BMA Magazine 483 - 13 July 2016 by BMA Magazine

COVER LINE INSIDE: INFO

BEN FOLDS

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RAIZE THE ROOF

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TANGO FIRE AD&SPACE SOWETO CHOIR

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CMAG

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RESIDENT AD SPACE ALIEN

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AINSLIE + GORMAN

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EXTINCTION AD SPACE

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MUSICAD FOR SPACE CANBERRA

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AD SPACE

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RUFF N READY PRESENTS THE HARD ONS

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FEARLESS COMEDY FESTIVAL

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THE BUNKER AD SPACE COMEDY

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THE DICKSON TRADIES

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THEAD GREEN SPACE SHED

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C.R.E.A.M. (CANBERRA RULES EVERYTHING AROUND ME)

Pokémon GO get a job #483July/August Fax: (02) 6257 4361 Mail: PO Box 713 Civic Square, ACT 2608 Publisher Scott Layne Allan Sko General Manager Allan Sko T: (02) 6257 4360 E: advertising@bmamag.com

Editor Andrew Nardi T: (02) 6257 4456 E: editorial@bmamag.com

Accounts Manager Ashish Doshi T: (02) 6247 4816 E: accounts@bmamag.com

Sub-Editor Sarah Naughton Graphic Design Elisa Sko Andrew Nardi

Gone are the days of Big Day Out, Soundwave and Stereosonic. Those gargantuan music festivals were always such a drag anyway, though right? You see a cool line-up and you think you’re in for a good day and then BAM, you’re hit with dehydration, sunburn and you’ve missed like ten of the acts you wanted to see because you’re stuck three feet deep in mud. Glorious mud. These days, we’re more about the small, chilled out festival with a stage or two, a list of local acts and some damn acceptable tunes. In that vein, Canberra’s got Spilt Milk coming up in December, which is promised to be positively heckers, but before then we can all get around Cream Festival. Not too sure where all these dairy names are coming from but it matters little when you see what’s in store: The Aston Shuffle, Coda Conduct, Citizen Kay, Genesis Owusu, Slow Turismo and Sondrio, not to mention some local favourites like Brother Be, The Gypsy Scholars and more. “Local for local” is not just a tagline, it’s a mantra for this entire festival. All musical acts are Canberra natives (whether international acts, national, or just breaking into the market), artwork is by Canberra artists, food and drink will be made and served up by local start-ups at

Westside Acton Park along with a partnership with PACT beer – even merchandise t-shirts will be screen printed by local Sancho’s Dirty Laundry. The key element of this unique Canberra festival is focused on being sourced locally, wherever and whenever possible. Ain’t that just delightful? Do I hear a hint of interest? The festival will take place at Westside Acton Park on Saturday August 27. Tickets are already on sale. You can pick them up for $30 at creamfestival.com.au. Get around it.

GIVETH TO THE STREET, THE STREET THANKETH There are some truly lovely folks who work at The Street Theatre. Nowhere else in Canberra will you find an entertainment venue dedicated to all styles of theatre and performance. You wanna put on a play about a talking dog who solves murder mysteries for Scotland Yard? You got it. You wanna do a performance art project where you get naked and throw food around? A bit risqué, but sure, why not. 2016 sees The Street producing three world premieres for their stage. Unlike the ones I just mentioned, these original works are imaginative, intriguing, provocative and spring from our own community. It wouldn’t be possible without taxdeductible donations, as they are an essential part of making great theatre. That’s why your support is crucial to ensuring that Australian stories continue to be heard and seen.

If you have a couple of bucks to spare, you can always make a donation to support The Street Theatre’s work as the leading ACT producer dedicated to contemporary live performance. They are a notfor-profit organisation after all, and a registered charitable gift recipient. Every dollar will go towards supporting innovation in their arts programming, and help them to accomplish more. And at the end of the day, it all comes back to you in the form of some great theatre and stellar performances! Talk about a worthwhile investment. Gifts of $2 or more are taxdeductible. To donate, head to thestreet.org.au/donate-now.

I WANNA BE THE VERY BEST Outside of Pokémon GO, there are actually other things you can achieve with your life. Like winning the National Campus DJ Comp, the National Campus Art Prize or the National Campus Band Comp at the University of Canberra. Registrations are now open for all of these, and there are some cool prizes up for grabs, too – like a 30-minute guest mix on RAW FM for DJs, three days of studio hire and an in-house engineer at Ginger Studios in Melbourne for bands, plus some juicy cash prizes of up to $5,000. But registrations close on different dates for each comp, so be sure to visit uclife.com.au/national-campuscompetitions/ for all the details.

Film Editor Emma Robinson Entertainment Guide Nicola Sheville NEXT ISSUE 484 OUT August 17 EDITORIAL DEADLINE August 5 ADVERTISING DEADLINE August 11 Published by Radar Media Pty Ltd ABN 76 097 301 730 BMA Magazine is independently owned and published. Opinions expressed in BMA Magazine are not necessarily those of the editor, publisher or staff.

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FROM THE BOSSMAN I had the incredible pleasure of interviewing comedian/writer Dave Anthony recently, who will be touring his ever-popular podcast The Dollop (coming to Canberra at CIT Woden on Sep 8). If you haven’t heard The Dollop, do yourself a favour and get involved. It’s an American history podcast where comedians Anthony and Gareth Reynolds explore the weird, whacky, shocking and unbelievable nuggets of the country’s past through the powerful medium of improvised comedy. Equal parts eyeopening and hilarious. At one point in our generous 50-minute chinwag, Dave told a story about the Writers Guild award-nominated episode of TV series Maron he had written called ‘Racegate’. “The script sees the character I play in the show stealing Maron’s computer to see if he accuses his black guests. The studio wanted to change it so it was actually the black guests that stole it.” Putting the obvious concerns about corporate views on race to one side, this perfectly captures the on-going battle between Creative Types and The Studio. For a film or TV series, the ever-terrified highly-paid studio execs oversee the kind of obscene money that could settle a few smaller country’s debts. It needs to make money, or else they’re out of work, and that furious cocaine habit and ivory backscratcher will be but a fever dream. The Creative, generally speaking, want to present a piece of art that pushes boundaries. Studios want the safest, most cookie-cutter appeal-to-allmembers-of-the-great-unwashed money grab possible.

YOU PISSED ME OFF! Care to immortalise your hatred in print? Send an email to editorial@bmamag.com and see your malicious bile circulated to thousands. [All entries contain original spellings.] 1. The smartphone app Pokémon GO is currently installed on more US Android phones than dating app Tinder, according to new figures. I don’t think that pisses me off, but it does make me question a lot of things. 2. To politics. Just all of it. It sucks. 3. If humans evolved from apes, why did we decide to lose all that fur? Surely that handsome coat of bodily hair would've helped us to resist this harsh wintery death? 4. The wait for Game of Thrones season 7. I cry every time. 5. Gum on the base of desks. How long have you been fossilising here? What secrets can you tell us about civilisations past? 6. Someone bought me a cymbal-banging monkey toy that sings "Tequila! Tequila!" whenever a loud noise goes off. We put it in the kitchen and now whenver we accidentally clang two plates together the house is set off with "Tequila! Tequila!" The dogs don't like it very much either so they sit there barking and howling at it endlessly, ensuring that the cycle of "Tequila! Tequila!" goes on forever and ever. This is my living nightmare.

It would be like saying to Spielberg, “Hey Steve, loving what you’ve done with Amistad; just one little note. Do the slaves in the piece have to be black?” Or asking Francis Ford Copolla to make all the gangsters in The Godfather British because it would “rate better”. Or to suggest generally fixing a film by putting a Shrek in it. It’s this kind of “point missing” which is the stuff of storytelling legend, and it’s remarkable to think no-one has penned a book on it. There must be countless stories about execs who thought Animal House would be more flattering if the protagonists were decent university students, or The Full Monty would rate higher with the female demographic if the coal miners looked a bit more like male models. Or making The Elephant Man “more handsome” so as to not scare off viewers. Actually, it’s not that remarkable. Back in 1983, writer/ screenwriter William Goldman – he of Butch Cassidy and The Sundance Kid and The Princess Bride fame – released the wonderful tell-all Adventures in the Screen Trade (if you have an ounce of interest in film and the film industry, it’s required reading). In his follow up book Which Lie Did I Tell?, – a full 17 years later – Goldman says in the intro, “I don’t think I was aware of it, but when I started work on Adventures in the Screen Trade, in 1980, I had become a leper in Hollywood ... Let me explain what that means: the phone stopped ringing.” He had no work for 8 years. So yes, you can barely speak about it. Which is a shame, as it’s as interesting as the end product itself. Instead we have to content ourselves by rewatching Robert Altman’s The Player. Methinks this may be a job for Alan Smithy*. ALLAN “SMITHY” SKO *3 points to you if you don’t have to look up this reference

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WHO: RUMBLR WHAT: EP LAUNCH WHEN: SAT JUL 23 WHERE: TRANSIT BAR

Who the flying fuck are Rumblr? They’ve been on our radar for a little while now, but they’re just beginning their voyage into Canberra’s musical realm. They’re launching their debut EP (produced by Dax Liniere from sleepmakeswaves, Majora) at Transit pretty soon. They’ve even hand selected two of their favourite local forces to join in curating a solid night of high fueled, mind-bending goodness: Babyfreeze and Orbis Tertius. That ain’t no small deal. It’ll be a night to disregard your inhibitions and succumb to a bukakik display of experimental audiovisual, coming at you from all angles. Starts at 8pm. $10 entry.

WHAT: 80S TRIBUTE NIGHT #3 WHAT: TRIBUTE WHEN: SAT JULY 23 WHERE: THE BASEMENT

Wait, when were the last two ‘80s tribute nights? Nah, you’re confused. It’s the third tribute night in a series of tribute nights attributing the music of decades past. This time, it’s the ‘80s turn, with dorky, colourful cloths, ancient phrases like “grouse” and “far out”, and above all, some good ol’ fashioned rock ‘n’ roll. The full set list has tribute bands filling in for Metallica, INXS, U2, The Police, Guns N’ Roses, Motörhead, Blondie and more. Goodness, I feel like I’ve just stepped back in time. It’s a time warp, baby! $25 + bf via Moshtix, or $30 on the door at 7pm.

WHO: LEAH FLANAGAN WHAT: TOUR WHEN: SUN JUL 24 WHERE: THE FRONT

A songwriter with Venetian, Aboriginal and Irish heritage, Leah Flanagan draws deep from a historical, geographical and cultural mix. Raised in Darwin and now calling Sydney home, Leah’s status as an Indigenous musician is one of pride and respect. She has helped make history with such recent essential albums as Archie Roach’s 25th anniversary reissue of Charcoal Lane and Buried Country 1.5, The Story of Aboriginal Country Music. She writes an emotional history, one that resonates with her rich musicality; steeped in the complicated romance of deep feelings, wild at heart. Starts at 5:30pm. Admission at the door.

WHO: NEVILLE STAPLE WHAT: TOUR WHEN: SAT JUL 30 WHERE: THE BASEMENT

Whether you remember a time when 2Tone was king, or you’ve discovered ska much more recently, you’d go coconut crazy if you missed the original Rudeboy – legend Neville Staple – as he hits Canberra on tour. What makes him a legend? He’s credited with changing the face of pop music not only once but twice – he’s the toastmaster of UK icons The Specials and FunBoy3. Now he’s back to skank Canberran audiences through a massive catalogue of classic hits, alongside new tracks from his latest album Ska Crazy. Tickets are $45 + bf via Oztix. Support from The Kingstons. Starts at 8:30pm.

WHO: THE MCCLYMONTS WHAT: TOUR WHEN: SAT JUL 30 WHERE: THE VIKINGS CLUB

Good news, country music fans! (And also fans of Sam McClymont, who recently hosted Farmer Wants A Wife.) The McClymonts are planning to head back out on the road as part of their ‘10 Years of Hits’ tour. Since releasing their self-titled debut EP in 2006, Brooke, Sam and Mollie have gone on to amass nineteen charting singles, gold albums, multiple awards and sold out shows across Australia and the US, all of which will be celebrated in this show. Tickets start from $43.58 via Ticketek. The show starts at 8pm.

WHO: HARD-ONS WHAT: TOUR WHEN: SAT AUG 6 WHERE: THE BASEMENT

Sydney’s long-loved, veiny rock identities The Hard-Ons have ejaculated some good news: they’ll be a four-inch—sorry, a four-piece again, with original vocalist/drummer Keish Velvet Fog de Silva permanently returning to the foreskin of the band as frontman. To celebrate, they plan to rub by Canberra and penetrate their vast back end catalogue. Apart from Hard-Ons, the lineup is positively erect with quality rock, including Mucho Sonar, Australian Kingswood Factory, Horrorwood Mannequins, Johnny Roadkill, Revellers, Sketch Method, Cockbelch and Devoy. Splurge $20 + bf via Moshtix for tickets. Gets pumping at 7pm.

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WITHOUT A TRACE

KEREN NICHOLSON Sydney post-rock outfit SLEEPMAKESWAVES recently arrived back from the US after touring with The Contortionist and Monuments. Throughout July, they are special guests on Cog’s sold-out reunion tour. They also announced their own ‘Traced in Constellations’ Australian tour, to kick off in August. Their success after releasing their 2011 debut album, …and so we destroyed everything, and their second record in 2014, Love of Cartography, has seen them nominated for ARIAs and J awards, an AIR Award and three AU Review Awards. After the fond departure of long-time guitarist Jonathan “Kid” Khor late last year, the band have held tightly together, welcomed Daniel Oreskovic of Meniscus to fill Kid’s shoes, and propelled their way into 2016.

finds a home for them. We are leaving space for Dan’s riffs too. Tim writes great drum parts. He can be absent for a little while but then pokes his head up. It’s very collaborative. Alex provides electronics and larger direction. We work with our strengths and weaknesses. Is there a temptation to chase a more commercial market by adding a vocalist? It’s a tricky one. We’ve all been in bands with vocalists, but this is what currently works for our songwriting. I’m not averse to experimenting with it, but it might be more of a special project rather than just moving toward that sound. It would have to really work musically, the song would have to cry out for it. It’s not really a commercial temptation. You can’t make money in the arts. You have to stay authentic.

At sunrise, 5am on a Wednesday morning, guitarist Otto Wicks-Green heads to Bondi Beach to film a DIY clip for Awash, a side project. I catch him for a chat at 9am, after he has napped and is re-energised. We discuss Oreskovic’s performance as the newbie, the imminent tour, new music and toughing it out working in the arts. Life for Sleepmakeswaves goes on at an accelerated state.

I quit my day job for the first time when I came back from touring. I have gone full-time music. I’m making just enough to coast through, hoping to stick it through for the next album. It’s hard. The arts scene in Australia has to beg and scrape. We have an amazing music and arts scene, and it’s being suffocated, even for a numbers-minded person. It brings beauty and joy to people.

What has Sleepmaveswaves been up to recently? We have all taken a bit of time off since the US. We have a couple of little things going on outside of Sleepmakeswaves. Awash is hoping to release music, produced by Alex Wilson (Sleepmakeswaves – bass and keys) at Cartography Studios in Sydney.

Talk to me about taking risks with music. There’s a beauty to post-rock to inform your mental landscape, to be a catalyst for your imagination. At the same time, you do want your music to have those moments where people are interested. When someone wants to give you their full attention, you want to reward that. You want for it to have some resonation. From the heavier side, we’re inspired by people like Deftones and At The Drive-In. For us, it’s about textures, dynamics and melody, the triangle of where the interest comes from. At this point there is pressure to maintain a standard of next level shit. To push the envelope. We want to be seen as a band who strive to create something innovative, and be relentless in eliminating the stock standard.

How is Dan settling into the band? He is absolutely killing it. Dan jumped in with both feet. The US tour was truly a trial by fire – the poor bastard kept getting sick, and the shows were super cool and intense; he never had a chance to recover. But he’s doing great. He’s such a wonderful human being. From Meniscus, he is a big influence on my own guitar playing. He knocked it out of the park for us. He’s clever in his approach to the instrument. Really good, technically. He’s the complete package, we’re in love.

What are we expecting from this August tour? The biggest thing is the line-up of Without wanting to Your last album was deep, loud and bands. This is a sick line-up. Tangled Thoughts impactful. Are you working on new preclude where the of Leaving do this really keys-driven postmaterial concurrently while touring? Alex record will go, it’s rock jazz thing. We just got back from the and I first started composing material earlyfeeling icy and heavy States supporting The Contortionist on tour. to-mid last year, but it has been at a slow They play soaring epic journey music. It’s pace with the goal to have a reservoir that emotional, evocative demonic death metal, and I’m delighted to have we can dive into. Our manager has turned the stove on underneath us, them on tour. I’m so excited for these headline shows. especially since we got back from the States. But during the tour on the bus, we became very specific, and we started to see the songs. Obviously, we’re trying to lift our production in each tour – the lighting, the sound. We have new energy on stage, which is worth checking out. Alex and I had some wrenching years, and some unresolved shit We’ll be reaching into the back catalogue. We love bands like At The went into this songwriting. We are still exploring that, delving into Drive-In, who leave everything on the stage. I think it will be fun. our emotions. Without wanting to preclude where the record will go, it’s feeling icy and heavy, a dense exploration of Sleepmakeswaves. New material? Can’t promise that we will be trialing it, we’ve only one There’s a sonic heaviness. We’re coming back to our metal roots track packaged up with a ribbon on it. We’re waiting until Dan has the with some electronic aspects, especially after touring with The other tracks really strong. We’re so keen to get Dan to play new stuff. Contortionist and Karnivool – bands that you are moved by. We’re He’s now writing with us. But we will have to wait and see. looking at how we can create that experience. What are you listening to right now? Oh, good question. New We plan to record by the end of the year. The material is starting to Radiohead. Thrice – the new one. The production is incredible. Saosin, make sense and beginning to belong to something we can hang our Violent Soho’s WACO, and The War on Drugs. hats on. Sleepmakeswaves will arrive in Canberra with The Contortionist and Tangled Talk to me about your writing process as a band. With this record, all members are contributing. The lie of the land is that Alex is the big picture guy. He can see all the parts of a song. He has the intuition to see how the journey can stay captivating. I come up with riffs and Alex

Thoughts of Leaving at ANU Bar on Thursday August 11. Tickets are $36 + bf via Moshtix.

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BEYOND AD SPACE FESTIVAL

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will bring their alternative metalcore sounds to the very yellful BAD!SLAM!NO!BISCUIT! as the poetry slam’s house band on Wednesday July 20 from 7:30pm, and it won’t cost you a penny.

LOCALITY

The Phoenix is absolutely killing it over the next month in terms of local events. If you drop in on Wednesday July 13 from 7pm, you’ll hear arguments why the ACT should ditch the rest of Australia and stage its own Canbrexit, in a night of chats and variety steered by former In Canberra Tonight host and general Does-EverythingCreative-And-Cool Guy Chris Endrey. The list of guests is still to be announced (it’s sure to be killer), and entry should set you back about $10 at the door. There’s a mega-mash of pop, rock and folk happening when Brother Be, Spindrift Saga and People I Love play on Saturday July 16 from 9pm, all for $10. Whitefall

On Thursday July 21 from 9pm, there’ll be sets from Moaning Lisa, The Ians and String Elephants, all for $10. The next night, Friday July 22 from 9pm, $10 will get you a night of hot Latin tunes from Los Chavos’ Friday Night Fiesta, with supports TBA. CIT presents The Bootleg Sessions on Monday July 25 from 8pm, with Betty Alto, Finding Eve, Bleach It Clean and Patrick McKinney all playing for your pleasure at no cost to you. Take a look at this paragraph again and tell me that isn’t more than anyone could ask for in terms of local line-ups! So, so much goodness. Heading over Belconnen way, you can catch another solid lineup at 5 Bands on Friday August 5 at The Basement from 7:30pm. There’ll be sets from Bleach It Clean, Toxic Drags, String Elephants, Meet The Zar and Winter Skyline, and it’ll only set you back $8 for this eclectic mixture of rock styles. In Chifley, A Bite to Eat’s Sunday afternoon sessions are playing host to Magic Rob Universe on Sunday July 24 from 5pm. It’ll be a lovely way to wrap up your week with friends and family, with this kid-friendly café set, full of peace, love and rock ’n’ roll from one of the best capewearers in the ACT. Entry is free. For fans of bluegrass, country and 1920s style hokum, or just for those who love seeing live music in its most stripped back form, 3 Bands and 1 Microphone at the Polish White Eagle Club on Friday July 22 will certainly tickle your fancy. Den Hanrahan and the Rum Runners and Doctor Stovepipe will join Sydney’s The Plough to demonstrate the wonders that can be achieved with just a single mic. It starts at 8pm and entry is $15, less for concession and Canberra Musicians Club members. Now all that election nonsense is (mostly) behind us, we can all sit back and properly enjoy the newest track from Coolio Desgracias, all about #ausvotes2016. It’s called ‘Tha Double D’ and while at the time of writing nobody knows what the hell is going on anymore, this track truly offers the stability we deserve. Take a listen and have a cackle at soundcloud. com/coolio-desgracias/thadouble-d. NONI DOLL NONIJDOLL@GMAIL.COM @NONIDOLL

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THE CRÈME DE LA CRÈME SETH ROBINSON This August, the first ever CREAM FESTIVAL hits the Westside Acton Park with a lineup of our freshest and most delicious local legends. It’s a celebration of all things CBR, meaning some excellent eats, art and tunes. We’ll have artists hailing from the genres of folk, rock, hip-hop and dance, with house heroes THE ASTON SHUFFLE set to headline. BMA caught up with the Shuffle’s own Mikah Freeman to talk about Cream, Canberra’s evolving scene, and how the dance music landscape is changing. “When we were coming up, it was all about the big festival circuit. In recent years, that’s kind of fallen by the wayside,” Mikah explains. “These smaller one or two stage festivals are really nice. It’s great for breeding homegrown talent. In the past, it was all about booking the biggest DJs and bands for crazy set fees. Now a lot of Australian music fans just love good music, whether it be local or from overseas, so these boutique festivals are really doing great things for the Australian music scene.”

These boutique festivals are really doing great things for the Australian music scene

ANU BAR

Cream will also see The Aston Shuffle sharing the stage with some of Canberra’s best and brightest, including Citizen Kay, Coda Conduct, Slow Turismo and Amastro, just to name a few. “There’s a real hunger for music and events in Canberra, and we have a whole new generation of artists and fans coming through, which makes it a really cool time for the Canberra community. When it comes to people early in their career, the one thing I always say is to really develop and hone your craft before you share it with the world. The beauty of where things are with technology and these widely accessible music-making capabilities, means that everyone can be a producer or a DJ these days. The single to noise ratio is getting out of control,” he says. “While I think that’s great, if I was a young kid, I would try to get my head around the various scenes and genres in the dance world, then spend that time honing it and putting a spin on it so I could stand out from the crowd.” After 10 plus years honing their own craft, The Aston Shuffle have come full circle. After branching out, their new stuff has marked a return to what they themselves admit they know best, and love even more. “We’ve seen genres come and go, but the one thing that resonates with us, and always will, is house music. House music will always be there. It’s music that’s created for a dance floor. It’s about unity and togetherness, and even today I think people feel they can connect through house. We’ve changed our sounds over the years, but the fact of the matter is we just keep coming back to that sound, and there has to be a reason for that.” You can catch The Aston Shuffle and co. at Cream Festival on Sunday August 21. Visit www.creamfestival.com.au for tickets and info.

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Despite all this recent success Tyler still sounds humble and grounded. When explaining that the new album is the “most polished and coherent one we’ve done so far,” he reminisces about their previous albums and how they “never set out to do anything” when they formed way back in 2009. Their debut album Extended Family was originally intended as an EP but they added all the songs they had written to make it an album. He explains how Andy from Poison City Records discovered the album without any prompting from the band and this contributed to their drive to continue making music.

BRACE FOR BRASI JARROD MCGRATH 2016 has been an outstanding year for Tasmania’s LUCA BRASI. Having released their third album If This Is All We’re Going To Be in April, the band have received solid airplay on Triple J and will embark on a national tour in August that has already sold out major venues in Sydney and Melbourne. Taking a phone interview on a Friday evening, Tyler Richardson, the bands lead singer, expressed his gratitude and amazement about the recent success. When asked about selling out The Oxford Art Factory in Sydney and The Corner Hotel in Melbourne for the upcoming tour, he explained that it was “a dream to play those venues as headliners,” and to “sell them out two months before the show is crazy.” He elaborated, explaining that their last headline tour had some sold out shows but only in venues with about a 300-person capacity, and hence this was, “a pretty big step up.” We discussed the recent increase in Triple J airplay of similar bands (PUP, Modern Baseball, Violent Soho, etc.) and Tyler gave his explanation, citing that “guitar music is back in popularity.”

Last in Canberra a couple of years ago, at the now We never set out to defunct Magpies City Club, do anything Tyler advised that a visit our way is “way too overdue.” As Canberra’s show will be the first of the tour, I was curious about how ‘fresh’ or energetic we could expect the band to be. His response highlighted the solid work ethic of the band, as Tyler explained that all bandmembers were working or studying full-time and also “working on some new material” before they head out on tour. This was surprising given that the new album is less than four months old, and the band already have some great material to play for fans. This includes their recent cover of Paul Kelly’s ‘How to Make Gravy’ for Like A Version. When asked if we can expect to hear their Paul Kelly cover on the upcoming tour, Tyler explained that they played it on their last tour, “through peer pressure from the boys” (referring to The Smith Street Band whom they supported, and whom Tyler cited as his favourite band they have played with so far). “But we will see how we go.” Sounds like we can keep our fingers crossed. Lusa Brasi will showcase their Tasmanian melodic rock at The Basement on Wednesday August 17 at 8pm. They will be supported by Moose Blood (UK) and The Hard Aches. Tickets are $24 through Oztix.

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CREAM FESTIVAL

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THE REALNESS Ohhh (cold) snap! The recent drop in temperature has officially killed off the strong vibes we had running up until this point in the year. It’s definitely understandable … It’s bloody cold outside these days but it has had a wrecking effect on the amount of gigs we’ve got coming up this month. At least we’ve got something in the bag. Following the release of the fourth single from his album Strange New Past, Seth Sentry continues to put in the hard yards and will be making his way to Canberra on Saturday July 16. Joining Mr. Sentry on tour is Melbourne-based MC, Remi. Both these guys will be hitting up ANU Bar and tickets are available for purchase on Moshtix.

With the scarcity of offerings this month, I find myself in the position for the first time since I started writing for this magazine of having to try to find a way to fill in the blanks. Considering I have another few paragraphs to spend with you (lucky ducks!), I thought I’d take this opportunity to take stock and dish up some of my favourite releases from this year … so far. First cab off the rank is Kaytranada with his debut, 99.9%. Anyone who follows this column knows I’ve been on the Kaytra trip ever since he started releasing those bass-heavy remixes on SoundCloud around 2010–2011. Despite a long production history, 99.9% marks the Canadian’s first full-length effort and it’s a doozy. Collabs with the likes of Phonte, Syd, Anderson .Paak, Vic Mensa and Goldlink keep the flavour drenched in hip-hop but, in reality, this album is all about the beats. The insane variety of production styles and percussion on the album really stand out – there’s something new every listen. Goodbye Tomorrow, the Chicago duo most notably characterised by the fact that they have so far refused to show their faces, have also hit the mark with the Tunnel Stripe Exit Ramp EP. Their first longer-length effort illustrates the Drake-esque rhyming sequences seen in early singles ‘100k’ and ‘Jay Z’ against layered and slick production, highlighting experience beyond their singular year in the game. Perhaps more importantly though, Goodbye Tomorrow are bringing a level of nuance to the Chicago hip-hop conversation by illustrating the diversity of the city’s offerings, aside from the drill/Cheef Keef/ Lil Durk vs. Chance the Rapper dichotomy that has dominated the discussion about Chicago for the past few years. Having just said that, I’ve still got to back Chance with Coloring Book as this year’s best release. Full disclosure though, I should mention I still haven’t made time to put a listen to Kendrick’s untitled, unmastered. Chance continues the independent trajectory he started on with 10 Day and Acid Rap and it really feels as if Colouring Book is the culmination of half-a-decade of real work. As an independent artist, Chance has built a following that transcends the underground and, more and more, is entering the mainstream. Being critical, I guess you could say that musically this doesn’t always feel like an evolution on Acid Rap. What it does feel like though is the creation of an icon, one for our generation and one beyond the Kanye, Jay Z monopoly that has overshadowed hip-hop for nearly the past 15 years. BRADY MCMULLEN realness.bma@gmail.com

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“The obligation of doing school was very frustrating when I knew I wanted to be out there doing something else,” she explains. “I had always expected myself to go to uni and my parents did too, but I realised I’ve spent the last couple of years looking for excuses. Now I’m really enjoying doing music because I’m learning more every day and I can travel with it, so it’s perfect.”

I spend a lot of time people-watching – it’s one of my favourite things

JOINING THE RAT RACE MOLLY MCLAUGHINLIN Brisbane-based rapper MALLRAT hates Westfields, at least according to her single ‘Inside Voices’. Instead, Grace Shaw divides her time between babysitting jobs and playing shows supporting local legends Allday and Tkay Maidza. Her music has generated hype on triple j and all over the internet, and she recently collaborated with E^ST, so it’s slightly frustrating that at only 17, Shaw can’t even legally attend most gigs. She recently played the biggest show of her life at the all-ages Come Together festival in Sydney, and for once she didn’t have to worry about getting kicked out. “Come Together was the first festival that I’ve played,” she says. “It was so much fun, I especially liked that they had an under 18s crowd. Hopefully there will be more stuff like that.” A year and a half ago Shaw began making music while she was still at school, after realising at an Allday gig that she could actually pursue it as a career. When she graduated, she decided to focus on music full-time. Mallrat quickly grew to become a genre-defying favourite, even before the release of her debut EP, and with Uninvited she has proven that this is no side project.

