BMA Magazine #543 - June/July 2024

CBR’S

DEBORAH FRANCES-WHITE

BRONWYN LEWIS

TEMPLE @ NFSA

CLUBSCORE HALF TIME SHOW

KHYAL TRIO FT BOBBY SINGH

CBR ARTIST OF THE MONTHHAYDEN KINSMAN

[Canberra’s Arts & Music Guide]

Supporter of The Arts - that benevolent spinner of beautiful lies #543 - MAY/JUNE 2024

Mail: 36/97 Eastern Valley Way Belconnen, ACT 2617

Publisher ABN 76 097 301 730 Pty Ltd

Managing Editor Allan Sko

E: allan@bmamag.com

Cover Design

Marty Baker + Allan Sko

Article Design

Marty Baker & Allan Sko

Entertainment Guide Editor Allan Sko

Social Media Manager

Angel Nash

Columnists

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

Contributors

Carrie Gibson, Vince Leigh, Sammy Moynihan, Tamsin Kemp, Jen Seyderhelm, Allan Sko

ISSUE #544 RELEASE DATE

Thursday, 6 June

EDITORIAL DEADLINE Friday, 24 May

ADVERTISING DEADLINE Wednesday, 29 May BMA

The “Afrobeat” musical genre was created in Nigeria in the late 1960s and blends traditional African rhythms with funk and jazz. Afrobeat Awareness explores this music and the legacy of Nigerian artist and political activist Fela Kuti - afrobeat’s originator and chief proponent. Leading the charge is Canberra’s own enclave of Afrobeat + Ska + Reggae sounds This Way Orkestra - a 10-piece combining the mighty AfroFunk of Fela Kuti with a tight brass section and jazz + ska grooves - heavy dancefloor energy at all times!

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

The brothers Quinn (Morgan left, Hayden right) have attempted to cram as much as possible into their latest indie pop trips. And with a whole album

Big Reef can never be accused of being predictable, despite working within the framework of ‘80s infused pop. Guitar crunch samples introduction to a lingering soundscapes, cascading keys, sliding guitar lines and, of course, THE VOCALS.

The whole CBR DJ community is invited to mix up a storm. Old legends are flying back to share decks with fresh crews, an old-school MC will keep the dancers up to date on who’s mixing and a fresh projection and light show will respond to every new track and style. Silly awards are up for grabs

for most tracks and styles mixed, but that’s not the point. Reviving a party idea from 2013, when Literally Too Many DJs asked 20 DJs to mix 120 songs in two hours, this concept party has evolved into crew showcases where quick mixing is the game but we just appreciate each other.

30 & 31 May beckons a 2-day 2-gig musical feast at Smith’s! On Thu, 30 May Capital Samba & Alejandro Florez bring Brazilian and Spanish rhythms as the rich musical traditions of Spain and Ibero-America are intertwined with the captivating sounds of bossa nova, samba, and flamenco and Spanish guitar. Then, on Fri, 31 May, prepare to groove to the rhythms of Los Chavos, Canberra’s premier Latin ska reggae band! Travel to the heart of Latin America, via CBR.

A celebration of the iconic American rock band, The Eagles. With incredible attention to detail, the performers bring the band’s legendary music to life in a way that is both authentic and electrifying. From Hotel California to Desperado, the show features all of the band’s greatest hits, performed with stunning vocals and flawless musicianship.

LOCAL TY

[THE LATEST ON CBR MUSIC] WITH JANNAH FAHIZ

SEND GIGS AND INFO TO: [JANNAH.FAHIZ@GMAIL.COM]

Marvelous May is here to offer us early chills and great music thrills! I have some fabulous events for you to get down to over the next few weeks, ranging from Afrobeat to metal. Read on to learn more.

The first gig I have for you will take place on Saturday , 10 May at The Baso called Dansonfest

This is a full feast of a show celebrating the memory of punk advocate and the industry’s best friend, Nicholas Sofer - Schreiber . Catch a wide array of rock and punk music that Nicholas loved, plus some new ones.

The lineup includes local legends Box Dye , SUDS , Yoko Oh No , Sketch Method and Dirt Nap . They’ll be joined by some of the finest from all over, and you can expect a sweet treat of acoustic performances from various artists, too. Tickets are available now via Oztix for $25. Music kicks off at 2pm for a full day of entertainment.

Looking for some hip hop?

Sydney’s Chill Cheney just released his debut EP, Victor , and is headed to the capital on his

celebration tour with a whole local lineup to support him. Joining him will be MN Cappo , Tivien , and Scarecrow . The gig is at Live at the Polo on Saturday 11 May , from 7:30pm. You can get your ticket now for $20 via Humanititx.

Inspired by classic rock icons like Queen, Bon Jovi, and Arctic Monkeys, Adam Schranz released his debut album last year and is now celebrating the release of his latest single, Fact Of The Matter . He’s headed to Smith’s Alternative on Tuesday , 14 May , with supports Tyler Nguyen and Lee Elliot . Doors 6:30pm, tix via the venue website for $15 ($10 concession).

Saturday , 18 May brings us A Night of Afrobeat Awareness over at Gang Gang Cafe . This Way Orkestra performs two sets of Afrobeat, reggae, jazz and ska.

The 10-piece band formed in our very own city with a worthy charge: to share the sounds of Nigeria. The performance allows the audience to explore Afrobeat music and learn about the legacy of Nigerian artist and political activist Fela Kuti , who started the genre.

The show begins at 7pm, and you can get your ticket via Humanitix for $20.

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This one is a little bittersweetafter 13 years, Wretch is playing their farewell show on Friday , 31 May They’re calling it Farewell to the Filth . Come celebrate Canberra’s grindcore band Wretch one last time and

send them off with a big hoorah! Joining them will be 12 Gauge Rampage (NSW), The Plague (Sydney), Maggot Cave (Sydney), Post Human and Blackened Dred .

This is happening at the band’s favourite venue, The Baso Music starts at 7pm, and you can purchase your ticket now via Oztix for $20.

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With a diverse range of genres on offer, this is your chance to discover new music and broaden your musical horizons. Whether you’re a fan of rock, punk, hip hop, or Afrobeat, there’s something for everyone here.

So why not step outside your comfort zone and try something new?

Either way, stay fabulous... and stay warm! See you at the next event - Jannah

BMA PROFILE BAND

Bossman Allan Sko here, with the quickest of quick intros. Just wanted to state that ol’ Haedo here is a supremely talented Muso and teacher, as well as one of Canberra’s loveliest people (I would wager, one of the WORLD’S lovliest, but I don’t get out much, so am underqualified to comment). Over to you, Mr Kinsman!

How did you start on this magical musical journey?

I’ve always had a natural curiosity about the piano. My uncle taught me Mary Had a Little Lamb when I was young. Into my early teenage years, I owned one of those cheap keyboards - the kind that doesn’t care how hard you press the keys, wasn’t weighted, and had no sustain pedal. It was great fun for a long time, but I knew there was more to the piano and I craved that knowledge.

So, in my mid-teen years, I sought a decent digital home piano. As soon as it was set up, I fell in love with the depth of sound, the response to my fingers, and the keys’ weight—I still recall the smell. It was heaven, and a new love was born. This was compounded in 2017 when I decided to study Music Performance at CIT. It was the first time playing with other musicians, and I’ve never turned back!

Describe your sound:

Too much of a cop-out to say ‘indie’? It’s whatever I feel like writing, although my songs tend to be quite introspective. I like to reflect on my life; its mistakes and successes.

So lyrically, you’ll find a lot of that— add love of nature and hatred of the city... Et voila!

I switch between keyboard/guitar depending on what I wrote it on, but the most important aspect of my songwriting is making the harmony enjoyable: lush chords and exciting chord progressions!

Your key tracks?

My band The Dalmatians has recently launched a new single called Sunshine, it’s definitely worth a listen! Although my role is exclusively keyboards.

I haven’t released music myself; more of a performer than recorder. Although I am looking to record - hopefully this year! [obligatory eye emojis] Songs that directly inspire my work: Styrofoam Plates by Death Cab for Cutie; Logic of ColorVariation by Wye Oak; and locally (until she moved to Tassie!), one of my absolutely fave tracks, Elimatta Hotel by Cathy Diver. Your influences?

Top of my list is Death Cab for Cutie, particularly their older work, all the way up until 2010! Artists of ambience, kings of quirky melodies, and masters of metaphors. After them, in no particular order (except the one I’m listing now): Wye Oak, The Whitlams, Crumb, Phish, and pre-2000 The Smashing Pumpkins. General influence is just anyone honest, kind, and not a wanker. What are some of your most memorable experiences?

Falling through the roof of the backyard shed as a kid. Absolutely exhilarating experience, 10/10, would recommend. Otherwise, playing piano for Fred Smith to 3000 people in the massive tent at the 2022 National Folk Festival was pretty cool! But I must say, nothing can beat an intimate gig where you’re close to your bandmates and the audience.

What is it that you love about the scene?

As a member of Canberra’s music scene, I am lucky because so many of us support one another. There are little cliques now and then, but the heart of the original music scene is fantastic.

We’re lucky enough to have the powerhouse culture hub that is Smith’s Alternative, with heaps of shows, events, and workshops every week.

Tell us about one of your proudest moments:

Growing up, I experienced a lot of anxiety and depression. I was selectively mute in primary school and only spoke at home to family. In high school, I lacked social skills and was always clinging to walls and corners.

In 2015, I decided to push myself into the real world - I got my first job and acquired my Year 10 equivalent certification from CIT. In 2016, I continued into the Year 11-12 program at a tertiary level and graduated with results that I was very proud of.

I’m most proud of the personal growth I experienced through that process and of who I came out as on the other side. I walked in as an introvert and walked out as... still an introvert, but with significantly more social skills, discipline, and knowledge!

What are your plans for the future?

Gig more! Release music! Write more music! Collaborate! Treat my addiction to exclamation marks! Relapse!!!

I’m also looking to expand my piano teaching business from home and into the world of video lessons. So get in touch!

What makes you laugh?

Honestly, most things. That’s how life should be. Witty humour, toilet humour, witty toilet humour. I remember the first joke I ever actually understood and laughed hysterically at. I must have been about 6 or so.

A: An ‘ig’. What pisses you off?

Q: What do you call an igloo without a toilet??

Cost of living/corporate greed, people with no respect or consideration, and people who tell me I say ‘tomato’ wrong. Anything else you’d like to add?

Yes.

Where can people check you out?

haydenkinsman.com instagram.com/haydenkinsmanmusic facebook.com/HaydenKinsmanMusic

Email: HaydenKinsman@haydenkinsman.com

Piano Lessons: Contact me on the above!

I’m friendly, and only bite upon request

Bec Taylor and the Lyrebirds are set to captivate audiences again with their forthcoming album, Limbs & All, and its celebratory live show launch on Sunday, 9 June, at The Street Theatre as part of a broader regional tour. As the anticipation mounts, we delve into the creative process behind their latest musical endeavour's harmonies and emotional depth.

A Lifelong Affair with Music

"Music has always been a part of me," shares Bec Taylor, reflecting on her lifelong connection with songwriting and performing. "It's always been who I am and how I understand the world.

"I cannot separate myself from music and don't know who I'd be if I wasn't a musician."

This deep-rooted passion serves as the foundation of the band's creative energy and is felt deeply by all members.

Diverse Talents, Harmonious Blend

At its core, BT&TL is a collaboration of diverse talents with a rich experience in many genres: Hannah Beasley (PaintonPaint), Sam McNair (JD McNair, The Burley Griffin), Sophie Chapman (Brass Knuckle Brass Band, Andy and George Band) and Grahame Thompson (Cracked Actor, BabyFreeze, Mr Fibby).

