Beat 1659

Please Do Not Litter

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January 16, 2018 Issue N o 1659

Mildlife / Unicorns - The Festival! / Bob Marley Day / Beach House / Roger Hodgson

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Theatre works presents

TRULY MADLY BRITNEY a wild ride through the U.S. in search of your favourite pop princess

JAN 19 - Feb 9 A new comedy by alberto di troia

Theatre works presents

GIVE A F*CK CABARET A FOOT-stomping cabaret about what really matters

JAN 18 - 27

featuring rockie stone, anya anastasia, lou wall, ross anderson-doherty, holly durant + many more

Theatre works presents

CAKE DADDY

a vulnerable and hilarious interactive cabaret banquet about being fat in a fat-phobic world

Feb 3 - 10

by ross anderson-doherty & lachlan Philpott Directed by Alyson Campbell

Theatre works presents

THE BUTCH MONOLOGUES Powerful Secret Stories told by butches, gender rebels and transmen living across the world

JAN 27 - Feb 3 by laura bridgeman & Julie Mcnamara

Theatre Works 14 Acland St, St Kilda Tickets $27 - $32

book now at theatreworks.org.au TW Beat Magazine.indd 1

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ISSUE NO 1659

Contents 8 10-14

Contents News

15

Arts Guide

16

Beat Eats, Electronic, Hip Hop

17

Industry, Metal, Tours We Need in 2019

18

Bring Me The Horizon

19

Mildlife

20

Werq The World Tour, Unicorns - The Festival!

21

Beat’s Guide to Beechworth Music Festival, Irish Mythen

22

Nakhane, Bob Marley Day

23

Tumbleweed, Roger Hodgson

24

Beach House, Two People

25

Her… The Photographic Series, Q&As

26-27

21

28

Irish Mythen

Live Album of the Week, Singles

Interview

29 30-33

Albums Gig Guide

Editor’s note With Tom Parker

The door swings open on 2019 and the festivities don’t relent. Summer has its vice grip tightly fastened and as Melburnians flock to beer gardens, rooftop bars, parks and festivals to embrace the heat, artists will be at work decorating this fine city with their joyous melodies.

First on the agenda is Bring Me The Horizon, who stand before their sixth album – a gargantuan effort of bravery and radicalism. Frontman Oli Sykes is a pioneer first and foremost and wouldn’t dare nestle into a corner filled with cushions but rather barrel through a wooden door if that meant ingenuity was the crown jewel on the other side.

A chat with the thrill-seeking vocalist is accompanied by an interview with exciting electrojazz lords Mildlife. They’ll be playing Day by the Bay festival when it comes to Mornington in late February and Point Cook in March. Outside of that, we take a dive into the Beechworth Music Festival and check out what’s going down for Bob Marley Day on Sunday January 27 – Marley’s son, Ky-Mani, will be the special guest. Tumbleweed will be taking to The Espy’s hallowed Gershwin Room while two other extremely special guests join us – Beach House of contemporary ranks and Roger Hodgson of Supertramp fame.

Get ready folks, 2019 is going to be a doozy.

EDITOR Tom Parker DIGITAL EDITOR/SOCIAL MEDIA MANAGER Caleb Triscari SUB EDITOR Abbey Lew-Kee EDITORIAL ASSISTANTS Holly Denison, Jacob Colliver, Kate Streader, Anthony Furci, Greta Brereton, Brooke Ledbury, Lexi Herbert, Joshua Martin, Gabriella Beaumont GRAPHIC DESIGNER Erica May

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MANAGING DIRECTOR Patrick Carr ADVERTISING Nicholas Simonsen (Backstage/Musical Equipment) mixdown@beat.com.au Brad Summers (Advertising/Campaigns) brad@beat.com.au Greg Pettinella (Advertising/Editorial) greg@beat.com.au

ACCOUNTS RECEIVABLE accounts@furstmedia.com.au DISTRIBUTION Free every Wednesday to over 3,200 points around Melbourne. Along with being handed out at Train Stations.

Wanna get BEAT? Email distribution@furstmedia.com.au GIG GUIDE SUBMISSIONS now online at beat.com.au SENIOR PHOTOGRAPHER Ian Laidlaw

CONTRIBUTING PHOTOGRAPHERS David Harris, Zo Damage, Lee Easton, Lewis Nixon, Shaina Glenny, Andrew Bibby, Sally Townsend, Andrew Friend, Rochelle Flack COLUMNISTS Lochlan Watt, Michael Cusack, Christie Eliezer, Georgia Spanos, Sose Fuamoli, Augustus Welby, Greta Brereton

Find us on Instagram @beatmagazine

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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, David Ohaion, Luke Fussell, Jacob Colliver, Anna Rose, Kate Streader, Paul Waxman, Anthony Furci, Zachary Snowdon Smith, Nathan Gunn

FURST MEDIA PTY LTD. MYCELIUM STUDIOS FACTORY 1/10-12 MORELAND RD BRUNSWICK EAST VIC

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SENSE’ 35 YEAR ANNIVERSARY SELLING FAST

27/01 - GIRLS ROCK! MELBOURNE

JANUARY SHOWCASE ALL AGES - MATINEE 01/02 - YELLOW DAYS UK - SELLING FAST 02/02 - MALCOLM YOUNG TRIBUTE 03/02 - LUCERO USA - SELLING FAST 05/02 - CAST UK 07/02 - MITSKI JP/USA - SOLD OUT 08/02 - DO RE MI 09/02 - BOB MARLEY BIRTHDAY BASH 12/02 - TEENAGE FANCLUB UK - SOLD OUT 13/02 - TEENAGE FANCLUB UK - SELLING FAST 14/02 - JOYRIDE 15/02 - WAGONS 20TH ANNIVERSARY - SELLING FAST 16/02 - EVES KARYDAS SOLD OUT 17/02 - EVES KARYDAS SELLING FAST 21/02 - COCKNEY REJECTS UK - SELLING FAST 22/02 - LAURA JEAN 23/02 - CABLE TIES BALL 2019 FT. CABLE TIES, FRIENDSHIPS, P-UNIQUE + MORE

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THE REAL USA - SELLING FAST 18/04 - TREVOR HALL USA 19/04 - SKA NATION FT. AREA 7 23/04 - SHAKEY GRAVES USA - SELLING FAST 24/04 - CALIFORNIA HONEYDROPS USA 25/04 - VINTAGE TROUBLE USA - SELLING FAST 20/06 - THE WHITLAMS SELLING FAST

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EN VIVO! FREE ENTRY 1 7 / 0 1 - PAUL LAINE CANADA 1 8 / 0 1 - NYXEN SYD - SELLING FAST 1 9 / 0 1 - THE BLACK QUEEN USA - SOLD OUT 20/01 - THE BLACK QUEEN USA - SOLD OUT 2 1 / 0 1 -‘MONDAY NIGHT MASS’ WITH KVLT .45 / SAD / DARK WATER / GUN CTRL 22/01 - SCOTT HILDEBRAND USA 25/01 - BUTCH WALKER USA - SELLING FAST 26/01 - SHAKE ‘N’ BAKE FT. GOLD MEMBER 27/01 - RON S. PENO MATINEE 27/01 - MASSIVE 28/01 -‘MONDAY NIGHT MASS’ WITH GRANE / PLUS SPECIAL GUESTS 30/01 - WIND IT UP | TENDA MCFLY FREE ENTRY 3 1 / 0 1 - HEIN COOPER 01/02 - TEX PERKINS & THE FAT RUBBER BAND SELLING FAST

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SOUTHERN RIVER BAND SELLING FAST 16/02 - NICOLE SKELTYS & THE DISENCHANTED LONDON/MELB - MATINEE

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NEWS

News PNAU have been added to the Mona Foma Lineup

WEDNESDAY 16TH JANUARY

WHISKY WEDNESDAYS. 6PM FREE

Electronic trio PNAU have been popping up all over the place lately, and they’ve just landed themselves another summer festival slot. The guys will be heading down to Launceston, Tasmania for the weird and wonderful Mona Foma festival, joining artists like Courtney Barnett, Nenah Cherry and the Black Jesus Experience.

They’ll be bringing a full live band with them for their performance on Sunday January 20, as well as New York singer Kira Divine as their supporting act. You can catch them at Inveresk Park for the closing night of the festival, which is bound to ‘Go Bang’. Head to the festival website for tickets and the full program.

THURSDAY 17TH JANUARY

JAMES MCQUEEN,

Albert Gray. 8PM FREE

FRIDAY 18TH JANUARY

RATTLIN’ BONES BLACKWOOD, Stackhouse,

Mongrel, DJ Ragdoll. 6:30PM FREE

SATURDAY 19TH JANUARY

INTOXICA, The Wraylettes.

9PM $10

SUNDAY 20TH JANUARY

VAN WALKER, THE HAPPY LONESOME,

Teresa Duffy-Richards, Henry J. Sawyer. 5PM FREE

TUESDAY 22ND JANUARY

OPENMIC, 6PM Free. [$15 jugs, free performer drink] 744 High Street Thornbury, Victoria, Australia facebook/swamplandsbar

The Goon Sax

By The Meadow

Embarking on a world tour aside the release of their second album We’re Not Talking, 2018 was a big year for angsty pop-rocker’s The Goon Sax. With 2019 looking just as busy, already playing to sold out shows in Melbourne and Sydney, the band have not only added new sought-after tour dates but have also been announced for Geelong’s Jerkfest. Melbourne fans can catch The Goon Sax on Sunday March 3 at Northcote Social Club, and Jerkfest at the Barwon Club Hotel on Sunday February 10. Tickets available through Eventbrite.