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Growing up in Brisbane has had a subconscious influence on her sound, she says. Her laidback rap delivery is complemented by indie pop vocals, and she has often collaborated with producer Tigerilla. “There’s sort of suburban monotony that I’m feeling at the moment,” she says. “I feel like I know everyone and everything about Brisbane, even though I probably don’t, but that’s how it feels. The sense of it being quite small and wanting to go and explore is something that I feel very strongly.” Shaw has started working on producing music as well as vocals, and has big plans for the future of Mallrat. She has built a loyal fan base through her casual social media interactions, and knows that her lyrics need to continue to connect with her audience on a personal level. “I hold myself to very high standards,” she says. “I set aside time to write every day but sometimes I’m on the bus or I’m at work when the ideas come, because I spend a lot of time people-watching – it’s one of my favourite things. I find people so interesting, so I guess that translates to the lyrics.” Mallrat’s debut EP Uninvited is out now on Spotify and iTunes.

KNIGHTSBRIDGE PENTHOUSE

DANCE THE DROP

Earlier closing times for Canberra nightclubs could soon be a reality if some of the politicians in the ACT government get their way, with a likely vote on the issue in August. The devastating impact of the Sydney lock-out laws on businesses and the jobs of those who work in the dance music industry is undeniable – and we could see something similar here, especially in our already fragile market. Thankfully, a vote hasn’t yet been cast and we as clubbers and music fans can still make our voices heard. Plans are currently underway to hold a protest against the legislation on Sunday July 31. Organised by Keep Canberra Open, the rally/mobile street rave will have guest speakers, musical performances and beats. Whether or not your favourite nightclub will be directly affected (and hey, maybe you prefer warehouse parties), this legislation will have flow-on effects and is guaranteed to impact the entire industry – commercial and underground – reducing opportunities for DJs, musicians, promoters, hospitality staff and anyone involved in the creative industries. So let’s be proactive about this and do something to ensure the future of an industry we care so much about. Check out the Keep Canberra Open page on Facebook for details. There are plenty of club nights you should check out in the meantime however. On Friday July 15, triple j favourite What So Not will appear at Academy with Yen Sid, Exposure, BDNR and Menttis in support. Pickle are back on Saturday July 16 with a bit of a secret dance party, featuring Florist. Details announced on their Facebook page.

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The following weekend, house tastemakers Set Mo will appear at Mr Wolf with Me Again, Skinny and Jay Frank in support, while Academy has some tunes more on the experimental EDM tip with Yvng Jalapeno & Noy gracing the decks. If you prefer your beats a bit more four to the floor, Department of Late Nights at Digress has you covered with a fresh band of local techno legends – free entry on this one as the crew expose some new talent! One of Australia’s favourite DJs and dance music producers Nina Las Vegas will be at Mr Wolf on Friday July 29 – definitely one to check out! On the heavier side, Melbourne’s Duane Bartolo & Short Round will be at Academy with some dark minimal sounds. On Friday August 5, Benson will bring his unique brand of bassheavy house music to Mr Wolf. Also that night, Hard Envy is back at Cube with the Defqon 1 DJ competition, where local selectors will battle it out to win a set at Australia’s premier hard dance festival, with a headliner performance by Toneshifters. Local DnB master and Heads Are Rolling chief Tidy brings a heap of underground sounds for his birthday, with Tidy’s Dirty Thirty at Lowbrow Gallery from 6pm on Saturday August 6. Tidy, Fourthstate, Karuna, Centaspike, Biscuit Bytes, Moonstompa plus more to TBA. Later in the evening, Department of Late Nights is back at Digress, with a ‘residents and friends’ night spinning techno into the evening. Friday August 12 brings Terace to Mr Wolf with some up-front club music, while wonky indie electronica group Crooked Colours perform a special DJ set the next weekend! PETER ‘KAZUKI’ O’ROURKE contact@kazuki.com.au

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INTRA SPECTIVE AMANDA SMUIN ELIZABETH ROSE is accustomed to people commenting on her height. “I always get called pint-sized or pocket rocket.” But she’s quick to point out that she’s “actually taller than Kylie Minogue”. She hasn’t helped matters though, having recently chopped off most of her hair, leaving her with an adorable ‘pixie cut’. The pastel pink culottes she’s wearing today are also pretty cute. Just like Kylie, Elizabeth Rose is a petite pop princess and there’s no denying it. Rose’s pop star status has been cemented with the successful arrival of her debut album Intra, released earlier this year on March 4. Intra has been in the making for close to two years, so she is relieved to finally have the album out. “The pressure kind of fell away once I released it. It’s been getting good feedback and radio play.” It’s a very personal work for the artist, with “lots of emotion behind it”. “Intra is, well, it basically means ‘within’. So the whole album to me is about being quite introspective and picking apart what I believe and who I am.”

hear them say that they don’t have the same things available to them as I do, as straight people do.” Gun control is less close to home but it inspired Rose to write the track, ‘One Shot’. When she wrote the song, there were a lot of stories in the media about school shootings in America. She says, “I wanted to make a statement about things that need changing and how people only want to change when it’s too late, when people have already been hurt.” ‘One Shot’ is one of the songs on the album co-produced by M-Phazes, an Australian producer of whom she is clearly a huge fan. “He’s amazing. He won a Grammy! He’s the best producer out there I think at the moment.” Rose is an accomplished singer-songwriter, musician and producer. Half of the songs on the album were written, performed and produced solo. For the other half, she collaborated with different producers and artists, including the two hit singles ‘ShouldaCouldaWoulda’, also with M-Phazes, and ‘Playing with Fire’, which features Australian emcee Remi. Rose also worked with the American producer Chrome Sparks and Seekae’s George Nicholas. She enjoyed working with so many talented people, but it did cause her some concern about how the album would work as a whole.

Elizabeth Rose delves deep into her past relationships and her state of mind on tracks such as ‘Steel Hearts’, ‘Trust in You’, ‘Open Text’ and the aptly titled ‘Anxiety’. When she began writing the album, she was in “quite a serious relationship”, which has since ended. Of ‘Steel Hearts’, she says, “That People only want to song’s just about reflecting on how powerful it was to be in love with someone, change when it’s too that particular person. It’s weird to be out late, when people have of it now and to have that as a kind of already been hurt diary entry.” ‘Open Text’ and ‘Anxiety’ are the tracks on the album that Rose is proudest of. “I pushed myself with the production on those two and I just really felt what I was singing about.” Both tracks deal with strong emotions. ‘Open Text’ is about a girl who tried to ruin her relationship. “She was a psycho and I wrote a song about it. I feel like I excelled in that one because there was so much anger guiding it and I just wanted to make it amazing.” ‘Anxiety’ chronicles Rose’s struggle with being in the public eye, particularly in the social media era. “There are definitely pros and cons of putting music out there and doing well.” However, she says she has learned not to take online criticism too personally. “I’m not making music for other people. First and foremost, I’m making it for me to express myself.” Rose covers topics such as gun control and marriage equality. For the release of the single ‘Division’ last year, she partnered with Australian Marriage Equality for a campaign promoting the legalisation of same-sex marriage in Australia. “I believe in it strongly and I felt the album was the right time and place to make a statement about that.” It’s clearly a topic that is close to Rose’s heart. She has friends in same-sex relationships and it frustrates her that Australia is so behind on this issue. “I talk to them a lot about future plans and what we all want to do when we’re older. It’s just so not right to

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“I was worried about it having flow, like with the sound, because all the songs are quite different. Everyone’s got their own sound.” Her sound is quite clearly influenced by the artists she loves. She’s spent the last three years playing all her favourite music in DJ sets across Australia, both as Elizabeth Rose and her DJ alter ego, Ellie Sass. “I like to play a lot of house and techno and then I also like to play a lot of throwback RnB like noughties and early nineties and all that.” Notable favourites include ‘Rock the Boat’ by Aaliyah and ‘The Jumpoff’ by Lil Kim. It’s the rhythm, production and beats in those songs that stand out to Rose, but she also enjoys catchy pop melodies. Although she loves to DJ, she prefers being able to perform her own tracks, to sing and be animated on stage. She has enjoyed being back out there and performing again on her Intra tour, which kicked off in Perth on June 4. “It’s so exciting. I have dancers for every show. And I’m dancing as well for each song. I did dancing as a kid so I’ve always wanted to incorporate it into the live show.” In between touring, she has already begun writing new music and working on her next album. A recent trip to Japan left her inspired, and she definitely wants to return later in the year. She also has plans to spend some time in L.A., working on music and connecting with other electronic artists. Expect to hear more great songs and exciting collaborations from Elizabeth Rose – she may be small, but the petite pop star is making big waves on the Australian music scene. Elizabeth Rose’s debut album Intra is out now on Spotify and iTunes.

EVERYONE CAN HEAR YOU SCREAM ANGELA CHRISTIAN-WILKES When I speak to Marissa Paternoster, guitarist and singer of SCREAMING FEMALES, she’s just finished sound checks for tonight’s show in Wisconsin. The timing matches the image of a band who are constantly on the road. “I think, as a band, we’re unafraid to work hard. We tour a lot. We play well over a hundred shows in any given year.” Ten years in and in the wake of their sixth studio album Rose Mountain, the trio will bring their legendary live show to Canberra. “We’ve always wanted to go to Australia. We’ve had a lot of friends who have had really successful, exciting tours over there,” Paternoster says of their plans. “I just think we’ve never had the opportunity to get in touch with the sort of people to have us. So when we got in touch with them this tour, it was like, ‘hell yeah, let’s do it’.” The three-piece have played over a thousand shows. These have taken place at bars, pubs, theatres, universities, coffee shops, museums and venues simply described on their website as ‘a house’ or ‘a park’. Whilst the quantity is notable, quality spaces are integral, with all three bandmembers involved in decision-making. “We like to play primarily all-ages venues when we can in the States. It’s always nice to be in a space where everyone is welcome to attend the show,” Paternoster notes. “[Like] making sure the places we choose … people of all ages and persuasions can enter and feel like they’re welcome and that they’re safe and that they’re going to have a good time.

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“Some people feel comfortable going into a bar, some people don’t. Some people are comfortable going into a punk art space, some people aren’t. You can’t really cater to everyone’s wants and needs, but we try to do our best in finding It’s always nice to the venues in town re whe ce spa a be in that seem to be everyone is welcome to popular amongst our peers. I think attend the show that’s led us down a pretty good path.” Taking on as many shows as they can and listening out for opportunities has seen them play the unexpected. Paternoster affectionately recollects one example that took place in Minot, North Dakota. “[It’s] super-duper tiny. Nobody lives in North Dakota. Basically nobody! It was one of the most gratifying show experiences we’ve ever had, ever. Everyone was so excited and happy that we were there, and we had a really fun time playing for them at their house. They gave us dinner and we had a bunch of really interesting conversations with them about what life is like in Minot, North Dakota.” This connection extends past the usual catalysts of genres and scenes. “It’s about relating to people and hearing what their lives are like,” Paternoster says. “How we’re all connected by music is cool.” Screaming Females will play at The Phoenix on Thursday August 11. Tickets at the door. BYO earplugs.

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METALISE King are a new melodic black metal band from Melbourne featuring members of Blood Duster, The Day Everything Became Nothing, Fuck…I’m Dead and Psycroptic. The band will soon release an album entitled Reclaim The Darkness, and have secured label support in Australia with EVO Recordings, home to other Aussie metal bands like King Parrot and The Amenta. The band will hit the road for the first time in August with Seattle by-way-of Los Angeles black thrash band Inquisition on their Australian tour. The tour will touch down at the Basement in Belconnen on Sunday August 14. For a preview of the King record, check out the official video for the song ‘Reclaim The Darkness’ on YouTube. This Saturday July 9 brought a brutal night of action headed by Be’lakor at the Basement. The grYmness was accentuated with a huge bill including Rise of Avernus, Anno Domini, Mytile Vey Lorth, And Then Silence, Claret Ash, Immorium, Is Dead and From Hell’s Heart. Next Monday July 11, The Contortionist from the US of A play a return match of a tour of their home country, with Sydney-siders sleepmakeswaves, who I mentioned last column. Tangled Thoughts of Leaving are also along for the show at the ANU Bar to kick your week off with some killer tunes. It’s hard to believe that six months have already passed in a world A.L. – After Lemmy. Local punk rockers The Bastard Sons of Liberty are taking part in a special 80’s Tribute show on July 23 at the Basement in Belconnen, to mark respects to the passing of Philth Animal Taylor and Lemmy. Also along for the night are tributes to Guns N’ Roses and Metallica, so get along to that one. Doomsday Festival took a year off last year, but they’re coming back like a fury, and they’re bringing back one of the best overseas headliners from a couple of years back, Acid King from San Francisco. Taking the low and slow from Perth to Brisbane and a couple of Melbourne visits in between, it’s nice to not be left out with Transit Bar hosting the Canberra leg on Thursday September 29. The line up will evolve as we get closer and I shall keep you posted. Speaking of great doom bills, one of my all time favourite Italian bands Ufomammut are making their first visit to Australia with Swedes Monolord, and of course the show is being promoted by Life Is Noise. As Life is Noise are doing it, it will come as no surprise that the show is off to Sydney and The Bald Faced Stag on Parramatta Road is the venue for this crushing tour on Friday October 7. Don’t forget that the Weedeater and Conan show is at the Manning Bar in Sydney on Friday July 15. The Black Tusk show is also at the Bald Faced Stag on Saturday August 6 – meaning the Life Is Noise folks should be able to do Ufomammut and Monolord funded entirely on Frequent Flyer points. ‘Til next time! JOSH NIXON doomtildeath@hotmail.com

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The new album from Sydonia, still to be named, has been cited as a lot heavier, however Adam explained that it is the point they are at in their lives now. “We’ve always written for ourselves and seeing as Sam is no longer in the band to bring in the harmonies, we’re utilising my heavier vocals. The new single [‘Eyes of Sand’] has been received really well, we’re absolutely stoked about this.”

KNIGHTS OF SYDONIA CARRIE GIBSON Relocating to Melbourne in the early 2000’s, the long standing institution also known as SYDONIA have become a stable thread in the ever weaving fabric that has developed into the Australian heavy metal landscape. With ties to the early days when Australia was establishing itself as a contender for heavy metal, and to make a trip down memory lane, I caught up with the outfit’s bass player Adam Murray to discuss not only the bands longevity but their unrelenting reign as one of Australia’s greatest alternative bands. The story of Sydonia is long and filled with ups and downs; fastforward to where they are now however and Adam says that the basis behind their fortitude is camaraderie. “With our new members we feel re-energised – it has been a great natural progression for us. With Sam [Haycroft] leaving last year it was hard to imagine creating our material without him, however we have gained a new energy and forged new friendships.”

SLEEPMAKES WAVES + THE CONTORTION IST

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Sydonia have been exploring the band members’ individual strengths, including resources not tapped in the past to aid in the process of the recording, which has us intrigued as to what direction this album has been taken. Adam clarifies, “The vocals on this album will be the distinction – the vocals are more dirty and full of angst,” he adds. With the prospect of having to perhaps re-label Sydonia’s technique and genus, Adam safely affirms, “We’re just us, we’ll always be us and have always written from our hearts. We’ve been blessed for all the support over our career.” Sydonia have upheld their We’re just us, we’ll integrity throughout their always be us and have career; many challenges no doubt have afflicted the always written from members both personally our hearts and professionally. When asked what challenges the band was facing in the beginning and what challenges they face now, Adam responded, “Well it’s funny – you learn so much, you get better along the way. Always a big struggle at the start is getting good equipment, and early in the piece you get a bit lost as to what to do – how to go about it. You just have to tour, relentlessly.” Talking tours we wrap up with Adam and ask about his aspirations for the east coast tour. “The big thing is getting to play the Corner Hotel in Melbourne – it’s a big tick for us to play that on our own bat.” Expect big things when they play in Canberra, though. They’ll ravage The Basement on Friday August 12 with Whitefall, Kitten Hurricane and Lions of the Underground in support. $15 on the door from 8pm, $10 pre-sale.

KING OF THE NORTH

ROLLING THUNDER VIETNAM

THANK GOD I’M A COUNTRY BOY ANDREW NARDI ‘Glen Campbell, Kenny Rogers, Willie Nelson, John Denver, Dolly Parton, Dr Hook, The Bellamy Brothers, Linda Ronstadt, Johnny Cash. You may recognise those names from a bygone era of country music, but for Daniel Thompson – Australia’s very own ‘man in black’ and the voice behind ‘Johnny Cash The Concert’ – they’re the definitive artists from an era of music sometimes forgotten, but no less a cornerstone in the history of the industry. It’s for that reason that Thompson has coordinated a tribute concert titled THE GREATS OF 70’S COUNTRY MUSIC. We caught up Thompson to discuss what diehard country fanatics can expect from his latest musical endeavour. You’ve been touring ‘Johnny Cash The Concert’ over the past 6 years, and now you’re getting ready to pay tribute to the greats of 70’s country music, in a concert with that name. Why do you think people need to experience these country legends in a live setting? The 70’s was the era where country music crossed over and into the mainstream more so than any other time, I believe. These artists positioned themselves at the forefront of country music; their songs are timeless and were such huge hits. So to be able to re-experience these songs in a live format once again is a great opportunity for fans. Do you feel that something from that era has been lost in today’s music? Yes, I think that music these days has become more disposable. It’s lost a lot of the heart. In the 70’s, it wasn’t about what you looked like or anything like that, it was about whether you could sing, whether you could play and whether you could write songs. You’ve talked about growing up with this music. Do you feel a personal connection to any of the artists or songs you’ll be paying tribute to on this tour? Yes, definitely … When it came to putting this tour together, I literally wrote the list of songs based on the songs and the artists that I loved. All of these artists and I think that music these these songs are ones days has become more that I listened to in disposable. It’s lost a lot of the house when I was the heart growing up. Technically speaking, are there any artists on the line-up that are more challenging to imitate? Glen Campbell and Dr Hook in particular are quite challenging in terms of vocal range … I am so used to playing more of the Johnny Cash style where my voice is a lot more in the lower range, whereas Glen Campbell and Dr Hook have more of a varied and higher vocal range. What do you hope your audience will take away from this concert? That they are reminded of what a great era of music it was. That people are leaving already having been reminded of things they may have forgotten about, or the songs that they may have forgotten about and just simply having a great night.

Daniel Thompson will perform The Greats of 70’s Country Music at The Q Theatre in Queanbeyan on Saturday July 30. Tickets start at $60 via theq.net.au. Giddy up!

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E X H I B I T I O N I S T ARTS | ACT

NOT FOR SCAREDY CATS RORY MCCARTNEY Do you believe in ghosts? Whether or not you do, a good scary story has long been a favourite form of entertainment. Canberra punters will have the opportunity to test their nerves when GHOST STORIES hits The Playhouse in August. The PR for the show comes complete with blunt warnings that, due to content containing “extreme shock and tension”, it is unsuitable for children, pregnant women or those with a very nervous disposition. The show was created by mentalist and illusionist Derren Brown, writer Jeremy Dyson (The League of Extraordinary Gentlemen) and actor and director Andy Nyman (Death at a Funeral). Although the production details of the Canberra show are unknown, other venues have featured plenty of haze, lighting and sound effects to drive up the menace quotient. While the spooky bits remain a closely kept secret, BMA asked Nyman about the philosophy and staging of the play. What do you believe entices audiences to shows at which they expect to be frightened? That’s a great question and one that is addressed in the play. What on earth is it that makes people want to face fear? It’s really a key part of what makes us human. What tradition of horror stories/films does Ghost Stories draw inspiration from? When I was 13, I went to see John Carpenter’s movie The Fog and it was like something shifted in my brain. From that moment on I became obsessed with horror. Fortunately, this obsession coincided with the infamous Video Nasty boom in the UK, so suddenly there was a whole new array of unseen horrors waiting for me to experience. The love and fascination with the genre has never left me and I get as excited today when I see a new horror movie coming out as I did when I was 15. Both myself and Jeremy Dyson, my co-writer, have a shared lifelong love of the genre. So it’s every horror film we’ve ever seen and every ghost story we’ve ever read thrown into a great big melting pot. How do you maintain tension for 80 minutes? Fear has to live in the suspense, the build up to the unknown. One of the exciting things about the play is that there is a huge amount of truth. It draws an audience in and makes it harder for them to wriggle out of the horror when it starts. The plot employs humour too. Do you use this to lull the audience into a false sense of security before the next scare? Of course, they are the most perfect bedfellows, being fundamentally the same emotion. They are a non-cerebral gut reaction to a situation. You don’t think, “Is this funny?” You just burst out laughing. In the same way you don’t think, “Is this scary?” You just scream!

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How do you translate the feeling of dread into a live show in a large theatre? It’s a challenge. Audiences are so used to seeing horror on the big screen that they have no real idea what it can achieve live. I have never seen the Australian production, but I know that in the London production, the audience would scream night after night. Live scares are the best! In the London show the stage design Audiences are so used was all about creating to seeing horror on the tension. Leaving huge big screen that they have dark spaces where no real idea what it can evil could lurk is a achieve live large part of the craft. How many are in the cast and are they locals or people who travel with the show around the world? I am giving nothing away regarding the cast members. Go in knowing nothing. All I will say is that each production has its own different cast, so it’s ‘fresh blood’ every time. How have other audiences reacted to the show? Audiences all over the world have loved the play; it’s been remarkable. Aside from running for 26 months on London’s West End, the play has now had productions in Moscow, Toronto, Shanghai, Lima and now Australia! Over half a million people have seen the play and kept its secrets. How has the plot been kept secret, despite large audience numbers? In a world where every trailer you see gives the entire plot away, it’s so exciting for an audience to go into something blind. All you know is that it promises to make you jump. My advice – read no reviews, don’t ask anyone who’s seen it. Just take a deep breath and buy a ticket. Then leave the light on at night. Why is there such a strong warning to patrons about the scarier aspects of the show? Aside from the roller-coaster fun of the play, it is leading to a pretty dark place. The themes we look at are adult and I feel it would spoil it for audiences if people took small children in, thinking it was a fun family adventure. It isn’t. What else can you tell readers about why they must not miss the show? All I can say is that it is a play we love and know. It has thrilled many hundreds of thousands the world over. If it’s done right, you will have a truly unforgettable experience that will make you laugh, scream and, hopefully, give you a nightmare or two. Ghost Stories will put the frighteners on you at The Playhouse, Canberra Theatre Centre at 8pm between Wed–Sat August 17–20. Tickets are $59 + $4.50 bf. For full details see canberratheatrecentre.com.au.

E X H I B I T I O N I S T ARTS | ACT

IT’S TIME TO MAKE THE CITY YOURS ANDREW NARDI You talk to Sydneysiders and Melbournites, and you always get the same question. “So, what actually is there to do in Canberra? Apart from that place Questacon, I mean?” Of course, BMA and its readers know that Canberra is nowhere near as dull and as boring as outsiders have preconceived. With the multitude of film festivals, sporting events, design workshops, multicultural festivals, galleries, art installations, unique food and drink venues, music venues, writing festivals and all manners of large-scale events dedicated to experimental art and performance, we all know that there is a flame in Canberra that never ceases to shine brightly. But there’s always room for expansion. After all, our local art, design, sport, media and events industries require constant revision as the city’s needs change and new ideas continue to emerge. It begs the question: how should Canberra accommodate its next generation of artists? Who better to put the challenge to than Canberra locals? That’s exactly where In The City Canberra come in, touting their GRANTS IN THE CITY funding program. “Out there is a voluminous ocean of ideas from the local community – able to be ignited, developed and established.” That’s Michael Liu from Dionysus, a Canberra-based events, advisory and research organisation. Speaking on behalf of In The City Canberra, Michael explained that Grants In The City makes $340,000 available to individuals, groups and businesses for events and projects to enrich Canberra’s CBD over the next 12 months. In The City Canberra has already funded a number of projects throughout the years, including but not limited to You Are Here, the Floriade Shuttle Bus and the National Multicultural Festival. Now, with Grants In The City, the difference is that such projects are being shifted into the hands of the community. “Every Canberran has their own ideas about how to ‘enliven the city’ and that’s the beauty of this program. Grants In The City allows ideas to come from all corners of the community,” Michael explains. “Maybe you want to ‘yarn-bomb’ all the light poles down Mort Street? Perhaps you and your friends want to help the city’s homeless start a reading group? How about a 100-person game of Twister in Garema Place? The possibilities are endless.” The grant encourages anyone to realise a project in Civic and Braddon, regardless of whether they’re young, old, amateur, professional, or

Photo by Martin OIlman

even from interstate. The two lower funding tiers are Public Grants up to $2,000 and Grants for Popular Ideas up to $10,000, both of which make it easy for individuals and groups to apply. The highest funding tier are Professional Grants up to $50,000. “Those running festivals probably know where to find funding, but this new grant program is all about flanking those big events with smaller, community-led ideas and creating a grassroots connection to place,” Michael explains. The grants are for projects relating to anywhere from the top of Lonsdale Street out to Glebe Park, over to the ANU and to the bottom of NewActon. Over 600 commercial property owners in this zone pay a levy passed by the ACT Government to In The City Canberra to ‘market and improve’ the CBD. “This won’t solve a broken heart though. This is only one part of encouraging healthy public rituals in and around CBD buildings and businesses. A comprehensive and proactive approach is the only way for us to enliven our city centre,” Michael explains. “That means support from all layers – government, businesses, and the community. A good example would be the free city loop bus service recently launched by the ACT Government – another great CBD initiative to get on board with.” Of course, Grants In The City is a project with its sights set on long-term goals. On a grand scale, Michael says, it is part of a much larger journey for Canberra to continue cultivating and defining its own cultural identity. “Canberra needs events and projects which are unique to our CBD and that provide a point of difference from other Australian cities. Once new ideas are trialled, the challenge will be to develop them, establish them and to take ownership of them. As a community, that’s the way to attract repeat visitors and grow pride in our city centre,” Michael says. “And don’t think that you will be left in the dark if your application is successful. Projects will receive planning and marketing support from In The City Canberra to launch their ideas. We are all in this together. That’s the whole point of it. “Canberra is full of creative and passionate individuals with a hunger to make a difference, and the grants program is one way to support them,” Michael says. “Awareness campaigns, public installations, live music gigs, sports matches – and that’s just the tip of the ideas iceberg. We are keen to see thinking ‘outside of the box’ and projects which are unique to Canberra.” Use Grants In The City to make the city yours. For more information and to find out how to apply, visit inthecitycanberra.com.au.

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IN REVIEW

Sound and Fury: Cold Winter Hot Party Nishi Gallery, NewActon Saturday June 4

DJ Dead Joke. Photo by Patrick Cox.

With the rain pouring down and the winds picking up outside, Nishi Gallery was the perfect location to get away from the weather and cosy up with a drink, some snacks and some fantastically creative entertainment. In the latest instalment of Sound and Fury: Cold Winter Hot Party, an ensemble of actors, dancers and theatre folk alike managed to deliver an artsy performance that not only showed off their theatrical skills but also their ability to create interactive art pieces, all the while maintaining whichever character they happened to be at the time. With the Nishi Gallery once again transformed into an interactive performance arena, and with drinks flowing freely, it’s no wonder that Sound and Fury has found success once again with its latest

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performance art piece. The night opened with a dance routine featuring songs straight out of my own (and I’m sure many others’) high school playlist, such as Evanescence’s ‘Bring Me To Life’ and Marilyn Manson’s ‘Sweet Dreams (Are Made Of This)’. The part that stood out was undeniably when the theatre troupe quite successfully applied line dancing to Nirvana’s ‘Smells Like Teen Spirit’. Other standouts of the night included an interactive session with the performers, in which a sign was placed in front of them that read ‘Please Do Touch’, allowing partygoers to physically connect with each performer. Many chose to hug, hold hands and gently touch the artists, and were also provided with bottles of cold water, which were used to roll against the skin of the performers – something that would have been quite a relief after their vivacious first act. Cold Winter Hot Party wasn’t quite like anything I’d seen before; from the quirky yet entertaining styles of performance art, to the room of people who were more than happy to be involved in any way they possibly could. There was even face painting available ¬– something that, as adults, we tend to pretend we’re not interested in, but all know we actually love. Without giving away too many spoilers and allowing audiences the chance to see what these parties are all about and why they’ve taken off so successfully, the night was an incredible experience. Although I will admit to finding some parts confusing and slightly strange (including the odd yelling of song lyrics throughout the first number that I didn’t quite understand the reason for), it really just added to the experience and made the night one that will definitely be remembered. You may have missed out on this instalment of Sound and Fury, but there’s really no doubt that next time the interactive party will be just as lively and entertaining, with the perfect mix of dance, music, poetry, theatre, music and art. NICOLA SHEVILLE

regardless of whether gay people or non-gay people liked him or not. None of that bothered him!”