With a line-up boasting an array of instruments—including acoustic and electric guitar, mandolin, banjo, keyboard, drums, and even cello—their sonic palette has many colours with which to paint, inviting listeners into a realm of folk-pop harmonies and heartfelt songwriting.

Turmoil to Triumph: The Genesis of Limbs & All

The genesis of Limbs & All reflects a deeply personal journey for Bec as she navigated the tumultuous waters of the COVID-19 lockdown while pregnant.

"I wrote most of the tracks during the lockdown," she reveals. "It was a very tumultuous time—challenging and stressful but beautiful at times. The music is equally tumultuous, too."

Whether it's the darkly rhythmic and poetic Wormhole or the elated but hesitant Whisky, the album is subtler and broodier than the last, featuring interconnected themes and ideas across songs. A musical connection is weaved into tracks Photograph and Goner, referencing their sister-song origins: they began as one song but evolved into two separate entities.

"The album's title comes from the idea that you have to be fearless," she explains, shedding light on the spirit underpinning the record's creation.

"Sometimes you just have to throw yourself in the deep endlimbs and all."

Collaborative Creativity: Crafting a Cohesive Body of Work

Unlike its predecessor, Adrift, which showcased Bec's solo instrumentation, Limbs & All emerges as much more collaborative, melding the collective talents of all four Lyrebirds.

"I wrote more than 20 songs for the album, but the band chose the final tracklist," Bec enthuses. "I wanted the band to decide and take ownership of the work. Once they decided and added their own musical touches, it became really musically cohesive.

"This is the first album that felt like that," Bec remarks. "All the tracks set up an apparent musical journey, with some references to each other. It can be consumed from start to end in one sitting, as though it were one story, one complete body of work."

A Labour of Love: Recording and Revelry

The album's evolution was a labour of love, culminating in a meticulous recording process orchestrated by esteemed producer Louis Montgomery.

"From intimate band sessions on the South Coast of New South Wales to live studio recordings at Golden Retriever Studios in Sydney, every step was infused with camaraderie and musical exploration," Bec explains.

"Everyone in the band really loves each other and loves performing together," she emphasises. "We are good friends and have great chemistry.

“This will be obvious for any audience watching us."

As we draw closer to the concert, it's evident that Bec Taylor and the Lyrebirds have made more than mere melodies—they've crafted an emotional journey with an invitation to explore the depths of human experience. With their exceptional new album, they beckon us to dive fearlessly into their musical realm, embracing life's challenges and triumphs, limbs and all.

Bec Taylor and the Lyrebirds play at The Street Theatre on Sunday, 9 June for a special 4pm performance, with a support set from Owen Campbell. Tickets are $35/$32 conc via the venue

By Carrie Gibson

“30 years. 10 albums. 1 being together. Join this latest expedition to the peak mountain of sounds. Deep dive into the invasive notions of INVADER.

In a spirit of reflection - scale high, question everything, and arise with some kind of knowing. Kingdoms are benign monsters, Old World imperial extractors whose flicking cicatrice tails weigh heavy across lives time invaded. Take any strength and transmute power gained.”

So reads the opening paragraph of Regurgitator’s latest presser, typical of the group’s cracked-philosophical, whacky-fun style.

And why shouldn’t they be in a good mood? Their tenth album, INVADER, lives up to its name, and they’re on a jolly jaunt across the country, complete with a Canberra stop to boot.

With this in mind, I ask musical polymath and Gurge frontman Quan Yeomans how the atmosphere is at Camp Gurge right now.

“Hectic!” Quan exclaims. “I forget how frantic recording and releasing albums is. It’s been a while!”

I ask Quan to take us through INVADER; what did they set out to achieve this time, and how did the material all come to be?

“We just started a record like we normally do”, Quan begins. “It started about 18 months ago with the ‘let’s get back on the horse’ mentality.

“We booked some time in a studio just outside of Brisbane. I had just finished a solo release, so my head wasn’t in the space, I guess; just not in the zone. We got about five demos out, but I didn’t get much out of that session.

“Ben [Ely, bassist, but you knew that already] did manage to get a song from that first session onto the record—Tsunami So that was the first song written and recorded.”

Quan explains the eventual arrival of ‘having his shit together’.

“Paul [Curtis, Valve label head and wonderful person] had suggested I read The Creative Act by Rick Rubin; I was like, ‘Yeah, sure, whatever.’

“I read it, and it did spark something in me – to be a bit freer in how I worked. It’s a pretty good book, actually; I mean, there are a lot of people who think Rick Rubin doesn’t know what the

fuck he’s doing, but the guy is extremely successful. He has a Zen mentality, which is very apparent in the book – and I like that stuff.”

Zen in check, Quan was furiously writing by this stage; he found that fabled ‘flow’ and felt really good about what he was doing.

“By this point, I had written about five or six songs,” Quan states. “Live drums were next – so we did another session in Brisbane. I mainly did the additional session for Ben, who is the kind of guy who likes to get together with the band and hash things out in the live sense. But strangely enough, none of the live sessions Ben recorded made it to the album – he scrapped it all and started again with programming instead.

“I used most of those tracks he scrapped, took them back to Melbourne and started playing around with them.”

Throughout Covid, Quan taught himself to use a different DAW [Digital Audio Station for those of you playing at home], gave Pro Tools the boot and started using Studio One, which ‘upped his game’, he concedes.

“I was determined to do it all myself,” he reveals. “At that point, I was happy with about seven of the tracks.

“At this juncture, I also read many books on indigenous thinking over the last few years. Quite a few of them really blew my mind,” Quan says, a reverence entering his voice. “Two in particular; Braiding Sweetgrass, written by a Native American woman, Robin Wall Kimmerer, and another called Sand Talk, by an indigenous Australian author, Tyson Yunkaporta.

“Sand Talk astonished me,” he added. “I could see the influence of these authors moving towards the album – with The Voice Referendum defeat last year, it was a particularly hard time for our indigenous community. These important issues were bubbling away and coming to the forefront – the material became driven by this.”

Quan was so into Tyson’s book that he reached out to see if he was interested in collaborating.

“I didn’t care what it was; I just wanted to show my appreciation for his writing because it really moved me.”

Quan declares that Tyson was very gracious. After an exchange of emails, Tyson offered him a poem called Arc

“I wanted to put some music behind this, to match the sentiment we were aiming for, and Tyson jumped on board.”

And indeed he did, with Tyson having this comfortingly beautiful reflection on the album:

“History doesn’t necessarily repeat, but it certainly rhymes. There are poetic devices available to artists to divine the patterns of past, present and future. This album digs deep to make sense “in a world of weaponised illusions and radicalising sorcery, where the lines between digital fantasy and embodied agency have become irrevocably blurred.”

- Tyson Yunkaporta (Sand Talk; Right Story, Wrong Story)

The influences cited by Quan were starting to sew a diverse and powerful patchwork throughout INVADER, and Quan wasn’t finished. Not by a long shot. Wanting to take it to that next level – the band hunted down the illustrious Australian rapper-activist JK47 and iconic Canadian electroclash artist Peaches to feature on the album.

“These performers were exactly how we wanted to continue with the album”, Quan states.

From Day One to the finished product, Regurgitator opened up to new methods, new engineering, and new collaborations, with each member on their own journey. Quan admits there has never been this much collaboration on a Regurgitator joint.

“I really enjoyed working on this album – it was a lot of hard work,” he beams. “It was unusual... The amount of joy I got from creating this release. There was a lot of burnout – but I was hyper-focused.

“I don’t think I’ve ever been so focused on an album.

“The collaboration was the injection we needed,” he adds.

“Historically, we have been siloed and singular when writing an album. And I was strangely happy and proud with the album’s result – which is odd for me. I am very critical of the stuff I’ve written; it is very worrisome if I like something I’ve finished.”

Quan attributes the calibre of talent featured on the album and the amount of time that was afforded for the polish as the kickers behind his happiness.

And he and his bandmates deserve it, for it has been a long and winding road to get to where they are now. Regurgitator formed in 1993 under the all-encompassing style of alternative rock. With a large playing field and limitless avenues, the genre has taken over the last few decades. We dove into this landscape with Quan and how it has changed for the band, the positives and… the negatives.

“For me, it’s about enjoying what I do,” he states. “That passion has remained; I still love writing music, I love creating music, and I love more genres of music – which is probably in step with how a listener works these days.

“We’re not as weird as we used to be,” Quan continues. “People are more flexible with our music these days. Certainly overseas – our first tour in the US, people just did not know how to pigeonhole us; it just would not have worked, and we would have pissed away all our money and wasted our time because no one would have got it.

“But now the landscape is a lot more open.

“The negative thing is that you don’t get to focus on a particular style, which means you don’t get to become a master of something. But we’ve always liked spreading ourselves thin,” he chuckles. “As a live band, we play as well, if not better now than we ever have.

“Right now, it’s just about maintaining the physical ability and the drive. Touring is hard. It’s hard work—there are 30 shows in the next two months, one show every second day. We’re all over 50 now, so we’re paranoid that something will break in our bodies.

“We’re trying to get some physical fitness back – because we’re sure as hell not a band that stands still for an hour and a half.”

Consider this a call to action, Regurgitator fans: Please bring some kind of caffeinated beverage and Ibuprofen to gigs.

“Yes, also some kind of B Vitamin. Thanks in advance,” Quan adds.

In anticipation of the upcoming tour, Regurgitator has released a teaser in the form of its first single, Cocaine Runaway. Feedback from the younger generation has been heavily circulating on the socials, which is still a strange surprise to Quan.

“The real test will be heading out and playing the material live,” he concludes.

The It’s So Invasive…. national trek will be the band’s only significant tour for 2024 and will introduce a new, fourth touring member to the line-up in the form of Sarah Lim on keytar and guitar. On Saturday, 8 June, at The Baso, The Gurge promise an 80-minute set covering the new album and an array of hits across the past 30 years. AND, they are joined by special guests Party Dozen, Cry Club, and Monster Zoku Onsomb. All this for only $66.30 via Oztix? Bar-gain!

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

Hey friends! Sorry about my hiatus last month. Life - am I right? But I hope you enjoyed the Dansonfest double spread that lovely Allan put together.

Big congratulations to Sketch Method on the release of The Ballad of Eggboy. I’m so happy to have a constant reminder on my Spotify of when Will “Egg Boy” Connolly smashed an egg on the back of Fraser Anning’s head.

The final message we’re left with on this track is the heartwarming repetition of the lyrics, “Everybody belongs here”, a sentiment I hope everyone reading this and hearing that track can get behind. Super uplifting song. I am a keen bean for even more releases from The Sketch.

The Dirty Sunflowers have released an EP—I’m Fine, Thanks For Asking—after the ominous yet intriguing removal of all their Instagram posts; a clean slate move that usually heralds an incoming release and rebrand.

Been a minute since we’ve heard from these guys, but they’ve dropped four new banger tracks for us to get our ears around: We’re Alright, Good Girl, Small Words, and Shiver. Keep your eyes peeled and your ear to the ground for any Dirty Sunflowers shows so you can indulge in the live versions.

NORA has some new material for us, and it’s ready for a test run on your ear drums at sideway on Thursday, 9 May. Local lovelies Sertra and Aiday will join them! Come along to be serenaded or massively depressed (in a good way) by these local emo angels. Plus, it’s a Thursday night at sideway, so you know what that means... Free Entry!

