Beat 1643

Please Do Not Litter September 12, 2018 Issue N o 1643

Freya Josephine Hollick / Los Chicos / Twelve Ballet / The Kite Machine

FREE

2019 BLUESFEST SIDESHOWS presented by presented by

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LUKE STEELE X DANIEL JOHNS

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This week at

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Wednesday 12th @ 8.00pm

‘LOMONDACOUSTICA’ MANDY CONNELL DON MORRISON SIMON PHILLIPS Thursday 13th @ 9.00pm

JULIAN JAMES TRIO (Southern blues)

Friday 14th @ 9.30pm

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(Cross-country roots)

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NEIGHBOURHOOD YOUTH, HOUSEHATS, MERPIRE, LOW TEMPERATURE CIVICS Sunday 16th @ 5.30pm

PAUL WOOKEY TRIO (Finger-pickin’ good)

Tuesday 18th @ 8.00pm

IRISH SESSION (Fancy fiddlin’)

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7

ISSUE NO 1643

Contents 10 14 16 17 18 19 20 31 32 33 34 35 36

20

Melbourne Fringe Festival

37 38

Special

News Arts Guide Beat Eats Industry Charts Metal Hip Hop Electronica Dreams How to Adult Fringe Festival 2018 Freya Josephine Hollick Los Chicos Wax Jax and the Midnight Snax Twelve Ballet Talking Heads The Kite Machine Pablo Francisco Profiles Album of the Week Singles of the Week Album Reviews Gig Guide

Editor’s note With Gloria Brancatisano

Is there a pairing more strange on paper than that of Luke Steele and Daniel Johns? I’ll let you decide, but when they finally release their debut album this week I promise you’ll see why the more-than-a-decade long wait has been well and truly worth it. We sat down with the eclectic Luke Steele to pick his brain about the project ahead of the album’s unleashing.

While you’re at it we also meet up with Freya Josephine Hollick, get the inside scoop on all things Los Chicos, get up to mischief with Wax Jax and the Midnight Snax, and take a deep dive into Talking Heads’ masterpiece Remain In Light.

On top of all that we’ve trawled through the huge Melbourne Fringe program to handpick some of the best bits – there will be laughs, tears, and thinking aplenty.

You can thank us later.

PUBLISHER Furst Media Pty Ltd. 3 Newton Street, Cremorne, VIC, 3121 (03) 9428 3600 EDITOR Gloria Brancatisano DIGITAL EDITOR/SOCIAL MEDIA MANAGER James Di Fabrizio SUB EDITOR Abbey Lew-Kee EDITORIAL ASSISTANTS Holly Denison, Tom Parker, Jacob Colliver, Kate Streader, Anthony Furci, Greta

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COLUMNISTS Joe Hansen, Lochlan Watt, Michael Cusack, Christie Eliezer, Georgia Spanos, Julia Sansone, Augustus Welby CONTRIBUTORS Alexander Crowden, Dan Watt, Augustus Welby, Alex Watts, David James Young, Bronius Zumeris, Natalie Rogers, Isabelle Oderberg, Holly Pereira, Nathan Quattruci, Julia Sansone, Claire Morley, Lee Parker, Benjamin Potter, Lizzie Dynon, Abbey Lew-Kee, Tom Parker, David Ohaion, Luke Fussell, Jacob Colliver, Anna Rose, Kate Streader,

Paul Waxman, Anthony Furci, Zachary Snowdon Smith

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NEWS

News Darebin Music Feast Will Boast Eleven Days of Tasty Tunes and Talented Artists

— Wed 12 September —

Therion

— Sat 15 September —

Lagerfest

— Thu 20 September —

Andrew McMahon

The annual north-Melbourne music feast is coming up, and it boasts a smorgasbord of diverse talent. There are 120 events lined up for this year, which will be spread out across 26 different venues from Northcote to Resevoir. Wanting to highlight inclusivity, the team behind it all has ensured that more than a third of the events are free, most are all-ages, and they’ve made sure to include a heap of wheelchair accessible venues, too.

This year’s program is absolutely packed, with Jen Cloher, Mojo Juju, Alice Skye, Banoffee and Jesswar just a few of the artists on show.

Darebin Music Feast will run from Thursday October 18 - Sunday October 28.

— Fri 21 September —

Zeljko Samardzic

— Sat 22 September —

Lord, Vanishing Point & Alarum — Sun 23 September —

The Black Dahlia Murder — Thu 27 September —

Paradise Kitty

— Fri 28 September —

Club Carmada

— Fri 05 October —

Sleepmakeswaves 10th Anniversary Tour

MANA - 2017

— Sat 06 October —

The Superjesus

— Sun 07 October —

Cherry Poppers

— Fri 12 October —

Hands Like Houses (SOLD OUT)

— Sat 20 October —

Klear

— Fri 26 October —

Peter Murphy (Bauhaus) — Sat 27 October —

Kate Cebrano

Calum Scott

— Thu 01 November —

Killswitch Engage — Fri 02 November —

Aunty Donna

— Sat 03 November —

Aunty Donna

— Mon 05 November —

Dead Kennedys

— Thu 08 November —

Conan + Bell Witch — Fri 09 November —

Fozzy

— Sat 10 November —

RocKwiz

Heart of St Kilda

The RocKwiz cast, crew and a bevvy of musicians will be looking back at the year that was when they go on tour this November. Join your hosts Julia Zemiro and Brian Nankervis, the ever-charming roadie Dugald, and the talented RocKwiz orchestra for these live shows bursting with humour, wit, and of course, music questions.

There’ll be surprise artists along for the ride, and audience members will get the chance to put their music knowledge to the test.

Melbourne RocKwizzer’s can head along the Palais Theatre on Friday November 23 to get in on all the action.

Heart of St Kilda is back for its eleventh year, and it features a heaving bill of celebrated Australian performers. There’s a mix of comedians and musicians lined up for the night, including Kate Cebrano, Tex Perkins & The Fat Rubber Band, Archie Roach and Bob Franklin, to name a few. Hosted once again by RocKwiz funny-man Brian Nankervis, this is a night of entertainment that also supports a great cause. Get down to the Palais Theatre on Tuesday October 23 to catch it.

The electric cast are hitting the road

Sacred Heart mission announce lineup for their annual fundraiser

Sinsaenum

— Fri 16 November —

Primal Fear + Sinner — Sat 17 November —

Amenra

— Fri 30 November —

Vlatko Stefanovski Trio — Sat 01 December —

Psycroptic & Orpheus Omega

— Tue 04 December —

Kamelot

— Fri 07 December —

Gary Og

— Fri 01 February —

The Smyths

— Sat 16 March —

Soilwork

Tickets & Info: MAXWATTS.COM.AU facebook: @maxwattsmelb instagram: @maxwattsvenue VENUE HIRE ENQUIRES bookings.melbourne@maxwatts.com.au

125 Swanston St, Melbourne

10

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Lost Paradise

East Brunswick Hotel

New Year’s lineups are dropping left, right and centre, and now we’ve got another one from New South Wales staple, Lost Paradise.

This year’s headliners are brit-rockers The Kooks, Australia’s own Tash Sultana, and American rapper Joey Bada$$, as well as the bold M.I.A for her Australian return. There’ll be DJ’s and producers like SG Lewis and PNAU laying down the party tracks, as well as musos like Dune Rats, Ball Park Music and Vera Blue if house music isn’t your thing. Check out the Lost Paradise website for the full lineup, and head down to Glenworth Valley from Friday December 28 to Tuesday January 1 for the festival.

After an 18-month hiatus, the East Brunswick Hotel is back in business. The venue has undergone a total facelift during that time, with a revamped stage area for live performers, a sleek new cocktail bar and an underground dining space all coming as part of the new upgrade. They’ve also added a John Farnham mural too, because, why the hell not? Take a look at the new digs for yourself at 280 Lygon Street, East Brunswick.

Release their stellar 2018 lineup

The live music venue has reopened its doors

NEWS

Australian Women in Music Awards Announce Their Inaugural List of Finalists Women have been pioneering powerhouses of the Australian music scene for decades now, and the inaugural Australian Women in Music Awards is finally recognising that. The debut event will highlight the female movers and shakers of the industry, including musicians, creatives, producers and educators. Amy Shark, Katie Noonan, Stella Donnelly and Camp Cope are just a few of the talented ladies up for awards, with winners announced at the Brisbane ceremony on Wednesday October 10.

For the full list of finalists and more information on the event, check out the AWMA website.

Cable Ties Camp Cope

The Grates

Cosmic Psychos

Australian indie-rockers The Grates are getting back together to celebrate ten years of their album Teeth Lost, Hearts Won. Drummer Alana Skyring is heading back to Australia from her home-base in New York to reunite with Patience Hodgson and John Patterson, and take their music around the country. It’s the first time the original band have toured together since splitting in 2010, so it’s an exciting time to be a Grates fan. Make sure you’re at The Corner Hotel on Friday December 7 to catch this show.

Cosmic Psychos, Pist Idiots and Ute Root are going on tour together as an Aussie punk rock dream-team, for what will likely be some epically rowdy shows. The trio of bands will hit Brisbane and Sydney, and take in a stack of Victorian dates including shows at Frankston’s Pier Hotel on Saturday November 3, Sooki Lounge in Belgrave on Monday November 5 and the Corner Hotel on Tuesday November 6.

That one will be an arvo cup day belter with local rockers Civic also be joining the lineup, so be sure to snap up your tickets quickly.

Are heading on a Teeth Lost, Hearts Won anniversary tour

Heading around the east coast with Pist Idiots and Ute Root

DJ Gay Dad

Bogan Shakespeare

Cheated Hearts

Shakespeare has been done in many different ways, but Bogan Shakespeare – coming into this year’s stint of Melbourne Fringe Festival – is a quintessentially Australian spin on the playwright and his works.

The performance – from Gippsland’s Here, There and Everywhere Theatre Co. – sees Aussie bogans take on Shakespearean actors in a the ultimate clashing of cultures and education. References to plays like Romeo and Juliet are mixed in with bogan jokes, poking a bit of fun at the poet and making his material more approachable. You can see the show for yourself at the Palais Theatre, from Thursday September 27 to Saturday September 29.

After kicking things off at The Gaso last month, Cheated Hearts is taking over the Collingwood cult venue, again, for a second allinclusive, queer party. DJ Airhorn Mami and DJ Gay Dad will be returning for the event, joined by Infinity Blade and Jane Doe, who’ll be laying down a mix of hip hop, trap and electro beats.

The Gaso is wheelchair accessible and features both disabled and gender-neutral toilets, ensuring that everyone feels welcome to come along for a boogie. The party kicks off at 9pm on Saturday September 22, and entry is a breezy $10 on the door.

A touch of bogan is coming to this year’s Melbourne Fringe Festival

The queer and inclusive party is heading back to The Gaso for round two

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11

NEWS

Bluesfest Touring Announce a Stack of Sideshows Ahead of the 30th anniversary of Bluesfest, they’ve dropped a slew of sideshows from some of the festival’s hottest acts. Leading the way is Ray LaMontagne who will take over Palais Theatre on Saturday April 27.

On their final Australian tour, George Clinton & Parliament Funkadelic will hit up The Forum on Thursday April 25.

Nahko And Medicine For The People will come to 170 Russell on Sunday April 21, while Arlo Guthrie will transform Melbourne Recital Centre on Tuesday April 23. I’m With Her, Keb’Mo’, Trevor Hall, Vintage Trouble, Larkin Poe and The California Honeydrops will also all make headline stops in Melbourne while they’re here. Head to bluesfesttouring. com.au for more info.

Cable Ties George Clinton

Lauryn Hill

Pianos Become The Teeth

Lauryn Hill’s influential album The Miseducation of Lauryn Hill turns 20 next month, and the singer is embarking on an anniversary tour to celebrate. She’ll be heading to Australia in February next year for a string of shows across the country, with hip hop bigshot Nas in tow as support. The platinum-selling album is packed with much-loved tracks like ‘Doo Wop (That Thing)’ and ‘Everything is Everything’, so here’s your chance to see the legend live. Catch Lauryn Hill and Nas on Wednesday February 13 at the Sidney Myer Music Bowl.

Baltimore-native indie post-hardcore band Pianos Become the Teeth have announced that they’ll be making their way Down Under for a run of dates next year. Last in the country in 2017 with Luca Brasi and in 2013 with La Dispute, February 2019 sees the five-piece headlining Australia for the first time. Off the back of their recently released full-length Wait For Love, the sixstop run will give Australian fans the ultimate chance to bask in Pianos Become The Teeth. Pianos Become The Teeth will take to Northcote Social Club on Friday February 22.

Is bringing Nas along for her Australian tour

Wednesday 12th September

Lock in 2018 Australian tour

Wine Whiskey Women: Ash Sumpter & Yazmindi

8pm:

Thursday 13th September

8pm:

Charlie Bedford 9pm: Tiosav Joy Friday 14th September

Traditional Irish Music Session 8:30pm: Anna Scointi

6pm:

Saturday 15th September

The Tipplers 9pm: Cold Heart 3pm:

Sunday 16th September

Duncan Phillips & The Long Stand 6.30pm: A Few Good Women 4pm:

Tuesday 11th September

Marty Kelly paying tribute to Willie Nelson 8pm:

The Drunken Poet, 65 Peel Street (directly opposite Queen Vic Market), Phone: 03 9348 9797. www.thedrunkenpoet.com.au

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M.I.A

Docklands Blues Music Festival

Two days of Deep South blues in Melbourne’s inner-west The Docklands Blues Music Festival is back for another year of free entertainment, celebrating the blues of the Deep South. This year’s lineup includes Chicago blues outfit Electric Blues Collective, Bill Barber and Brian Fraser, as well as Adelaide’s Mike Elrington and PJ O’Brien from Sydney. The event runs over two days, Saturday October 20 and Sunday October 21, with things kicking off at 11am each day. You can find the full lineup and more details on the Docklands Blues Music Festival website.

The First

The brand new NYD festival has dropped their inaugural lineup After drip-feeding teasers over the last week, finally, The First has dropped their inaugural lineup – and boy is it a scorcher. Leading the charge comes party starters The Presets, who’ll be joined by the likes of rapper and singer-songwriter M.I.A, New York rapper Action Bronson, and house producer and multi-instrumentalist SG Lewis. Open-air, multiple stages, and some of the best acts in live electronic, hip hop, house and techno from around the globe, roving art and performers and stacks of food and bevvy offerings – what more could you ask for to kick off your New Year? The First rolls into Sidney Myer Music Festival on Tuesday January 1.

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13

ARTS

Arts Guide BEAT’S ICK TOP P

Emma Matthews: The Space Between

The modern opera masterpiece coming into Arts Centre Melbourne Acclaimed performer Emma Matthews will bring her modernday operatic masterpiece – inspired by her career playing iconic opera heroines – to the Arts Centre for an intimate season beginning this week. Powerful and revealing, this show will challenge the “doomed opera heroine” trope and bring seventime Helpmann award-winner and soprano great Emma Matthews’ voice to the forefront like never before. With music composition and performance from jazz pianist Paul Grabowsky, a poetic libretto written by Steve Vizard, and Jamie Oehlers on saxophone duties, this show is sure to send spines tingling. Catch Emma Matthews: The Space Between from Thursday September 13 until Sunday September 23 at Fairfax Studio.

Toni Servillo as Silvio Berlusconi in Loro

The Lavazza Italian Film Festival Kicks Off This Week

The 2018 Lavazza Italian Film Festival opens at The Astor this week, and they’re hosting a stellar opening night gala to kick things off in fine form. Lap up the screening of Paolo Sorrentino’s multi award-winning 2018 biopic Loro, while there’ll also be prosecco and apertifs, Italian ice cream, antipasti and more flowing too. Loro zeros in on the career of scandal-tainted former Italian Prime Minister Silvio Berlusconi, taking in themes of corruption and seduction, drugs and relationships along the way. There’ll be an after party going down, too, ensuring this opening night is a dazzling affair. The 2018 Lavazza Italian Film Festival runs from Thursday September 13 until Sunday October 7 across The Astor, Palace and Kino cinemas.

Comedy

Spice up your Sunday with a dose of Curtin Comedy this Sunday September 16 at The John Curtin Hotel. Featuring an all-star cast including Nath Valvo (AKA Edinburgh Fringe Best Newcomer winner), 2016 RAW Comedy winner Danielle Walker, TV and radio sensation Alex Ward as well as Nick Capper and Nat Harris, this is set to be a belter. Kicks off at 5.30pm and entry is an easy $12 on the door. Get on it.

Yvette Coppersmith, Self-portrait

2018 Archibald Prize

Fire Gardens

Arguably the most prestigious art award in the country, the Archibald Prize has been awarding astounding portraiture works since its inception in 1921. Five-time finalist Yvette Coppersmith took out the cool $100,000 reward for her self-portrait this year, now is set to be exhibited in Geelong alongside a whopping 57 other finalists’ works, from this month.

Punters can expect to find all sorts of familiar celebrity faces in the pieces, created by painters of all career levels. The 2018 Archibald Prize finalist pieces will be on display at the Geelong Gallery from Saturday September 22 through until Sunday November 18, and you can find tickets via Trybooking.

The lead up to the Melbourne International Arts Festival is heating up, and we reckon you should keep your eye out for Fire Gardens ­­­–­ the pyrotechnic dazzler rolling into the Royal Botanic Gardens as part of the festivities. From French artist collective Compagnie Carabosse will come mammoth leaping flames, flickering sculptures, shadow-fuelled urns and an epic soundtrack to top it all off. The group has taken their work to the likes of Stonehenge, the Moscow Kremlin and a former Moroccan prison and will now bring it to Melbourne’s most iconic garden space from Wednesday October 10 until Sunday October 13. More details via the MIAF website.

Catch the finalists in exhibition this month

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The Royal Botanical Gardens are going to be lit

Hell’s Canyon

Catch the La Mama production this month Winner of the Rodney Seaborn Playwrights Award, shortlisted for the Patrick White Playwrights Award and straight off the back of a critically acclaimed stint in Sydney, Hell’s Canyon lands at La Mama this week. A compelling story of friendship, grief, rebellion and teenage angst, Hell’s Canyon follows former friends Caitlin and Oscar, who, after sharing a haunting memory, make a pact to run and go missing. Hell’s Canyon plays at Trades Hall until Sunday September 23 and you can find more details on show times and tickets via the La Mama website.

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15

COLUMNS

Beat Eats WITH GEORGIA SPANOS

Industry WITH CHRISTIE ELIEZER

Charts

WITH CHRISTIE ELIEZER

Bar Josephine

Recently, I was asked by my friend, “What is Melbourne’s sweetest charm?” The question could’ve been answered in many ways, but one stood out among the rest: Our expansive restaurant and bar scene. Fine dining pubs? We’ve got it.

Family-run authentic eats? Aplenty. Somewhere to cosy down with great cocktails and music? Well, that’s what we do best. This week I’m sharing one of Melbourne’s best faces.

Drop by Bar Josephine on your way home, a cherished child of Barkly Street in Footscray. The bar is intriguing with its almost cage-like aesthetic, and the deep lighting, calming blue walls, and red leather seats are enchanting. No doubt you’ll hear some woozy rock to cradle you through their huge selection of unique beers on tap. It’s easy to end up staying for hours.

WHERE DO AUSSIES DISCOVER NEW MUSIC?

How much new music did you discover today? And where?

SoundCloud, Spotify or Bandcamp? YouTube recommends?

Newer apps or traditional mediums like radio? First lets look at where Aussies consume their music. Research company GfK’s Share of Audio found live radio accounts for 65.3% of time spent by Aussies a day, across all age brackets, including the 10-17 and 18-24 demographics. 68.4% of Australians listen to live radio every day. Infinite Dial says 88% of Australians tune into AM/FM and DAB radio, outpacing America’s 65%. 10.5 million Australians listen to commercial radio a week, 3.5 million to community radio stations, and 2 million for triple j. 13% listen to podcasts (up from 10% in 2017), at an average of five a week.

Pho Hung Vuong Saigon

Sahara Beck

AMRAP METRO TOP TEN

1.Here We Go Again - Sahara Beck 2. We Can’t Win - The Goon Sax 3. Native Tongue - Mojo Juju 4. Summer Holiday – FRITZ 5. Happy – Thando 6. Digital Mountain Sparrow - Nice Biscuit 7. Run Away - Holiday Party 8. Twin – VOIID 9. Damn Loyal - Eves Karydas 10. Thankful – Candy SYN TOP TEN

Barkly Street shows all sides of our authentic and contemporary food-scene – with most stores being familyoperated restaurants, butchers and seafood markets. One of note is Pho Hung Vuong Saigon, where I head for the best in Vietnamese cuisine. Don’t be startled upon walking in with their staff yelling in bursts, moving around quickly – the restaurant’s energy aims for nothing less. Once seated by their quick service enjoy complementary hot green tea while flipping through their menu. Usually, I’ll order combination spring rolls (the fresh lettuce, crunching against deep fried delicacies) before moving onto the classic dishes – what this restaurant sticks to, and does best – like pho or vermicelli salad (pork is best). Their rice dishes, particularly the pork chops with fried egg and then more shredded pork, is notable.

Personal music collections are the second most listened to, says Share of Audio, with 12.6%. Streaming services are third at 11%, and tipped to explode as more Australians embrace sophisticated voice recognition systems. Mat Levey of Amazon Music says when it launched in Australia this year, “35 of Amazon’s 150 playlists featured exclusively Australian content.

In total 75% of Amazon’s playlists contain Australian music… featuring popular and emerging artists.”

Online music videos had a 3.3% share (73% of Australians used YouTube to watch music videos or listen to music) while podcasts’ share was 3.2%. In comparison, a US study by Nielsen found Americans discovered music through radio (51%), friends and relatives (45%), movies (31%), audio or video streaming apps like YouTube (27%), social media apps (25%) and television (23%). Festivals missed out on the cut although another Nielsen study found one in eight Americans cite festivals and other live events are a source of music discovery. Research is just starting to be done for Australian festivals on that score.