Stunning regional music extravaganza By The Meadow has just lifted the lid on its second lineup announce and will see the likes of The Murlocs, Lucy Dacus, Harvey Sutherland, Mike Katz, The Vasco Era and more enter the mix. They’ll be joined by psych funkers The Seven Ups as well as Roza Terenzi, Afrobeat-influenced Zeitgeist Freedom Energy Exchange, Twerps’ Martin Frawley with a few others to round out the reveal. It all goes down in the beautiful Bambra Bowl, a cosy 90-minute drive from Melbourne, from Friday March 29 to Sunday March 31. Head to the festival website for more details.

Lock in more Australian dates

Wednesday 16th 8.00pm

‘LOMONDACOUSTICA’ Saturday 19th 9.30pm

MATT GLASS & THE LOOSE

Reveal second lineup announcement

The Presets

CANNONS

(Alt-country funky) Sunday 20th 5.30pm

CATFISH GUMBO

(Southern-fried mumbo) Tuesday 22nd 9.00pm

IRISH SESSION (Fancy fiddlin’)

ALL GIGS ARE FREE 225 NICHOLSON STREET, BRUNSWICK EAST. PH 9380 1752

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Hot Dub Wine Machine

Soilwork

Frolicking around some of Australia’s most beautiful vineyards isn’t the worst way to spend a day - especially when you throw live music in the mix. That’s exactly what you’ll get at Wine Machine, which is back for another year. Past lineups have always been impressive, and this one is no different, featuring massive acts like The Presets, Hayden James, Confidence Man and GRAACE. A particular standout from this year’s lineup is Sunshine and Disco Faith Choir, who are well worth checking out if you haven’t already. Head to the festival website for the full lineup.

Swedish rockers SOILWORK have just announced that their March tour dates will be pushed back to October or November, due to unforseen circumstances. Fans are undoubtedly experiencing some disappointment over this, but hopefully the release of their eleventh studio album last week did something to soothe the pain.

They’ll be rolling into Max Watt’s House of Music on Saturday November 2 now instead, so stay strong till then. You can find more details on the Hardline Media website, and more tickets too.

Drops its ‘Wineup’ For 2019

Reschedule Australian tour dates

27 LESLIE STREET BRUNSWICK JAZZLAB.CLUB

WEDNESDAY JAN 16

FRIDAY 18 JANUARY 7PM • FREE SYSTEM UNKNOWN PRESENTS

WAX POETS VINYL SESSION DJs LEGO, HAWK I, MAARS + MARCUS TALLAWAH SATURDAY 19 JANUARY 6PM • FREE

EXPOSURE 001 DJs 70MG, VOLCANO RELIEF FUND, KIT + HOT ‘N’ HEAVY

Thursday 17th January

7pm:

Open Mic Night Friday 18th January

6pm:

8:30pm:

Traditional Irish

Music Session

The Lost Backpackers Saturday 19th January

FRIDAY 25 JANUARY 8PM • FREE

KINEMATIC MIDDLEMARCH + LOUIS FRIDAY 1 FEBRUARY 8PM • FREE

RICHIE 1250s HIP HOP HOUSE PARTY HIP HOP & RNB 1988 - 2003

SATURDAY 2 FEBRUARY 8PM • $10

MADISON JAMES SMITH ENSEMBLE + KOI KINGDOM MUSIC IN A BRUNSWICK LANEWAY behind 859 Sydney Road, Brunswick (enter via Cozens St).

redbetty.com.au

Ciaran Boyle 9pm: Nadia Rose Band 3pm:

Sunday 20th January

Roz Girvan 6:30pm: The Aaron Gillets Boogie Band 4pm:

Tuesday 22nd January 8pm:

Tuesday Tribute:

DAVID JONES MINI ORCHESTRA

$20/$15

THURSDAY JAN 17

JOE CHINDAMO TRIO

$25/$20

FRIDAY JAN 18

SAM ANNING SEXTET

$30/$25

SATURDAY JAN 19

FEM BELLING QUARTET LATE SET: ZEDSIX

$30/$25 $10

SUNDAY JAN 20

MJC PRESENTS: DANIEL GASSIN 5 FEAT. HUGH STUCKEY (PARIS/NYC)

$20/$15

TUESDAY JAN 22

PINK PURSE

$20/$15

Damon Smith & Adrian Whitehead play Dr John The Drunken Poet, 65 Peel Street (directly opposite Queen Vic Market), Phone: 03 9348 9797. www.thedrunkenpoet.com.au

DOORS OPEN EVERY NIGHT FROM 8PM AND SHOWS BEGIN BETWEEN 8:30PM AND 9PM UNLESS OTHERWISE NOTED

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NEWS

PBS Drive Live

Announce their 2019 Lineup PBS Drive Live has hosted some pretty great musicians over the years, giving airtime to everyone from King Gizzard and The Lizard Wizard and RVG, to Cable Ties and Courtney Barnett. Now in it’s ninth year, the 2019 instalment promises to be just as big, with an awesome lineup of artists across a wide range of genres. They’ll be hosting three acts each night from Monday February 4 to Friday February 8, between 5pm and 7pm. This year you’ll be able to catch musicians like Sampa the Great, Remi, Ainslie Wills, Hexdebt and Thando in the studio, which is open to the public as long as you RSVP. Register through the PBS website and check out the full program too. Head to the PBS website to register for a session and check out the full lineup.

Party In The Paddock

Pond

The 2019 program for Party in the Paddock’s “festival within a festival” has arrived. Honing art, music, markets and more into the sparkly new Vibestown, PITP have also teamed up with Stefan Hunt, the mastermind behind multimedia art project We’re All Going To Die, providing an interactive pocket within the festival. If that sounds a bit heavy for you, check out comedians Matt Okine and Gen Fricker instead. Party in the Paddock will take place from Thursday February 7 to Saturday February 9 in White Hills, Tasmania. Check out the full program on the festival website.

Pond have unveiled another single alongside news of their eight studio album. The Perth five-piece have gifted us with ‘Daisy’, a sprawling six-minute track with an accompanying film clip, shot in the Victorian outback. That’s three songs from the album now, and with a launch date of Friday March 1, it won’t be much longer till we can all get our hot little hands on the full thing. Tasmania will be out via Spinning Top Records/Caroline.

Unicorns – The Festival!

Cub Sport

Known for their wild queer underground warehouse parties, the team behind Unicorns have decided to step things up a notch. For the first time ever they’ll be putting together a one-day festival, set to take over Northcote Town Hall Arts Centre on Saturday February 2. As usual, there’ll be glitter stations, body painting and performance artists, but with educational workshops, makeup areas and musical guests from around Australia, and beyond. You can snag yourself a ticket through the Facebook event.

With their self-titled third record out this Friday, it’s not surprising that Cub Sport have announced an accompanying album tour. The Brisbane band have been teasing us with tracks like ‘Sometimes’, ‘Summer Lover’ and the lastest ‘Party Pill’ - all synthy, dreamy bops that have been getting some serious airtime. Much of the music documents the love story of singer Tim Nelson and keyboardist Sam Netterfield, who got married last August. The group will be playing an all-ages show at Festival Hall on Saturday April 13.

Tickets available through the band’s website.

Release Vibestown program

The queer warehouse party goes festival

303 Sydney Rd Brunswick entry via Phoenix Street

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Unveil new single, announce eighth album

Unveil Australian tour dates

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13

NEWS

St. Kilda Festival

Mojo Juju

Unveils full 2019 Lineup St Kilda Fest is back again, celebrating 39 years of free music and entertainment down by the foreshore. They’ll be packing more than 60 live acts across seven stages on Sunday February 10, with a stellar lineup that’s bound to get crowds flocking.

Leading the charge for the event will be Melbourne soul group Saskwatch, eclectic funk makers The Cat Empire, grungerockers DZ Deathrays, country star Troy Cassar-Daley and Indigenous songstress Mojo Juju, to name a few. Catani Gardens will also be getting a makeover this year, transforming into Little Catani; a kids paradise, complete with face painting and music tailored for tots. Head to the festival website for more information, and the full jam-packed program.

Mildlife

Yaluk-ut Weelam Ngargee Festival Announces full program

Gig Guide THURS 17TH JAN 7.00pm- LISA WOODBROOK FRI 18th JAN 9.00PM- RHYS TOLHURST SAT 19th JAN 9.00pm- INKASOUNDS SUN 20th JAN 5.00PM- LISA WOODBROOK HAPPY HOUR!!

Mon- Fri 4-6pm $5 beer,wine,spirits 280 LYGON ST BRUNSWICK EAST WWW.EASTBRUNSWICKHOTEL.COM.AU

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The City of Port Phillip’s free Indigenous culture and arts festival returns to St Kilda next month, with a packed program. Taking place in O’Donnell Gardens on Saturday February 2, Yaluk-ut Weelam Ngargee is a family friendly event, inviting everyone to come and learn about Aboriginal and Torres Strait Islander culture. This year’s program features a special welcome to country and baby blessings from N’arweet Carolyn Briggs, as well as live music from Brett Lee, Kee’ahn and Robert K Champion. Head to the festival website for the full program.

Castlemaine Festival Reveals huge lineup

The Castlemaine State Festival is only two months away, and is already bursting at the seams with massive musical acts. On the bill are Australian heavyweights like Mildlife, Tropical Fuck Storm and Mick Harvey, plus some homegrown Castlemaine acts, such as the Puta Madre Brothers. One particularly exciting name is Iceland’s JFDR, who will be making her Australian debut. The festival runs from Friday March 22 to Sunday March 31, with musical performances to be held at the Theatre Royal. You can find tickets and the full program on the festival website.

Pagan

Rose Tattoo

Melbourne’s own metal four-piece Pagan have revealed they’ll be doing a run of shows across the country in April, in what they’ve dubbed the Evil Eye tour. After spending time on the road in Europe and the UK with their debut record Black Wash, the band are bringing it back to Australia for one helluva homecoming. As well as their headline shows, they’ve announced another instalment of the Holy Communion mini-fest for Melbourne fans, with lineup details still to come. It’ll go down at Stay Gold on Friday April 19, with tickets available through the band’s website.