Aussie legends Regurgitator are hitting up The Baso on Saturday, 8 June, with a killer line-up! Joining in the jaunt is the jazzy Party Dozen, bubblegum punks Cry Club, and techno lords Monster Zuko, so this is gonna be a big ol’ juicy eve. Ya might wanna grab a Chompy’s burger to get you through to the other side. Just saying. On the topic of Aussie legends, Jebediah announced that they’re heading to town to celebrate the release of new album, OIKS! And can you guess who’s coming along for the ride? Why, it’s Magic Dirt - that’s who!

They’ll take over The Baso main stage on Saturday, 24 August. It might be a while off now, but those tickets are going to go (I saw Jebediah play The Baso with You Am I a few years back, and it was absolute wizardry. Cannot wait to see them again).

Cancer Bats are coming all the way from bloody Canada to another freezing part of the worldBelconnen! They’ll be flying into The Baso on Monday, 17 June, joined by touring support and Gadigal-based beloveds, FANGZ. This will surely be a Monday night worth feeling wrecked for Tuesday work (or just chuck a sickie; I won’t tell if you don’t).

And, of course, you really, reeeeeally need to get to Dansonfest. This is such a beloved and sacred event that not only boasts a line-up brimming with talent, it’s going to be incredibly wholesome, too. Please come along and contribute to the love that is going to be bubbling and bursting through the doors and windows at The Baso all night long on Saturday, 11 May.

Finally, want to say that a recent C.O.F.F.I.N show at sideway has yielded my new fave band of the minute: Nancy and the Jam Fancys. I know, I know, there’s a bunch of you saying, “Hi! The hell have you been?” and the answer is obviously “elsewhere”. I’m sorry!

Their set was this perfect blend of chaotic and charming. The singer was so unhinged in moments but also had this sweetness in a song’s softer moments that was tremendously endearing. A real Joe Talbot quality.

Props to Nancy and the Jam Fancys. This set stuck with me and I am really eager to see them next time they’re in town and force all my friends to get involved.

‘Til next month!

PUNK GIG GUIDE

Thursday, 9 May - NORA Test Flight of a Butterfly launch w/ Sertra and AIDAY @ sideway

Saturday, 11 May - DANSONFEST @ The Baso

Saturday, 11 May - Antenna w/ Gutter Pig and Loose Cannon @ sideway

Wednesday, 15 May - Luca Brasi @ The Baso

Friday, 31 May - Thunder Fox @ sideway

Saturday, 8 June - Regurgitator It’s So Invasive tour w/ Party Dozen and Cry Club @ The Baso

Monday, 17 June - Cancer Bats w/ FANGZ @ The Baso

Saturday, 24 August - Jebediah OIKS Tour w/ Magic Dirt @ The Baso

METALISE

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

Coming In First

As The Baso’s unofficial promotional agent, it was pleasing to see The Guardian ask the question that we already know the answer to, which is put simply, “Der!?!”

This came out the week after the venue hosted three international shows, including two on the same night, which were all nicely attended. It’s great to see Nicole and Mik get a bit of national love for their care and affection for the music scene that they’ve backed with their hard work.

The article covers a few of Canberra’s venues including those of its storied past, giving some overdue love and attention for sideway for its effort in offering a place for bands to play in the city.

Kudos, guys; you love to see it.

The article stated that the venue had operated since 1985 and anointed The Phoenix as “possibly Canberra’s most famous venue.”

I don’t think it was. On balance, I would say the ANU Refectory was the one, but The Phoenix was great, as were The Terrace Bar, The Asylum, The Terminus, and Gypsy Bar

But that’s living in a past where the city had a plethora of live music options.

On the topic of history—and as penner of this column since last century, I AM history—The Baso (nee Basement, nee Town Centre Tavern nee Pete’s Bar and Grill) went through a significant transformation under the tenure of Lance Fox. So, let’s share around the back-patting.

We’ve been talking about an “entertainment precinct” in this city for longer than The Baso has existed, so it will be interesting to see what happens after finally turning the soil on that zone in Civic. Regardless, Heavy will always have a home in Belco, though.

Right! Enough of the past!

Coming Up Short

“Dwarven metal pioneers” is a grouping of words I don’t believe I have ever typed since 1998, when I started writing for BMA. Certainly not closely followed by, “are joining the best ‘pirate metal band in the world’ for an Australian tour”.

I must have slept on the Dwarven metal genre, as Tuscan Warriors Wind Rose have been at it since 2009. In even more pleasing news, the hirsute clan will bring 15 years of power metal-laced fury to Australia and New Zealand for eight dates, of which “the best venue in Australia(?)” will host.

It happens on Friday, 17 May, with Rumahoy there to quaff The Baso ale and shred axes accordingly.

This show is in danger of selling out, with fewer than 100 tickets remaining, including VIP tickets. Get onto Oztix before your shovel, pickaxe, and mead goblet are left wanting.

Coming In To Land

Also on Friday, 17 May, you can pop round the corner to The Pot Belly where the long-haul flight to launch the new Pilots of Baalbek record continues. Get your frequent flyer miles up along with The Dunhill Blues & Undermines!

The Bleeding Venom Tour is an all-Australian eightdate tour hitting the road in May. It is headlined by Ballarat’s Nicholas Cage Fighter and joining in the fun will be Sydney’s

Lycanthrope, our own Deprivation, and Wagga’s metalcore exponents, Artifact.

The Canberra leg of the tour lands at “the best venue in Australia (?)” on Saturday, 18 May, and you can also look forward to Wollongong band Complexant joining the fray. Tix via The Baso.

Coming Up Cirith

For the first and last time, the might of Cirith Ungol will address the best venue in Australia on Thursday, 30 May, with Night Demon in for the whole run. Canberra is lucky to have Bastardizer and Shockwave join proceedings, and I, for one, am keen to hear a few live numbers from King of the Dead, which I never thought I’d have a chance to do. Get your tickets from The Baso, pronto.

rest of the back catalogue on Friday, 31 May at A Funeral for Wretch at The Baso. 12 Gauge Rampage will fire a 12 gauge salute, The Plague will issue a moratorium on infections, Maggot Cave will stop writhing, PostHuman will consider a name change to Post-Wretch and Blackened Dred will try and lighten the mood as we fondly farewell these metal warriors in this form. Vale’ Wretch, we hardly knew ye.

Coming To “The Best Venue In Australia (?)”

The best venue in Australia (?) continues the international mega double header events and I, for one, am salivating at the opportunity to catch German lords The Ocean and particularly the USA’s Cave-In (coming off the back of one of my favourite releases) live on Friday, 7 June

If that show is too old school for you, the excellent folks at sideway have Keepsake and Saving Face launching a split record on the same night, Thursday, 30 May. With the venue’s cozy capacity, any arriving fashionably late will be at your peril.

Thankfully, the excellent Highland Light and NORA will be on to warm up for the main event - linktr.ee/ theghostofus for all the info on this tour!

Coming To An End

Sad news crept into my inbox this last reporting period, dear readers, with news that Canberra grind legends Wretch have decided to hang up the blasting riffs and call it a day. The lads have no ill will and merely recognise it’s time to say goodbye following a career that included some great releases, a spot on the hallowed stage of Obscene Extreme in the Czech Republic, and about 10 million shows in the ACT.

Survival of the Rotten was inarguably their bestrecorded work, released in 2022, and you will enjoy tunes from this and the

It’s been a decade since The Ocean met our shores, but they arrive bearing the fruits of 2023’s Holocene, their ninth and most exploratory album to date.

Massachusetts’ Cave-In boasts a nearly 30-year history under its collective belts and has veered fearlessly through musical paths forged entirely of its own making. 2022’s Heavy Pendulum absolutely floored me upon release, the production and front-to-back songwriting were on another level, and the opportunity to see both bands on the same bill is fuckin’ rad.

To boot, Danish act LLNN (The Ocean’s stablemates on Pelagic Records) round out the international triple header. Get a ticket!

This is but the start. A huge year beckons, with shows coming up from Municipal Waste, Thou/Full of Hell, Triumph of Death, Skeletal Remains and Bleeding Through in the second half of this year.

The cost of living crisis continues unabated. Prepare yourself for a long winter campaign, Canberra!

two nights of queer performance art at Belco Arts

And now we offer you: Halftime Show! It is for strategy. It is for ritual. It is for some rest before we return to the field and keep playing.

CLUBSCORE is Canberra’s premier queer art and sport collective. We (Ket and Zev) are both artists and sports lovers. Ket is also a producer, and Zev is a personal trainer.

We started working together in 2019 during a residency at Ainslie and Gorman.

For a long time, CLUBSCORE created ridiculous plans for impossible events and spectacles, and it was only recently that we started actually pulling some of these ideas through the portal into reality and sharing them with real live human beings.

When we finally did, we were NOT ready for the reaction.

In 2023 we staged our first public work: CLUBSCORE’s Fantasy Museum of Trans Sporting Excellence and Portal to Other Dimensions and Opening Ceremony for Queer Futures.

When we presented the Fantasy Museum, we expected some sort of pushback or protest - making a statement about including trans and gender-diverse people in sports usually generates that response.

But that didn’t happen.

We confused some people (yay!), but more importantly, we watched our community feel joy, inspiration, connection, and validation. Of course, this was tinged with sadness because the fantasy we shared doesn’t match the current reality. But through our work, we are determined to call the future we want into being.

Working together in CLUBSCORE has been a healing and creatively freeing experience. We’ve worked hard but also gently and slowly, creating a whole universe to play in and draw from. Within this space, we’ve both been able to reconnect with performance practice, find other art forms (Zev is a professional visual artist now!), and develop confidence in our ability to create art that makes people feel things.

On the final night of our Fantasy Museum, we held an Opening Ceremony and opened the portal to queer futures.

What can you expect at Halftime Show if you come along to Belco Arts Centre on the 17 May or 21 June??

First of all... true silliness! We are making space for queer joy in everything we do. We’ll have a different line-up of queer performers at each show, doing drag, music, noise, Butoh, pole dancing, performance art, poetry, everything! We’ve given the artists free reign to do whatever they want.

Halftime Show is a space for the artists to bring forth whatever is in their weird little hearts and share it with a weird little audience. We’ll also lead you through a CLUBSCORE ritual - your energy creates the future!

And when the show finishes, we’ll put away seats, put on a playlist, and have a weird little dance.

If you’re into queer performance art (or think you might be), then Halftime Show is for you! We’re hoping to create a space for queer community connection, but everyone is welcome. There is a ticket price to suit any budget, but the show is in a small(ish) venue, so book early!! We can’t wait to share space with you.

Xx CLUBSCORE xX

CRYING WOLF withCHRIS MARLTON

DR Normal-Love: 10 Ways to Confuse Your Man!!!

No woman has ever understood anything their man has said or done. But fear not, ladies! For BMA Mag’s resident whisper-whisperer, Chris Marlton, can help tame your man with the tried-and-true Dodecahedron of Dedication™!

Has your man become soft, lazy, and uninterested in your womanly ways? A bored man is a wandering man, and the LAST thing you want is to be lonely. The best way to keep a man dancing around your fire of desire is to keep him guessing. Purposeful confusion caused by focused obsession is the perfect way to achieve this. And with these ten scientifically tested ways to behave, he’ll long after you like his life depended on it.

10. Apollo 6

Rename the bedroom after the third and final unmanned 1968 NASA test flight. Learn extensively about Lunar Module testing equipment and the meaning of CSM-020, AS-502, and SM-017. When your man looks confused when you reference them, quickly accuse him of being a moon-landing conspiracy theorist.

