t pay them as much attention as I could have. They had always, just, been there.

And now they’re gone. So now I wander lonely as a loose sheaf of paper, tumbling from room to room, searching for a paperclip that isn’t there. I stubbornly refuse to buy another kitten. I mean box. No, this isn’t about something else, SHUT UP YOU’RE CRYING.

Soy Packets

On the rare occasion we manage to stem our urge for arteryclogging grease of a lunch hour, we indulge in being good little souls by getting some super healthy sushi.

As semi-regular sushi-goers know, everything comes with those little plastic fishies filled with soy sauce. I mean ev-er-ree-thing. I once went to nick a napkin to wipe my nose. The eagle-eyed server saw me and immediately flyballed a soy-fish pack expertly into my top pocket.

If you’re like me, you rarely use all the soy. But you’ll be damned if you simply throw it away. ‘I’ll use it one day’, you tell yourself, knowing all-too-well it will rest on your desk, or swim lifelessly in the back cupboard, until the end of time.

Until they wind up in the sea. And the brutal irony of a fish made of plastic is not lost on me. They will take over the oceans from real fish at around the same time humans will be replaced by A.I.

McDonald’s Napkins

I mean, they’re just always there, aren’t they? The final shot of humanity’s demise will be of a barren landscape, with McDonald’s napkins tumbleweeding gleefully across the frame.

And this is just a sample. So if you catch yourself taking such things for granted, be aware. Take a moment to give thanks.

For, as it is written in The Book Of Blink:

Though size and usage may be small

They surely will outlast us all

Royale With Cheese / The Ultimate ‘90s Rock Show / Sat, 22 July / The Basement

Growing in popularity and volume with each passing year, Royale With Cheese is Australia’s premier ‘90s rollicking party show, playing rock and pop covers – including Seattle-sound to grunge to Britpop to all the best Oz Rock – from one of the greatest and most influential decades in rock music. Comprised of five experienced musicians, the ‘Cheese bring all your favourite ‘90s covers from Nirvana to Spice Girls and everything inbetween. Come as you are to smash pumpkins and Rage Against The 90s! From 7pm, tix are $51 via Oztix

CBR’s Napoleon Ice Cream and friends are gifting us the chance to enjoy more diverse representation in Aussie rock and pop. There’s Anna Elisara, originally from Aoteara NZ, kicking off the eve with her indie folk, jazz-rock inspired acoustic originals. Improvisational duo Mirror Mirror enthrall one ‘n’ all with folk pop-rock originals and unique covers. Self-proclaimed “four confused Aussie Asian nerds” Napoleon Ice Cream bring catchy hooks and insatiable rock grooves. And 6-piece Latin trop-rock band Chicharrita Club journeys us to the roots of Peruvian psychedelic rock. 7pm - 11pm, $20/$15 via venue

11th International Blues Music Day / 9 acts, 2 stages, 1 day / Sat, 5 Aug / Harmonie German Club

Canberra Blues Society celebrates the 11th International Blues Music Day with nine fantastic acts across two stages. Featuring Sweet Patooties, Chloe Kay & The Crusade, Moondog, Dean Edgecombe & The Seventh Sons, Angel Lount & Leo Joseph, and The Specialties. Add to this a Hot Rod display, and specialty market stalls from 1pm to 5pm, spiffy raffle prizes, and CBS members lucky door prize, and you have yourself a day out! Music from 3pm in the Zeppelin Room & 3.30pm in The Keller Bar; tickets $45 - $30 + bf via Humanitix (Under 12s get in for free!)

Writer, musician, and modern day nomad, Spaceman Africa, turns hilarious life experiences into unique compositions. To whit, the story of legally changing his name to Spaceman after a drunken bender in Ireland. With a guitar in one hand and a punchline in the other, SA is joined by his band, Spaceman Africa The Musical, blending the infectious energy of rock with comedy aplenty. That’s right; it’s Rock ‘n’ LOL. His songs serve as a sonic time machine, transporting you to his most ridiculous moments, from a horny German truck driver to a regretful turn at fire breathing. 3pm - 5pm, $15/$10 via venue

Simply

I Touch Myself, Boys in Town, Pleasure and Pain... With 25 singles and five bestselling albums of the ‘80s and ‘90s to choose from, Simply Divinyls immaculately, and lovingly, recreate an authentic tribute to the legendary Australian rock band. The exceptional 6-piece recreates the distinctive sound of The Divinyls, replete with Chrissy Amphlett’s torched vocals, in an unparalleled display of all the energy and raw rock you would expect at a Divinyls show. With an electric support set by MINX, expect the very best songs from female rock legends. 7pm, $37.83 via Eventbrite

By age 12, Nathan Cavaleri found himself at the centre of a bidding war between the labels of Michael Jackson, Prince, and Madonna. By age 16, he’d toured with B.B. King as his guest, and played at the Kennedy Centre in front of The Clintons with Etta James and Bonnie Raitt. Now in 2023, fans can expect a live performance illustrating the depths of his career through songs and storytelling, waxing lyrical on overcoming adversity through courage and authenticity. 8pm, $45$55 via bf via Canberra Ticketing

Melting Pot Rock / Four diverse CBR acts on the one bill / Fri, 4 August / Smith’s Alternative

Spaceman Africa The Musical w/ Goese / Rock ‘n’ LOL / Sat, 5 August / Smith’s Alternative

Divinyls / Top shelf Sydney-based Divinyls tribute band / Sat, 12 Aug / Harmonie German Club

Nathan Cavaleri / Miracles Album Tour / Fri, 1 September / The Playhouse, Canberra Theatre

LOCALITY

[THE LATEST ON LOCAL MUSIC] WITH JANNAH FAHIZ. SEND GIGS AND INFO TO: [JANNAH.FAHIZ@GMAIL.COM]

What a time to be alive - live music is pumping right now! It’s really great to see so much support in the scene lately. Though it may be cold out, my heart is warm.

On that note, I’m here to bring you some of the hottest local events around town!

The first gig I’ve got for you is Milestone Entertainment’s Farewell Party on Saturday, 22 July

The show will take place at Live at the Polo from 7pm and will feature a great array of locals; nonbinarycode, Sorrento, Katrina Maree & A Black Soul and Daniel Isherwood

Come down for one last Milestone Entertainment hurrah and celebrate all the good things they have done for our community. Tickets are available via Humanitix for $15 + bf.

Feeling like your winter needs a bit of magic put into it? Maybe it’s time to celebrate Blackened Xmas in July. Think jingle bells meets metal hell.

The album is a beautiful blend of folk, rock, and blues and is available to purchase now on Bandcamp before the official release date.

You can catch Konrad at Live at the Polo on Saturday, 29 July from 7:30pm. You’ll also see some amazing guests including Mikelangelo and the Tin Star, The Dreamlanders, Alice Cottee, Tom Woodward, Emma Kelly (Happy Axe), Randall Blair, and more. Tickets are available via Humanitix for $20 ($17 concession).

Did you hear? Why, there’s a two-day festival happening over at the Pot Belly Bar!

Entitled Trapped Under Ice, the weekend-long affair is taking place on the Friday & Saturday, 4-5 August from 7pm, with tickets set at $25 a piece for each night, which can be purchased on the door. And you get a good amount for your coin to boot with a large line-up of both local and interstate bands to enjoy.

The Friday, 4 August night will feature Bastardizer, Rock & Roll Weapon, Scum Fu, Mourners, and Reign of Terror

And the Saturday, 5 August eve will show off Rust, Asura, Inebriator, Futility, Black Mountain, and O’Sluggard

Wanting a night filled with variety? Head on down to Smith’s Alternative on Friday, 18 August for the Too Deadly Night.

This event is showcasing talented First Nations people in Canberra playing their wares in the mediums of drag, comedy, and music!

If this takes your fancy, head on down to Smith’s Alternative on Friday, 28 July from 9:30pm. Local band Krampus will be launching their album which shows off the metal subgenre grinchcore. You’ll also see Project: Ultimate Satan and Nicodemus Delatovic take the stage too. Tickets are $20 ($15 concession) and are available via Smith’s Alternative website. An album that’s been 10 years in the making is finally getting its spotlight! Konrad Lenz is releasing Genteel Poverty and the Likelihood of Rain and will be heading to Live at the Polo to give it the party it deserves.

The talented line-up for the night includes Ashtray Moonay, Tina Cox and MadB, with more to be announced.

Tickets are available via Smiths Alternative’s website for $30 ($25 concession).

And that’s my selection this month. So what are you waiting for? Grab your ticket and do some stretches because there’s many great gigs to attend and moves to be made!

Until next time.

Emerging Canberra singer-songwriter Monica Moore, aka Wallabindi, is celebrating her first release - Wallabindi Dreaming - with a launch at Belco Arts Centre on Saturday, 12 August. With three original songs of blak strength expressed through an amalgam of musical styles, we caught up with the charming Monica to hear her story.

How did you start on this magical musical journey?

Got over my shyness, started singing and songwriting with a friend, picked up the bass for a while, and spent a couple of years overseas playing the open mic circuit of Londinium. Got back and started playing in bands. Now, 20 odd years later, here I am!

Describe your sound:

Soulful, bluesy, sultry, funky, jazzy, folky - depends on the gig! What key tracks should people immediately check out?

My debut EP, Wallabindi Dreaming. Three original tracks full of truth telling, history, culture, and blak strength.

Who/What are your influences, musical or otherwise?

I have the most eclectic musical taste and my inspos are endless! I’ll go with Big Mama Thornton, Koko Taylor, Etta James, Amy Winehouse, Emma Donovan, Betty Davis, Chrissie Amphlett, Debbie Harry as some of the kickass female artists I absolutely love.

My #1 influence is my beautiful late Mum who raised us on a healthy musical diet of Bob Marley, Peter Tosh, Warumpi Band, Coloured Stone, Demis Rousoss, and Goanna. She is a big inspiration for my past and current songwriting, and for keeping important stories alive.

Wallabindi

Tell us about some memorable experiences.

I’ve had incredible experiences over the years, on stages big and small. I’ve supported some really amazing touring artists, and getting to meet them is always a buzz.

Last year, as part of a band supporting Frente (and Icehouse), the gorgeous Angie Hart saw me singing along in the crowd to their version of Bizarre Love Triangle. She crawled over a speaker to pass me her mic. Suffice to say, I grabbed it and sang a verse!

Recently, I performed at the Yackandandah Folk Festival to a packed houses. Having the crowd sing with us - on one of my original songs, Be Brave Make Change - was amazing.

Earth Hour at that same festival was really cool. They gave each act five minutes to play on a stage to a full house completely unplugged (because, you know... Earth Hour). We had them singing our original song back to us, so loudly.

One of the most moving performances was on a stage out the front of Parliament House for March 4 Justice in 2021, singing Helen Reddy’s classic I Am Woman to a crowd of thousands. I was almost screaming it with tears in my eyes by the end. A real once in a lifetime experience.

What is it that you love about the scene?

I love the diversity and inclusivity. Canberra has such a wealth of musical talent of which I’m so proud to be a part. I have performed in jazz/lounge bands, a gypsy jazz band, a disco band, a funk/soul band, a rock/pop band, and am now part of a 4-piece blues outfit.

And, of course, getting my original music out there, which is more on the folk/world/roots tip than anything. I don’t feel like I belong to a single genre; and that’s the way I like it!

Tell us about one of your proudest moments?

Just one? That’s just mean. There are so many!

Becoming a Mum, for sure. It is definitely my best work, and I am so proud of the two humans that I get to watch grow and bloom. And opening the box that contained my brand spanking new EP. I did two, sorry...

What makes you laugh?

Dad jokes. Puns. The lamer the better. For example - what’s brown and sticky? A stick.

What pisses you off?

Hate, greed, ignorance, and negativity.

What are your plans for the future?

Music, music, and more music.

Anything else you’d like to add?

Be kind, stay safe, and support your local musos and venues!

Where can people check you out?

My official EP launch at the Belconnen Arts Centre on Saturday, 12 August - all details coming soon!

PUNK & DISORDERLY

[THE WORD ON PUNK] WITH ALICE WORLEY

Hey friendos! Welcome to another winter edition of Punk & Disorderly. Like I keep saying, the warmest place to be is at a gig with your mates.

So what’s on? Well, let’s get into it!

First off, massive congrats to Spouse for the release of their demo trio on Spotify! I’ve been yearning for the ability to listen to these guys in the car for yonks, so I’m stoked that it’s finally a reality. And they’ve picked three varied tracks to showcase their range. Hey Katie is this early ‘90s Silverchair-esque washed out grunge-rock; Bite Yr Elbow is upbeat, early-’80s California punk that’s short ‘n’ sharp with super fun group vocals; and then we descend with Let Me Down, a slow, sludgey chug-a-lugger that makes you the right amount of moody.

Hats off, thumbs up, and a big well-done for Spouse. These are some amazing tracks, and for demos they sound so tasty.

Spouse have been playing a whole bunch of shows lately and are definitely one of the bands to watch in the ACT. So keep an eye out!

In other gig news, we’ve got a pretty awesome double dip into ‘90s Aussie alternative legends coming up at The Basement!

First up, on Thursday, 20 July, we have Magic Dirt celebrating the 25th anniversary of their album Young And Full Of The Devil Supported by Box Dye and Sonic Reducer, it’s gonna be an awesome night of punk and rock. If you haven’t seen Magic Dirt before, they are the real deal and know how to perform to a crowd.