HOW TO BE AN ALIEN SAMUEL TOWNSEND Legendary performer Paul Capsis is no stranger to embodying brazen individuals with big voices. His one-man cabaret shows have often seen him channelling his personal heroines; Janis Joplin, Cher and Ella Fitzgerald. In 2016 we’ll see a change of pace for Capsis as he slips into the prickly psyche of English born social agitator, Quentin Crisp. “I think Quentin was a visionary, as well as a great writer. He could see into the future. He could predict what was going to happen to the world.” RESIDENT ALIEN, the one-man show based on the life and writings of Crisp, has landed Capsis in his most challenging role to date. “I never ever believed that I’d be doing Quentin. When I got asked to do it, my initial response was, ‘No, I don’t think so!’ I just couldn’t see it.” The play, which takes place in Crisp’s infamously grotty apartment in the East Village of Manhattan, explores the philosophies of the polarising figure, who unabashedly marched to the beat of his own drum. “I admire him because of his courage to be himself, at all costs,

I wonder if there are resonating parallels between the men in question. “The most I have in common with him is that I had a very similar experience as an effeminate man … and how the world reacts to that. Even though I’m from a different time.” Crisp famously curated his physical appearance, which included flamboyant outfits, makeup and coloured hair. “He said, ‘I make a protest and I make a statement every day of my life by just walking out the door!’, and that’s something I can relate to … but where I’m different to Quentin, is that I do believe in [group] protest. I do believe in speaking up and out about things.” Resident Alien opened in Melbourne to much critical acclaim and enjoyed a successful season in Sydney. Capsis and I discuss the timely importance of celebrating queer stories and how recent events may have informed his performance. “After my final show in Melbourne I woke up exhausted … happy because it did really well, but also extremely paralysed with anger about what happened in Orlando.” Capsis speaks of revisiting ‘haunting’ lines within the play in the wake of Orlando. “One of the lines in the play is, ‘Mass murderers are simply people who have had enough.’ It was a very dry and extreme thing for him to say. He was a very contradictory man.” These contradictions have seduced Capsis; his commitment to the Crisp legacy is evident as he riffs on bringing the show to Canberra. “People like that are very hard to find … he was the ultimate survivor!” Resident Alien is showing at The Street Theatre from Wed Jul 27–Sun Aug 7. For further information and tickets, visit thestreet.org.au.

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IN REVIEW

Australian Burlesque Festival: Shake-O-Rama The Abbey Friday June 17

music. Dressed as Doctor Who, he stripped to a silver fringed cocksock and TARDIS pasties, and the crowd was amused, laughing and clapping along. Zelia Rose followed with a heroine routine and a hidden flag fan reveal from her boots. Dancing hard and fierce, the crowd absolutely roared for her. Her follow-up performance was a â&#x20AC;&#x2DC;70s-style go-go, stripping out of a satin suit in a heavily smoked background while the crowd really enjoyed the music. Alyssa Kitt performed in a boa gown with glamorous poses, and her clever gimmick was removing boas and clipping them to her arm bands. It was delicate and visually stunning. Her second performance was lit heavily by green stage light and it was hard to see for half of the routine until the lighting changed. However, strip teasing to slow blues and heavy on the grind and eye contact, her performance was extremely sensual and the crowd responded well.

Photo by 3FatesMedia.

Dirty Martini first performed with pink boa fans; her cheeky butt peeks and facial expressions were captivating. Her next performance was with a feather boa, and with great leg work her stage presence was both commanding and strong. The woman is an absolute glamour-puss and the crowd loved her. Jacqueline Fuery performed a sassy routine, transforming from magician to the rabbit; her long legs made her gimmick bunny hop even more amazing. Her second routine was a seductive strip with a massive boa fan dance, it was poised and feisty, and her fan humping was spectacular. She was definitely a crowd favourite on the night. Next, Pickled Tink presented a classic strip in a reversible bustle skirt, morphing into a fringe shimmy routine. Her gimmick was the one breast tassel twirl and the crowd clapped very enthusiastically. Boylesque performer Lord of Mis-Rule performed to space-themed

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Delores Daquiri performed in a fiery orange showgirl costume, her routine was a classic big band style and her timing was impeccable. When Delores â&#x20AC;&#x153;popsâ&#x20AC;? into a position, her hand and body placement is just fantastic. After, Red Delicious gave us a classic bump and grind. Her dress revealed a sheer modesty panel and her butt shimmying was amazing, but was unfortunately plagued by costume and timing fails. The crowd was very supportive, but her disappointment was evident. Then the amazingly tall glamazon, Gemma Sheree, strutted the stage to vintage big band, strip teasing from a black dress and performing a classic fan dance. Her poses were fluid and on point. After the show, the crowd eagerly approached performers to have their purchased photos autographed and selfies taken. Heavy on the classical theme, the stage lighting at times was too dark to see what performers were doing. Apart from that, it was beautiful and sometimes inspiring and I look forward to seeing what Delores brings to the capital in 2017. SAM INGHAM

IN REVIEW Little Shop of Horrors Canberra Theatre Centre Wednesday May 25

After pricking his finger on a rose thorn, Krelborn discovers that the plant likes to drink blood. Audrey Two then begins talking, and encouraging Seymour to find more ‘food’. His first victim is the violent, torturous dentist boyfriend of Audrey One. Next is Mr Mushnik, and onward through the cast of nasty characters until eventually Audrey and Seymour himself end up inside the gigantic plant. This production was well directed by Dean Bryant and all the cast showed brilliant talent. But there are a few real standouts for me. The set by Owen Phillips, costumes by Tim Chappel and wigs and makeup by Ben Moir are fantastic. In Act I, everything on stage is in black and white, creating a silent movie aesthetic. The detail here is beautiful, including black flowers in the shop, Audrey’s grey hair and all of the patterned costumes. It is midway through Act I that colour is introduced with the cleverly detailed plant puppet Audrey Two, designed and constructed by Erth Visual and Physical Inc. Act II sees everything in full bright colour. As the costumes and set look exactly the same – it really looks as if everything was technicoloured during the interval – including Audrey’s vibrant blonde mop.

Photo by Jeff Busby.

The tour of Little Shop of Horrors by Luckiest Productions and Tinderbox Productions lived up to the hype with beautiful performances from all the cast. Little Shop of Horrors is a gothic comedy classic about an alien plant that eats human flesh. It’s set in a flower shop owned by the scruffy Mr Mushnik, who adopts the downtrodden Seymour Krelborn as a young boy. Later, Seymour becomes an overnight celebrity botanist, because he discovers a rare plant that grows unusually fast and unusually large – and looks like an avocado mixed with a Venus fly trap. He names the plant Audrey Two after his co-worker crush.

Esther Hannaford as Audrey steals the show. Her majestic voice and experimental tone really struck me as something completely unique. I know this play pretty well, so I was impressed to see her remain true to the character – as is super important in musicals! – while putting her own spin on it. Hannaford creates a depth to Audrey’s voice and demeanour that I haven’t seen before. Her rendition of ‘Somewhere That’s Green’ was thankfully not interrupted by the mostly dodgy sound levels throughout the show. CHENOEH MILLER

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IN REVIEW

Michael Jackson – The Legacy Tour Erindale Vikings Club Wednesday June 8

William Hall didn’t disappoint for several reasons. He sang all of the songs himself and his singing voice was almost phenomenal – close your eyes and you really thought it might have been Michael. William’s dancing was also as good as any impersonator could be, and the show included actual musicians that were hired and rehearsing with MJ for the ‘This Is It’ world tour. There were also four male back-up dancers, who were delighted to see the children in the crowd copying the dance moves. William is one in a group of impersonators who perform annually on the Las Vegas casino circuit. Performing as MJ for over 20 years, his show started in Las Vegas and continues annually. William has met MJ’s mother – Katherine Jackson –he’s spoken with other Jackson family members several times and has their support for what he represents.

Photo courtesy of William Hall.

The things I love most about attending impersonator tribute shows are that it’s an artist you really like or love, so you know the music on show and enjoy it more; and the variety of the crowd in attendance. Approximately 300 people attended and enjoyed The Michael Jackson Legacy Tour, with ages ranging from six-years-old to elderly. As a huge MJ fan who has seen Michael Jackson live, two other impersonator shows and a full-scale production tribute show previously, I entered the Erindale Vikings Club Auditorium with high expectations.

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The setlist catered to all ages and included MJ’s big hits: ‘Jam’, ‘Smooth Criminal’, ‘Black or White’, ‘Beat It’, ‘Billie Jean’, ‘Thriller’ and ‘Bad’, as well as a few of The Jackson 5 numbers: ‘I Want You Back’, ‘I’ll Be There’, ‘The Love You Save’ and ‘Working Day and Night’. I sang and danced my heart out all through the 90-minute show and left with a giant smile on my face. Thank you William for the commitment you gave us on the night. William is planning on touring Australia again next year. Search “William Hall Michael Jackson” on Facebook and you will find both his pages. SAM INGHAM

those who caught the TV series, there is more to come as the stage show includes things that never made it to TV, and also things Leung could not do on TV that he can do with a live audience.

THE TRUTH IS OUT THERE, OR IS IT? RORY MCCARTNEY LAWRENCE LEUNG is a very versatile guy, being a standup comedian, actor and film and documentary maker. His work includes the kung fu comedy Maximum Choppage and the comedy doco Choose Your Own Adventure. BMA spoke to Leung about his upcoming show VERY STRANGE THINGS as he took a break between filming episodes of Offspring, in which he portrays an awkward doctor. Leung’s latest show is pitched as a funny, mind-bending evening with experiments, mind games and impossible coincidences. This definitely does not sound like your average standup show. Leung agrees, “I try never to do a stock standard standup at a mic, telling a few funnies. I take the audience on a journey, usually with a lot of multimedia. I did the ABC series Unbelievable, indulging my obsession with the paranormal, interviewing ghost hunters and psychics around the world, to discover if the truth is out there or just inside our heads. This new show is a spin-off of that series.” For

The show is not pure comedy, but a deeper examination of what people believe. It’s based on Leung’s own studies of so-called psychics who turned out to be con artists. Leung plays with the mind of the audience; he explains, “We do experiments in pseudo mind reading. It’s a very fun show that includes a pep talk, or psychology lecture.” There will be ample opportunities for audience participation, including ESP tests that may change your mind about what you believe. While Leung does not want to give away any surprises, there will be demonstrations in which audience members can seemingly read each other’s minds. “What I love is, after the show, you see strangers discussing what they have just experienced and trying to work out what is and is not real. Some people are believers and some are sceptics to begin with and it is interesting to play with people’s minds.” At the end, some people change their minds about what they believe, and every show is different according to the reactions of the audience. This will be a show unlike any other, which some people have compared to being in a real life X-Files episode. “It’s like a sci-fi ghost movie, but live on stage, with me telling stories of my paranormal investigations, which involved me flipping and flopping between being a believer and an absolute sceptic. It’s also done in a fun way that is meaningful for the audience. It’s been described as particularly mind-blowing, and audience members have told me that it really hurt their brain.” Lawrence Leung: Very Strange Things is on at The Street Theatre at 8pm on Fri–Sat August 5–6. Tickets are $44 standard or $39 concession + bf. For full details see thestreet.org.au.

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I cannot overstate the importance of the recent vote in the United Kingdom for “Brexit” (that is a “British Exit” from the European Union). Firstly, this departure is very significant for the political and trading arrangements in Europe and in the wider world. But secondly and much more importantly, it has extraordinary linguistic implications for the English language on a global basis. Finally, finally, someone is prepared to acknowledge that there are just too many words and that we must strive at all times never to use two words when one will do. I shudder at the very effort of saying “British exit”. My mouth starts to form around that phrase and instantly quails at the anticipated work involved into breathing and birthing those two words into the world. But Brexit! Brexit is a whole other oral ball game. My tongue steps forward and slips around that delightful expression like a mouthful of warm apple pie laced with cocaine. And so it is that the British were not merely voting to invoke Article 50 and leave the European Union to pursue their own unilateral trading treaties, they – the authors of the English language – were voting for the right of all human beings to just jam words together until they make new, weirder words that shave off a syllable or two. The importance of this cannot be overstated.

on daily British life to be taxing and irritating. Thanks to Brexit we are now freed to say that the British were voting against the prospect of “irritating immigrants”, or “irrigants” as they are now known. Immediately Britain has lost a mouth-watering four syllables anytime they want to insult people from abroad. Irrigants is just so time saving in its efficient devotion to xenophobic fist-shaking (though care should be exercised, as “irrigant” also refers to “irrigation ant”, that is, a non-existent species of ant that brings water to its nest by digging tiny rivulets in the earth. While this new word has found little use so far, it may be that such a species will soon be discovered and the word will be instantly popular.). Of course, there are those who say that the UK is now in serious trouble, that it will lose access to a single European market that currently receives about 50% of its exports, that it will enter new and uncertain waters at a time when the rest of the world is coming together, that many companies that quite fancied London as a launching lily-pad to Europe (or “lalipad”) will now leave. However, even amid the doom and gloom of the post-Brexit world, these people can celebrate; because of the successful Brexit vote (or “Brxote” as its now known, with a silent X), a wonderful new language has opened up. At last, we can all shout together that the home of our glorious mother tongue is “Brucked”. NICK SMITH

It’s been observed that many who voted for Brexit did so because they dislike immigrants; that they found the impact of immigrants

CANBERRA REP MACBETH

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E X H I B I T I O N I S T ARTS | ACT

ARTISTPROFILE: ELIZABETH FAUL

What do you do? I’m a collage artist. I combine painted papers, recycled printed papers, turps release printing and my own illustrations applied to canvasses (usually) or boxes. I’ve worked for many years as a publication designer, and a long time ago I was a professional calligrapher – I studied lettering in the UK. When, how and why did you get into it? It was only after completing a graphic design degree at University of Canberra in the 1990s. The course had a strong focus on illustration, superbly taught by local artist Julie Bradley. After graduation I really wanted to continue making art, but missed the motivation that the course had provided to be creative, so I asked Julie if she would mentor me – happily, she said yes. That was in 2001. Who/what influences you as an artist? Chuck Close. What an incredible eye he has, and the way he makes art is a lesson to us all. John Wolseley for his beautiful, meandering illustrations. My family history and growing up in Canberra in the 1960s and ’70s when the city was much smaller and quieter, have become major sources of inspiration in recent years. For the works I’m making at the moment, The Guardian Weekly’s regular articles about the environment have been a strong influence. Of what are you proudest so far? Anytime I create enough artworks for an exhibition, I’m proud.

What are your plans for the future? I’ve always been torn between making art and designing books. Having just lost a job as a publication designer, my current plans are to make art a full-time occupation. To explore opportunities, enter competitions and basically see if it’s possible. What makes you laugh? Black Comedy on the ABC. Shaun Micallef. Will Ferrell movies. My dog. What pisses you off? Animals being hurt, neglected or abused. People trafficking wildlife or poaching endangered species. Tigers still being used to make rugs and spurious medicinal products. There are five trillion tonnes of garbage in the world’s oceans and 80 per cent of it is plastic! The Earth has lost 50 per cent of its wildlife in the last 40 years. Circuses. Too little being done to save this beautiful planet. (I could go on at some length…) What about the local scene would you change? Better funding for ACT arts organisations and a greater variety of galleries for artists to use. What are your upcoming performances/exhibitions? I have a solo exhibition called Magic Lines at M16 Artspace from Thu–Sun July 7–24, all about lettering: typographic, calligraphic, foreign languages, foreign scripts, newsprint – all the artworks feature letters in some form. Contact info: www.elizabethfaul.com.au

Elizabeth Faul – ‘Walfisch’, mixed media, 500x400mm, 2015 – photo by A. Sikorski

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is trying to arm herself to destroy this animal that’s haunting her. But is this thing her paranoia?” asked Moss. And for Mathew, who is going through a painful divorce and is on sick leave from his job, is his campaign a last ditch effort to find purpose in his life?

LIFE IS A SLIPPERY SLOPE ZOE PLEASANTS The next project for The Aspen Island Theatre Company, which last year presented The Public Theatre in Civic Square, is a play written and directed by the company’s artistic director Julian Hobba. Titled THE SLIP LANE, it is set in Gungahlin and tells the story of Mathew and Missy, who each have a battle to fight. Mathew starts a campaign to upgrade the intersection of Gundaroo Drive and the Gungahlin Drive Extension, and Missy is spooked by something living in the paddock outside her house and wants it destroyed. I caught up with Hobba and actor Clare Moss, who plays Missy, to discuss the play.

The play is also about disconnection, slippages and miscommunication. “The two main characters can’t quite connect. They should be able to; they’re more or less the same age; they’re more or less in the same life circumstances; they’ve got the same level of education, but somehow just can’t get to know each other,” said Hobba. As with all his work, Hobba is setting out to create engaging, contemporary theatre. “My dream would be that people coming to this play would go, ‘well I could see that work anywhere.’ That’s the quality of work I want the company to produce, that it could tour anywhere, that it could be presented by any of the main stage companies and that Canberra artists are able to export our stories and skills,” he said. The Slip Lane will be showing at The Street Theatre from Thu–Sun July 28–31. For tickets and more information, visit thestreet.org.au.

Hobba’s inspiration came when he was driving around Gungahlin. “I would be driving around there a lot because I lived nearby and I had friends and family who lived there, and I just started getting into this character, who had all this agency in his car and all this space to move around in, but found himself feeling disconnected from his surroundings.” This feeling of disconnection, Hobba thinks, can be heightened in a setting which has so recently transformed from a paddock into something else. “It raises the question, what do you want that something to be?” he said. Hobba and Moss describe the play as a dark comedy. It includes a number of metaphysical elements “that sit on the boundary between imaginary and real,” said Hobba. “This has the effect of throwing the characters into a situation where they’re unsure of the ground that they’re on, unsure of the reality they’re supposed to be engaging in. I think that’s the ultimate concern of the play – how do you know what’s real and what’s not?” Are Mathew and Missy’s battles real, or are they displacement activities? “Missy

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The second piece, Infinite, is choreographed by Kristina Chan. She explores the environment in her piece, “and how, as people, we are not in the environment but we are the environment,” Osborne says. Chan is working with composer James Brown who will compose the music in the studio as the piece is being created with the dancers. “[Brown] and [Chan] often work like that,” Osborne says, “which is going to be a great experience for the dancers.”

MAKING CONNECTIONS ZOE PLEASANTS

Photo by Lorna Sim

Every year, QL2 Dance – Canberra’s youth contemporary dance company – develops a program of original work for its Playhouse season. The theme of this year’s program is CONNECTED and as QL2’s Artistic Director Ruth Osborne explained, it’s about real, rather than digital connection. “It’s not that we are anti-social media or anything like that,” says Osborne, “but it seems like the word ‘connected’ is often used in a sense that could be seen as disconnected.” So this program explores, “being connected with the earth, being connected with each other and being connected to yourself.” The program is a triple bill, with each piece created by a different choreographer. The first piece, Act of Contact, is choreographed by Sara Black, who was once herself a Quantum Leap dancer, with music composed by Alisdair Macindoe. The piece is about touch and sensations, and it explores the “messages that come through our skin … and also connection with other people, through touch,” Osborne explains.

The third piece, All Our Might, is choreographed by Alison Plevey and Adam Deusien, with music composed by Adam Ventoura. Plevey and Deusien have formed an ongoing collaborative partnership called Lingua Franca, which combines their interests in dance and physical theatre. I caught up with Plevey and she explained that, for their piece, they are exploring, “the perception of what it is to be strong in our society. We’re interested in challenging traditional, conventional ideas of what it is to be strong.” To create their piece, Plevey and Deusien started by interviewing the dancers about their perceptions of strength. Then they used the dancer’s stories both directly in the piece, and also in its audio track. This technique “is called verbatim theatre,” Plevey explains. “It’s this idea of using interviews as material for a work. It’s been a new process for the dancers to explore and I think they’ve got a lot out of seeing how the process unfolds.” I asked Plevey about the challenges involved in creating her piece. “It is challenging because you have a limited amount of time, you can’t just keep creating until it’s ready,” she said. “It’s very much about having some degree of lightness to that, and knowing that there’s so much value in the process of doing it, as well as whatever the performance outcome is … We’ll have to work very hard in the upcoming intensive [rehearsal period]. I think we’ll get there and we’ll be satisfied.” Connected is showing at The Playhouse between Wed–Fri July 27–29 at 7pm, with an additional 2pm matinee on Saturday July 30. Tickets are available via canberratheatrecentre.com.au.

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IN REVIEW

And what do you do? Somebody’s Aunt Ralph Wilson Theatre, Gorman Arts Centre Sunday June 5

In today’s world, where splintering demographics and the once rejected, almost un-Australian concept of class are increasingly used as social constructs, the approach of the Canberra based Somebody’s Aunt ensemble to the “…pesky, impertinent question” – and what do you do? was eagerly anticipated. Taking a freeranging approach, the company used dance, spoken word and song to play with responses to this question, shifting emphasis and tone to explore its personal and social impacts. Using feedback gathered through action research, including a brief Q&A with the audience, Somebody’s Aunt examined the notion that how we respond and what we say about ourselves, defines us.

Somebody’s Aunt’s work starts the conversation on how we use roles – particularly work roles – in social interactions, focusing on the pesky, impertinent nature of the question. The work gently challenges, nudges us to empathise with those who have to deflect and come up with something interesting, memorable or worthwhile when asked; “…And what to you do?” However, in climbing all over this question, touching its skin, the internal and external stresses that it can easily and often painfully expose, it did not resonate in the dramaturgy or its delivery. There seems to be a real opportunity for a grittier work, which digs down into how this deceptively simple, pesky question allows barriers to be erected, assumptions to be made and people defined. And how it often forces us to justify ourselves with a potted history, explaining our unexplainable (you had to be there at the time) life choices that define what we do. ANTHONY PLEVEY

Accompanied by onstage live music and working within their own realm of experience, the artists examined gender roles, part-time employment and the inout nature of working women in comedytinged dance and song. Identifying various personas via simple props, the company opened a discussion on the defining nature of this question through creative responses collected or imagined, spanning roles such as barista, librarian, clerk and construction worker. Within this framework the piece changed in style and structure to include the company working in groups and solos across genres, using musical theatre referenced song and dance and also group and contemporary dance to keep the piece well paced as it dipped in and out of these scenarios. Importantly, the complexity of shared, part-time/full-time and caring roles as parent and grandparent were highlighted, touching the “I am lots of things, don’t pigeon-hole me!” nerve, we feel at the point of this question. Somebody’s Aunt also raised the vagaries of navigating casualised, multi-role careers, dictated by accident or necessity, not choice, and embodied in the increasingly common reality of “I studied for that, but now I’m doing something else”. The live performance of the score by Helen Way and Nitya Bernard Parker supported the direction and gave something of an interactive dimension to the work, maintaining connection across the shifts in style and content.

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about. “It’s really important for people to experience our culture the way the festival has to offer,” she says energetically.

BRING YOUR HABIBI, BRING YOUR MATES INDIGO TRAIL Fadia Abboud has such a strong aura of exuberance that it can be felt through a phone line almost immediately. We’re chatting about the ARAB FILM FESTIVAL (of which she is co-director), which will come to the National Film and Sound Archive from the 5th to the 7th of August. “It’s really exciting,” she tells me as we talk about the films on offer and the festival’s history. It’s a short festival, screening over a weekend, but the variation is enormous. There are films from surprising countries – Syria, for example, which is currently torn apart by war – and films telling surprising stories in exhilarating, vital ways. The Egyptian entry is directed by a woman, while the Lebanese film is a light-hearted romantic comedy. The festival has struggled at times, Abboud tells me, dropping off the radar for a couple of years until finally “finding its groove in about 2009.” This year is the first time the festival has been able to extend to Perth, which Abboud is particularly thrilled

NATIONAL FILM AND SOUND ARCHIVE

With the current political climate being what it is, this comment on the need for more cultural awareness seems particularly spot-on. Is that awareness, I ask, the main focus of the festival? “Yeah … I think …” Abboud says, meditative before becoming quite firm and emphatic. “The festival is not just for Arabs and it’s not just for non-Arabs. It’s for everyone.” She pauses, very briefly, as if to let that statement settle. “It’s important for us to see ourselves on screen because unfortunately in the West there’s a lack of positive, normal representation of Arab communities and people. And it’s always a really wonderful feeling, to see yourself and your stories on screen without it being in a negative light. We do tell tragic stories as well, but it’s different when it comes from within, you know? “It’s really important for us to see ourselves on screen, but it’s also important for non-Arabs to see our films that wouldn’t normally screen in other places like Sydney – and with an Arab community. A lot of non-Arabs say that it’s so much fun sitting in the theatre, because we laugh at different things – and we talk a lot through the movie.” As she says this, Abboud breaks her eloquence to bark a laugh down the line before she reverts back to her frank honesty. “Basically, for us, it’s about the audience just as much as it’s about the films.” The Arab Film Festival is on from Fri–Sun August 5–7 at the National Film and Sound Archive. For tickets, showing times and details, visit nfsa.gov.au.

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IN REVIEW

Hot Docs Film Festival: Mr Gaga Palace Electric Cinemas Wed–Sun June 15–26

Mr Gaga is a documentary about the widely worshipped guru of dance choreography, Ohad Naharin, and how he came to create his movement vocabulary known as ‘GAGA’. Although he had little training, Naharin was accepted to Juliard School of Dance as he seemed to naturally know how to look like a classically trained dancer. But he was restless within the institution, and did not stay long. After many years away, he eventually returned home to Israel where he took on the role of artistic director at struggling dance company Batsheva – now one of the world’s most respected dance institutes. I loved this film! Just loved it, and would recommend it to anyone interested in learning about a true master of dance. It is full of nuggets of wisdom that those involved in any kind of performance

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would appreciate, such as, “We must listen to our body before we tell it what to do”, “Sense and feel a lot, but do a lot less”, and “We must go beyond our limits daily”. Throughout the film, Naharin travels between Japan, Holland, Sweden and Israel connecting with dancers and audiences around the world. On the night of the screening, we were joined by the enigmatic and chatty director of the film Tomer Heymann, who demonstrated his passion and interest in the subject. Interestingly, he wasn’t particularly likeable – Mr Gaga, that is. It is rare to see a film where the protagonist is shown in such a candid light, even if he may not seem very nice. His final words to a cast before they walked on stage were – in all seriousness – “Don’t fuck with me! My life depends on you!” And during shows he comments and instructs from backstage! (After a quick peek at Wikipedia, I found out “he doesn’t get angry or raise his voice, but comments constructively and calmly.” I feel like we are talking about different people.) Naharin’s passion and harshness in the film is admirable albeit consistently intense. Hermann portrays an uber-talented man filled with flaws, and the numerous dancers shown in the film seem to be so honoured to be in the presence of the former, that the latter is not an impediment. A highlight of the night for me was local dancer and choreographer Alison Plevey performing solo in the foyer while we cheesed and champagned pre-show. Plevey’s performance demonstrated a unique style that was on par with the international standard we experienced in the film. Whether or not Naharin is a likeable fellow is not important, as his dance is so completely transcendent that anything else is irrelevant. Everything he makes matters so much to him and is full of reason and purpose – exactly what one expects from good art. CHENOEH MILLER

E X H I B I T I O N I S T ARTS | ACT

PUT IT IN WRITING ZOE PLEASANTS After a hiatus Canberra will again play host to a writers festival, and with an impressive line-up of authors, it looks like the inaugural CANBERRA WRITERS FESTIVAL will be bigger and better than any previous incarnation. That Canberra doesn’t already have a mainstream writers festival is a puzzle to many. When this occurred to local authors STEVE LEWIS and CHRIS UHLMANN, they decided to do something about it. “Steve was at my place a few years ago and said, ‘why isn’t there a Canberra writers festival?’” said Uhlmann. “It was a good question, I thought we did have one, but when I researched it, I found there had been several attempts but nothing of real stature compared with what we’ve seen everywhere else.” So Lewis started talking to people around town and drumming up support. He then reached out to Lisa Dempster, director of the Melbourne Writers Festival, who immediately offered her support. “Melbourne has been with us since the get-go,” said Lewis. “And that’s been critical because it’s given [Canberra] not only the expertise, but also access to a pretty extraordinary line-up of international and domestic authors that we would have struggled to get, particularly in year one.” So far, this line-up includes A.C. Grayling, Bob Brown, Stan Grant, Kerry O’Brien, Don Watson, Omar Musa, Nick Earls, Isobelle Carmody, Charlotte Wood and Richard Glover, with more to be announced. And, of course, Lewis and Uhlmann, the latter of whom is probably better known as the ABC’s political editor. They’ll be launching their latest book, The Shadow Game, which is the final book of their Canberrabased political thriller trilogy. I was keen to talk to Lewis and Uhlmann because I wanted to ask them what it’s like collaborating to write a novel, and how they fit writing into their busy lives. What I discovered is that they have a very proactive approach to writing. Their collaboration started with an idea of Uhlmann’s, and a chance meeting at a Deakin café. “We were aware of each other, knew each other in Parliament House, but we weren’t exactly close,” said Uhlmann. “We used to see each other on occasion at Café D’lish. Steve was there one day, and I had this idea ricocheting around in my head because of the Rudd-Gillard years and how unsettled things had been. It was a vivid idea that I thought would make a great scene in a television series or movie, about a Prime Minister having to deal with a foe that he had, a former prime minister he’d brought down. Anyway, I told Steve about it and he said, ‘look, I’ve always wanted to write a

thriller based around Canberra.’ So we got together that weekend, just a few days after that initial thing, and started nutting out a synopsis.” Once they had a synopsis, they contacted Harper Collins, who then got back to them on Budget night 2011 (such a Canberra thing being able to use Budget night to mark life events) and said they’d be interested in the book. Lewis and Uhlmann wrote a first draft in six months. They achieved this by being disciplined, squeezing time out of their spare time and with the support of their tolerant families. Uhlmann was keen to write a book and is pleased he’s done it, but admits he didn’t always enjoy the writing process. “The process can certainly be long, quite complicated and it’s amazing the things it throws up. I think I’ve enjoyed [writing] the third one probably as much as I enjoyed the first one. The second one, I found, more of a grind,” he said. They both see so much potential for writing political dramas based in Canberra. “So much drama, subterfuge, and intrigue; it’s a great city in that sense and we wanted to explore that and make Canberra a really central character,” said Lewis. When writing their books they imagined “a future, or a present Australia where we just tilt slightly some of the issues going on to find [for example,] Australia caught between China and the United States,” explained Uhlmann. And it seems that it doesn’t take too much for their imagination to become reality. In their first book, they wrote about a Defence Minister talking to top military brass about buying Japanese submarines, in their second book they wrote about scuffles in the East China Sea. “You know, events help drive the books – we don’t necessarily believe that Australia, China and the United States will come to blows over all these things, but you don’t have to have much of an imagination to get there,” said Uhlmann. The first two of Lewis and Uhlmann’s books have recently been translated into the Foxtel miniseries, The Secret City. And while the two of them don’t currently have any plans to write another book together, Lewis is keen to write more political drama, either for the screen or another book. “I’ve always thought that within the Commonwealth spend, $400 billion or so, there are so many stories buried. Be it foreign aid, defence, health, IT or whatever, there are so many great stories,” he said. Putting it that way makes it sound like there could be a movie plot in your public service job after all. The Canberra Writers Festival is on from August 26–28. For details, visit canberrawritersfestival.com.au.