Once he’s been accused of this several times, it’s time to secretly contact all his close friends and convince them that your man has become obsessed with the moon landing being faked by Stanley Kubrick in a Hollywood Studio. Once his friends and family are convinced—ensuring they won’t mention the chat because you’re afraid he’ll react badly—it’s time for the intervention!

Bake lots of cupcakes and cookies, and buy at least 12 boxes of goon. The intervention will be a fun party, but more than that, if you’re brave, you can buy a dress and hire a celebrant to turn it into a surprise wedding!

9. Les Miserables

This ninth method is a long game but well worth it. Simply follow these easy steps:

- Pretend to join a netball team that requires you to be away for two nights a week

- Instead of playing netball, learn French

- Concurrent with these lessons, start a program of occasionally putting films on with the French dub and no subtitles

- Memorise the original French version of the Les Miserables

- Slowly replace all of the books in your house with French translations

- Start humming and then sing the French Les Mis songs while doing housework and during car trips together

- Listen to French pop music

- Buy a Peugeot 3008

Once you have learned fluent French, which might take 2-4 years, depending on your aptitude, Phase 2 begins. Start speaking to your man exclusively in French. Eat soufflé, baguettes, good cheese and croissants, and start wearing French braids in your hair.

When your man asks what’s going on, act surprised and refuse to speak English.

You are now ready for Les Mis Method’s creme de la creme: Phase 3.

When he goes to sleep at night, put him into a drug-induced coma and quietly transport him and all your belongings to Aigues-Mortes in the Occitania region of Southern France, where you have pre-arranged for him and yourself to have jobs in the Saltworks, run by the Salins Group [“Nous ressentons de la saumure!”]. Act like you’ve always lived in France and can’t understand his English. You’ll be shocked and delighted at how quickly your man decides he must be the problem, begins to learn French, and accepts your new exotic life.

C’est magnifique!

8. Hungry Hungry…

Buy a baby male hippo on the dark web from an illegal hippo dealer. Keep the hippo in the bath for 2-3 days. When your man inevitably confronts you about the water equine’s presence, pretend you found him at the shops.

Name the hippo after your man’s father (or grandfather if he has a bad paternal relationship). Complaints about the size, costs, and challenges of keeping a growing hippo in the house should be met with the following statement:

“I know they have the same name, but this is NOT your father. Don’t bring your childhood issues into THIS home!”

Train the hippo to use a very large dog door, which you can install on the wall with the greatest surface area that is not

load-bearing; if you live in an apartment block, skip this step. Teach the hippo how to jump rope, insisting that you and your man are at either end, holding the rope. Take the hippo on the road as a circus act and become so incredibly wealthy you’ll never go hungry again.

7. Toast

Make 200+ pieces of French toast daily and eat them continuously until you throw up or pass out. When your man complains or questions you about this, tell him it’s your body, your choice; this isn’t a decision he gets to be a part of.

6. ‘Jean Étienne.’

Start saving money. The best way to achieve this is by becoming 76-year-old billionaire and wealthiest person in the world as of May 2024, Bernard Arnault.

Start by investing in a very expensive Bernard Arnault face mask. Insist on wearing the mask while you comfort your man, ensuring you soothe him at least twice daily. Should your man complain about this, scream, “WHAT, YOU DON’T LIKE MONEY!?”

Eventually, save up enough for cosmetic surgery that permanently makes you look like Bernard Arnault.

Assassinate the real Bernard Arnault and replace him. Enjoy your billions.

I hope you can sleep at night.

5. Camino Island

Start putting photos, pins, and string on the wall of your house as though you’re planning an elaborate heist. Bring your man in on the plan, but say it’s on a ‘need to know basis’ because you want to protect him and his family (mostly his father, whom you also confide in him that you find slightly more attractive physically than you find your man - if he asks about this, shush him seductively and then if required, put on your Bernard Arnault face-mask and comfort him).

All heist plans should be lifted wholesale from the John Grisham novel Camino Island. On the day before the heist, play the audiobook of Camino Island (read by January LaVoy) loudly throughout the house.

When plot points start matching the details of your plan, act angry and demand your man tell who he blabbed to. If you’re feeling brave, this is also a great time to buy a white dress, hire a celebrant and have a surprise wedding.

4. El Correr de los Toros

Repeat the same techniques from method number 9 above, except with the Spanish language and moving to Barcelona instead of Aigues-Mortes. Become a professional bullfighter. Take part in the Running Of The Bulls, but don’t run; instead, turn, face them, fight every bull… and win!

3. ab artifice separant

Pretend to join a film study group. Each week, bring home a Kevin Spacey film, which you insist on watching with your man twice, every single night of the week. Speak about Kevin Spacey like Cinephiles used to speak about him during the early 2000s.

If your man complains, tell him he needs to learn to separate the art from the artist.

After watching the entire Spacey filmography, start watching supercuts of the annual Kevin Spacey Christmas Eve videos. Watch these every week, slowing them down 1% with each viewing so your man thinks he’s going mad. At the 15-week mark, turn to your man and say:

“You know what... After contemplation, I can’t separate the art from the artist.”

Confess that the film study group never existed, and go out and buy a wedding dress.

2. Shave Your Head

Start shaving your head. Daily. Nothing will confuse your man more.

When he asks why you are doing it, tell him the hair was dead and dirty, and you want to feel clean

Offer to shave his head. If he agrees, tell him you want a man, not a mutant, and refuse.

After one year of head shaving, get Roman numerals tattooed onto your head to mark every hairless year. When your man asks you why you are getting Roman numerals on your head, tell him that shaving your head is your Roman Empire.

When he suggests that you’re not using that term or concept correctly, tell him to stop Romansplaining and that you aren’t finding him very Roman-tic lately, wedding dress, etc...

1. The Roosters

Start religiously following the NRL, supporting the Sydney Roosters. As the season progresses, buy an actual rooster. Have the rooster de-clucked so he doesn’t wake up the neighbourhood. Buy a small Bernard Arnault face mask for the rooster and a rooster-sized wedding dress.

Chris Marlton is a comedian, writer, painter, and filmmaker. See www.linktree/ ChrisMarlton for links to specials on Youtube, Instagram, Facebook and tickets to live shows.

Bernard Arnault FACE MASK

People Are Scared Of Me, And I Like It

White people are too scared to ask me where I’m from. Brown people have no such fear.

If I get in an Uber with a brown person behind the wheel… there will be the first moment after slumping into the passenger’s seat where we just look at each other.

The subcontinental standoff has begun; who will ask first.

It’s like playing chicken, but we’re both in the same car. And nobody’s driving. We’re just channelling all our psychic energy into making the other person uncomfortable.

Often, it’s the Uber driver who blinks first because they think, “We could switch places, and this would still make sense. I’m driving you to the airport in a Toyota Camry, but you could just as easily be driving me to the airport in a Toyota Camry.”

And this, of course, is very true.

They are trying to achieve grounding. “I need to place you in the Brown Universe. What is your deal? Where are you from?”

And, like, if they asked and I said “Wollongong”—which would be appropriate as I am from Wollongong—that would NOT be okay. Whilst true, it’d be a smarmy answer to a question with a subtext I was well and truly steeled for.

If they asked where I was from, even if I said “Wollongong” like that, it would be like I said, “I’ve really enjoyed assimilating into Australian culture; how come you’ve done such a bad job of it?” Like I would be breaking the Brown Covenant of Realness.

Which I break all the time, anyway. Sometimes, I will ask my ferryman where they hail from first just so I can lie based on their answer. The truth is, I don’t speak any Indian language,

but I don’t want them to know that.

So, if they say, “I’m from Delhi! Do you speak Hindi?” I’ll just pick somewhere at the opposite end of the country with a different language. “No, sorry... my Dad is a Tamil.”

Thus safely establishing a lack of commonality on that score, swiftly followd by a moment of “too bad, so sad” before we talk about cricket. Now, don’t worry. It’s not bad for brown people to lie to each other. It’s important.

If a lady in a sari and sneakers asks me what I did at the weekend, the worst thing I could do for both of us in that interaction is tell her the unvarnished truth. She doesn’t need to know about eating McDonald’s in the car at 11pm or drinking half a bottle of wine during Ru Paul’s Drag Race

It would be excellent for brown folks to be able to lie to people when they can’t tell us apart. I was waiting at a restaurant to pay for what I’d just eaten when the man behind the counter handed me a couple of Uber Eats bags.

He’d mistaken me for a delivery driver.

Of all the stereotypes in all the take-away joints, he had to play into this one. He seemed the type of person who would have been far too scared to ask where I was REALLY from. Not that it would have done him much good, given his trouble telling me apart from other brown people. He would have been mortified if I’d pointed out what she had done.

I did the only thing that felt right. I respected the woman’s dignity and mine by getting into my Toyota Camry and eating the shit out of that burger-fries combo.

Suma Iyer is a Canberra-based comic.

GILDING GUILT AND GENERATING JOY WITH

Firstly, you will only be called up if you want to be!

Secondly, an extravaganza of local talent will join her, including poet Hangama Obaidullah, comedian Kirsty Webeck, the Deputy Director at the Global Institute for Women's Leadership ANU, Dr Elise Stephenson, Future Women Canberra Head Lauren Beckman, and regular accompanist Grace Petrie, who can 'sing your anger with jokes'.

Finally, you are encouraged to bring your hang-ups, highest heels and best mates for an evening of building resistance, resilience and joy.

In prep for the interview, I watched Deborah’s 2015 Charisma vs. Stage Fright TEDx talk. A few months later, she commenced The Guilty Feminist podcast, now sitting at over 100 million downloads. She is so quick on her feet and, well, charismatic that I was terrified to express my mixed and guilty feelings about being a woman lest I be challenged. But that's the whole point.

"I'm just as susceptible to those things," Deborah reveals. "I wanted to confess via the podcast that I'm not thinking or doing all the right things all the time.

"I thought by saying, 'I'm a feminist, but….' they'd probably kick me out of the feminist club. But they didn't; instead, hundreds of thousands of women said they felt the same.

"It doesn't matter if we left the march at halftime because it was crowded, my feet were hurting, and I popped off to get a quick gin and tonic with a couple of friends. We went. Next time, we'll go a bit further. Or we won't. But, we're not

carrying guilt. Because guilt, when held, turns into shame.

"That's why it's called The Guilty Feminist: it's an open admission that nobody's perfect. And we don't have to be perfect to be a force for meaningful change."

Deborah's upbringing includes being adopted at 10 days old and her family converting to Jehovah's Witnesses when she was a teenager. Later, she would create radio series and shows around these themes of family and religion, as well as write books and deliver TED talks about confidence-building and improv.

I ask whether she prefers to scripting or improvisation. I can't tell you how many times I have savoured Deb's answer:

"Every bit of writing you do is created in a moment. Maybe you're in a library, under a tree, or falling asleep and suddenly think... 'Yes! That's it!'

"Every piece of writing that you love was improvised by somebody somewhere. And the writer never felt more alive than when they came up with it."

With the anger that many associate with activism, Frances-White's joy-filled work is essential. Idil Eser, Director of Amnesty International Turkey, who was arrested and jailed for standing up for human rights, told Deb that activists need joy because it's magnetic.

To that effect, she views her live shows as sparks of lightning that build resilience, muscle, and bridges.

"It doesn't matter who builds a bridge; once it's built, anyone can walk over. Someone may not be ready to cross but might take one step. Later, an opportunity might present itself to take another.