Keep the motor running, cos the very next evening, it’s Frenzal Rhomb’s turn! Friday, 21 July sees the merry foursome crust up the Belco stage, along with co-legends The Meanies and locals Charlotte and The Harlots

frenzal rhomb

They’ll be celebrating the release of new album The Cup of Pestilence, so come along to celebrate the old golds mixed in with the shiny new tracks!

Good to see more punk happening at The Shaking Hand. Following the 13 July multi-bill, on Saturday, 22 July we have the Folk Punk Night with legends A Commoner’s Revolt, G.A.G., and Big Gun Something for everyone on the punk front so get to Shakes for a pizza and a good time!

Been seeing a lot of awesome punk events being showcased by sideway this year, especially with their recent Loading Zone event which saw the takeover of Verity Lane for a massive line-up of amazing punk acts including, to name a few, Clamm, Spouse, Sonic Reducer, and New Age Group

And the gigs are still coming, with Human Noise, Sonic Deathray, and Kilroy on Thursday, 20 July, and CIV1C with Chimers and The Narcissists on the Friday, 4 August

sideway is quickly becoming my first look in when I want to see some local and touring punk. It is an undeniable joy to see this volume of my genre walking onto their stage!

That’s all for this month; catch you next!

PUNK GIG GUIDE

Thurs, 20 July - Human Noise Regulate Tour w/ Sonic Deathray and Kilroy @ sideway

Thurs, 20 July - Bones and Jones Love You Album Tour @ Transit Bar

Friday, 21 July - Frenzal Rhomb with The Meanies and Charlotte and The Harlots @ The Basement

Saturday, 22 July - Taking Back

Saturday: Emo and Pop Punk Night @ Transit Bar

Saturday, 22 July - Folk Punk Night with A Commoner’s Revolt, G.A.G. & Big Gun @ The Shaking Hand

Thursday, 3 August - Convenience Store VIC w/ Big Reef and Gia Ransome @ sideway

Wednesday, 16 August - Void of Vision Aus Tour 2023 w/ Like Moths To Flames @ The Basement

Friday, 4 August - CIV1C w/ Chimers and The Narcissists @ sideway

Friday, 1 September - Stumps Life Moving Past You Tour @ The Shaking Hand

spouse

STIMULATING DISCUSSION

By Allan Sko

“We are like the love child of B-52s and Rage Against The Machine”, Glitoris stated to BMA Magazine, back in a dim and distant time known as 2016. “We’re feminist because we stand for equality. We’re feminist, and we love men. We’re feminist and we’re punk because our work is not finished and there is a lot to yell about.”

Seven years later, with a highlyanticipated second LP, Glitoris, finally unleashed, a lot has changed in the world that mirror-holders Glitoris inhabit. And a lot hasn’t.

At such a prosperous time for the band, it’s amazing to think the fierce, fun ‘n’ femme, once-punk now genre-bending art rock, foursome was originally meant to be a one-off formation.

“Yup. Clearly, we were wrong about that one,” they quip.

And thank the musical gods they were. In fact, it’s probably the only thing they have been “wrong” about. With a growing legion of fans— the Gliterati—and a self-titled long player that “tackles global issues, including internet trolling, femicide, and climate change,” Glitoris are more vibrant and necessary than ever. Sadly, I wasn’t there that night for what is now a slice of local musical history—our own ‘seeing The Beatles at The Cavern’. But I can imagine that o-so special ‘click!’ that must have occurred, spurned by a fervent crowd, as the notes, hearts, and politics, all slotted into place.

Oh yes, politics. The band have always worn their hearts, and opinions, on their sleeves, writ large in angry, yet glittery, pink letters. And as the eagle-eyed among you may have noticed, it was “they quip”.

This is a collective through and through; a fact that shines both via their unified answers, and their purpose.

“We were driven by politics the entire time,” they say, of the new album’s writing process. “It’s in the band’s DNA! And let’s face it; politics just keeps on giving.

“Choose Your Fighter!, for example, was initially written about the diplomatic disaster over the submarine deal between Australia and France: Morrison’s appalling lack of diplomacy on the world stage, Macron’s response, and the way the whole episode played out.

“But then we had AUKUS, the announcement of the $328bn investment, the exploding submarine on the doomed billionaire Titanic trip… it just kept giving!”

As the game referencing Choose Your Fighter! title suggests, Glitoris’ work is propelled not only by their social conscience but by castigation delivered with idiosyncratic humour and caustic wit.

“There’s a good dose of our trademark humour too, which can be found in tracks like Spoiler Alert,” they assure us.

To speak only of political messaging and calls for equality is to neglect one hugely important aspect of Glitoris; their songs fucking BANG. From the rampaging rebel words atop the power punk drive and drowsy Kashmir-like riff of 2018’s The Policy, up to the ponderous rhythmic pulse, varied guitar palette, and operatic vocal tendencies of sex-positive anthem Lickity Split, Glitoris ensure their message is not so much delivered as it is punched down the throat via scintillating sonics.

“We are so very proud of this new album, and the process was certainly a different one to The Policy,” they reveal. “We wrote the bulk of Glitoris during the pandemic, which allowed us to go into the depths of writing in a more focused and adventurous way.

“We workshopped each track to its limit, which has resulted in a more complex and dynamic sound.”

To whit, this expansion of sound has led to a kaleidoscope of musical styles, moving beyond the band’s scrappy punk origins.

“There is definitely a wider variety of genres and influences in this album,” they assert. “It’s so proggy. And there’s metal, pop, swing, Broadway… and a good dose of rock opera!

“We don’t want to be referred to as a ‘punk band’; we have long moved on from the punk origins,” they continue. “We’ve embraced our musicianship and pushed ourselves, especially with vocals and harmonies. Mickey brought a whole new dimension to this band with her incredible drumming and singing, so that lifted us.”

The extra time for honing, the inclusion of Mickey, and the growing experience has all contributed to their best work yet.

“It’s all killer, no filler!” they beam. “With The Policy, we recorded a ridiculous 21 songs then handpicked the best ones. This time we went into the studio with a solid ten songs ready to go.

“We were so focused during the songwriting process that anything that was deemed ‘even just a little bit shit’ was dumped before we finished the songs. The track order pretty much wrote itself.”

And that, dear reader, is not all, with the band dipping into their contact list to further round out their sound.

“A couple of tracks feature an epic string ensemble, arranged by Daniel Denholm (Silverchair, Tim Minchin),” they state. “Veronique Serret led the string section on Sock Puppet and Oizys. We were so keen to work with her; she’s such an outstanding musician who is so versatile in her playing.

“There’s even some sneaky accordion in there by Elana Stone of All My Exes Live in Texas.”

As you can see, a lot has changed with Glitoris, and the world they inhabit. And a lot has remained the same, making the band more important than ever.

I put this notion to them.

“There is no doubt that the post-Gillard feminism back in the early days of Glitoris has changed dramatically,” they state. “Since 2016, we’ve had the #metoo movement, Black Lives Matter, a huge push for Indigenous rights, Trans rights, as well as a global pandemic, which brought the realities of global inequality to the fore.

“In 2023, we’re seeing a greater range of different feminisms. Sadly, some of the ideas are split along the more extreme political lines we’ve seen emerge.

“In past albums, we’ve yelled a lot about things like the gender pay gap and blatant discrimination. On this album, the feminism we reflect is a far more informed, nuanced, and global one.

“We’re talking about the human, environmental, and economic cost of war, the mental health epidemic, climate change, abolition. A lot of these concepts derive from women Indigenous activists who we’re in touch with and read/listen to regularly.

“That comes through in songs like The Goats, which is calling for an end to the ineffectual incarceration system; Power Pop, which is

GLITORIS LP FUN FACTS!

laying responsibility for the state of our climate squarely at the foot of past generations and their choice of inaction.

“And one song that is particularly hard-hitting is Femicide

As Amy McQuire and Deb Kilroy have campaigned, the number of missing and murdered Aboriginal women in this country is horrific. There was supposed to be a senate enquiry, but it disappeared.

“As both have mentioned, there’s been flashpoints, such as the murders of Eurydice Dixon in 2018 and Hannah Clarke in 2020, where the femicide issue is suddenly on the agenda again. But it soon falls out of public consciousness.

“We have to ask ourselves: why is this acceptable in our society? How is it ok for women to be murdered at such rates? Why has no action been taken?

“Murdering women is normalised - it’s that simple.

“We saw some shocking cases in Latin America - the line at the end of the middle eight ‘la culpa la tuvo cupido’ is referring to the murder of Ingrid Escamilla in Mexico City.

“The song is about getting the issue back on the agenda, the ongoing violence against women, the way male perpetrators are depicted in the media (he was kind, hard working…), and how we can always use hindsight but never seem to learn from it.”

It’s heavy stuff, for sure. But it’s real, and the need to scream about it is necessary.

On this topic, Punk Dad For All, Henry Rollins, told BMA in a recent interview, regarding what modern day punk looks like:

“At this point, it’s a moral/civic idea. You see a lot of groups targeted for abuse like LGBTQIA+, women, non-white etc. I think a true punk person would be standing up for these people.”

I proffer to the group that, although they have moved beyond their punk roots, this is Glitoris through and through, is it not?

“We would love Henry Rollins to be our Dad!” they enthuse. “The band was born out of the Queer community and our biggest fans are from that community.

“That’s why we came back with Lickety Split. It’s a nod to our friends and the community who’ve supported us from the beginning.

“We are activists and advocates. We will always champion LGBTQIA+ rights, Indigenous rights, sw3rker rights, climate and environmental causes. Whenever there’s a rally or a march about these things, we’re right there with bells on!”

• Produced and recorded by Anna Laverty at A Sharp Studios, Dharug. Assisted by Matt Barnes

• Mixed by Clem Bennett at Black Mountain Studios, Ngunnawal Ngambri

• Mastered by William Bowden at King Willy Sound, Kanamaluka Lutruwita

The new, self-titled LP Glitoris is out now on Buttercup Records/ MGM Distribution and available via all streaming platforms, Bandcamp, and record stores. And circle Saturday, 23 September in your diary, when the band rip The Basement a new ‘un as part of their Come Say That To Our Faces! headline tour. Tix are $29.60 via OzTix.

TRANSFORMATIONAL MUSIC

Miriam Lieberman Trio

By Morgan Quinn

One of life’s great joys is to be gifted an opportunity to purposefully listen to music you hadn’t been exposed to before. This week, Miriam Lieberman's most recent full-length release, Just Transforming, was this gift. While proceeding with my mindless 9-5 admin tasks, I stuck my headphones on and devoured this album.

It immediately invited another listen. Then a third.

The instantly more-ish nature of Just Transforming is due, in part, to the collective skills of the performers on display. This is coupled by a musical maturity evident in the choices of not only what to include but, perhaps more importantly, what not to.

“It's a testament to Josh Schuberth, the producer,” Miriam enthuses. “He would always say, ‘before you record anything, ask yourself – does this serve the song? Is this needed?’

“And so the album is filled with beautiful, technical playing - but it's restrained.

“Each string part or vocal harmony, for example, is there to elevate the overall piece. It serves the song by having a particular and precise function."

With Just Transforming, Miriam has struck a pleasing balance between the pop and world music genres. There are unmistakable, exotic influences that drive each composition’s tone, which are channelled into a traditional pop song structure that is delivered via the medium of modern, clean production values.

"There is a progression in the music I've released,” Miriam states.

“My last few albums have been heavily inspired by West African music, as is my new album. It’s also very much calibrated with folk music and my own personal journey.”

In our chat, I pointed out a resemblance to the vocal styles and song composition of Joni Mitchell’s album Blue

“That is a great compliment,” Miriam says. “I look up to, and admire, Joni so much. And I love that album. Her range, and the emotion she can evoke in her lyrics, inspires me. There’s something very bittersweet about those songs.

“It’s beautiful when artists can make you feel both happiness and sadness within one piece of music.”

I was curious to know more about Miriam’s approach to writing both her lyrics and her compositions, and whether there is a particular philosophy that guides her. I highlighted a particularly ear-catching lyric: Don’t let them know Though you might be shaking inside Just hold your head high And somehow it’ll all be alright

“That song was written about a specific person that I loved who didn't feel the same way about me,” Miriam reveals. “But your interpretation is as valid as the meaning I felt when writing it.

“The beauty of songwriting is that it can mean something very specific to the writer, but be totally open to interpretation.”

The idea of connecting with a listener in such a way is a kind of magic that can be achieved with many different mindsets and methods. For example, perfectionism, improvisation, and collaboration. Miriam let me in to her process and outlook when creating.

"I'm definitely not a perfectionist,” she states. “When I'm writing, I'm very conscious and accepting of that. I tend to be guided by the feelings I experience when I'm writing.

“There's a song that I started a couple of days ago that I know is good, because during

the process I had a strong emotional response. It’s about my mother, who passed away recently - we had a very peaceful and strong relationship. I've been going to the swimming baths early in the morning to have a freezing cold swim, which mum loved to do.

“Those kinds of activities, and writing music about my mum, makes me appreciate our relationship even more.”

On the Just Transforming album, Miriam is joined by Lara Goodridge, Susie Bishop, and Lara Norman. Both Norman and Bishop will be joining Miriam, comprising the eponymous Trio, for the Saturday, 5 August Canberra performance.

“When you share your music with others, particularly with other musicians to perform, it adds so much more value to any given piece you write,” Miriam says. “I’m very lucky to have the musicians that played on my album perform with me live. They give the music so much depth.