1. Lovely- Pinkish Blu 2. Exile Spree - East Brunswick All Girls Choir 3. Half Empty Girl - Eliza & The Delusionals 4. I Am One - Kult Kyss 5. June - RAThammock ft Merpire 6. Blessed - Arno Faraji ft Remi. & Sensible J 7. awomen amen - Genesis Owusu 8. k bye - RAAVE TAPES 9. Violence Broken - No Mono 10. Smile Lines - Slowly Slowly PBS TOP TEN

1. Voodoo in the Shadows - Fiona Boyes 2. Djambaku - Waak Waak Djungi 3. Always Right - School Damage 4. Coffin Nails - Mark Sultan 5. Distance In The Line - Dark Fair 6. Devotion – Tirzah ft Coby Sey 7. Sakura No Mizu - Kuniyuki Takahashi 8. Meeting of the Spirits - McLaughlin-Herring 9. Cactus Country - Cool Sounds 10. We Can’t Win - The Goon Sax TRIPLE J TOP TEN

1. Reel It In - Aminé 2. I’ll Be There - Crooked Colours 3. Maybe - Dear Seattle 4. Eyes Wide Shut - Glades 5. Old Habits – Mid City 6. Facts – Nyne ft Tray Haggarty 7. When I Dream - San Cisco 8. Lavender Bones - Stand Atlantic 9. Peach Jam - 88rising, Joji & BlacBoy JB 10. Kill The Moon – Feelds

The Plough

You may also notice down Barkly Street that, although authentic, around one in ten stores pops with a more modern feel; perhaps somewhere slower, to spend time in. The Plough – contrary to its name – is splendid. The pub, which wraps the corners of Barkly Street and Princes Hwy, boasts heritage since 1868, but also reinvigoration, having reopened in April 2013 after six months of renovation – charming and well-respected among the community. The Plough is known for serving great seafood bites, like seared scallops (with morcilla, celeriac, wild rice and nashi), and fried calamari (with flatbread, baba ghanoush, pickled red onion and dill yoghurt). For mains, go with their grill offerings; 300g porterhouse (with hand cut chips, salad and choice of red wine, mushroom or pepper sauce); 280g hanger steak (with white bean puree, brussel sprouts, bacon and nettle butter); 220g eye fillet (with confit kipflers, charred broccolini and bordelaise sauce); or 12-hour beef short rib (with smoked potato, parsley crust, horseradish and onion rings).

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How about pubs, clubs, gyms, shopping complexes, and even bowling centres? This was the claim at the NSW parliamentary inquiry on Australian content by Nightlife Music CEO David O’Rourke. His company provides music for such establishments, and he said. “We are where Australians hear great, new homegrown music for the first time, and in many cases we are the ones that drive consumer choices when they go home.” He said Nightlife alone played ten times more music than radio over a three-month period from June to August and featured almost four times as many Australian artists.

So what classifies as new Australian music? “New” is, as defined by ARIA, under 12 months old. APRA however want to widen this definition from just recording artists to Aussie songwriters. Streaming wants to include engineers and producers. Commercial radio reckons that if a track was recorded in Australia by a visiting international act, then it should count towards filling up its Australian quota.

AIR 100% INDEPENDENT SINGLES TOP TEN

1. Never Ever - The Rubens ft Sarah 2. We’re Going Home - Vance Joy 3. Riptide - Vance Joy 4. Waiting – Kian 5. I’m Good – Wafia 6. Fire and the Flood – Vance Joy 7. Coming Home – Sheppard 8. Lay it On Me – Vance Joy 9. Just Friends - Hayden James ft Boy Matthews 10. Shout the Land a Drink - The Hay Balers

COLUMNS

Metal

WITH LOCHLAN WATT

Hip Hop WITH JULIA SANSONE

Electronic WITH MICHAEL CUSACK

CLYPSO

The Ocean is the kind of creative endeavour that is more justifiably explained in 5000 words than 500, so I’ll try and do my best. Formed in Berlin in 2000 by guitarist/mastermind Robin Staps, the once-collective has gone through well over 60 ex-members, session musicians, guest vocalists and other collaborators, before settling into the concept of being an actual ‘band’, their first stable lineup coming together in 2009. Their sound began with incredibly dark, European hardcore-tinged post-metal instrumentals that owed a great deal to the likes of Breach, Cult of Luna and Neurosis, while gradually adding vocals as a focal point. The group grew up alongside the likes of Mastodon, Opeth, and Between The Buried And Me, before settling into a sound that straddles the ideas of ‘progressive’ metal just as much as it does ‘post’ – all the while sounding kind of nothing like any of the aforementioned. Along the way, Robin has composed and conducted six incredibly epic studio records almost entirely by himself – all with their own unique and dutifully layered concepts.

In 2007, the band released their Precambrian album, and while the band had already written a double album with Fluxion (2004)/Aeolian (2005), this one marked the opportunity to release them as one large pound of incredibly impressive artwork via the likes of international tastemakers Metal Blade Records.

The album that dealt with the earliest part of earth’s formation, when things were all volcanoes and tectonic crashes on the Hadean/Archaean side, before the crust began to cool and the first signs of life began to form with the Proterozoic period, all merged lyrically by some of the most significant philosophical ideas that humanity has ever tackled. This set the scale for the albums to come – the 2010 double set of Heliocentric (an album about the belief that the earth is the centre of the universe), and Anthropocentric (about the belief that man is the centre of the universe), and 2013’s Pelagial (an album written as a scientific journey from the waves and sunshine of the Epipelagic zone, all the way to the crushing depths of the Benthic zone, lyrically strung together by a retelling of the 1979 Russian arthouse sci-fi film, Stalker).

Chances are if you weren’t at BIGSOUND last week, you definitely would’ve heard about what went down, as well as seeing snippets of the exploding talent out of our Australian music industry. With the event designed to showcase up-and-coming musicians, artists like CLYPSO, Thando, Genesis Owusu, Kaiit and Kwame are some of this country’s best hip hop and R&B acts that hit the stage across this year’s event. The sound of CLYPSO is like no other; combining jungle-infused tropical electronica with afropunk, and an unexplainable energy powered into every release.

Having released two singles in 2018, Kwame teamed up with the Sydney artist on her track ‘Middle Ground’. Thando has also been busy this year, releasing her single ‘Happy’ and will support R&B soul singer, Allen Stone, at The Croxton in September. Genesis Owusu’s single ‘awomen amen’ is one to listen to if you’re a fan of jazz-inspired hip hop; with his music taking influence from the likes of Miles Davis and MF Doom. Kaiit’s EP Live From Her Room is making waves after being released in late August, with a sold out Melbourne show at the Corner this month.

M.I.A

Welcome to peak festival announce time, that period of the year where we have to weigh up our options, figure out which ones have the max fun-to-cost ratio, and then decide if we really have to buy people Christmas presents or if we can just blow our entire modest disposable income on festival tickets.

Latest announcements include a new NYD festival at Sidney Myer Music Bowl called The First NYD. It’s an eclectic lineup of hip hop, pop, electro, house and techno including The Presets, Action Bronson, Max Cooper, KiNK, M.I.A, and Banoffee. I can honestly say I never thought I’d be able to catch that motley group of artists together on a single day.

Yaeji

The internet is losing their mind over electronica hip hop artist Yaeji is coming to Australian shores. The KoreanAmerican musician – based in Brooklyn, New York – blends elements of house music with hip hop and vocals sung in both English and Korean. The 25-year-old rose to fame after her track ‘raingurl’ became the ultimate anthem for a Friday night party starter, a Saturday night kick-on, or just a good old-fashioned dance off any day of the week. But the producer and DJ’s music digs deeper than getting people on their feet; her music is incredibly self-aware and introspective as she explores topics of Korean identity, anxiety, therapy and the all-consuming makeup and skincare culture. Yaeji has recently partnered with a local Korean restaurant to serve curry at her Brooklyn shows, in an effort to personalise the gathering and music experience. The producer and DJ will play at The Night Cat on Wednesday December 5 before heading off to make it rain at Meredith Music Festival.

Bonobo

Dates and venues have been confirmed for Laneway Festival 2019, including a venue change for Melbourne. Now going down at Footscray Park, the Melbourne event happens on Saturday February 9. The lineup announce is coming Tuesday September 8 so keep your ears peeled.

Beyond The Valley is back for its fifth year, going down at Lardner Park in Warragul, Friday December 27 to Tuesday January 1. Electronic highlights of the lineup include Fisher, Mall Grab, Duke Dumont, Bonobo (DJ set), KiNK, Alice Ivy, DJ Tennis, Willaris. K, CC:DISCO!, Peggy Gou and Nastia. A variety of tickets options are available, ranging from one to four nights. Check out the full lineup and ticket options via the BTV website.

Jess Zammit Dawn Laird

Confused and bored, or enthralled and wanting to know more? Either way, bring it forward to 2018. Recorded in Sigur Ros’ Icelandic studio, The Ocean’s forthcoming album Phanerozoic I: Palaeozoic is part one of a two album series that is conceptually the sequel to the Precambrian album – ‘Permian: The Great Dying’ is the first taste of this new album series that deals with the period where green things started to grow on earth, the extinction events that followed, and Nietzsche’s idea of ‘the eternal recurrence’ – where everything happens again and again through an infinite loop of time.

The song contains the most impressive vocal melodies the band has ever accomplished, and feels huge, beautiful, and porous in a way that has one imagining both evolution and extinction taking place underneath their own skin. Colour me excited for this record.

This week’s local spotlight dives down into the dark, brooding and electrifying music of Dawn Laird. A rapper, MC and producer from Newcastle, the artist is inspired by the likes of Wu Tang Clan, Mos Def, A Tribe Called Quest, Run The Jewels and Horrorshow, who Laird has recently supported on their The Grey Space ten-year anniversary tour in mid-2018. Most recently, Laird’s music has been paralleled to the likes of Kendrick Lamar for her powerful approach to lyricism and piano-heavy thump that gives tracks like ‘Sandworms’ a hard-hitting sound that feels ahead of its time. Horror-movie like strings create an unnerving energy in this release, which adds to its dark and grimy energy.

Having spent this year supporting artists like Mojo Juju and Rapaport on their national Australian tours, fans of Dawn Laird are waiting patiently to see what this underground hiphop prodigy will blow us away with next.

For something a bit more locally focused, there’s Hopkins Creek 2018, going down in Tatyoon, western Victoria, from Friday November 30 to Monday December 3. Back for its third year, the lineup includes Sleep D (Live), Turner Street Sound, Jess Zammit, Adi Toohey, Angophora (Live), Millú, Mitsuki ( JAP) and plenty more. This is a BYO festival, which is always a money saving treat. Third release tickets are on sale now via Eventbrite.

Looking ahead to the end of Summer, Babylon Festival is back on Thursday February 14 to Sunday February 17. It’s a pretty heavy lineup with a focus on techno, electro and psytrance including enigmatic Russian electro royalty Nina Kraviz, techno don Dax J, Icelandic dark techno star Bjarki, Farebi Jalebi, Earthling, Amelie Lens, Olivia Dawn (live), Thylacine (live) and heaps more. It goes down in the countryside of Carapooee West, head to babylon.net.au for all the deets.

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17

COVER STORY

Dreams

By David James Young

On paper, Luke Steele may seem like a true singular entity. He’s a prolific, versatile and multi-faceted songwriter, whose 20-odd years in the game have seen him go from indie-rock wunderkind to the most unlikely pop star on the planet.

Were one to look a little closer at the different stages of his career, however, it’s quickly realised that Steele operates best when he has a direct one-on-one collaborator to see the project through – someone who can creatively complement Steele’s larger artistic vision.

For The Sleepy Jackson, it was drummer Malcolm Clarke. For Empire of the Sun, it was PNAU’s Nick Littlemore. Now, with DREAMS, it’s none other than erstwhile Silverchair frontman Daniel Johns – in turn, finally baring fruit for a collaboration that has been promised for well over a decade now.

“You can never predict chemistry,” says Steele of his collaborative partnerships. “It’s like when you’re dating – you’ll get told this girl’s great, and that she likes all the same stuff you do. You meet up, and five minutes in you’re talking about the weather. I’ve had that with so many artists where, on paper, it really seemed like we were going to hit it off.

“I feel like you definitely need to work with people that are willing to explore alongside you. You need to have resilience, and you need a thick skin.

If you don’t have those things when you’re making music, you’ll be finished pretty quick.”

If there’s anyone who exudes resilience, surely it’s someone like Johns. Having battled through crippling illnesses and personal struggles, DREAMS marks Johns’ return to the limelight following his severely underrated solo LP, 2015’s Talk. Johns and Steele, as is well documented, have made several attempts at a full-length collaboration in the past.

It’s only now that we’re finally seeing that come to light in earnest with the release of DREAMS’ debut LP, NO ONE DEFEATS US. According to Steele,

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the album was inspired by the pair’s fondness for the nightlife. “Every time we would throw parties, we would end up in this dance party mode with all of our friends,” he says.

“I think both of the records we’d made previously were in a really different vain, so we realised that we wanted to make something that would slip comfortably into a typical playlist for these sorts of nights. That’s seriously how we worked out what to do with some of the demos – if we put them on and people started moving, then we knew we were on the right track.”

Fifteen years on from albums like Lovers and Diorama, Steele and Johns have made one of their most loftily ambitious LPs to date in NO ONE DEFEATS US. If the all-caps title didn’t give it away, the album thrives on defiant mantras, chestrumbling synth, and booming electro-pop beats. It’s named after one of the songs on the album, which Steele notes as being the catalyst for the entire project. “With all of these songs, we kept going around and trying to light fires,” he says. “That song ended up being like the Olympic Torch.

“It had all of this power and imagination to it.

It sent us into this clear direction, where we knew exactly what attitude this album had to have.”

It was a breakthrough moment for the two, who would often find themselves not on the same page at all insofar as creative inspiration was concerned.

“For a while, we were living in completely different parts of the world,” Steele explains. “We’d only see one another every six to 12 months, and by then everything would be different.

“I’d be into Japanese electronica, while Dan would be into orchestral arrangements. It was

difficult at times to get on the same track, but it all ended up being a part of the journey – the same way everything else this past 15 years has been.”

Indeed, Steele and Johns’ relationship dates back to around the early 2000s, when Silverchair and The Sleepy Jackson first went out on tour together. At the time, The Sleepy Jackson were riding high on the momentum of their 2003 debut, Lovers. Having recently celebrated the 15th anniversary of its release, Steele is endlessly grateful for its surviving legacy.

“It’s amazing looking back on just how much attention it got,” he says.

“People are really drawn to things when they’re so young and new like that. It came out in 35 countries around the world, and I toured on the back of that album for years. It doesn’t matter where I go – I could be doing press for Empire in Russia to Lithuania, and I still get asked about The Sleepy Jackson. It’s a real blessing to have made something that has such an impact on people.”

It’s now been 12 years since the last Sleepy Jackson record, 2006’s Personality, and a third album from the band has turned into the Aussie rock equivalent of Chinese Democracy. “Most of it’s done,” Steele confirms. “It just lacks something.

“Sometimes, you might just feel like you’re lacking something in your life – a deficiency. I think that’s what this album has. I feel like it just needs the right anointing of time. It needs another round of fire over it for it to be properly finished,” Steele says.

For now, the fire burns under DREAMS and NO ONE DEFEATS US – and that’s more than enough.

“That’s seriously how we worked out what to do with some of the demos – if we put them on and people started moving, then we knew we were on the right track.”

Dreams will release their debut album NO ONE DEFEATS US on Friday September 14 via EMI Music Australia.

SPECIAL FEATURE

How To Adult: A Practical Guide Tips to keep on the fridge.

You’ve just moved out of home and your adult status has been christened. Suddenly, work or uni kicks up and you never have any time – dirty clothes litter your floor as dishes fill the sink. There’s no order to this mayhem so maybe it’s time to take a step back and breathe. Check everything out and consider “is this really how it should be done?”. If so, great. If not, maybe it’s time to ring mum or take a few tips from us.

Covering the necessities of work, home, relationships, money and insurance in our last instalment of How to Adult, we took our first baby steps. This got us off the ground, however, there’s still so much to learn before we can prove the ‘rents wrong; before we can discuss our life story at the next family gathering without the awkward cringe. To keep this crazy train of life chugging, here’s a few hints to keep you on the tracks.

Hobbies Outside of your work, it’s important to consider the value of hobbies. Finding something you enjoy supplements energy and energy is one of the most helpful assets of life. Energy at work allows you to make the most of your time which often correlates with better performance. Living in a sharehouse? Energy means you can fulfil your housemate responsibilities, even if that is just adhering to the cleaning roster.

We can often lose sight of our hobbies when work consumes us, but taking a second to think about the activities that bring us the most joy is important for balance. To start, set aside some time once a week for a hobby – it could be as simple as grabbing a beer with a mate or going out for a kick. Maybe it’s learning a new language or an instrument. It’s never too late to pick up a guitar, get into synths, or even start a band. Plus, collecting weird and wonderful instruments is a hobby unto itself. I’ll leave it up to you.

Exercise Exercise is an uncomplicated facet of life. It can be as simple as taking the dog for a walk once a day or going for a jog three times a week. Maybe your mates are starting up a social netball team or maybe your best friend just started doing pilates. Jump on board, it’ll clear your head and clear your arteries. Exercising is important for your overall wellbeing and feeds into everything else you do in life. The endorphins make you happy and people want to be around you when you’re happy. You’ll be more productive at work and if you’re part of a team, suddenly you’ll have a passion to win. And if you end up investing in some quality hiking gear, tents, or sporting equipment for your outdoor adventures – RACV Single Item Insurance can cover that too.

Values After reading this, you’re not expected to go into a deep cleansing phase in an attempt to iron out every undesired trait. It’s just something to be mindful of going forward as it feeds into the other sections of this piece.

Considering who you want to be has a lot to do with thinking about your values. Do you want to be a caring, kind person who puts others first or are you the hungrier type, happy to leave people by the wayside in pursuit of your goals? I’m not one to tell you which is better, but there are some values which are universally desired. To prove yourself at your workplace, reliability is your best friend. To be relied upon encompasses a host of other important traits, such as loyalty, commitment and cooperation.

When it comes to gratifying your relationships, you can’t go wrong with kindness and modesty. There’s plenty you can achieve in this world with just those two values. Don’t get too caught up in it, but next time you’re a little worried about how your actions affected someone else, take a quick second to think of your values.

Clean living As you may already know, the world is on a fast track to Armageddon – such is the unsustainability of current living.

Do we know what’s recyclable and what’s not? What do we do with left-over food? Do we use calico bags? Where does our power come from? You’re not expected to ask yourself all these questions, but it’s important to be mindful of how your living affects the environment.

If you want to live sustainably, there are many simple strategies you can put into action. It can be as simple as reusing your jam jars at home or washing your laundry in cold water instead of hot. Outside of that, walking, riding or using public transport over your car is certainly helpful, while shopping at op shops is your commitment to recycling clothing.

Possessions Taking care of your valuables can go a long way to improving your life. Clumsiness and forgetfulness are the two ingredients to losing something or having something stolen, so if you can iron these out you’ll be well on your way.

If there’s one tip to maintaining your possessions, it’s repetition. Leaving your valuables in the same place every time means you’ll always know where they are. This will soon become habit and suddenly you’ll be unknowingly tracking the same path to grab your wallet or phone, and it’ll always be there.

To protect your valuables from crooks it’s important to take out insurance. Often a confusing service, with RACV Single Item Insurance, it’s simple. Get insurance on a single item and for as little as $1.25 per month your guitar is protected. You can also get cover on headphones, DJ equipment and any other musical instrument that’s valuable to you.

It’s as easy as heading to the RACV website, setting up a quick quote online and going from there. What’s more, RACV Single Item Insurance also offers optional cover for accidental damage and theft Australia-wide.

Social media In this crazy technological world, humans have access to a second being, a clone which acts on behalf of them while hiding behind a facade. The phenomenon of social media has given people a lever to communicate grievances without being subject to ramifications.

Bullying was commonplace in the schoolyard but has now taken on another dimension. Cyberbullying, as it’s called, sees aggressors achieve fulfillment by attacking those with differing opinions, motives or looks online. Such is the intangibility of the internet, assailants often get away with their deeds as victims don’t have the arm for justice.

When engaging online, try to be mindful of what you say and what you do. What are the consequences of my actions? How will they affect someone else? Employers look out for these things so it could be the difference between getting your dream job and missing out.

BY TOM PARKER RACV Single Item Insurance Is Issued By Insurance Australia Limited Abn 11 000 016 722 Afs Licence No. 227681. Racv Single Item Insurance Is Distributed To Members Of Royal Automobile Club Of Victoria (Racv) Ltd, By Racv Insurance Services Pty Ltd Abn 74 004 131 800 Afs Licence No. 230039. Please Consider The Product Disclosure Statement Before Buying. For A Copy Call 13 Racv (13 7228) Or Visit Racv.com.au.

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19

FRINGE FEATURE FESTIVAL 2018

Fringe Festival 2018 Melbourne Fringe is upon us for another year, celebrating the best of arts, culture, and diversity with their renowned open-access program. A sprawling culmination of artistic expression, this year’s festival features more than 3,000 artists presenting 450+ works in over 170 venues – meaning you’ve got a plethora of opportunities to get out there, enjoy yourself, and make the most of the creativity that’s bursting forth across the city.

But where to start? We’ve handpicked a collection of shows that’ll make you laugh, feel, and think. Moreover, most of these are all independent artists and performers.

After all, that’s what Melbourne Fringe is all about. It’s a platform for people to showcase their talents and share it with the world. The final ingredient? An audience. That’s where you come in.

The Video Suitcase Walk Rebooted

What’s the central premise of your show? It’s an urban/performance art project designed and conceptualised by Melbourne-based video/installation artist Martha Ackroyd Curtis, AKA Marths™. The artist creates a ‘moving screen’ of video art that is carried around with The Stroll Collective.

How long did it take you to craft it? Since 2014 when Marths™ conceptualised and devised the project, created the devices and formed the collective, The Stroll™ have performed on the streets, at nightclubs and made appearances at various places including most recently in Leipzig, Germany.

What do you want the audience to take away from your show? I would like the audience to take away from the checkout an expanded view of video art, as well as the knowledge that new ideas are being made while imagination can be your motivation.

How does your show play with convention? We are taking video art into a different realm of display and context. The videos selected ask questions either artistically or intellectually. They push boundaries of perception and what artists can say about the world they view.