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LITERATURE IN REVIEW Cobain On Cobain Nick Soulsby [Omnibus Press; 2016]

When Nirvana released Nevermind in 1991, I was on the brink of an intense and enduring love affair with The Wiggles. By the time I hit my teens, Nirvana was over. I grew up viewing Kurt Cobain obsessives with the same mild suspicion as I did people who wouldn’t shut up about Che Guevara. Cobain on Cobain bills itself as the most comprehensive compendium of Cobain interviews ever published. Spanning 1989 to 1994, CoC opens with student newspapers’ off-hand coverage of the band – “They come across as the kind of earthy psycho scums you wished you could beat up in high school,” penned one journo, a statement that rings slightly blasphemous in 2016. CoC tracks the band through the eyes of the press, over several years of relative obscurity before Nevermind slangshat Nirvana to unexpected celebrity, scandal and demise. The title Cobain on Cobain is a bit of a mislead. As I know now, Cobain was, in roughly chronological order, a) shy off-stage, b) bemused by success, c) livid with the media, and d) withdrawn into addiction. The book reads less autobiographically and more like an exploration of the relationship between Nirvana and the media. From that point of view, it’s an interesting slice of anthropology. Seattle grunge, the Sub Pop brand, late eighties punk and MTV are all laid open. Krist Novoselic’s evolution from sassy class clown to mature mouthpiece of the band is a steady progression, and there’s the satisfaction of spotting Dave Grohl and Courtney Love’s first appearances in back of shot. The interviews can be repetitive as the same themes are revisited by a succession of local, pre-internet journalists. Nirvana are creative but nihilistic; opinionated but not political. Nevermind is more pop than Bleach. Guns N’ Roses suck. Pearl Jam sucks. Roger Daltry sucks. The Beatles are alright though, and Shonen Knife, and the Wipers, and the Melvins. For Cobain – who valued music’s capacity to express and incite emotion – having to dissect his ideas for interviewers seems especially excruciating. Even obsessives may find something new here, with several European interviews translated into English for the first time, and each interview being prefaced by the journalists involved, some of whom were friends with the band. For initiates it may be one of those books that crowbars a new part of your brain open and crams it with zeitgest. Most excitingly, it’s changed the way I listen to Nirvana’s music. When I play ‘About a Girl’ I can now hear The Beatles. It’s also been a gateway to new music and new bands. I’m not saying I will ever love Nirvana, grunge, or punk how I once loved The Wiggles. But I do have to go and wait by my mailbox now for my new Wipers boxset to arrive. CARA LENNON

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bit PARTS GROOVE WAREHOUSE FAMILY FIESTA NIGHT WHAT: Dinner and performance WHEN: Sat Jul 23 WHERE: Polish White Eagle Club Oi, how good are drums? You smash ‘em, hit ‘em, bang ‘em and they’ll always make a noise. You literally cannot screw it up. Probably the go-to guys for all things drums in Canberra (lessons, repairs, sales, you name it), Groove Warehouse are throwing their Family Fiesta Night, and it’s sure to be an absolute banger. Celebrate their winter term with the Groove Warehouse Steel Band, the Mambo Band and the Groove Warehouse Drumline. There will be a drum circle for children and some groovy sets of Latin dance music for everyone! Runs from 7pm ‘til 9pm, with meals available from 6pm. Tickets are $15 for individuals or $40 for families, via groovewarehouse.com.au. FOOTPRINTS ON OUR LAND WHAT: Film WHEN: Fri Jul 29 WHERE: Tuggeranong Arts Centre Footprints on Our Land is a documentary film exploring the life and legacy of Ngunnawal Elder Aunty Agnes Shea. Ranging from her life as a girl on Oak Hill and Hollywood missions in Yass to the present day, Footprints on Our Land captures Aunty Agnes’s life as a survivor of racism, a caring mother and grandmother, and a strong advocate for her community. The film has been made over the course of several months by respected Australian documentary filmmaker Pat Fiske. It’s a testament to a senior Elder who has been a major force for Reconciliation in the ACT. The public screening begins at 7pm. Book your free seat via tuggeranongarts.com. THE BUNKER COMEDY PRESENTS CHRIS RADBURN WHAT: Comedy WHEN: Sat Aug 13 WHERE: Ginninderra Labor Club Contrary to what you might think, lawyers do have a sense of humor. Especially Chris Radburn, a former lawyer who has earned a reputation for clever and cheeky observations that are relatable, original and hilarious. OBJECTION! What? This isn’t a court room, it’s a comedy gig. Anyway, Chris has appeared as a comedian on over 15 TV shows including The NRL Footy Show and the Sydney Comedy Festival Gala. OBJECTION! Alright, stop that. You want more proof? Chris has even performed internationally, including on America’s hit comedy show Last Comic Standing. OBJECTION! Ugh … sustained. Doors open at 7:30pm, tickets are $16.50 on the door. YOU’RE MY BEST FRIEND: AN EVENING WITH PETER FREESTONE WHAT: Talk WHEN: Thu Sep 8 WHERE: Harmonie German Club

Celebrating what would have been Freddie Mercury’s 70th birthday, Peter ‘Phoebe’ Freestone – speaker, author, personal assistant and best friend to Mercury – presents You’re My Best Friend: An Evening With Peter Freestone. It’s set to be an intimate evening of personal stories, rock anecdotes, rare photos, unheard audio and audience Q&A covering the 12 years Peter spent living with and working for the Queen frontman. The pair, who met in 1979 whilst Peter was working in wardrobe for London’s Royal Ballet, formed an immediate friendship which saw Peter become Freddie’s personal assistant, a role he continued daily until the singer’s untimely death in 1991. Starts at 8pm, tickets are $55 via peterfreestone.com.

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CENTURY ENTERTAINMENT

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the word

on albums

album of the issue GOJIRA MAGMA [ROADRUNNER RECORDS] The statement “most important metal band today” has been thrown about quite a lot in honour of Gojira. The Frenchmen had the overwhelming task of following up L’Enfant Sauvage, which is not an easy undertaking. I will encourage those few to get off their sassy horses with their comments, “it’s not heavy enough”. Let’s be mature. We are not simple creatures who require a violent bashing of instruments in heavy metal, and lyrics with little to no substance. Magma has been cultivated and shows such sophistication. The band is teetering on the edge of progression and evolution, with rebellious flair primarily focused on pushing its own boundaries and the precincts of title. A relentless pain is imminent throughout the album – and a constant question feels like its being asked. In the past, we could always rely on Gojira’s technicality and this is what has governed their sound; that and their ability to obliterate all knowledge you think you had of their style. An uncompromisable amount of emotion has been entrusted in Magma. ‘The Shooting Star’ begins ominously, then ascends you with punchy guitars, split riffs and a plethora of hope. Immediately you recognise the freedom Gojira have given themselves in order to test these waters. You will not get a deluge of drum hammering, as we are used to –what you will get however, is a sidestep to clean vocals. This is

new. But with the atmosphere pumping from this song, it would almost feel silly to bring in Joe’s renowned guttural vocals.

On the other side of the coin you have ‘Silvera’ with straight out detonation. A riff for the ages; reminiscent of the days of From Mars To Sirius, ‘Silvera’ is utterly exquisite. The raucous of Joe Duplantier arrives and we are swept away in a fit of rage expressed through his wraithlike vocals, complemented by a technically apposite drum archetype – or what is most commonly known as ‘the signature Gojira sound’. You experience ‘Silvera’ being crafted as the guitars shred along and thread around you as you desperately try to make yourself a part of it. Would you call it an evolution of their sound? I would be more inclined to say that Gojira have brought forward the integrity of modesty and left out the fuss. ‘The Cell’ is a deluge of swift and sharp drums and guitars, and a sturdy preface to the sludgiest predicament you could find yourself in. Heavily downtuned guitars solidify the sombreness of this album. It takes you down some dark avenues and leaves you with no sense of optimism; this is atmospherically ideal. To put it frankly, ‘Stranded’ is flawless. With such poignant lyrics, the pain in Joe’s voice is more than evident and crushingly beautiful. Paved by depth and atmosphere, the profundity is groundbreaking and, dare I say it, timeless … Magma, heavy in an enigmatic and obscure way, is taking you back to the band’s primordial side. The lads have stripped it back to a time before the awards, before the crowds, before the shine – before the bullshit. Magma is so damn instinctive and unpretentious. A truly genuine piece of work. If you find yourself scratching your head, first ask yourself what you were expecting. If you were expecting a vague, unemotive and unnecessarily brutal album, then you have missed the point all along friend. Take a step back and reassess what you believe Gojira to be. Magma promises you nothing yet delivers on everything – it is a significant step in their progression and one that leaves us guessing. It is evident by the end that the human condition is left sobered and solemn… CARRIE GIBSON

L-FRESH THE LION BECOME [ELEFANT TRAKS] L-Fresh The Lion brought an exciting new style to the Aussie hip-hop scene with the release of debut LP One in 2014. L-Fresh combined contemporary hip-hop with his Punjabi cultural influences in both song material and music. Not content to just talk the talk as an artist, he has walked the walk of his onstage messages as a community worker. His second record Become again includes a raft of guest vocalists to sweeten the mix, with Mirrah making a return from the debut release. L-Fresh draws inspiration from issues impacting the Sikh community in Punjab as well as social problems in Australia. ‘Panjab: An Introduction’ wraps a litany of oppression and social issues in a garment of sitar and hand drums, swept along by a chorus of female vocals from Parvyn. The homage to his ancestors (and his mum) in ‘Never Alone’ progresses in a gentler fashion, in a fusion of jazzy keys and cool clarinet. The less musically adorned pair ‘Hold Up’ and ‘Be Cool’ come closer to home, about the thoughtless racism that, while there is sometimes no malice behind it, continues to wound. There’s a comic element to the lyrics, but the message is dark. L-Fresh reminds us that his beard is not a fashion statement or marketing tool. The superfast beats of ‘1 in 100,000’ charge forth with electronically morphed Indian music, creating the best dance potential. However, the trio of real highlights leads the tracklist. ‘Pray For Me’ transcends normal hip-hop expectations with jazzy keys and R&B influences. An Indian melody winds its sinuous way through ‘Get Mine’, again borne on the singing of Parvyn, while shimmying tambourine and electro beats accompany the super-fast rapping from L-Fresh and the angular female vocals of Mirrah. RORY MCCARTNEY

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RED HOT CHILI PEPPERS THE GETAWAY [WARNER BROS. RECORDS]

TEGAN AND SARA LOVE YOU TO DEATH [WARNER BROS. RECORDS]

MALLRAT UNINVITED [CREATE/CONTROL]

Kiedis and Frusciante are in a playful mood, embracing the traits they’re known for (full-on funk interludes, white-man rapping, twangy, lush guitar and bass adventures) and – dare I say it – returning to form. As with any project Dangermouse gets his hands on, this is complex. Kiedis and co. take travels to the future (robots, of course), Brazil, and yet always honour their roots (California, duh). In fact, I closed my eyes for a few tracks and tried to imagine a sultry California evening, driving in an old-school Americana car down the highway. This is the soundtrack. Mind you, I’d skip the appallingwhite-man-rap of ‘Goodbye Angels’ and the hokey, sickly-sweet ‘The Longest Wave’.

This is the eighth studio album release for Canadian indie duo and twin sisters Tegan and Sara. They have been releasing music since the late ‘90s, experimenting with pop, rock, punk and indie genres, to give the duo their own distinct sound. Love You To Death has a very different and unique sound, with the tracks having an accumulation of ‘80s synth music, techno and bubble-gum pop. Filled with ballads and a couple of upbeat tracks, this album sounds like it would be well suited to radio play. Themes of relationships and love make the album relatable to almost anyone who listens to it. The obvious snare drums are reminiscent of the ‘80s, giving it an old school vibe, whilst the electronic elements bring the album into the present.

Brisbane-based rapper Mallrat sounds something like the musical love child of Allday and Lorde, with her relatable teenage angst balanced by a healthy dose of biting sarcasm. Her debut EP Uninvited includes three singles that have previously surfaced on triple j Unearthed and SoundCloud, most notably her recent track ‘Inside Voices’, alongside three tracks that explore new territory both lyrically and musically.

‘This Ticonderoga’ is jagged in a jarring way. If I could locate my haunches, I’m sure they’d be raised. It just sets my shoulders rising towards my ears and my finger twitching for the skip button. ‘Dreams Of A Samurai’ sounds like a ‘90s era track Tori Amos rejected. It’s not a total disaster – I mean, between the Red Hot Chili Peppers and Tori Amos, it can’t be a total write-off – but when you know what Kiedis and co. are capable of … well, deflating would sum it up. ‘Detroit’ is redemptive. A rollicking guitar, a slightly sleazy undertone to the vocals and a genuinely heartfelt ode to the city. The lyrics won’t blow your mind – but have the Peppers ever really struck you as modern Ginsbergs? It just rocks as it harkens back to the classic Peppers sound. No trickery, no novelty synth sounds or complex instrumentals. It’s not all killer as you so prayed for. There’s a bit of filler and it is mostly confined to the B-sides. However, even RHCP filler is not total drudge and fans will overlook some faltering when there’s decades of love, legacy and let’s face it, for many of us, the soundtrack to our teenage years and uni partying days.

‘Boyfriend’ is a track with simplistic use of instruments, showcasing the duo’s vocal talents. It has a catchy melody, which when paired with electronic sound effects, tie in with the old-meets-new theme that runs across the album. Another must-listen track is ‘U-Turn’. The song has a faster paced tempo than the rest of the album, making it a stand-out and a song that wants to get stuck in your head. The undertones of RnB fit perfectly with the deep bass and synth that cover the track, making it sound as if it was actually made in the ‘80s. Overall, Love You To Death is a decent album. The elements that create the sound of an older style of music capture the interest of the listener. It has ups and downs that give variation to the album, making it one-of-a-kind. MORGAN HAIN

Despite comparisons to other musicians, Mallrat’s sound is hard to pin down and you get the sense she is still figuring it out herself. Her voice is versatile, alternating between floaty indie choruses and punchy rap verses, with some catchy dance beats and/or blurry electro thrown in for good measure. Uninvited is casually confident; an impressive demonstration of what this seventeen-year-old can do. On this EP, Mallrat explores the highs and lows of growing up, often in the same breath, and paints the people in her life with ruthless precision. ‘Sunglasses’ and ‘Uninvited’ are both full of sharp social commentary, and her lyrics will get stuck in your head when she raps, “you didn’t even want to die once this week, when you’re around I feel less of a freak,” on ‘For Real’. There are imperfections, sure, mostly due to an insistent lyrical repetitiveness in many of the songs, but this seems a petty criticism in the face of Mallrat’s vulnerability and self-awareness. Pop culture references, subtle nods to her roots and a genre-bending sound mark Mallrat as one of the new generation of what used to be called ‘Aussie hip-hop’. More than anything else, Uninvited is likeable and hints at intriguing future offerings. MOLLY MCLAUGHLIN

CAT WOODS

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album in focus

THE BEACH BOYS PET SOUNDS – 50TH ANNIVERSARY EDITION [CAPITOL RECORDS] 1966 was a remarkable year for music. It’s like some unseen creative force chose that particular time to sprinkle magic on a large number of pure gold album and single releases, including The Beatles’ psych-pop masterpiece Revolver, Bob Dylan’s stream-of-consciousness double album Blonde on Blonde and Count Five’s agitated slice of proto-punk, ‘Psychotic Reaction’. Then there was The Beach Boys’ Pet Sounds that captured Brian Wilson’s advanced creative vision in a major way. Pet Sounds has been reissued a number of times over the years; as a box set with numerous studio outtakes, in remastered mono and stereo editions, and now mastered again to celebrate its 50th anniversary. This review focuses on the two-disc reissue whose selling point is the crystalline remastering that accentuates every vocal and instrumental embellishment. Also included are informative liner notes from Rolling Stone writer David Fricke, and a second disc that bundles an instrumental version of the album with non-revelatory live recordings. Anyone interested in how this supreme work came about should check out the first-rate bio-pic Love and Mercy, which explores the many obstacles Brian Wilson had to overcome to commit his vision to tape. This included resistance from an overbearing father and band members, notably Beach Boys vocalist Mike Love, who wanted an endless

procession of sun and surf hits rather than an intimate exploration of genuine feeling – Wilson’s eventual breakdown and long and painful recovery is largely attributable to that unfortunate situation. These details provoke sympathy for an artist wanting to scale great aesthetic heights. The movie also painstakingly recreates the recording process to reveal just how fully-formed Wilson’s vision was. This also comes across on the instrumental bonus disc, which illuminates beautifully conceived arrangements, squeezing great art from the limitations of recording technology during that time. In instrumental form, a track such as ‘Don’t Talk (Put Your Head on My Shoulder)’ accentuates aching personal feelings, and with vocals added the music pinpoints a shared moment between a couple in love. Brian Wilson had been listening closely to producer Phil Spector’s invented wall of sound – which involved multiple instruments creating maximum emotional and sonic impact – and his interpretation hit its peak on ‘God Only Knows’ with its gorgeous ascending vocal harmonies and arrangements. Paul McCartney described this song as one of the most beautiful ever written, strong praise indeed from a songwriter who was well placed to recognise good music when he heard it. Brian Wilson had conceived Pet Sounds as a response to The Beatles’ 1965 album Rubber Soul, which had proven a full-length album could be regarded as a complete artistic statement, rather than merely a collection of potential hit singles with added filler. The unifying theme of Pet Sounds could be loosely described as an ongoing search for happiness in relationships when so many uncertainties lurk around the corner, yet the goal is always within reach as the magnificent opening track ‘Wouldn’t It Be Nice’ makes clear. Brian Wilson suffered hearing loss in one ear at an early age, so he only ever absorbed music in mono. This is why the songs on Pet Sounds pack a greater punch in mono even though the album’s creator imagined the world in panoramic stereo. The remastering on this latest edition offers startling clarity in both formats and the bonus stuff is just extra gravy. DAN BIGNA

HAKEN AFFINITY [INSIDEOUTMUSIC] Affinity is the fourth album from British progressive metal band Haken, the follow up to their excellent third album The Mountain. Without a doubt, this is a concept album in the true progressive style. The overarching theme of Affinity is the interaction between man and machine, particularly as it was perceived in the 1980’s. This is backed up by retro artwork and a plethora of ‘80s electronic sounds though the whole work. For those unfamiliar with Haken’s sound, the vocal melodies and rhythmical style are very much akin to our own Karnivool. Haken, however, encompass a much wider range of musical styles, from heavy Opeth-inspired blast beats and death growls, soaring Dream Theater-esque keyboard/guitar solos, right through to lush jazz grooves and solos. They have managed to shoehorn all of this into their very own unique and innovative style. Stand-out tracks include ‘The Architect’, which at 15:40 is the longest track on the album. Into this 15-minute epic they have crammed the full gamut of their musical repertoire. ‘The Architect’ has all the layers and complexity that lovers of prog will really dig. ‘1985’, as the name suggests is chock full of ‘80s synths and drums. It starts with this pretty little pop melody, but quickly morphs into a rich, almost symphonic prog sound. ‘The Endless Knot’ has a fantastic groove, plenty of crazy time signatures and is probably one of the most intense tracks on the album. Overall it’s a great album, though not pushing the boundaries as hard as they did on The Mountain. That said, it is a very cohesive work exploring some of the challenges we face in the digital age. 0100 out of 0101. TIM BUTLER

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AL LOC SIC MU

MILWAUKEE BANKS DEEP INTO THE NIGHT [INERTIA/DOT DASH]

YOUNG DOCTEURS BEGINNING AT THE END [INDEPENDENT RELEASE]

FITZ AND THE TANTRUMS FITZ AND THE TANTRUMS [ELEKTRA RECORDS]

Milwaukee Banks is the pairing of Melbournian producer Adrian Rafter (a.k.a. Edo), and Dylan Truscio (a.k.a. Dyl Thomas) as the principal rapper. Devotees of the future rap sub-genre, their songs come laced with a mystical mixture of electronic sound sculptures, drawing on facets of Southern US and alt-UK hip-hop, and weaving in influences from RnB and house. The duo came to the scene with their 2014 EP Rose Water, with a title track and songs like ‘Hazy’ imparting a dreamy vibe. Two years later, their virgin sortie into long player territory comes with more of an impact.

Listening to the Young Docteurs’ CD Beginning At The End is like opening a time capsule to find something wonderful that never existed. As the 1980s began, Canberra had a world class underground music scene and the Young Docteurs were leading lights. Back then, a quality album recording was out of reach to any band without a recording contract. Canberra bands didn’t get signed so the Docteurs moved to Sydney, did their time and eventually went their own ways.

Los Angeles neo-soul group Fitz And The Tantrums have their sights firmly set on the pop charts for better or worse on their third album, enlisting the help of Sia and Jason Derulo producers Jesse Shatkin and Ricky Reed to get them there – a decision that pays off with varying results. Fitz And The Tantrums’ 2011 debut Pickin’ Up The Pieces was a refreshing neo-soul indie-pop fusion. Sidestepping the artifice of a lot of neo-soul in favour of a bright, sincere effort, the album revelled in its funky percussion and the interplay of dual lead vocalists Michael Fitzpatrick and Noelle Scaggs.

It’s not always easy to drag your attention away for the mesmerising music in the leading tracks, and pay attention to the complex lyrics with their musings on mortality and the sheer energy-sapping properties of daily living. Attentiongrabbing, syncopated beats, pin-hole keys and grungy bass form the flying carpet base for the lyrics of opener ‘Too High to Die’. The boys cut to a chorus comprising a train smash of cryptic, distorted vocals and sweet, clear singing. ‘Faded’ is a full bodied tale launched on shuffling, shunting synths and accompanied by bell-like key strokes. Deja adds her summery vocals, dressing up the chorus of ‘Only One’, which gains extra bounce from the inclusion of a Deja sample. Similarly, Summer Disbray provides a soulful female injection to ‘Shame On Me’, as electronic trick noises scamper rat-like in the background. It’s the inclusion of such feature artists that really ramp up both the depth and enjoyment of this release. Deep Into The Night is a well-balanced work with arresting sounds and a variation in vocals achieved using well-selected hired gun singers, including the squeaky-sexy sound of Kučka in ‘First Light’. RORY MCCARTNEY

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Recorded in 2015, this is the album they never made, and with sixteen tracks, in the old money, it’s a double album. Australia was an early adopter and innovator in punk and these songs were written on the cusp of British new wave, before punk had really crossed the Atlantic to the US. The sound is somewhere between Magazine (Manchester, UK) and early Midnight Oil. Canberra’s coldness and isolation means the Manchester vibe sits well, but there’s an extra energy that is all Australia. Singer Chris Shakallas is a master of the semi-spoken vocal like Howard Devoto, Pete Shelley and Lou Reed. His tone is warm and easy on the ear, but the style is still rooted in punk. The trippy album art is inspired by Doctor Who and reflects the Young Docteurs’ epic, psychedelic aesthetic. The ‘Doctor Who’ theme is the only cover on this album (with the possible exception of ‘Man In A Box’, which is unattributed). Guitarist, Paul Hayward ‘s control of a sustained, overdriven guitar sound makes this possibly the best version of the Doctor’s theme you will ever hear. SIMONE PENKETHMAN

Unfortunately, as they’ve refined the sound for their third release to be more palatable to the Billboard charts, they’ve lost some of the fun, fresh energy that made them so inviting in the first place, replacing it with second-tier, big label pop production and songwriting, the kind that makes bands like Maroon 5 and Train both radio staples and universally maligned. Fitz And The Tantrums’ core sound seems stifled here by the production of Shatkin and Reed. The heavily filtered staccato saxophone riff and the filtered vocals on the lead single ‘HandClap’ seem claustrophobic in comparison to their earlier releases, while the song itself has a lyrical and structural nothingness that pervades the entire album. Occasionally this approach produces results, notably on ‘Burn It Down’ where the alternating vocals and textural changes throughout hold interest, between instances of the diplo-esque hook, far better than most other songs on offer here. Overall, Fitz And The Tantrums’ self-titled third album is a bold step toward dropping the indie from their indie-pop signifier, that often manages to capture the essence of fun of their previous releases, but rarely the soul and spirit. ALEX MORRIS

GORDIE TENTREES LESS IS MORE [2015 BUCKAROO/CONTINENTAL]

TINPAN ORANGE LOVE IS A DOG [INDEPENDENT RELEASE]

CAR SEAT HEADREST TEENS OF DENIAL [MATADOR RECORDS]

Gordie Tentrees used to beat blokes around the boxing ring. Since he found his life in music however, the Canadian ex-pugilist turned folk singer is busy with beats of another sort, turning out six LPs since 2004. Pushing against the common tide, Tentrees’ style has simplified over time instead of getting more sophisticated. The album is a big jump towards folk/alt-country compared to songs like ‘Dear Impression Man’ from his debut album, which carried a strong rock/ blues influence.

Fans of the folk trio from Melbourne may find the fifth long player from Tinpan Orange a tad darker than usual, with music that lacks the sprightliness of some of the band’s previous material. Love Is A Dog centres on themes of the intriguing question of what you lose by having too much, whether in terms of an all-consuming love or too much money (perhaps in the latter case they just don’t know where to shop?).

Having every copy of your album destroyed less than a week before it’s intended physical release would be, to put it bluntly, emotionally catastrophic. But Will Toledo, the everything of Car Seat Headrest, didn’t seem phased in the slightest. Thanks to an unauthorised reworking of a Cars riff, Teens of Denial was forced into chaos and change, but the bulk destruction of vinyl and CDs is not what the album should be remembered for. The end product is.

However, the atmospherics seen in ‘Alfred’ from his 2009 long player are retained, especially in the gritty ‘Camelot Hotel’ with its streetwise magnetism. Tentrees adopts a simple, uncomplicated approach to his singing, with acoustic backing and the occasional morsel of percussion. The emphasis is placed firmly on his twangy voice, which sporadically throws up some rough Dylan-esque tones as he settles into storyteller mode. There’s power in the songs, from the triumph of will over disability, to the personal impact of terrorism, to just plain running off for love. Tentrees’ songwriting craft comes out in his exploration of a broad range of emotion, with some wry observational humour. A few boxing references slip through too in ‘Tired of Time’. The best tracks include the curious, ramshackle tempo of his comic advice on fatherhood, as in ‘Deadbeat Dad’, while there’s a wisp of classical Spanish guitar in the essence of ‘Lost Guitar’. Notable musical touches include the fancy string flourishes in ‘Wrong Town’, where the backing band mysteriously uses guitars to create sounds like a Hammond organ. The title track dresses in the rhythm of a staggering drunk, but the musical highlight comes in the spooky fiddle and lapsteel combo of ‘Somebody’s Child’. RORY MCCARTNEY

For this LP, the band added drummer Daniel Farrugia (who has played in support of Missy Higgins), and bassist Jules Pascoe (from Clairy Browne and the Bangin’ Rackettes) to its usual line-up. The recording quality and production provide crystal clarity, so each note and every nuance of vocalist Emily Lubitz shines through. Lubitz sounds better than ever, having expanded her vocal range by dabbling in the falsetto. The album starts strongly with highlight track ‘Rich Man’. Drifting up slowly like campfire smoke, the music impresses with the richness of its autumnal tones, expressed in the captivating arrangement of strings, guitar pattern and sparse, single piano chords. ‘Cities of Gold’ stands out with the soaring vocals offset by sturdy percussion hooks, casting out lyrics, “All my plans, like ice cream vans in the summer”. ‘Lucky One’ gains its appeal from a combination of lush, rolling ooh-ah choruses, moody bass licks, a sharp tambourine rattle and its trilling fiddle. There’s a touch of Australiana in the setting of ‘Cabarita’, its theme of the power of attraction exercised by a woman embellished by sighing violin, and Lubitz puts her singing through the hoops with multiple changes in inflection in ‘Diary’. An elegant, classy addition to Tinpan Orange’s catalogue. RORY MCCARTNEY

Teens of Denial marks Car Seat Headrest’s 12th album since 2010, slowly becoming more pop and polished along the way. Toledo, it warrants mentioning, is only 23.The album sees Toledo with a full band and a proper studio, cribbing the ideas he has developed over the last six years; building depth along the way. For example, the ramblingly epic, hornhighlighted ‘Vincent’ was presaged by the earlier ‘Times To Die’, but with more nuance. Toledo’s lyricism holds the whole enterprise together, a wry yet emotionally wrought (sometimes too much) look at early 20s life. Musically, Teens of Denial takes from a lot of places – the quiet-loud-quiet of Frank Black; the searching guitars of Pavement; the classic American rock of decades past. The cause of the chaos, ‘Just What I Wanted’ (now ‘Not Just What I Wanted’), was a tour de force somewhat dampened by the late changes (but not much). The high-points come early and often, whether it be the straight up indie nihilism of ‘Fill In The Blanks’ or the temperamental yet catchy ‘Drunk Drivers/Killer Whales’. Not to say there aren’t weak points (there definitely are), but they are significantly outweighed by the good. Most importantly, Teens of Denial is substantial, and marks Car Seat Headrest’s evolution into a band of the future. CODY ATKINSON

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singles in focus BY CODY ATKINSON CARBON + ‘REACTION’

EASTWARD LAURIE CAME HOME [INDEPENDENT RELEASE]

THE GOOCH PALMS INTROVERTED EXTROVERTS [SUMMER CAMP RECORDS]

Melbourne-based producer Eastward was once a session guitarist for a mix of dubstep and folk-rock outfits, now however he is closeted with analogue synths and is rolling out electro-indie pop. He must be a shy bloke, as there’s no readily accessible info with his real name and even his PR photo has the classic black box over the eyes. The mystery adds to the attraction of his inventive, dynamic material which first saw the light in his 2015 single ‘Old Green Thumb’ (which opens this latest release), followed up by this debut EP.