“They both lead their own projects, so to be with them is an honour and a privilege.”

Whilst the translation from studio to live can be jarring for some songwriters, for Miriam and her trio performing is as natural as any part of the creative process.

“I love playing festivals,” Miriam beams. “Having a chance to see what other musicians are doing is one of the most beautiful parts about touring.

“I'm especially excited to come back to The Street Theatre, which is a beautiful venue. It’s a very welcome opportunity for me to play in Canberra, too.

“It’s a city that I personally love.”

Miriam Lieberman Trio will be gracing The Street Theatre on Saturday, 5 August at 7:30pm. Tickets are $29 - $35, which you can book now online via thestreet.org.au

Photo: Vanessa Forbes

By Joshua Eckersley

In the boundless landscape of the Australian music industry, there are certain visionary artists forging new paths and reinventing what popular music looks and sounds like. Fanny Lumsden is one such artist, delivering a compelling blend of stagecraft, storytelling, and musical prowess that has mesmerised audiences all over the world. For anyone that missed her last trip to Canberra, now is the time to load some Lumsden into your life!

Fanny Lumsden and her band, the fantastically named The Prawn Stars, have already spent a big chunk of 2023 sharing their joyful music throughout Australia and New Zealand, under her hugely popular Country Halls touring banner.

The Country Halls phenomenon is something Fanny has been pushing for ten years now, performing in halls in often overlooked regional and remote areas, and raising funds for these communities along the way (Saint Fanny has a fine ring to it).

In June, the rambunctious bunch packed their bags and set off to conquer the UK and Ireland, kicking off with a daring debut performance at the iconic Glastonbury Festival. It’s safe to say Fanny and the boys knocked English socks squarely off.

“It’s been amazing, coming from the other side of the world and having our first ever UK show be to a packed-out Avalon tent at Glastonbury,” Fanny tells us. “That is not a sentence I thought I would ever get to say. “The audience was so incredible. We had not expected a packed tent of people who sang along, joined in on all the dance moves, and just really got into it.”

With hardly a spare moment in between, Fanny and co are now returning to Australia to start their national tour in support of their brand new album, Hey Dawn, set for release in August. This highly anticipated album follows the critically acclaimed Fallow (2020), which made a clean sweep of the ARIA, CMAA Golden Guitar, and AIR awards for Country Album of the Year.

The widespread success of Fallow established Lumsden as one of the biggest names in Australian country music. Despite the huge impact she has made from sharing her music and stories, Fanny is simply carrying on, business as usual.

“I just try to keep on trucking, getting the shows booked, the songs written, and the stories told,” she beams. “I think the success of Fallow was very validating to myself, my husband, and the team.

“We all work hard on this, without a big machine behind us, so to think our grass roots approach has got us here is pretty mind blowing.

“I’m very grateful.”

The first taste of Hey Dawn comes in the form of lead singles Millionaire and When I Die. Both songs are brimming with upbeat, feel-good vibes that will help shake off any cumbersome winter blues. Despite its title, When I Die is a life affirming banger. Not only that, it is replete with an amusing story behind it concerning a big, bearded lumberjack called Brett.

“Brett bailed me up at the pub one day to ask how much I would charge to perform at his wake,” Fanny explains. “I nominated an outrageous fee and a down payment of a cow, and two loads of wood.

“He rocked up a few months later with the first load of wood. Let’s just say it has taken off since then.

“The song is really about sticking to your guns and being true to who you are, both in life and in death.” (it is worth noting, at this juncture, that Brett is as healthy as a horse. He just likes to plan ahead, especially when it comes to booking big celebrations)

The title-track, Hey Dawn, is also an uplifting celebration of the human spirit, drenched in beautiful, The Beatles-esque harmonies, and strings. One of Fanny’s true gifts is her affinity for storytelling, capturing the everyday struggles and joys of life in her music.

“Hey Dawn is about whatever weeds you’re in at the time, the fact that tomorrow has a promise of something brighter is always there,” Fanny reveals. “The song might subliminally be referring to COVID, or bushfires, or just the fact that it was deep winter when I wrote it…

“We don’t usually have a big plan for each song. We just see how it evolves, and what it needs to tell the story.”

Fanny and The Prawn Stars will be breaking in the new songs at The Street Theatre on Friday, 4 August, and it will be a very special night of celebration.

“It’s the very day Hey Dawn comes out! We will be celebrating in Canberra!” Fanny enthuses. “Maybe we should have a cake?

“We really love playing Canberra,” she continues. “The audiences are always such fun. It was our favourite shows on the Fallow & Variations tour last year.

“This performance will be full of new songs, but not exclusively. We will play old ones, of course, and fun ones too. We are designing the set at the moment, and really want to make it special.”

Fanny Lumsden and The Prawnstars bring the Hey Dawn album launch tour to Canberra on Friday, 4 August. The show starts at 7:30pm, and tickets are $23 for under 12s, $44 standard, and $65 VIP (all + bf) via thestreet.org.au

METALISE

It was a dark and stormy night... and I’m kinda over it. At least there’s the prospect of a tonne of great shows and albums coming out; more so with each passing day. Let’s kick things off with albums, shall we?

Locals Witchskull scored a very impressive #5 on the internationally renowned Doom Charts with their new slab The Serpent Tide. And to further cement the magnitude of this achievement, you need but look at their fellow top-end chart dwellers.

At #4 was a resurgent Queens of the Stone Age and their In Times New Roman... long-player.

Countrymen King Gizzard & the Lizard Wizard took the #3 spot with their 27,000th album, Petrodragonic Apocalypse

Born Under A Mad Sign from ‘Skull label mates Church of Misery came in at a well deserved #2. I’m digging it a lot.

And topping the Doom Charts was Norwegian rockers

Saint Karloff with their latest collection of stoner jams that is Paleolithic War Crimes. Whilst slickly produced and expertly played, the whole fare is a bit lacking in the ol’ Satan and drugs for me.

I feel this way in light of the new Khanate record that dropped last month, completely out of the blue. Well, more like conjured forth from a sulphuric pit of pure viciousness. To Be Cruel is their first album in 20 years, and it is NOT an easy listen.

Just as it should be.

For something a bit quicker, I’ve also been digging USA’s Danava and their Nothing But Nothing album. It’s a storming blend of Killers-era Maiden with lashings of Sir Lord Baltimore and Budgie, with a hearty dedication to shredding and dual guitar harmo and nies.

Other mid-year records that stand out include:

Mournful Congregation - The Exuviae of Gods - Part II

Enforced - War Remains

Kruelty - Untopia

Isua - Abandon

The Arson Project - God Bless

The Ending - Drowned

Torture Rack - Primeval Onslaught

Lo! - The Gleaners

Drop past the Metalise Facebook page and let me know what’s hitting your audio device of choice this year so far.

If Christmas can happen in July, so too can Christmas villainy. And who knew Krampus was local?

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

KRAMPUS

Yes, Canberra band Krampus have a record coming out called Blacknd Xmas and are hitting Smith’s Alternative with Project: Ultimate Satan and Nicodemus Delatovic. You can check their video Santa is an Anagram of Satan on their Facebook page. Continuing the Doom Chart’s relevence to this issue’s column, Yawning Man also festooned the June Doom list with their new album Long Walk of the Navajo.

Which is timely, as the band are back for a second Oz tour this decade, with Canberra on the itinerary once again. The Pot Belly plays host on Thursday, 24 August with a KILLER bill including Frozen Planet 1969, Pilots of Baalbek, and The Absentee.

Such a unique band, and it’s cool to get another show from them not too long after their last visit.

And we finish with a flurry of great incoming visit bulletins. Cattle Decapitation are no strangers to our shores, and they must have talked it up enough to bring Fallujah along for the ride. Tix are already on sale thanks to promoters Destroy All Lines with The Basement hosting on Sunday, 17 September

Also at The Basement - Thursday, 12 October - come Canada’s Archspire. The band have established a rep for blistering tempos and breathtaking technicality, and head up a massive tour including the UK’s absolutely brutal Ingested and Melbourne’s Werewolves. The technical death twists and turns suit the Tech Trek Australia moniker for the tour and you will want to get in early to secure your ticket.

So ends this Metalise. Hopefully catch you in warmer climes.

THE ART OF FOURPLAY

By Joshua Eckersley

FourPlay String Quartet have spent 30 years pushing the boundaries of contemporary classical music, breaking from the genre’s tried and true conventions to embrace experimentation and innovation.

Their journey has seen them evolve into a harmonious outfit, whose euphonious force will be delighting and entertaining The Street Theatre goers for a truly special night of music. To mark the occasion, BMA caught up with brother band members, Peter and Tim Hollo, to find out more.

The beloved quartet have come a long way from the early days of performing classical interpretations of modern pop songs, a time in which they caught peoples’ attention with compelling covers of artists as varied as The Beastie Boys, Jeff Buckley, Metallica, and The Cure.

Back in the 1990s, they were somewhat of a musical oddity, with their unconventional sound catching the imagination of a generation of indie-rock kids, thanks in large part to high rotation on the national youth radio station, triple j.

Founding members, and brothers, Peter (cello) and Tim Hollo (viola) recall what it was like to break into the music scene with such an unusual approach.

“As rock music fans, we'd long wanted to capture that genre’s energy and creativity for ourselves,” Tim recalls. “In 1994, we decided we'd just go ahead and do it. We wouldn't let our chosen instruments be a barrier.

“By the time the first album came out in 1998, we'd already seen how our weird idea connected with audiences. It was a joyful surprise to see how well it did.”

It is no surprise that those early cover songs would eventually find their way to the

ears of the original artists, giving the quartet a huge boost of morale.

“We heard from a friend of Jeff Buckley's, who told us that he'd heard, and approved of, our cover of Grace,” Tim reveals.

“That still gives me goosebumps.

“We've also performed Supertramp's Breakfast In America with Roger Hodgson in London many years ago,” he continues. “He loved our cover, and how we brought out the Jewish influence.”

Upon further thought, Tim goes on to add: “I have to say, I'd love to get Tom Morello's reaction to our cover of Killing In The Name.”

As well as performing these songs from their extensive back-catalogue, the beguiling band plan to bewitch us with tracks from their recent album. Entitled Signs of Life, the LP is a collaborative project with award-winning writer and comic book author, Neil Gaiman, he of The Sandman, American Gods, and a multitude of other game-changing works. This unlikely partnership began some 12 years ago as part of the Graphic Festival held at the Sydney Opera House.

FourPlay had the daunting task of writing a musical score to accompany a reading from Gaiman’s novella, The Truth is a Cave in the Black Mountains, creating 70+ minutes of written and improvised material to support Gaiman’s spoken word performance.

Peter describes the initial collaboration as “a success, and a great pleasure for both us and Neil. We really clicked creatively.

“We did repeat performances in Australia, recorded the entire work, and toured internationally, including Carnegie Hall, the Barbican Centre, and other such venues.”

So successful was this collaboration that it culminated in the release of the album,

Signs of Life, in 2022, which debuted at #1 on the Billboard Charts in the Classical Crossover genre. The creative interactions for the album, Peter tells us, consisted of days-long jamming sessions in which they workshopped ideas.

“You'd find us improvising and hacking away at new music while Neil sat in the corner writing,” he says. “At some point, Neil would join us to read words over sections we'd written. For the opening track, Clock, we wrote the expansive music, improvising to a ticking metronome at 60bpm.

“When Neil heard it, he immediately said ‘Shakespeare!’ and read the beautiful 12th Sonnet over our music.

“It was incredible!”

The esteemed quartet will be bringing all of this and more to The Street Theatre as they celebrate their first-ever vinyl release, a compilation titled A Taste Of…. When it comes to choosing the setlist, Tim exclaims:

“This isn't exactly Taylor Swift's Eras tour, but we are definitely tapping into the back-catalogue for this show. People can expect a wide range of music, from rock to bluegrass, from jazz to post-classical. There will be a lot of our own music and, without giving too much away, I reckon you might find some Rage Against the Machine and Radiohead in the set too!”

Tim, who has lived in Canberra since the mid-2000s, adds:

“The city has always had a special meaning for me, and The Street Theatre is such a great venue. It has a beautiful vibe, and a wonderful selection of rooms. It'll be lovely to play there again!”

FourPlay String Quartet perform at The Street Theatre on Sunday, 6 August at a special 4pm slot. Tickets are $35 + bf via the venue.

Photo: Rohan Thomson

THE SPOOKY MEN'S CHORALE SPOOKY MEN'S CHORALE

THEY'RE ALL TOGETHER

OOKY

Let’s get right to it, shall we? Just what in the hell is a Spooky Men's Chorale, anyway?

To the uninitiated, a chorale is a sacred song sung by a choir. That’s easy enough. But what is a Spooky Man? Let alone many Spooky Mans to necessitate the need for the term Spooky Men?

I was privileged enough to speak with one—a Mr Ewan Lawry, who is the Chorale's most recent addition—to demystify this query.

"I’m based out of Canberra, but most of the group are in the Blue Mountains,” Ewan explains. “They started around 2001 and have just increased in popularity over the years. Now, we’re touring Australia and across the world.

“We’re probably more well known in the U.K. than in Australia; the Folk scene is huge over there. Over the years, the size of the group has changed, but usually there’s roughly 15 of us belting our hearts and beards out."

The image of this hirsute group of men onstage, combined with their irreverent name, leads one to think there may be more than a little bit of humour involved in proceedings.