Aussie rockers Rose Tattoo have announced something of a return run for 2019, hitting the road for their Still Never Too Loud tour. It’s been 22 years since the release of their 1997 compilation album Never Too Loud, featuring hits like ‘Bad Boy For Love’, ‘We Can’t Be Beaten’ and ‘Rock ‘N’ Roll Outlaw’. Old school rockers the Hard-Ons are joining them for the ten-stop tour, as they make their way from Queensland to South Australia. Catch them at Doncaster Shoppingtown Hotel on Friday April 5, or the Chelsea Heights Hotel on Saturday April 6. Tickets via Oztix.

Announce Evil Eye Tour

Embarking on ten-stop national tour

ARTS

Arts Guide BEAT’S K TOP PIC

BLINDSIDE Summer Studio

Everyday objects like you’ve never seen them

The creative geniuses at BLINDSIDE are opening their latest exhibition this week. BLINDSIDE’s Summer Studio pays respect to everyday objects that may not get the attention they deserve. Debris is repurposed and treated like a series of relics in line with the artists’ personal experiences. The summer studio is open exclusively between Thursday January 17 and Saturday January 19 at BLINDSIDE Gallery, Level 7/37 Swanston Street, CBD. Entry is free.

The Miss Behave Gameshow is set to roll into Arts Centre Melbourne Having toured overseas, The Miss Behave Gameshow is now finally making its way to Melbourne. The audience is divided into two teams and made to compete against each other in a series of games. Miss Behave is a natural-born performer, having earned the Guinness World Record for most swords swallowed by a woman in 2002 (it was seven swords by the way, wild stuff ), and the Olivier Award for her previous production of La Clique. The Miss Behave Gameshow requires all-audience participation, so steer clear if that makes you uneasy. Shows start Tuesday January 22 and you can find more details on show times and tickets via the Arts Centre Melbourne website.

Comedy

If you’re in need or a laugh or two, Kings of Comedy down at the Colonial Hotel, Lonsdale Street have you covered. Featuring a huge range of established and up-and-coming comedians, Kings of Comedy has been bringing the house down with sidesplitting local talent since the early months of 2018. Catch their two comedic spectaculars this week on Friday January 18 and Saturday January 19, with tickets via Eventbrite.

Tune In Toon Out

.CHURCH.

Minding the Gap

Street artists Caper and Evil Keanevil have joined forces to put a grim twist on some recognisable faces. Tune In Toon Out, showing at BSIDE Gallery, combines beloved cartoon characters with the artistic styles Caper and Keanevil have developed over time. With a 12-year career as a Melbourne street artist, Caper is a prolific drawer and painter among the Melbourne street art scene. His work focuses on parodying mass media and uses bad jokes and clichés to get his point across. Evil Keanevil’s work involves deconstructing well-known pop culture icons and revealing their core components, often by making them appear as if they’re melting. Find Tune In Toon Out at BSIDE Gallery, 121 Brunswick Street, Fitzroy, opening on Friday January 18 from 6pm to 9pm.

As part of Midsumma Festival, .CHURCH. is a celebration of everything that makes LGBTIQ+ culture unique, featuring acts of debauchery and gender-bending that will have you clutching your rosary beads. The mass includes a cabaret performance by Victoria Falconer, burlesque by Glitta Supernova and Bettie Bombshell, a drag show from Leasa Mann and a showstopping circus spectacular from Anna Lumb. It all kicks off at Howler in Brunswick on Tuesday January 22 and runs until Saturday January 26 and there are more details on show times and tickets available at the Midsumma website.

Documentary maker Bing Liu’s latest production Minding the Gap is a personal homage to skateboarding, which he and his friends bonded over while navigating the awkward phases of teenage life. All grown up, Liu realises how quickly life can become riddled with responsibilities and expectations.

Kicking off screenings on Thursday January 17 at ACMI, Minding the Gap is a Sundance Award-winning film that demonstrates how friendship can be a constant throughout the turmoil life can throw at you. Find more details on screenings and tickets via the ACMI website.

Melbourne street artists come together

This isn’t your average liturgy

Skateboarding through life

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COLUMNS

Beat Eats WITH GEORGIA SPANOS

Electronic WITH MICHAEL CUSACK

Hip Hop WITH SOSE FUAMOLI

Missy Elliot

James Blake

Welcome Beat readers, to a brand new you, erm I mean year. How are your New Year’s resolutions panning out?

I don’t doubt plenty of them feature promises of less drinking, burgers, and bad decisions. I’m all for the above, although I don’t think you should ever skimp on quality – especially when talking food.

For instance, if you happen to walk past a new Carlton eatery where the pizza is flying out of the kitchen faster than Nick Cave tickets, then don’t torture yourself. Go ahead, immerse yourself in the hyped-up, cheesy joy that’s unfurling before you. You won’t regret it.

As you might suspect, I’m alluding to a particular eatery that’s caught my attention lately: Leonardo’s Pizza Palace. As the venue has garnered itself so much attention of late, it’s turned into the kind of place where you might accidentally bump into everyone that you don’t want to see.

But, your face could be so deep into Leonardo’s gigantic jalapeño pizza, that you aren’t really bothered by your exboyfriend sitting at the bar on a date.

After a few weeks of rumours and a little bit of guerillastyle marketing, it’s now been confirmed that everyone’s favourite purveyor of moody electronica James Blake, has a new album – and it’s out this week. Called Assume Form, Blake’s fourth album is set for release this Friday January 18 via Republic Records. Word on the web is that Andre 3000 and Travis Scott are amongst the guests that make appearances on the twelve track offering. Hopefully the album tour cycle sees the crooner back in Australia sooner rather than later.

Total Giovanni

With a brand new year of music and the odd rap beef and scandal undoubtedly in the mix for 2019, the hip hop world is already churning with achievements and exciting news from some of our favourite local and international artists.

The legendary Missy Elliott joins Jay Z and Jermaine Dupri as the latest rapper to be inducted into the Songwriters Hall of Fame. The 2019 list of writers has been released, with Missy being the only female writer featured, making her the first female rapper to join the revered ranks as well. The hit-maker particularly enjoyed success through the late ‘90s and early ‘00s, with singles including ‘The Rain (Supa Dupa Fly)’, ‘Get Ur Freak On’ and ‘Lose Control’ bridging the gap between the mainstream pop/ hip hop charts and the steadfastly street elements of the genre. Her work with Timbaland, Aaliyah and Ciara to name a few, also elevated Missy’s global profile and reach, with six platinum certified albums to her name. In 2016, Jay Z was the first hip hop artist to be brought into the Songwriters Hall of Fame, a feat that proved to be a bit of a game changer. Acknowledging musical pioneers, the Songwriters Hall of Fame spotlights writers who have been crafting outstanding and influential work in their genre for 20 years or more. The 2019 ceremony is set to take place on Thursday June 13 in New York City.

Hilltop Hoods

When dining here recently in a clan for four, our first thought was that a pizza each would suffice. That was before we saw the table next to us receive their order: one gigantic pizza fit to feed a festival. When scanning the menu, and going off the casual ‘70s feel that encompasses the establishment, instantly I gathered what type of Italian we were about to devour. Leonardo’s is more so AmericanItalian rather than traditional Italian (like their neighbour Mr Pietro across the road). If you can’t gauge the cuisine I’m referring to, the idea of serving ranch dressing to dip your pizza crusts in might help you understand. There’s certainly a space for this type of Italian cuisine in Melbourne, and Leonardo’s Pizza Palace hit the craving well.

Crown Ruler, Untitled and Moon Dog Brewery have put their heads to together and come up with a huge block party taking over Duke Street in Abbotsford on Saturday February 2, and boy, what a lineup. The Duke Street Block Party will host iconic disco-queen Evelyn Champagne King (backed by a crew of Melbourne session musicians led by Graeme Pogson of the Bamboos, GL and Bermuda), English producer and crate-digger Floating Points, Total Giovanni, John Gomez, CC:Disco, Big Words, Cassettes For Kids, Jess Zammit and a slew of other local selectors. Taking place over four stages/spaces, the party goes down from 12-10pm.

Jess Zammit

The ham and pineapple pizza is certainly a guilty pleasure. Another star order would be the delight featuring tomato, anchovies, roast peppers, house cheese blend, caper and olives. A salty affair for sure, but very tasty. The pork and fennel sausage variety uses less ingredients compared to the rest of the menu’s offerings, yet its power outlaws all.

An obscure yet rather appetising pizza I noticed included Chinese bolognese, white sauce, fior di latte and scallions – I wouldn’t tell Nonna about this one, even though it was delicious. Pizzas aside, there are plenty of other delights to dig into including spaghetti bolognese, porchetta with gremolata, red sauce rigatoni and antipasti classics laid on crusty breads. Truly, Leonardo’s is another addictive addition to the North, where music, pizzas, and people spotting come together in one big delicious Melbourne affair.

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Summer time definitely means day parties, and it doesn’t get much wilder than Daydreams at the Gasometer.

Now in their seventh year, Daydreams runs every Sunday arvo into the evening, in the Gaso’s fantastic multi-floor and sunlight-filled atrium. It runs rain, hail or shine thanks to the removable roof, in fact the launch party aimed to raise funds for an upgraded transparent roof, so you can dance under the sky no matter the weather. Expect to hear anything that’ll make you dance, from disco to house, R&B and funk, with the Daydreams team of DJs sure to get you feeling loose. It kicks off at 12pm and runs every week until April.