What’s that Canberra, got the winter blues? Well, The Gooch Palms surely have the cure for that with their sophomore album, Introverted Extroverts, which is packed full of the most catchy garage-pop-punk tunes you may lay your ears upon this year.

Earlier material such as the lengthy ‘Fizzle Tickler’ lacked the allure to hold the listener’s attention. However, Eastward’s virgin EP has tracks that pack more punch. The leading instrumental shows off the artist’s great skill in layering multiple sounds. Shuffled beats with an abrasive industrial tone, ice-pick piano, cool brass, smooth orchestral strings and bell-like tinkling are cast into a mixing bowl to emerge as a super sweet torte. In ‘Golden Morning’, Eastward mates his voice with the butterscotch singing of Tinpan Orange’s Emily Lubitz. That chanteuse never sounded like this when performing with her usual folk band. Keys stack up like layered liquorice lollies, as Eastward’s finger strokes climb multiple ladders, chasing the pitch higher up the rungs. The cruisy title track features prominent tok-tok percussion and wistful cyber trumpets, while the bobbing reggae rhythm of ‘Eye Twitch’ leads into a sewing basket of sonic threads of varying colour and texture. While instrumentals are Eastward’s forte, if his next release grows to album length, it would be good to see more tracks with vocals in the disk. RORY MCCARTNEY

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The Newcastle pair, now based in L.A., have not vastly departed from their debut, Novo’s, but clearly that was not the aim. Taking lead vocals, Leroy Macqueen channels Iggy Pop as he works his soulful pipes into shouty yelps. The kick-snare drums of Kat Friend keep Macqueen in check and the pace up throughout. There is a naivety to opener ‘Living Room Bop’ as it takes cues from ‘60s rock ‘n’ roll. When they ramp it up on ‘Ask Me Why’ they are reminiscent of The B-52’s and Devo with punchy riffs and male/female call and response. ‘Don’t Look Me Up’ would have to be their poppiest song yet – an anthem for the socially-phobic. ‘G.P.B.N.O’ verges on corny as they rhyme “beer” with “here”, but all is forgiven by ‘Trackside Daze’, which exudes long summer days and has plenty of surf-rock “waaaah-yays” thrown in for good measure. It’s hard not to get caught up in The Gooch Palms’ world – the energy they dispel is contagious. Their signature wacky style has been honed and it is played with the confidence of a band entirely comfortable with each other. It would not have been a shock if their move to L.A. had changed their sound, but they instead remain true to their Novocastrian roots and original fans. Highly recommended as a pick-me-up against the bitter cold – or even to get on your feet cutting a rug in your own living room. MEGAN LEAHY

Canberra seems inundated lately with cold, retro-heavy drum machine electronic music. Although not in the capital right now, Carbon + are ex-locals (which is pretty much the same thing). The track is doomy drum machines, forlorn shouty vocals, a driving bassline and casiotone-esque synths. It is really bloody good. Get on it.

WIREHEADS ‘ARRIVE ALIVE’ Stand and deliver. The cast of thousands hits a groove, a weird groove, on ‘Arrive Alive’, and frontman Dom Trimboli proceeds to stand and deliver over the top. Twang, disco and psych are there, and all sit somewhat harmoniously together against all odds. Just a killer sprawling track.

POLICE FORCE ‘FREAKIN’ OUT THE SQUARES’ This is raw, desolate stuff. Junky guitars, noisy everything, this is bloody chaos. ‘Freakin’ Out The Squares’ sounds like it’s covered in a fine layer of filth, exactly what you’d expect from a song called ‘Freakin’ Out The Squares’. This is the evolution of punk to something that it’s not, and to some of its highest points.

CHEAT CODES (FEAT. KRISS KROSS AMSTERDAM) ‘SEX’ What is the possible reason for this existing? Anyone? It took SIX FREAKING DJS to come up with the idea to do a shitty trap remix of a Salt-N-Pepa song. SIX! What’s next, eight DJs with their take on ‘Ice Ice Baby’? Thirteen people pitchshifting ‘Can’t Touch This’? ‘Funky Cold Medina’ cut up by the entire population of Iceland? WHEN WILL THE MADNESS END?!?

the word

on films

WITH EMMA ROBINSON

When the global financial crisis hit in 2007 many mainstream filmmakers decided not to risk making any original movies, lest they flop and not bring in truckloads of cash. Instead, they chose to make endless remakes of films (remember 2012’s Total Recall? No? Lucky you), and a lot of unnecessary sequels – films people knew would probably be bad but would see anyway. In this tradition we now have Independence Day 2 which I have to say, happily, did not suck! We might even get a third one…

quote of the issue “That’s … definitely bigger than the last one.” – Jeff Goldblum (David Levinson), Independence Day: Resurgence

INDEPENDENCE DAY: RESURGENCE Hooray, the ‘90s are back! Again… This sequel is exactly what you would expect. The original blockbuster from 1996 was a weird mix of political satire and taking itself very, very seriously, so much so that I’m not exactly sure what it was trying to be. Whatever it was, it worked and went down as a classic of 1990s trashy cinema. The sequel continues in this tradition. No subtlety (the portrait signifying the death of Captain Steven Hiller is also a sly wink to the audience – Will Smith is no longer affordable), and no logic (seriously, things only start to go awry when one character notices that Saturn has disappeared and decides that staring gormlessly at the computer is an excellent course of action). But none of this matters. This movie isn’t about the lightyears that humanity has developed in common sense! The aliens are back, and they have a bigger ship. A straightforward problem requires a straightforward solution, yes? Let’s blow them up. Never mind that there have been no armed conflicts between any racial or religious groups on Earth in the last twenty years. That only applies to humans. We aren’t a bunch of passive wusses and the aliens are about to see that. Boom. This was a fun little trip down memory lane without totally destroying the source material (I’m still not over Terminator Genysis). Just don’t take it seriously. EMMA ROBINSON

CENTRAL INTELLIGENCE

MUSTANG

It’s quite a sight to behold Dwayne “The Rock” Johnson playing a CIA agent, sporting a too-small unicorn T-shirt, jeans-shorts (“jorts”) and fannypack ensemble, accompanied by a wide-eyed, fidgety and incredulous Kevin Hart as his reluctant sidekick. Central Intelligence is, for the most part, a fun outing – just don’t expect it to be particularly coherent.

It’s rare for me to find a movie that I have nothing to say about. Really rare. I know that makes me sound like a pretentious git – and, I mean, that’s ostensibly true – but Mustang really floored me. I didn’t even have a particularly emotional reaction to it while I was watching it, which in and of itself was highly unusual. (Yep, you guessed it, I like to cry at movies and then never shut up about them. I am positive that this has never annoyed anyone I know, ever, at any point in time.) It was only at the close of the film, during that last, brilliant shot, that I felt tears on my face. And then I got overwhelmed – partly because this is an outstanding piece of filmmaking, but mostly because I didn’t realise I’d been so swept up in it that it felt both like I’d gotten lost and discovered something brand new all at once.

Central Intelligence begins as a high-school bullying story involving naked-dancing humiliation of overweight student Robbie Weirdicht a.k.a. Bob Stone (Johnson); the psychological impacts of which filter through the rest of the film (cue flashbacks!). Years later, Stone contacts Calvin Joyner (Hart) (the only one who showed any kindness to Stone during high-school) and draws him headlong into a CIA conspiracy. The film attempts to capture buddy-cop chemistry in the Tatum-Hill 21 Jump Street vein, but ultimately misses the mark. The promise of witty and physical comedy brought about by the duo’s paradox of personalities and physiques is undermined by the odd pacing of the narrative. The comedic bits come so thick and fast, that the story feels like an afterthought. Watch for some brilliant cameos from Jason Bateman, Aaron Paul and Melissa McCarthy, plus an awesome escape sequence accompanied by Blur’s ‘Song 2’. While Central Intelligence isn’t as comprehensible or emotionally engaging as it wants to be, you can’t help but enjoy the fact that the cast is having a blast – stick around for the bloopers in the credits. MAJELLA CARMODY

Mustang is a Turkish film about five sisters who, after casually hanging out with some boys in their class, are locked away in their own house. Choked of their individuality by tradition’s suffocating hand, the girls are forced to do nothing but prepare for future arranged marriages. Plot aside, Mustang is a film about isolation, hope, and a singularly feminine brand of resilience. It’s self-contained, self-aware, and transformative – all qualities that makes it, above all else, extraordinary. INDIGO TRAIL

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GOLDSTONE This taut thriller from Ivan Sen – the sequel to 2013’s Mystery Road – is set in a small town in Queensland. Choking on corruption on all levels of authority, this film weaves several stories from people of a myriad of racial and sexual backgrounds struggling to know what to do with the varying amounts of power they have. Aaron Pederson reprises his role as ‘sometimes’ Detective Jay Swan on a missing persons mission. His growing sense of concern over the alarming number of missing girls in the area clashes with young cop Josh (Alex Russell), who hasn’t quite decided whether to be on the take from the mayor’s (Jacqui Weaver in another smiling assassin role that she executes so beautifully) bribes or to blow the lid open. What this film presents is a dark cross section of Australia. We are a multicultural race and have been since the Caucasian settlers arrived at the same time as the Chinese immigrants. And to this day, those who have more than their fair share of power often choose to wield it purely for their own material and/or personal gain. Which leaves various individuals such as rookie and veteran cops alike, challenged when faced with ethical dilemmas. In a cinematic landscape dominated by one, maybe two, types of stories, it is refreshing to see a film that better represents the face of Australia, which is not uniformly white. EMMA ROBINSON

EVERYBODY WANTS SOME Richard Linklater’s spiritual sequel to Dazed and Confused is a loveable romp, arguably more fun than its predecessor. Armed with a great soundtrack featuring Blondie, The Knack and Van Halen (and a terrific scene involving the main characters rapping along to ‘Rapper’s Delight’ by The Sugar Hill Gang), Everybody Wants Some captures not only the zeitgeist of the late ‘70s/early ‘80s, but the feeling of liberation and exaltation at leaving high school and embracing the future. Linklater has taken advantage of his young and relatively unknown cast (with some noteworthy performances from Glen Powell as Finnegan and Wyatt Russell as Willoughby), and used his strength for meaningful dialogue and strong character development to create an energetic film that takes place over three days before the start of college. The result is a string of parties, gags and montages. Largely bereft of a strong plotline, certain viewers may be thrown by the (almost) impressionist and loose tone of this film. For example, there are scenes devoted entirely to pranks and sitting around dissecting ‘Fearless’ by Pink Floyd. An easy criticism to level at this film is its lack of conflict – it takes advantage of nostalgia and never once raises the stakes for its characters. But again – it isn’t that sort of film. You don’t need a driving reason to sit around and waste time with your friends. You just kick back and enjoy the ride. PATRICK JOHNSON

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Questioning Gender Diversity

Music Victoria recently introduced their first gender diversity policy, following on from much consideration in this area. But why is gender diversity important, and is it really a problem? More importantly, are there potential solutions? CODY ATKINSON *NOTE: This article primarily identifies male and female genders without diving deeper. Sex and gender are diverse spectrums and when referring to women and men it includes those who identify as female and male, and those who are gender non-conforming. Is there a problem with gender equality in the music scene? Given that I’m writing this thing now, there is. And if you don’t think there is, think about how many bands you’ve seen lately, and how many women have been playing on stage. Or the number of nonsinging women on your recently played Spotify list (of local artists, natch). Is it important that there is gender diversity? In my humble (and overwrought) opinion, it absolutely is. And before you jump down my throat about it not being the be-all-and-end-all of all humanity, of course it’s not. No one is saying it is. But if society is progressing (which is the goal of all humanity), areas like this are critical in ensuring cultural diversity and depth. And that’s important why? SO WE DON’T KEEP HEARING THE SAME SHOUTY MEDIOCRE WHITE MALE VOICES POURING FROM EVERY FUCKING CORNER OF SOCIETY. I can show you any number of statistics saying that this is an issue too. Such as? Well in 2015, local muso and writer Sophie Chapman did an informal study of the Canberra music scene and found that just 16.6% of all musicians were female. Chapman also found that only about a third of all Canberra acts had female members, and the majority of those were in acts where they were outnumbered by men in the same band. Has she done more work with this? She has, and it’s probably better than the dreck I write. She’s got a piece about this on Feminartsy right now, and she’s got a great blog on this issue at sophieemmachapman.tumblr.com. Give it a read for a few minutes, and get back to me…

participation of at least 40% women and 40% men across all of its activities where possible. Music Victoria came up with the policy in response to a discussion paper that considered the issues around gender diversity in the Victorian music industry. Victoria have also addressed the substantial issue of sexual harassment and unwanted sexual attention at pubs, which has been reported by academics as being endemic. Yeah, why should you have to put up with objectifying fuckwits? Exactly! In the latest Best Practice Guidelines for Live Music Venues, an entire chapter is devoted to how to deal with sexual harassment from a venue and promoter standpoint. It makes sense to address this, because if women don’t feel safe in music venues, why would they willingly engage in music culture? What stops women being involved in the scene? THAT IS A GOOD QUESTION. Being someone that hasn’t experienced this first hand, I can only speculate on what I have read and heard over the years. It seems that peer support, harassment-free environments, unconscious bias and fair opportunities play roles in preventing more effective gender diversity. Some of these problems are longterm systemic issues running right through society, others are more concentrated specifically to the culture around music. So what are some potential solutions to these problems? There are no magic bullet fixes to issues around any kind of fair representation. Documents such as the Victorian Gender Diversity Policy and its preceding report acknowledge this, and state that the end goal must be kept in mind while attempting to progress. Organisations such as LISTEN, Feminartsy and the new Canberra group Launch Pad provide a space for women to share experiences and talk about potential problems, and solutions. What have other sources suggested? The sources above indicate that strong support networks for females are critical in enabling participation, as well as impartial judgment of talent based on merit. Some people feel that quotas in ensuring participation, such as the Music Victoria one above and also radio play quotas, are key in establishing diversity of voices throughout the community. However, it must be noted that support for this isn’t universal. Perhaps most critically all people must be able to feel safe in music venues, without any fears or doubts.

If women don’t feel safe in music venues, why would they willingly engage in music culture?

Right, what’s the diversity situation elsewhere? Not great. Generally, females go to shows as much as males do (according to a 2012 Victorian Live Music Census), but they contribute to the other aspects of participation less, from playing to doing sound and recording. Women don’t seem to be any less interested in music, but there appears to be a participatory gap present.

So what’re the numbers nationwide? Well the 2011 Census found that only 36% of those who reported their jobs as being in the performing arts and music industries were women. That means for every woman employed in these fields, two men were employed in similar roles. So what have other places done to address the gender diversity issue? Recently Music Victoria announced their first gender diversity policy, stating the simple and broad goal of ensuring

Absolutely. Programs such as the Girls Rock! camps (like the Canberra one that was held earlier this year) also play an important role in encouraging participation from an early age, and establishing strong role models for diversity. And it would be great if the ACT could create a similar suite of documents to that of the gender diversity policy and the Best Practice Guidelines for Live Music Venues, to place a baseline framework for the industry to attain.

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CANBERRA ROLLER DERBY LEAGUE

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the word

on gigs

Lepers & Crooks, Spindrift Saga, Ekko The Basement Saturday June 25 Ekko from Milton looked very hippy-hippy with their dreads and long coats. They played slow songs with floating vocals and prog rock overtones. Vocalist Shayna Wilson split her time between keys, guitar and (when not playing) a little interpretive dancing. She yanked the mic stand down to sing and play while kneeling on the stage. The intensity picked up as the set progressed with the as yet unnamed, but tentatively titled ‘The World is an Ashtray’, a definite highlight. Also from the South Coast, indie rockers Spindrift Saga upped the tempo with a varied set that included rock, roots and funk influences. A fun gig, they surprised us with the appearance of a man in a dog suit (alluding to the video for the band’s song ‘Marvin’), who danced on stage and amongst the punters. Drummer Danny Freeman played with flair, giving the hi-hat a good going over and often leaping to his feet for extra oomph. The set was filled with songs with catchy rhythms and bright licks, with ‘Sparta’ a highlight.

PHOTO BY GABBY MARSHALL

Lepers & Crooks made the night their own with one of the best rock sets I’ve seen this year. They laid down wild, incredibly infectious songs with great guitar interplay, all elevated by the vivacious stage presence of frontman Sam Baker as he swooped and whirled around in a rock ballet. You really got to appreciate that voice when he sang with no accompaniment. Baker’s great vocal range, with its ability to soar to great heights, was complemented by the more bluesy tones of Pat Reuter-Town, the pair combining so well in ‘Sex Emotions’. Notable songs included the very fast ‘Let You Go’ and a cover of Rage Against the Machine’s ‘Guerilla Radio’. RORY MCCARTNEY

the word

on gigs

Rick Dangerous and the Silkie Bantams, Revellers, Raised By Wolves Transit Bar Sunday June 12 The Sunday before a public holiday is where it’s really at. You can feel justified having an extra sneaky beer or two and catching some tunes knowing that Monday is just another Sunday again. Being a Sunday night, I forgot about the early start and totally missed Wollongong pop-punkers Raised By Wolves, but the crowd was chatting about them in the interlude between sets. Revellers have been around the local scene for a few years now, and have built up a dedicated little following. Bombarding the stage with riff-heavy ‘90s-influenced punk rock, Revellers had the punters towards the front of the stage with heads bobbing. The power trio certainly more than got the job done on a chilly night. Rick Dangerous is all about the thrust and the tea. Everything else is gravy to him. Looking like a live action Ned Flanders flanked by a Vegas backing band in matching white suits, Dangerous and the Silkie Bantams sounds almost precisely like the opposite of that. They proceeded to rip off a set of hardcore rock and roll in the grimiest way possible, and they were proud of it.

PHOTO BY CODY ATKINSON

The mad antics of Dangerous (I’m not sure that’s his real name) at the front caught the attention, but the band behind him shredded and slashed exactly as was required to match. The hallmark of the set was the intensity of effort, and just how much they put into the show. It’s hard not to have fun when a band commits that much. They might have been a bit obnoxious and a wee bit sleazy, but they were overwhelmingly enjoyable. CODY ATKINSON

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RUMBLR

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the word

Karnivool, Fait ANU Bar Wednesday June 15

on gigs

Fait, a four-piece instrumental cinematic post-rock team from Perth led by Elise Higgins, quietly appeared to support Karnivool at the ANU Bar on Wednesday June 15. These guys have seen recent success through triple J unearthed and winning a spot in Fremantle’s St Jerome’s Laneway Festival. Live, however, they did not appear quite cohesive. While they were good at what they were doing, they were certainly trying to look like they weren’t trying. No boundaries were pushed and there were no risks taken, with their guitars hidden by reverb and delay. They were simply inoffensive and listenable, ultimately resulting in a bland audience response. As I looked into my bored friend’s face, he said, “when driving, this music may send me crashing into a tree”. But give them a look if you’re into shoegaze post-rock. They’ve got some great ideas and a few sweet riffs. But live performance-wise, Karnivool were in no danger of being outshone. The brief follow-up sound check before Karnivool arrived on stage had me worried. I have to say, the sound was the most disappointing aspect of my evening. I was prepared to be pushed around by a zealous crowd. However, I was not prepared for the dominance of only treble and bass, and a chopping of the mids, leaving the iconic labyrinthine guitar riffs to my imagination. Despite this, the boys’ tenacious performance was executed with strong intention and an energetic aura. It was nice to see the ANU Bar full. Karnivool have always emanated an earnestness that has drawn people to them. Frontman, Ian Kenny, is high-energy and delightfully engaging. They got the reception from Canberra they deserved, I am glad to say, as it can be a little touch n’ go with our crowds. The first taste of their new music was deep and hearty. Although, there were fewer new songs performed than I expected – three in total that I can recall: ‘All It Takes’, ‘Animation’ and ‘Reanimation’. I could hear the resurgence of the wrenching guitars of Themata days, which the band hinted at recently. The set was an equal distribution of all three full-length LPs, covering their anthemic tracks, trialing new music early and rounding out their set with ‘Roquefort’ and ‘Themata’ where the show really gained some muscle. They finished their encore with Sound Awake’s ‘New Day’. Alas, I think I would have loved to hear them play ‘Shutter Speed’ again. Overall, it was nice to have the Vool back. They’re churning out some new music we are sure to love. They pried their Canberra crowd away from The Basement on this occasion, and fans were stoked about their return and the hint of a new record to come early next year. For those of us seeing them again in November when they tour with Deftones, we’ll be hearing a more solidified idea of their upcoming release. KEREN NICHOLSON

PHOTO BY DALE WOWK

@bmamag

the word

Looking Glass, Local Horror The Basement Sunday June 12

on gigs

It was a wet and cold afternoon when the doors opened at 4pm at The Basement. 70+ people came and showed their support for Looking Glass, who treated the crowd to a double set on the night, as one of their bands had to pull out the day before. Opening the gig were local four-piece alternative garage rock band Local Horror. Clearly influenced by The Melvins and Queens of The Stone Age, they had the crowd bopping along at the start of the afternoon. These guys have hundreds of hours playing the pub circuit behind them. It showed, as they performed comfortably and easily enjoyed their time on stage. Check them out online. After a long sound check, Looking Glass played to a patiently enthusiastic crowd. I could only stay for the first set of their performance – ten epic songs, which started with distorted fold back and the occasional dropout until about the fourth song, but their sound was still incredible. Exceptionally loud, their style is clearly influenced by Sabbath, Zeppelin and Hendrix. This album makes you feel like you are in the Deep South of the States, with massive prog solos and long doom metal notes that morph from rock into stoner rock. It was charming, enticing and captivating, and it hit every nerve in your body. I regretted having missed their second set.

PHOTO BY SAM INGHAM

This album is a must buy – look them up online: facebook.com/ lookingglassoz and contact the guys to obtain a copy of Volume 4. You can also purchase their original EP and 2-EP on iTunes. SAM INGHAM

the word

on gigs

Apia Good Times Tour Canberra Theatre Sunday June 12 The opening on the night was intriguing; a voiceover introduced an advertisement for the tour played on a screen over the front of the stage (not sure why they needed to advertise the tour to those that were there). Nevertheless, the show kicked off with John Paul Young giving us his crooner style performance, holding various percussive instruments for each of his songs. Backed by a six-piece band, the highlight of his set was ‘Yesterday’s Hero’. Kate Ceberano entered to showcase her talent, performing opener ‘Brave’ on keyboard. She next sang ‘Kiss Me’ erotically to an audience member celebrating his 40th birthday (the lucky gentleman had Kate wrapping her arms around him as they sat on the stage). Ending her set was ‘Bedroom Eyes’ and a medley of the songwriters who inspired her. After the interlude, Daryl Braithwaite immediately introduced a rockier vibe as the mouth organ opening to ‘Rise’ commenced and those familiar lyrics hit us. Amongst ‘One Summer’ and ‘As The Days Go By’, he also gave us a new song. His closer ‘The Horses’ was the one everyone had been waiting for and he didn’t disappoint, bringing Kate back to assist him.

PHOTO BY CHRISTOPHER BEKKER

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Jon Stevens had the best set of the night with Noisework hits such as ‘Take Me Back’, ‘No Lies’, ‘Touch’ and ‘Hot Chilli Woman’. There was also a new song and a cover of INXS’ ‘Never Tear Us Apart’. Afterwards, all four artists returned to the stage to give us the Jesus Christ Superstar song ‘Everything’s Alright’, (Kate and Jon were both in the Australian version of the musical), Sherbet’s ‘Howzat’, and JPY’s ‘Love Is In The Air’. With the audience out of their seats, they left the stage but came out again for an encore, performing The Easybeats (or INXS and Jimmy Barnes’) ‘Good Times’. JARROD MCGRATH

the word

Urthboy, L-Fresh The Lion, Okenyo Academy Friday June 10

on gigs

By the end of Urthboy’s encore – a rousing rendition of Meg Mac’s ‘Roll Up Your Sleeves’ – the small stage at Academy was looking pretty crowded. Urthboy took a bow alongside his ensemble and support acts (a huge team made up of Okenyo, L-Fresh The Lion, Chaos Emerald, Mirrah, Meklit Kibret, Ev Jones and Jayteehazard) and asked if he’d kept his promise to leave every person in the room feeling good. Judging by the response from the crowd, his hard work had paid off. Those lucky enough to catch the opening sets from Okenyo and L-Fresh The Lion were not disappointed. First up, Okenyo brought huge energy to the stage all by herself and showed off the unbelievable versatility of her voice, while L-Fresh managed to teach the crowd some Punjabi history through his signature brand of sharp social commentary and dancefloor beats.

PHOTO BY MOLLY MCLAUGHLIN

When Urthboy finally took the stage, he joked that it was way past his (and some members of the crowd’s) bedtime. Of course it didn’t show. He launched into a string of tracks from The Past Beats Inside Me Like A Second Heartbeat, which really made the most of the backing vocalists. Okenyo and Mirrah joined him onstage for verses of ‘Second Heartbeat’, and Meklit Kibret brought her delicate touch to ‘Long Loud Hours’. One of the highlights was Urthboy performing ‘Little Girl’s Dad’ alone on stage, demonstrating that sometimes all that is needed is a couple of heartfelt verses. The Elefant Traks philosophy of collaboration was clearly on display, creating an atmosphere of inclusivity that can be otherwise lacking at gigs. With a phenomenal live presence and a little help from his friends, Urthboy proved why he is still one of the most respected voices in Australian hip-hop. MOLLY MCLAUGHLIN

the word

Glitoris, Faux Faux Amis Polish White Eagle Club Friday June 3

on gigs

Right from the first song, Glitoris were not what I was expecting. The feature they had, which so much punk lacks, is structure. Glitoris is very much the Rage Against The Machine of all-girl punk rock. They might be angry about stuff (and arbitrary gender roles and equality), but they aren’t going to let that compromise the song. That anger is channelled and hammered into a bunch of extremely well-crafted songs that were powerful and furious, but which also flowed. Even the super angry parts. The polemic spoken word segments were just as much a part of it as anything else. This obviously isn’t a unique f eature, but it is rare to see it in something that retains the vitality, energy and immediacy of punk. The nudity (which the audience can take part in, if they’re so inclined) isn’t a gimmick – it’s essential. I’m familiar with the concept of a woman owning her sexuality rather than being objectified, but it’s another thing to experience it. You’ve got these phenomenally talented people and you find yourself trying to answer the unspoken question, “Yes, I’ve got my tits out. What of it?” I also understand the idea of groups reclaiming derogatory terms, but it’s something else to hear a couple hundred women yelling “slut power” with increasing energy and unity. You can feel the word losing its negative power, live. A few minutes later, the word ‘cunt’ becomes a powerful assertion of identity and femininity. It was amazing. (Photographed elsewhere.)

All in all, it was a top tier gig. Even if you aren’t into feminine identity, trashing the patriarchy, women owning their sexuality or reclaiming words, they’re a great band with a bunch of songs that will get that long, lost, angry 15-year-old inside you amped right the fuck up. JASPER HAGAN

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ENTERTAINMENT GUIDE July 13 – July 15

Listings are a free community service. Email editorial@bmamag.com to have your events appear each issue. WEDNESDAY JULY 13

ART EXHIBITIONS Making Our Mark

Seniors Exhibition WATSON ARTS CENTRE

FILM

Screen Acting Techniques

Sophie Bishop, Mimi Fairall, Michelle Hallinan, Jess Higgins, Kelly Hayes, Rebecca Setnicar. 7-24 July.

Heroines In Charge

Peoples + Brand

NATIONAL FILM AND SOUND ARCHIVES

BILK GALLERY

Celebration of legendary director Martin Scorsese with showings of his various works. Info at trybooking.com.

M16 ARTSPACE

6pm. Wed-Sat. 11am-5pm. Until 29 Jul.

Reflections

Works from Canberra Glassworks and the Parliament House Art Collection. Until 11 Sep.

Celebrate big screen heroines with a program of empowering, female-driven family films for all ages.

Scorsese Season

NATIONAL FILM AND SOUND ARCHIVES

CANBERRA GLASSWORKS

LIVE MUSIC

Diane Arbus: American portraits

Acoustic Soup

Until 30 Oct. This exhibition features 36 of Arbus’ most iconic photographs. NATIONAL GALLERY OF AUSTRALIA

Four New Exhibitions

8 – 24 July. Painting the Town by Night, The 2nd Edition, Score No. 0013: Emotion Ensemble & Magic Lines.

NIDA Drama School

10am-5pm. $595. Grades 3–6 and 7–10.

7-24 Jul. 10am–4pm Thu–Sun.

Live local music and hot food for only $8 members/concessions and $12 general public from 7pm. ANU FOOD CO-OP

DARAMALAN COLLEGE

18+.10am–5pm. $595. DARAMALAN COLLEGE

THURSDAY JULY 14

FILM Heroines In Charge

Celebrate big screen heroines with a program of empowering, female-driven family films for all ages. NATIONAL FILM AND SOUND ARCHIVES

LIVE MUSIC Plump

9.30pm. Free.