"You’re right on the money there!” Ewan enthuses. “The name somewhat gives away that there is a lot of humour built into our performances.

“When Stephen Taberner started the group, he wanted everyone to wear head-to-toe black with some kind of interesting hat. He wanted to signal to the audience that we're a group that likes to get a bit silly. In summer, there’s a bloke who wears a black singlet and black work boots!”

More than aesthetics, this playfulness bleeds into their voice.

“That humour extends to the songs,” Ewan explains. “For example “the thing” is a song about “the thing” that you know you have, but you can’t find it. You look everywhere for it, high and low, but it’s no use. So you give up and go and buy another “thing”. But now you can’t find a place that sells “the thing”.

“Eventually you get it, but it doesn’t work in the same way as “the thing” you used to have. And then you lose THAT thing and it starts all over again.”

This seems like an urgent, important story that needs to be told the masses. We've all been there - misplacing tools, wedding rings, and other important objects. But why would I want to hear a bunch of men grumble about losing a spanner? I want to hear beautiful music, performed by professional musicians, dammit!

"There are some very pretty harmonies throughout the songs,” Ewan insists. “There’s humour, too, but all of us singers are great at what

we do. We perform funny, original compositions by The Spookmeister, Stephen Taberner, but we also perform traditional Georgian music.

“Georgian music has very compelling and technically challenging aspects going on with scales,” Ewan continues. “It’s very different from how Western music has been written in the last 50 years."

During a break, I take the opportunity to watch their version of my favourite song, Dancing Queen, on YouTube. I'm laughing. I'm crying. And I’m getting a rising need to see this in person. It’s truly wonderful. The collective experience and respective skills of the group members is juxtaposed against their ludicrous Vikings helmets sitting atop earnest, deadpan expressions.

It's a beautifully inexplicable thing. On paper it makes no sense, but live it somehow makes more sense than anything I've ever seen.

So how did Ewan get picked up by these wizards of entertainment?

"Starting in maybe 2005 or 2006, I went to Canberra’s National Folk Festival and saw The Spooky Men’s Chorale,” Ewan recalls. “I’d never really done any singing myself, outside of what we were required to do in school.

“But I was instantly hooked by what these guys were doing, and came back every year for them.

“I got into a sea shanty group and built my confidence there. And then, one year at The Folkie, The Chorale were auditioning for new members. So I auditioned… and got in! It was pretty nerve-racking, but worth it, for sure.”

That’s it for me. I’m all in. During the space of the interview, The Chorale has gone from undefinable to undeniable. A further deep-dive into the troupe reveals that they've released seven albums, have played all over the world at various festivals, have been awarded the Nobel prize 29 times for contributions to medical science! Sorry, wrong wiki article... But the list goes on.

The specificity of the style of music and the humorous way it is expressed has, shall we say, corralled The Chorale.

"That’s the thing – it’s for everyone!” Ewan beams. “You could come alone and make friends, bring your mum, bring your mate, your kids, nieces, nephews, grandparents, your boss – the collective talent and the humour and the music is basically appealing to everyone.

“And yet, it’s one of the most joyously unique things you’ll ever see."

By Morgan Quinn

The Spooky Men’s Chorale will be gracing Llewellyn Hall on Saturday, 5 August at 7:30pm. Tickets are $35 - $59 and are available now via Ticketek.

Salieri bargained with God: servitude in return for fame through music. He rises to become the favoured Austrian Court Composer when Mozart arrives: foolish, foul-mouthed, and a musical genius. God has betrayed their bargain and Salieri will have his revenge. Mozart’s music underscores the relationship between these two composers; their fates entwined with murderous intent. This is Salieri’s confession. Did he do it? Amadeus explores the overwhelming obsession that occurs when we reimagine our life in the spotlight of someone else’s talent. 7pm + 2pm matinees, $25 - $50 via venue

It’s 1868, in the middle of the ocean, and Captain Watt has just discovered six young stowaways on board his ship. Inspired by grand sailors’ tales, they seek buried treasure, mermaids, sword fights… and that’s just the beginning. New from playwright Rachel Pengilly, with original music by Shannon Parnell, Legacies brings together powerful storytelling and physical theatre. Based on the true story of the Arran Stowaways, Legacies probes the depths of resilience and friendship… and how the choices you make shape the legacy you leave. Sessions at 2pm & 7pm, $30 - $50 + bf via venue

8

An immediate hit with critics and audiences, Coil is one of those rare productions: gobsmackingly clever in its execution while being funny, warm hearted, and deeply resonant. Blurring the boundaries of theatre and cinema, this innovative new work draws on our collective memories to pay tribute to the glory days of the video store and the communities we made within them. Creating new work at the very edge of video technology and live performance, re:group mash theatre and movie-making together to create this unique ‘live cinema’ experience. 7:30pm, $30 - $60 + bf via venue

Kirsty wins fans and hearts everywhere she goes with her upbeat and relatable brand of comedy that is often described as playful, light-hearted, and fun. She’s secured a place as one of the busiest comedians in the country with regular appearances on TV and radio. Her TV appearances include Tonightly with Tom Ballard, Metrosexual, How To Stay Married, SBS’ Celebrity Letters and Numbers, The Weekly with Charlie Pickering, Question Everything, Just For Laughs, The Project and Today Extra Now, she’s coming back to the ol’ stomping grounds of Canberra! 8:30pm, $25 + bf via Trybooking

The world-renowned JLCO is composed of 15 of the finest jazz soloists and ensemble players today. It has been the Jazz at Lincoln Center resident orchestra since 1988 and produces thousands of performances, education, and broadcast events each season in both its home in New York and around the globe. Under Music Director Wynton Marsalis, the JLCO performs a vast repertoire, including compositions and arrangements by Duke Ellington, Count Basie, Thelonious Monk, Mary Lou Williams, Dizzy Gillespie, and current and former JLCO members. 7pm, $80 - $150 + bf via Humanitix

World renowned Australian ballroom dance company Burn The Floor collaborates with Indigenous star Mitch Tambo to create a brandnew dance production. A ground-breaking and inspirational journey, embracing a mix of Indigenous culture and music with ballroom and Latin dance styles. It’s all backed with a soundtrack of Australian rock classics and Mitch’s own musical compositions, driven with the energy and passion of 20 dancers, vocalists, and musicians. On the verge of super stardom, Mitch Tambo performs in his own language to rave reviews. 7:30pm, $69 - $99 + bf via venue

Jazz at Lincoln Center Orchestra with Wynton Marsalis / 17 & 18 August / Snow Concert Hall

Canberra Comedy Club presents: Kirsty Webeck / Sat, 12 August / White Eagle Polish Club

“Walanbaa Yulu-Gi” Burn The Floor featuring Mitch Tambo / Wed, 9 August / Canberra Theatre

Legacies / Powerful storytelling and physical theatre / 2 - 5 August / The Q, Queanbeyan

Coil / One-of-a-kind live cinema experience

- 9 August / The Q, Queanbeyan

Amadeus / Play written by Peter Shaffer, Directed by Cate Clelland / 27 July – 12 Aug / Canberra Rep

Crying Wolf

Moonshadow: Work, Rest, Play

To mark the occasion of the one hundred year anniversary of humans first landing on Mars, BMA’s Chris Marlton takes a moment to reflect and recall some of the significant events that have occurred over the years.

Yes, I’m being followed by a moonshadow Moonshadow, moonshadow...

“What few people know is that my grandfather, Cat Stevens, wrote that song from the perspective of the planet Mars.”

- Stephen Stevens, Head Scientist, Kolonise Mars Mission

Famously quoted now, this original utterance formed the opening lines of Professor Stephens speech, given on Friday, 4 August in 2034, when independently funded and operated Kolonise Mars (K-Mars) launched the space shuttle Clooney VII on its mission to colonise Mars.

Year 2037 - Landing Party

A crew of 72 arrived on Mars on Tuesday, 13 January, 2037. Revolutionary at the tim, the entirety of the Clooney VII space shuttle were descendants of celebrated musicians. This was essential, following the scientific breakthrough of the century by Netty Petty (grand-daughter of Tom) that musical ability was not only a genetic trait, but the very cells of those with Musical-DNA (known as MDNA) were involuntarily grooving to the songs of the universe. More importantly, that space is dense with this music. The Van Allen radiation belt enveloping earth can only be traversed by MDNAs without damaging side-effects. So, on 13 January 2037, Co-Captains of the Clooney VII, Melissa Stipe and Lizzy Garfunkel, landed the ship, and claimed the planet as the first K-Mars colony. Life under the domes had begun!

2042 - Second Best Join the Rest

Five years after the initial K-Mars colony was established, a second, much-larger shuttle arrived. This shuttle was carrying terraforming machinery, regenerative and sustainable food capsulators, and hundreds more of the MDNAs that were needed to increase the speed of the K-Mars project.

This second ship was named Double-Blue, after the recently extinct Blue Whale. Its Captain, Tom Santana, was adamant the project would continue to be successful.

“I don’t want to be tone-deaf to the dangers that exist out here in the cold darkness of space, but we’ve got some incredible dancers aboard our ship; literally and metaphorically,” he said.

“We can dance, if we want to. We can dance with, or around, any problems that come our way.”

Not long after their mid-March landing, Tom’s new wife, Lisa Navarro, was named the first mayor of the second settlement of Mars. The settlement was named Paprika (partially due to the red colour of the land, and partially as a nod to the spicy love-life Navarro and Santana enjoyed).

Year 2057 - Mentos

Thursday, 11 October, 2057 marked a momentous occasion when Stella Costello cut the ribbon and turned the switch on the first Roxy Music designed Oxy-gen-gen-generator.

Operating in a minor key with a classic three chord structure— which was also a hit at the molecular level—the machine ensured breathable air on Mars less than three months later. Dome life was no more!

Year 2064 - Work, Rest and Play

The first liquor licence on Mars was granted on Monday, 23 June, 2064, when Rose Rose and her wife Trina Turner opened the Mars Bar.

Alcohol had, of course, always been a part of the K-Mars colonies, but only under strict rations, along with tooth paste, guitar strings, hair dye, and paracetamol.

By 2064, there were a number of new businesses opening, and the K-Mars society had expanded due to the dome removals stopping the limiting of real-estate.

Mars Bar became the first franchise, and Rose and Trina (R&T Enterprises) became the first M-Wave Trillionaires. Their most famous cocktail was, of course, the Sweet Grandchild O’ Mine, which Rose named after her grandfather’s sweet old hit.

Year 2077 - A President’s Precedent

Now that businesses and democracy were afoot, the people of the K-Mars colonies were feeling cramped, petitioning and campaigning for selfgovernment.

This was granted in December 2075, and on Thursday, 18 February, 2077, Freya Flowers was voted in as the first President of Mars. President Flowers declared as the Mars National Anthem, and immediately passing a law that made it illegal to suggest that it was in any way similar in melody to Dreaming Special K by Placebo.

Year 2104 - Ailing Aliens

Tuesday, 9 December, 2104 saw aliens land on Mars for the first time during the human Mars civilisation.

President Bobby

Hisaishi greeted the Khorble-Arc Race with the tradition gifts of a working Linn Sondek LP-12 vinyl record player coupled with a refurbished solid-state amplifier and a pair of Swedish omni-directional stereo loudspeakers.

Yherzelle, the leader of the aliens, accepted the gift. Gradually, the unsurprisingly musical aliens were integrated into K-Mars colony and culture. All was well. As we soon discovered, they were intergalactic refugees; the last survivors of an Earth-like planet many light-years away that had fallen victim to a rogue mauve hole*.

*for the benefit of our younger readers, a mauve hole has similar properties to that of a black hole, but is distinctive by its more velvety and suave nature

Year 2118 - Not So Civil

14 short years later, the welcoming of the Khorble-Arc people into colonies was realised to be a grave mistake. The aliens, once they had built their strength back, led a sonorous attack on the humans, and forced them to leave Mars, claiming it as their own.

Far more advanced than us, the aliens used melodious instruments that rendered the human defences both mute and moot. The human president, Indigo Roach, led the evacuation as the MDNAs retreated back to earth, with tails

Truly a dark day in the history of the K-Mars

2132 - Return to Paradise

Thirteen years later, now equipped with the latest musical discoveries from back on earth, Indigo Mars led a strike team of crack tenors and saxophonists, along with lots of actual weapons and an extremely large army.

The sheer volume of the human force was too much for the Khorble-Arc people, who, once realising the battle was lost, jettisoned away from Mars to look for another planet to occupy. K-Mars belonged to the humans once more.

As is tradition, let us all raise a toast of Sweet Grandchild O’ Mine to mark this most triumphant occasion.

2137 - Celebrate Good Times… Come On!

Present day: we celebrate the Centenary of human life on Mars. Not without drama, the K-Mars colonisation project has been officially deemed a success.

The Centenary Concert, to be held on Christmas Day, is projected to be the biggest intergalactic music festival humanity has ever seen. The K-Mars population can take stock and relax.

At least until the next alien invasion…

Chris Marlton is a comedian, writer, painter, and film-maker. His comedy special Mephisto Waltz is available to watch for free on YouTube. All upcoming comedy shows are available at www.linktree/ChrisMarlton. Follow @chris.marlton and @ laserfirecomedy on Instagram and @ChrisMarltonComedy on Facebook.

By Allan Sko

“I’m forming a whole new Party. The Feltopia Party.”