Adelaide hip hop kings Hilltop Hoods are no strangers to success, but as the hype train ramps up surrounding their forthcoming new album The Great Expanse (due for release on Friday February 22), Hilltop Hoods are celebrating their latest win. Current single ‘Leave Me Lonely’ is the latest Hoods track to enjoy gold certification, with the group announcing the nod over the weekend. Produced by longtime collaborator Plutonic Lab, ‘Leave Me Lonely’ follows on from the hugely popular ‘Clark Griswold’ release, which has seen guest vocalist Adrian Eagle break out as an artist to watch in 2019. The Great Expanse is also set to show off the talents of some very special guests, with Hilltop Hoods revealing collaborations with the likes of Ecca Vandal, Illy, Ruel, Nyassa and Timberwolf all feature on the thirteen track album. Featuring Trials (A.B. Original), VIIV, Cam Bluff and One Above on production duties too, the Hoods’ first album in five years is sure to be one for the longtime fans who’ve been waiting, as well as being a good taster of the groups’ musical development for newcomers.

According to Billboard’s final tally up of streaming numbers from last year, it’s been R&B and hip hop artists who properly killed it with music fans. While Drake had a huge year – the first artist to clock ten billion streams in a year – he also grabbed the lion’s share of streaming numbers for 2018 with a whopping 11.13 billion on-demand streams (audio and video), according to Nielsen. On streaming services, R&B and hip hop proved to be the most popular genre last year, with rock following close behind. Alongside Drake, of the ten most streamed artists of 2018 in the US, nine of them were rappers. Post Malone came in second with 7.51 billion streams, XXXTentacion (6.91 billion), Eminem (4.82 billion), YoungBoy Never Broke Again (4.46 billion), Travis Scott (4.01 billion), Cardi B (3.99 billion) and Lil Baby (3.32 billion).

COLUMNS

Industry WITH CHRISTIE ELIEZER

Metal

WITH LOCHLAN WATT

Tours We Need in 2019

BY GRETA BRERETON

Drake

Bon Iver

Harm’s Way

Music industry predictions for 2019 pt. 1 • ALBUMS TO GET LONGER, SONGS GET SHORTER

Thanks to streaming, the album will move further from a fixed block of twelve tracks to something more fluid.

There’ll be works in progress where new tracks are added long after the release date. Albums are getting longer (most notably in 2018, Drake’s Scorpion stretched to 25 songs and 89 minutes). Singles are getting shorter. With fans discovering old hits via playlists, songs can become hits a number of times. This month’s BuzzAngle report revealed that nearly two out of every three songs streamed in 2018 were released more than 18 months ago. Point to ponder: will charts one day become irrelevant, and replaced by playlists?

• GLOBAL RECORDED MUSIC TO TOP $20 BILLION

The global recorded music business is on track to top $20 billion in 2019. UK-based Midia Research based its forecast on the sector expanding at an annual $1.4 billion over the past two years. In 2018 it generated over $18.9 billion, with streaming making up 50.8% ($9.6 billion) of the total. Revenue from music streaming has been growing $2.2 billion a year since 2016. But Midia cautions: “In order to ensure [$2 billion streaming growth in 2019] is delivered, newer streaming markets – especially Germany, Japan, Brazil and Mexico – will need to deliver” as streaming in the US and some European markets starts to slow down.

Recently I made the trek down to South Gippsland for the annual UNIFY Gathering. While normally I’d go and make a complete mess of my brain over two nights, this year I opted for the tactical in-and-out. It was a little sad to leave the fun just as it was getting truly dark, but when I was back in my own bed a couple of hours later, I felt quite pleased with myself.

The main attraction of the fest for me was the ridiculously tough and heavy appearance of American hardcore-turned-metal band Harm’s Way. Playing in the middle of a stinking hot afternoon, and while no doubt big for the band in the scheme of things, the crowd felt a little small in terms of how the rest of the festival performed. I don’t mean to throw shade, but perhaps you can’t expect everyone excited about the appearances of In Hearts Wake or Tonight Alive to connect with the level of sonic intensity that Harm’s Way has honed in on. Their set was as stripped back as it was heavy – with insanely muscular vocalist James Pligge of course getting his shirt off only two songs in. They were the only band of the day to not have their name, let alone a skilfully edited or animated visual, beaming from the huge LED screen hung up on the stage behind them.

James Pligge

• MORE AUSTRALIAN ARTISTS TAKE CONTROL

Aussie artists are less in awe of technology and better at using it to gain control of their careers. The partnership between creativity and business is becoming more equal and transparent. 2019 will see indie artists get a helping hand from the big two. Spotify lets them upload their recordings, invested in digital distributor DistroKid (250,000 indie acts), and is building artificial intelligence tools to “enable artists to create in different ways.” Apple just bought artist-discovery start-up Platoon. We’ll see a greater explosion of emerging acts. As one consequence of this, see item below.

• MORE AUSSIES TO PLANT THE FLAG ABROAD

In 2018 more Australian musicians – some virtually unknown in their home market – went abroad. Most stayed under the radar while they just got on with casting their music wider. With the federal Labor party certainly returning to power this year, their impressive music policy is set to kick in, which not only promises more help to export music, but to strengthen the domestic market to help launch more new acts.

• MORE RADIO LISTENERS TUNE IN

2019 will continue last year’s trend of Aussies tuning into radio, in record weekly numbers – 10.8 million for commercial radio (with its reach to 18 to 24 year olds at a four year high from 76%) and 5.7 million weekly for community radio’s 450+ stations. The Infinite Dial Australia study showed listeners interact with station across social media, on the mobile and in the car (89% for the latter). 13% of Australians listened to a podcast a week, rising to 16% for 25 to 54 year olds. The rise of radio listening also coincides with younger fans moving from owning to renting music.

We’re only a few weeks into the New Year, and it’s already shaping up to be a good one for live music. Big names such as Arctic Monkeys and the Red Hot Chili Peppers are heading our way next month, US sweetheart Maggie Rogers is down in May, and some of our Australian music faves like Cub Sport and Meg Mac are also hitting the road. While there’s a plethora of awesome shows to look forward to, there are also some artists noticeably absent from the touring circuit, and it’d be great to see them back in the game.

BON IVER

This list isn’t necessarily in chronological order, but Bon Iver is definitely my most coveted tour. Led by Justin Vernon, the immersive indie folk outfit haven’t paid a visit to Australia since 2016 where they played Sydney’s VIVID Live, and many [myself included] have been desperately awaiting their return. While it’s true they’ve been lying pretty dormant on the music making front, it’s not like the magic of For Emma, Forever Ago or 22, A Million is ever going to get old, and they’ve still been blessing the masses in Europe and the US with these past works. Bon Iver are one of my top bucket-list bands, so Justin, if you’re by some slim grace of the universe reading this, please come to Melbourne this year.

CIRCA WAVES

Liverpool rockers Circa Waves have been stirring lately.

It’s not like they’ve been on much of a hiatus considering their last album was only released in 2017, but we got two new songs last year, and it feels like a tour could be coming. Their third record, What’s It Like Over There?, is set to launch in April, and we all know that the albumtour combo is how these things usually go down. They haven’t been to Australia since supporting The 1975 in 2015 though, so whether or not they make it down to pay us a visit is a whole other thing. I’ll be keeping my fingers crossed.

Foals

However, two members of the band were wearing their own merchandise on stage – screen printed cloth proudly protecting them from the elements, while also advertising part of the spread to be found up the back at the merch tent. It’s a common ‘joke’ or practice amongst touring bands to wear your own band’s merch as a lifesaver when you’re two thirds through a run and have no clean clothes left. Yet I feel this is more a justification for behaviours already eyed through insecure lenses than a real practicality – if it was truly pure practice, we’d be seeing a lot more bands slinging socks and undies at the merch desk.

This was the first day of tour for Harm’s Way. It’s a subtle power move – a bold statement without needing to say anything – and one that can only be pulled off if your band is in fact, really good, and exhibits otherwise humble behaviours. Spotted loading in to your first show in your own band’s shirt? Maybe you are trying too hard. Done a tour or two, and now you think your band is something, and you’re wearing it out to the club? Your ego is probably flying too close to the sun, too soon. Wearing it on stage, at a festival you don’t quite fit in with, in front of a completely bare bones stage setup, while being the heaviest band of the entire event? You rule, and I respect the fuck out of it.

Now I don’t know exactly at what point in their careers that bands like Slayer and Metallica started wearing their own shirts on stage, but it doesn’t matter. It’s all about confidence, and delicate social mathematics, baby.

FOALS

If you’re a Foals fan like me, you’re probably already buzzing with excitement at the news they’ll be releasing two albums this year. After three years without any new tracks, any glimmers of hope to hold onto, the British rockers announced on their Instagram that 2019 would be their comeback year. It’s always hard to tell if international bands will include lil old Australia on their album tours, but their recent DJ set at Beyond The Valley makes me think that we are still very much on their radar, and might be getting a visit soon. Here’s hoping.

PRINCESS NOKIA

The last time Princess Nokia was scheduled for Australian appearances she pulled out, citing ailing health and exhaustion as her reason for cancelling. She hasn’t really made a return since though, which has me wondering if she’s just not that interested in heading Down Under.

Admittedly it’s a bit hit-and-miss with the New York rapper, and even though Metallic Butterfly may have missed the mark screaming along to A Girl Cried Red in a sweaty mosh pit would be awesome. Let’s hope she locks in some dates this year.

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COVER STORY

Bring Me The Horizon The 15-year veterans are more dynamic than ever

BY ANNA ROSE

When Bring Me The Horizon’s frontman Oli Sykes decided the band would completely change things up for their sixth studio album, he wasn’t joking. Every experience, every high and low across the UK hardcore outfit’s 15-year career has culminated to this point – a head-splitting orgasm of breakdowns, R&B-laced metal, electro-grime and a wickedly unabashed new album they’ve lovingly named, amo.

In his grumbling Sheffield accent, Sykes, a man of few words when it comes to pleasantries, serves up word salad when it comes to discussing Bring Me’s approach to conceiving their new baby.

Sykes has a lot of comparisons to make to 2015’s That’s the Spirit, breaking down everything about that release, from the band’s attitude, their ambition, to their songwriting approach. That’s the Spirit was, as Skyes puts it, the record that gave Bring Me the confidence to make something like amo.