FILM Heroines In Charge

Celebrate big screen heroines with a program of empowering, female-driven family films for all ages. NATIONAL FILM AND SOUND ARCHIVES

LIVE MUSIC Thursday Night Jazz

Different jazz performances each week. $10-$15. 7pm.

Classical Capers

SMITH’S ALTERNATIVE

9.30pm.

KING O’MALLEY’S IRISH PUB

Danielle Deckard

With special guest Rosie Catalano. THE FRONT GALLERY AND CAFÉ

PARTYMYX Band

7pm. A dynamic accoustic duo that play all the hits from the 80’s through to the current day. OJO CAFE & BAR

Paul Greene

7pm. Front man for the latest incarnation of Spy v Spy and a warm engaging musician. Free.

Open Mic. 7pm. Free.

Cameron James Henderson

M16 ARTSPACE

Smith’s Varietal

SMITH’S ALTERNATIVE

Blazing Boots

2°

9.30pm. $10.

SMITH’S ALTERNATIVE

Baltic Bar Mitzvah

With The Parlour Social. 9pm. $10/$15.

HARMONIE GERMAN CLUB

Light Translations

THE PHOENIX BAR

Kyle Taylor

Haydn & Mozart

SMITH’S ALTERNATIVE

CANBERRA GLASSWORKS

With Eric Helyard & Daniel Yeadon. 7pm. $30-$55.

ON THE TOWN

Pearlessence Band

Curated by Alexander Boynes. 15 Jul-20 Aug.

CANBERRA CONTEMPORARY ART SPACE (GORMAN HOUSE)

Score Number 0013 Emotion Ensemble By Shags. 7-24 Jul. M16 ARTSPACE

Nervous by Heather B Swann Performances 3 & 4 Sep. Exhibition until Nov. NATIONAL GALLERY OF AUSTRALIA

Community is Everything

7-30 Jul. A photographic exhibition by Amnesty International (ACT).

By Holly Grace and Lisa Cahill. 1 Jun 17 Jul. Opening 6pm 3 Jun.

End Times Variety

With Chris Endrey. CANBREXIT. 8pm.

SOMETHING DIFFERENT

The Thursday Games

Imaginary Borders

M16 ARTSPACE

July School Holiday Program

Michael Taylor - A Survey

9 Jul - 2 Oct. Expressionist paintings. CANBERRA MUSEUM AND GALLERY

Contemporary Asian galleries Until Nov. A new display focused on contemporary Chinese art. NATIONAL GALLERY OF AUSTRALIA

Student Teacher Exhibition

Award Presentation 10 Jul at 2pm. 7-24 Jul. WATSON ARTS CENTRE

Painting the Town by Night

By Julie Ann Spencer. 7 July to 24 July. M16 ARTSPACE

Habitual Creatures, Pigs & Dogs, Dis-Place

3 new exhibitions. From 24 Jun until 17 Jul. BELCONNEN ARTS CENTRE

Ancients Exhibition

7-30 Jul. Photographs and watercolour works on canvas by Indigenous artist Brett Carpenter. TUGGERANONG ARTS CENTRE

The Bends & QWE3NZ From 23 Jun-17 Jul.

PHOTOACCESS MANUKA

Highway to the Wilderness

13 Jul-31 Jul. Opening 13 Jul at 6pm. ANCA GALLERY

Design and Nature

Until Mar 2017. A glass and ceramics exhibition. NATIONAL GALLERY OF AUSTRALIA

Asialink Reciprocal Residency

NATIONAL PRESS CLUB

ON THE TOWN

Magic Lines

By Elizabeth Faul. 7-24 Jul.

7pm.

THE PHOENIX BAR

Youth Theatre Project. Tickets at info@ rebustheatre.com. A youth theatre project for young people.

TUGGERANONG ARTS CENTRE

UNIVERSITY HOUSE

TUGGERANONG ARTS CENTRE

July 4 – 15. 3 hr class or 1.5 hour class available during the Winter school holidays. Details on website. WATSON ARTS CENTRE

THEATRE Next to Normal

Crazy Ass Games including tournaments and prizes, and all things Sangria & FUN. 5pm. Free. AVIARY ROOFTOP BAR

Chicago Charles & Danger Dave

Tranny Trivia

Glamour & Song questions. 8pm. Book online. POLIT BAR & LOUNGE

Jordan Ireland & Bo Loserr. 9pm. $10/$5. THE PHOENIX BAR

Joseph Liddy and the Skeleton Horse

8pm. Uplifting rhythms infused with jazz harmony and blue eyed soul. THE PHOENIX BAR

Rock Or Be Rocked

Classic rock and blues. 8pm. Free. More information at bandmix.com.au/ mac11943/

7pm – featuring Melbourne DJ Steve T. Tix $20.

Ghost Whisperer Suzie

Tickets at ghostwhisperersuzie.com. au. 7pm. HELLENIC CLUB (WODEN)

18+.10am–5pm. $595.

TRIVIA

Joseph Liddy & the Skeleton Horse

SOMETHING DIFFERENT

Scooby Doo Live

CANBERRA THEATRE CENTRE

7pm.

ROSE COTTAGE

KING O’MALLEY’S IRISH PUB

WORKSHOPS

Trapped in the video game world, can Scooby and the gang escape? Info at canberratheatrecentre.com.au.

Free. 8pm.

9pm. Free.

8-23 Jul. Info at phoenixplayers.com. au. ANU ARTS CENTRE

CANBERRA IRISH CLUB

Screen Acting Techniques DARAMALAN COLLEGE

Make Your Own Winter Tile

Club 30-50 presents “Friday Fever” POLIT BAR & LOUNGE

ON THE TOWN Fridays From Five

DJs spinning Old Skool, Hip Hop, R&B. Free from 5pm. AVIARY ROOFTOP BAR

THEATRE

10.30am, 11am, 11.30am, 12pm. 20 minutes long. 8+ or 5-8 with adult supervision. $30.

Chi Udaka

Antarctic Explorations

WORKSHOPS

CANBERRA GLASSWORKS

Make your own kiln formed tile. 1pm1.45. 8+ or 5-8 with adult supervision. $50. Tickets at eventbrite.com. CANBERRA GLASSWORKS

$45.50 - $66.75. 8pm. THE PLAYHOUSE

Screen Acting Techniques 18+.10am–5pm. $595. DARAMALAN COLLEGE

Make Your Own Winter Tile

WORKSHOPS

NIDA Drama School

Make Your Own Winter Tile

10.30am, 11am, 11.30am, 12pm. 20 minutes long. 8+ or 5-8 with adult supervision. $30.

DARAMALAN COLLEGE

Antarctic Explorations

COMEDY

Make your own kiln formed tile. 1pm1.45. 8+ or 5-8 with adult supervision. $50. Tickets at eventbrite.com.

Anne Edmonds

NIDA Drama School

UNI PUB

DARAMALAN COLLEGE

10am-5pm. $595. Grades 3–6 and 7–10.

FRIDAY JULY 15

CANBERRA GLASSWORKS

Make your own kiln formed tile. 1pm1.45. 8+ or 5-8 with adult supervision. $50. Tickets at eventbrite.com. CANBERRA GLASSWORKS

Mr Mitsui Takeyoshi (Japan). Until 25 Jul. CANBERRA GLASSWORKS

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With supports. Book at comedyact. com.au.

10.30am, 11am, 11.30am, 12pm. 20 minutes long. 8+ or 5-8 with adult supervision. $30. CANBERRA GLASSWORKS

Antarctic Explorations

CANBERRA GLASSWORKS

10am-5pm. $595. Grades 3–6 and 7–10.

ENTERTAINMENT GUIDE July 16 SATURDAY JULY 16 ART EXHIBITIONS Asialink Reciprocal Residency Mr Mitsui Takeyoshi (Japan). Until 25 Jul. CANBERRA GLASSWORKS

Seniors Exhibition

7-24 Jul. 10am–4pm Thu–Sun. WATSON ARTS CENTRE

Making Our Mark

Sophie Bishop, Mimi Fairall, Michelle Hallinan, Jess Higgins, Kelly Hayes, Rebecca Setnicar. 7-24 July. M16 ARTSPACE

Tough and Tender

15 Jul- Oct. Intimate and raw photographs that explore the complexities of personal relationships. NATIONAL PORTRAIT GALLERY

Peoples + Brand

6pm. Wed-Sat. 11am-5pm. Until 29 Jul. BILK GALLERY

Reflections

Works from Canberra Glassworks and the Parliament House Art Collection. Until 11 Sep. CANBERRA GLASSWORKS

Diane Arbus: American portraits

Until 30 Oct. This exhibition features 36 of Arbus’ most iconic photographs. NATIONAL GALLERY OF AUSTRALIA

Four New Exhibitions

8 – 24 July. Painting the Town by Night, The 2nd Edition, Score No. 0013: Emotion Ensemble & Magic Lines. M16 ARTSPACE

Bigger on the Inside: Collecting Dr Who Opening on the 15th Jul at 2.30pm. RSVP at cmagbookings@act.gov.au or 6207 3968. 16 Jul-20 Nov. CANBERRA MUSEUM AND GALLERY

2°

Curated by Alexander Boynes. 15 Jul-20 Aug.

CANBERRA CONTEMPORARY ART SPACE (GORMAN HOUSE)

Score Number 0013 Emotion Ensemble By Shags. 7-24 Jul.

7-30 Jul. Photographs and watercolour works on canvas by Indigenous artist Brett Carpenter. TUGGERANONG ARTS CENTRE

Zambezi Sounds 9.30pm.

SMITH’S ALTERNATIVE

Brother Be

The Bends & QWE3NZ

With Spindrift Saga & People I Love. 9pm. $10/$5.

PHOTOACCESS MANUKA

Evensong

From 23 Jun-17 Jul.

Highway to the Wilderness

13 Jul-31 Jul. Opening 13 Jul at 6pm. ANCA GALLERY

Design and Nature

Until Mar 2017. A glass and ceramics exhibition.

THE PHOENIX BAR

Choral music. 4pm. Free.

NATIONAL PORTRAIT GALLERY

Seth Sentry

With Remi and others TBA. ANU BAR AND REFECTORY

NATIONAL GALLERY OF AUSTRALIA

SOMETHING DIFFERENT

Performances 3 & 4 Sep. Exhibition until Nov.

FILM

Mab’s Midwinter Masquerade

Community is Everything

7-30 Jul. A photographic exhibition by Amnesty International (ACT).

Celebration of legendary director Martin Scorsese with showings of his various works. Info at trybooking.com.

Magic Lines

LIVE MUSIC

M16 ARTSPACE

Nervous by Heather B Swann NATIONAL GALLERY OF AUSTRALIA

TUGGERANONG ARTS CENTRE

By Elizabeth Faul. 7-24 Jul. M16 ARTSPACE

Michael Taylor - A Survey

9 Jul - 2 Oct. Expressionist paintings. CANBERRA MUSEUM AND GALLERY

Contemporary Asian galleries Until Nov. A new display focused on contemporary Chinese art. NATIONAL GALLERY OF AUSTRALIA

Student Teacher Exhibition

Award Presentation 10 Jul at 2pm. 7-24 Jul. WATSON ARTS CENTRE

Painting the Town by Night

By Julie Ann Spencer. 7 July to 24 July. M16 ARTSPACE

Habitual Creatures, Pigs & Dogs, Dis-Place

3 new exhibitions. From 24 Jun until 17 Jul. BELCONNEN ARTS CENTRE

Ancients Exhibition

Scorsese Season

NATIONAL FILM AND SOUND ARCHIVES

Doors Open 6:30pm. GA $30. B Reserve $35. Dinner and Show $85. THE ABBEY

Imaginary Borders

Youth Theatre Project. Tickets at info@ rebustheatre.com. A youth theatre project for young people. TUGGERANONG ARTS CENTRE

Heuristic

TALKS

KING O’MALLEY’S IRISH PUB

Lakeside Literary Lounge presents

10pm. Free.

Canberra Blues Society Monthly Jams

2pm $3 CBS members /$5 nonmembers. HARMONIE GERMAN CLUB

Light Translations

By Holly Grace and Lisa Cahill. 1 Jun 17 Jul. Opening 6pm 3 Jun.

Us Mob Writing. 2.30pm. Free. Readings from ‘By Close of Business’. TUGGERANONG ARTS CENTRE

THEATRE The Simon and Garfunkel Story

With Aleyce Simmonds. Country music.

Direct from the UK & Europe. 4pm & 7.30pm. Bookings at canberratheatrecentre.com.au.

Flamenkisimo

Next to Normal

CANBERRA GLASSWORKS

Luke O’Shea

THE FRONT GALLERY AND CAFÉ

1pm & 7pm. $45/$40. SMITH’S ALTERNATIVE

CANBERRA THEATRE CENTRE

8-23 Jul. Info at phoenixplayers.com. au. ANU ARTS CENTRE

@bmamag

ENTERTAINMENT GUIDE July 16 – July 20 SATURDAY JULY 16 WORKSHOPS Acting Essentials

18+. 10am-5pm. $320. DARAMALAN COLLEGE

Make Your Own Winter Tile

10.30am, 11am, 11.30am, 12pm. 20 minutes long. 8+ or 5-8 with adult supervision. $30. CANBERRA GLASSWORKS

Make Your Own Paperweight or Tumbler $70-$100. Bookings at eventbrite. CANBERRA GLASSWORKS

Antarctic Explorations

Make your own kiln formed tile. 1pm1.45. 8+ or 5-8 with adult supervision. $50. Tickets at eventbrite. CANBERRA GLASSWORKS

Make Your Own Winter Tile

ART EXHIBITIONS

Make Your Own Paperweight or Tumbler

By Julie Ann Spencer. 7 July to 24 July.

CANBERRA GLASSWORKS

Ancients Exhibition

CANBERRA GLASSWORKS

M16 ARTSPACE

Antarctic Explorations

7-30 Jul. Photographs and watercolour works on canvas by Indigenous artist Brett Carpenter.

Make your own kiln formed tile. 1pm1.45. 8+ or 5-8 with adult supervision. $50. Tickets at eventbrite. CANBERRA GLASSWORKS

The Peach Factory

Grades 7–10 and 11–12. 10am–5pm. $320. DARAMALAN COLLEGE

SUNDAY JULY 17 FILM Films on Film

Join us every Sunday at 2pm this winter for a myriad of films. 2pm. $14/$12. Book at trybooking.com.

TUGGERANONG ARTS CENTRE

Highway to the Wilderness

13 Jul-31 Jul. Opening 13 Jul at 6pm.

Grades 3–6. 10am–5pm. $320.

ANCA GALLERY

Screen Acting Boot Camp

Until Mar 2017. A glass and ceramics exhibition.

DARAMALAN COLLEGE

Grades 7–10 and 11–12. 10am–5pm. $320. DARAMALAN COLLEGE

MONDAY JULY 18

Grades 3–6. 10am–5pm. $320.

Screen Acting Boot Camp

Painting the Town by Night

$70-$100. Bookings at eventbrite.

The Peach Factory DARAMALAN COLLEGE

WEDNESDAY JULY 20

10.30am, 11am, 11.30am, 12pm. 20 minutes long. 8+ or 5-8 with adult supervision. $30.

Design and Nature

NATIONAL GALLERY OF AUSTRALIA

Asialink Reciprocal Residency Mr Mitsui Takeyoshi (Japan). Until 25 Jul. CANBERRA GLASSWORKS

Seniors Exhibition

FILM

7-24 Jul. 10am–4pm Thu–Sun.

Lost In Translation

Part of ‘The Month of Murray’. 6.30pm. $10/$12. DENDY CINEMA

WATSON ARTS CENTRE

Making Our Mark

Sophie Bishop, Mimi Fairall, Michelle Hallinan, Jess Higgins, Kelly Hayes, Rebecca Setnicar. 7-24 July.

Score Number 0013 Emotion Ensemble By Shags. 7-24 Jul. M16 ARTSPACE

Nervous by Heather B Swann Performances 3 & 4 Sep. Exhibition until Nov. NATIONAL GALLERY OF AUSTRALIA

Community is Everything

7-30 Jul. A photographic exhibition by Amnesty International (ACT). TUGGERANONG ARTS CENTRE

Magic Lines

By Elizabeth Faul. 7-24 Jul. M16 ARTSPACE

Michael Taylor - A Survey

9 Jul - 2 Oct. Expressionist paintings. CANBERRA MUSEUM AND GALLERY

Contemporary Asian galleries Until Nov. A new display focused on contemporary Chinese art. NATIONAL GALLERY OF AUSTRALIA

Student Teacher Exhibition

Award Presentation 10 Jul at 2pm. 7-24 Jul. WATSON ARTS CENTRE

FILM Scorsese Season

Celebration of legendary director Martin Scorsese with showings of his various works. Info at trybooking.

LIVE MUSIC

M16 ARTSPACE

Smith’s Story Jam

15 Jul- Oct. Intimate and raw photographs that explore the complexities of personal relationships.

NATIONAL FILM AND SOUND ARCHIVES

8pm. Free entry.

Peoples + Brand

Smith’s Varietal

Dr Procter’s...

BILK GALLERY

7pm.

SMITH’S ALTERNATIVE

Tough and Tender

LIVE MUSIC

The Bootleg Sessions

NATIONAL PORTRAIT GALLERY

ARC CINEMA

THE PHOENIX BAR

6pm. Wed-Sat. 11am-5pm. Until 29 Jul.

9.30pm. $10.

LIVE MUSIC

Dr Procter’s Genuine Beginner Ukulele Singalong. 12pm. Free.

Reflections

7pm. $15/$10. Tix on door or at smithsalternative.com.

Irish Jam Session

Traditional Irish musicians in the pub from late afternoon. Free. KING O’MALLEY’S IRISH PUB

Los Que Son

SMITH’S ALTERNATIVE

TUESDAY JULY 19

7-9pm, $10/7.

KARAOKE

The Other Side

Karaoke Salon

SMITH’S ALTERNATIVE

Original music, acoustic guitars and a handful of covers. 5-7pm. Free.

8PM. Songlist at nightlife.com.au/ karaoke.

Aviary Sundays Live

#KaraokeLove

A BITE TO EAT CAFE

3pm. Free. Our weekly live music day with vibes for days from Canberra’s best undiscovered talents. AVIARY ROOFTOP BAR

Evensong

Choral music. 4pm. Free.

NATIONAL PORTRAIT GALLERY

ON THE TOWN Smith’s Sunday Session 2-6pm, free.

SMITH’S ALTERNATIVE

SOMETHING DIFFERENT Drawn In

Draw while listening to the Hope Street Band. 1pm. Free. NATIONAL PORTRAIT GALLERY

TALKS Revenge and Terror

From Bali to Afghanistan. Angus McIntyre, James Piscatori and Karen Middleton on global terrorism. MUSE: FOOD, WINE, BOOKS

WORKSHOPS Acting Essentials

18+. 10am-5pm. $320. DARAMALAN COLLEGE

POLIT BAR & LOUNGE

Works from Canberra Glassworks and the Parliament House Art Collection. Until 11 Sep.

SOMETHING DIFFERENT

Until 30 Oct. This exhibition features 36 of Arbus’ most iconic photographs. NATIONAL GALLERY OF AUSTRALIA

Four New Exhibitions

ON THE TOWN

SMITH’S ALTERNATIVE

SOMETHING DIFFERENT Suddenly Curving Space Time Launch

Collected Resonances 8pm. $5.

Bigger on the Inside: Collecting Dr Who

7pm. $5.

SMITH’S ALTERNATIVE

Diane Arbus: American portraits

9pm. Free entry.

Bing!! Bang!! Beng!! Bong!! Bung!!

Rory Ellis

CANBERRA GLASSWORKS

8 – 24 July. Painting the Town by Night, The 2nd Edition, Score No. 0013: Emotion Ensemble & Magic Lines.

TRANSIT BAR

SMITH’S ALTERNATIVE

M16 ARTSPACE

AINSLIE ARTS CENTRE

Imaginary Borders

Youth Theatre Project. Tickets at info@ rebustheatre.com. A youth theatre project for young people. TUGGERANONG ARTS CENTRE

BAD!SLAM!NO!BISCUIT! 8pm.

THE PHOENIX BAR

Opening on the 15th Jul at 2.30pm. RSVP at cmagbookings@act.gov.au or 6207 3968. 16 Jul-20 Nov.

TALKS

2°

Manning Clarke lecture. 6pm.

CANBERRA MUSEUM AND GALLERY

Curated by Alexander Boynes. 15 Jul-20 Aug.

George Megalogenis: Wither Australia NATIONAL LIBRARY OF AUSTRALIA

CANBERRA CONTEMPORARY ART SPACE (GORMAN HOUSE)

Experimental poetry. 5pm. Free. SMITH’S ALTERNATIVE

TRIVIA Knightsbridge Penthouse Trivia Tuesdays Hosted by Nigella Lawsuit. Win cash prizes & bar tabs. 7.20pm. KNIGHTSBRIDGE PENTHOUSE

Nick and Morgans

Fiery trivia discharge. 7.30pm. THE PHOENIX BAR

WORKSHOPS Making Natural Beauty Products

6-8pm. $20. Learn how to make and take home a natural foundation powder. CANBERRA ENVIRONMENT AND SUSTAINABILITY RESOURCE CENTRE

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ENTERTAINMENT GUIDE July 20 – July 23 WEDNESDAY JULY 20 THEATRE Extinction

8pm. $45/$55.

THE PLAYHOUSE

Next to Normal

8-23 Jul. Info at phoenixplayers.com. au. ANU ARTS CENTRE

TRIVIA Tranny Trivia

Glamour & Song questions. 8pm. Book online. POLIT BAR & LOUNGE

Thursday Night Jazz

Different jazz performances each week. $10-$15. 7pm. SMITH’S ALTERNATIVE

Dos Locos 9pm. Free.

KING O’MALLEY’S IRISH PUB

Moaning Lisa

With the Ians & String Elephants. 9pm. $10/$5. THE PHOENIX BAR

ON THE TOWN The Thursday Games

Crazy Ass Games including tournaments and prizes, and all things Sangria & FUN. 5pm. Free. AVIARY ROOFTOP BAR

WORKSHOPS

THEATRE

Focus on the Short Story with Theresa Layton

Extinction

7.30pm.

ACT WRITERS CENTRE

8pm. $45/$55.

THE PLAYHOUSE

FRIDAY JULY 22

THURSDAY JULY 21 COMEDY Stand Up Comedy

Canberra’s finest & funniest present a new concept for laughs. Tix $7/$10. POLIT BAR & LOUNGE

LIVE MUSIC She-Riff

8pm. $5. With Sally Chicane, House of Strangers, Adelaide Jones, Betty Marshall. TRANSIT BAR

The Old 45’s 7pm.

NATIONAL PRESS CLUB

COMEDY Akmal

Lachy Doley Group Free. 8pm.

HARMONIE GERMAN CLUB

Matt Dent

Until 30 Oct. This exhibition features 36 of Arbus’ most iconic photographs.

OLD BUS DEPOT MARKETS

Four New Exhibitions

Awesome Aussie Roots Music. 3pm.

String Theories 7pm, $10/$7.

SMITH’S ALTERNATIVE

Special K 9pm. Free.

KING O’MALLEY’S IRISH PUB

Rock Or Be Rocked

Classic rock and blues. 8pm. Free. OJO CAFE AND BAR

Friday Night Fiesta

With Los Chavos & Friends. 9pm. $10/$5. THE PHOENIX BAR

ON THE TOWN Fridays From Five

DJs spinning Old Skool, Hip Hop, R&B. Free from 5pm. AVIARY ROOFTOP BAR

SOMETHING DIFFERENT The Salt Room 7.30pm. $10/$5.

Doors Open 6:30pm. GA $45.

GORMAN HOUSE ARTS CENTRE

Akmal

8pm. $45. Tickets at theabbey.com.au.

9:30pm, $17 earlybird online or $22 at the door.

THE ABBEY

SMITH’S ALTERNATIVE

LIVE MUSIC

THEATRE

The Comfort

Extinction

THE ABBEY

More info at thebasementcanberra. com.au. THE BASEMENT

Hit & Run Duo 7pm. Free.

CANBERRA IRISH CLUB

Alternative and Moist

8pm. $45/$55.

THE PLAYHOUSE

SATURDAY JULY 23 ART EXHIBITIONS Painting the Town by Night

By Julie Ann Spencer. 7 July to 24 July. M16 ARTSPACE

Ancients Exhibition

7-30 Jul. Photographs and watercolour works on canvas by Indigenous artist Brett Carpenter. TUGGERANONG ARTS CENTRE

Highway to the Wilderness

13 Jul-31 Jul. Opening 13 Jul at 6pm. ANCA GALLERY

Design and Nature

Until Mar 2017. A glass and ceramics exhibition. NATIONAL GALLERY OF AUSTRALIA

Asialink Reciprocal Residency Mr Mitsui Takeyoshi (Japan). Until 25 Jul. CANBERRA GLASSWORKS

Seniors Exhibition

7-24 Jul. 10am–4pm Thu–Sun.

NATIONAL GALLERY OF AUSTRALIA

8 – 24 July. Painting the Town by Night, The 2nd Edition, Score No. 0013: Emotion Ensemble & Magic Lines. M16 ARTSPACE

Bigger on the Inside: Collecting Dr Who Opening on the 15th Jul at 2.30pm. RSVP at cmagbookings@act.gov.au or 6207 3968. 16 Jul-20 Nov. CANBERRA MUSEUM AND GALLERY

2°

Curated by Alexander Boynes. 15 Jul-20 Aug.

CANBERRA CONTEMPORARY ART SPACE (GORMAN HOUSE)

Score Number 0013 Emotion Ensemble By Shags. 7-24 Jul. M16 ARTSPACE

Nervous by Heather B Swann Performances 3 & 4 Sep. Exhibition until Nov. NATIONAL GALLERY OF AUSTRALIA

Community is Everything

7-30 Jul. A photographic exhibition by Amnesty International (ACT). TUGGERANONG ARTS CENTRE

Magic Lines

By Elizabeth Faul. 7-24 Jul. M16 ARTSPACE

Diane Arbus: American portraits

Until 30 Oct. This exhibition features 36 of Arbus’ most iconic photographs. NATIONAL GALLERY OF AUSTRALIA

Michael Taylor - A Survey

9 Jul - 2 Oct. Expressionist paintings. CANBERRA MUSEUM AND GALLERY

Contemporary Asian galleries Until Nov. A new display focused on contemporary Chinese art. NATIONAL GALLERY OF AUSTRALIA

Student Teacher Exhibition

Award Presentation 10 Jul at 2pm. 7-24 Jul. WATSON ARTS CENTRE

Three New Exhibitions Opening The Encyclopedia of Forgotten Things, Rarities & Encircle. Free entry. 22 Jul - 14 Aug. BELCONNEN ARTS CENTRE

FILM Scorsese Season

Celebration of legendary director Martin Scorsese with showings of his various works. Info at trybooking.com. NATIONAL FILM AND SOUND ARCHIVES

LIVE MUSIC

WATSON ARTS CENTRE

Trust Punks

Making Our Mark

THE PHOENIX BAR

Sophie Bishop, Mimi Fairall, Michelle Hallinan, Jess Higgins, Kelly Hayes, Rebecca Setnicar. 7-24 July. M16 ARTSPACE

Tough and Tender

15 Jul- Oct. Intimate and raw photographs that explore the complexities of personal relationships. NATIONAL PORTRAIT GALLERY

Peoples + Brand

With Harrow & Wives. 9pm. $5.

A Black Tie Affair...

The Beehive introduces Laura Ingram & Her Trio. Earlybird Tix $25. 8pm. POLIT BAR & LOUNGE

Marlene Cummins

Koori Woman Blues tour with Don Hopkins. $20/$25. 7.30pm. HARMONIE GERMAN CLUB

Matt Dent

6pm. Wed-Sat. 11am-5pm. Until 29 Jul.

Awesome Aussie Roots Music. 6.30pm.

Reflections

Hard Cover - Flava n Roots

BILK GALLERY

Works from Canberra Glassworks and the Parliament House Art Collection. Until 11 Sep. CANBERRA GLASSWORKS

Diane Arbus: American portraits

WALT & BURLEY

Doors Open 6:30pm. GA $30. VIP $95. THE ABBEY

4th Degree 10pm. Free.

KING O’MALLEY’S IRISH PUB

@bmamag

ENTERTAINMENT GUIDE July 23 – July 28 SATURDAY JULY 23 LIVE MUSIC Skyscraper Stan

Leah Flanagan

6pm. $15. Previewing ‘Chills’, the first single from her forthcoming album. THE FRONT GALLERY AND CAFÉ

Cream Sound Off Heat 1

SOMETHING DIFFERENT Lunch Time Sing Fling 12pm, $10.

SMITH’S ALTERNATIVE

7pm. $10. A hazy sweat-soaked dream of sunburnt country towns.

Local Canberra musicians play for a slot at Cream Festival Free Entry. From 3pm.

Old Timey Tuesday

Rumblr

Magic Rob

TRIVIA

THE FRONT GALLERY AND CAFÉ

EP Launch. With Babyfreeze and Orbus Tertius. 8pm. TRANSIT BAR

Ensemble Pendulum Presents ‘From Mannheim to Milan’. 5pm. $25/$15 via eventbrite.

AVIARY ROOFTOP BAR

Psychedelic folk rock band w/ a mediaeval twist and a space rockin’ vein. 5-7pm. Free. A BITE TO EAT CAFE

Aviary Sundays Live

80’s Tribute Night #3

3pm. Free. Our weekly live music day with vibes for days from Canberra’s best undiscovered talents.

THE BASEMENT

Matthew Sheens

AINSLIE ARTS CENTRE

7pm. $25/$30.