So states Randy Feltface, and his intention of leveraging his swelling popularity and comedic platform to segue into politics. We’ll hear all about this manifesto soon, but first, we have some catching up to do. Let us examine what led this to decision.

Lockdown. Remember that? It was hard for everyone, of course, and a time for self-reflection for many. For a nomadic presence like Randy, it hit particularly hard.

“I was in a small house in country Victoria in the middle of nowhere, by myself, for eight months,” he reveals. “I grew a massive purple beard and went a bit insane.”

A keen hand at improvisation, Randy—crafty both in substance and in deed—forged a cunning plan.

“Eventually I got sick of being locked down. So I fled,” Randy candidly states, exhibiting an essential skill in the world of politics. “I forged some border crossing documents and went into New South Wales, then stayed on the run throughout 2021.

“I was dodging incoming lockdowns all over the country. I was up in Darwin, across to Western Australia, hustled my way up the Queensland coast, and just sort of scraped this career together.

“Then I bounced out of the country as soon as I could at the start of 2022.”

So like a tornado chaser but the other way around, I venture?

“I’m a storm chaser that is specifically trying to find fresh air.” Surely, I posit, puppets are used to being cooped up, aren’t they?

“To be honest, I expect better from you than a question like that,” Randy says, the talk suddenly taking a turn. “I’ll let it slide because it’s early in the interview, but you better fuckin’ up your game for the next five minutes or I’m going to be ropeable.”

Realising, to my horror, I had been shamefully puppetist, I prostrated myself at Randy’s furry feet, penitent tears streaming down my face. Forgiving soul that he is—and perhaps, mostly, because it really wasn’t a pretty sight—all was exonerated with a firm-but-fair warning, and the interview continued in a happier vein.

“It’s been a good few years,” Randy quips.

“My career overseas has ballooned since last we spoke. I’m selling out across the UK and across the States and Europe.

“It’s terrific.”

Obsessed, as I am, with the origin of things, particular of those on a large and positive scale, how did this all start? With Grover and Elmo giving up their burgeoning comedy careers decades ago for the sweet honey pot of the Sesame Street gig, and Kermit et al running their own empire, there’s not many puppets strutting the floorboards these days.

“The puppet thing never really comes into it,” Randy says. “If you look at my backstory, I forged an unremarkably familiar path into stand up. I started comedy in 2005, blundering my way onto the Melbourne alternative comedy scene.”

This thought sparks a fond memory of Randy’s early days.

“I got in with a bunch of kids running a show—Kate McLennan, Josh Cameron, and Mandy Mannion—called The Wrong Night,” he recalls. “It was a sort of punk late night show where you would do your worst material. I loved that. I don’t know if you’d get away with it today, to be honest, because it was a space where everyone would do their most off-colour, weirdest shit. That’s actually where I met Sammy J.

“For some reason, I got absorbed into that game for a brief period. And from this, Sammy and I started doing stuff together.”

Flash forward to 2023, and us audiences are in for Randy’s best show-come-rally yet, it seems.

“I’ve already done the show 100 times all throughout Europe, the UK, and across America,” he says. “So I’m probably bringing the tightest hour of comedy I’ve ever done to Australia. Often, I start

a tour in Australia, and then I take it overseas, so I’ve done it in the reverse order. I actually wrote the show in Australia, but I opened it in the UK.”

Whether you’re a longterm fan of Randy, or wish to finally see what all the fuss is about, his Feltopia tour will be showcase of his many and varied comedic facets.

“It’s got a bit of everything that I’m most well known for,” he reveals. “There’s a couple of songs in there, storytelling, physical comedy, and a bit of vague messaging. It’s a 65-minute barrage of sound bites.

“I’m really proud of the show,” he beams. “I think it’s really fun.”

The energy Randy exudes is infectious. The man seems tireless.

“Oh, I’m exhausted all the time,” he reveals. “But the hard work is worth it for those times that I’m on stage. But let’s be honest; I’m not exactly saving lives here.”

I lovingly disagree, stating how important comedy is as a comfort for those doing it tough.

“Well, yeah, I guess when you put it in that context,” he says. “I’m sort of saving my own life every time I get on stage as well. Because if I had to have a normal job, I don’t know how long I would stick around.”

And with this cheery thought we come, at last, to Feltopia. “I am attempting, with this show, to stray from comedy into politics,” he states. “I’m hoping that the good people, my audience, will get on board.

“I’ve done a show where I became like a cult leader; I started a religion in The Book Of Randy; I’ve tried a whole bunch of different things.

“Now, I’m starting a whole new party - The Feltopia Party party. I’m going to be brutally honest and empathetic as much as is possible in the world of politics.

“I’ll probably last about five minutes.”

I know which box my ‘1’ is going on the form.

“I’ve done a show where I became a cult leader; I started a religion in The Book Of Randy; I’ve tried a whole bunch of different things.”

The Randy Feltface Feltopia tour bus will be swinging into the important seat of the Nation’s Capital on Saturday, 5 August. It all kicks off at 7pm, and political donations tickets are $45 + bf via Canberra Ticketing.

GOOD WORKS BY GREAT TALENT

For its size, Canberra is a dynamic and exciting place. Yet it can be criticised for a perceived lack of opportunity for the relatively massive pool of creative talent nestled within our valleys. Venues close, audiences stay home and watch Netflix – it can be disheartening for an artist.

So I’m chuffed to the gills to learn that Canberra has a (relatively) recently opened performance space.

The Mill Theatre, around the corner from Capital Brewery on Dairy Road, opened mid 2022 and is playing host to an Australian Classic – Nick Enright’s Good Works, presented by Lexi Sekuless Productions. Several cast members for the upcoming run had a chat to BMA about the play, the venue, and their craft. Oliver Bailey, Martin Everett, and Neil Pigot indulged me as I navigated and made sense of an art-form I’m only somewhat familiar with.

“At its core, this is an Australian play. We as Australians see things through a particular lens that resonates with our audiences. The Aussie social milieu is intangible but relatable to us.

“So, despite this play being written in 1995, there’s no necessity to update the text because it’s as relevant today as it ever was. “That doesn’t mean someone without that background wouldn’t enjoy or learn things

By Morgan Quinn

from the play. Australian audience members will relate strongly to the ideas, the language, and even the mannerisms and nuances of the characters.”

The play explores themes of morality within the context of two families and their relationships with each other. Catholicism, and the way Australians of certain generations adhere to the religion’s dogma, is used within the plot to drive the themes of morality and choice.

“The story takes place across several generations and is told in a non-linear way –it jumps between these different periods –and although Catholicism is important in the story, you could replace it with other religions, beliefs, or social constructs.

“Catholicism itself is not a fundamental aspect of the story. Good Works, and I’d say a lot of great theatre, is about humans, our interactions, our relationships. Nick Enright is a great writer of both stage and screen.

“Anyone who knows his work knows that, if anything, his work becomes more relevant as time goes on.”

The Mill Theatre is a new, intimate venue for Canberra. Seating 67, and converted from a cool room, it is the first private enterprise theatre in the ACT. The technical fit out for a new space is always intriguing; does this play incorporate audio or video to tell this story?

“This is a stage play in the classic sense –actors performing characters. There are basic costumes and sets, but we don’t rely on bells and whistles to entertain the audience.

“It seems to be the trend in the mainstream, now, that live theatre includes video projections, complicated sound cues, and audience participation. Everyone involved in this production is focused on sharing what a great stage play can be; a story, well told, by people who are dedicated to their craft.”

With this stripped back ethos stated, my mind goes in another direction; one it goes in anytime I talk to a talented, creative person. Why are you dedicated to the craft?

“I’m too old to do anything else.”

“We’re story tellers, this is what we do.”

“Why not?”

All great answers to this typically broad question. As our time draws to a close I’m provided one last nugget of wisdom.

“It’s fascinating to me that we seem to be puzzled by the choice of reviving an Australian play, yet we don’t even blink when another Shakespeare or Ibsen is rolled out yet again.

“We do it because it’s a challenge. As I look at our society, I think telling our stories and reflecting on ourselves seems more important than ever.

“Without a sense of collective self, how can we hope to move forward?”

Good Works will be performed at Mill Theatre from 12 July to 12 August. Tickets are $25 - $50 + bf and are available online via Humanitix.

Photos: Daniel Abroguena

By Anthony Plevey

Rich Kids: A History of Shopping Malls in Tehran is the second in a trilogy of award winning shows by the Javaad Alipoor Company—co-created by the eponymous British Iranian artist and Kristy Housely— and is described as a darkly comic, interactional digital presentation that explores the growing gap between the rich and the poor, climate change, and the way we imagine ourselves.

It’s a lofty description, sure, but simplicity lays at its core.

“I am a political artist,” declares Javaad Alipoor. “I am aware that political art is both incredibly ambitious and talks about big chunky ideas. As such, it is best made clear and simple.”

Rich Kids is a three hander, where Alipoor and Peyvand Sadeghian emulate the social media influencer/follower paradigm, leading the audience—whom Alipoor prefers as “interlocutors”—on an interactive, deep dive into the third player - a fictionalised version of the Instagram account of a rich kid.

A rich kid, the 'useless' child of a leader in an oppressive dictatorship, visible both in Alipoor's ancestral homeland and in regimes across the global south; places where human rights are minimised and abused in the service of the ruling elite. Rich kids who, rather than adhering to the tenets of the official ideology, flaunt the wealth and power of their parents' corrupt finances, laundered in the global north, to live out their extravagant lifestyles via drug-fuelled parties, fast cars, and hyper-consumerism.

“Rich Kids has a documentary/post documentary feel,” says Alipoor. “Holding a space for the contradictions, the stuck points, which we have an instinct about, but are not sure what the exact answer is.

“Very typical of these kinds of questions is an urge for simplification; an urge to flatten discussions and seek simple solutions in a sort of fairy tale narrative which, for instance, is certainly true of Brexit.

“We know in our heads that there is a growing gap between the rich and the poor,” Alipoor continues.

“We know this is an unsustainable world, and feel a little bit like rich kids ourselves, hurtling off the edge of a cliff in a Lamborghini we can't control.

“And the job of this kind of work, in times like these, is to take that away from the intellectual and into being something that is attached to your heart and guts as well.”

Rich Kids embraces multimedia and social media. But Alipoor claims it is not trapped in big-tech like other emerging Virtual Reality, Augmented Reality, and Artificial Intelligence based work.

“For this trilogy of shows, we have consciously used only the technology in your pocket,” Javaad says. “The interactivity is not like a computer game. It’s about the space in the show where the audience talks about what's going on over on Instagram. Then, if you really get what we are trying to do, again in the bar after the show.”

A key element of Rich Kids for Alipoor is the 'time travel’ nature of social media.

“If you look at someone's Instagram feed, the first thing that hits you is the way a story works backwards,” he explains. “You click on the first [most recent] photo and scroll down, going further back into the photos they posted.

“One of the things we do with the story is to say: imagine what would happen if you could scroll so deeply in Instagram that you could break it, and come out the other side and see the things underneath it, that got us to this point.”

In this reversing timeline, Alipoor also sees the emergence of these rich kids as canaries in the coal mine, mapping regime entropy and signalling their society’s decline.

“A key aspect of the show, for me, is the feeling of things falling apart,” Alipoor said. “We're not that good at thinking about decline, about how a society might degenerate.”

Internationalist art that is not Eurocentric, anti-racist, and consciously post-colonial is central to the company's manifesto. Whilst acknowledging that the digital space has huge power in terms of money and information, Alipoor sees it as a kind of public good.

“The question for me becomes - how do we think about reforming the digital space in a way that's useful and sustainable for democratic society?” Alipoor says.

“Using digital connectivity to make this kind of show means that some people in the places we've made it about get to engage with it. During the pandemic, we partnered with art centres and theatres all over the world, and streamed through their websites to their audiences.

“We had folks from Hong Kong, from Iran, from all kinds of countries where there are specific parallels with the story we are telling.

“I wanted the structure of Instagram for the story to be able to explore how living in that structure consciously orders how we make meaning,” he explains. “Looking at the intersection of social media, technology, and politics, and at the habits that shape us and the world.

“Ultimately, it’s a look at how people around the world make meaning about themselves.”

It is clear that the show not only deals with big ideas told through a modern, elegant narrative form, but it is delivered by people with a fiery passion for the world.

“Text theatre is going through its “prog rock” phase, somewhat in love with their own artistry,” Alipoor states. “What it needs is some punk rock immersion, for a different 21st Century.

“A 21st Century I very much want.”

Rich Kids: A History of Shopping Malls in Tehran plays at The Street Theatre for an exclusive, one-off show on Saturday, 12 August at 7:30pm. Tickets are $25 + bf and are available via thestreet.org.au

Moving through the galleries is like being introduced to friends of friends at a party. The absent, but vitally present, photographers are the ones with the motioning hands, saying ‘over here! come meet my mother, my hero, my son, my mate, my neighbour…’

No one feels removed from us; everyone feels a part of the gathering. Welcomed and welcoming.

This is not to suggest that all the images are all feel-good and happy days. Many are confronting, poignant, and uncomfortable.

As diverse as they are in mood, style, and influences, what each has in common is the notion of invitation – come closer, let me tell you my story, they say.

The narrative that struck me again and again, was that of tender vulnerability, coexisting—in wonderful and perplexing human fashion—with profound strength.

The overwhelming sense I was left with was a ‘come as you are’ feel.

Every story here goes far beyond the frame, no matter how humble the sense of the image.