By Jen Seyderhelm

At the end of shows, we generally sing I Will Survive. People get up and dance with no obligation. Sometimes, I hear them singing in the street afterwards. That joyful feeling at the end may propel them the next day to ask for more, do more, be brave, or take a step.

"Gloria Steinem said, if you want to have fun and laughter and sex and poetry and music at the end of the revolution, you have to have fun and laughter and sex and poetry and music on the way."

It was funny that Deb mentioned Steinem. While prepping for this interview, Google decided it knew what I was seeking and offered me her name as 'the answer to who is the greatest feminist?' (the fact that Google has ranked feminists is contrary to everything Deb stands for!).

It is here that Frances-White ends with a Steinem story.

"She tried to meet me backstage after a show but was barred because security didn't know who she was!" she recalls. "A friend of mine did, though, and told the bouncer, 'Let her through. This is one of the most famous feminists in the world!'" Between these wonderful woman, I am sure laughter, poetry and music ensued.

As it will at the Canberra Theatre Centre on Tuesday, May 28. Get your $71.65–$81.90 + bf tickets from Canberra Ticketing, and leave your guilt at the door.

By Suma Iyer

Bron Lewis’ new show, Obviously, is about women’s mental health.

“It’s called Obviously because when we see a woman losing her marbles, we think, ‘Well... obviously’,” Lewis reveals.

“Women go mad because we expect them to go mad.”

Through the lens of her own struggle with post-natal anxiety and depression, the show probes social complacency around women’s experience of declining mental health after having children.

But don’t get it twisted; this is still stand-up and Obviously is very funny, with Lewis inviting the audience to laugh with her:

“I went mad three times, once for each of my children. I had a kid, I went mad. And no one said anything because it was pretty obvious.

“I often make fun of how I was mad, and I want people to laugh because, with time and distance, it was quite funny.”

This said, Lewis wonders at the level of social acceptance around post-natal anxiety and depression, which so often goes unmentioned. “Why do we let women do that?” she posits. “We just let women lose their footing and struggle to regain it. We might be rooting for them silently, but we don’t offer to help them.”

Lewis feels the responsibility of representing this experience and its significance to others who have experienced post-natal deterioration.

“I was nervous that I would butcher it and dishonour my experience,” she reveals. “I didn’t want to make a shallow offering or have the women who came to see it feel like I was laughing at them.”

Happily, her care around her subject matter has paid off.

“I’ve had blokes come up to me after the show and say, ‘I understand my Mum a lot better now’, or ‘I now understand what my wife needs’. It’s been the greatest gift of all.”

The duty she feels towards herself and other women is clear, but she is also keen to talk about the technical aspects of her work. She observes her tendency to structure her hour around a revelatory

moment before the show’s denouement.

It’s a well-loved format for a Festival hour – laughs for most of the show, followed by a moment of truth and/or vulnerability that reveals something of the comedian to the audience, before bringing the audience back by ending with a laugh.

We talk about the evolution of her comedy and how she creates her stand-up hour. Her leap from winning Raw Comedy in 2022 to doing her first stand-up hour was a matter of discipline.

“I had to force myself to do it. I just worked on it and every week did a little bit of new material [at open mics], collecting all the jokes that had worked.

“Structurally, I don’t think it was particularly amazing, but like I said, I had to force myself to write it.”

She admits that going from five minutes to an hour was slightly more manageable for her than for most because her storytelling style of comedy lends itself to longer jokes.

“That’s why I love the hour!” she beams. “You can go in-depth with the audience and do crowd work. There’s freedom there. How did I go from five minutes to an hour? It’s the luxury of my jokes being longer than a one-liner comedian, someone like Nick Schuller, whose jokes are shorter.”

This longer joke format is not always to her benefit, though.

“You get four minutes at the [Melbourne International Comedy Festival] Gala. So I took a bit that was usually seven minutes and stripped it down to the bare essentials, to the point that every word needed to be there,” she explains. “I did not enjoy doing that because, at the same time of editing, you must also flesh it out.”

Despite the discomfort of shortening her jokes, Lewis is careful about sticking to her time. She doesn’t care for the way that some comics habitually go over.

“I hate when you’ve got five minutes, and other comics brazenly do eight or nine. That’s so greedy; just stick to your time!”

Her diligence and conscientious approach to stand-up do not translate into an anxious or exacting demeanour. I watched Lewis open for Schuller’s Melbourne International Comedy Festival show. The contrast between the two comics is considerable, and I can see why he picked her as an opening act. Schuller maintains an entirely different kind of rapport with the audience from Lewis, with a dry, understated delivery that lets you pay attention to his one-liners and elaborate rhetorical setups and punchlines.

On the other hand, Lewis is in warm conversation with the audience, sharing her observations and stories in the manner of a longtime friend. Taking her time with her narrative, the bones of her material are well fleshed out.

Given her ease on stage, you’d assume “bad gigs” are rare, if not non-existent. What would a gig where she bombs even look like?

Lewis was stoically vulnerable enough to give us a stark account of every comedian’s worst nightmare.

“My worst bomb story, the one that stung the most, was my sixth gig,” she starts.

“I was on a line-up in Melbourne, and Nick Cody was headlining. I knew him from the internet and thought, ‘Oh god... He’s famous!’.

Claire Hooper got me the spot, and I was doing all-new gear; of course, it’s all new when you’ve only got six gigs under your belt. I wanted to ensure everything was good for this set; I practised hard and was confident. There were 300 people in the crowd, and I was ready to spread the laughter.

“The first comic was a woman call ed Eve Ellenbogen. And she... just... DESTROYED.

“So I thought, ‘This is gonna be great!’.

But there was doubt. Eve’s material was very blue, whereas mine, well... isn’t.

But it’s soon my time, so I cast aside my misgivings, walk out to the mic, and...

“My first joke goes down like a lead balloon.

“I started to panic. The contrast between Eve’s set and mine was unbelievable. Where peals of laughter accompanied Eve’s set, for mine, you could hear people putting their drinks on the table. Everything was so silent.

“It was like this for the full five minutes.

“As if to further highlight the pain, the person after me also destroyed. So that was a painful bomb.”

This is a familiar story. Most comics understand all too well what it is like to bomb and the particular sting of its aftershock.

Stand-up works best when the audience is captivated by what a comic does on stage. According to Lewis, it is as if the comic is “hypnotising them, bringing them into a zone where they can laugh without thinking.” This can be a delicate balance, particularly for a storyteller like Lewis. Doing comedy that follows a narrative arc relies on a level of attention from the audience that is higher than a stand-up set comprised of disparate bits.

As such, Lewis is keen to ensure her audience arrives on time so they can experience everything significant to the rest of the show.

“This show ends with a callback to the joke the show starts on. So even if someone arrives four minutes late, they might have missed it.”

Stand-up comedy is a process of trial and error, of going to open mic nights, trying out material, and seeing what gets a laugh. Effective stand-ups become good at killing their darlings – the jokes that don’t get a good audience response end up on the cutting room floor or get put back in the drawer until they are reworked later.

Unsurprisingly, Lewis is pragmatic about what works and what doesn’t. However, most comics have a joke or two that they love despite it not working as well as the rest of the material. Does Lewis have such a joke in her repertoire?

“The weakest joke of this show [Obviously] was one I loved. It was about making friends as an adult and how dreadful it is. You spend the first three months being a watered-down version of yourself.

“I tell this story about how I went on a water floating trip with my friend and her new friends. These were not my people. Very cool, awkward haircuts on purpose, intricate tattoos that had strange pop culture significance, but if you asked, you were the idiot.

“For that bit, I physically act out a scene in which I try to get on a li-lo in chest-deep water, and they’re all standing on the sides feeling sorry for me. It’s horrible when people you respect feel sorry for you.

“The joke is about how I’m desperately clinging on with a combination of my fingertips, toes, and labia as I float down the river. It’s a cheap laugh, but I loved doing it. And I loved the idea of one of those people being in the audience.

“But the joke didn’t fit and didn’t have a clever payoff. So I cut it. Maybe it’ll make it into the next show.”

The prospect of a joke about someone’s labia clinging onto a floating mattress being the lynchpin of comedy hour is certainly an intriguing one. Given Lewis’ attentiveness to her craft, she’s just the woman to make it work.

Bron Lewis will perform Obviously at The Street Theatre in Canberra on Friday, 24 May, at 7:30pm. Tickets are $35 + bf, available via the venue.

A whopping 22,500 people attended ticketed events, workshops, and classes at Tuggeranong Arts Centre in 2023, and the TAC Team have only just begun to art. Situated on Tuggeranong’s Lakefront, the southside community arts centre is a hub for thriving where creativity thrives, connection, participation, and learning.

Last year, the busy TAC team presented more than 1,774 arts activities spanning workshops and classes, exhibitions, and theatre and music performances. But despite these figures, TAC CEO Caroline Downer says she still hears people say it’s the first time they’ve visited.

“Last year, our term-based classes saw young people enrol in 19 Fresh Funk dance classes, four Messengers group art classes, five visual art classes, and one drama class, while wonderful new initiatives, including a series of six-week Art Masterclasses and Fresh Funk 55+ dance class, brought new people in.

“All these classes have grown significantly this year,” Downer said.

Presenting partnerships and community collaborations established in 2023 have continued expanding TAC’s program and building diverse audiences in 2024.

“Quarterly chamber concerts presented in collaboration with Canberra Symphony Orchestra are bringing sell-out crowds for CSO Down South, and audiences for shows presented by the Canberra Comedy Festival continue to grow,” Downer said.

“The Yunggabilli First Nations open mic and a partnership with Melbourne Comedy Festival’s Deadly Funny continue to offer opportunities for emerging First Nations artists.

“A monthly writing group with MARION offers an inclusive space for writers.

“The Chat and Make Art program—a free facilitated art group for migrant women in Woden—offers opportunities for more diverse community members,” Downer said.

And as TAC gears up to launch its sixmonthly program for July to December, which will hit the streets in just over a month, Downer says it is an exciting time for the arts in Canberra’s South, with even more new opportunities for young people and artists on offer at TAC in the second half of 2024.

“The inaugural Creative Kitchen invites artists to a pitching session, where an audience vote will determine the winning idea and secure project seed funding for the associated artists,” Downer said.

“The new five-week Vinyl Vista program

will allow young people to develop skills in drawing fundamentals, printmaking, and collaborating to install a vinyl design for TAC’s gender-neutral bathroom, while Battle Of The Bands will allow emerging musos to have their own music video produced,” Downer said.

TAC’s exhibition program continues to provide deeper community engagement with its associated public program of artist talks. Some fabulous exhibitions are planned for the second half of 2024.

“Ten female artists share their investigations of the migrant experience in Longing & Belonging, presenting works in various media that recall their cultural origins and transition from one place to another.

“Later in the year, Objects in Motion provides a glimpse into the imaginations and processes of sculptor Tom Buckland, stop-motion animators Eleanor Evans and Giovani Aguilar, and renowned glass artist Tom Moore when the fabulous artist-made objects are shown with animations or videos,” Downer says.

Continuing through the end of the year will be monthly after-work jazz in TAC’s Lakeside at 5 program and Every Body Life drawing.

The recently introduced bi-monthly Saturday Salon—a series of afternoon concerts focusing on a single instrument—presents David Pereira in Playing and Artistry—a unique, interactive examination of the cello’s inner and outer workings.

In November, the Saturday Salon will be with Callum Henshaw, a young and highly talented classical guitarist.