Who/what are your biggest influences? To me I am influenced by pop culture, characters I meet in real life, our social media-obsessed culture, performance artists, fashion designers who use theatre – give me Alexander McQueen or Vivienne Westwood frocks and I am happy.

What do you love about performing?

Being able to do what I love and perform with people I love.

You can stroll the streets of Fitroy with The Video Suitcase Walk Rebooted on Friday September 14, Saturday September 22 and Sunday September 23 from 7pm.

It’s a free event.

20 BEAT.COM.AU

FRINGE FESTIVAL 2018

Ascent

None Taken

What’s the central premise of your show? Ascent focuses on the need for constant self improvement, as it relates to the ‘female’ body. The main message of the show is to value the intelligence and wisdom of our bodies, to slow down and listen to our bodies, rather than be fixated on their function, efficiency or aesthetics.

How long did it take you to craft it? At the end of last year I was in the middle of a writing exercise where I wrote 100 scenes in 100 days, inspired by two words created on a random word generator. One day the words ‘injection’ and ‘load’ came up. The resulting scene ended up being the last scene of Ascent. Within about two months I had a draft script and it will have been almost a 10 month process by the time we premiere.

What does your show say about society today? There seems to be increasing pressure on many of us to look young and youthful for as long as possible, which is one of the things we look at in the piece. We are about finding ways to empower women through stories that celebrate and offer a new perspective on how women and our bodies can be represented.

What’s a fun fact about your show? We create a giant hand on stage that is made with four legs, two backs and a thigh. Another fun fact is that we were one of five shows to be selected for Melbourne Fringe’s first ever ShowSupport grant.

What’s the central premise of your show? My show is mostly about travel, it delves into the time I almost got abducted in Cuba and I use that story to intertwine other personal stories that are equally dark or funny. The basis of the show is primarily how travelling is supposed to be a wonderful thing that consumes your Instagram feed, but on my trip, I had a bizarre and scary experience that left me quite shaken.

Who/what are your biggest influences? I love Daniel Sloss and Iliza Shlesinger. I recently watched Iliza’s special Confirmed Kills on Netflix, I thought it was great. Sloss as well has two specials coming out, which I’m excited for, but some Australian comedians that I love are Rhys Nicolson, Becky Lucas, Ronnie Chieng, Jim Jeffries – the list is endless – but who cares about them, come see my show.

What do you love about performing? I love that I can joke about subject matters that are normally deemed inappropriate in real life – onstage you can unpack it a little more while finding the comedy in it. Also the free drinks are good too.

What’s a fun fact about your show? I promise Cardi B music at some point in the show.

Where do you plan to take your show after Melbourne Fringe? Melbourne Comedy Festival. I also hope to take it to a few other festivals around Australia and New Zealand, Nan’s basement, you know the usual.

Ascent plays at Theatre Works from Friday September 28 until Sunday September 30 and tickets are $32/$28 conc. The project is generously supported by the Ron and Margaret

None Taken plays from Monday September 24 until Sunday September 30 (excluding

Dobell Foundation and Sam and Monica Abrahams, as part of ShowSupport.

Saturday) at Belleville. Tickets are $18/$16 conc.

La Mama Theatre

Nico: Songs They Never Play on the Radio

What’s going on at La Mama during Fringe? With Melbourne Independent theatre bursting at the seams this Fringe Festival, La Mama has some really exciting offerings for your calendar.

Muniak Mulana is the debut collaborative work between interdisciplinary artists Neil Morris (DRMNGNOW) and Brent Watkins (Culture Evolves). It embodies place and generations spanning from pre-colonial, to first contact, present time and into the postapocalyptic in a meeting of river water man Yorta Yorta and salt water man Gunai Kurnai.

Coming to La Mama straight off the back of its critically acclaimed Sydney tour, is Hell’s Canyon. This award-winning play about friendship, grief and magical rebellion was developed with Playwriting Australia at the National Play Festival and was written by Emily Sheehan.

The Actor Crack’d presents a world where the mentally ill are automatically blamed for everything from mass shootings to suspected acts of terrorism. This timely piece of side splitting, heartbreaking, thought provoking comedic drama that blurs the boundaries between art and madness is Matthew Richard’s directorial debut Fringe offering, with Sarah Yeung’s design and Bill Marshall’s genial writing making for a comic tragedy worthy of Milligan.

In the extreme isolation of the Andean foothills, three sisters were found hanged from a rock, their animals slaughtered beside them. Three Coya Indigenous sisters – Justa, Lucia and Luciana stood to be the last remnants of a large family who tried to survive in an inhospitable environment. Beasts is inspired by acclaimed play Las Brutas from Chilean playwright Juan Radrigan, based on this true story.

What’s the central premise of your show? To explore the music and life of elusive German songstress, actress and model, Nico – not just the incredible, rich brilliance of her music, but her struggle to find her place in the world of rock music as a woman and the trends she’s set for others who’ve come after her.

How long did it take you to craft it? We’ve been working on the show for about five years. It’s come together more specifically in the past year, working with musicians, composers and curators.

What does your show say about society today? The tough struggles pioneering women had to go through to get their music represented and to pave the way for women to be taken seriously in creating not just music, but visceral rock music.

What was the creative process like putting the show together? We decided to incorporate a large array of instruments to help realise the potential of the music, away from usual “rock” instrument contexts. We wanted to make sure the show was about Nico’s music and not a biopic.

How does your show play with convention? We took songs that ordinarily are performed within a rock music context, and in our typical Forest Collective style we reimagined these for traditional, lush orchestral colours and presented the music and Nico’s story in a concert performance. Our aim is to bring the tradition and aesthetics of classical and contemporary classical music and warp it with other performance and musical styles.

You can head to La Mama Theatre’s website for further details on what’s on this Fringe

Nico: Songs They Never Play on the Radio will play at the Main Theatre, Lithuanian Club

Festival season.

from Friday September 14 to Sunday September 16. Ticket prices start at $22.

BEAT.COM.AU

21

FRINGE FESTIVAL 2018

Frank Sita As part of Melbourne Fringe Festival, local artist Frank Sita is filling two Melbourne restaurants with artwork and music.

He’s known for his teaching at the Sita School of Multi-Arts, but insists that at least six days a week, he’s committing time into his own creative works.

His latest exhibition, Voice Art: Songs on Canvas, brings both his musical and artistic sides together.

“I like the idea of the voice because we need to have a voice as artists and also as people. I feel a lot of people get disenfranchised in a society that’s moved on too quickly. So that’s why I’ve called it Voice Art,” Sita explains.

“Songs on Canvas is expressing through paint and through sculpture the original compositions that [have been] written recently and through the years. I’ve based it on the elements of art, the way I see it – line, shape, colour, texture, value.”

However, this connection between music and art isn’t as firm in Sita’s eyes as some might think.

Using the connections between music and art as a guideline, Sita creates his eclectic music and distinctive art style.

“I don’t really set a strict way of doing it. That’s one of the things I’ve learnt with creativity, I try not to think too much but, I’ve got an idea of how to go about it. I coincide line with flow, shape with structure, colour with mood, value with volume, and texture I try and express through the instruments I’ve used. That’s the basic structure I’ve written with over the years for Melbourne Fringe and a few things so those songs came from a different spot.”

A rare element of Voice Art is audience participation. Audiences have a real impact on the art and the music displayed at both venues

“I’m a really big believer that everybody can and should do art, they’ve just got to find what they’re good at.”

– Soda Rock in South Yarra and Osteria 20 in Hawthorn.

“I want to invite people to write whatever they want on my sculptures, so they become part of the aesthetic. The idea is to use those words and comments to write a song. They’ll be encouraged to write whatever they want. The way I’ve set it up they can be anonymous if they like. I want them to write whatever they want,” Sita says. “[At Soda Rock] we will be using upstairs, it has a bar, it’s part of the ambience. [At] Ostia 20, the paintings and sculptures at this stage are in the room where people are dining, so it’s a completely different experience. I’ve done quite a few exhibitions now.

I need to consider the rooms that we’re in. Soda Rock is where I do some teaching and where I’m exhibiting my paintings and sculptures is generally where I do my workshops.”

This unique exhibition not only uses locations close to Sita’s heart but also has an impressive amount of work dedicated to it. Over 100 songs and 100 pieces of art are to be on display. Despite this enormous workload, Sita stays focused on where’s he’s heading.

“I’ve been a working artist for many years, so I’ve got a lot to draw on. I’ve got a lot of paintings

and there’s almost as many sculptures too. They’re all connected. It might seem like a lot but one flows into the other,” he says.

“The last couple of years, I’ve gotten interested in how creativity works and how important it is for everyone’s well-being. I’m a really big believer that everybody can and should do art, they’ve just got to find what they’re good at. I’ve been writing things down over the years and it’s become research. It looks like it’ll become a book or a PhD. It’s art but it’s academia as well.”

Sita owns his own company, which he admits is a fortunate opportunity for him to do what he loves.

Half of the company focuses on teaching under the title of the Sita School of Multi-Arts, while Frank Sita Art Productions is all about creating art.

“I’ve been a working artist all my adult life, I still feel I’m lucky to make a living out of it. There’s a lot of artists out there, very good artists too, that just haven’t had the breaks and something like Fringe Festival gives them a platform and support from an organisation that seems to be there to help you.”

BY HOLLY DENISON

Ingrid TaylorMoss: Daze to Thirty Many of us take stock of our lives as our thirtieth birthdays approach.

Twenty-nine-year-old writer Ingrid Taylor-Moss is no different, but, unlike most of us, she’s turned her musings on ‘thirtyhood’ into art.

Daze to Thirty, a theatre piece that is neither quite a play nor a monologue, will debut at this year’s Melbourne Fringe Festival.

“It’s true of 30 and 35 and 40,” says Taylor-Moss.

“Even 25 is a little post in your life where you ask, ‘What am I doing? What is going on? Who are these people around me? What is this occupation I’ve found myself in?’ It’s a moment when we reflect on that.”

Taylor-Moss grew up in small-town Victoria and studied international relations before detouring toward Melbourne’s National Theatre Drama School. She currently splits her time between managing a wine bar, drawing up blueprints for a novel, tentatively titled Catatumbo, and rehearsing Daze to Thirty. It’s not a lifestyle that leaves her with much idle time.

“I was like, ‘Okay, by the time I’m 30, what would I like to achieve with my life?’” says Taylor-Moss. “‘What don’t I like about it and what do I like about it?’

Time and time again, it kept coming back to issues of communication. I wasn’t being strong enough with how 22 BEAT.COM.AU

Frank Sita’s Voice Art: Songs on Canvas appears at Osteria 20 and Soda Rock from Friday September 14 until Sunday September 30 as part of Melbourne Fringe Festival.

“Imagine a documentary crossed with a music video, maybe, with some speech thrown in. I don’t think you’ll have seen a lot of things quite like it.”

I wanted to represent myself, so I was getting frustrated with how people were seeing me.”

Working with wine isn’t just a way of paying the bills for Taylor-Moss – it’s a way of bringing people together. Taylor-Moss has toured wine-producing regions in Europe and North and South America, and her connoisseurship works its way into Daze to Thirty, where a bottle of Joshua Cooper Chardonnay features as a prop.

“I love it, because I just tell stories about wine all day,” says Taylor-Moss of her job. I like the massive contrast: wine is farming, and you meet a lot of winemakers who are chilled out, down-to-earth dudes. Then you go into a restaurant and the people who are talking about the wines are the most anal-retentive, strung-out dudes.

Daze to Thirty has evolved during writing, and so has Taylor-Moss’s perspective on her approaching birthday. Cutting Daze to Thirty down from a broad semi-autobiography to a sleek 50-minute piece posed a challenge. Fifty minutes, Taylor-Moss calculates, is about as long as an audience can pay attention to a single person on a stage, absent any significant gimmickry.

This is also one of Taylor-Moss’s first major noncollaborative works. “I wouldn’t call [Daze to Thirty] a

drama or a comedy or anything like that,” says TaylorMoss. “Imagine a documentary crossed with a music video, maybe, with some speech thrown in. I don’t think you’ll have seen a lot of things quite like it.”

Communication and miscommunication are recurring themes in Taylor-Moss’s work. Working in hospitality has given her ample opportunity to observe people half-listening to others around them. She’s also concerned about the online echo chambers created by curated news feeds. She goes out of her way to pursue a somewhat omnivorous news diet. “The other day, I was watching all this Fox News stuff,” says Taylor-Moss.

“They were hideous – they were disgusting, they were misogynistic and racist, and I was very offended. But I still need to see those things, because that’s what they’re seeing. We can’t have an argument if we’re not seeing the same things.”

Taylor-Moss hopes that Daze to Thirty will prompt Melburnians to regard their lives with fresh eyes, and ask if they’re really happy with where they are. After that, she plans to take the show on the road to Perth and across Australia, all the while turning 30 in April, 2019.

BY ZACHARY SNOWDON SMITH

Catch Daze to Thirty at the Alderman on Tuesday September 18 and Wednesday September 19 and Tuesday September 25 and Wednesday September 26.

MELBOURNE FRINGE 13–30 SEPT

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FRINGE FESTIVAL 2018

Mother Bear is Barren: Life and Other Disappointing Fairytales

Pinky Promise

What does your show say about society today? The show challenges the way we think about life, happiness and success. I think people lose their belief in fairies and ogres, but never quite let go of that childish comfort that ‘happy’ is somewhere out there waiting.

Society drills into us that we have to be perfect, and I hope Mother Bear challenges that.

Is your show based on your true-life experiences? Mother Bear is Barren is based on my lived experience of mental illness. It might seem odd, but I think there is ripe material for comedy burrowed within mental illness. Using an unabashedly fantastical lens, it’s based on my own, very real-world struggle to be happy in this imperfect world.

What do you want the audience to take away from your show? I hope that the audience leaves the show having laughed. But I also hope they take away a gentle reminder that the world impresses a whole lot of narratives against us. It’s important to recall that at a moment’s notice you can choose to reject everything you ‘should’ do.

What was the creative process like putting the show together? The creative process of putting the show together has been challenging and rewarding in equal measure. I’d never tackled anything like this before, and I’ve learned a lot.

How does your show play with convention? Mother Bear is Barren plays with the convention of stories in general. The show takes the tropes of the fairytales we all heard as children and shines a light on the ridiculous inconsistencies keep rife throughout them.

What’s the central premise of your show? Pinky Promise tackles three main themes: family, resilience and memory. I wanted to explore the idea that childhood defines who we are. If so, is it possible to get away from that? What do we have to do to reinvent ourselves and how do we manage to reinvent our relationships through time?

Is your show based on your true-life experiences? Pinky Promise is the most intimate story I’ve ever told. Some bits are fiction or magnified to fit a theatrical narrative, but the central story is based on my life. When I finished the first draft, I asked my sister for permission to tell our story. She said that this story might help others feel they’re not alone in this. And now we’re at Fringe.

How long did it take you to craft it? I wrote the first draft two days before the Fringe’s application deadline, and just finished the final version two weeks before the show, so it’s been a crazy six month journey.

Who/what are your biggest influences? Wes Anderson’s dysfunctional family themes and nostalgia about a life that is not anymore; Ingmar Bergman’s blurred reality/dream and incisive characters; Jenny Kemps’ surreal narrative and research line about memory.

What do you love about performing? I love that something so fleeting like a performance you’ll only see once can move you for many years to come. Now in the role of a writer/ director, I’m just as amazed by how Holly and Emily (my cast) give life to this story in the most beautiful way.

Catch Mother Bear is Barren: Life and Other Disappointing Fairytales at LongPlay from

Pinky Promise will play from Friday September 21 until Wednesday September 26 at

Friday September 28 until Sunday September 30. Tickets are $20/$16 conc.

LongPlay. Tickets are $20/$16 conc.

Labelled

The Mouse

What’s the central premise of your show? Everyone is different – right down to how our brain fires – but what we hold in common is our humanity. I grew up in the ‘70s and ‘80s with “superpowers” like the supermarket meltdown, queer sensibilities and being gender unimpaired. Ultimately, Labelled challenges the backwards thinking of a generation waking up from practices like institutionalising young people just for being different.

What do you want the audience to take away from your show? As an audience member once said, “there is important stuff in this show about neuro-diversity and how not to be a dick in a nice way.” The world and our understanding of it are changing and we need to run with it, not fear it.

How does your show play with convention? It’s a mix of storytelling techniques, audiovisual, a ventriloquist sound-effect guru as a narrator and bad interpretative dance. I don’t do traditional “boom boom tish” punchlines but comedic storytelling and word-play aimed at smashing stereotypes about young people in irreverent ways. It aims to “punchup not punch-down”, critiquing worldviews that hold binaries as more important than people’s experience.

Who/what are your biggest influences? The faces of Lucille Ball. I have spent my whole life trying to work out facial expressions that I could not process. My faces on stage are entirely the fault of watching too much I Love Lucy. The other one is the rambling critique style observation of Billy Connelly.

What’s the central premise of your show? Inspired by the myths behind the modern psychopath, The Mouse is a thriller that follows two sisters who reunite at the family home following the death of their mother, where shocking revelations emerge surrounding their inheritance.

What does your show say about society today? How ruled we are by money, and how wealth in times of need takes on an almost tangible emotional power. The Mouse is also a commentary on our inability to escape our pasts and our family – no matter where we go, or who we try to become, we remain fundamentally linked to them.

What was the creative process like putting the show together? I’ve had the great fortune of working with an incredible director and cast. I’ve also been trading tips with all-round legends Picked Last For Sport (who are performing Creatures Of The Deep) so I feel like I’ve been incredibly well supported through the whole creative process.

How does your show play with convention? We decided to perform the entire show with only three characters, and when they interact with outsiders the audience can neither see nor hear what is being said by them. It really adds to the sense of mystery and suspense while allowing the audience to fill in the gaps in the story.

What do you love about performing? I love working with people who are dedicated and passionate about creating something new. Everyone has so many ideas to bring to the table and there’s an energy that’s really exciting to be a part of.

Labelled plays from Monday September 24 to Wednesday September 26 at Hares and

The Mouse plays at The MC Showroom until Sunday September 23 as part of Melbourne

Hyenas. Tickets are $20/$15 conc.

Fringe. Tickets are $30/$25 conc.

24 BEAT.COM.AU

A FESTIVAL OF EXPERIMENTAL CIRCUS

11>21 OCTOBER THE MELBA SPIE GELTENT MORE AT MELBAS PIEGELTENT.COM .AU BOOK NOW! FES TIVAL PASSES AVAIL ABLE

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25

FRINGE FESTIVAL 2018

Bogan Shakespeare

“A lot of Shakespearian themes are really important to the human condition.

That’s why we draw on Shakespearian ideas.”

Gippsland-based theatre company, Here There & Everywhere are shaking things up with their latest offering, Bogan Shakespeare – a bogan rendition of classic Shakespeare plays.

In throwing Aussie characters into the depths of this timeless playwright, Phillip A Mayer and his company breathe life into the flowery language of 400-yearold texts. Full of bogan jokes and crass humour, this performance is a cheeky addition to the 2018 Fringe Festival roster.

From Titus Andromedas to Romeo & Juliet, HT&E Theatre Co. explores tragedy, romance and treachery – Aussie style. Mayer started the theatre company after moving to Gippsland to start a family, and subsequently found a lack of theatre in the area. He soon found a company of likeminded artists and performers to devise work that is not only accessible and entertaining, but also tackles subjects relevant to today’s world.

“We tried to make it more appealing, more accessible to the general populous and we will put a bit of Aussie bogan humour to make it more accessible and more fun,” he explains.

“Comedy is a great way to get audience on side, the audience wants to be entertained… in this case it’s a great way of educating people.”

Within the performance, the audience is introduced to traditional Aussie bogans – all crude, loud and blunt.

“You will see them gather by an open bin fire,

it’s a cliché, but it’s cliché for a reason, it actually happens,” he said.

“They make references to Shakespearean stuff but don’t realise where it actually came from. They channel Shakespearean actors who come and give them a bit of an education of him and how important he is for our language.”

When it comes down to “Bogan slang”, Mayer is not convinced that Shakespeare would have been a fan.

“He actually would have suggested people step up and use proper language, although he introduced language that in his time was considered quite bawdy.”

Mayer describes the shows ability to pull out a larger crowd, as well as its relevancy to today.

“Bogans are people who are hard to sell to,” he explains. “They are less likely to go out to see theatre. So, we thought if we can sell Shakespeare to the hardest market, the Aussie bogan, we can sell Shakespeare to anyone.

“A lot of young people still don’t like Shakespeare, they are intimidated by the language and they think that it’s irrelevant and outdated, but it’s really not. All

The Melba & Beyond

Tell us about The Melba & Beyond. The Melba & Beyond is a place for storytelling in a fun, safe and inclusive way. That said all of the shows use unconventional genres and techniques to tell their story. Juggling, song, knife throwing, dance, clowning, acrobatics and puppets are all used to communicate in each performance.

What do you offer? The Melba Spiegeltent operates year round with programming from a variety of different genres. For Melbourne Fringe we are throwing the doors of Circus Oz open to create additional venues to showcase more intimate work.

What do your shows say about society today? The idea is to challenge the concept of what different genres are and how in today’s artistic landscape nothing is ever just one thing anymore.

What do you want the audience to take away from the shows? We want the audience to walk away with a smile on their faces. Some of the shows will challenge people’s ideas and comfort zones, but for that, we have our central bar area where they can talk through what they have seen with their friends or the artists themselves.

What’s a fun fact about The Melba Spiegeltent? The Melba Spiegeltent, located at the Circus Oz home in Collingwood, was built in Belgium in 1910. It travelled across Europe and saw numerous performances through its bevelled doors, including Edith Piaf and Kurt Weil in the ‘20s and ‘30s. In 2006 it came to Australia and was renamed after Australia’s fabulous opera soprano, Dame Nellie Melba.

The Melba & Beyond program will offer over 70 performances from 16 companies as part

you have to do is look at the American or Australian political system. The Australian system is just Julius Caesar happening all over again.”

“He covered so many themes, he covered so many different aspects of society from politics to love, I think it is still applicable to today,” Mayer says.