ON THE TOWN Lord Byron 5 7pm, $10/7.

AVIARY ROOFTOP BAR

New York-based pianist and composer Matthew Sheens launches his latest album. $25/$20 via eventbrite.

ON THE TOWN

SOMETHING DIFFERENT

Smith’s Sunday Session

Unclothed People Doing Things

SMITH’S ALTERNATIVE

Imaginary Borders

Youth Theatre Project. Tickets at info@ rebustheatre.com. A youth theatre project for young people. TUGGERANONG ARTS CENTRE

THEATRE Extinction

8pm. $45/$55.

THE PLAYHOUSE

Next to Normal

8-23 Jul. Info at phoenixplayers.com. au.

2-6pm, free.

TALKS Tongue & Cheek: Literary Lunch A literary, culinary lunch with David Reist and Bryan Martin to hear more about their cookbook. MUSE: FOOD, WINE, BOOKS

Pottery Classes for Adults and Kids

$70-$100. Bookings at eventbrite. CANBERRA GLASSWORKS

MONDAY JULY 25 FILM The Life Aquatic DENDY CINEMA

Identifying and Cooking with Weeds

LIVE MUSIC

$70-$100. Bookings at eventbrite. CANBERRA GLASSWORKS

SUNDAY JULY 24 FILM Films on Film

Join us every Sunday at 2pm this winter for a myriad of films. 2pm. $14/$12. Book at trybooking.com. ARC CINEMA

LIVE MUSIC Irish Jam Session

Traditional Irish musicians in the pub from late afternoon. Free. KING O’MALLEY’S IRISH PUB

William Crighton and Claire Ann Taylor

WORKSHOPS Brewing Kombucha

6-8pm. $20. Learn to make healthy, inexpensive and fun kombucha. CANBERRA ENVIRONMENT AND SUSTAINABILITY RESOURCE CENTRE

WEDNESDAY JULY 27

The Encyclopedia of Forgotten Things, Rarities & Encircle. Free entry. 22 Jul - 14 Aug. BELCONNEN ARTS CENTRE

COMEDY Comedy In The Pub

Comedy Gong Night. 7.30pm. Free. THE PHOENIX BAR

DANCE Quantum Leap

Bookings at QL2.org.au. THE PLAYHOUSE

FILM Scorsese Season

Celebration of legendary director Martin Scorsese with showings of his various works. Info at trybooking.com. NATIONAL FILM AND SOUND ARCHIVES

ART EXHIBITIONS

LIVE MUSIC

Ancients Exhibition

Smith’s Varietal

7-30 Jul. Photographs and watercolour works on canvas by Indigenous artist Brett Carpenter. TUGGERANONG ARTS CENTRE

Highway to the Wilderness

13 Jul-31 Jul. Opening 13 Jul at 6pm. ANCA GALLERY

Design and Nature

Until Mar 2017. A glass and ceramics exhibition.

Make Your Own Paperweight or Tumbler

WATSON ARTS CENTRE

Make Your Own Paperweight or Tumbler

THE PHOENIX BAR

15 Jul- Oct. Intimate and raw photographs that explore the complexities of personal relationships.

Part of ‘The Month of Murray’. 6.30pm. $10/$12.

CANBERRA ENVIRONMENT AND SUSTAINABILITY RESOURCE CENTRE

Nerd Trivia with Joel and Ali

NATIONAL GALLERY OF AUSTRALIA

Bookings at 6241 7800 or canberrapotters.com.au. 23 Jul-23 Sep.

10am -1pm. $30. Learn how to identify and cook with common backyard weeds.

Impact Records Presents

WORKSHOPS

ANU ARTS CENTRE

WORKSHOPS

SMITH’S ALTERNATIVE

AINSLIE ARTS CENTRE

SMITH’S ALTERNATIVE

9.30pm. $20.

7pm. Free.

Three New Exhibitions Opening

Tough and Tender

NATIONAL PORTRAIT GALLERY

Peoples + Brand

9.30pm. $10.

SMITH’S ALTERNATIVE

SOMETHING DIFFERENT Imaginary Borders

Youth Theatre Project. Tickets at info@ rebustheatre.com. A youth theatre project for young people. TUGGERANONG ARTS CENTRE

THEATRE Resident Alien

27 Jul - 7 Aug. Tickets at thestreet. org.au. THE STREET THEATRE

6pm. Wed-Sat. 11am-5pm. Until 29 Jul.

TRIVIA

Reflections

Tranny Trivia

BILK GALLERY

Works from Canberra Glassworks and the Parliament House Art Collection. Until 11 Sep. CANBERRA GLASSWORKS

Glamour & Song questions. 8pm. Book Online. POLIT BAR & LOUNGE

Diane Arbus: American portraits

WORKSHOPS

CIT Presents The Bootleg Sessions

NATIONAL GALLERY OF AUSTRALIA

Bookings at 6241 7800 or canberrapotters.com.au. 23 Jul-23 Sep.

THE PHOENIX BAR

Opening on the 15th Jul at 2.30pm. RSVP at cmagbookings@act.gov.au or 6207 3968. 16 Jul-20 Nov.

8pm. Free entry.

Benny Fowler & George Bishop 8pm. $10.

THE FRONT GALLERY AND CAFÉ

Musical Afternoon of Opera: Fleur Millar

Until 30 Oct. This exhibition features 36 of Arbus’ most iconic photographs.

Pottery Classes for Adults and Kids

Bigger on the Inside: Collecting Dr Who

WATSON ARTS CENTRE

CANBERRA MUSEUM AND GALLERY

2°

THURSDAY JULY 28 DANCE Quantum Leap

3pm. Opera.

Curated by Alexander Boynes. 15 Jul-20 Aug.

Bookings at QL2.org.au.

That Poetry Thing

Nervous by Heather B Swann

Bangarra: OUR land people stories

MANNING CLARK HOUSE

Thing That Is On At Smith’s Every Other Monday, 7pm, $10. SMITH’S ALTERNATIVE

TUESDAY JULY 26

CANBERRA CONTEMPORARY ART SPACE (GORMAN HOUSE)

Performances 3 & 4 Sep. Exhibition until Nov. NATIONAL GALLERY OF AUSTRALIA

Community is Everything

THE PLAYHOUSE

A remarkable triple bill of contemporary dance work. 7.30pm. $45-$65. THE PLAYHOUSE

7-30 Jul. A photographic exhibition by Amnesty International (ACT).

FILM Directed by Ciro Guerra.

Karaoke Salon

Diane Arbus: American portraits

POLIT BAR & LOUNGE

NATIONAL GALLERY OF AUSTRALIA

KARAOKE

TUGGERANONG ARTS CENTRE

Embrace of the Serpent PALACE ELECTRIC CINEMA

Until 30 Oct. This exhibition features 36 of Arbus’ most iconic photographs.

LIVE MUSIC

#KaraokeLove

Michael Taylor - A Survey

Tomcat Playground

TRANSIT BAR

CANBERRA MUSEUM AND GALLERY

8PM. Songlist at nightlife.com.au/ karaoke. 9pm. Free entry.

7pm, $15/$10.

SMITH’S ALTERNATIVE

9 Jul - 2 Oct. Expressionist paintings.

7pm.

Contemporary Asian galleries

Thursday Night Jazz

Until Nov. A new display focused on contemporary Chinese art. NATIONAL GALLERY OF AUSTRALIA

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NATIONAL PRESS CLUB

Different jazz performances each week. $10-$15. 7pm. SMITH’S ALTERNATIVE

ENTERTAINMENT GUIDE July 28 – August 2 THURSDAY JULY 28 LIVE MUSIC Little Coyote

7.30pm. Supported by Hayden Buchanan. THE FRONT GALLERY AND CAFÉ

ON THE TOWN The Thursday Games

Crazy Ass Games including tournaments and prizes, and all things Sangria & FUN. 5pm. Free.

ON THE TOWN Fridays From Five

DJs spinning Old Skool, Hip Hop, R&B. Free from 5pm. AVIARY ROOFTOP BAR

Oscar

9.30pm. Free.

KING O’MALLEY’S IRISH PUB

SOMETHING DIFFERENT Poetry Slam

7pm. Free, but donation appreciated. THE FRONT GALLERY AND CAFÉ

AVIARY ROOFTOP BAR

SATURDAY JULY 30

Loki Door Prize 9pm.

THE PHOENIX BAR

Chicago Charles & Danger Dave 9pm. Free.

KING O’MALLEY’S IRISH PUB

SOMETHING DIFFERENT Lakeside Live: Life Drawing

A monthly life drawing session for artists with basic to advanced level experience. $25 + drink. TUGGERANONG ARTS CENTRE

ART EXHIBITIONS Three New Exhibitions Opening

The Encyclopedia of Forgotten Things, Rarities & Encircle. Free entry. 22 Jul - 14 Aug.

WORKSHOPS ‘Monsters and Beats’ Cahoots

Youth Art Lab. 4.15pm. Life-size puppet making for 9-14 year olds. $180 per term. TUGGERANONG ARTS CENTRE

FRIDAY JULY 29 DANCE

TUGGERANONG ARTS CENTRE

Highway to the Wilderness

13 Jul-31 Jul. Opening 13 Jul at 6pm. ANCA GALLERY

Design and Nature

Until Mar 2017. A glass and ceramics exhibition. NATIONAL GALLERY OF AUSTRALIA

Tough and Tender

15 Jul- Oct. Intimate and raw photographs that explore the complexities of personal relationships.

Keith Hall Blues Band Free. 8pm.

HARMONIE GERMAN CLUB

Leah Senior 7pm, $10/7.

SMITH’S ALTERNATIVE

Cole

9:30pm, $10/$7.

SMITH’S ALTERNATIVE

Bangarra: OUR land people stories

A remarkable triple bill of contemporary dance work. 7.30pm. $45-$65. THE PLAYHOUSE

LIVE MUSIC Irish Jam Session

Traditional Irish musicians in the pub from late afternoon. Free. KING O’MALLEY’S IRISH PUB

Cream Sound Off Heat 2

Local Canberra musicians play for a slot at Cream Festival Free Entry. From 3pm.

Celebration of legendary director Martin Scorsese with showings of his various works. Info at trybooking.com.

Bears with Guns THE PHOENIX BAR

AVIARY ROOFTOP BAR

Jess Baker

A country/folk singer songwriter. 5-7pm. Free.

Aviary Sundays Live

AVIARY ROOFTOP BAR

Matt Dent

ON THE TOWN

THE DURHAM

Smith’s Sunday Session

The Great’s of 70’s Country Music

SMITH’S ALTERNATIVE

Awesome Aussie Roots Music. 9pm.

2-6pm, free.

Starring Daniel Thompson and The Wayfaring Gentlemen. theq.net.au.

SOMETHING DIFFERENT

Sean Smeaton

Ellen van Neerven’s Comfort Food

THE Q - QUEANBEYAN ARTS CENTRE

8pm. Formerly of Zoopagoo and Changeable Dan. THE FRONT GALLERY AND CAFÉ

Perry Keyes

Celebrate the anticipated poetry release from Ellen van Neerven, Comfort Food. MUSE: FOOD, WINE, BOOKS

Works from Canberra Glassworks and the Parliament House Art Collection. Until 11 Sep.

SOMETHING DIFFERENT

Make Your Own Paperweight or Tumbler

Record Fair

CANBERRA GLASSWORKS

Diane Arbus: American portraits

SMITH’S ALTERNATIVE

10am-5pm.

HART.R8 for HARTLEY

$70-$100. Bookings at eventbrite.

MONDAY AUGUST 1 LIVE MUSIC

NATIONAL GALLERY OF AUSTRALIA

Individual registration is $85 and teams of 4 is $220. More info at: facebook. com/HartleyLifecare

Bigger on the Inside: Collecting Dr Who

Imaginary Borders

Dr Procter’s Genuine Beginner Ukulele Singalong. 12pm. Free.

Until 30 Oct. This exhibition features 36 of Arbus’ most iconic photographs.

2°

CANBERRA IRISH CLUB

THE PLAYHOUSE

WORKSHOPS

LIVE MUSIC

7pm. Free. Texas shuffles, Chicago blues, and greasy Louisiana-style swamp pop.

Bookings at QL2.org.au.

ARC CINEMA

7pm, $15/$10.

TUGGERANONG ARTS CENTRE

Groove Kings in Duo Mode

Quantum Leap

With guests. 9pm. $10/$5.

7-30 Jul. Photographs and watercolour works on canvas by Indigenous artist Brett Carpenter.

Opening on the 15th Jul at 2.30pm. RSVP at cmagbookings@act.gov.au or 6207 3968. 16 Jul-20 Nov.

THE PHOENIX BAR

DANCE

Films on Film

Join us every Sunday at 2pm this winter for a myriad of films. 2pm. $14/$12. Book at trybooking.com.

Ancients Exhibition

CANBERRA GLASSWORKS

With Foley, Revellers & Sketch Method. 9pm. $10/$5.

NATIONAL GALLERY OF AUSTRALIA

FILM

3pm. Free. Our weekly live music day with vibes for days from Canberra’s best undiscovered talents.

Bangarra: OUR land people stories

Foxtrot

Until Nov. A new display focused on contemporary Chinese art.

LIVE MUSIC

Reflections

7pm. Free. A documentary film exploring the life and legacy of Ngunnawal Elder Aunty Agnes Shea.

Contemporary Asian galleries

Ramesh Mario Nithiyendran installation. 30 Jul-29 Jan.

THE PLAYHOUSE

Footprints on our Land

CANBERRA MUSEUM AND GALLERY

A BITE TO EAT CAFE

Bookings at QL2.org.au.

FILM

SUNDAY JULY 31

9 Jul - 2 Oct. Expressionist paintings.

NATIONAL FILM AND SOUND ARCHIVES

NATIONAL PORTRAIT GALLERY

THE PLAYHOUSE

Michael Taylor - A Survey

CANBERRA GLASSWORKS

28 Jul-4 Sep. Shortlisted artwork from Inaugural Hindmarsh Prize entrants.

Quantum Leap

A remarkable triple bill of contemporary dance work. 7.30pm. $45-$65.

CANBERRA GLASSWORKS

Scorsese Season

NATIONAL GALLERY OF AUSTRALIA

MANNING CLARK HOUSE

$70-$100. Bookings at eventbrite.

Inaugural Hindmarsh Prize Shortlist

POLIT BAR & LOUNGE

7.30pm.

NATIONAL GALLERY OF AUSTRALIA

Make Your Own Paperweight or Tumbler

FILM

Mud Men

Toby Fitch: Poetry Launch

Until 30 Oct. This exhibition features 36 of Arbus’ most iconic photographs.

BELCONNEN ARTS CENTRE

Shaken and Stirred

Burlesque and cabaret. 7:30pm. $20. politbar.co

Diane Arbus: American portraits

CANBERRA MUSEUM AND GALLERY

Curated by Alexander Boynes. 15 Jul-20 Aug.

CANBERRA CONTEMPORARY ART SPACE (GORMAN HOUSE)

Community is Everything Opening

VARIOUS LOCATIONS

Youth Theatre Project. Tickets at info@ rebustheatre.com. A youth theatre project for young people.

Dr Procter’s...

SMITH’S ALTERNATIVE

TUGGERANONG ARTS CENTRE

CMC Presents The Bootleg Sessions

THEATRE

THE PHOENIX BAR

Resident Alien

27 Jul - 7 Aug. Tickets at thestreet. org.au.

8pm. Free.

TUESDAY AUGUST 2

THE STREET THEATRE

KARAOKE

6pm. Free. A photographic exhibition by Amnesty International (ACT).

WORKSHOPS

Karaoke Salon

Nervous by Heather B Swann

Pottery Classes for Adults and Kids

TUGGERANONG ARTS CENTRE

Performances 3 & 4 Sep. Exhibition until Nov. NATIONAL GALLERY OF AUSTRALIA

Community is Everything

7-30 Jul. A photographic exhibition by Amnesty International (ACT). TUGGERANONG ARTS CENTRE

8PM. Songlist at nightlife.com.au/ karaoke. POLIT BAR & LOUNGE

Bookings at 6241 7800 or canberrapotters.com.au. 23 Jul-23 Sep.

LIVE MUSIC

Making Kimchi

Sally Greenway Trio

CANBERRA ENVIRONMENT AND SUSTAINABILITY RESOURCE CENTRE

THE GODS CAFE

WATSON ARTS CENTRE

1-2:30pm. $20. Evangeline Lam will demonstrate how to make kimchi, a staple Korean side dish.

$22/$15. Meals from 6pm. Music at 7pm. Bookings at thegodscafe@gmail. com.

@bmamag

AD SPACE

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ENTERTAINMENT GUIDE August 2 – August 4 TUESDAY AUGUST 2

Tough and Tender

LIVE MUSIC

15 Jul- Oct. Intimate and raw photographs that explore the complexities of personal relationships.

Jazz at the Gods

Reflections

Meals from 6pm. Music at 7:30pm. Bookings essential. $22/$15. THE GODS CAFE

SOMETHING DIFFERENT Peter Out, Magazine Launch 7pm.

SMITH’S ALTERNATIVE

TRIVIA The Phoenix Quiz Night 7.30pm.

THE PHOENIX BAR

WEDNESDAY AUGUST 3 ART EXHIBITIONS Three New Exhibitions Opening The Encyclopedia of Forgotten Things, Rarities & Encircle. Free entry. 22 Jul - 14 Aug. BELCONNEN ARTS CENTRE

Inaugural Hindmarsh Prize Shortlist

28 Jul-4 Sep. Shortlisted artwork from Inaugural Hindmarsh Prize entrants. CANBERRA GLASSWORKS

Mud Men

Ramesh Mario Nithiyendran installation. 30 Jul-29 Jan. NATIONAL GALLERY OF AUSTRALIA

Design and Nature

Until Mar 2017. A glass and ceramics exhibition.

NATIONAL PORTRAIT GALLERY

Works from Canberra Glassworks and the Parliament House Art Collection. Until 11 Sep.

COMEDY

WORKSHOPS

Becky Lucas

Pottery Classes for Adults and Kids

With supports. Book at comedyact. com.au. CIVIC PUB

FILM

CANBERRA GLASSWORKS

Jumpcuts

Diane Arbus: American portraits

THE PHOENIX BAR

Until 30 Oct. This exhibition features 36 of Arbus’ most iconic photographs. NATIONAL GALLERY OF AUSTRALIA

Bigger on the Inside: Collecting Dr Who Opening on the 15th Jul at 2.30pm. RSVP at cmagbookings@act.gov.au or 6207 3968. 16 Jul-20 Nov. CANBERRA MUSEUM AND GALLERY

2°

Curated by Alexander Boynes. 15 Jul-20 Aug.

CANBERRA CONTEMPORARY ART SPACE (GORMAN HOUSE)

Inaugural Hindmarsh Prize Shortlist

Local Independent Short Films. 7.30pm.

LIVE MUSIC

9 Jul - 2 Oct. Expressionist paintings. CANBERRA MUSEUM AND GALLERY

Contemporary Asian galleries

Thursday Night Jazz

Troye Sivan

SOMETHING DIFFERENT Imaginary Borders

Youth Theatre Project. Tickets at info@ rebustheatre.com. A youth theatre project for young people.

SMITH’S ALTERNATIVE

+ Special guest Nicole Millar. 7:30pm. $50.90 + bf via Oztix. All ages. UC REFECTORY

Fundamental 9pm. Free.

KING O’MALLEY’S IRISH PUB

TUGGERANONG ARTS CENTRE

ON THE TOWN

THEATRE

The Thursday Games

THE STREET THEATRE

Michael Taylor - A Survey

LIVE MUSIC

SMITH’S ALTERNATIVE

9.30pm. $10.

Nervous by Heather B Swann NATIONAL GALLERY OF AUSTRALIA

THURSDAY AUGUST 4

Smith’s Varietal

Resident Alien

Performances 3 & 4 Sep. Exhibition until Nov.

WATSON ARTS CENTRE

Different jazz performances each week. $10-$15. 7pm.

28 Jul-4 Sep. Shortlisted artwork from Inaugural Hindmarsh Prize entrants. CANBERRA GLASSWORKS

Bookings at 6241 7800 or canberrapotters.com.au. 23 Jul-23 Sep.

27 Jul - 7 Aug. Tickets at thestreet. org.au.

TRIVIA Tranny Trivia

Glamour & Song questions. 8pm. Book Online. POLIT BAR & LOUNGE

Crazy Ass Games including tournaments and prizes, and all things Sangria & FUN. 5pm. Free. AVIARY ROOFTOP BAR

WORKSHOPS ‘Monsters and Beats’ Cahoots

Youth Art Lab. 4.15pm. Life-size puppet making for 9-14 year olds. $180 per term. TUGGERANONG ARTS CENTRE

Until Nov. A new display focused on contemporary Chinese art. NATIONAL GALLERY OF AUSTRALIA

NATIONAL GALLERY OF AUSTRALIA

@bmamag

ENTERTAINMENT GUIDE August 5 – August 10 FRIDAY AUGUST 5 COMEDY Lawrence Leung

Very Strange Things. 8pm.

2°

Curated by Alexander Boynes. 15 Jul-20 Aug.

CANBERRA CONTEMPORARY ART SPACE (GORMAN HOUSE)

Nervous by Heather B Swann

THE STREET THEATRE

Performances 3 & 4 Sep. Exhibition until Nov.

FILM

Michael Taylor - A Survey

Arab Film Festival

$14/$12. Tickets at nfsa.gov.au or at 6248 2000.

NATIONAL FILM AND SOUND ARCHIVES

LIVE MUSIC Lakeside at 5

Live music. $10. 5pm.

TUGGERANONG ARTS CENTRE

NATIONAL GALLERY OF AUSTRALIA

9 Jul - 2 Oct. Expressionist paintings. CANBERRA MUSEUM AND GALLERY

Over 3 decades Australians wrote more than 20,000 letters to Lindy Chamberlain. 8pm. $45-$55.

Life Drawing: Drawing the Human

Life drawing for beginners and those with some experience. 1pm. $40/$45.

SUNDAY AUGUST 7

CANBERRA MUSEUM AND GALLERY

KING O’MALLEY’S IRISH PUB

Until Nov. A new display focused on contemporary Chinese art.

Contemporary Asian galleries

FILM

Cream Sound Off Heat 3

NATIONAL GALLERY OF AUSTRALIA

AVIARY ROOFTOP BAR

The Encyclopedia of Forgotten Things, Rarities & Encircle. Free entry. 22 Jul - 14 Aug.

$14/$12. Tickets at nfsa.gov.au or at 6248 2000.

Special K KING O’MALLEY’S IRISH PUB

Hardons

Heuristic

Local Canberra musicians play for a slot at Cream Festival Free Entry. From 3pm.

Three New Exhibitions Opening

The Feldons

BELCONNEN ARTS CENTRE

A BITE TO EAT CAFE

28 Jul-4 Sep. Shortlisted artwork from Inaugural Hindmarsh Prize entrants.

ON THE TOWN

Mud Men

Melodic tunes interspersed with heavy blues and rock, soft country mixed with 1960s jazz and British pop.

9pm. Free.

KING O’MALLEY’S IRISH PUB

ON THE TOWN

With Much Sonar, Horrorwoods Mannequins, Johnny Roadkill & more. 18+.

Winter Festival 2016

PARTYMYX Band

NATIONAL PORTRAIT GALLERY

ART EXHIBITIONS Contemporary Asian galleries Until Nov. A new display focused on contemporary Chinese art. NATIONAL GALLERY OF AUSTRALIA

Three New Exhibitions Opening The Encyclopedia of Forgotten Things, Rarities & Encircle. Free entry. 22 Jul - 14 Aug. BELCONNEN ARTS CENTRE

Inaugural Hindmarsh Prize Shortlist

THE BASEMENT

9.30pm. A dynamic accoustic duo that play all the hits from the 80’s through to the current day. THE DURHAM

Mirusia

8pm. $59. Andre Rieu’s ‘Angel of Australia’ and Unconventional Pop Star, Mirusia sings. THE PLAYHOUSE

International Blues Music Day CBS members $20 Non-members $25. 2pm. HARMONIE GERMAN CLUB

Sarah McLeod

8pm. $25. Alone & Unplugged tour featuring acoustic songs from her repertoire. THE FRONT GALLERY AND CAFÉ

28 Jul-4 Sep. Shortlisted artwork from Inaugural Hindmarsh Prize entrants.

SOMETHING DIFFERENT

Mud Men

9:30pm, $10/7.

CANBERRA GLASSWORKS

Ramesh Mario Nithiyendran installation. 30 Jul-29 Jan. NATIONAL GALLERY OF AUSTRALIA

Design and Nature

Until Mar 2017. A glass and ceramics exhibition. NATIONAL GALLERY OF AUSTRALIA

Tough and Tender

15 Jul- Oct. Intimate and raw photographs that explore the complexities of personal relationships. NATIONAL PORTRAIT GALLERY

Reflections

Works from Canberra Glassworks and the Parliament House Art Collection. Until 11 Sep. CANBERRA GLASSWORKS

Diane Arbus: American portraits

Until 30 Oct. This exhibition features 36 of Arbus’ most iconic photographs. NATIONAL GALLERY OF AUSTRALIA

Bigger on the Inside: Collecting Dr Who Opening on the 15th Jul at 2.30pm. RSVP at cmagbookings@act.gov.au or 6207 3968. 16 Jul-20 Nov. CANBERRA MUSEUM AND GALLERY

9 Jul - 2 Oct. Expressionist paintings.

THE STREET THEATRE

10pm. Free.

SATURDAY AUGUST 6

ART EXHIBITIONS

Traditional Irish musicians in the pub from late afternoon. Free.

Very Strange Things. 8pm.

LIVE MUSIC

AVIARY ROOFTOP BAR

WEDNESDAY AUGUST 10

NATIONAL PORTRAIT GALLERY

Irish Jam Session

CBS members $20 Non-members $25. 8pm.

DJs spinning Old Skool, Hip Hop, R&B. Free from 5pm.

THE PLAYHOUSE

Lawrence Leung

NATIONAL FILM AND SOUND ARCHIVES

Fridays From Five

Letters To Lindy

Michael Taylor - A Survey

CANBERRA IRISH CLUB

HARMONIE GERMAN CLUB

CANBERRA GLASSWORKS

LIVE MUSIC

Arab Film Festival

Bondi Cigars

THEATRE

$70-$100. Bookings at eventbrite.

COMEDY

Whiskey Straits

7pm. Free. Blurb: These lads play blues grooves & other funky stuff.

Make Your Own Paperweight or Tumbler

Soundscapes SMITH’S ALTERNATIVE

Canberra Roller Derby League Save the dates. Info at crdl.com.au. VARIOUS LOCATIONS

Imaginary Borders

Youth Theatre Project. Tickets at info@ rebustheatre.com. A youth theatre project for young people. TUGGERANONG ARTS CENTRE

THEATRE Resident Alien

10am. Free. There will be ice sculpture, comedy performances, artworks and lots of winter-themed activities.

Smith’s Sunday Session 2-6pm, free.

SMITH’S ALTERNATIVE

WORKSHOPS Make Your Own Paperweight or Tumbler $70-$100. Bookings at eventbrite. CANBERRA GLASSWORKS

MONDAY AUGUST 8 LIVE MUSIC That Poetry Thing

Thing That Is On At Smith’s Every Other Monday, 7pm, $10. SMITH’S ALTERNATIVE

TUESDAY AUGUST 9 COMEDY Comedy Night

Comedy acts.

THE FRONT GALLERY AND CAFÉ

KARAOKE Karaoke Salon

8PM. Songlist at nightlife.com.au/ karaoke. POLIT BAR & LOUNGE

27 Jul - 7 Aug. Tickets at thestreet. org.au.

SOMETHING DIFFERENT

Macbeth

12pm, $10.

THE STREET THEATRE

4-20 Aug. Bookings at canberrarep.org. au or 6257 1950. THEATRE 3

WORKSHOPS Pottery Classes for Adults and Kids

Bookings at 6241 7800 or canberrapotters.com.au. 23 Jul-23 Sep. WATSON ARTS CENTRE

facebook.com/bmamagazine

Lunch Time Sing Fling SMITH’S ALTERNATIVE

Old Timey Tuesday 7pm. Free.

SMITH’S ALTERNATIVE

TALKS

Inaugural Hindmarsh Prize Shortlist CANBERRA GLASSWORKS

Ramesh Mario Nithiyendran installation. 30 Jul-29 Jan. NATIONAL GALLERY OF AUSTRALIA

Design and Nature

Until Mar 2017. A glass and ceramics exhibition. NATIONAL GALLERY OF AUSTRALIA

Tough and Tender

15 Jul- Oct. Intimate and raw photographs that explore the complexities of personal relationships. NATIONAL PORTRAIT GALLERY

Reflections

Works from Canberra Glassworks and the Parliament House Art Collection. Until 11 Sep. CANBERRA GLASSWORKS

Diane Arbus: American portraits

Until 30 Oct. This exhibition features 36 of Arbus’ most iconic photographs. NATIONAL GALLERY OF AUSTRALIA

Bigger on the Inside: Collecting Dr Who Opening on the 15th Jul at 2.30pm. RSVP at cmagbookings@act.gov.au or 6207 3968. 16 Jul-20 Nov. CANBERRA MUSEUM AND GALLERY

2°

Curated by Alexander Boynes. 15 Jul-20 Aug.

CANBERRA CONTEMPORARY ART SPACE (GORMAN HOUSE)

Nervous by Heather B Swann Performances 3 & 4 Sep. Exhibition until Nov. NATIONAL GALLERY OF AUSTRALIA

LIVE MUSIC Smith’s Varietal 9.30pm. $10.