TAC’s revamped school holiday program, Art and Action, returns in the July School holidays. Then, in October, TAC welcomes back Mr Tim & Ms Nath with their wonderfully whacky and hugely popular Make a Mini Musical program and the ANU Hip Hop Song Writing Course with Daniel Kirkland.

“Kids will also love that we’re bringing back Little Wing Puppets, with the magical story of friendship, resilience and sustainability – The Fish That Wanted to Fly,” Downer said.

Tuggeranong Arts Centre is a place where everyone is welcome. The second half of the year offers many different arts activities for all ages and skill levels. You can attend concerts, performances, and exhibitions or, if you prefer a more hands-on experience, participate in various workshops and classes in dance, drama, art, and music.

“Come and join the TAC community—we would love to see you here. We’re only about 30 minutes from anywhere in Canberra, so let’s put the North-South divide to bed,” Downer said.

BOBBY SINGH is so excited to bring the KHYAL TRIO to Smith’s Alternative, and so wonderfully warm and charming is he, we thought we’d hear directly from the man himself!

My name is Bobby Singh. I play the Tabla, an Indian percussion instrument. I am a student of Dr Aneesh Pradhan, a master of the Tabla who lives in Mumbai, India.

We belong to the Farrukhabad lineage of Tabla playing. While my heart lies in classical Indian music, I also thrive on the creative energy that comes from collaborating with artists from different genres. My close friendship with Damian and Sarah from Khyal Trio is a testament to this.

Together, we bring a unique blend of respect, love, and shared cultural influences to our music.

I play to share my cultural knowledge with the wider world. I enjoy teaching and, importantly, learning from the different artists I play with as well as my students.

I have played with Damian for many years, and Flamenco is one of my first music loves. Damian is an incredible, authentic artist who can cross cultures with consummate ease.

Sarah has been playing with me for over a decade, and I love hearing her bring words to life with the melodies

that Damian and I bring to her; she weaves her magic with gorgeous vocals and writes all the songs in this trio.

I am very excited to come to Canberra and its surrounds with Khyal Trio. It is a mix of Indian, Jazz and Flamenco, a very rare combination of sounds and ideas. We all love to improvise, and the live show is an on-the-edge-ofyour-seat experience for the audience and us as well!!

We would all love to share our music with as many people as possible.

The chance to see someone like Damian Wright on Flamenco Guitar, an absolute virtuoso, sharing his musical heritage with Jazz singer Sarah, who brings beautiful melodies and words combined with ancient Tabla rhythms from India, is quite a unique combination.

Sarah and Damian are incredible musicians who bring such warmth and depth to the trio that it’s impossible for me to not smile the whole night while listening and responding to these beautiful human beings.

Hope to see some of you at the show and to create something unique in your presence.

- Bobby Singh

By Tamsin Kemp

On a pristine Canberra Autumn day, I have come to the National Film and Sound Archive to witness the combined work of Leila Jeffreys—a photographer celebrated for her striking portraits of birds—and filmmaker Melvin J. Montalban. I am familiar with Jeffreys’ work but have never seen it up close and personal, and I know Montalban’s work via his music videos, his oeuvre including Boy & Bear, Jessica Mauboy, The Reubens and Something For Kate, to name but a few.

The work was first commissioned for VIVID in 2022 as an outdoor installation. Here, it is behind closed doors. I don’t know what to expect.

During this experience, I was fortunate to converse with Chris Mercer, Head of Programs and Place at the National Film and Sound Archive (NFSA), before meeting the art. As we walk through the installation’s familiar architecture, Mercer describes his vision for the future of the NFSA’s Canberra home in Acton’s cultural precinct.

Regarding Canberra’s institutions and our city’s potential to expand as a centre for creativity, imagination and design, Mercer says:

“At the heart of every great city is a rich tapestry of fine grain culture: the local gems, where people gather. It’s the hidden wine bar or gallery, your favourite restaurant, the best spot for a coffee or to spend a free afternoon.

“Great places intersect with built environments, creative programming, and community,” he continues. “That’s what it means to be a cultural and creative hub.”

Mercer describes the NFSA in Canberra as a public space where people should feel welcome to engage in their own way, at their own pace.

“We want people to understand the history of this place and to see their stories here,” he says.

I have always loved the building and am delighted to see it being lovingly restored. But there are other reasons I am here.

I am here to see Jeffreys and Montalban’s six-and-a-bit minutes of glorious footage in praise of birds. Our birds.

Mercer succinctly describes it as:

“A captivating collaboration from these two highly acclaimed Australian artists that will mesmerise you with its moments of absolute beauty.”

Thus told, I am prepared to be mesmerised.

And is it captivating? Unequivocally. The scale is the perfect juxtaposition, stating how important and royal these birds are. Because they are huge. Not simply bigger than life size, bigger than us, much bigger. The exquisite detail of the film, the immediate strength of the bodies, and the billowing curves of feathers, like clouds of spreading ink, extend a compelling invitation.

Sit, be still, watch us. We are beautiful.

Leila Jeffreys said of this installation site: “There is something truly magical about experiencing the work indoors, at this scale, with a purpose-built reflective pool of water…

“Temple features cockatoos—birds we feel are ingrained in the Australian psyche. They move us to tears in the best possible way. We hope we have created an installation that stirs the human spirit, encourages quiet contemplation, and reminds us of our connection to a universe that all living beings are a part of.”

The birds—Galah, Sulphur-Crested Cockatoo, and the indisputable star of the piece, the Red-Tailed Black Cockatoo—demand your attention. They beckon you to stay, to immerse yourself in their beauty.

Filmed in a studio with fine mists of water enveloping them, their movements are captured in slow motion, making them appear extraordinary – every balletic movement, every beat of wings, resonates in the displacing of the water droplets.

The droplets themselves, on the stark black backdrop, are like stars – it’s like gazing at the very essence of the universe. With the intense colours of the high-definition film, the Black Cockatoo seems to embody fire itself, its luminous feathers dusted with embers. Ancient and powerful, it’s impossible to tear your eyes away.

A smile creeps onto my face; I’m almost moved to tears.

The piece has a score; the sparse, lyrical strings of composer Jackson Milas lend the birds a stirring soundtrack. The music is one reason it is easy to be seduced by the birds. They are not using their voices.

Some of us, especially here in Canberra, might have conflicting feelings about cockatoos – they can be, and often are, rambunctious, loud ratbags.

But we love them. They epitomise something of the larrikin Australians like to see in themselves; playful and intelligent.

And here, in this space, with their uncouth vernacular replaced with music, they are sublime.

Melvin J. Montalban says of his co-creation: “We create our work as places of gathering, often to meditate on the natural world and our place in it.”

The still pool of water below the screens adds to the meditative qualities of the space. The birds are reflected in it and, magically, appear as if drinking from it at times. It feels like a place for contemplation, for remembering.

I don’t want to go back outside.

But Mercer collects me, and we sit in the courtyard, listening to the water and the bees, and agree on how satisfying it is to experience a work that defies the sense of shallowness or disconnect often associated with immersion in digital spaces. We live in a world saturated with digital technology and images on repeat, where we look at content fleetingly, frequently swiping for the next thing before the present thing has even sunk in.

But here we are, sitting with a digital piece that holds and exudes a quiet, seductive power.

“It encourages people to have that moment of connection and continue to have that moment,” Mercer says. “[It’s] digital media reconnecting us to the natural world.”

Yet, there’s a sobering aspect to this work. With RedTailed Black Cockatoos, other species of Black Cockatoos, and multiple other species of native birds and animals in decline, vulnerable or endangered, it’s difficult to walk away with just the joy.

Let’s not ignore the sadness; let it spur us into action.

Look into the tenacious, primeval eyes of Jeffreys and Montalban’s marvellous subjects and tell me you aren’t moved. It’s our duty to protect and preserve their world. They have been here forever; we are but guests.

Temple is on now at the National Film and Sound Archive Gallery, from 10am - 4pm daily until 30 June. Entry is

SMARTCASUAL DISGUSTING

Canberra’s smartcasual, with members Toby, Blake, Ewan, and Chris, previously delivered the single Big Hands, showcasing their indie-lake-surf-rock style and drawing comparisons to The Grogans, Kingswood, The VANNS, and DICE.

The track skilfully avoided the predictable, opting for a nuanced approach with its guitar work and melodic craftsmanship, hinting at influences from ‘70s American West Coast rock and folk.

This set a compelling precedent as we delve into their latest single, Disgusting, which strikes a harmonious balance between straightforward indie rock and nuanced musical storytelling, showcasing their ability to craft tracks that are both engaging and thoughtfully constructed.

The clean guitar tones set a clear, uncluttered stage, while a standout single-note guitar riff resonates throughout, mirroring the vocal lines in a way that’s both supportive and enhancing.

The structure of Disgusting is a testament to smartcasual’s savvy understanding of tension and release. The track oscillates between pared-down verses and richer interludes that hark back to the intro, showcasing a band that’s comfortable in both restraint and exuberance.

The melodic hook is particularly memorable, employing a sweet, higher fifth that’s as inviting on the tenth listen as it is on the first. Following the hook, the song doesn’t just settle into repetition but builds on its foundation.

The return to the verse and interlude, followed by the hook’s encore, feels like a familiar journey with new sights, emphasising the band’s knack for dynamic songwriting.

Then, in a moment of reflection, a pause ushers in a fresh thematic development, reaffirming the band’s commitment to evolving their musical ideas within a single track.

The performances across Disgusting are dialled-in and resonant. Vocals not only traverse but exploit the melodic landscape, delivering with a precision that underscores the band’s collective focus. There’s a deliberate economy in the instrumentation, where the space between notes is just as potent, creating a streamlined yet impactful sonic experience.

In essence, Disgusting is a well-executed slice of smartcasual’s musical ethos, showcasing their ability to meld clarity with complexity in an alt rock format. It’s a track that stands solidly in the indie rock realm, reflecting a band that knows its strengths and plays to them with confidence and flair.

VINCE LEIGH

DEAN ABBOTT BE WITH YOU [ ]

Dean Abbott’s latest single Be With You slides effortlessly into his growing discography, embodying the acoustic nuances and vocal sincerity that are his signature.

Released as a follow-up to his 2023 album, Changing Seasons, the track weaves itself seamlessly into the fabric of Abbott’s established sound while introducing subtle new textures that hint at a gentle evolution.

The song begins with an acoustic guitar intro, the chord progression clear and inviting, overlaid with a melody that floats ethereally above, setting a tone of introspective tranquillity. Dean’s vocal delivery in Be With You is quintessentially intimate—effortless and laden with just the right dose of vulnerability to draw listeners in. This approach to vocalization anchors it firmly in the realm of easy-going sincerity. The first verse is stripped back to just guitar and voice, a stark setting that magnifies the song’s emotional core. Here, Dean uses subtle ‘oohs’ as bite-sized hooks that segue into the pre-chorus, where the full band discreetly steps in.

This transition is handled well, the instrumentation restrained and set back, allowing

the pre-chorus to flow into a chorus that is as effective as it is understated.

The second verse retains the groove established by the instrumentation, maintaining a flow that carries the song forward without disrupting its reflective pace.

The lyricism of Be With You finds its focal point in the pre-chorus, drawing attention to the contemplative depth of Abbott’s songwriting before repeating the hook in the second chorus.

A riff break accompanied by added percussion introduces a new dimension to the track mid-way, augmenting the sonic landscape without overwhelming the song’s soothing qualities. This leads into a crowdfriendly bridge that plays with light accents before returning to the chorus, which closes out the song.