“A lot of movie and material draws on Shakespeare’s ideas. Everything is derivative, there are no true original ideas, it’s just how you interpret it. I think a lot of Shakespearian themes are really important to the human condition.

To Mayer, theatre has been a medium that has isolated members of the public; Like the characters in Bogan Shakespeare, Mayer has caught himself having surprising discussions about all things Shakespeare in the backyard.

“I thought that people wouldn’t have the understanding or the capacity or the interest. Theatre was one of those things, because we are from a regional area, it was not really popular. Arts and culture is still seen as something for the wealthy or the educated.

Part of our mission is to get those people in the door.”

Bogan Shakespeare plays at Club Voltaire from Thursday September 27 until Saturday September 29 as part of Melbourne Fringe Festival.

BY MARIE DUNNE

Love/Hate Actually

What’s the central premise of your show? Amy loves the 2003 rom-com Love Actually, but Natalie hates it. The show is a tribute/takedown, with the audience ultimately asked to decide who’s right.

How long did it take you to craft it? We’ve been friends and fellow performers for more than ten years, and every Christmas would argue over the merits of Love Actually.

Eventually we figured out that other people might have similar arguments, and the idea for a stage show was born. The writing process itself took three to four months.

What was the creative process like putting the show together? We had to watch Love Actually numerous times, which of course was a delight for Amy but sheer torture for Natalie. She can’t hear the theme music now without flinching. The passion we have onstage fighting for our respective sides is absolutely born out of heated discussions about the plot and characters during the writing process.

What’s a fun fact about your show? Love/Hate Actually is proudly written by women for women, because women are the target market for romantic comedies. And yet we’ve been amazed by how many men have flocked to the show and loved it. There are a lot of fellas out there who are secret – or not so secret – fans of the movie. And we get it – even we can agree that Colin Firth is quite lovely to behold.

What do you love about performing? There’s nothing better than making a live audience laugh. Except maybe Colin Firth.

of Melbourne Fringe, from Thursday September 13 until Sunday September 30. For more

Love/Hate Actually plays at The Ballroom, Lithuanian Club from Saturday September 22 to

details, head to the Melba Spiegeltent website.

Saturday September 29 at 8pm (7pm Sunday). Tickets are $28.

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FRINGE FESTIVAL 2018

The Show Must (Not) Go On

Evensong

What’s the central premise of your show? Exploring the #MeToo and #NotSoFast movements from a local context through performance and conversation.

What does your show say about society today? It continues the important #MeToo conversation, whilst raising the issue of perpetrators making a ‘comeback’ – hence the development of #NotSoFast. The event will explore the impact the movement has had in Australia, changes that should happen in the industry, and where we want to go to from here.

What do you want the audience to take away from your show? We’d love them to leave with an understanding of the implications of the #MeToo movement for the Australian theatre and performance communities, and its impacts on creative women.

How does your show play with convention? Rather than a standard panel discussion, this conversation brings together four performers and activists to present unique interpretations of #MeToo. Each panel member will respond to #MeToo through performance, with one of Australia’s most controversial public intellectuals, Van Badham, pushing the boundaries of performers.

Who are the panel members? On the panel are: Jennifer Piper (actor, broadcaster, theatre-maker, designer and founder of wit incorporated theatre company), Van Badham (writer, commentator, activist and theatre-maker), Candy Bowers (multidisciplinary artist, writer, actor, activist and comic performer) and a soon-to-be-revealed addition.

What’s the central premise of your show? Wake up – throw yourself into the glorious madness of life. Like every woke Elizabethan dude, Mr WH (Shakespeare’s outrageous boyfriend-muse) carries Yorick’s skull to remember that death comes to us all. Life is fleeting – we are soon forgotten – so celebrate the persistence of love against the tyranny of time.

Is your show based on your true-life experiences? Evensong was created when I was living rough on the streets of Sydney. The script grew out of that experience of being lost and invisible to conventional society for 18 months.

What was the creative process like putting the show together? Rehearsal is an adventure when the only venue available is a public park bench. Being some mad bloke channelling Lear in the local doggy-park is one thing. Singing 17th century songs over drum ‘n bass or trip-hop, is a lot more disconcerting.

How does your show play with convention? Authentic performance is too narrowly interpreted. I reckon what’s authentic is to imagine how composers would want to sound if they were writing today. Great music is timeless – John Dowland’s #1 album of 1603 is still fresh in 2018, especially grooved over modern EDM, urban, punk, and jazz.

What do you love about performing? In exploring other lives you get to expand your own. Portraying ‘an old man playing a young boy playing a woman’ challenged my ideas about how gender and age are performed. Playing a selection of feisty and enthralling female characters added new layers to my understanding of my own masculinity.

Check out The Show Must (Not) Go On at MetroWest, Victoria University on Wednesday

Evensong plays at Gasworks, ARB Gallery from Tuesday September 25 until Thursday

September 19 from 6pm. Entry is free.

September 27. Tickets are $28.50/$18.50 conc.

A Comedy of Terrors

What does your show say about society today? Welcome to the age of terror, and the war on brain cells. A witty, cheeky parody of six conservative leaders and their intersecting destinies in the mad world of politics.

How does your show play with convention? Unconventionally, some characters are live on stage, while others interact with them, ‘live via satellite’ in this multi media, world premiere for one night only. Amazingly, all six characters are played by mercurial mimic Helchild, who is also the writer, producer and director.

What’s the central premise of your show? Brace yourself for the firebrand musings of QLD politician Pauline Fartson. Be enthralled by Ex Prime Minister Mr. Turdbull and his tragic magic show. Watch transfixed as Baloney Abbott launches Pauline’s new book with Katter the Mad Hatter. Experience a welcome to empire by Queen Hellizabeth.

And be mesmerised by the political rants of US President Donald Blimp. As with our politics today, there are lots of surprises.

Where do you plan to take your show after Melbourne Fringe? The show’s team intends to take A Comedy of Terrors to The Melbourne Comedy Festival 2019 and on tour.

What’s a fun fact about your show? The arrival of guest comedians – leading Indigenous comedian Shiralee Hood and critically acclaimed Frank Hampster (Cardinal Sin).

A Comedy of Terrors will perform exclusively on Tuesday September 18 at Loop Project Space & Bar. The performance starts at 8pm and tickets are $20/ $15 conc.

28 BEAT.COM.AU

FRINGE FESTIVAL 2018

This Woman’s Work – The Kate Bush Rock Show

Alone Outside

What’s the central premise of your show? Fun – we’re not just celebrating Kate Bush, we’re celebrating what it means to be a Kate Bush fan. She’s an artist that inspires individuality and uninhibited self-expression.

Is your show based on your true-life experiences? Well, the true-life experiences of sending our flatmates and neighbours crazy, bursting into song and dance at the most inappropriate moments.

What do you want the audience to take away from your show? I want them to want to dance and sing all the way home. And maybe fall in love with other Kate Bush songs they hadn’t heard before, or the way we play them. There’s a lot of ‘heat’ in Kate’s music, a kind of euphoria. I’ve got a fabulous band to help me bring this element out. Big drums, screaming guitar, funky bass and killer backing vocals.

What was the creative process like putting the show together? I choose the songs I can’t not do, and then painfully try to whittle them down into a one-hour set. I explore each song deeply, trying them on like a dress, feeling what they feel like and what they mean to me. It turns into a process of self discovery because I start to see a reflection of myself within the songs.

What do you love about performing? Those special moments I get to share with the audience. Maybe we shed a tear or two together or sing at the top of our lungs. It’s a beautiful thing.

What’s the central premise of your show? A woman returns to her home town, coming face to face with her ailing grandmother, the best friend she betrayed, and the ghost of her past self. The play explores the conflict, awkwardness and nostalgia of returning home and the fraught paths we walk towards self-acceptance.

Is your show based on your true-life experiences? The work is personal for me, but by no means autobiographical because I’m nothing like Daphne, though I wish I were. I grew up in a small regional city on the coast with rolling green hills, dingy pubs and school friends you haven’t seen for ages who are all married now – it’s not much of a stretch for my imagination because I’ve experienced it first hand many times.

What do you want the audience to take away from your show? There’s something universal about the unsettling, often unresolved relationships our current selves have with the ghosts of who we once were. We hope to give people a way to make peace with that discomfort – or to at least appreciate the shared humanness of it.

What’s a fun fact about your show? It features an enormous, caked in mud tractor tyre that no one can lift (much less transport), that has managed to ruin two pairs of jeans, bruised two sets of shins and caused countless arguments between our director and producer – who love and loathe it in equal measure. It’s messy and it’s awkward and it’s beautifully fringe.

This Woman’s Work – the Kate Bush Rock Show will be performed at the Lithuanian Club’s

Alone Outside plays at the Fringe Hub, Arts House from Friday September 14 until Saturday

Main Theatre on Friday September 14 at 8pm. Tickets start from $28.

September 29 at 6.45pm (Tue-Sat) and 5.45pm Sundays. Ticket prices start at $20.

Fuckboys The Musical

Deadweight.

Is Fuckboys The Musical based off your real-life experience? It’s based off my real-life experience with a breakup that happened last year. I was crushed, so as a means of therapy, I sat down and started writing down everything I was feeling and everything I wanted to say to my ex, and that eventually became Fuckboys.

Can you describe the creative process of making this show? It came very naturally, I was really lucky to have a great team of people who believed in the show so much, and wanted it to succeed.

Who influences you as a songwriter? Definitely Pasek and Paul, whom you might know from The Greatest Showman or Dear Evan Hansen, and Kerrigan and Lowdermilk. They have this way of writing music that feels more like storytelling than a show-stopping “Broadway” number, and that is definitely my style. I just really love honest, concise storytelling within my music.

Can you tell us a fun fact about your show? There are no coincidences. Every small detail is something from my personal life. References to specific types of drinks, the college I went to, all of those tiny details that may seem irrelevant are specifically placed there for my own sort of selfish satisfaction.

What are your hopes for the show after Melbourne Fringe? We are going to be revisiting the show, tweaking some of the music and adding some things here and there to the script to really make it a 90-minute show and then we’ll see what happens after that. As long as people want Fuckboys, they’ll have them.

What’s the central premise of your show? Our show is a physical exploration of what it means to have internal struggles. It examines how we might deal with the burdens and consequences of trying to survive alone.

What does your show say about society today? Deadweight. is a commentary on the way we as a society accept and tend to our own struggles. It wrestles with the ideas that struggling is dirty and rough and questions the magnitude of letting go, and seeking support. It questions our society’s inherent nature to struggle alone, and interrogates what might happen when that cycle is broken.

What do you want the audience to take away from your show? Burdens can take on numerous shapes and forms including mental illness and trauma in which are lived with day to day. We want to create an open discussion and hope our audience members experience a shift in thinking and are challenged to reflect on how they handle their own mental health and histories.

How does your show play with convention? Deadweight. is anything but conventional.

Set in a two tonne dirt pit, the show offers an immersive experience that not only allows an audience to view our work, but they also have the involvement of smelling a tactile element which is not often seen in conventional theatre.

Where do you plan to take your show after Melbourne Fringe? As an emerging theatre company this is our first Fringe Festival. We’d love the opportunity to continue our Fringe run in Adelaide and potentially even Edinburgh.

Fuckboys The Musical plays from Tuesday September 18 until Sunday September 23 at The

You can catch Deadweight. at Theatre Works from Tuesday September 25 to Thursday

Ballroom, Lithuanian Club for Melbourne Fringe.

September 27 for Melbourne Fringe. Tickets are $26/$22 conc.

BEAT.COM.AU 29

FRINGE FESTIVAL 2018

Echoes of Villers-Bretonneux

Stef Jaric: Urban Comedyist

How long did it take you to craft it? It’s taken about a year to put the show together.

Months of research, (getting access to 100-year-old primary sources at the State Library was an absolute treat), months of writing and now rehearsing have seen the play come along pretty smoothly.

What does your show say about society today? Marking the 100-year anniversary of Villers-Bretonneux, it takes a strong look at the expectations of young Australian men, both today and in 1918 – what drives us, what we believe in, what we’re prepared to sacrifice, and how it ties into our notions of masculinity.

Is your show based on true-life experiences? Our show is based upon the real experiences of the 15th Brigade AIF in France and Belgium in WW1. Everywhere we go on the journey of this play, they went 100 years ago. The events of the battles are real; the conditions are real, as was the constant threat of danger.

What do you want the audience to take away from your show? To learn something about this crucial, yet overlooked battle that was monumental in diverting the entire course of WW1.

Where do you plan to take your show after Melbourne Fringe? First to regional Victoria, then maybe have a run at Adelaide and Sydney Fringe Festivals. And if the stars align; we feel this would be an excellent piece of theatre to take all the way to Edinburgh

What’s the central premise of your show? It’s really just the silly things I notice that everyone else takes as normal, the situations I find myself in that somehow turn funny. I feel like I’m a magnet for strange interactions. If there’s a mad person on the bus, they’re probably going to sit next to me.

Is your show based on your true-life experiences? My material relies heavily on my personal true-life experiences, and the strange world around us all. I find all interactions and even the news is a goldmine for comedy, and I try to point out the funny and ridiculous to my audience.

What was the creative process like putting the show together? The creative process in putting a show like this together takes many months and can be described as tedious.

Trying out new material, editing, honing it and collating it into a show that flows has taken a great deal of effort.

What’s a fun fact about your show? The show is entirely Melbourne Made, Melbourne centric and for Melbournians. It’s also one of the cheapest comedy shows in the festival, so it’s damn good value.

Who/what are your biggest influences? Ron White is a big influence – I really enjoy the way his material flows and the way he chats with the audience like he ran into them in a bar. Bill Burr is also a huge influence; he seems to find the ridiculous in innocent interactions too and is able to perfect the angry-funny guy thing very well.

See Echoes of Villers-Bretonneux at the Courthouse Theatre from Sunday September 23

You can check out Stef Jaric: Urban Comedyist shows from Thursday September 13 until

until Sunday September 30 (excluding Monday). Tickets are $15/ $10 conc.

Saturday September at 6pm at Magnet Galleries. Tickets are $15/$10 conc.

GUAU!

Sam Campbell

What’s the central premise of your show? GUAU! is an interactive physical comedy about the hilarious consequences of society’s constraints on an offbeat queer idiot with a stupid inclination towards pop music. I introduce my adorable yet embarrassing alter ego, a passionate maladjusted twit with an idealistic outlook trying to fit in a world full of conventions.

How does your show play with convention? GUAU! uses gender binary as a metaphor of society’s conventions that constraint the freedom of this character, eager to express themselves and at the same time, please a world that is not ready to accept their singularity.

What does your show say about society today? GUAU! says that society today still has plenty of conventions and models to follow and it’s expected that everyone fits in.

Consumerism and social media impose a false sense of freedom and belonging that in reality is constraining and limiting the freedom of expression of the individual. For me, the gender binary is the best example of society’s need to classify, which starts from a very early age.

Where do you plan to take your show after Melbourne Fringe? This is my first solo show where I consolidate my practices – circus, clown, corporeal mime, and Lecoqbased devising, into a new form. I intend to tour the festival circuit in Australia and in Barcelona, Spain, where I also have a strong artistic network.

Who/what are your biggest influences? Some of my references and inspiration for this show are James Thierrée and Trygve Wakenshaw, as well as pop culture stars like Rihanna, Kanye West and Adam Levine.

What does your show say about society today? I think the show is a powerful warning for parents to not have their children vaccinated.

Where do you plan to take your show after Melbourne Fringe? I am part of a small group of artists travelling to remote communities in South America to perform for tribes that don’t have their own Fringe Festivals (unbelievable, hey?) I cannot wait to see what those pygmies think of my jokes about Centrelink.

What was the creative process like putting the show together? My sister always talks to her friend Nadia on the phone for ages at night. I secretly transcribed their conversations and changed all the references to Nadia’s boyfriend to Tony Abbott.

What do you want the audience to take away from your show? My merch. I will be chiselling life size ice sculptures of every audience member.

What do you love about performing? Wish I remembered. God I hate it so much man.

GNAU! will play at Errol’s & Co from Thursday September 29 until Saturday September 29.

Sam Campbell will perform at The Ballroom, Lithuanian Club from Friday September 14 until

Tickets are $18/$13 conc.

Friday September 21 (excluding Monday). Tickets start at $20.

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INTERVIEWS

Freya Josephine Hollick

“I would hope I’m making music everyone can enjoy. It’s not directed at any single group of people or exclusive to any club.”

Feral Fusion, the new album from Freya Josephine Hollick, taps into the Melbourne songwriter’s wide-ranging tastes.

Growing up in Ballarat, Hollick was exposed to jazz, soul and indie rock before discovering oldtimey folk, blues and country music. Feral Fusion takes inspiration from even further afield with the inclusion of Latin rhythms, orchestral arrangements and elements of funk.

“I grew up in a household where we were introduced to music like Karen Dalton, Sonic Youth, Yo La Tengo, Bill Frisell, Al Green and Etta James at a young age,” she says. “Mum and Dad were always buying and listening to new music, back when you’d buy tapes for the car and CDs for the house.

“A lot of my friends grew up on a diet of ABBA and The Carpenters, not that there is anything wrong with that, but I really lucked out with my folks’ diverse taste in music.”

Hollick established herself as a country singer on 2016’s The Unceremonious Junking of Me and last year’s follow-up EP, Don’t Mess With the Doyenne. Although Feral Fusion isn’t confined to the genre, country remains the foundation of Hollick’s songwriting. To a certain extent, country music has moved past the stigma that was attached to it through the ‘90s and ‘00s, but some scepticism lingers.

“I still get turned down by festivals because I’m ‘too country’,” Hollick says. “But really all music stems

from folk music, and what real contemporary country music is is a fusion of all these folk musics into one delicious-sounding thing. It’s why I called the record Feral Fusion – it’s a fusion of all these styles I love.

“My preference is to avoid all labels when it comes to genre. I would hope I’m making music everyone can enjoy. It’s not directed at any single group of people or exclusive to any club.”

For a long time, Australian country music was typified by Tamworth, cheesy grins, cowboy hats and formulaic sounds. But Melbourne is now home to a flourishing country music community led by the likes of Raised By Eagles, Tracy McNeil & the Good Life, and Lost Ragas.

One half of Lost Ragas, Shane Reilly and Roger Bergodaz, produced Feral Fusion, adding versatile instrumentation that ably supports Hollick’s ambitious songwriting.

“Shane plays an array of instruments – Rhodes, pedal steel, baritone guitar – and he is responsible also for all of the orchestral arrangements,” Hollick says. “Shane is a freak of nature, an incredibly talented musician who can understand the weird way I try and communicate how I want things to sound. Roger is

the rhythm section for the majority of the record and he is also the engineer. Roger also blows my mind, so skilled, so easy to work with.

“Thomas Brooks plays about a million things on the record also – pedal steel, baritone guitar, piano, nylon string, and all those wild sounding Nels Cline-esque electric guitar sounds. Yet another freak of nature.”

Recorded at Brunswick’s Union Street Studio, the record also features guitarists Jacob McGuffie and Sam Lemann, double bassist Ben Franz, fiddler Esther Henderson and drummer Oscar Henfrey on a few tracks.

Hollick will launch Feral Fusion at the Curtin Bandroom, backed by a four-piece band. “It’s going to be so much fun. The band will be made up of Thomas Brooks, Shane Reilly, Roger Bergodaz and Grant Arthur; one of the band’s regular members who is great. We’ll be playing the majority of the new record along with some stuff off Don’t Mess With the Doyenne and maybe a Willie Nelson song or two.”

Freya Josephine Hollick will live launch Feral Fusion at the Curtin Bandroom on Saturday September 15.

Feral Fusion is out now.

BY AUGUSTUS WELBY

Los Chicos What do you get when you cross Springsteen with Iggy Pop, Otis Redding, Texas garage-punk, and five Spanish rock stars with Australia’s drinking culture? The cult-like “five-headed rock’n’roll kangaroo”, Los Chicos.

Since the band’s inception in 2000, the group have tapped into their own niche market of country-punkrock-soul-garage-gospel to produce six LPs, with another on the way.

No matter the band, 18 years is a long time – and keeping the tunes rolling out must be a challenge. The Los Chicos frontman, Rafa Sunen, has led the band through their early shows at Spanish university sports carnivals to the more nuanced shows on this year’s tour.

After such a long period of playing with the same five guys each night, how do they keep it fresh?

“We go in circles every night at the after parties, but with the music we’re going where the songs guide us in each moment. We don’t really think about it too much.”

Despite not preoccupying themselves too much with the specifics, Sunen can provide an almighty list of inspirations – and with a sound this complex and genre-defying, it’s not surprising. Think Dr Feelgood, New Bomb Turks, Radio Birdman, Moho Nixon…the list goes on.

“Bands and musicians have always been our main inspiration. We come from punk-rock but we’ve always listened to a lot of blues, soul, country and everything else. We also source inspiration from kalimotxo – the

“We try to avoid the serious part of musicianship, although we take our band very seriously.” drink that teenagers used to drink in Spain, which we still enjoy a lot.”

Los Chicos have become the poster-child of not letting the more serious aspects of the music industry rain on their parade. Their press bio is a wild ride – “Get ready to set your shoes on fire. Los Chicos are in town”. However, Sunen and the gang don’t treat their successes as a joke.

“We try to avoid the serious part of musicianship, although we take our band very seriously.”

The new album has been two years in the making, and is brought about by label El Segell del Primavera.

While Sunen admits that innovation is not the band’s strength, the group know how to select producers who will bring new aspects to their distinguished brand of punk-rock.

“Johnny Casino produced the new album, and he got the guitars louder than the previous album. There are also some new arrangements, but not much. We’re not an innovative band, just R&R.”

By Medical Prescription is a jumpy, exciting, shotgun album with 14 songs featuring raspy guitars, gung-ho lyrics, and top-notch production. Los Chicos have a habit of using ironic album titles (You Sound

Amazing But You Look Like Shit was a direct quote from Led Zeppelin’s former stylist after a show in Nottingham); this year’s title is less painful, having been plucked from a chorus that demands, “by medical prescription, everybody to the bar.”

The album’s reception has been explosive, with comments from fans all across the globe thanking Los Chicos for bringing more of their signature sound into the world.

“Everybody is loving the album and it’s always great that each person you speak to has a different favourite song. I think there are songs for everybody that wants to enjoy it.”