SMITH’S ALTERNATIVE

SOMETHING DIFFERENT Imaginary Borders

Youth Theatre Project. Tickets at info@ rebustheatre.com. A youth theatre project for young people. TUGGERANONG ARTS CENTRE

Professor Brian Cox

Join Professor Brian Cox as he shares what we know. 7.30pm. $80-$195. CANBERRA THEATRE CENTRE

ENTERTAINMENT GUIDE August 10 – August 16 WEDNESDAY AUGUST 10 THEATRE Letters To Lindy

Over 3 decades Australians wrote more than 20,000 letters to Lindy Chamberlain. 8pm. $45-$55.

WORKSHOPS ‘Monsters and Beats’ Cahoots

Youth Art Lab. 4.15pm. Life-size puppet making for 9-14 year olds. $180 per term. TUGGERANONG ARTS CENTRE

Combines personal stories of young Vietnam War soldiers with the great rock songs of the era. 7.30pm CANBERRA THEATRE CENTRE

Macbeth

4-20 Aug. Bookings at canberrarep.org. au or 6257 1950. THEATRE 3

TRIVIA Tranny Trivia

Glamour & Song questions. 8pm. Book Online.

THEATRE 3

Rosie Waterland

NATIONAL GALLERY OF AUSTRALIA

One-woman show My Life On The Couch (With Vodka). Bookings at thestreet.org.au.

Steven Cummings

Reflections

SMITH’S ALTERNATIVE

9:30pm, $10/7.

THE BASEMENT

NATIONAL GALLERY OF AUSTRALIA

Eyes of Sand tour. Back with a rougher, heavier, faster edge. $10/$15. 8pm.

Chris Harland & Paul Leeder

Bigger on the Inside: Collecting Dr Who

7pm. Free. Offering a set of the Blues standards from the likes of B.B. King, Buddy Guy & Muddy Waters. CANBERRA IRISH CLUB

CANBERRA MUSEUM AND GALLERY

IRON BAR

Curated by Alexander Boynes. 15 Jul-20 Aug.

Awesome Aussie Roots Music. 7.30pm.

ON THE TOWN

THE BASEMENT

Fridays From Five

7.30pm. $10.

9pm. Free.

KING O’MALLEY’S IRISH PUB

Sleepmakeswaves

Tickets through moshtix or at the door. ANU BAR AND REFECTORY

ON THE TOWN The Thursday Games

Crazy Ass Games including tournaments and prizes, and all things Sangria & FUN. 5pm. Free. AVIARY ROOFTOP BAR

Performances 3 & 4 Sep. Exhibition until Nov. NATIONAL GALLERY OF AUSTRALIA

Sydney Comedy Festival Showcase 2016

SOMETHING DIFFERENT

Special K

Nervous by Heather B Swann

Oscar

AVIARY ROOFTOP BAR

SMITH’S ALTERNATIVE

CANBERRA CONTEMPORARY ART SPACE (GORMAN HOUSE)

COMEDY

9.30pm. Free.

Different jazz performances each week. $10-$15. 7pm.

2°

DJs spinning Old Skool, Hip Hop, R&B. Free from 5pm.

Singer Songwriters Solo Thursday Night Jazz

Opening on the 15th Jul at 2.30pm. RSVP at cmagbookings@act.gov.au or 6207 3968. 16 Jul-20 Nov.

Matt Dent

Freewyo

9:30pm, $10/7.

CANBERRA GLASSWORKS

Until 30 Oct. This exhibition features 36 of Arbus’ most iconic photographs.

THE FRONT GALLERY AND CAFÉ

SMITH’S ALTERNATIVE

Works from Canberra Glassworks and the Parliament House Art Collection. Until 11 Sep.

Sydonia

LIVE MUSIC

7pm. Tickets at smithsalternative. com.au.

NATIONAL PORTRAIT GALLERY

Diane Arbus: American portraits

Imogen Clark

Stephen Cummings

NATIONAL GALLERY OF AUSTRALIA

Classic rock and blues. 8pm. Free.

PALACE ELECTRIC CINEMA

Tickets at freewyo.com.

Pottery Classes for Adults and Kids

15 Jul- Oct. Intimate and raw photographs that explore the complexities of personal relationships.

Pottery Classes for Adults and Kids

The multi award-winning new film from Cesc Gay.

Design and Nature

Tough and Tender

OJO CAFE AND BAR

KING O’MALLEY’S IRISH PUB

Art Underground Wide Open Mic Night

Share music, stories, comedy, circus tricks or antics. 7pm. Free. With special guests.

NATIONAL PORTRAIT GALLERY

CANBERRA THEATRE CENTRE

NATIONAL GALLERY OF AUSTRALIA

Three New Exhibitions Opening The Encyclopedia of Forgotten Things, Rarities & Encircle. Free entry. 22 Jul - 14 Aug. BELCONNEN ARTS CENTRE

Irish Jam Session

Traditional Irish musicians in the pub from late afternoon. Free. KING O’MALLEY’S IRISH PUB

James Kenyon 7pm.

SMITH’S ALTERNATIVE

King

Supporting Inquisition. oztix.com.au. THE BASEMENT

Cream Sound Off Heat 4

Local Canberra musicians play for a slot at Cream Festival Free Entry. From 3pm. AVIARY ROOFTOP BAR

Madame Chocolat

Music from swing to tango. 5-7pm. Free. A BITE TO EAT CAFE

ON THE TOWN 2-6pm, free.

SMITH’S ALTERNATIVE

$70-$100. Bookings at eventbrite. CANBERRA GLASSWORKS

MONDAY AUGUST 15

Smith’s Story Jam

Rock Or Be Rocked

7pm.

8pm. Free.

SMITH’S ALTERNATIVE

James Hickey

Dr Procter’s Genuine Beginner Ukulele Singalong. 12pm. Free.

THE BURNS CLUB

SOMETHING DIFFERENT

Combines personal stories of young Vietnam War soldiers with the great rock songs of the era. 7.30pm.

NATIONAL PORTRAIT GALLERY

SMITH’S ALTERNATIVE

Michael Taylor - A Survey

Rolling Thunder Vietnam

Choral music. 4pm. Free.

LIVE MUSIC

With Jim Sharrock, 7pm, $10/$7.

Letters To Lindy

Until Nov. A new display focused on contemporary Chinese art.

Evensong

Little Wise

7.30pm.

Contemporary Asian galleries

LIVE MUSIC

Choral music. 4pm. Free.

ART EXHIBITIONS

THE PLAYHOUSE

SUNDAY AUGUST 14

Make Your Own Paperweight or Tumbler

Letters To Lindy

CANBERRA MUSEUM AND GALLERY

CANBERRA GLASSWORKS

GINNINDERRA LABOR CLUB

THEATRE

9 Jul - 2 Oct. Expressionist paintings.

$70-$100. Bookings at eventbrite.

WORKSHOPS

7.30pm. $16.50 on the door or at laborclub.com.au. With local supports.

THEATRE Over 3 decades Australians wrote more than 20,000 letters to Lindy Chamberlain. 8pm. $45-$55.

Make Your Own Paperweight or Tumbler

Chris Radburn

CANBERRA THEATRE CENTRE

Evensong

SATURDAY AUGUST 13

WATSON ARTS CENTRE

Smith’s Sunday Session

LIVE MUSIC

THE PLAYHOUSE

Bookings at 6241 7800 or canberrapotters.com.au. 23 Jul-23 Sep.

With Ray Bardan, Rebecca De Unamuno and more. Book at canberratheatrecentre.com.au.

BEYOND Q

Over 3 decades Australians wrote more than 20,000 letters to Lindy Chamberlain. 8pm. $45-$55.

4-20 Aug. Bookings at canberrarep.org. au or 6257 1950.

WORKSHOPS

LIVE MUSIC Rock Or Be Rocked

Macbeth

Ramesh Mario Nithiyendran installation. 30 Jul-29 Jan.

THE STREET THEATRE

SMITH’S ALTERNATIVE

Truman

NATIONAL GALLERY OF AUSTRALIA

Until Mar 2017. A glass and ceramics exhibition.

Full Blown

FILM

Over 3 decades Australians wrote more than 20,000 letters to Lindy Chamberlain. 8pm. $45-$55.

Mud Men

WORKSHOPS

THURSDAY AUGUST 11

Mike Parr: Foreign looking

Letters To Lindy

COMEDY

FRIDAY AUGUST 12

7pm, $25/$20.

WATSON ARTS CENTRE

CANBERRA GLASSWORKS

THEATRE

THE PLAYHOUSE

POLIT BAR & LOUNGE

Bookings at 6241 7800 or canberrapotters.com.au. 23 Jul-23 Sep.

28 Jul-4 Sep. Shortlisted artwork from Inaugural Hindmarsh Prize entrants. 12 Aug-6 Nov. Brings together works in all media across Parr’s voraciously experimental practice.

THE PLAYHOUSE

Rolling Thunder Vietnam

Inaugural Hindmarsh Prize Shortlist

THE FRONT GALLERY AND CAFÉ

Science in Action

Dr Procter’s...

SMITH’S ALTERNATIVE

TUESDAY AUGUST 16

10am-4pm. Free. Info at scienceweek. net.au.

KARAOKE

Imaginary Borders

8PM. Songlist at nightlife.com.au/ karaoke.

OLD BUS DEPOT MARKETS

Youth Theatre Project. Tickets at info@ rebustheatre.com. A youth theatre project for young people.

Karaoke Salon

POLIT BAR & LOUNGE

TUGGERANONG ARTS CENTRE

@bmamag

facebook.com/bmamagazine

ENTERTAINMENT GUIDE August 16 – August 21 TUESDAY AUGUST 16 WORKSHOPS Shopfront Art Club

Tues & Thurs. 16 Aug- 8 Sep. TUGGERANONG ARTS CENTRE

WEDNESDAY AUGUST 17 ART EXHIBITIONS Nervous by Heather B Swann

Performances 3 & 4 Sep. Exhibition until Nov. NATIONAL GALLERY OF AUSTRALIA

Mud Men

Ramesh Mario Nithiyendran installation. 30 Jul-29 Jan. NATIONAL GALLERY OF AUSTRALIA

Contemporary Asian galleries Until Nov. A new display focused on contemporary Chinese art. NATIONAL GALLERY OF AUSTRALIA

Inaugural Hindmarsh Prize Shortlist

28 Jul-4 Sep. Shortlisted artwork from Inaugural Hindmarsh Prize entrants.

THEATRE

Marcus Whale

LIVE MUSIC

Macbeth

LOBROW GALLERY & BAR

Cilla Jane

4-20 Aug. Bookings at canberrarep.org. au or 6257 1950. THEATRE 3

Ghost Stories

Direct from the Sydney Opera House, by Andy Nyman & Jeremy Dyson. Tickets at canberratheatrecentre.com.au. CANBERRA THEATRE CENTRE

TRIVIA Tranny Trivia

Pottery Classes for Adults and Kids

Bookings at 6241 7800 or canberrapotters.com.au. 23 Jul-23 Sep. WATSON ARTS CENTRE

THURSDAY AUGUST 18

Some of Australia’s best comedians to shine a light on family violence in our community. 7.30pm. CANBERRA THEATRE CENTRE

Until Mar 2017. A glass and ceramics exhibition.

LIVE MUSIC

Tough and Tender

7.30pm.

15 Jul- Oct. Intimate and raw photographs that explore the complexities of personal relationships. NATIONAL PORTRAIT GALLERY

Reflections

Works from Canberra Glassworks and the Parliament House Art Collection. Until 11 Sep. CANBERRA GLASSWORKS

Diane Arbus: American portraits

Until 30 Oct. This exhibition features 36 of Arbus’ most iconic photographs. NATIONAL GALLERY OF AUSTRALIA

Bigger on the Inside: Collecting Dr Who Opening on the 15th Jul at 2.30pm. RSVP at cmagbookings@act.gov.au or 6207 3968. 16 Jul-20 Nov. CANBERRA MUSEUM AND GALLERY

2°

Curated by Alexander Boynes. 15 Jul-20 Aug.

CANBERRA CONTEMPORARY ART SPACE (GORMAN HOUSE)

LIVE MUSIC Smith’s Varietal 9.30pm. $10.

SMITH’S ALTERNATIVE

Crystal Cities THE FRONT GALLERY AND CAFÉ

Foam

‘I Could Milk Myself’ tour. Tickets at foamband.com or through Transit Bar. TRANSIT BAR

ON THE TOWN The Thursday Games

Crazy Ass Games including tournaments and prizes, and all things Sangria & FUN. 5pm. Free. AVIARY ROOFTOP BAR

SOMETHING DIFFERENT Feminartsy presents

Canberra’s funny women with the Fearless Initative. 7pm – 9pm. $10 at the door. agac.com.au.

WORKSHOPS Shopfront Art Club

AINSLIE ARTS CENTRE

TUGGERANONG ARTS CENTRE

SOMETHING DIFFERENT Physics in the Pub 7pm. Free.

SMITH’S ALTERNATIVE

Imaginary Borders

Youth Theatre Project. Tickets at info@ rebustheatre.com. A youth theatre project for young people. TUGGERANONG ARTS CENTRE

Tues & Thurs. 16 Aug- 8 Sep.

‘Monsters and Beats’ Cahoots

Youth Art Lab. 4.15pm. Life-size puppet making for 9-14 year olds. $180 per term. TUGGERANONG ARTS CENTRE

FRIDAY AUGUST 19

“Arabian Nights” Exotic Showcase

POLIT BAR & LOUNGE

THEATRE Ghost Stories

Direct from the Sydney Opera House, by Andy Nyman & Jeremy Dyson. Tickets at canberratheatrecentre.com.au. CANBERRA THEATRE CENTRE

SATURDAY AUGUST 20 ART EXHIBITIONS Nervous by Heather B Swann

Performances 3 & 4 Sep. Exhibition until Nov. NATIONAL GALLERY OF AUSTRALIA

Mud Men

Ramesh Mario Nithiyendran installation. 30 Jul-29 Jan. NATIONAL GALLERY OF AUSTRALIA

Contemporary Asian galleries Until Nov. A new display focused on contemporary Chinese art.

Matt Dent

OLD BUS DEPOT MARKETS

SMITH’S ALTERNATIVE

With Robbie Miller and Woodes. First Light Album tour. Tickets at dustintebbutt.com. TRANSIT BAR

Robbie Miller

Supporting Dustin Tebutt’s First Light album tour. TRANSIT BAR

SOMETHING DIFFERENT Imaginary Borders

Youth Theatre Project. Tickets at info@ rebustheatre.com. A youth theatre project for young people. TUGGERANONG ARTS CENTRE

Big Boys Toys Expo

10-4pm. Info at bigboystoyscanberra. com.au. EXHIBITION PARK IN CANBERRA (EPIC)

THEATRE Macbeth

4-20 Aug. Bookings at canberrarep.org. au or 6257 1950. THEATRE 3

Ghost Stories

Direct from the Sydney Opera House, by Andy Nyman & Jeremy Dyson. Tickets at canberratheatrecentre.com.au. CANBERRA THEATRE CENTRE

WORKSHOPS

NATIONAL GALLERY OF AUSTRALIA

Pottery Classes for Adults and Kids

Inaugural Hindmarsh Prize Shortlist

WATSON ARTS CENTRE

28 Jul-4 Sep. Shortlisted artwork from Inaugural Hindmarsh Prize entrants.

Bookings at 6241 7800 or canberrapotters.com.au. 23 Jul-23 Sep.

CANBERRA GLASSWORKS

Make Your Own Paperweight or Tumbler

Mike Parr: Foreign looking

CANBERRA GLASSWORKS

12 Aug-6 Nov. Brings together works in all media across Parr’s voraciously experimental practice.

$70-$100. Bookings at eventbrite.

SUNDAY AUGUST 21

NATIONAL GALLERY OF AUSTRALIA

Design and Nature

LIVE MUSIC

NATIONAL GALLERY OF AUSTRALIA

8pm. Supported by Dana Hassall.

Andrew Swift

THE FRONT GALLERY AND CAFÉ

15 Jul- Oct. Intimate and raw photographs that explore the complexities of personal relationships.

Matt Dent

Reflections

Matt Dent

NATIONAL PORTRAIT GALLERY

Works from Canberra Glassworks and the Parliament House Art Collection. Until 11 Sep. CANBERRA GLASSWORKS

Diane Arbus: American portraits

Awesome Aussie Roots Music. 11.30pm. THE GEORGE HARCOURT INN

Awesome Aussie Roots Music. 3.30pm. WILBUR’S CAFE BAR

SOMETHING DIFFERENT Big Boys Toys Expo

Until 30 Oct. This exhibition features 36 of Arbus’ most iconic photographs.

10-4pm. Info at bigboystoyscanberra. com.au.

NATIONAL GALLERY OF AUSTRALIA

EXHIBITION PARK IN CANBERRA (EPIC)

Bigger on the Inside: Collecting Dr Who

WORKSHOPS

Opening on the 15th Jul at 2.30pm. RSVP at cmagbookings@act.gov.au or 6207 3968. 16 Jul-20 Nov. CANBERRA MUSEUM AND GALLERY

LIVE MUSIC Awesome Aussie Roots Music. 3pm.

AVIARY ROOFTOP BAR

Tough and Tender

Collected Resonances 8pm. $5.

Dustin Tebbutt

DJs spinning Old Skool, Hip Hop, R&B. Free from 5pm.

THEATRE

CANBERRA THEATRE CENTRE

No Haus Frau

Fridays From Five

GORMAN HOUSE ARTS CENTRE

Direct from the Sydney Opera House, by Andy Nyman & Jeremy Dyson. Tickets at canberratheatrecentre.com.au.

THE FRONT GALLERY AND CAFÉ

9pm. Tickets via stickytickets.com.au. $10/$15.

Until Mar 2017. A glass and ceramics exhibition.

Ghost Stories

8pm. $6. With Andy Picker on organ, drums and cello.

ON THE TOWN

8pm. This colourful showcase will hypnotise and take you on an incredible journey to the Middle East.

A Night of Hilarity for Charity

NATIONAL GALLERY OF AUSTRALIA

THE STREET THEATRE

WORKSHOPS

POLIT BAR & LOUNGE

Mike Parr: Foreign looking

Design and Nature

8pm. jackcarty.com. Tickets at thestreet.org.au.

SOMETHING DIFFERENT

CANBERRA GLASSWORKS

NATIONAL GALLERY OF AUSTRALIA

Jack Carty

Glamour & Song questions. 8pm. Book Online.

COMEDY

12 Aug-6 Nov. Brings together works in all media across Parr’s voraciously experimental practice.

Support TBC. 8pm. $5.

2°

Make Your Own Paperweight or Tumbler $70-$100. Bookings at eventbrite. CANBERRA GLASSWORKS

Curated by Alexander Boynes. 15 Jul-20 Aug.

CANBERRA CONTEMPORARY ART SPACE (GORMAN HOUSE)

@bmamag

ENTERTAINMENT GUIDE August 23 – August 31 TUESDAY AUGUST 23 KARAOKE Karaoke Salon

8PM. Songlist at nightlife.com.au/ karaoke. POLIT BAR & LOUNGE

WORKSHOPS Shopfront Art Club

Tues & Thurs. 16 Aug- 8 Sep. TUGGERANONG ARTS CENTRE

WEDNESDAY AUGUST 24 ART EXHIBITIONS Nervous by Heather B Swann

Performances 3 & 4 Sep. Exhibition until Nov. NATIONAL GALLERY OF AUSTRALIA

TRIVIA Tranny Trivia

Glamour & Song questions. 8pm. Book Online. POLIT BAR & LOUNGE

THURSDAY AUGUST 25 ON THE TOWN The Thursday Games

Crazy Ass Games including tournaments and prizes, and all things Sangria & FUN. 5pm. Free. AVIARY ROOFTOP BAR

SATURDAY AUGUST 27

Canberra Writers Festival

ART EXHIBITIONS Mud Men

Ramesh Mario Nithiyendran installation. 30 Jul-29 Jan.

Contemporary Asian galleries Until Nov. A new display focused on contemporary Chinese art. NATIONAL GALLERY OF AUSTRALIA

Inaugural Hindmarsh Prize Shortlist

MANNING CLARK HOUSE

ART EXHIBITIONS

WORKSHOPS

Design and Nature

Mud Men

NATIONAL GALLERY OF AUSTRALIA

‘Monsters and Beats’ Cahoots

Tues & Thurs. 16 Aug- 8 Sep. Youth Art Lab. 4.15pm. Life-size puppet making for 9-14 year olds. $180 per term. TUGGERANONG ARTS CENTRE

FRIDAY AUGUST 26

28 Jul-4 Sep. Shortlisted artwork from Inaugural Hindmarsh Prize entrants.

Mike Parr: Foreign looking

LIVE MUSIC

Fridays From Five

DJs spinning Old Skool, Hip Hop, R&B. Free from 5pm.

Bigger on the Inside: Collecting Dr Who

Poetry Slam

CANBERRA MUSEUM AND GALLERY

LIVE MUSIC

Inaugural Hindmarsh Prize Shortlist

28 Jul-4 Sep. Shortlisted artwork from Inaugural Hindmarsh Prize entrants. CANBERRA GLASSWORKS

Mike Parr: Foreign looking

Design and Nature

AVIARY ROOFTOP BAR

Opening on the 15th Jul at 2.30pm. RSVP at cmagbookings@act.gov.au or 6207 3968. 16 Jul-20 Nov.

CANBERRA MUSEUM AND GALLERY

NATIONAL GALLERY OF AUSTRALIA

Raize the Roof Gala Ball

15 Jul- Oct. Intimate and raw photographs that explore the complexities of personal relationships. NATIONAL PORTRAIT GALLERY

Opening on the 15th Jul at 2.30pm. RSVP at cmagbookings@act.gov.au or 6207 3968. 16 Jul-20 Nov.

Until Nov. A new display focused on contemporary Chinese art.

HARMONIE GERMAN CLUB

ON THE TOWN

Tough and Tender

Bigger on the Inside: Collecting Dr Who

Contemporary Asian galleries

12 Aug-6 Nov. Brings together works in all media across Parr’s voraciously experimental practice.

Design and Nature

NATIONAL GALLERY OF AUSTRALIA

NATIONAL PORTRAIT GALLERY

Ramesh Mario Nithiyendran installation. 30 Jul-29 Jan.

SOMETHING DIFFERENT

8pm.

Until Mar 2017. A glass and ceramics exhibition.

15 Jul- Oct. Intimate and raw photographs that explore the complexities of personal relationships.

WEDNESDAY AUGUST 31

Chris Harland Blues Band

12 Aug-6 Nov. Brings together works in all media across Parr’s voraciously experimental practice. NATIONAL GALLERY OF AUSTRALIA

POLIT BAR & LOUNGE

12 Aug-6 Nov. Brings together works in all media across Parr’s voraciously experimental practice.

7.30pm.

Mike Parr: Foreign looking

Contemporary Asian galleries

CANBERRA GLASSWORKS

8PM. Songlist at nightlife.com.au/ karaoke.

Poetry Readings

Tough and Tender

Inaugural Hindmarsh Prize Shortlist

KARAOKE

CANBERRA GLASSWORKS

TUGGERANONG ARTS CENTRE

NATIONAL GALLERY OF AUSTRALIA

TUESDAY AUGUST 30

SOMETHING DIFFERENT

Shopfront Art Club

Until Nov. A new display focused on contemporary Chinese art.

VARIOUS LOCATIONS

Karaoke Salon

28 Jul-4 Sep. Shortlisted artwork from Inaugural Hindmarsh Prize entrants.

Ramesh Mario Nithiyendran installation. 30 Jul-29 Jan. NATIONAL GALLERY OF AUSTRALIA

Including Isobelle Carmody, A.C. Grayling, Charlotte Wood and more. Tickets at canberrawritersfestival. com.au.

NATIONAL GALLERY OF AUSTRALIA

Until Mar 2017. A glass and ceramics exhibition.

Mud Men

SOMETHING DIFFERENT

SOMETHING DIFFERENT 7pm. Free, but donation appreciated. THE FRONT GALLERY AND CAFÉ

Canberra Writers Festival

Including Isobelle Carmody, A.C. Grayling, Charlotte Wood and more. Tickets at canberrawritersfestival. com.au. VARIOUS LOCATIONS

Corey Harris

Hosted by Amanda Whitley from HerCanberra. With Sebastian Terry. raizetheroof.org.au.

Until Mar 2017. A glass and ceramics exhibition. NATIONAL GALLERY OF AUSTRALIA

QT CANBERRA HOTEL

Canberra Writers Festival

Including Isobelle Carmody, A.C. Grayling, Charlotte Wood and more. Tickets at canberrawritersfestival. com.au. VARIOUS LOCATIONS

Bigger on the Inside: Collecting Dr Who Opening on the 15th Jul at 2.30pm. RSVP at cmagbookings@act.gov.au or 6207 3968. 16 Jul-20 Nov. CANBERRA MUSEUM AND GALLERY

TRIVIA

SUNDAY AUGUST 28

Tranny Trivia

Glamour & Song questions. 8pm. Book Online.

LIVE MUSIC Shaun Kirk

NATIONAL GALLERY OF AUSTRALIA

POLIT BAR & LOUNGE

8.30pm. $18. Independent blues/soul. THE FRONT GALLERY AND CAFÉ

Internationally recognised blues & reggae musician. HARMONIE GERMAN CLUB

OUT AUG 17

HENRY ROLLINS ROLLS ON IN MONTAIGNE LEAVES US SPEECHLESS AT HER AMAZING VOICE CODA CONDUCT TELL US ABOUT THEIR DEBUT EP AND ALSO DUDES’ BUTTS

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SIDE A: BMA BAND PROFILE

FIRST CONTACT Aaron Peacey 0410381306 band.afternoon.shift@ gmail.com.au Adam Hole 0421023226 Afternoon Shift 0402055314

Kayo Marbilus facebook.com/kayomarbilus1

Amphibian Sound PA Clare 0410308288

Kurt’s Metalworx (PA) 0417025792

Annie & The Armadillos Annie (02) 61611078/ 0422076313

HOUSE OF STRANGERS Group members: Chloe (vocals, keys), Liam (vocals, guitar), Evan (bass) and Angus (drums). Describe your sound. Alternative pop / psychedelic rock. Where did your band name come from? From a deep inner sense of insecurity. Who are your influences, musical or otherwise? Koi Child, The Arcs, Cage the Elephant, The Preatures, Alabama Shakes, Pond. What’s the most memorable experience you’ve had whilst performing? Playing at an ADFA graduation gig with a crowd of military cadets partying to alternative rock. Of what are you proudest so far? Recording in Los Angeles. What are your plans for the future? Anything and everything. What makes you laugh? Any episode of Red Dwarf. What pisses you off? The 50c increase of all kebabs at Ali Baba’s. What about the local scene would you change? More local music festivals featuring more local acts. What are your upcoming gigs? We’re playing at Transit Bar on Thursday July 21 at 8pm as part of She-Riff. You can read more about the gig here: bit. ly/298VS9E Contact details: houseofstrangersband@gmail.com, facebook.com/House-of-Strangers

Aria Stone sax/flute/lute/ harmonica, singer-songwriter Aria 0411803343 Australian Songwriters Association Keiran (02) 62310433 Back to the Eighties Ty Emerson 0418 544 014 Backbeat Drivers Steve 0422733974 backbeatdrivers.com Birds Love Fighting Gangbusters/DIY shows-bookings@ birdslovefighting.com Black Label Photography Kingsley 0438351007 blacklabelphotography.net Bridge Between, The Cam 0431550005 Chris Harland Blues Band, The Chris 0418 490 649 chrisharlandbluesband @gmail.com Cole Bennetts Photography 0415982662 Danny V Danny 0413502428 Dawn Theory Nathan 0402845132 Danny 0413502428 Dorothy Jane Band, The Dorothy Jane 0411065189 dorothy-jane@dorothyjane.com Drumassault Dan 0406 375 997 Feldons, The 0407 213 701 Fire on the Hill Aaron 0410381306 Lachlan 0400038388 Fourth Degree Vic 0408477020 Gareth Dailey DJ/Electronica Gareth 0414215885 Groovalicious Corporate/ weddings/private functions 0448995158 Guy The Sound Guy Live & Studio Sound Engineer 0400585369 guy@guythesoundguy.com

Los Chavos Latin/ska/reggae Rafa 0406647296 Andy 0401572150 Merloc - Recording Studio, Watson. Sam King: 0430484363. sam@ merlocrecords.com Missing Zero Hadrian 0424721907 hadrian.brand@live.com.au Morning After, The Covers band Anthony 0402500843 Mornings Jordan 0439907853 Obsessions 0450 960 750 obsessions@grapevine.com.au Painted Hearts, The Peter (02) 62486027 Polka Pigs Ian (02) 62315974 Rafe Morris 0416322763 Redletter Ben 0421414472 Redsun Rehearsal Studio Ralph 0404178996/ (02) 61621527 Rug, The Jol 0417273041 Sewer Sideshow Huck 0419630721 Simone & The Soothsayers Singing teacher Simone 62304828 Sorgonian Twins, The Mark 0428650549 Soundcity Rehearsal Studio Andrew 0401588884 STonKA Jamie 0422764482 stonka2615@gmail.com Strange Hour Events Dan 0411112075 Super Best Friends Greg greg@gunfever.com.au System Addict Jamie 0418398556

Haunted Attics band@hauntedatticsmusic.com

Tegan Northwood (Singing Teacher) 0410 769 144

In The Flesh Scott 0410475703

Top Shelf Colin 0408631514

Itchy Triggers Alex 0414838480

Undersided, The Baz 0408468041

Jenn Pacor Singer-songwriter avail. for originals/covers 0405618630

Johnny Roadkill Paulie 0408287672 paulie_mcmillan@live.com.au

Zoopagoo zoopagoo@gmail.com

@bmamag

BILL BAILEY

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TROYE SIVAN

@bmamag