Be With You does not stray far from the stylistic and lyrical themes of Dean Abbott’s previous work. It maintains his focus on gentle, breezy vocals and introspective, nuanced storytelling, which have coloured his earlier albums. This single, however, does not merely iterate past successes; it refines them, presenting a track that is both familiar and freshly contemplative.

Overall, Be With You is a well-crafted blend of the intimate and the universal, marking yet another refined entry into Abbott’s body of work.

VINCE LEIGH

Temple

Temple is an immersive audiovisual installation by Leila Jeffreys and Melvin J Montalban. Slow-motion visuals of cockatoos and galahs play across a triptych of towering screens, transforming the NFSA Gallery into a space of wonder. From 10am - 4pm daily until 30 June, free entry

NFSA ACTON (GALLERY)

CSO Down South Concert

CSO Down South welcomes the change of season, performing Grieg’s exuberant but icy String Quartet No. 1 in G minor and Percy Grainger’s rhythmically diverse Irish dance, Molly on the Shore 6pm, $38 general / $32 concession via TicketTailor

TUGGERANONG

ARTS CENTRE

friendlyjordies:

A Call to Neck Beards

Following the success of A Tale As Old as Rome, friendlyjordies is back with his latest attempt to convince anyone who disagrees with

him that very niche conspiracy theories are wrong. 7pm, $50 via OzTix

THE BASO

2024 HSBC German Film Festival

Take advantage of the German Film Festival returning to Canberra! The programme features essential selections of New German Cinema direct from major festivals, a retrospective on the auteur Werner Herzog and a celebration of 70 years of German Films. 7pm, tix via Palace

PALACE ELECTRIC

SlowhandEric Clapton: A Tribute

Sunshine of Your Love , Wonderful Tonight, Tears in Heaven, Layla, and other faves are performed by an 8-piece band featuring Chris Harland. “Close your eyes, and you’d swear it was Eric Clapton playing”– John Spencer (Canberra Blues Society). From 8pm, tix $30 via Humanitix, $35 on the door

HARMONIE GERMAN CLUB

SAT 11 MAY

Whalebone

Jens Altheimer masterfully blends humour, imagination, and heart in Whalebone, a show bursting with dazzling visuals, playful inventions and a pinch of circus. Perfect for kids and adults! 1pm, $25 via theq.net.au

THE Q PERFORMING ARTS CENTRE

DansonFestPunk Night Honouring

The Ginger Ninja

To celebrate 10 years, CBR Noise Floor and The Ginger Ninja have brought the punk rock bonanza back with a BANG! With Captives, Ess-Em, SUDS, Nerdlinger, Chris Duke & the Royals, Sketch Method, Tantichrist, Box Dye, Revellers, Ebolagoldfish + more. 2pm, $30 via OzTix

THE BASO

O K China Live

The guitarist and singersongwriter plays acoustic and electric guitars, making each track live, from scratch, with no backing. 2pm, free entry OLD CANBERRA INN

Andante Andante (ABBA) Choir Performance

Promising to have you singing along to ABBA hits to celebrate 50 years since they burst onto the scene. 6pm, $20 via venue SMITH’S ALTERNATIVE

Eurovision Special Event: Aussievision + Alfie Arcuri

Get ready for Eurovision with a live recording of the Aussievision podcast as hosts Mike and Dale size up the competition and make their predictions, with live music performances by Alfie Arcuri and Canberra’s ARCHIE. 6pm, $30/35 via NFSA

NATIONAL FILM AND SOUND ARCHIVE

Antenna (Shogun of Royal Headache) w/ GUTTERPIG + Loose Cannon

Antenna is a new band led by Shogun of Royal Headache! 7pm, $15 + bf via Humanitix SIDEWAY

Mt. Maze Creatures Tour

Following their latest single, Creatures, Mt. Maze is hitting the road to perform their first run of headline shows. 7pm, $12 via Moshtix

UC HUB

Raising Ravens

Motives EP Launch

Sydney hard-rockers Raising Ravens have announced new EP Motives drops on 10 May, including heavy-hitting new single ‘Bright Side’ with a mini tour in Australia featuring Suzanne Rex on bass and Skarlett Saramore on drums. 9pm, $15 via venue

SMITH’S ALTERNATIVE

SUN 12 MAY

Celebrate Mum!

Celebrate Mum this Mother’s Day in the best way possible with a Bottomless Bubbles Brunch! From 12pm - 2pm, email manager@ oldcanberrainn.com.au to reserve a spot

OLD CANBERRA INN

Moondog Live

Moondog is a master of the blues harmonica and a formidable guitarist, singer and songwriter. His voice is deeply authentic and reminiscent of old-time great blues/soul singers. 4pm, free entry DICKSON TAP HOUSE

Aaron Pollock

Australia’s record-breaking new talent, Aaron Pollock, has wowed the modern blues and folk world as one of the cleanest and most entertaining singers and guitarists internationally. From 4pm - 7pm, free entry

OLD CANBERRA INN

Eurovision Grand Final

Catch all the 2024 Eurovision grand final performances via the streamed telecast in Arc Cinema, where you will be joined by your hedonistic hosts Venus Mantrap and Guy Alias. Gather your team, don your best outfits and get ready to celebrate in glorious camp style. 6pm, $20 via NFSA NATIONAL FILM AND SOUND ARCHIVE

TUES 14 MAY

Adam Schranz Fact Of The Matter Single Launch

Multi-instrumentalist and songwriter Adam Schranz promotes his new single. He is joined by supporting acts Lee Elliott and Tyler Nguyen. 7pm, $15/$10 conc via venue SMITH’S ALTERNATIVE

The Trojan War

Theatrical magic, wicked pop songs and fierce wit are combined to create a delightful romp through this classic twisted tale. 7:30pm, from $30 via theq. net.au

THE Q PERFORMING ARTS CENTRE

WED 15 MAY

Luca Brasi - The World Don’t Owe You Anything Album Tour w/ Spanish Love Songs

Tasmanian best mates Luca Brasi are back with their sixth studio album, which thrums with renewed energy and verve. It’s a fiery blast from a band refreshed, renewed, and better than ever. 7pm, $69.90 via OzTix

THE BASO

Himalayan Fest

Featuring Albatross, Cobweb, and Screaming Marionette. 7pm, $55.99 via OzTix

THE BASO

THU 16 MAY

Temple

Temple is an immersive audiovisual installation by Leila Jeffreys and Melvin J Montalban. Slow-motion visuals of cockatoos and galahs play across a triptych of towering screens, transforming the NFSA Gallery into a space of wonder. From 10am - 4pm daily until 30 June, free entry NFSA ACTON (GALLERY)

Wellspring - Bushfire Stories

The voices from some of Australia’s worst-affected regional towns carry poignant tales of cohesion, collaboration, and triumph. 5:30pm, free, booking via venue

THE STREET THEATRE

CLUBSCORE presents: Halftime Show

Featuring a hot suite of performance art made by queer artists, Halftime Show creates space for community connection, shared experience, and above all, queer joy. 6pm, pay what you can afford ($0 - $45)

BELCO ARTS CENTRE

[Exhibition]

Creating Apart, Together

This exhibition brings together works by 21 local visual, fibre and textile artists from the Networks Australia Group, and proposes an alternative. For each artist, and each work, the visitor is offered three dimensions, or perspectives. From 16 May to 9 June, with an opening on 16 May at 6pm. Free entry

M16 ARTSPACE

Flickerfest 2024 Canberra

Celebrating 33 years, Flickerfest remains Australia’s leading Oscar ® Qualifying short film festival, presenting an A-list short film program curated for Canberra audiences, including award winners & local highlights, from 3400 entries! 7pm, $27.50 (inc arr. drink) via Humanitix

PALACE ELECTRIC

Wind Rose

For the first time in Oz, Overdrive Touring presents dwarven metal pioneers Wind Rose! They dug too greedily and too deep… deep enough to make it all the way Down Under! 7pm, $74.90 via OzTix THE BASO

FRI 17 MAY

IDAHOBIT Screening:

20,000 Species of Bees

The NFSA marks International Day Against Homophobia, Biphobia and Transphobia with a screening of the intimate and considered portrait of childhood gender discovery that is the Spanish drama 20,000 Species of Bees. 7pm, $16/12 via NFSA

NATIONAL FILM AND SOUND ARCHIVE

SAT 18 MAY

[Screening]

The Gleaners and I

An award-winning documentary from Agnès Varda exploring the history and contemporary practice of gleaning. Part of Art Meets Film, presented by the NGA and the NFSA. 2pm, free bookings via NGA

NATIONAL GALLERY OF AUSTRALIA

Progress 1984: Men in Love | In Conversation with Barry Charles & Samuel Leighton-Dore

LGBTQIA+ activist Barry Charles and filmmaker/artist

Samuel Leighton-Dore unpack the challenges of times past, the power of activism, the impact of legislative change and transformations in how gender and sexuality are understood. 2:30pm, free NATIONAL FILM AND SOUND ARCHIVE

[Screening]

Land of Storms

A gritty exploration of the realities of homosexual desire in a hostile, uncompromising context. With a heady mix of raw, masculine sexuality and mesmerising landscapes, Császi masterfully portrays the complexities of desire, intimacy and fear. 4pm, $16/12 via NFSA

NATIONAL FILM AND SOUND ARCHIVE

Backyard Bash

A hair metal hard rock extravaganza featuring five iconic bands performing the music of Motley Crüe, Poison, Skid Row, RATT & Van Halen. From 7pm - late, $51 via OzTix

THE BASO

Nicholas Cage Fighter + Deprivation + Artifact + Lycanthrope + Complexant

Bringing together some of the hardest-hitting metalcore acts from across Australia, Bleeding Art Collective is proud to present The Bleeding Venom Tour. 7pm, $25 via OzTix

THE BASO

Afrobeat Awareness w/ This Way Orkestra

This Way Orkestra (10-piece band) perform two sets of afrobeat, reggae, jazz and ska! 7pm, $20 + bf via Humanitix

GANG GANG CAFE

GlamBerra Rocks

Get ready for an LA Invasion by 3 of the hottest and baddest bands from the decadent '80s on the famous Sunset Strip In Hollywood. 7pm, $30 via Oztix THE BASO

Paramore Tribute Night

Paramore’s greatest hits, played by a live band! Supported by Love Maps and Rhi Gold. 7pm, $20 via Humantix

LIVE AT THE POLO

[Screening] Moonlight

Moonlight follows Chiron from childhood to early adulthood as he grapples with his identity. This Oscar-winning drama is widely acclaimed for its nuanced exploration of sexuality, class, and African American masculinity. 7pm, $16/12 via NFSA

NATIONAL FILM AND SOUND ARCHIVE

SUN 19 MAY

Book Club at the NFSA: Little Women (1994)

Led by Winona Ryder and starring Kirsten Dunst, Claire Danes, and Christian Bale, Gillian Armstrong’s take on Louisa May Alcott’s classic captures the tender tribulations of four young women coming of age during the American Civil War. 1pm, $12/10 via NFSA

NATIONAL FILM AND SOUND ARCHIVE

CBS May Blues Jam with The JW House Band

Join in for a great afternoon of jamming. 1pm, CBS members $10 / General $15 via the CBS website or at the door

HARMONIE GERMAN CLUB

NeonHoney Live

The songstress and multiinstrumentalist unleashes an emotive sting with her selfproduced tracks that sit between acoustic rock, alt-pop & moodyatmospheric. 4pm, free entry DICKSON TAP HOUSE