Reciprocating the love, Los Chicos are beyond excited for their fifth tour Down Under. When they take over The Tote, they will be supported by Money For Rope, James McCann & The New Vindictives, and Les Ye-Ye Girls. If you can’t make that one, they’ll be combining with Radio Birdman to take over the Croxton Bandroom as well.

What should you expect from seeing the Los Chicos gang live? Sunen provides elaboration: “Fiesta.”

Los Chicos will take over The Tote on Saturday September 29. They’ll also support Radio Birdman at The Croxton Bandroom on Thursday September 27.

BY LEXI HERBERT

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INTERVIEWS

Wax Jax And The Midnight Snax Wax Jax And The Midnight Snax perform with such a delectable hybrid sound of soul-jazz-funk-psych that to hear them play, you might well be transported to some kind of red room in Paris or Amsterdam.

The Melbourne fivesome create such a great atmosphere that a vivid picture is painted. “The best kind of music is the music that makes you feel something,” bassist Lachlan McAuley says. “It brings it out of you, transcendence.”

Colourful as they appear to be, Wax Jax And The Midnight Snax stem from plainer and more humble beginnings. Listening to their debut EP Gold is a sensual experience of contrasting musical worlds.

“We’re more than what’s referenced in our triple j unearthed [profile],” says guitarist Hamish McNab, the other boys nodding in agreement.

“Personally I don’t really listen to a lot of rock or any of the influences listed,” says drummer Gianni Drougas. “Mostly hip hop, trap, and techno.”

“And that definitely comes through on the drumming,” adds guitarist Fred Launder.

Having cited so many different influences and being from such a variety of backgrounds, you might think Wax Jax And The Midnight Snax would struggle to bring together all their different ideas, but the secret ingredient to such a rich sounding release is friendship.

“No one is afraid to tell someone that something sounds bad. I think we learn from each other a lot.”

“We get on pretty well, I’d say it helps,” McNab says.

“It was Hamish’s idea to bring everyone together and start the band, but we’re fortunate because we were mates for a year or two before starting the band,” McAuley says.

“Regardless if we have different music tastes, we can still put a song together – that’s always an issue, everyone has different ideas and we’re always clashing heads,” McNab adds.

“It always comes together nicely though,” McAuley continues. “No one is afraid to tell someone that something sounds bad. I think we learn from each other a lot, the sound reflects that. ‘Gold’ was two chords, and then a breakdown, a little more progressive.”

The beginnings of Wax Jax And The Midnight Snax saw a combination of its members as housemates. “It was me, Fred and his little brother,” McNab says.

Beginning as bedroom jammers, Launder and McNab performed at various friends’ house parties, and once they became a solid unit of sound, opportunities presented themselves in a way the group didn’t think was possible. “Our first gig was last year at The Top,” McNab says.

“From the first gig at The Top we’ve gotten all the best venues we could hope for, all around Melbourne,” adds McAuley.

Wax Jax And The Midnight Snax have been afforded prestigious opportunities to play some of the city’s best venues. Even venues that might not necessarily cater to their sound. “When we played Cherry Bar we did the soul night,” McNab says. “We’ve got a bit more rock and psychedelic to us. Ruby, she’s got a lot of soul in her voice, I think that’s what got us the gig there.”

Right across Gold, vocalist Ruby Cesan croons with a tone and wisdom of a woman three times her age, a delivery the boys are in agreement stems from her extensive background in musical theatre.

“There’s not too much going on but it really comes together pretty nicely because of those lyrics on top,” explains Launder. “She’s been training for five, six years, probably more.”

The simplicity of the vocals is certainly a powerful thing once you match it with the kaleidoscope of sound happening in the boys’ instrumentals. Gold really is gold, a jewel nestled neatly at the bottom of the ocean, Launder remarking, “It’s very psychy, pretty trippy.”

BY ANNA ROSE

Twelve Ballet Brother and sister duo Twelve Ballet from Cairns, in far north Queensland are like two peas in a pod.

Ben and Sam Hope created their debut album during one of the hardest years of their lives, following the passing of their father. The pair say that creating the album hello, how are you? around that time was a cathartic experience. “It was definitely a coping mechanism, just to get all the feelings out in that way,” Sam says.

“It was a way to pick ourselves back up again,” Ben adds. “So even though it’s a sad subject, we tried to capture the essence of how we remembered our dad.”

The theme of asking the listener “Hello, how are you?” permeates throughout all the songs, but the album can really be split into two sides ,like a vinyl record. “The first side’s about ‘how are you?’, trying to explain this is how I’m feeling,” Sam explains.

“Then side b is a self exploration of how to deal with that feeling.”

With this record, Twelve Ballet wanted to keep things simple with stripped back production to give the listener the feeling that they are there in the room with the band and the band is talking directly to them. “We wanted to make it feel like we’re asking the listeners how they’re doing and trying to relate with whatever’s going on in their lives as well,” Ben says.

The band also took their musical style in a new direction with this album, with Sam’s vocals opening up a lot more. She used to sing in a high-pitched folk-type vocal style, but one day when sitting down at the piano during a recording session, she started singing blues vocals. They both thought it sounded great and decided to go with it.

32 BEAT.COM.AU

For Twelve Ballet, being in a band as siblings is a different experience because apart from just being best friends, they can relate to each other and understand how they both are feeling. “There is a chemistry where we don’t really have to explain where we want the song to go, because we both come across the same direction straight away,” Ben says.

“Especially with this album, since we were both feeling the exact same feelings with Dad passing away,” Sam continues. “We were going through the same things, Ben would play something and I would already know how he’s feeling and what to write about.

It definitely makes it like we’re on the same page.”

Keeping their dad a part of the album release, the album art is a picture that he drew when he was in high school. They are releasing it on limited edition vinyl – coloured with a black and white splatter effect. “The actual idea for having vinyl is because we grew up on it because Dad always had a massive record collection. We were always listening to records and then it got to the point where Ben and I, we both have our own collections, and the dream was to have one of our own records on vinyl,” Sam says.

Wax Jax And The Midnight Snax will live launch Gold at Revolver Upstairs on Thursday September 13, with support from Funwave, Mylk, and Zoe and The Milkmen. Gold is out now.

Their hometown launch later this month is expected to be a cosy night, led by the theme of having a one-on-one conversation with the audience. “Even though it’ll be a crowd full of people, each person should be able to take away their own message,” Sam says.

The goal for the band following the album release is to let the record sit there for a while, play more gigs around town, and tour with it if people like it. “We really just want to be able to connect with people and be able to get our own style out there and grow the audience for it. It would be awesome to be playing alongside some of our favourite bands too,” Ben says.

BY ELLEN ROSIE

“There is a chemistry where we don’t really have to explain where we want the song to go, because we both come across the same direction straight away.”

Twelve Ballet will release hello, how are you? on Friday September 14.

SPECIAL FEATURE

Talking Heads Celebrating 38 years of ‘Remain in Light’

By Tom Parker

By 1979, Talking Heads had released three albums of strident art punk, positioning themselves as the nerds in science class. They were the goofy mad professors of the music industry, headed by an eccentric frontman whose awkward normal-guy persona nauseated traditionalists.

In front of a triplet up to their heads in adventure and innovation, David Byrne bent and twisted the conservative confines of rock to the point that the Chinese burn bled.

Yet, it wasn’t until Talking Heads’ fourth album, Remain in Light, that the band truly understood themselves.

Their magnum opus, this eight-track release took them into the brain of Nigerian pioneer, Fela Kuti, reawakening the jewels Kuti had excavated – African polyrhythms and funk confronted the band’s clamorous appetite for electronic music.

One of the narrowest critiques of Talking Heads was that bandmembers, Chris Frantz, Tina Weymouth and Jerry Harrison were just passengers to Byrne’s wizardry. Having finished touring their third album, Fear of Music, by early 1980, Weymouth and Frantz embarked on a much-needed vacation to consider their position in the band.

Weymouth was disgruntled to say the least, penning Byrne’s unbridled dominion as an impetus to leave Talking Heads. Frantz was reluctant to forgo the beast, however, and a journey through the Caribbean swiftly rekindled their desire.

Immersed by the colour and vibrancy of reggae, Weymouth and Frantz mingled with Jamaican dub extraordinaires, Sly and Robbie, and were introduced to native percussion instruments from the region.

Subliminally, the seeds for Remain in Light were being planted, and after Weymouth and Frantz purchased an apartment above Nassau’s Compass Point Studios to conclude their holiday, the next leg of Talking Heads had begun.

Byrne and Harrison joined Weymouth and Frantz in the Bahamas and the precedent was set – the band’s rhythm section wouldn’t be reduced to puppetry this time around. To bridge the divide between visionary and support cast, Talking Heads entered wandering instrumental jams to sculpt the album blueprint diluting Byrne’s authority in the process.

For a band that previously moved to the command of their screwball vocalist, this was an optimistic move of equality. Byrne was totally cooperative and suddenly, Remain in Light was in session. Fear of Music’s euphoric opener ‘I Zimbra’ set the stage for the band’s new experimental approach and demo after demo was cut in preparation for Brian Eno’s consultation.

At the time, Eno’s reputation preceded him – the vanguard of ambient music in the mid-‘70s, Eno had spent time with David Bowie in Berlin, accruing producing credits on his landmark “Berlin Trilogy” – Low, Heroes and Lodger. Appending his late ‘70s dash with Bowie, Eno had also lent his services on More Songs About Buildings and Food and Fear of Music, Talking Heads’ prior two albums.

So when it came to Remain in Light, Eno was reluctant to accommodate. He’d made the trip to the Bahamas but it wasn’t until Byrne presented Eno with the band’s frenzied instrumental demos that the great producer agreed to collaborate.

For Weymouth, the rise of hip hop was enough to kick them into gear and so the Afrobeat expedition began. Kuti’s 1973 album, Afrodisiac, formed the template for Remain in Light whereby the allure of polyrhythms proved persuasive.

In layman’s terms, the concept of polyrhythms pairs two contrasting rhythms simultaneously which making for an offkilter beat. This crash and clutter can be heard across the entire album, and it’s ‘Once in a Lifetime’, ‘The Great Curve’, and ‘Crosseyed and Painless’, that can’t be overlooked for their groove-driven incompatibility.

To engineer the organic sound they were after, Talking Heads enlisted the help of as many as 12 creatives, including percussionists, horn players and vocalists. It was cultivated with a slapdash approach – record jams, isolate the best parts and learn how to play them repetitively.

Awash with minimalist rhythms, loops were crucial on the album as the band attempted to find the chaos that would be Remain in Light’s greatest asset. Sections were recorded in a long loop and then married together, however discordant or seamless they might’ve been.

By the end of Talking Heads’ stint in the Bahamas, most of the recordings were complete, yet Byrne had shed few vocal impressions. Returning to New York, Byrne stood at the foot of an instrumental behemoth, a beast which necessitated some sort of lyrical virtuosity to do it justice.

The poetry didn’t come easily for Byrne and after succumbing to writer’s block, concerns over the album’s probability arose. Harrison and Eno spent time adjusting the compositions recorded in the Bahamas, but Weymouth and Frantz were often absent from the studio, further clouding the situation.

With the recruitment of guitarist Adrian Belew, nonetheless, the band were liberated.

Belew added guitar solos, making use of a Roland guitar synthesiser, and Byrne recorded them to cassette.

Byrne championed African legend to free up his writer’s block – improvising new words when real ones are forgotten – and finally Remain in Light came together. After a few months of fine-tuning and mixing, Talking Heads’ most revolutionary musical sidestep was released on October 8, 1980.

Eno warned that the intricacy of the album lent itself to a live nightmare, so the quartet bolstered their stocks, expanding to nine musicians for the appending tours. Their shows were lauded for their immensity and the crowd sizes ballooned – an audience of 70,000 at Canada’s Heatwave festival was followed up by a 125,000-person album showcase at New York’s Wollman Rink.

Remain in Light was the fourth album from a band who already lived alone in their quasi-electronic rock world. They’d already cemented themselves as music’s infectious cranks, and while it seemed unlikely that anyone could echo their artlessness, Talking Heads accelerated again.

Byrne was empty – his lyrics had always been the ugly duckling amongst the paddling, and enduring the juxtaposition between his words and music had worn him down.

So, Remain in Light almost never saw the light, but we are so thankful that it did as for generations of musicians, the concept of doing something weird is now real and envied.

BEAT.COM.AU 33

INTERVIEWS

The Kite Machine

“We set out to write a song that… was guided by the kinds of limitations that come with writing a song you hope to hear on the radio.”

Geelong locals Levi Anderson, Liam Brennan and Kane Sherriff drive The Kite Machine.

Kite Machine’s amalgamation of influences shine While the attributive noun in the title may suggest a breezy afternoon in the park, ‘The Kite Machine’ evoked by the band’s music is a wind turbine so large and powerful that a single rotation would produce enough power to light the MCG up for a week.

Their new single ‘Sinister Sound’ begins with Anderson a capella in a serpentine sweet falsetto – ‘There’s just a tiny little tick in your left eye’ and on the ‘tick’ a powerful kick drum begins to beat and a 16th later is then propelled by a thick bass line into a powerfully syncopate chorus. One could describe it as The White Stripes’ ‘Seven Nation Army’ with a gothic attitude.

The band is indirectly asked to describe their influences via a question as to what songs The Kite Machine warm-up by playing at soundcheck or rehearsal.

“We tend to play a lot of Muse riffs and Rage Against Machine,” Anderson begins before Sheriff provides, “Audioslave.”

“Tom Morello is a big influence, but there’s a bit of everything thrown in there. Kane’s more into prog-metal stuff, and I’m straight up rock influenced, and Liam the bass player is into indie punk,” Anderson says.

As Anderson and Sherriff continue to explain the musical components of ‘Sinister Machine’. the input is equal and complementary, intimating that creatively all three members are on the same musical

page. ‘Sinister Sound’ was recorded in a studio session that also included other songs that will all be presented as an album early next year with the quality of sound and songwriting at an elite level across the board.

“The main differences between these songs and the ones we recorded for our 2015 EP Lunatics is that there was a lot more of an emphasis on the preproduction. We put a lot more effort into exactly how we wanted each part of the song to sound before we even thought about recording it. On Lunatics we had a whole bunch of songs sitting around and we needed an EP so we just recorded what we had,” Anderson says.

The band relished the opportunity to write a song with the preconceived constraint that it was going to be a single, so anything over three and a half minutes would be too long. “This was the first song that we had approached with the intention of it being a single. We set out to write a song that wasn’t exactly a pop song but a song that focused on hooks and was guided by the kinds of limitations that come with writing a song you hope to hear on the radio.”

The external guidelines imposed by the song’s

purpose resulted in the band finding a new creative depth. “We chopped a lot out of it and were forced to pick the best sections of the song, where as previously we may not have pushed ourselves to evaluate every single second of the song.”

However, the high benchmark that the three members of The Kite Machine set for the impending album extended beyond just what was done in the studio, with the film clip for ‘Sinister Sound’ hugely impactful – especially considering it was done on a minimal budget and shot on the family farm.

“We asked my cousin Robbie if we could borrow one of his paddocks and set up camp in,” Anderson says. The reason for the camp is that to capture the contrasts in ‘Sinister Sounds’, the clip cuts between light and dark, day and night.

“We were really lucky with the weather considering we were doing it in the middle of winter, I reckon if there had even been the slightest breeze and a bit of rain we would have all frozen to death,” Anderson says.

BY DAN WATT

Pablo Francisco

“If you’re going to put things out in front of me, if you’re going to put something in magazines all the time… you’ve got to make fun of those.”

Getting ready for a chat with comedian Pablo Francisco can prove a little tricky. Mainly because he’s got friends like Mark Wahlberg and The Terminator in tow, and with Francisco, you never know who you’re going to get.

With a unique talent for spot-on impressions and offthe-wall bits, Francisco’s brand of stand-up comedy gives audiences a taste of his vivid imagination, unapologetic insights and witty charm.

Francisco speaks with an unmatchable energy that leaves you smiling so much your jaw hurts. “I’m looking forward to coming to Australia, it’s a beautiful place, it’s the hippest crowd in the world. It’s like hanging out with your family,” he says.

“It’s hard to get a girlfriend sometimes and if I were to buy a house in Australia I’d have to keep on flying her over. We’re looking forward to it, we’re just going to mess around, make fun of people, goof off, make fun of Mark Wahlberg. He’s in every single movie now, isn’t he? He won’t stop.”

One for a diet of Mountain Dew and Skittles, a conversation with Francisco requires a lot of energy and a great sense of humour. And if you have neither of those things, a chat with the comedian will likely induce them.

Asking him about how people react to his particular brand of comedy, which involves various personas and characters makes his already broad grin even greater. “The thing is, it’s a little bit of what they call ADD, but I call ADD, EFG, HIJK, LMNOP. 34 BEAT.COM.AU

The Kite Machine will live launch ‘Sinister Sound’ upstairs at The Gasometer on Thursday September 20, with Twisted Willow and Zuma.

“I’m always practicing, trying to keep fresh – if you get me when I’ve just woken up then maybe I’m a bit slower. But no coffee for this kid; I’m basically always having fun, I’m always excited. And when people try and talk to me, I can [low tone] go into this voice or [higher tone] I can go into this voice, but when it comes down to it, it’s all about getting the point across, I’m a happy guy so it’s not so difficult.”

Already oozing positivity, once Francisco hits Aussie shores for his tour, he has a whole new bag of tricks to get the crowd laughing (if you weren’t already). “We’re going to be working on a new hour,” he begins frantically. “[We’ll] put some of the old hits in there – we’ll do all the Transformers movies, you guys pretty much experience everything we do over here thanks to the internet so it’s basically internet, comedy, sex, drugs and Pab-a-lo. That’s what we should call it. Might as well do it.”

With such an accolade of excitement and fun, it’s interesting to pull Francisco up on his remarks about the internet, the idea of globalisation being great fodder for his material. Being such a rambunctious character, one wonders if Francisco is ever concerned

he’ll hit the wall of controversy with any of his jokes.

“Sometimes I do. Now it’s all political with Donald Trump and stuff, it’s a big vicious circle.

Everyone’s pretty much intelligent on the planet so if any controversy comes to it…I don’t really try to anger anybody, I just make fun of people that put things out there.

“If you’re going to put things out in front of me, if you’re going to put something in magazines all the time; Caitlin Jenner, the Kardashians, all these reality shows, you’ve got to make fun of those. A lot of people see it one way and I see it a different way. We have to make fun of those things, especially reality shows; there’s more reality in reality shows, so there’s so much cable and different musicians to make fun of. We’re all looking forward to it.”

BY ANNA ROSE

Pablo Francisco will perform at the Athenaeum Theatre on Thursday September 27.

FEATURE

PROFILES

FERLA on the top five inspirations for ‘The Human Heart’

MUSIC

I [Giuliano Ferla] wrote the song over a year-and-a-half ago and I can’t remember. I’ve got a vague memory about listening to Parquet Courts and DEVO but other than that it’s a blank. So, instead I’ve done something different. The other three are things that I happen to be into today.

Parquet Courts – ‘One Man No City’ I couldn’t even tell you how this song inspired ‘The Human Heart’, but there’s something there. Maybe it’s the guitar strum? The guitar tone? The overall mix? I can’t remember. What a banger though. Effortless groove.

DEVO – ‘Girl U Want’ This one’s a bit more cut and dry. The motorik beat I took as direct inspiration. DEVO are such dorks, but at least they fully embrace it.

Georgia O’Keeffe – ‘Hibiscus with Plumeria’ This one is so lush and so colourful.

There’s something really sexual about Georgia’s flower paintings. Or am I just a pervert?

Joseph Campbell – ‘The Power of Myth’ Joe is good for the soul. He wrote a book in the ‘40s called The Hero With A Thousand Faces. The whole idea behind it was that myths, religions and stories across all cultures all over the world share common universal themes and archetypes. George Lucas read The Hero With A Thousand Faces then wrote Star Wars.

This really is my scene; I’m all about it. It reaffirms my belief that we have more in common with each other than we don’t.

Planet Earth Two. Because the irrepressibility and creativity of life is endless.

Madeline Leman and The Desert Swells

MUSIC

When did Madeline Leman and The Desert Swells first start making music? We started playing together about three years ago. I’d been performing solo for a while and then these incredible Kiwi musicians fell into my lap. Fabian Hunter brought surf guitar to the table and The Swells were born. I’m in love with the energy of the band sound, I can’t go back.

What are your earliest musical memories? I grew up around music. I remember at seven making my mum learn all the songs from Les Misérables on piano so I could sing along. I also remember writing my first song at 16, feeling very proud and then realising I’d just ripped off Missy Higgins.

How would you describe your sound? We started out pretty country but then I realised that I don’t really identify with the masculinity of the country scene. So, I’ve started labelling our sound as ‘Femmericana’. We draw on the women of the ‘70s; Bonnie Raitt, Janis Joplin, Carole King, etc. with hints of ‘60s surf, pop, folk, doo-wop and soul.

Tell us about Diva With The Fever Of Change. Diva With The Fever is about women in music being overlooked and yet overly looked at. I wrote it when I was feeling particularly fed up with not being taken seriously as a musician because of my gender. The message is ultimately empowering, I want women to feel strong when they listen to it.

What sparked the idea for Femmo Fest? Our upcoming LP Nobody’s Fool is a feminist concept album, so I wanted to practice what I preach. There’s such a gender imbalance in the music industry, so I decided to put on an all female and non-binary fronted festival to launch our seven-inch record and raise money for Girls Rock! Melbourne.

Madeline Leman and The Desert Swells will be part of Femmo Fest 2018, going down in The Tote bandroom on Sunday September 16, with Ella Hooper, Leah Senior, Baby Blue, Zoë Fox, and more. You can grab th Diva With The Fever of Change 7-inch on the day, or stream it on

FERLA are celebrating the release of ‘The Human Heart’ with a headline show at The Grace

Spotify and Bandcamp.

Darling on Friday September 14. They’ll be joined by supports Spiral Perm and Jarrow.