“We’ve obviously changed our sound a lot over the years but we’ve always wanted to go completely left and do something different,” says Sykes, “But I guess we felt like we were still growing as a band and we had to get people on board with what we do.”

Bring Me have at times experienced something of an identity crisis when they’ve put out new music. amo’s predecessor, for example, was the album that caused a greater din internally for Sykes, and in fan commentary. “People were talking about our band in a different way – were we festival headliners? Were we the next big thing? We’d been a band for 15 years so that was the first time people had thought of the band as something else to what we thought we were.”

“When you hear That’s the Spirit it’s like yeah we are that band. We set out to write 11 bangers, you know? As much as I love That’s the Spirit, there are songs on that album we never play live or didn’t release as a single.

“But I think this time with this album we said we weren’t gonna compromise. Six minutes, no limits, no fear of people tearing down the door or whatever. Whatever we feel like doing we do.

That’s the huge difference in this album.”

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As is pretty routine by this point for Bring Me The Horizon, in doing whatever the heck they feel like hasn’t been done without backlash from fans. Bring Me have switched up their sound more times than the average bloke changes his underwear in a week, but ultimately, they’ve been pretty clever. amo doesn’t just boast the traditional elements of heavy metal but is rather a cocktail flavoured with EDM, tones of R&B and a splash of reggae here and there. Bring Me The Horizon have been dexterous in how they extend their audience by blending together all these elements and now that amo is done and ready, Sykes is glad he gave himself permission to expand his horizons.

“There’s no second guessing to what we’re doing,” he says. “Even if this record falls flat on its face, this is the record we could write if we were pushing ourselves to write the best album to our ability and that’s what we want.

“I couldn’t change our logo. Even if it’s out of fashion or redundant, I will never change that logo. It’s always been like that for me, I’m like, ‘Why the fuck do people make albums and they literally start the same way?’ To me, I never want to write an album that lives that way.”

Though he speaks with confidence about an unwavering belief in the band’s identity, Sykes says there’s still no avoiding the backlash and disappointment from fans when Bring Me do stir the pot. Sykes is adamant, however, that what Bring Me do is only for the enjoyment of the people.

“We’ve gone on a journey as a band in our career and I think it’s amazing we have fans that are so passionate about what we do that they argue about which of our albums are the best … I think

that’s amazing people can have that discussion. It’s up for debate but it’s not the same album every time. I think we’re feeling comfortable writing lyrics that express ourselves in an ironic way.”

Though everyone will ultimately dissect Sykes’ work one way or another, each album Bring Me The Horizon have released has been a marker for a particular moment in their professional and personal path. If Sykes were to call amo his most significant and favourite work to date, it’s because he feels he’s pushed himself to be better and different than he was before. “Not just different but it has to make the one before sound a bit basic,” he says.

“Feeling like we have the freedom to do what we like on this record, even if people are saying we’re not as heavy anymore, not feeling like we have to speak to anyone in particular or stay in a lane.”

Once amo gets its claws into you after your second or third listen, Sykes is sure it will fast become a favourite because that’s the same way his favourite releases have worked with him.

“Underwhelming, too heavy, too abstract; it starts creeping into me and I don’t know why but when I write music like that, it takes me over. It’s got layers you don’t understand but it’s almost like the surprise is that the music you were so sure wasn’t for you, it ends up holding a special place in albums you love.”

“I think this time with this album we said we weren’t gonna compromise.

Six minutes, no limits, no fear of people tearing down the door or whatever.

Whatever we feel like doing we do.

That’s the huge difference in this album.”

Bring Me The Horizon’s sixth studio album, - amo, is out Friday January 25 via Sony/ RCA Records. The British outfit come to Rod Laver Arena on Saturday April 13. Head to Ticketek to grab your tickets.

DAY BY THE BAY FESTIVAL

Mildlife The electro-jazz lords headline Day by the Bay

BY CLAIRE MORLEY

Massive in size and semi-enclosed, Port Phillip Bay is a unique and special part of Australia’s coastline. Surrounded by some of the country’s most popular and beautiful beaches, almost every Victorian has some connection to the Bay that the state’s capital city rests upon.

One of those individuals is Adam Halliwell, one-quarter of electronic, jazz-funk band Mildlife, whose hypotonic live act swept the nation and beyond in 2018.

“For me personally, Port Phillip represents a lot of childhood memories: going to the beach around Rosebud area, riding my bike around the local parks and down the road, exploring and finding trails, that type of thing,” Halliwell says.

“Chasing those small, silvery fish in the Bay there. Those small little schools of sardine things.

That’s my connection to it.”

The sense of childlike wonder associated with the coast is something many relate to, though Halliwell admits that as the years wear on his connection with the Bay, his understanding of it hasn’t progressed since the nostalgic years, and that’s the case for many Victorians.

“I do [take the coast for granted] for sure, so this is a good chance to appreciate it,” Halliwell says.

The chance he’s talking about is the Day by the Bay Festival, running over two dates in February and March, the former of which Mildlife is headlining.

The festival is a part of a larger project, the Connected to Port Phillip initiative, headed up

by Remember The Wild, Australia’s first nature connection charity.

Taking place in two iconic Bayside locations, Mornington and Point Cook, the festival aims to increase awareness of the extraordinary ecosystem that exists within the Bay, and how all Victorians can better appreciate and protect them, and the coastline itself.

Alongside two fantastic music lineups at the

centre of the show, with Mojo Juju headlining the March date, the festival features a huge array of opportunities for attendees to connect with the Bay, and learn more about its vast history, complex ecosystems, and the hundreds of marine species that inhabit it.

The event will also focus on educating festival-goers on the rich cultural history of the First Peoples whose land the Bay rests upon.

“It’s such a heavy topic, one that is so important and has been neglected for so long. And it’s so good that it’s happening now, but it’s taken too long. So of course, we’re excited by any opportunity to promote that message and acknowledge the traditional owners of the land we perform on,” Halliwell says.

Mildlife seem a perfect act to front up the event, with their unique, eclectic style reflecting the intricate beauty of the Bay they’re performing in honour of.

Their highly-anticipated debut album Phase and follow up Phase II, both released in 2018, were lauded for their originality, and the quartet have received rave reviews for their captivating live shows that harness exploration, improvisation, and an eclectic range of both analogue and electronic instrumentation.

“The band was always kind of jam based,” Halliwell says of the band’s fusion style.

“About five years ago we didn’t even think of improvisation, but it just came up through our own music listening. If we all got into something, like some jazz-funk album, and think it’s cool, it inspires the idea of soloing and exploration in that way.”

Though they spent a large portion of 2018 touring their releases, Mildlife, whom alongside

Halliwell is comprised of James Donald, Kevin McDowell and Tom Shanahan, have never felt tied to a schedule, with much of their early days as a band dedicated to establishing their sound.

“Early on it was just that, trying to get the sound. And even now, the sound is always evolving and there’s months where we’re trying to figure out what we’re going for, and then we’ll get onto something and it will all come out at once,” Halliwell says.

“We’d be writing, rehearsing, just trying to create a song we were happy with. And that takes a lot of time as we don’t have a lead songwriter, all of the workload is split evenly, 25 per cent each, so our work has to filter through everyone. So ideas take a while to clarify, and everyone has to be happy with it.”

And though they’ve toured extensively over the past year, Halliwell notes that Day by the Bay marks the band’s first all-ages show, apt considering their colourful outfits saw them compared to The Wiggles at Meredith last year.

And though they’re not planning on trading in their current transport for a Big Red Car, it’s a special thought to consider that Mildlife’s music will be the soundtrack of so many children and adults alike connecting with Port Phillip Bay during the festival. Making new memories and connections along the coast, just like the ones Halliwell treasures.

“For me personally, Port Phillip represents a lot of childhood memories: going to the beach … riding my bike around the local parks and down the road, exploring and finding trails, that type of thing.”

Mildlife headline the first leg of Day by the Bay festival in Mornington on Saturday February 23. The second leg goes down in Point Cook on Saturday March 23 where Mojo Juju will headline.

BEAT.COM.AU

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FEATURE

Werq The World Tour

Following on from a sold-out spin around the globe and a whistle-stop Aussie tour last year, RuPaul’s Drag Race: Werq The World Tour is making its way back to Melbourne with a new show.

Expertly hosted by Drag Race judge Michelle Visage, the show features a mix of fan faves from the show’s last season [including Asia O’Hara, Eureka O’Hara and Kameron Michaels] as well as Drag Race veterans [Kim Chi, Detox, Violet Chachki and Naomi Smalls] and is shaping up as the world’s largest and most elaborate drag production.

As the only official tour of RuPaul’s runaway success TV show Drag Race, the stage production promises a shift in emphasis from previous extravaganzas. “We wanted to do something new, something bigger this year, so instead of werqing the world we’re going to werq the worlds,” says Michaels, cherished star of Drag Race’s latest season. “We’re giving the show a true flow and a story this time so everyone will be working together creatively to give the best show we can. Plus, every girl will be aligned with a planet, but that’s all I can say for now.”

While the beloved and super addictive TV show gives the finger to male-dominated culture, its participants have also challenged boundaries within drag. Michaels, in particular, shook up the drag norm by being unimaginably buff, with some unforeseen consequences. Amongst other things, muscular women have embraced her as a role model.

“Where I come from, being a drag queen meant that you presented as traditionally female as possible,” Michaels explains. “My physique made that difficult as females are stereotyped to be dainty and smaller in

stature. I broke the mould to say that muscles aren’t just a masculine trait, they can be a strong feminine trait as well. More females have been inspired by my aesthetic than drag queens. They have told me I made them feel beautiful with their fit physiques despite the traditional feminine stereotypes.”

Pairing muscles with a femme aesthetic also provides a political balm for toxic masculinity.

“Absolutely – especially in my case,” Michaels agrees.