Adam Corbin Live

The talented Canberra Muso plays a mix of original material, Aussie covers, and outright Blues. 4pm, free entry OLD CANBERRA INN

THU 23 MAY

Temple

Temple is an immersive audiovisual installation by Leila Jeffreys and Melvin J Montalban. Slow-motion visuals of cockatoos and galahs play across a triptych of towering screens, transforming the NFSA Gallery into a space of wonder. From 10am - 4pm daily until 30 June. Free entry NFSA ACTON (GALLERY)

Eric Bibb In Concert

A fiery singer-songwriter with a genuine soul, grounded in the folk/blues tradition but with contemporary sensibilities. 7:30pm, $70 - $75 + bf via venue

THE STREET THEATRE

FRI 24 MAY

Brooke Taylor & The Poison Spitting Gin Queens

Join Melbourne artist Brooke Taylor and her band, The Poison Spitting Gin Queens, to celebrate the launch of their second album, There’s Magic in Mistakes. Support from local act The Curlies. 6:30pm, $25 via venue

SMITH’S ALTERNATIVE [Screening]

The King of Comedy

In this classic from Martin Scorsese, Robert De Niro is Rupert Pupkin, an aspiring comedian searching for an audience. Pupkin is determined to secure his late-night TV debut, whatever it takes. Will the audience laugh with him or at him? 7pm, $16/12 via NFSA NATIONAL FILM AND SOUND ARCHIVE

Bron Lewis - Obviously Join Bron Lewis for an hour of laughs and a bonding exploration of women's mental health because this is a show you don’t want to miss. Obviously. 7:30pm, tix $35 + bf via venue THE STREET THEATRE

Darren Coggan & Damien Leith - In Good Company

Two of Australia’s most lauded performers, Darren Coggan and Damien Leith, are back on stage and in good company as they celebrate the songs that shook the world by the artists who changed it. 8pm, tix from $60 via theq.net.au

THE Q PERFORMING ARTS CENTRE

SAT 25 MAY

[Screening] Matilda

Neglected by her parents, the quick-witted Matilda discovers she has psychic powers. Can she use her gifts to escape the cruelty of Principal Trunchbull

ENTERTAINMENT

and save her fellow students and the kind-hearted Miss Honey? 1pm, $12/10 via NFSA NATIONAL FILM AND SOUND ARCHIVE

Bunker Band Night

Pop over to The Bunker Arts Studio in Queanbeyan for a laidback evening featuring three great acts: Jasmine Beth (Syd), Ian Paulin, and Miss Jolene & The Jinx (Syd). 6pm, $20 on door BUNKER ARTS STUDIO

Emo vs Horror

Dress code: Horror Cosplay! Best 'fit wins prizes, including a $100 bar tab, Beserk giveaways + more. 7pm, $29.60 via OzTix THE BASO

Choirboys:

Run To Paradise

A “spilling of the beans” of sorts. Part story, part song, Run To Paradise chronicles some of the wildest, most risqué, outrageous, and downright hilarious stories of Oz Rock, as recalled by these pub-rock icons. 8pm, $64 via theq.net.au THE Q PERFORMING ARTS CENTRE

SUN 26 MAY

Book Club at the NFSA: Little Women (2019) + discussion

Greta Gerwig offers a fresh interpretation of Louisa May Alcott’s beloved story, bringing the March sisters to life for a new generation. Followed by a conversation with special guests Gillian Armstrong AM and Dr James McNamara. 1pm, $20/18 via NFSA

NATIONAL FILM AND SOUND ARCHIVE

Adam Corbin Live

The talented Canberra Muso plays a mix of original material, Aussie covers, and outright blues. 4pm, free entry

DICKSON TAP HOUSE

Inez Hargaden Live

Inez Hargaden is an Irish singer-songwriter from County Cavan who draws from folk, pop, rock, and jazz to explore the titillations and tribulations of life. 4pm, free entry OLD CANBERRA INN

Lachy Hamilton Quartet

Saxophonist Lachy Hamilton returns to Smith’s for a night of groove, dance and good times! This time around, he’ll be joined by Nick Jansen on double bass, George Greenhill on drums, and special guest Warwick Alder on trumpet. 7pm, $30/$20 conc via venue

SMITH’S ALTERNATIVE

WED 29 MAY

Belvedere (Canada) & The Decline

Canadian skate punk legends are finally coming to Australia. After forming in 1995 and releasing seven studio albums, the band will hit Australian shores in May. 7pm, tix $40.30 via OzTix

THE BASO

THU 30 MAY

Temple

Temple is an immersive audiovisual installation by Leila Jeffreys and Melvin J

Montalban. Slow-motion visuals of cockatoos and galahs play across a triptych of towering screens, transforming the NFSA Gallery into a space of wonder. From 10am - 4pm daily until 30 June. Free entry NFSA (GALLERY)

[Screening]

The Persian Version

The only daughter in a large Iranian-American family, Leila is estranged from her mother when her unplanned pregnancy following a one-night stand sparks confusion, questioning and, ultimately, familial love. 6pm, $16/12 via NFSA

NATIONAL FILM AND SOUND ARCHIVE

Cirith Ungol & Night Demon Australia Tour

For the first time in history, world-renowned heavy metal legends Cirith Ungol will make their debut in Australia for the first and last time! They will be supported by and introduce US heavy metal trio Night Demon. 7pm, $53.05 via OzTix

THE BASO

Capital Samba & Alejandro Florez [Bossa - SambaFlamenco - Latin Jazz]

Enjoy an enchanting concert of Brazilian + Spanish rhythms, as rich musical traditions and cultures of Spain and IberoAmerica are intertwined in an unforgettable evening filled with the sounds of bossa nova, samba, flamenco, and Latin jazz. 7pm, $25/$30 via Humanitix

SMITH’S ALTERNATIVE

The Art of Disruption

Truth meets imagination on a journey like no other in Rebus Theatre’s newest production by disabled actors and actors living with mental health challenges. 7:30pm, $10 concession / $30 general / $50 supporter ACT HUB, KINGSTON

FRI 31 MAY

Los Chavos @ Smiths [Latin - Ska - Reggae]

Prepare to move and groove to the captivating rhythms of Los Chavos, Canberra’s premier Latin ska reggae band! An exhilarating evening of music that will transport you to the heart of Latin America via CBR. 6:30pm, $20/$25

SMITH’S ALTERNATIVE

WRETCH -

Farewell to the Filth Wretch has decided to call it a day after bludgeoning audiences for 13 years. We’ve invited our good pals 12 Gauge Rampage, The Plague, Maggot Cave, Post Human, and Blackened Dred to help us say goodbye. 7pm, $23.44 via OzTix THE BASO

The Art of Disruption

Truth meets imagination on a stirring journey in Rebus Theatre’s newest production featuring disabled actors and actors living with mental health challenges. 7:30pm, $10 (concession) / $30 (standard) / $50 (supporter)

ACT HUB, KINGSTON

Cult Classics with Venus Mantrap: Rosemary’s Baby + live performance

Arc Cinema presents a series of irreverent Friday night film feasts curated and hosted by Venus Mantrap. Rosemary’s Baby is a stylish

and darkly comic exploration of an expectant mother’s fears around unusual occupants in her building. 8pm, tickets $16/14 via NFSA

NATIONAL FILM AND SOUND ARCHIVE

SAT 1 JUNE

The Art of Disruption

Truth meets imagination on a journey like no other in Rebus Theatre’s newest production by disabled actors and actors living with mental health challenges. 3pm, $10 (concession) / $30 (standard) / $50 (supporter)

ACT HUB, KINGSTON

The Water Runners

Catch this Kiama band’s engaging stage show, storytelling, harmonies and exemplary musicianship. 6pm, $20 via venue

SMITH’S ALTERNATIVE

SENES Flamenco Concert

Experience the passion and beauty of SENES Flamenco with a new show, which is one night only in Canberra! The trio’s captivating performance will leave you breathless with its intensity and emotion. 7:30pm, $30/$35 via Humanitix

LIVE AT THE POLO

Mitch Grainger -

Keller Sessions

Mitch Grainger is a white guy from Oz who infuses the traditions of blues & roots with a confidence and depth of spirit that has seen US music critics compare him to the likes of Robert Johnson. 7:30pm, CBS members $25 / non-members: $27 / door $30

HARMONIE GERMAN CLUB

The Eagles Story

Join five of Melbourne’s most in-demand and respected musicians and vocalists for a celebration of the iconic American rock band, The Eagles. With incredible attention to detail, the performers have all the ingredients to replicate some of the most extraordinary vocal arrangements and complex melodies ever produced in two big sets of Eagles classics. 8pm, $52 - $59 via venue

THE Q PERFORMING ARTS CENTRE

SUN 2 JUNE

HoneyClub Live

If you’re looking for classy, fresh, unapologetically good music, the Honey Club provides in spades. 4pm, free entry

DICKSON TAP HOUSE

Lune The Change Around Us & The Change In You Live Across Australia

Destroy All Lines presents Lunes with special guests Patient Sixty Seven and Written By Wolves (NZ). 7pm, tickets $19.99 via OzTix

THE BASO

WED 5 JUNE

Unleash The Archers

Hardline is excited to announce, for the first time in Australia, Canadian power metal groundbreakers Unleash The Archers. 7pm, $66.25 via OzTix

THE BASO

THU 6 JUNE

Temple

Temple is an immersive audiovisual installation by Leila Jeffreys and Melvin J Montalban. Slow-motion visuals of cockatoos and galahs play across a triptych of towering screens, transforming the NFSA Gallery into a space of wonder. From 10am - 4pm daily until 30 June. Free entry NFSA ACTON (GALLERY)

Jet - 20th Anniversary of Get Born Extended Edition

Hear Get Born in full, re-visiting the incredible track list that won them fans worldwide – including timeless tracks such as Are You Gonna Be My Girl, Look What You’ve Done, Rollover DJ, and Get Me Outta Here. 7:30pm, $79.90 via Moshtix

UC REFECTORY

FRI 7 JUNE

The Ocean w/ Cave In & LLNN

Acclaimed post-metal band The Ocean returns to Australia this June for their first headline tour in almost a decade. 7pm, $74.90 via OzTix

THE BASO

RENT

Experience Jonathan Larson’s electrifying, multi-Tony® Awardwinning musical RENT when it hits Australian shores in 2024. 7:30pm, $59.90 – $129.90

CANBERRA THEATRE

Salsa Night with DJ Paisa

It’s all things salsa on the first Friday of every month. Get your salsa grooves ready, and be prepared to hit the dance floor. 8pm, free entry

OLD CANBERRA INN

Ben Lee

Ben Lee returns for a night of romantic anthems, clever wordplay and indie-pop classics. 8pm, tickets $49 + bf via venue

THE STREET THEATRE

SAT 8 JUNE

IL Bruto

The rock ‘n’ roll lifers have been granted a brief release to unleash their predilection for ‘50s, ‘60s, and ‘70s-inspired garage punk, blues, and rock. 3pm, $20 and $15 via venue

SMITH’S ALTERNATIVE

Regurgitator w/ Party

Dozen, Cry Club & Monster Zoku Onsomb

This ain’t no pop show! This is an epic all-out crashing-therocks show. From a year past of Units, Kiss, Weezer, and a feast of festivals, The Gurge head into this coming year with a sense of escalation and elevation… all with new album, INVADER. 7pm, $66.30 via OzTix

THE BASO

The RionsSweet Cocoon Tour

The Rions return to the UC Hub for a night full of grooving ahead of their newest release Sweet Cocoon. 7pm, tickets $49 via Moshtix

UC HUB