Such as with Jay Hyne’s Dave, and Adam Ferguson’s painterly image Ukrzaliznytsia (Ukrainian Railways) employee, Sumy Oblast, Ukraine: both of these photos capture their pensive sitters in muted tones, inhabiting rooms that are plain, unextraordinary.

Yet, it is clear, partly from the finely considered composition and incoming light, reminiscent of a Vermeer painting, what lies outside of this humble space is of greatest significance.

Visiting the exhibition in NAIDOC Week, I was pleased to see so many First Nations people as part of the storytelling, both as subjects and photographers. Although, I would have been better pleased to see more representation behind the camera. Most of the images of Indigenous Australians were taken by non-Indigenous people. This is not, in and of itself, necessarily problematic—respect is clearly evident—but it feels to me like a disconnect. An imbalanced gaze.

But I am utterly absorbed by the Indigenous women especially. There is a directness,

a sense of intricate and deep knowledge being protected and continued. This is no more beautifully expressed than in Brenda Croft and Prue Hazelgrove’s blood/memory: Brenda and Christopher I, where the two appear immediately connected in love, learning, and a shared journey. Referencing Croft’s long and diverse family history is the use of tintype to create an image that speaks of other times and places.

It is important to acknowledge the disquiet present, in different ways, in some of the portraits of Indigenous Australians, as with Charlie Bliss’s The Bamugura, where we meet Susan Balbunga, Warrawarra cultural leader and master weaver. The bamugura (conical mat) she is weaving takes months to construct but will last decades. The setting, the craft, her slender hands, are all richly seductive.

But this initially heartwarming image carries a sorrowful tale. Susan Balbunga is one of the few remaining people with the knowledge and skill to make a bamugura, so there is also a terrible sense of loss here. Of disappearance.

There are other images that touch on everyday concurrences of joy and grief.

One of the first things that strike you upon stepping inside this year’s National Photographic Portrait Prize is the potent sense of community.

By Tamsin Kemp

“Thethingthat’simportanttoknowis thatyouneverknow.

You’realwayssortoffeelingyourway.”

- Diane Arbus

Such as Sarah Enticknap’s gentle image Mum helping with canvas, where the almost childlike quality of the expression is devastatingly explained by the artist sharing that her mother has Alzheimer’s. We know, now, this person is in the process of slowly disappearing, and the artist is in the process of slowly grieving.

It is so intimate: the backyard gum, the early evening light, galah pink.

We must never forget what artists gift of themselves to us, the viewer. It sometimes costs a lot.

Family, and family history, is another pervasive thread throughout the exhibition. And it is a broad family brush we see at work. From the clearly related Anne Moffat’s Self portrait with my mother and sister, the three of them charmingly serious under their eucalypt; Charlie Ford’s graceful Aunty Helen; and Sammaneh Pourshafighi’s psychedelic celebration in Portrait of My Mother As An EthnoFuturist Icon, a fabulous illustration of a matriarch well in command of herself.

To the broader family represented, our chosen family, to the ones whose lived experience includes being othered.

Bruce Agnew’s KAHA, David Cossini’s

Ugandan Ssebabi, and photographer/ costume designer Gerwyn Davies’ Mirror II are just some of the entries that speak for the advantages and necessity of Inclusion.

Ugandan Ssebabi won the Art Handlers Award, and it certainly is one worth spending time with; the story is just as powerful as the image.

There’s much in here that celebrates queer culture, honours cultural heritage and diversity, honours age, and resists social awkwardness around difference. It’s the best part of this chosen family.

One of the portraits that poses questions about what we do, and do not, celebrate effectively but without fuss, is the winner of the 2023 Portrait Prize, Shea Kirk’s Ruby (left view)

The image is one half of a pair, capturing Kirk’s friend and photographer, Emma Armstrong-Porter (a finalist themselves in the prize; I’ll leave you to go and find their work). The piece is part of an ongoing series from Kirk, showing ‘simple’ portraits that convey an intimate trust between photographer and subject.

There is a Diane Arbus type quality to his work, both in the raw way the images

are developed and presented, and the frankness of his subjects. Kirk’s use of the large format camera provides a strikingly detailed image, where the subtleties of the skin take on a mesmeric quality. The nakedness creates all kinds and ways of being unsure.

It’s an image that will not allow itself to be easily read. It demands our participation. As always, it is difficult to highlight several works when there are so many noteworthy images in the exhibition.

The aforementioned are ones that spoke to me personally, but my exhibition companion and I voted very differently in our People’s Choice.

I will happily reveal I voted for Renae Saxby’s Bangardidjan, which won the Highly Commended prize. It is at first unassuming. Yet the young woman at the image centre is commanding and vital.

Who will speak to you?

The National Photographic Portrait Prize runs daily from 10am - 5pm until Monday, 2 October at the National Portrait Gallery. Tickets are $15 Adult, $12 Concession, $10 Circle of Friends (Under 18s free) and are available via portrait.gov.au

Clockwise from top left: Ruby (left view) by Shea Kirk (winner), Portrait of My Mother As An Ethno-Futurist Icon by Sammaneh Pourshafighi, Ugandan Ssebabi by David Cossini, Brenda & Christopher I (Gurindji/Malngnin/Mudburra; Mara/Nandi/Njarrindjerri/Ritharrng by Brenda L Croft, Prue Hazelgrove, Bangardidjan by Renae Saxby, Dave by Jay Hynes

Clocking in at just one minute and forty-eight seconds, Hydranaut’s Give ‘Em A Drink is one of the surprises of the band’s debut self-titled album, which was mixed and mastered by Jason Fuller (Nick Oliveri, King Parrot, Witchskull), and released in late 2022.

The track features an opening metal-based guitar riff that segues into a verse with a post-punk ‘race against time’ accompaniment underscoring a vocal line that employs a stabbing, incendiary energy. It’s an energy—and this is where some of the surprises of the track come in—that is menacingly infectious.

It’s an easy hook to latch on to—or rather, scream along to.

From here, the verse transforms into a musical interlude that utilises a descending chord progression to make the best of creating a sense of tension and impending upheaval. What transpires is the song’s chorus, the one-line title which becomes strangely anthemic when filtered through the staccato fire of the gang vocal.

CT&TDM dish out another unyielding serve of speed death metal that follows the equally unrelenting stand-alone track, Beerpocalypse.

There are similarities between the two tracks, as one would expect. Yet, State of the World reveals a few intriguing musical possibilities for the outfit that might open up its typical aural assault approach.

We are still treated to the technical assiduity, whether that’s the guitars, drums, or overall focus, but there are other textures and additions present that shift the style—or rather expand it—albeit in an incremental way.

We are first met by a gunfire drum fill that explodes into the as-expected fast riff land. We are quickly submerged into the verses and the grit of the death metal grunt. This continues until a build that incorporates variations of that vocal growl until we arrive at what can only be determined as a chorus.

We can perhaps ascertain it is, in fact, a chorus by the chantlike melodic lines that hover above that growl as it directs us to the end proclamation of the ‘state of the world’. This melodic anomaly, although it only sounds like one when pitted against the dungeon wall of sound that comprises the instrumentation, is present for the remaining chorus sections.

Once the first chorus is done, we’re thrust back into the verses, which contain the same melodic arrangement and performance energy levels, leading us to believe that we will be taken once again through a repeat arrangement.

But this is where the other surprise awaits.

We get another serving of that plunging alternate guitar part, and one last reiteration of the song’s bellowed proclamation: give ‘em a drink, and we’re done.

In some sense, the track’s brevity, and its open-fire application, have the same concentrated efficiency as an accessible pop track. It’s an easily digestible series of musical flourishes alongside an identifiable, instantly communicable sing-along line. And there is a tincture of the humorous to it all. When experienced with the accompanying video, this idea is reinforced. Give ‘Em A Drink is an over-beforeyou-know-it, post-punk-rockmetal whirlwind; an amusing and entertaining kind.

VINCE LEIGH

It acts as transformative climax that not only appeases the listener’s ears (while being shaken by the track’s tumult) but adds a reverberative layer above the controlled chaos.

It’s our signpost for the track, a very satisfying one, as it deviates and swerves around us, with its myriad of accents and pauses and maniacal thrusts. The band were perhaps conscious of the effect this particular element might have, even going further than merely ending the track on its subtle power but incorporating a key change to intensify both its dynamic and importance.

That being said, State of the World does not let up. It’s fire and brimstone and, therefore, another fine musical display of joyful metal proficiency.

VINCE LEIGH

SINGLE IN FOCUS

spiky and refined guitar riff whose modulations are closely tracked by the bass and drum parts.

This segues into the verse, toned down to make way for a straighter groove, allowing for some funktinged guitar overlays to help augment the melody. It’s just as sparse as it needs to be for the narrative to flow, and CC Hall’s vocal, to begin its passage from declarative to resolute in the chorus.

The verse’s steady pulse and expanding fervency create an effective counterpoint to the chorus’ mood. Here, we get a shift in tone alongside the descending chord changes and the culminating accents, both reinforcing the lyric as well as providing the track’s central piece of light and shade.

What follows the solo is a splintering of the accents, previously part of the recurring guitar riff, and another attribute that directs us down yet another divergent path; to a deconstructed version of the chorus. It’s one that relies on a close-up of the vocal to make its point.

From here on in, we get another round of the chorus and a final reiteration of the riff.

Loaded Gun contains enough of the tenets of the blues rock tradition to satisfy devotees of the genre. It also has, in fair measure, enough of The SunBears’ particular take on the style. The band’s distinctive sensibilities are strong enough to rise to the surface.

The fifth single for Canberra’s The SunBears, Loaded Gun , is another dose of blues rock energy that reveals a little more of the band’s finely sharpened genre focus. The track takes off without any eddying preamble, harnessing a

When the second verse appears, it begins to sound more muscular, particularly in the vocal department. We’re led to the guitar solo after the second chorus, whose modulations are well served by Craig Marshalsey’s ambulant and intuitivesounding note choices.

The track, when listened to alongside the band’s previous single releases, also gives us a glimpse into what an album might sound like. It’s a scintillating prospect that one dearly hopes is on the horizon.

THE SUNBEARS LOADED GUN

SINGLE IN FOCUS

The EP’s opening song, She Is, utilises a gentle, shuffling pulse to augment O’Brien’s voice. The sparse backing, with the response vocals providing an effective counterpoint to the vocal melody.

The following track, Allergic To You, and its telling title, harnesses a lone cello to reinforce a sense of reflection, one that surfaces via the melancholic flavour of the note and chord choices. These serve as a perfect counterbalance to the wry dual-meaning of the content.

The next track is perhaps the most universally appealing of the EP. With its joyful ambience and directness, I Just Wanna Love You

contains a balanced amalgamation of the alluring aspects of O’Brien’s approach; a poignancy underscored by a comedic hue, with her heart-onthe-sleeve expressions nuanced by lines that are a distinct measure of her sensibilities.

And closing track Love and Hate is perhaps the sleeper hit; a joyful, folksy ode that gifts us with some of most emotionally impressive vocal turns of the EP.

Lines like ‘every now and then you can get on my nerves’ create an engaging and entertaining notion that transcend co-cat kinship, and are indicative of the EP’s overall enjoyment and appeal.

VINCE LEIGH

The new EP from Canberra singersongwriter Ruth O’Brien is a labour of love in many a sense.

For starters, O’Brien has assembled some of the best and brightest minds to craft this EP. Comprising veteran sound engineer and producer David Pendragon and Jack Buchanan (sound engineer) to best capture the songs, O’Brien has also called upon familiar names in Victor Rufus (guitarist and arranger), Julia Howarth (cellist), and Matt Nightingale (double bassist).

This is all in the endeavour to best explore, via four songs, the tension and joy that arises when one’s co-habitants are, well, cats.

Yes, Songs For Abby is a record dedicated to, and about, Ruth’s cats, Abby and Monti. This new collection follows Ruth’s 2018 EP release, Invaluable, and displays another focused and cohesive application of the folk genre.

The new tracks might all refer to felines, but O’Brien’s vocals, the performances, the production, and, more particularly, the lyrics, transcend this departure point and single objective to become a more expansive musical experience with a universal application.

When combined with authentically affectionate moments and humorous touches, the four songs conjure a warmth and intimacy that will please a wide audience—not only cat lovers.

RUTH O’BRIEN SONGS FOR ABBY

MISSION: IMPOSSIBLE DEAD RECKONING PT 1

An artificial intelligence (A.I.) has been set loose. It has made its way into highest-security online systems, and it poses multiple existential global threats to everything from mass and social media to water supplies to military security. Any of these could end very badly.

When the Impossible Mission Force (IMF) calls on Ethan Hunt (Tom Cruise) to handle it, his mission — should he choose to accept it — is to recover the instrument that is the only means of disabling or controlling the A.I. and deliver it to the U.S. Government. To begin with, Hunt will have to track down his old friend Ilsa Faust (Rebecca Ferguson). Of course, Ilsa isn’t sitting in some exotic location sipping a cup of the world’s best coffee and waiting for Hunt to show up. Then there are other parties who find the prospect of controlling the world with the A.I. irresistible — including the alarmingly capable A.I. itself.

If you’ve watched previous Mission Impossible films, you’ll know that they keep up with international politics and stay slightly ahead of current high technology; even the original television series did that.