“I have taken a physical aesthetic that could typically be mistaken for toxic masculinity and flipped it upside down. I transform every part of myself to reveal my most feminine characteristics, despite my normal mannerisms and appearance. It’s very important that gay men especially embrace femininity. We have no place for ‘masc for masc’ in our culture anymore.”

Michaels has also been a beacon of hope for kids who continue to reach out directly for advice and guidance via social media. “With Drag Race we have the platform to reach so many youth,” Michaels muses. “I didn’t have gay idols to look up to when I was little that I could literally send letters and messages to. There have always been gay celebrities, but the kids have such easy access to us and they feel a direct connection to our characters and our stories.”

The fact that people are reaching out to Michaels isn’t the only change post Drag Race. “The

biggest change for me has been in my personal life,” Michaels reflects. “I just don’t have as much time for some of the things that were important to me before the show. It’s not necessarily a bad shift, it’s just been an adjustment.”

A previously gruelling gym regime has gone by the wayside, for one. “I just don’t find the time these days. It’s impossible to maintain the diet and gym schedule that I kept before the show, because I’m constantly on the road and I choose sleep over the gym.”

The payoff is worth it though. For a start, constant competing and performing in the show has helped her confidence. “As with any performer, the more confident you become, the better your shows become. The crowd can feel your energy and the show becomes that much better when you can confidently command the attention of an entire theatre. You cannot be timid or introverted on stage. It just doesn’t work. That’s why my story has been so interesting.

It’s because there is such a transformation from my normal life to life on the stage.”

Photo by Jacinta Oaten

As the festival circuit continues over the hot summer months welcoming artists from all across the planet, one festival on the northern shoulder of Melbourne is pushing forward for social change.

20 BEAT.COM.AU

But moving on from the activities, the most important element of the festival according to Moleta is the diverse lineup of artists and performers, “We’ve seen a lot of talk lately where festivals are featuring white men and the feedback from these promoters or bookers is that they just don’t feel like the acts are out there. We wanted to showcase that they are out there and it’s just about looking and platforming these people so that they have more opportunities.”

With Moleta’s fascination with fringe art a driving motivation, 95 per cent of artists on the lineup are either female, non-binary or trans. MicahTron, an adventurous rapper from San Francisco who produces a unique brand of queer-positive hip hop, headlines the bill. Miss Blanks, a trans female rapper of colour who has slowly been making a name for herself on the local scene, will also perform.

Then there’s Queensland’s OETHA, a threepiece indigenous hip-hop group that features all women, and Melbourne’s Huntly, an electronic trio who describe their music as ‘doof you can cry to’.

Sky Sirens, burlesque girls from Sydney, will be hanging from the ceilings performing aerial hoop acrobatics. They will also be joined by the likes of

RuPaul’s Drag Race: Werq The World Tour comes to the Palais Theatre on Friday February 8. More information and tickets via the venue website.

BY MEG CRAWFORD

Unicorns – The Festival!

It’s Unicorns – The Festival!, and for the last seven years it’s been running as a queer club night, both in Sydney and Melbourne. Following hearty demand, however, this year will see the first Unicorns rear its rainbow head in festival form.

“People wanted something bigger and I’ve conjured up what I think would be a dream festival for a queer person or anyone who wants to celebrate the LGBTQIA+ community,” says organiser Delsi Cat AKA Adele Moleta, who created the event in response to the lack of all-inclusive spaces for queer people.

“I realised, being a pansexual femme woman, that there weren’t many places I could go and feel safe, supported and celebrated, so I created something where I could,” she explains.

Describing the festival in detail, Moleta’s vision of an all-inclusive wonderland comes to fruition. The area will consist of six main spaces ranging from a huge dancefloor to stadium-seating workshops, to a games room where Mario Kart will be projected onto the walls.

There will also be a huge outdoor area where markets and food trucks, hair salons and body painting can be found. “It will be a combination of educational workshops on gender and sexuality but also a kick ass party,” she says.

“We’re giving the show a true flow and a story this time so everyone will be working together creatively to give the best show we can.

Plus, every girl will be aligned with a planet, but that’s all I can say for now.”

DJ Sezzo, SIMONA, Paul Gorrie, Megan Bones, Sullivan and many, many more.

Aside from the stellar lineup, most importantly, the festival stands as a reminder that acceptance and belonging is key, “Life can still be quite hard for queer people, especially coming off the back of the anniversary of the marriage equality campaign. We’re still experiencing a lot of hardship, a lot of inequality, a lot of fighting, struggle and marginalisation. I think events like this are really important because it sends the message that, hey, you are valuable, you are wonderful, you are prioritised, and we want to celebrate you,” Moleta says.

Unicorns however is not just for those who identify as queer, rather it is for everyone and anyone, which Moleta wants to make clear. “I want people to feel like they can come to support and celebrate the community. The music and the artists on their own are worth going to see no matter what your gender or sexuality, they’re just talented people. And also queers just throw the best parties.”

BY JULIE FENWICK

“I realised, being a pansexual femme woman, that there weren’t many places I could go and feel safe, supported and celebrated, so I created something where I could.”

Unicorns – The Festival! takes over the Northcote Town Hall on Saturday February 2. Head to the venue website for tickets and more information.

FEATURE

Beat’s Guide to Beechworth Music Festival

Emilee South – Photo by Al Parkinson

BMF aims for punters to connect with the local community, the ground on which the festival stands, and of course, its range of alternative music.

Promising to unlock your senses, it’s no wonder that Beechworth Music Festival describes itself as a festival showcasing “independence with a good dose of attitude.”

This regional festival is ready to rumble and we’ve lined up the ultimate BMF guide to ensure you have an absolute blast.

SO…WHERE ARE WE GOING?

BMF will take place at the grassed amphitheatre nestled within the scenic hills of Madman’s Gully, set against the former Mayday Hills Lunatic Asylum.

Dripping in history, Beechworth stands in Victoria’s north-eastern region, built on the splendour of the 1850s gold rush. Being a community-minded festival, food and beverage vendors will supply local produce, giving a further taste of what the region has to offer.

Camping is free and an easy walking distance to the stage and village. As a family friendly environment, kids can part take in the festival’s Rock School, with participants able to perform not only at the festival but also at the town’s local venues. BMF aims for punters to connect with the local community, the ground on which the festival stands, and of course, its range of alternative music.

LINEUP

Presenting an all-Australian lineup, BMF has curated an array of genres to appease all your musical desires. This year’s headliners are Tumbleweed, who are set to deliver their fusion of grunge fuzz

and psychedelic rock. It’s going to be mental. Pop foursome and local Melbourne band School Damage will pour their hearts out with lyrics that focus on the anxieties of modern love and life. Another stellar act to watch out for is Emilee South. Having been described as “Piaf meets Elvis”, see her shake things up with her psycho-surf rock ‘n’ roll. Folk singer Sal Kimber intertwines the Australian landscape into the construction and lyrics of her music. Catch her and her band the Rollin’ Wheel for a jiving time.

Be sure not to miss hiphop duo Black Magic, blues group the Rubber Band, and DJ sets by Mermaid and Architecture in Helsinki. All will go down across the festival’s single, intimate stage.

HOW TO GET THERE

Beechworth is a three hour drive straight up the Hume Highway from Melbourne. The festivities will start from 4pm on the Friday with music continuing

well into Saturday evening. Knock off work, grab a mate, get in the car and kick-start your long weekend.

THINGS TO DO

If the festival isn’t enough to make you head up to Beechworth this long weekend, the town itself is another reason to get away. Drenched in Australian history and Victorian charm, Beechworth has activities in abundance to choose from. Follow the story of Ned Kelly and his gang at the Ned Kelly vault in the town’s historic precinct, or take a trip to the sandstone gaol. Go for a bushwalk through the stunning Chiltern-Mt Pilot National Park or to the Woolshed waterfalls. Feeling peckish? Stop off at the iconic Beechworth Bakery or sip on a beer at the Bridge Road Brewery. In other words, start packing your bags.

Beechworth Music Festival will take place on Friday January 25 and Saturday January 26 at Madman’s Gully Amphitheatre, Mayday Hills, Beechworth.

For tickets and more information visit the festival website.

BY GABRIELLA BEAUMONT

Irish Mythen

Folk is a genre often likened to gentle vibratos, quiet guitars and a hushed sense of secrecy created between listener and artist.

Though this is often the case, Irish-Canadian wordsmith Irish Mythen can only be described as an unexpected but very welcome powerhouse of her field; though physically unimposing, her formidable – and at times urgent – voice can command and control an audience, effortlessly wavering between tenderness and force.

Mythen first picked up guitar as a teen. Her parents devised that she needed something to do while they were travelling, and so handed her a six string with the hope that she’d learn something useful. Little did they know their daughter would quickly find her life’s calling and pair it with a vocal talent nobody knew existed.

“I was out in the Middle East with my parents, and they gave me a guitar so that I’d have something to do. I started to learn how to play, and then taught myself how to sing, and then I was writing songs from there. I think I was sixteen or seventeen when I realised that this was what I wanted to do with my life.”

As for ending up in folk, Mythen believes it was a natural progression of events for someone as politically minded and expressive as herself.

“I think folk has a responsibility more than any other genre to do or say certain things that may not be the best career move otherwise,” she laughs. “I sing songs about how the Church and the State were in cahoots in Australia, Canada, Ireland, and what they did to children. What we continue to do to Indigenous people in Canada and Australia.

“I think folk has a responsibility more than any other genre to do or say certain things that may not be the best career move otherwise.”

“But it’s not all that; folk also has room to tell stories of great loves, and great wants, and great needs. Overall, folk to me was more confrontational than any other genre of music at the time, and still is.”

Mythen has toured the world, having played hundreds of shows in Australia alone; her upcoming tour Down Under in early 2019 marks her fifth tour to Australia and New Zealand.