MADELINELEMAN.BANDCAMP.COM

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SPRING COLLECTION

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ALBUM REVIEWS

Album of the Week (Partisan Records / Pod / Inertia)

Singles With Augustus Welby

Jaako Eino Kalevi

Jaakko Eino Kalevi

Emotions in Motion (Domino) Psychedelic-pop music from Finland that sounds like Bowie by way of Matthew Dear. ‘Emotions in Motion’ bubbles with strange details while Kalevi loads on the hooks. The Finnish producer builds steady momentum, generating a feel-good atmosphere without forgoing any of his offbeat charm. At no point do things get overdone and more nuances will surely be unwrapped with repeated listens.

Primo

Mirage (Upset the Rhythm) Who needs gloss when messy distortion is such an effective communication device? Primo’s Amici LP wields a noisy tangle of guitars that belies the band’s wit and musicality. ‘Mirage’ is representative of the Melbourne outfit’s ethos: get straight to the heart of the idea, sow a sense of mystery and then cut it off before any heat fritters away. It’s a hackneyed thing to say, but it’s one of those recordings that makes it feel like you’re witnessing a band arrive upon a fit of inspiration.

Marie Davidson

So Right (Ninja Tune) ‘So Right’ is centred on a repetitive club beat, but its reach extends beyond inducing dancefloor abandon. Akin to the likes of Jenny Hval, Davidson matches suggestive physicality with an abstract, reflective quality, employing spoken word and continual dynamic variation. The song’s central undulating groove buttresses quiet sensuality, open-armed liberation and flashes of uncertainty. After five minutes, ‘So Right’ has become interwoven with your pulse and it seems a shame it has to end.

IDLES

Joy As An Act of Resistance is an earnest, urgent and wryly funny affair, exploding with angular rage against xenophobes, homophobia, and toxic masculinity in spades.

Rina Sawayama

Cherry (Different Recordings) Due to their comforting familiarity, upbeat pop songs can almost go unnoticed. The melodic lines are so immediately apparent that, by default, you make no attempt to inquire any further into what the song has to offer. And in the case of songs like Sawayama’s ‘Cherry’, this is a waste. The UK artist is on target to become one of pop’s big future stars and if the outgoing melodic richness of ‘Cherry’ is anything to go by, hers is a name we’ll be hearing for a long time to come.

THURSDAY 13 SEPTEMBER

NICE BISCUIT ALBUM LAUNCH W/ GENA ROSE BRUCE + GIRLATONES

This isn’t good-time, radio-friendly rock, but is just as aspirational and celebratory as anything heard in the charts. With barely a year between their debut album, Brutalism, and Joy, IDLES have tightened their sound and become more direct with their progressive politics.

The vehicle of furious post-punk harking to bands such as The Fall and Fugazi, may imply that IDLES exist as a relic in our times. However, it’s through lead singer Joe Talbot, perception on his working-class upbringing, his battle against alcoholism and former career as a carer that makes Joy so of the now. The blistering and affectionate communality found in ‘Danny Nedelko’, stands up for the benefits of immigration by personalising it and sticking up two fingers to Brexiteers. Whereas on ‘Samaritans’, Talbot barks a list of orders expected from men before his forensic eye disregards toxic masculinity as the farce that it is.

Talbot is also often hilarious. “You look like a walking thyroid/You’re not a man, you’re a gland” he shouts on the riotous ‘Never Fight a Man With a Perm’, taking swipes at small-town macho types who exist purely on binge drinking and testosterone. The up-ending of insults thrown at left-wingers on ‘I’m Scum’ with the snarled crescendo “this snowflake’s an avalanche”, While droll declarations are found on ‘Love Song’.

In the space of 40 minutes, IDLES set out and succeed in making you want to laugh, cry, scream out loud and hug those you hold close. Joy As An Act of Resistance is a goddamn triumph.

BY EOIN HANLON

FRIDAY 21 SEPTEMBER

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ALBUM REVIEWS

Albums

5.5

Parallel Universe

Plain White T’s latest album moves away from their classic acoustic melodies and experiments with electronic pop and synthesizers. The result, however, lacks their distinct personality.

The band boldly attempt to expand their sound with an album that transports listeners into a parallel universe, however the execution seems to be a ploy to jump on a synth hype train and the trend by many artists to show grittier side.

The opening track ‘Light Up the Room’ will come as a shock to many early fans, listening to it you float between each chord, drifting between the guitar and synth transmissions until Tom Higgenson vocals stabilises into pop song territory. With such a confidently unearthly beginning it was disappointing to be tricked into hearing the classic pop “woah oah oh” in the chorus.

There is some glimmer of hope scattered within songs like ‘Your Body’ which manages to create peace between their previous music. It has a uniqueness to it and serves as a nice bridge to their other music. It has an easy flow and a subtle sweetness.

This album does show promise for the band’s future, so let’s hope this isn’t their final frontier.

BY MARIA DUNNE

Animal Collective

Animal Collective have suffered a difficult choice since the release of surprise 2010 hit Merriweather Post Pavillion – succumb to key member Panda Bear’s irrepressible vocal-pop or alienate mainstream audiences with their wilfully obtuse avante-psych.

For Tangerine Reef, their eleventh studio album and second audio-visual project, Animal Collective have temporarily jettisoned Panda Bear, who now lives in Portugal, and collaborated with filmmakers Coral Morphologic.

The music is a collection of wholly unengaging and indistinct art-ambient waffle, attempting to promote awareness of dying coral reefs. That the record is an accompaniment to the visual component is not the issue here; it’s Animal Collective’s aimlessness. The album was recorded live with no overdubs, parsing the group’s subtle complexity into an unpalatable mess.

‘Inspector Gadget’ is the record’s lone success, as Avey Tare’s heavily vocodored voice murmurs through meditative self assurance.

Most tracks however, like ‘Coral Understanding’ bleed a kind of random monotony through a structureless heap of dilapidated beeps and pitched down moans. Animal Collective’s typically inventive synths and catchy discordance appear far too sporadically to save the record. Environmentally woke work is a noble pursuit, yet as politics makes clear, without concerted direction Tangerine Reef is hopeless.

Go to School takes influence from musicians and sounds of the past – specifically Paul McCartney’s baroque moments on Revolver, the English posh of The Kink’s Arthur, a dash of early Bowie, and a lot from Todd Rundgren’s Something/Anything?

Speaking of early artists, opening track ‘Never in My Arms, Always in My Heart’ has a suspiciously Mick Jagger delivery. The pings of glockenspiel, pounding piano, and glam rock guitars set the stage for the album’s narrative-based story.

‘The Student Becomes the Teacher’ features a gorgeous backing string section similar to what was heard off Foxygen’s Hang, a similarly grand album.

Later on, we hear the Latin shake of maracas, the hand drumming of bongos, and the walking piano on ‘Small Victories’. The army march of ‘The Bully’ is fun, the southern rock boogie of ‘Queen of My School’ would’ve charted on the ‘70s power pop stations, and the twist of ‘The Fire’ comes out of nowhere.

Once all is said and done, it’ll be difficult to grasp all that was thrown at you. Listening to Go to School sounds like The Twigs are excitedly showing off their record collection. Go to School is a great effort from the band. Who knows where they’re going next.

BY JOSHUA MARTIN

BY JONATHAN REYNOSO

For their third album, San Diego band The Frights have released easy listening to alternative rock album that seems to read fairly accurately from the mid-‘90s slacker playbook – and they nail it.

However, the band seems a little haunted by their punk past. While The Frights are mates with genuine skater punkrock act Fidlar they seem far more at home with the quirky pop-rock of opening track song ‘Tell Me Why I Am Okay’.

Then only one song later, vocalist Zac Carper, bassist Richard Dotson, drummer Marc Finn, and guitarist Jordan Clark burst into hard-edged surf-punk with ‘CRUTCH’ – it’s a serviceable tribute to bands like Unwritten Law, but unlike the opening track feels a bit forced.

The rest of the album swings between punk and slacker with the clean slacker sound winning on majority.

This is a very good record and single ‘Me and We and I’ is a superb piece of guitar-driven pop that is well produced, but I miss The Frights’ unhinged sound from their previous record that warned listeners ‘You Are Going To Hate This’.

BY DAN WATT

(Captured Tracks/Remote Control)

7.0

6.5

Go to School

(Cooking Vinyl)

Hypochondriac

The Lemon Twigs

6.0

Tangerine Reef

(Epitaph)

The Frights

(4AD/Remote Control)

(Domino)

(Fearless Records/Caroline Australia)

Plain White T’s

Alkaline Trio

Is This Thing Cursed?

8.0

Wild Nothing

Indigo

6.0

Five years since the release of their last album My Shame Is True, Alkaline Trio have seized the iron again with their new album Is This Thing Cursed?, which resonates with their classic punk rock sound. Opener ‘Is This Thing Cursed’ depicts vocalist Matt Skiba and Dan Adriano crooning over the struggle to resist an unhealthy temptation, before the raging riffs take over.

‘Blackbird’ blasts with energy and rhythm, while ‘Demon and Division’ has a darker overtone with Skiba’s vulnerable vocals revealing his painful battle with addiction. The detrimental effects of addiction and depression are a consistent theme within the band’s musical journey, which enhances their earnest and socially conscious image and connects so well with their listeners.

‘Little Help’ playfully kicks into manic mode, pumping with adrenaline. ‘Goodbye Fire Island’ echoes with catchy harmonies, while ‘Heart Attacks’ takes a drastic plunge into the story of an overdose that resulted in the death of a loved one.

It drowns in angst, really plucking at the heartstrings. Closing song ‘Krystalline’ oozes with mellow acoustics; it’s a sugarysweet love story tainted with heartbreak, and a touching finish to the album. Is This Thing Cursed is emotionally charged and a fiery listen.

Dream pop songwriter Jack Tatum, known performatively as Wild Nothing, is well versed in the strictures of ‘80s revivalism, taking his obsession to cheesy new heights on his fourth record Indigo.

Indigo uses the stadium-shaped ambition of The War on Drugs and brandishes the atmosphere as a veil for superfluous songwriting. The album’s real strength lies in the glossy immediacy of its production, synthesising each tune into highly refined sachets of saccharine pop. The indelibly rousing opener ‘Letting Go’ is so well structured it makes the melodic rambling of the rest of the record appear far flimsier. Tatum’s lucid vocal charisma is barely endearing on ‘Shallow Water’ as the synth-ambience congregates into a sugary uniformity. Typical ambiguous evocatisms of dreams, mirrors and love – a genre staple – are littered throughout.

This unfocused atmospheric sprawl is somewhat remedied by atypical string and saxophone arrangements on the second half of the record. ‘Flawed Translation’ and the locked saxophone-guitar groove of ‘Through Windows’ synthesise new wave influences to create compositions that feel like they have a pulse.

Wild Nothing’s early records succeeded in the romantic sincerity of his lyrical fumblings but here, Tatum feels like an impersonator – having fun musically, but expressively mute.

BY CHRISTINE TSIMBIS

BY JOSHUA MARTIN

BEAT.COM.AU

37

FEATURED GIGS

Gig Guide Wednesday 12 Sep INDIE, ROCK, POP, METAL, PUNK & COVERS Mark Turner

Mark Turner Wesley Anne

Perth export Mark Turner is making his Melbourne debut on Thursday September 13, launching his latest EP Slow Down at Wesley Anne. He’ll be joined by his full band and strings for the show, as well as supports Brooke Russell and The Mean Reds with their Americana sound. Tickets are only $10 at the venue, and it’ll all kick off at 6.30pm.

Undercover Crops + more Yarra Hotel

It’s a three-for-one deal at the Yarra Hotel on Wednesday September 12, with hookheavy alt-rock artist Uva Ursi, punk rockers Slush and surf-punk act Undercover Crops all on the bill. Bring a fiver and be there at 8pm to watch it all go down. What’s more to love?

Firetail + Danika Smith The B.East Bassist Jamie McElhinney has started his new project Firetail – a kind of jazz/groove/ funk mix – and will be bringing it all to The B.East on Thursday September 13. He’ll be joined by Danika Smith as she fingerpicks her way through some original, folky tunes when it all goes down from 8pm. Entry is free.

Samsara Blues Experiment + more The Bendigo Hotel After already selling out a show at the venue, Germany’s Samsara Blues Experiment are giving fans a second chance to catch them when they take to The Bendigo Hotel on Thursday September 13. The self-described “psychedelic-progressive-rock gurus” are in the country for their first ever Australian tour, and will be joined by Child and Pseudo Mind Hive as part of the festivities. Nab a ticket for $35 from Eventbrite and be there at 7pm to catch all the action.

DEATHBEAT + BODY CORPORATE + LOVE GAMES Evelyn Hotel, Fitzroy.

8:30pm. $8.

INDEPENDENT SHOWCASE - FEAT: THE GREAT EMU WAR CASUALTIES + PACING THE CAGE + EASTBOUND BUZZ + JEARY Toff In Town, Melbourne

Cbd. 6:30pm. $5.

JACK RIVER + JESS KENT + ANNIE HAMILTON Corner Hotel, Richmond. 8pm.

LE PINE + GREYJACKS + SKA-NON + EARL GERY'S BREAKFAST TEA Bar

Open, Fitzroy. 8pm. $9.20.

STRANGERS FOR SALE Cherry Bar,

Melbourne Cbd. 9pm.

THE HUNTER EXPRESS + ALANA WILKINSON + GRAND PINE Gasometer

Hotel, Collingwood. 7pm. $10.

THE PUBLIC DOMAIN OPERA Woody's

Attic Dive, Collingwood. 10pm. $34.

THE PUBLIC DOMAIN OPERA Butterfly Club, Melbourne Cbd. 10pm. $34.

THERION + THE DEVIL Max Watt's, Melbourne. 8pm. $66.60.

THOMY SLOANE & LUCY WALDRON + BONNIE MERCER Tote Hotel,

Collingwood. 8pm.

UDDER UBDUCTEES + TUMBLE TURN + POSTMAN KILLED MY SCOOTER Old

Bar, Fitzroy. 7:30pm. $8.

UNKNOWN MORTAL ORCHESTRA + DIVIDE & DISSOLVE Forum Theatre,

Melbourne Cbd. 7:30pm.

UVA URSI + UNDERCOVER CROPS + SLUSH Yarra Hotel, Abbotsford. 7:30pm.

$5.

WIND IT UP - FEAT: STEEPLEJACK ARTISTS Northcote Social Club, Northcote.

8pm.

JAZZ, SOUL, FUNK, LATIN & WORLD MUSIC BOPSTRETCH Uptown Jazz Cafe, Fitzroy.

8:30pm. $15.

BUTTERED LOAF Bar Open, Fitzroy. 7pm.

JULIEN WILSON QUARTET + FLORA CARBO TRIO + MAX TEAKLE QUARTET

303, Northcote. 7:30pm.

LAUREN SCHADE & BAND Paris Cat Jazz

Club, Melbourne Cbd. 7:30pm. $30.

LILLIAN ALBAZI QUINTET Paris Cat Jazz Club, Melbourne Cbd. 8pm. $25.

LUKE HOWARD TRIO The Jazzlab, Brunswick. 8pm. $20.

MYSTIC MOMENTS - FEAT: JOHN BAILEY + MIKE GURRIERI Section 8,

Melbourne Cbd. 6pm.

RAUL MIDÓN - FEAT: RAUL MIDON

Bird's Basement, Melbourne. 8:15pm. $39.

THE CB3 + NIK HANNANI Horse Bazaar, Melbourne Cbd. 8pm. $10.

THE TANGO CHAMBER + MAX WALKER Open Studio, Northcote. 8pm. $8.

WORLD MUSIC OPEN MIC Compass

Nice Biscuit

Nice Biscuit The Curtin Brisbane psych-garage sextet Nice Biscuit will be stopping by The Curtin on Thursday September 13, as part of their east coast run to celebrate their debut album Digital Mountain. You can catch their twin femmefronted goodness alongside special guests Gena Rose Bruce and Girlatones when the doors swing open from 8pm, and have a tenner handy for your entry.

38 BEAT.COM.AU

Pizza, Brunswick East. 7:30pm.

ACOUSTIC/COUNTRY/ BLUES/FOLK AMEB ONLINE ORCHESTRA Federation Square, Melbourne Cbd. 4pm.

ASH SUMPTER Drunken Poet, West Melbourne. 8pm.

DARYL ROBERTS Elsternwick Hotel, Elwood. 6pm.

HAYLEY MARSTEN + ARNA GEORGIA

Some Velvet Morning, Clifton Hill. 8pm.

JULES BOULT Transit, Melbourne Cbd. 6pm.

KICKASS KARAOKE - FEAT: VARIOUS ARTISTS Sooki Lounge, Belgrave. 9pm.

LOMOND ACOUSTICA - FEAT: MANDY CONNELL + DON MORRISON + SIMON PHILLIPS Lomond Hotel, Brunswick East.

8pm. $10.

MONTHLY BLUES JAM - FEAT: JIMI COELLI + VARIOUS ARTISTS Whole

Abbotsford. 7:30pm. $10.

8pm.

Lotta Love, Brunswick East. 8pm.

MUDDY'S BLUES ROULETTE - FEAT: VARIOUS ARTISTS Catfish, Fitzroy. 9pm.

OPEN MIC NIGHT Penny Black,

MATT BRADSHAW Elephant &

Wheelbarrow, Melbourne. 9:30pm.

NICE BISCUIT + GENA ROSE BRUCE + GIRLATONES John Curtin Hotel, Carlton.

OLIVER DOWNES + MEL TAYLOR + BRIAN CAMPEAU Yarra Hotel, REEL TAPES + HONEY DREAMS + Y STREET + GODOGGO Evelyn Hotel,

Fitzroy. 8pm. $7.

RMJ + FOREVER SON + CREATURE FEAR Whole Lotta Love, Brunswick East.

Brunswick. 7:30pm.

YAZMINDI Drunken Poet, West Melbourne. 9pm.

7:30pm. $10.20.

Thursday 13 Sep

RYA PARK + STELLA FARNAN + BAKERS EDDY Gasometer Hotel,

JAZZ, SOUL, FUNK, LATIN & WORLD MUSIC ANDREA KELLER TRANSIENTS TRIO

Uptown Jazz Cafe, Fitzroy. 8:30pm. $15.

DIVAS & CROONERS Paris Cat Jazz Club, Melbourne Cbd. 8pm. $25.

EVA CASSIDY EXPERIENCE Sooki Lounge, Belgrave. 8pm.

FIRETAIL + DANIKA SMITH The B.east, Brunswick East. 8pm.

GARY PINTO Memo Music Hall, St Kilda.

7:30pm. $20.

HOI PALLOI Toff In Town, Melbourne Cbd. 7:30pm. $9.23.

HOT SLUDGE FUNDAE + MASCO SOUND SYSTEM Cherry Bar, Melbourne

Cbd. 8pm. $10.

KENNEDY SNOW (WITH NINA FERRO)

Paris Cat Jazz Club, Melbourne Cbd. 7:30pm. $25.

LANEOUS + TAYLOR CRAWFORD

ROSS & THE WILD BOYS Musicland,

Fawkner. 7:30pm. $10.

Collingwood. 7:30pm.

SAMSARA BLUES EXPERIMENT + CHILD + PSUEDO MIND HIVE Bendigo

Hotel, Collingwood. 7pm. $35.

TERRIBLE SIGNAL + CLAWS & ORGANS + WHITE VANS Tote Hotel,

Collingwood. 7pm.

TEX PERKINS (WITH MATT WALKER)

The Skylark Room, Upwey. 6pm.

THE FIX UPS + DAYELLE + THE SUBSTANCE + FURLONG Gasometer

Hotel, Collingwood. 7:30pm. $10.

THE PUBLIC DOMAIN OPERA Butterfly

Club, Melbourne Cbd. 10pm. $34.

THROWBACK - FEAT: VARIOUS DJS

Lucky Coq, Windsor. 9pm.

TINGY CELESTINO Customs House Hotel, Williamstown. 8pm.

VANILLA POPPERS + BITUMEN + DOVE + DEEP RED Bar Open, Fitzroy. 8pm. $10.

WAX JAX & THE MIDNIGHT SNAX + ZOE & THE MILKMEN + MYLK + FUNWAVE Revolver Upstairs, Prahran.

8pm. $5.

Penny Black, Brunswick. 8pm.

LAURA INGRAM Horse Bazaar, Melbourne YUKON ERA + HOUSEHATS Old Bar, Cbd. 8pm. $8.

Fitzroy. 7:30pm. $10.

LIJUKA Loop, Melbourne Cbd. 8pm. $10.

LINDA MAY HAN OH The Jazzlab, ACOUSTIC/COUNTRY/ Brunswick. 8pm. $25.

BLUES/FOLK NORTHSIDE JAZZ ORCHESTRA (WITH NITIDA ATKINSON & SAM QUALTROUGH)Dizzy's Jazz Club,

Richmond. 7:30pm. $20.

OFF THE LEASH Spotted Mallard, Brunswick. 8pm. $17.64.

RAUL MIDÓN - FEAT: RAUL MIDON

Bird's Basement, Melbourne. 8:15pm. $39.

REBECCA BARNARD + JOHN MONTESANTE QUINTET The Water Rat

Hotel, South Melbourne. 7pm.

SLIPPER Farouk's Olive, Thornbury.

7:30pm.

STRATHMORE SECONDARY COLLEGE BIG BAND Post Office Hotel, Coburg.

7:30pm.

THE HANDLE BARS Bar Open, Fitzroy.

7pm.

THE HOLLOW MAJORS + JOURNALS + CROOKED THIEVES + GARDEN OF STONE + DEVILS KISS Reverence Hotel,

Footscray. 7pm. $10.

THE JAWA PITU BAND + NINA ROSE

Open Studio, Northcote. 8pm. $10.

THE OFFTOPICS Edinburgh Castle, Brunswick. 8pm.

TIM STEVENS TRIO Melbourne Recital Centre, Southbank. 6pm. $30.

INDIE, ROCK, POP, METAL, PUNK & COVERS AFTER TOUCH + VACANT HOME + ATLVS + RESIDE Last Chance Rock And

Roll Bar, North Melbourne. 7:30pm. $10.

KIM SALMON Caravan Music Club, Bentleigh East. 7:30pm. $13.

LONG LUNCH + FIELD MAPS Fitzroy Pinnacle, Fitzroy North. 8:30pm.