So the timeliness of Dead Reckoning in mining the subject of an out-of-control A.I. may come as no surprise, therefore, and it takes a special kind of storytelling for an A.I.’s emergent capabilities to keep taking us unawares. Scripted by a master, Dead Reckoning Part One tells its story utterly engagingly, making the IMF team’s goal emotionally critical to ever-increasing stakes.

Tom Cruise brings great talent, discipline, ocus, and conviction, to consistently make Ethan Hunt a distinctive icon of high-octane moral manliness in action.

But this film’s entire production package is deluxe: fabulous cinematography, inspiring soundtrack, with new takes on Lalo Schifrin’s timeless theme first heard in Bruce Geller’s original television series in 1967.

Solid acting all round, and heart-stopping stunt work; meticulous direction by Christopher McQuarrie, who also directed the past two Mission Impossible films; and a brilliant script. A must-see movie-going experience.

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

— JOHN P. HARVEY

OTHER PEOPLE’S CHILDREN [LES ENFANTS DES AUTRES]

[ ]

Starring the ever superb Virginie Efira as Rachel, a Parisienne high-school teacher with genuine compassion for her most problematic students, and Roschdy Zem as Ali, Rachel’s new boyfriend, Other People’s Children focuses on a blossoming romance.

This romance gradually begins encompassing the broader love that includes Ali’s nearly-five-year-old daughter, Leïla (Callie Ferreira-Goncalves).

Rachel’s love for Ali has given her an entire family of love and joy and related heartache.

Variations on the joy and pain in finding love for Leïla are not the only feelings breaching the surface of Rachel’s awareness. She is also caught between her wish to have a child and fears arising from her past.

Fortunately, the relationship between Ali and his separated wife, Leïla’s mother, Alice (Chiara Mastroianni), remains amicable. And even as Rachel and Leïla’s attachment enriches their lives, Alice is at least polite to Rachel’s face.

Ali has his own priorities, though. What will emerge when the melting pot of love, fear, and regret comes to the boil?

Efira’s character study of a complex woman who, enriched by the love of a man and his daughter, is also becoming conscious of her biological clock emerges through her usual consummate acting, to which fine acting by the film’s child star adds a lovely depth to their relationship.

Subtle voice cues convey much in the film, but nuances in the relationships between the three leads really shine through the film’s revealingly beautiful cinematography.

A lovely portrait, albeit fictional, of wholesome family relationships and their vulnerabilities, Other People’s Children will leave a tenderness in your heart for its characters.

Screening at Palace cinemas.

— JOHN P. HARVEY

THU 20 JULY

Screening: Jane CampionThe Cinema Woman

An unapologetically subjective portrait of revered Australian Director Jane Campion, mirroring her indelible body of work. 6pm, $10-12 via National Film and Sound Archive

ARC CINEMA

Magic Dirt

One of Australia’s most influential rock bands are charging around the country to commemorate and celebrate the 25th anniversary of acclaimed 2nd album, Young And Full Of The Devil. 7pm, $45.40 via Oztix

THE BASEMENT

Chris Johnstone + Olivia Uebergang

Guitarist and teacher Chris Johnstone has had hundreds of students pass through his studio. None have impressed him as much as Olivia Uebergang, who has become an in-demand performer and teacher in her own right.

8:30pm, $25/$20 via venue

SMITH’S ALTERNATIVE

FRI 21 JULY

Screening: Jane CampionTwo Friends (16mm) + Peel

The veteran Oz Director’s debut

Two Friends depicts an unravelling friendship between two teenage girls, told in reverse order. This screens alongside Campion’s award-winning student film Peel. 6pm, free, bookings essential via National Film and Sound Archive

ARC CINEMA

Frenzal Rhomb - The Cup Of Pestilence Album Launch Tour

w/ The Meanies

Punk mayhem of the finest order. Presented by Blue Murder & Double J. 7pm, $55 + bf via OzTix

THE BASEMENT

The Generators

A Big Beat intersection of dub, fusion, improvisation, and rock, comprised of Nick McBride (drums), Matt Lustri (guitar), Grim Tilla (guitar/keys), Chris Pound (bass) + special guest Ben Foster (keys). 7pm, $20/$15 via venue

SMITH’S ALTERNATIVE

The Michelle Nicolle Quartet: The Bach Project

Bach’s music is taken on a journey which creates a completely new sonic outcome, but the song remains the same. 7:30pm, $39/$35 via venue

THE STREET THEATRE

Kopasetic + Agency Dub Collective

A double dose of heavyweight roots + dub as two stalwarts of the local scene combine musical forces to deliver one night of bass heavy, conscious vibes, with roots reggae of the finest order! 8pm, free

CANBERRA IRISH CLUB

Escapado Sol Live

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

DICKSON TAPHOUSE

SAT 22 JULY

Screening: Sweetie (35mm) + A Girl’s Own Story

Jane Campion’s breakthrough film, Sweetie, depicts the lovehate relationship between two odd sisters. Screens alongside A Girl’s Own Story, a memorable coming-of-age tale. 2pm, $10-12 via the National Film and Sound Archive

ARC CINEMA

Moondog Live

Moondog 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/soul singers of old. 2pm, free entry

OLD CANBERRA INN

Acacia Quartet: Chance, Beethoven, and Schubert

Tuggeranong Arts is delighted to welcome the Acacia Quartet back with a program featuring Chance, Beethoven, and Schubert. 3:30pm, Adult $35, Concession $30 via TryBooking

TUGGERANONG ARTS CENTRE

Maison Hall

Heralding their triumphant return, Maison Hall are back with brand new album Rose Coloured Everything. Local support Gia Ransome. 6pm, $15 via venue

SMITH’S ALTERNATIVE

Screening: An Angel at My Table

A screening of Jane Campion’s lyrical and award-winning depiction of NZ author Janet Frame, based on three autobiogaphical novels. 6pm, $10-12 via National Film and Sound Archive

ARC CINEMA

Rock of Origin

Three powerhouse rock bands in one incredible show celebrating the very best of Oz, USA, and UK rock! 6:30pm, $25 + bf via Eventbrite

HARMONIE GERMAN CLUB

Royale with Cheese -

Ultimate 90s Rock Show

Hailing from Sydney, Royale with Cheese is Australia’s premiere ‘90s rock show, playing all the decade’s best rock and pop covers – from Seattle-sound to grunge to Britpop, with a slab of Oz rock for good measure. 7pm, $45 + bf via OzTix

THE BASEMENT

Funkaars

A 7-piece Canberra-based Australian Indian fusion band led by Karisha, bringing the beauty of the vast Indian subcontinent culture and spiritually through fusion. 7pm, $35 + bf via venue

THE STREET THEATRE

Milestone Entertainment

Farewell Party

It’s time to say goodbye, but not without a big party to mark the occasion! Featuring nonbinarycode, Sorrento, Katrina

Maree & A Black Soul, and Daniel Isherwood. Doors open at 7pm and all ages are welcome. $15 +bf via Humanitix

LIVE AT THE POLO

Zambezi Sounds

Zambezi Sounds hit Smith’s Alternative for another session of danceable Afro-CaribbeanAfrican grooves! 9pm, $20/$15 via venue

SMITH’S ALTERNATIVE

SUN 23 JULY

Screening: The Piano

The Piano made New Zealand/ Australian filmmaker Jane Campion a household name and won her a Palme d’Or and an Oscar. 2pm, $10-$12 via National Film and Sound Archive

ARC CINEMA

O K China Live

O K China is a guitarist, singer, and songwriter. Playing acoustic and electric guitars. Every song produced from scratch live; no backing tracks. 4pm, free entry OLD CANBERRA INN

NeonHoney Live

NeonHoney is a music producer and talented songstress from right here in Canberra, Australia. 4pm, free entry

DICKSON TAPHOUSE

WED 26 JULY

Smith’s Varietal #198

Another night of exploring the unexpected further reaches of Canberra’s performing arts community, with a glorious mishmash of styles. 7pm, $15/$10 via venue SMITH’S ALTERNATIVE

THU 27 JULY

Screening: The Portrait of a Lady Henry James’ classic tale becomes Jane Campion’s own, with a starstudded cast led by Nicole Kidman. 6pm, $10-$12 via National Film and Sound Archive

ARC CINEMA

Australian Series: Close to Air

Join the CSO Chamber Ensemble for an immersive and ‘out of the box’ experience as they present the Australian premiere of Simon James Phillips’ composition, Perto Do Ar (Close to Air). 6:30pm, $35$67 + bf via venue NATIONAL MUSEUM OF AUSTRALIA

Ross Noble –

Jibber Jabber Jamboree

An evening of the sort of inspired nonsense that has cemented his place as the supreme master of stream-of-consciousness freewheeling stand up. 8pm, $54.90 via theq.net.au

THE B, QUEANBEYAN PERFORMING ARTS CENTRE

Lakeside at 5: Creswick

Join the Tuggers Arts Centre crew to see leading vocalist and songwriter Creswick (aka Liam Budge) as a part of the Lakeside at 5 monthly live music event. 5pm, entry by donation

TUGGERANONG

ARTS CENTRE

Schnappsfest

A celebration of Schnapps with live oompah band The Masters of Oompah. 6pm, from $15 + bf via Eventbrite

HARMONIE GERMAN CLUB

Screening: Holy Smoke (35mm)

+ Passionless Moments

In Holy Smoke, the Australian outback is the scene of a battle of wills between Kate Winslet and Harvey Keitel. Screens alongside Passionless Moments, Jane Campion’s award-winning experimental film. 6pm, tickets $10-$12 via National Film and Sound Archive

ARC CINEMA

Shane Nicholson

Having stepped into the third decade of his career with 11 albums, 3 ARIA Awards, and 15 Golden Guitar Awards to his name, Shane Nicholson is only just getting started. 7pm, $40 via venue

SMITH’S ALTERNATIVE

Soliq Records pres. Uncharted

Sounds ft. Soliq Crew + Special Guest DJ & Performers

Showcasing the latest music in the realms of techno and psytrance played by Soliq Records artists. 7pm, $15 via OzTix

THE BASEMENT

The Music of Hans Zimmer

Are you a fan of Hans Zimmer’s breathtaking film scores?

Experience them live in concert with The George Ellis Symphony Orchestra. For one night only, hear all the epic sounds come to life right before your very eyes. 7:30pm, $89.90-$149.90 +bf via Canberra Ticketing

CANBERRA

THEATRE CENTRE

Dave Graney & The Coral Snakes - Night Of The Wolverine 30th Anniversary Tour Wit, flash, and weirdness, with groove and bounce. Widely regarded as a classic of Australian alternative rock music. 8pm, $50 + bf via venue

THE STREET THEATRE

The Dalmatians

Delivering relentless grooves, catchy licks, lush keys, and vocal harmonies, The Dalmatians will charm your musical pants off. 8pm, free

CANBERRA IRISH CLUB

Adventure St Live

Adventure St are a 4-piece rock band that delves into many genres. They use bongos, bass, electric drums, djembe, trumpet, harmonica, and mind melting guitar solos to take you down every musical avenue. With flavours of jazz, blues and psychedelia. 8pm, free entry

DICKSON TAPHOUSE

Blackened Xmas in July

Krampus are Canberra’s finest purveyors of grinchcore, a subgenre of metal dedicated to all who abhor X-mas and what it represents. 9:30pm, tickets $20/$15 via venue

SMITH’S ALTERNATIVE

SAT 29 JULY

Hazy Dayz Live

Hazy Dayz are a Canberra-based duo, playing through a collection of genres in their set, including a saucy mix of rock songs with a twist & classics in between. 2pm, free entry

OLD CANBERRA INN

Screening: In the Cut (35mm)

+ After Hours

Meg Ryan and Mark Ruffalo star in Jane Campion’s most provocative and polarising film. Screens with the short film After Hours, an ahead-of-its-time examination of truth and power. 2pm, $10-$12 via National Film and Sound Archive

ARC CINEMA

Timothy James Bowen

In celebration of his debut full length album, Sing, Timothy James Bowen will be embarking on his long awaited national tour this Autumn. 6pm, $25/$20 via venue

SMITH’S ALTERNATIVE

Screening: Bright Star

+ The Water Diary

An achingly beautiful film, Jane Campion’s Bright Star explores the love story between poet John Keats and Fanny Brawne. Screens alongside The Water Diary: an extreme drought seen through the eyes of a child. 6pm, $10-$12 via National Film and Sound Archive

ARC CINEMA

The Legend of Elvis Tribute with Las Vegas Showgirls

The Legend of Elvis tribute show, starring Steve King with four Las Vegas Showgirls in this fantastic and highly interactive show. 7pm, $35 + bf via Eventbrite

HARMONIE GERMAN CLUB

Rammstein + Nine Inch Nails + A Perfect Circle - Tribute Show

Join Rammlied as they perform a huge set of Rammstein hits. The Bends perform a full set of Nine Inch Nails hits. And A Pretty Good Circle who’ll be smashing out the hits from A Perfect Circle. 7pm, $35.20 via OzTix

THE BASEMENT

Ross Noble

- Jibber Jabber Jamboree

Join Ross for an evening of the sort of inspired nonsense that has cemented his place as the supreme master of stream of consciousness freewheeling stand -up. 7:30pm, $54.90 via venue

CANBERRA THEATRE

Snake Oil Preachers

Songs of sin, damnation, salvation and redemption after dark with the Snake Oil Preachers. Country punk for city slackers. 9pm, $20/$15 via venue

SMITH’S ALTERNATIVE

SUN 30 JULY

Screening: The Power of the Dog (35mm)