Her inimitable strength and unadulterated skill in engaging with a crowd – no matter the size – has seen her perform on the main stages of huge festivals like Byron Bay’s Bluesfest and Canberra’s National Folk Festival, then casually play bars and pubs whose single room capacity is a fraction of the crowd from the night before.

“I’ve spent my entire career learning how to read crowds. It doesn’t matter to me if the crowd is ten people or 100,000, I always aim to take those big subjects head on but in a way that the crowd doesn’t feel like it’s being preached at.”

Seeing as this is Mythen’s fifth tour to Australia, the question must be asked; what is left for her to do?

“I think I’m more established down in Australia now. When you do it the first couple of times, I guess… you don’t really know what to expect and you don’t know if people are going to be susceptible to your music. But from my very first tour, the Aussie audiences were just incredible: they followed me, they sold out shows.

It couldn’t have gone better,”says Mythen with an almost audible smile.

“This time, I’ve got a real fire in my belly to really raise that bar and give the audiences what they deserve. I’ll try to put more energy into my shows – which will be hard because I already go for broke – and new songs as well. That’s very important to me.”

Irish Mythen will play Caravan Music Club on Friday February 1 and The Spotted Mallard on Saturday February 2.

Tickets via Moshtix.

BY LEXI HERBERT

BEAT.COM.AU

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FEATURE

Nakhane

It only takes Nakhane about thirty seconds to drop something weirdly profound.

“I’m in Lisbon at the moment. I wanted to be lonely and write some songs, and Lisbon’s beautiful in a post-grandeur, dilapidated, cracking sort of way. There’s something sad about it. Although coming from a country once colonised by Portugal, I don’t know how sad I can be.”

Chatting with Nakhane Touré, who performs as Nakhane, is like interviewing a haiku – every so often he’ll toss off something elliptical and mysterious, before geeking out on historical references or plucking a raw nerve. Right now, at 30 years old, he’s one of the most interesting, diverse and talked-about artists alive: a published author, award-winning actor, musician and singer who just appeared on The New York Times’ list of 10 Artists to Watch in 2019. He’s also one of the headline acts at this year’s Mona Foma.

So why all the hype? Cynics might say it’s fuelled by controversy. Nakhane recently starred in John Trengove’s indie flick, The Wound, a brutal look at homosexuality in South Africa’s conservative Xhosa community (the country’s second largest ethnic population). The role won Nakhane a Best Actor award at the Durban International Film Festival, but it also sparked months of protests along the Eastern Cape, not to mention online death threats. It’s part of the reason he recently put down roots in London (before ditching London for Lisbon) – he’s tired of being trotted out as some crusading LGTBQ+ poster child.

“To be honest, I wish more journalists would ask me about the actual music, rather than the death threats or whether I suck dick or not,” he says. “It feels like they’re always fishing for a headline.”

Music fans put Nakhane’s dazzling rise

down to something much simpler than clickbait headlines: sheer, freaky, triple-distilled talent. His second album, You Will Not Die, dropped in 2018 to gushing five-star reviews. It’s a haunting, hearttrembling, fuck-them-all scorcher of a record, picked out in creamy synth chords, melancholy strings and the occasional mbira twang.

“What I wanted was to make an album that was sumptuous and sexy,” Nakhane says. “I wanted it to be hopeful, sensual and rococo. I remember when we were making it in the studio, I said to my producer I want to make a very ‘rococo’ album.

I wanted it to sound like curly cheese, frilly and beautiful and baroque, because that’s where I come from. The churches are very big and dramatic. You know what? I wanted it to sound like a Pedro Almodóvar film looks.”

You Will Not Die is basically an elongated form of musical therapy, and a lot of the album dwells on Nakhane’s struggles growing up gay in a strict, Christian household. But he’s not trying to exorcise his demons with this album – he’s trying to understand them.

“I wanted to write about my formative years and my childhood, my family. It’s not that every

song on the album is diaristic, but there is a huge chunk of my life in there. You collect the files of the last 29 years of your life, and bind them together and see where you are. And I needed to close that chapter without anger or self-righteousness. The older I get, the more I realise: those people that hurt you, maybe they didn’t do it on purpose.”

Nakhane describes himself as a “multimedia artist”, having written his debut novel, Piggy Boy’s Blues, back in 2015. As you might have guessed by now, the novel was published to almost universal critical acclaim. Nakhane tends to attract critical acclaim the way other people attract crumbs. But he says success comes with its own internal catch, the bit they never warn you about.

“I don’t know if I can write a more dramatic album than this one, so where do I go from here?” he asks, genuinely puzzled. He thinks for a moment, then tosses out one last profundity. “Why do you always have to incapacitate yourself to make the good art?”

Active from the early 1960s up until his untimely death, Marley achieved such considerable international success that his name has become synonymous with the reggae genre. A testament to Marley’s cross-cultural, transgenerational appeal is the upcoming Bob Marley Day event at Seaworks in Williamstown.

Marking the 40th Anniversary of Bob Marley’s one and only Australian tour, the event will feature a headline performance from the Tuff Gong’s second youngest son, Ky-Mani Marley.

“I’ve performed in Australia before. I think it was back in 2011,” says Ky-Mani. “The tour was a wonderful experience and included Thailand, New Zealand and Vanuatu. It was my first time and I felt the warm embrace of the Australian fans.

Looking forward to the return home feeling.”

Ky-Mani is an established solo artist who began his career with the 1996 release, Like Father Like Son. The extended Marley family includes a host of talented and successful musicians – Ziggy, Damian, Cedella and Sharon – all of whom inevitably get compared to their father.

“I am blessed and honoured to be compared or even mentioned connecting to my father’s 22 BEAT.COM.AU

Nakhane plays Mona Foma on Sunday January 20 and Howler on Saturday February 2. More info and tickets via respective festival and venue websites.

BY JAMES SHACKELL

Bob Marley Day Bob Marley would’ve been 74 years old this February had he not passed away in 1981.

Regardless, the Jamaican musician remains a hero to Rastas and stoners, pop music scholars and political activists, baby boomers, Gen Xers and millennials.

“I wanted it [the album] to sound like curly cheese, frilly and beautiful and baroque, because that’s where I come from... You know what? I wanted it to sound like a Pedro Almodóvar film looks.”

“I am sure he would be happy, [he] probably is smiling seeing the younger generation embrace the positive vibes of his music.” work,” says Ky-Mani. “However, I love all sorts of music. When creating, inspiration comes from appreciation of all forms – urban, rock, Latino flavours all with the core of reggae.”

Ky-Mani’s released half a dozen solo LPs over the last 20 years, but he’s never been afraid to incorporate Bob Marley songs into his live shows. “Performing my father’s songs is part of my journey and a legacy I get to share with the audience,” he says. “His music through the years has been a source of empowerment, unity and love. These are all values I share.”

Love for Bob Marley continues to grow around the world as younger people get switched onto his music and inspired by the fighting spirit and message of resistance. It’s an impressive feat considering Marley and the Wailers’ international breakthrough, Catch A Fire, came out 45 years ago.

“I do not think that anyone could imagine the positive effects of his music,” says Ky-Mani.

“But I am sure he would be happy, [he] probably is smiling seeing the younger generation embrace the positive vibes of his music.”

Ky-Mani has been familiar with the Bob Marley catalogue since a very young age. As time has moved forward and the world’s changed,

he’s witnessed the songs defy natural weathering to take on even greater significance. Ky-Mani’s intimate knowledge of Marley’s catalogue has taught him a lot about the art of songwriting, as well as providing practical philosophical guidance.

“The main things I’ve learnt is that the words speak to all mankind. It’s always about togetherness. Most importantly the messages are as relevant today as when my father was alive. The songs make me feel stronger with my conviction of love over all.”

Although there is a distinct 1970s quality to Bob Marley’s music – it speaks to the specific political issues and struggles of that time – it’s attained a sort of timelessness. The spirit that pulsates from the music has lost none of its vigour, making Bob Marley Day a significant festive gathering.

“Performing at the upcoming celebration in Australia is going to be an honour,” he says.

“Anytime I get to share my father’s music with fans and see their appreciation always gives me good feelings.”

BY AUGUSTUS WELBY

Bob Marley Day goes down on Sunday January 27 at Seaworks, Williamstown from 1pm to 8pm. Tickets are available via Eventbrite.

FEATURE

Tumbleweed

Back in the ‘90s, Tumbleweed were riding waves of success in the Australian stoner-rock scene.

The Tarrawanna-based five-piece were born from the merging of two smaller bands, Unheard and The Proton Energy Pills, forming something of a supergroup.

Their acid rock and grunge sound garnered them ARIA nominations and a supporting slot for Nirvana in ’92, but things have toned down a bit since then.

“Hold on a second, sorry,” says vocalist Richard Lewis apologetically, turning his attention to a child’s voice in the background. It’s school holidays and Lewis is on dad duty – a different kind of crazy to life on the road. Music hasn’t been far from his mind though, and he’s been using the downtime to seek out inspiration.

“I’ve been on holidays this summer for the last five or six weeks, and I’ve made a promise to myself during this break to just listen to new stuff,” he explains.

“I’m a big old music fan. I listen to a lot of ‘60s music, but I’m so out of touch I just thought ‘OK, I’ve got to start listening to some new stuff ’ and I’ve been blown away; it’s been a really positive experience. Just sort of getting to know some great stuff out there that I was just ignorant to, so that’s been cool.”

A lot of the “great stuff ” Lewis is referring to has come from bands in his own backyard of Wollongong, which has really put itself on the map musically. The coastal region has been churning out artists like Hockey Dad, Bec Sandridge and Totally Unicorn, as well as cementing its own music festival, Yours & Owls. His hometown’s dedication to music is a point of pride for Lewis, although it wasn’t always like this.

“We had this drive and spirit and energy to really do something different and to make something our own.”