ANDREW SWANN Transit, Melbourne Cbd. 6pm.

BRODIE Inkerman Hotel, Balaclava. 7pm.

CHARLIE BEDFORD Drunken Poet, West Melbourne. 8pm.

DAMON LANGLEY + BROOK MCKEON + MADI LEEDS + THERAPY DOG Red

Betty, Brunswick. 7pm.

DAN MUSIL Wesley Anne, Northcote. 6pm.

GIRLS ON KEY - FEAT: MAYA ROSE + VARIOUS ARTISTS 303, Northcote.

7:30pm. $5.

HANNAH BLACKBURN + TIM MOORE

Some Velvet Morning, Clifton Hill. 8pm.

JAM NIGHT - FEAT: SAMMY OWEN BLUES BAND + VARIOUS ARTISTS

Hume Blues Club, Coburg. 7:15pm.

JULIAN JAMES TRIO Lomond Hotel, Brunswick East. 9pm.

MARK TURNER Wesley Anne, Northcote.

8pm. $10.

MUSICLAND OPEN CHOIR REHEARSALS - FEAT: VARIOUS ARTISTS Musicland, Fawkner. 7pm. $5.

THE TASMANIAN SYMPHONY ORCHESTRA Melbourne Recital Centre,

Southbank. 7:30pm. $33.

TIOSAV JOY Drunken Poet, West

Melbourne. 9pm.

TOM & JERRY Charles Weston Hotel,

Brunswick. 6:30pm.

Friday 14 Sep JAZZ, SOUL, FUNK, LATIN & WORLD MUSIC

FEATURED GIGS 45 SHOOT OUT - FEAT: RICK HOWE + DJ ITAL MAGNUS Section 8, Melbourne

Cbd. 5pm.

ADAM HALL & THE VELVET PLAYBOYS

Paris Cat Jazz Club, Melbourne Cbd. 8pm. $32.50.

ALLYSHA JOY Night Cat, Fitzroy. 9pm. $10.

AUSECUMA BEATS Belleville, Melbourne.

11pm.

BLUE NOTE '60 Paris Cat Jazz Club, Melbourne Cbd. 9pm. $32.50.

CANNONBALL The Jazzlab, Brunswick.

8pm. $30.

DJ ANNALIESE REPLICA Transit, Melbourne Cbd. 9pm.

IN OUR OWN WORDS - LEONARD COHEN Paris Cat Jazz Club, Melbourne

Cbd. 6:30pm. $32.50.

KIMBA GRIFFITH DUO Wesley Anne,

Northcote. 6pm.

LAKE MINNETONKA Open Studio,

Northcote. 8pm. $10.

MORELAND CITY SOUL REVUE Gem

Bar, Collingwood. 9pm.

RAUL MIDÓN - FEAT: RAUL MIDON

Bird's Basement, Melbourne. 8:15pm. $39.

REFRACTION Melbourne Recital Centre, Southbank. 7pm. $30.

SAFARI MOTEL Catfish, Fitzroy. 9pm.

SARAH MACLAINE QUARTET Lido Jazz Room, Hawthorn. 8pm. $25.

SOUL SESSIONS - FEAT: ASTROSOUL + MORE The Local Taphouse, St Kilda East.

9:30pm.

STIR IT UP! FOOTSCRAY - FEAT: THE REFUGEES + SIMMER DOWN + BOSS MELODY Reverence Hotel, Footscray.

7:30pm. $12.

TAYLOR & SILK Arkibar, South Melbourne.

4:30pm.

THE CHRIS HAROLD TRIO Memo Music

Hall, St Kilda. 7:30pm. $15.

THE DAN MOUGERMAN QUARTET

Uptown Jazz Cafe, Fitzroy. 8:30pm. $25.

WAX POETS - FEAT: DJ LEGO + DJ HAWK I + MORE Red Betty, Brunswick.

7pm.

INDIE, ROCK, POP, METAL, PUNK & COVERS ACTION SAM Elephant & Wheelbarrow,

Melbourne. 11pm.

ALLAN STACEY DJ'S DANZIG - FEAT: DJ ALLAN STACEY + DJ MERMAID

Last Chance Rock And Roll Bar, North Melbourne. 11:45pm.

AUTO-MASH DJS Rainbow Hotel, Fitzroy.

9pm.

CAPTAIN SPALDING BAND Customs House Hotel, Williamstown. 8pm.

CASH + BLEACH Baha Tacos & Tapas Bar, Rye. 8pm.

CHAPEL STREET SOCIAL CLUB - FEAT: PHATO A MANO + NAMN + MATT RADOVICH Lucky Coq, Windsor. 9pm.

CLAIRE BIRCHALL & THE PHANTOM HITCHHIKERS + LEVITATING CHURCHES Labour In Vain, Fitzroy. 8pm.

CLUB MED + SHARDS + EL TEE

Last Chance Rock And Roll Bar, North Melbourne. 7:30pm. $10.

COLD FISH + SYNTHETICS + PRODUCT + FRAG Tote Hotel, Collingwood. 8pm.

$10.

CREO + MID CITY + BAKERS EDDY + EMPIRE PARK Penny Black, Brunswick.

8pm.

DEAD FORMAT II - FEAT: PAPPY + EATMAN + THE TOOL TIME HOUSE BAND + SHEEP + MORE Old Bar, Fitzroy. 8pm.

$10.

DJ LADY LOVE POTION Edinburgh

Castle, Brunswick. 9pm.

FERLA + SPIRAL PERM + JARROW

Grace Darling Hotel, Collingwood. 8pm. $12.

GEORGE TRIMMER BAND Royal Hotel, Essendon. 10pm.

GODOGGO + THE AVENUE + DOMINIQUE Cherry Bar, Melbourne Cbd.

8pm. $8.

GRANDSTANDS + QUIVERS Post Office

Hotel, Coburg. 8:30pm.

JACK RIVER + JESS KENT + NANCIE SCHIPPER Corner Hotel, Richmond.

8:30pm.

JUNGLE CUFFS + HEARTS & ROCKETS + NIPPLE CHAFFES + GIRL GERMS

Yarra Hotel, Abbotsford. 8pm. $10.

KOTA BANKS + SWICK + DJ KRITTY

Workers Club, Fitzroy. 9pm. $12.

LAIR FEST IV - FEAT: TRAIL OF LIES + BREAK THROUGH + CAGED EXISTENCE + EXCARNATE + BIND

Reverence Hotel, Footscray. 7pm. $30.

MOONLIGHT BROADCAST + THE HALF TAILS + THE PHOSPHENES Compass

Pizza, Brunswick East. 8pm. $5.

MUSCLE CAR + MONARCHUS + ZUESIFIER Bombay Rock, Brunswick. 7pm.

PARADISE CLUB The Blowhole,

Collingwood. 7pm. $10.

PARTY ANIMALS Hysteria Lounge, Lilydale. 6pm. $10.

PARTY ROCK Musicland, Fawkner.

7:30pm. $10.

PINCH POINTS + SLUSH + U-BAHN

Grace Darling Hotel, Collingwood. 9:30pm. $7.

POPROCKS + DR PHIL Toff In Town, Melbourne Cbd. 9pm.

POWERSTRYDE The B.east, Brunswick East. 7:30pm.

RIFF RAIDERS + EAT THE DAMN ORANGE + MILES RECOMMENDS

Whole Lotta Love, Brunswick East. 8pm. $7.

ROCK EN TU IDIOMA - FEAT: SUD AMERICAN ROCKERS Brown Alley,

Melbourne Cbd. 11pm. $12.

SCHOOL DAMAGE + SCOTT & CHARLENE'S WEDDING + TRAFFIK ISLAND + THIBAULT Gasometer Hotel,

Collingwood. 8pm. $10.

SEE YOU TONIGHT - A BENEFIT FOR STEWY 'LEADFINGER' CUNNINGHAM - FEAT: HOSS + DRAUGHT DODGERS + SWEDISH MAGAZINES + POWERLINE SNEAKERS + WRONG TURN + MORE

Tote Hotel, Collingwood. 7pm. $19.40.

TAYLOR PIGGOTT + ANGUS LEGG

Evelyn Hotel, Fitzroy. 8:30pm. $15.30.

TESSERACT + CIRCLES + ORSOME WELLES 170 Russell, Melbourne Cbd.

7:30pm. $59.31.

TEX PERKINS (WITH MATT WALKER)

Caravan Music Club, Bentleigh East.

8:30pm. $33.

THE ALL SEEING HAND + MORE John

Curtin Hotel, Carlton. 8pm. $15.

THE GREAT EMU WAR CASUALTIES + THE SIERRAS + ET SOUL SISTAR

Musicland, Fawkner. 7:30pm. $10.

THE PUBLIC DOMAIN OPERA Butterfly

Club, Melbourne Cbd. 10pm. $34.

THE TARANTINOS + NATHAN DETROIT + PAM SALMON + TINO + DJ LOULOU

Bendigo Hotel, Collingwood. 8pm. $10.

VARIOUS DJS Laundry Bar, Fitzroy. 9pm.

RNB FRIDAYS CLUB - FEAT: VARIOUS DJS Co., Southbank. 9:30pm. $20.

TKAY MAIDZA + KWAME + ARNO FARAJI Howler, Brunswick. 8pm.

TRICKY MAC & BENNY T + ORSI + MORE Laundry Bar, Fitzroy. 8pm. $10.

ACOUSTIC/COUNTRY/ BLUES/FOLK ADAM GIBSON + ALANNAH RUSSACK + PETER FENTON Merri Creek Tavern,

Northcote. 8pm.

ALEYCE SIMMONDS, BRAD BUTCHER + ALEYCE SIMMONDS + BRAD BUTCHER Retreat Hotel, Brunswick. 8pm.

ANNA SCOINTI Drunken Poet, West

Melbourne. 8:30pm.

BENNY PETERS & THE MISTREATERS

Transit, Melbourne Cbd. 7pm.

GARETH LEACH + GRETTA ZILLER + JASPER HOLLIS & PETE DALY Spotted

Mallard, Brunswick. 8:30pm. $12.53.

JIMMY O’HARE Platform 270, Melbourne.

5:30pm.

LOT 56 Lomond Hotel, Brunswick East.

9:30pm.

MICHAEL WAUGH + RICH DAVIES

Thornbury Theatre, Thornbury. 7pm. $25.

MISSION BROWN Bar Open, Fitzroy.

6:30pm.

OPERATIC MOZART - FEAT: AUSTRALIAN NATIONAL ACADEMY OF MUSIC MUSICIANS Melbourne

Recital Centre, Southbank. 11:00am. $49.

The Slipdixies The Moldy Fig It’ll be a night of slick jazz and smooth blues when The Slipdixies play The Moldy Fig on Friday September 14. The Melbourne sixpiece have been playing shows together for three years now, spreading their love of ‘20s and ‘30s jazz along the way. Get down from 9pm and enjoy free entry, too.

Lairapalooza Reverence Hotel Life.Lair.Regret. Records are set to bring their fourth annual Lairapalooza to The Rev this Friday September 14. US hardcore heavyweights Trail Of Lies will headline, joined by fellow Americans Bind, as well as Break Through, Excarnate, Caged Existence and Mere Flesh. Tickets are $30 via Life.Lair.Regret Records’ website, or $35 on the door. Kicks off at 7pm.

Grandstands The Post Office Hotel Four-piece Grandstands are coming out of retirement to play a show at The Post Office Hotel on Friday September 14. Armed with tunes from their 2016 release, the guys will be performing their brand of wistful pop, joined by Hobart’s Quivers as support. It’s a free event, and doors will open at 8.30pm.

TOM MCGOWAN Edinburgh Castle,

Brunswick. 6pm.

TRADITIONAL IRISH MUSIC SESSION

Drunken Poet, West Melbourne. 6pm.

WENDY RULE 303, Northcote. 8pm. $20.

Saturday 15 Sep HIP HOP & R&B BIG DANCING SATURDAYS - FEAT: VARIOUS DJS Laundry Bar, Fitzroy. 9pm.

BOW WOW Co., Southbank. 10pm. $25.

CURSE OV DIALECT + PIRATESKA REBELLION + CHICKEN WISHBONE

Bar Open, Fitzroy. 8:30pm. $12.

ELECTRIC DREAMS - FEAT: VARIOUS DJS Co., Southbank. 9:30pm. $20.

KHOKOLAT KOATED SATURDAYS FEAT: DAMION DE SILVA + DURMY + MORE Khokolat Bar, Melbourne Cbd.

9:30pm.

HOUSE, ELECTRO, TRANCE & CLUB NIGHTS 12 YEARS OF STUPIDITY - FEAT: SPACEY SPACE + STEVE WARD VS JPA + ANYO + LUKE BOWDITCH + THE LANEWAY PROJECT + MORE Tramp,

Nardia Rose Band

Nardia Rose Band Duke of Edinburgh Hotel Having supported the likes of Pink, Beyonce and Adele, Nardia Rose’s raw and sultry vocals have captured many. She’s set to take to The Duke of Edinburgh Hotel on Friday September 14, with her slinky jazz, blues and soul-fuelled band in tow. Entry is free and it’ll all go down from 8.30pm.

Wendy Rule Bar 303 On an impromptu trip back to Australia to finish her forthcoming album Persephone, Wendy Rule will play an intimate acoustic show at Bar 303 on Friday September 14.

She’ll sling some tunes from the upcoming release as well as some old favourites, when it all happens at 8pm. Tickets are $20 on the door.

Melbourne Cbd. 10pm.

THICKWAVE PARTY - FEAT: JESSWAR BEYOND THESE FIELDS - FEAT: DAN + VARIOUS ASSES + HEXDEBT + WAHE WEST & RORY MCDOUGALL Horse + IDIL ADIL Gasometer Hotel, Collingwood. Bazaar, Melbourne Cbd. 7pm. $15.

9pm. $10.

BLEND + BROOKE POWERS + RILEY TIMESHARE + LACHLAN DENTON GOWER + GRAM + DNGN MSTR Boney,

Fitzroy Pinnacle, Fitzroy North. 7pm.

WING DEFENCE + GO GET MUM + THE VACANT SMILES Yah Yah's, Fitzroy. 8pm.

WOODES + GRETA STANLEY + RO

Melbourne Cbd. 10pm.

CHRISTOPHER PORT + HYDE + ​DJ EMELYNE + DJ LORI Workers Club,

Fitzroy. 8pm. $15.

Northcote Social Club, Northcote. 8:30pm. $15.

CLONE OF BABA'S HOUSE - FEAT: BABA NOIR + JAMAL AMIR Ferdydurke,

$19.40.

EAT THE BEAT - FEAT: CHRISS MATTO + GAV WHITEHOUSE + ETWAS + MATTEO FREYRIE + MORE New

YOUNG LIONS + BAD JUJU + LAKE MOUNTAIN Sooki Lounge, Belgrave. 7pm.

HIP HOP & R&B AFTER HOURS - FEAT: VARIOUS ARTISTS Horse Bazaar, Melbourne Cbd.

8pm.

HAVANA FRIDAYS - FEAT: MC SEBA + MORE Khokolat Bar, Melbourne Cbd.

9:30pm.

PARTY & BULLSHIT FRIDAYS - FEAT:

Melbourne Cbd. 8pm.

Guernica, Melbourne Cbd. 10pm. $10.

HEAPS GAY TRASH TOUR - FEAT: SEZZO SNOT + MZRIZK + BAHDOESA + MIMI + BURN CITY WAACK + MORE 24

Moons, Northcote. 9:30pm. $15.

JANK FACQUES Carlton Club, Melbourne

Cbd. 11:45pm.

MYTHOLOGY - FEAT: LONER + TILLY CUMS + POST PERCY + SALVADOR

Uptown Aces

Uptown Ace + more Whole Lotta Love Hometown pop-rock band Uptown Ace are geared to launch their latest album Combine & Conquer at Whole Lotta Love on Saturday September 15. The four-piece will be bringing Redro Redriguez & His Inner Demons, Evil Twin and Ativandal along for the show as support, which is set to kick off at 8pm. Grab a ticket at the venue for $10.

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FEATURED GIGS Joshua from Jericho

DARLING Boney, Melbourne Cbd. 9pm.

ORGANIC AUDIO TAKEOVER - FEAT: MUSKA + JOHN BAPTISTE + MHA IRI + TIMMUS + MORE Sooki Lounge,

JAZZTET Werribee Bowls Club, Werribee.

$44.18.

THIS IS JONI -THE MUSIC & ART OF JONI MITCHELL The Jazzlab, Brunswick.

Thornbury Theatre, Thornbury. 8pm. $28.60.

PONY SATURDAYS - FEAT: VARIOUS DJS La Di Da, Melbourne Cbd. 10pm.

SATURDAYS - FEAT: DJ KISTA + DJ BETH GRACE + DJ DEMIZE + VARIOUS DJS Carlton Club, Melbourne Cbd. 8pm.

SNACK ATTACK WITH DJ 2P Elephant

VEDIC VIBE Abbotsford Convent,

Belgrave. 3pm. $15.

& Wheelbarrow, Melbourne. 10pm.

Joshua from Jericho Charles Weston Back from a run around Europe, folk musician Joshua from Jericho is armed with a stack of new songs that he’ll bring to Charles Weston on Saturday September 15.

Expect favourites from across his catalogue as well as the newies, when he takes to the stage from 6.30pm. Entry is free.

The Chesterfield Band Compass Pizza The Chesterfield Band will roll into Compass Pizza as part of their ‘Home’ single tour this Saturday September 15.

Joining the four-piece comes The Will Campbell Band and Bailey Judd, who’ll kick things off from 7pm. Tickets are $15 via Moshtix.

Neighbourhood Youth The Lomond Hotel Melbourne indie-rock quartet Neighbourhood Youth are set to launch their cracking new single ‘Stay Safe’ at The Lomond Hotel on Saturday September 15. The catchy-as-ever two minute number comes after a stellar run of support slots for the band this year, which include the likes of British India, WAAX, The Pretty Littles and the US’ Turnover. You can catch Neighbourhood Youth from 8pm, with tickets available for $13 via Oztix.

AZTX + Zenith Moon The Evelyn Hotel Melbourne trio AZTX and psychedelicsoul rockers Zenith Moon will be heading upBuck TheEdwards Evelyn for a Sunday sesh this Sunday September 16. For an easy $10 on the door, this looks likes a ripper way to see out the weekend. Doors open from 2pm.

STILL IN SESSION - FEAT: DUANE BARTOLO + MADELEINE + SHORT ROUND Red Betty, Brunswick. 5pm.

SUBTEMPLE - FEAT: DJ MUM + DAESIN + SCATTERBRAIN + PUBLIC HOUSING Loop, Melbourne Cbd. 10pm.

TEKK DJZ PRESENTS - JUKE THIS MF FEAT: DJ INNES + TII LEE + YUMGOD + MORE Grumpy's Green, Fitzroy. 8pm.

THE LATE SHOW - FEAT: NOISE IN MY HEAD + DAN SAN + PLASTIC PALMS + NICK MURRAY + M S + YUGO BOSS + MORE Revolver Upstairs, Prahran. 7pm.

THE OUTPOST - THE OFF-WHITE PARTY - FEAT: WHISKEY HOUSTON + MR WEIR + THE SUGAR PLUMP FAIRY + MORE Gasometer Hotel, Collingwood.

9pm. $15.

TOFF CLUB - FEAT: LORD HANS DC

Toff In Town, Melbourne Cbd. 11pm.

WAT ARTISTS X BIZARRO ARTISTS FEAT: JENNIFER LOVELESS + ANDRAS + BOBBY VIBE POSITVE + MERVE + MORE Grace Darling Hotel, Collingwood.

6pm.

WINKY D Rubix Warehouse, Brunswick.

9pm. $60.

JAZZ, SOUL, FUNK, LATIN & WORLD MUSIC 8 FOOT FELIX Belleville, Melbourne. 9pm.

DEL BARRIO Open Studio, Northcote.

8pm. $12.

FUNKY KINGSTON - FEAT: MOHAIR SLIM + RICK HOWE + JESSE I + STRYKA D 303, Northcote. 8:30pm. $15.

GOOD MORNING KAOS + CROOKED FINGERS Open Studio, Northcote. 2:30pm.

$10.

HARRY TINNEY STRING TRIO Uptown

Jazz Cafe, Fitzroy. 6pm.

HETTY KATE Paris Cat Jazz Club,

Melbourne Cbd. 8pm. $35.

JOURDAIN + JAKAL Night Cat, Fitzroy.

10pm. $10.

LINE MATTER + THE AGUS BATARA QUARTET Open Studio, Northcote.

5:30pm.

MEDITERRÁNEO - FEAT: AUSTRALIAN BRANDENBURG ORCHESTRA

Melbourne Recital Centre, Southbank. 7pm. $30.

Duncan Phillips

MELSAMBA 30TH ANNIVERSARY PARTY - FEAT: DANY MAIA & SUINGUE BRAZUCA + MELSAMBA BATERIA + SAMBRAZUKA + MANDACARU Royal

Melbourne Hotel, Melbourne Cbd. 9pm. $15.

Duncan Phillips The Drunken Poet

MO’ SCO - THE MUSIC OF JOHN SCOFIELD Fitzroy Pinnacle, Fitzroy

Duncan Phillips will be playing an Americana-style Sunday session at his regular haunt, The Drunken Poet, this Sunday September 16. The Scottish-born, Melbourne-based musician will be backed by a trio of band members, with a 4pm start.

And best of all, it’s all bloody free.

NATASHA WEATHERILL QUARTET Lido Jazz Room, Hawthorn. 8pm. $25.

OLD HAT Paris Cat Jazz Club, Melbourne Cbd. 6:30pm. $32.50.

Cruwys Edinburgh Castle

SPRING FIESTA - FEAT: SOL NATION + SOLI TESEMA Penny Black, Brunswick.

If you’re after some chilled-out Sunday beats, then head down to Edinburgh Castle to catch Cruwys this Sunday September 16.

Using a drum machine, guitar and vocals, the homegrown musician makes ambient, down-tempo tunes well suited to a lazy afternoon. Lap it all up for free from 4pm.

40 BEAT.COM.AU

North. 5pm.

RAUL MIDÓN - FEAT: RAUL MIDON

Bird's Basement, Melbourne. 8:15pm. $39.