Jane Campion won her second Oscar for The Power of the Dog, a gripping Western exploring masculinity, starring Benedict Cumberbatch and Jesse Plemons. 2pm, $10-12 via National Film and Sound Archive

ARC CINEMA

Typical Drew Live

Canberra-based blues outfit, playing a range of covers with soulful guitar riffs and a groovy rhythm section. 4pm, free entry

DICKSON TAPHOUSE

WED 2 AUGUST

Sweet Time Bop Trio

Swinging hard bop tunes and original jazz. 7pm, tickets $25/$20 via venue

SMITH’S ALTERNATIVE

FRI 4 AUGUST

Surf Trash Spice It Up Tour

Surf Trash announces their 2023 regional Australian tour, in celebration for the release of their new single Spice It Up out 28 July. 7pm, $29.60 via OzTix

THE BASEMENT

Melting Pot Rock

Need more diverse representation in Aussie rock and pop in your life? Then enjoy four of Canberra’s brightest on one night, with Anna Elisara, Mirror Mirror, Napoleon Ice Cream, and Chicharitta Club. 7pm, $20 full/ $15 concession via venue

SMITH’S ALTERNATIVE

Fanny Lumsden

- Hey Dawn Album Launch

Fanny Lumsden and her incredible band The Prawn Stars hit the road celebrating her 4th studio album Hey Dawn. 7:30pm, $23$44 + bf via venue

THE STREET THEATRE

This Way Orkestra

Canberra’s very own enclave of Afrobeat + ska + reggae soundsthis 10-piece orchestra combines the mighty Afro-Funk of Nigeria’s Fela Kuti with a tight brass section and heavy jazz + ska grooves! 8pm, free

CANBERRA IRISH CLUB

JD Band Live

Old school blues and roots: Dorothy-Jane ‘DJ’ Gosper (vocal, blues-harps, guitar); Jeff Prime (guitars); Dean Edgecombe (bass grr). 8pm, free entry

DICKSON TAPHOUSE

SAT 5 AUGUST

International Blues Music Day 2023

Canberra Blues Society celebrates the 11th International Blues Music Day with 9 fantastic local & interstate acts across 2 stages. Including Hot Rod display and specialty market stalls from 1pm. Music from 3pm. Over 7 hrs of live music and frivolity. 1pm, $30 to $45 + bf via Humanitix, $50 at the door

HARMONIE GERMAN CLUB

The Chris Harland Blues Duo Live 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

Spaceman Africa The Musical

Who said you can’t headbang while laughing hysterically? 3pm, $15/$10 via venue

SMITH’S ALTERNATIVE

Deb O’Toole - Matter of the Heart

From body image and babies to relationship baggage, Matters Of The Heart takes a deep dive into this multi-faceted topic. Keeping it cliche-free as promised, Deborah O’Toole covers it all with warmth, humour, and sublime vocal performances. 5:30pm, $38 adult, $35 concession via TryBooking

TUGGERANONG ARTS CENTRE

Randy Feltface - Feltopia

In these uncertain times, you need a voice you can trust. Someone who’s travelled the world and knows how to fix it. Courage. Integrity. Other stuff. Vote 1 Randy Feltface. 7pm, $45 + bf via venue

CANBERRA THEATRE CENTRE

Backhand, Loose Cannon, Bridge

Left to Burn & Axiomatic Theory

Get ready for a night of hardcore heavy hitters thanks to Burntout

Bookings! Catch Backhand (NSW), Loose Cannon (ACT), Bridge Left To Burn (NSW), and Axiomatic Theory (ACT) taking over The Basement this August. 7pm, $16 via OzTix

THE BASEMENT

Emo VS Anime - Emo Night Canberra

Step into the world where emotions collide with anime, as we bring you an unforgettable night where Emo and Anime intertwine, creating a symphony of darkness and imagination. Emo VS Anime! Where misery invites company! 7pm, $29.60 via OzTix

THE BASEMENT

Miriam Lieberman Trio: Just Transforming West African influences blend seamlessly with blues-infused melodies and soaring vocal harmonies. 7:30pm, tickets $29$35 via venue

THE STREET THEATRE

Expressions on a Dancefloor

Six Degrees of Separation

presents: Expressions on a Dance Floor - daring tributes to the Queen of Pop: Madonna! 9pm, tickets $25 via venue

SMITH’S ALTERNATIVE

SUN 6 AUGUST

FourPlayA Taste Of... Album Launch

Don’t miss FourPlay, for what will be a stunning evening of lush, haunting and electrifying sounds. 4pm, $35 + bf via venue

THE STREET THEATRE

The Crossbenchers Live

The Crossbenchers are a four piece Canberra band doing lounge, blues, R&B, originals, and covers. From Chuck Berry to Frank Sinatra, from Ray Charles to The Doors. 4pm, free

DICKSON TAPHOUSE

HoneyClub Live

Canberra-based blues & rock duo. Playing an array of covers across several genres, peppered with their own spin. 4pm, free entry

OLD CANBERRA INN

MON 7 AUGUST

Sam Tallent - Debut Australian Tour

As heard on The Joe Rogan Experience, WTF with Marc Maron, and his own podcast The Chubby Behemoth, his eagerly awaited first Australian live tour comes to town for one night only. 7pm, $50 + bf via OzTix THE BASEMENT

TUE 8 AUGUST

Romantic Lied

Canberra born classical singer Chloe Robbins, joined by her partner Timm Schuhmacher and pianist Ajla Jennaway, present a program of German and French song. 5:30pm, tickets $10 via venue

SMITH’S ALTERNATIVE

Twelfth Night

Heather Fairbairn’s fresh retelling of Shakespeare’s romantic comedy is a dark collision of hidden identities and unrequited love. Featuring allnew music by Sarah Blasko, Twelfth Night ultimately asks us to find light in the darkness. 7:30pm, $15-$45 + bf via venue

GOULBURN PERFORMING

ARTS CENTRE

WED 9 AUGUST

Frankie’s Guys

Winner of London’s Best Tribute, the world’s number one celebration of Frankie Valli & The Four Seasons is making its highly anticipated Australian premiere! 7pm, $89.90$109.90 + bf via Canberra Ticketing CANBERRA THEATRE

“Walanbaa Yulu-Gi” Burn the Floor featuring Mitch Tambo

World renowned Australian ballroom dance company Burn the Floor collaborates with Indigenous star Mitch Tambo to create a brand-new dance production. 7:30pm, $69 - $99 + bf via venue

CANBERRA THEATRE

FRI 11 AUGUST

Black Tooth - The Australian Pantera Show w/ Carbon Black Black Tooth - The Australian Pantera Show celebrate the music of Pantera by performing a full set of classic songs from the Kings of American Metal. Supported with an opening set by local band Carbon Black. Come Getcha Pull! 7pm, $24.50 via OzTix

THE BASEMENT

The Salonistas

The Salonistas are a Sydney band whose sound has been described as ‘velvety, alt-country soul’. They play songs about love, grog, Jesus, and occasionally buffaloes. 8pm, free

CANBERRA IRISH CLUB

Sneaky Jeremiah Live

Sneaky Jeremiah are a Canberrabased feel-good, good time band delivering soul, blues, R&B, popular anthems, Americana, and classic rock. 8pm, free entry

DICKSON TAPHOUSE

SAT 12 AUGUST

Adam Corbin Live

Adam Corbin is a very talented Canberra-based musician who plays a mix of original material, Australian covers & blues. 2pm, free entry

OLD CANBERRA INN

Simply Divinyls + MINX

The ultimate Divinyls tribute show with a support set of classic female rock songs. 7pm, $35 + bf via Eventbrite

HARMONIE GERMAN CLUB

No Scrubs: 90s + Early 00s Party

Calling all Barbie Girls, Teenage Dirtbags and All Stars: join No Scrubs for a 90s and early 00s party that will be Larger Than Life! 7pm, $15.30 via OzTix

THE BASEMENT

Rich Kids: A History Of Shopping

Malls in Tehran

Come and dive into a world of drug-fuelled parties, fast cars, and hyper-consumerism. 7:30pm, $25 + bf via venue

THE STREET THEATRE

Eric Clapton & The Doors - Tribute

A celebration of the music of The Doors & Eric Clapton. 8:30pm, $25 via Trybooking

CANBERRA IRISH CLUB

SUN 13 AUGUST

Cameron Jones Trio

Authentic manouche jazz. 4pm, $20/$15 via venue

SMITH’S ALTERNATIVE

Eden Plenty Live

Australian artist, singer, songwriter and guitarist Eden Plenty is a devoted music craftsman who uses his range and thought provoking lyrics for connection. 4pm, free

OLD CANBERRA INN

HoneyClub Live

Canberra-based blues & rock duo outfit. Playing an array of covers across several genres, peppered with their own spin. 4pm, free entry

DICKSON TAPHOUSE

Apeiron Baroque: Old Friends

A concert with Apeiron Baroque, featuring the Viola da Gamba and Baroque Dance. Music for mistuned violin and gamba, a dance of madness and the French courts! 5pm, $40/35/15/0 at Trybooking

WESLEY UNITING CHURCH FORREST

Diesel -

Greatest Hits Alone with Blues

This captivating showcase of greatest hits, coupled with Diesel’s love for the blues, has been exclusively designed for theatres as an intimate two-set solo concert, with a brief intermission. 6pm, $80$100 + bf via venue

GOULBURN PERFORMING ARTS CENTRE

TUE 15 AUGUST

Super Rats

Folk music from the rough neighbourhoods of Bucharest. 7pm, $25/$20 via venue

SMITH’S ALTERNATIVE

WED 16 AUGUST

Void Of VisionDas Ende Australian Tour

Since bursting onto the metal scene ten years ago, Void Of Vision have consolidated their position as one of the most innovative bands in heavy music today. Joined by Like Moths To Flames, Varials, and Annalynn. 7pm, $39.50 + bf via OzTix THE BASEMENT

ENTERTAINMENT GUIDE

THU 17 AUGUST

Jarryd Goundrey

“I travel doing this weird thing that brings me and hopefully you joy.” 8:30pm, $22/$18 via venue

SMITH’S ALTERNATIVE

FRI 18 AUGUST

The Burley Griffin + NISSAN: Unstoppable

A great local double bill of indie music sure to get your weekend off on the right foot… 8pm, free entry

CANBERRA IRISH CLUB

Too Deadly Night

A night to show case First Nation mob in Canberra with drag, comedy, and singers all rolled into one deadly night. 9:30pm, $30/$25 via venue

SMITH’S ALTERNATIVE

SAT 19 AUGUST

Gretta Ziller with Dana Hassall

Join Gretta for an Intimate Afternoon of Storytelling & Song, showcasing her forthcoming album All These Walls. 4pm, $20 via venue

SMITH’S ALTERNATIVE

Harrison StormRegional Aus Tour 23’ Part 1

In celebration of the release of This Love, the 2nd single from his debut album, prolific indie-folk singer-songwriter Harrison Storm comes to play his first Canberra headliner. 7pm, $25/$20 via venue

SMITH’S ALTERNATIVE

SUN 20 AUGUST

The Rhythms of Ireland

Seen by over two-million people worldwide, The Rhythms of Ireland takes you on a journey through the rich and colourful history of Ireland, with music and dance that celebrates the nation’s enduring spirit and cultural heritage. 6pm, $59.90 - $79.90 + bf via venue

GOULBURN PERFORMING ARTS CENTRE

Eulogiser Bunny

Eulogiser Bunny is an interactive comedy show where you’ll follow the journey of Cameron Ribbons from birth until his mysterious demise. Murder Mystery? Check. Crowd Interaction? Check. Cheques? Meh. 7pm, $10 via venue SMITHS ALTERNATIVE

THU 24 AUGUST

The Robertson Brothers

The Robertson Brothers are thrilled to be returning with their new heart-warming and uplifting ‘60s variety TV show! 7pm, $79.95 + bf via venue

GOULBURN PERFORMING ARTS CENTRE

Queen: It’s a Kinda Magic

The show is set to again immerse fans in the spectacle, grandeur, and extravagance of Queen and Freddie Mercury, but with the incredible Dominic Warren on board, things are looking bigger and better than ever! 7:30pm, tickets $55-$65.50 +bf via Canberra Ticketing CANBERRA THEATRE

FRI 25 AUGUST

Taylor Swift: Speak Now Party

Drop everything now!!! Taylor Swift is rereleasing Speak Now and we’re going to have an enchanting party to celebrate! 7pm, $16.50 + bf via OzTix THE BASEMENT

Jo Fabro

Don’t Make a Liar Out of Me album tour, 7pm, $25/$20 via venue

SMITH’S ALTERNATIVE

SAT 26 AUGUST

The Subterraneans meet Jeroen Pek

One of Australia’s most exciting jazz(-rock) bands is touring with “one of today’s most fascinating jazz flautists” Jeroen Pek. 6pm, $30/$20 via venue

SMITH’S ALTERNATIVE

The 046 - Rhythm & Gutta Tour

A breath of fresh air in a crowded local scene, the heralded return of ET, Kymza, Ronza, and best mate Jizza, are ready to take on the world with their unique G-funk infused hip hop. 7:30pm, $37.46 via INTIX FICTION

Tommy LittleRapidly Ageing F*ckboy

Finding humour in being robbed, generational bedroom behaviour, semi-narcoleptic housemates, and six months of world record training for nothing. 8pm, $49.90 +bf via Canberra Ticketing CANBERRA THEATRE