RENEE GEYER Hysteria Lounge, Lilydale.

6pm. $49.

8pm.

T.A.L.K Clifton Hill Brew Pub, Clifton Hill.

9pm.

THE JAMES SHERLOCK TRIO Uptown

Jazz Cafe, Fitzroy. 8:30pm.

THE ROOKIES The Jazzlab, Brunswick.

11pm.

THE RUBY PAGE & JOE RUBERTO

8pm.

8pm. $30.

Abbotsford. 6:30pm. $25.

VINTAGE ROOTS (WITH MINTI) - Paris

Cat Jazz Club, Melbourne Cbd. 9pm. $32.50.

INDIE, ROCK, POP, METAL, PUNK & COVERS BLACKFIRE + KEVIN KROPINYERI + YUNG WARRIORS Memo Music Hall, St

THE AUSTRALIAN INXS SHOW

THE BEVERLY CHILLS + PUBLIC HIGH + YEAH DON'T CARE + THE MIYAGIS

Yah Yah's, Fitzroy. 8pm. $10.

THE BIG SHOW - FEAT: THE SHIFTERS + PARSNIP + TRAFFIK ISLAND + THE LIVING EYES + VANILLA POPPERS + GONZO + MORE Tote Hotel,

Collingwood. 8pm. $19.40.

THE CHESTERFIELD BAND + THE WILL CAMPBELL BAND + BAILEY JUDD

Compass Pizza, Brunswick East. 8pm. $15.

THE CHRISTOPHER MARSHALL PREDESTINATION Labour In Vain,

Kilda. 7:30pm. $20.

Fitzroy. 8pm.

Wesley Anne, Northcote. 8pm. $12.

The B.east, Brunswick East. 8pm.

BOATKEEPER + RUN RABBIT RUN BODIES - FEAT: GRANDSTANDS + MARA SCHWERDTFEGER Post Office

THE KIM SALMON POWER POP TRIO THE PUBLIC DOMAIN OPERA Butterfly

Club, Melbourne Cbd. 10pm. $34.

Hotel, Coburg. 9pm.

THE SENEGAMBIAN JAZZ BAND

Footscray. 8pm. $10.

UPTOWN ACE + REDRO REDRIGUEZ & HIS INNER DEMONS + EVIL TWIN + ATIVANDAL Whole Lotta Love,

CAP A CAPO + MONKEY GRIP + SNOWFLAKE + SWINE Reverence Hotel,

Evelyn Hotel, Fitzroy. 8:30pm. $10.

CHILD + JACK HARLON & THE DEAD CROWS Cherry Bar, Melbourne Cbd. 1pm.

DJ SIMON LAXTON Edinburgh Castle,

Brunswick East. 8pm. $10.

DZ DEATHRAYS + PUP + ALI BARTER + PRESS CLUB + YACHT CLUB DJS

Melbourne. 6:15pm.

Brunswick. 9pm.

Forum Theatre, Melbourne Cbd. 7:30pm. $54.90.

FREYA JOSEPHINE HOLLICK + SPIKE FUCK + HANNAH BLACKBURN John

Curtin Hotel, Carlton. 8pm. $15.

GHOSTS OF GODZILLA + THE CIGARILLOS + SORDID ORDEAL + SEWER SIDESHOW + THE VELVET COBRAS + SARAH EIDA TRIO Bombay

Rock, Brunswick. 6pm.

GONZO + GUTTER GIRLS Retreat Hotel,

Brunswick. 4pm.

GRADUAL Inkerman Hotel, Balaclava.

8pm.

GUPSTAR Fox Hotel, Collingwood. 8pm.

HALFWAY + COLD IRONS BOUND + HARLEY YOUNG DUO + THE AERIAL MAPS Spotted Mallard, Brunswick. 8pm.

$23.77.

HUDSON CARTEL + ALL IS VIOLENT + INTELLECTUALS Reverence Hotel,

Footscray. 9pm. $10.

HUGE IF TRUE + ZOE & THE MILKMEN + BRENDA Catfish, Fitzroy. 8pm. $10.

JMS HARRISON + GORDON HOLLAND Old Bar, Fitzroy. 4pm.

KILLER KLOWNS + RIDING ON BUSES

Musicland, Fawkner. 7:30pm. $15.

LAGERFEST - FEAT: LAGERSTEIN + DEAD CITY RUINS + RICK DANGEROUS & THE SIKLY BANTEMS + THE BOTTLERS + CATALANO + MORE

Max Watt's, Melbourne. 1:30pm. $40.30.

MARK LANEGAN + ROLLER ONE The Croxton, Thornbury. 8pm. $69.90.

NEIGHBOURHOOD YOUTH + HOUSEHATS + MERPIRE + LOW TEMPERATURE CIVICS Lomond Hotel,

Brunswick East. 9:30pm.

OTHRSHIP Wesley Anne, Northcote. 6pm.

PLINI + MESTIS + DAVID MAXIM MICIC Corner Hotel, Richmond. 8:30pm.

$35.

VANCE JOY + CUB SPORT + JACK RIVER + DIDIRRI Rod Laver Arena, VIM + SPARKLY BEAR + ESSENTIAL BREAKFASTS + JULES SHELDON Yarra

Hotel, Abbotsford. 8pm. $10.

YOUNG LIONS Northcote Social Club, Northcote. 8:30pm. $20.

ACOUSTIC/COUNTRY/ BLUES/FOLK ANDREW SWANN Transit, Melbourne

Cbd. 5:30pm.

COLD HEART Drunken Poet, West

Melbourne. 9pm.

FIONA BOYES Piping Hot Chicken &

Burger Grill, Ocean Grove. 7:45pm. $15.

GREG STEPS Edinburgh Castle, Brunswick. 5pm.

JESS PARKER & THE TROUBLED WATERS Bar Open, Fitzroy. 6:30pm.

JOHNNY LONGSHOT Transit,

Melbourne Cbd. 9pm.

JOSHUA FROM JERICHO Charles Weston Hotel, Brunswick. 6:30pm.

MICHAEL SPIBY The Fyrefly, St Kilda.

6pm. $17.35.

PERSONS OF INTEREST Rainbow Hotel, Fitzroy. 9:30pm.

SAMMY OWEN BLUES BAND Baha Tacos & Tapas Bar, Rye. 8pm.

SIME NUGENT Gem Bar, Collingwood.

8pm.

SONG HARVEST - FEAT: ALEX HILVERT + SHELLEY VAN DER WERFF + CHRIS WALSH + JAQ BRYAN + KYLIE MORRIGAN + MAL WEBB 303,

Northcote. 3pm.

THE AUDREYS Caravan Music Club,

Bentleigh East. 8pm. $28.

THE ORIGINAL CARTRIDGE FAMILY

Union Hotel, Brunswick. 5pm.

THE TIPPLERS Drunken Poet, West Melbourne. 3pm.

THELMA PLUM + ASHA JEFFERIES + ALICE SKYE Howler, Brunswick. 8pm.

PREHISTORIC DOUCHE + THE MEGRAINES + LEVITATING CHURCHES + TROPICAL DEADBEATS Old Bar, Fitzroy.

Mornington. 8:30pm.

SAMSARA BLUES EXPERIMENT + SEEDY JEEZUS + ARROWHEAD

Sunday 16 Sep

8:30pm. $10.

Bendigo Hotel, Collingwood. 8pm.

SHE'S MY YOU + HUGO BLADEL + TOMBOLO Last Chance Rock And Roll

Bar, North Melbourne. 7pm.

SISTER SISTER Royal Hotel, Mornington.

8pm.

$29.34.

THIS WAY NORTH Gods Kitchen,

JAZZ, SOUL, FUNK, LATIN & WORLD MUSIC BALKAN BRASS - FEAT: OPA! BATO + OPA SEKO Farouk's Olive, Thornbury.

SLIM JEFFRIES + THE ATTENTION SEEKERS + LA BRONCO Boney,

7:30pm. $10.

TEX PERKINS (WITH MATT WALKER) - Toff In Town, Melbourne Cbd. 7:30pm.

HETTY KATE & TONY FENELON

Melbourne Cbd. 8pm. $10.

SPOONFUL Union Hotel, Brunswick. 9pm.

EMMA VOLARD + MAX LAWRENCE + WATERBIRD Workers Club, Fitzroy.

7:30pm. $7.

Kingston City Hall, Moorabbin. 2pm. $35.

FREE! MADE BY MUSIC IANS FOR MUSIC IANS

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COMING SOON ANDREW MCMAHON IN THE WILDERNESS Max Watt’s September 20 NONAME The Forum September 21 PETIT BISCUIT The Prince September 21 G FLIP Northcote Social Club September 21 JACK LADDER Grace Darling September 21 KAIIT Corner Hotel September 21 INTERVALS & POLYPHIA Corner Hotel September 22 RICK ROSS The Forum September 22 BETWEEN YOU AND ME The Curtin September 22, Wrangler Studios September 23 JHENÉ AIKO Margaret Court Arena September 24 WOLF ALICE Corner Hotel September 25 BROCKHAMPTON The Forum September 25 SKEPTA The Forum September 26 DESTROYER Howler September 27 RADIO BIRDMAN The Croxton September 27 SCOOTER The Forum September 27 BOYTOY The Tote September 27 EVEN Northcote Social Club September 27 RUEL Corner Hotel September 27, 28 POWER TRIP Bendigo Hotel September 28 HILLS CITY Corner Hotel September 28 WILLIAM RYAN KEY Northcote Social Club September 28 CHER Rod Laver Arena October 3, 5 THE THE Arts Centre October 4, 5 LAKYN Northcote Social Club October 4 JEN CLOHER Melba Spiegeltent October 4, 5 CLARE BOWEN Athenaeum Theatre October 5 WAFIA Howler October 5 PETER BIBBY The Curtin October 5 LISTENER Reverence Hotel October 6 LAST DINOSAURS Northcote Social Club October 6 CLOWNS Corner Hotel October 6 MATT JOE GOW The Curtin October 6 KESHA Margaret Court Arena October 7 LOST PICNIC ft Tash Sultana, Meg Mac, Marlon Williams + more Flemington Nursery October 7 MARGO PRICE Caravan Music Club October 10, Thornbury Theatre October 12 NILS FRAHM Hamer Hall October 12, 13 THESE NEW SOUTH WHALES Howler October 12 RUNNING TOUCH 170 Russell October 12 HANDS LIKE HOUSES Max Watt’s October 12 B WISE Northcote Social Club October 12 6LACK The Forum October 12 PANIC! AT THE DISCO Hisense Arena October 13 TIA GOSTELOW Northcote Social Club October 13 CHEAP TRICK Palais Theatre October 15 ANNE-MARIE Trak October 17 ELAINE PAIGE Hamer Hall October 18 DEEZ NUTS Workers Club October 18 TIM ROGERS Toff In Town October 19 BONEY M Palais Theatre October 20 TROPHY EYES The Forum October 20 DONNY BENÉT Corner Hotel October 20 KYGO Sidney Myer Music Bowl October 20 CERES Howler October 20 THE VANNS Northcote Social Club October 20 SKEGSS The Croxton October 21 ESKIMO DANCE The Forum October 24 TAYLOR SWIFT Etihad Stadium October 26 SHAPESHIFTER 170 Russell October 26 CARAVÃNA SUN Howler October 26 KYNETON MUSIC FESTIVAL ft Adalita, Sonny & The Sunsets, RVG, more October 26 -27 CALUM SCOTT Max Watt’s October 27 FOREIGNER Hamer Hall October 29, 30 SHAWN MENDES Rod Laver Arena October 29 THE BRONX The Croxton October 31 PATRIZIO BUANNE Hamer Hall November 1

42 BEAT.COM.AU

KIMBA & RYAN Clifton Hill Brew Pub, Clifton Hill. 4pm.

MEDITERRÁNEO - FEAT: AUSTRALIAN BRANDENBURG ORCHESTRA Melbourne Recital Centre,

Southbank. 5pm. $30.

ACOUSTIC SUNDAYS - FEAT: MICHELLE GARDINER + PAIGE SPIERS + PAIGE SMITH Customs House Hotel,

Williamstown. 2pm.

BEN J. CARTER Dan O'connell Hotel,

Carlton. 4pm.

MICHAELA JAYDE + NEON QUEEN + KALALA Workers Club, Fitzroy. 1pm. $12.

MIRKO GUERRINI'S HORIZONTAL QUARTET The Jazzlab, Brunswick. 8pm.

BEN MASTWYK & HIS MILLIONS

PAUL CARTER’S ‘PLAYGROUND’ TRIO

4pm.

$20.

Wesley Anne, Northcote. 6pm.

RAUL MIDÓN Bird's Basement, Melbourne. 8:15pm. $39.

TAYLOR & SILK TRIO Central Club Hotel, Richmond. 2pm.

THE OLD MARRIED COUPLE Open Studio, Northcote. 8pm. $10.

THE VIBRAPHONIC ORKESTRA

Spotted Mallard, Brunswick. 4pm.

TUMBAO SOCIAL Night Cat, Fitzroy.

9pm. $10.

ULTRAFOX Caravan Music Club, Bentleigh East. 5pm. $18.

Labour In Vain, Fitzroy. 5pm.

BENNY & THE FLYBYNITERS Gem Bar,

Collingwood. 7pm.

CRUWYS Edinburgh Castle, Brunswick.

DAVE HOLMES GANG + FUNK DE VUE

Retreat Hotel, Brunswick. 2pm.

DAVID COSMA Standard Hotel, Fitzroy.

7pm.

DUNCAN PHILLIPS & THE LONG STAND Drunken Poet, West Melbourne.

4pm.

EIJSMA Open Studio, Northcote. 2:30pm.

$5.

JESSE VALACH'S BLUES MOUNTAIN

Royal Hotel, Mornington. 3pm.

JOE ST CLOUD & NINA-RAE Union LIVE MUSIC SUNDAYS - FEAT: VARIOUS ARTISTS Assaggi Italiani,

FEMMO FEST 2018 - FEAT: ELLA HOOPER + MADELINE LEMAN & THE DESERT SWELLS + LEAH SENIOR + BABY BLUE + SPIRAL PERM + MORE

Malvern. 12pm.

LOST RAGAS Union Hotel, Brunswick.

5pm.

MIKE HEARN + LAUREN HART Open Studio, Northcote. 5:30pm.

MISS DEE Transit, Melbourne Cbd. 2pm.

PAUL WOOKEY TRIO Lomond Hotel, Brunswick East. 5:30pm.

PHIL PARA Cherry Bar, Melbourne Cbd. 3pm.

THE BURNING BRIDGES Bar Open, Fitzroy. 6pm.

FLYING DUTCHMAN + SLACK ATTACK + PLANET OF THE 8'S Last

4pm.

Collingwood. 3pm. $10.

DAVE GRANEY & THE MISTLY The

Croxton, Thornbury. 4pm. $17.85.

Tote Hotel, Collingwood. 1pm. $19.40.

Chance Rock And Roll Bar, North Melbourne. 7:30pm. $10.

FOURPLAY Toff In Town, Melbourne Cbd. 7:30pm. $28.80.

GAZ COOMBES + MITCH KING Corner Hotel, Richmond. 8pm. $57.50.

HEY GRINGO Pirates Tavern, Williamstown. 2pm.

HORACE BONES + NOUGHTS + SLIM JEFFRIES Tote Hotel, Collingwood. 5pm.

KING GROAKER + LEMON DAZE Old

Bar, Fitzroy. 7:30pm. $8.

LAST LEAVES + LEHMANN B SMITH

Post Office Hotel, Coburg. 4:30pm.

MONTAGUE + NIK NAVY + COLOURED CLOCKS Whole Lotta

Love, Brunswick East. 6:30pm.

OPEN MIC JAM NIGHTS Musicland, Fawkner. 7pm.

RYA PARK + STELLA FARNAN + BAKERS EDDY Gasometer Hotel,

Collingwood. 7:30pm. $10.

SAVAGE + HEADLESS DEATH + SOMATIZED Last Chance Rock And Roll

Bar, North Melbourne. 3pm. $10.

SORRENTO MOONS + SLEDGEHAMMER John Curtin Hotel,

Carlton. 3pm.

STAND BY YOUR WOMAN - FEAT: KATE CEBERANO + MANTRA + CLARE BOWDITCH + MOJO JUJU + MORE Hamer Hall, Southbank. 7:30pm.

$55.

THE PUBLIC DOMAIN OPERA Woody's

Attic Dive, Collingwood. 10pm. $34.

THE PUBLIC DOMAIN OPERA Butterfly

Club, Melbourne Cbd. 10pm. $34.

ZENITH MOON + AZTX Evelyn Hotel, Fitzroy. 2pm. $10.

ACOUSTIC/COUNTRY/ BLUES/FOLK A FEW GOOD WOMEN Drunken Poet,

West Melbourne. 6:30pm.

Melbourne Recital Centre, Southbank.

7pm. $50.

STEWART KELLY & FRIENDS

Melbourne Recital Centre, Southbank.

6pm. $39.

Tuesday 18 Sep INDIE, ROCK, POP, METAL, PUNK & COVERS

BLOODY HELL + SARAH MARY CHADWICK + OSTRAALY Tote Hotel,

Hotel, Brunswick. 3:30pm.

CREPES + COOL SOUNDS + TERRIBLE SIGNAL Gasometer Hotel,

HUSH 18 - FEAT: THE HUSH FOUNDATION + ACO COLLECTIV

HOME GROWN SEPTEMBER EDITION - FEAT: VARIOUS ARTISTS Chapel Off

INDIE, ROCK, POP, METAL, PUNK & COVERS

Lounge, Belgrave. 7:30pm. $10.

ACOUSTIC/COUNTRY/ BLUES/FOLK

ALL THE COLOURS + PUBLIC HIGH

Swamplands Bar, Thornbury. 5pm.

Chapel, Prahran. 7pm. $30.

4TRESS + BESTOWED + A DAY OF STORMS + BRETT FRANKE Sooki

NIEUW MONDAYS - FEAT: VARIOUS DJS Workers Club, Fitzroy. 7pm. $3.

FRANCES GUMM FRONTIER

ZERO ZERO + MAD MELLOW + MERUKA Evelyn Hotel, Fitzroy. 8:30pm.

$5.

Northcote Social Club, Northcote. 7pm.

THE MELBOURNE BLUES COLLECTIVE Rainbow Hotel, Fitzroy.

THE PAINTED HEARTS Charles Weston Hotel, Brunswick. 4pm.

THIS WAY NORTH Westernport Hotel, San Remo. 5pm.

UKULELE DEATH SQUAD + LOTTIE LIAMS Northcote Social Club, Northcote.

1:30pm. $25.

WILL POVEY + FISHMONGER + MORE

Retreat Hotel, Brunswick. 7:30pm.

Monday 17 Sep JAZZ, SOUL, FUNK, LATIN & WORLD MUSIC 303 YARRA BANKS JAM NIGHT 303,

Northcote. 8pm.

Tote Hotel, Collingwood. 8pm.

Collingwood. 7pm.

CHESTER BRIX + JIMMY HARWOOD + DAVY SIMONY Workers Club, Fitzroy.

7:45pm. $7.

JENNY MCKECHNIE, SAM AGOSTINO + JENNY MCKECHNIE + SAM AGOSTINO + JESS OWEN

Retreat Hotel, Brunswick. 8pm.

MAJAK DOOR + LOOSE BRICKS + FIRSKISS Evelyn Hotel, Fitzroy. 8pm.

$10.

SATELLITE GALLERY - JOSHUA BRAYBROOK EXHIBITION OPENING - FEAT: BABY BLUE + BAD BANGS + NO LOCAL Old Bar, Fitzroy. 7pm. $10.

WINK CLARK 303, Northcote. 8pm.

JAZZ, SOUL, FUNK, LATIN & WORLD MUSIC NOW. HERE. THIS - FEAT: THE PRECINCT Toff In Town, Melbourne

Cbd. 11pm. $10.

SYDNEY CONSERVATORIUM JAZZ ORCHESTRA + ANDREW MURRAY + JOSH KYLE + GEORGIE DARVIDIS

The Jazzlab, Brunswick. 8pm. $12.

UNCOMFORTABLE SCIENCE - FEAT: LACHLAN MITCHELL + MORE Boney,

Melbourne Cbd. 9pm.

ACOUSTIC/COUNTRY/ BLUES/FOLK ARCHDUKE TRIO Melbourne Recital Centre, Southbank. 6pm. $199.

IRISH SESSION Lomond Hotel, Brunswick East. 8pm.

MAKE IT UP CLUB - FEAT: VARIOUS ARTISTS Bar Open, Fitzroy. 8:30pm.

MARTY KELLY Drunken Poet, West

ANDREA KELLER CURATES - SOLO/ DUO/TRIO The Jazzlab, Brunswick. 8pm.

Melbourne. 8pm.

GORDON KOANG (WITH PAUL BIEL) -

Compass Pizza, Brunswick East. 7:30pm.

$15.

Loop, Melbourne Cbd. 7:30pm. $10.

INDIE, ROCK, POP, METAL, PUNK & COVERS ARCHER DEPTHLESS + SHERAZ + LEON DIXIE Old Bar, Fitzroy. 7:30pm. $5.

JACK RIVER + JESS KENT + ANNIE HAMILTON Corner Hotel, Richmond.

8pm. $27.

JARED PLANT TRIO + JOE FORRESTER + GEORGIA BENNETT

Open Studio, Northcote. 8pm.

JULITHA RYAN & BANDS + BRON HENDERSON + STU THOMAS + IDGE + MARILYN ROSE VEIL + MORE Retreat

Hotel, Brunswick. 8pm.

MONDAY BONE MACHINE - FEAT: T-REK + VARIOUS ARTISTS Boney,

Melbourne Cbd. 8pm.

MONDAY NIGHT MASS - FEAT: PORPOISE SPIT + THE TROPES + ELECTRIC TOOTHBRUSH + CB RADIO

PIANO KARAOKE WITH LISA JAYNE REVOLVER RETURNS - OPEN MIC NIGHT Revolver Upstairs, Prahran. 7pm.

STI_TW_BEAT_fullpage.pdf 1 9/10/2018 3:34:53 PM

SEPT!

Talk, Test, Treat

betterhealth.vic.gov.au/sti