“We had to kind of invent our scene in a way,” he says. “There was nowhere to play and there wasn’t really much support, because it’s a very working-class town. There were a lot of cover bands and there were a lot of footy fans and a lot of surfers, but if you were into music you were sort of an outcast.

“The people who started up Yours & Owls and Music Farmers in town, they were kids.

They’d come to our all ages shows when they were really young, so they sort of grew up with us, and the scene became more solid as it went. I suppose when Yours & Owls started to make a big impact that really helped, it really drew people in.”

It’s a scene that shows no signs of slowing down, and the influence of Tumbleweed and the ‘90s grunge rock revival is evident in much of the music being produced now. However, that’s not to say bands have taken to spitting out carbon copies of the old stuff, and Lewis has great admiration for the young artists who aren’t afraid to push creative boundaries.

“I’ve always been into sort of left-of-centre melody and strange, quirky pop and there’s a lot

of great stuff happening in that world,” he says.

“One thing that was really incredible when we began, was that we had this drive and spirit and energy to really do something different and to make something our own. And I see that in people, in young bands in Wollongong now, and I find that a really awesome thing.”

Lewis and the rest of the Tumbleweed guys; guitarists Lenny Curley and Paul Hausmeister, bassist Jay Curley and drummer Steve O’Brien, will be making the trip out of the ‘Gong and heading to Melbourne later this month, for their first gig of the year. Taking place at the newly refurbished Esplanade Hotel, it’s a venue the group already know and love, but not as they’ve seen it before.

“Everyone knows how much importance The Espy has to Victorian and Australian culture,” says Lewis. “It’ll be interesting to see what they’ve done to it, and also breathe new life into the place – bring back the rock’n’roll.”

BY GRETA BRERETON

Roger Hodgson

“This was a time when radio was king, and in order to have a successful record you needed to have a song that would get played”

When do you know you’ve written a hit? Better yet, when do you know you’ve written an album full of them?

It was 40 years ago this year that Roger Hodgson was putting together the finishing touches on what would go on to be Breakfast in America, the definitive legacy-making album by the band he co-founded, Supertramp. The album went on to go four times platinum in the US alone, and spawned singles that are world renown to this very day. At the time, though, Hodgson was just trying to make the best Supertramp record he could.

“I felt like the band was poised for something of ours to be successful,” he says. “We’d be touring consistently with the albums we’d made beforehand, I felt that we were definitely on the verge of a breakthrough. When I was recording the album, I was adamant about getting it right.

I wouldn’t rest until the songs sounded the exact way they needed to. I felt like that’s what the songs deserved. This was a time when radio was king, and in order to have a successful record you needed to have a song that would get played. As luck would have it, Breakfast in America had about three or four that just ignited as far as radio was concerned.”

That fire still burns, decades on from Breakfast’s release in March 1979. Statistically, there probably hasn’t been a day on earth since where ‘The Logical Song’ hasn’t played on a station somewhere in the world. Or covered in a bar. Or sung at karaoke. It, along with its neighbouring tracks, have become part of the furniture. Even when the anniversary of the record wasn’t looming, Hodgson has been

Tumbleweed will play The Espy’s Gershwin Room on Friday January 25.

Tickets available through Moshtix. They will also play Beechworth Music Festival which takes place on Friday January 25 and Saturday January 26 at Mayday Hills, Beechworth. For tickets and more information visit the festival website.

using Breakfast to promote his solo shows for years, performing highlights from the album to rapturous audiences across the world.

“Even something so little as having the phrase on the posters or in the tour name helps people to connect the dots,” Hodgson explains. “A lot of people obviously know the name Supertramp, and would knowingly associate these songs with Supertramp. By that same token, however, they may not necessarily know the name Roger Hodgson. By using Breakfast in America, we’re allowing audiences to understand who I am and the kind of show that we’re doing – and the word has spread. We’ve had a lot of old Supertramp fans come back to see us over the years.”

Besides everything else, Hodgson adds, the term Breakfast in America on its own has its own way of raising a smile. “It’s got such a sunny feeling to it,” he says. “In these crazy times, so full of fear and negativity, it’s a ray of positivity. That’s what I like about it. The songs came from a very deep, very vulnerable place in my heart. I can’t begin to describe what it means to know these songs have

managed to touch that very same place for people all across the world.”

Hodgson returns to Australian shores as a part of the ongoing Breakfast in America tour through late January and early February, along with his full band. Hodgson has been a visitor to Australia on several occasions throughout his career, and has nothing but the highest of praise for the continent.

“Oh, aren’t you all just the luckiest to live there,” he says with a sigh.

“It’s an incredible country. It’s full of remarkable places, and it’s so expansive. The people are fantastic. Every time I’ve been, I’ve wanted to come back as soon as possible – even though that hasn’t always been possible to do. I’ve often come there and thought that this could be the place where I move after I retire. To think I’ve been able to travel to places like this, having rooms full of people that know who I am and that want to sing with me... all because of my music.”

Roger Hodgson hits Melbourne’s Palais Theatre on Saturday February 2. Tickets via Ticketmaster.

BY DAVID JAMES YOUNG

BEAT.COM.AU 23

FEATURE

Beach House

“I think we’ve found a place where they can all live, under the umbrella of our Beach House imagination.”

The world of Baltimore dreampop duo Beach House’s music – and it is a world – is hinged on immersion.

For the past 13 years, the pair have woven pop for dreamers and synesthetes. Their music is synonymous with a wall of sound, channelled through cheap vintage keyboards that would sound like toys in the hands of anyone else. Beach House rarely tear up this musical blueprint album to album – instead preferring to refine their enveloping sound to the point of divinity.

Last year’s 7 was regarded by many as the album their discography had been building up to, and it seemed like the heavens thought so too – their seventh album brought them to a total of 77 songs, something the band said connected to “some kind of heavy truth”.

7 also contained frontwoman Victoria Legrand’s most evocative lyricism to date, as the contralto-voiced singer channelled the underside of starlet glamour in Andy Warhol’s Factory. Album highlight ‘Drunk in LA’ paints an aging actress slumped at a bar in the so-called city of stars, her time as a bright ingenue long forgotten.

B-side ‘Alien’, released in October, is the stepsister to this tune – recorded near the end of 7’s sessions, despite the fact that Legrand knew the record was already complete. Its live drumming and waves of ethereal guitar, courtesy of Alex Scally, most closely recall the dense shoegaze of My Bloody Valentine, while Legrand pulls from somewhere more unexpected.

“It’s kind of a punk song – like Ramones-y in the way that I’ve always been attracted to succinct melody lines that have very strong visual imagery,” Legrand says. “Each line is only three words but every word matters.”

The song is also Legrand’s most imagistic tribute to the Warholian avatars of desire, Nico and Edie Sedgwick – the line “fake flowers to the grave for you” encapsulates the paradoxical permanence and impermanence of stardom, as damaged starlets fade away.

“It goes back and forth because plastic flowers never die. It’s like the ultimate sad fuck-off,” Legrand laughs. “I heard the whole phrase in my head at once.

I was kind of imagining a scenario where it’s like a movie with a 1970’s movie star dying alone, having absolutely nobody. They like you when you’re hot, but they don’t care when you’re not.”

Legrand’s writing often forms out of these spontaneous, subconscious phrases – sometimes however, she takes years of what she calls “gutediting”. Legrand uses 7’s ‘L’Inconnue’ as an example – the first song the Parisian-born singer has ever sung in the French language. The track first appeared in untitled form six years ago, going mostly unnoticed in the Rodarte fashion film This Must Be the Only Fantasy.

“I’d been asked so many times if I would sing in French, and I always said that I won’t – I’m not going to go out of my way to make like a hipFrench song,” Legrand explains.

“The “un, deux, trois, quatre, cinq, six, sept, toutes les filles ne sont pas prêtes…” French part was written in one of those moments that just came out of me – I heard that and I sung it in French.

The rest of that song took six years to become what it is on 7.”

‘L’Inconnue’s staggered vocal layers, and warbling synth lines appear to confirm 7’s songs have production the duo “could never recreate live” – something they expressed in an essay released prior to the record’s release. Legrand dismisses this now – at the time of our conversation last year, they had been touring for two and a half months. By the time they reach Australia in March, it will be half a year.

“You can throw that quote out, because it’s happening,” Legrand laughs. “The live aspect is never easy. Every time we embark on an album cycle, it’s always different. It takes a great deal of effort to appropriately understand where you are now and all of the things that you did over the last decade. I think we’ve found a place where they can all live, under the umbrella of our Beach House imagination.”

BY JOSHUA MARTIN

Two People

Photo by Tim Hardy

Out of the ashes of Snakadaktal, emerges an immersive electronic project in the form of Two People.

Joey Clough and Phoebe Lou, are either side of a new music exploration that’s already turning heads.

“The ideas for the project formed quite a few years ago, and even now, in the making of the record, all the visuals behind it; we’re always going back to that initial plan we had,” states Lou. But winding back to the beginning, before there was ‘Two People’; there were two people in need of a new project. This prompted the writing of a manifesto which would guide their future actions.

“I mean. It’s a classic manifesto. Having come out of Snaka, we thought that was really important to lay down the law,” Lou explains. “We wanted to make sure that it was going to be sustainable. “[The manifesto] was more focused on the process; how we wanted to do things. We wanted to be heavily involved in all parts of it: from the writing to productions, creating the art, and music videos. Also just how we think about things.

Trying keep up good energy, as we do things and not get too bogged down, or worry about details,” Clough elaborates.

First Body is an electronic album with hypnotic vocals, on cinematic instrumentation that creates an atmospheric environment within its tracklist.

“A lot of the time we focus on just writing songs that are probably more traditional structure, and a lot of ambience and dramatic stuff comes from experimentation in the studio.” Clough describes the production process “Sort of ‘after the fact’, off of the main parts of the song.

“Sometimes we have a loop that has a real strong feeling in it and then we evolve into a song”

24 BEAT.COM.AU

Beach House play The Forum on Friday March 8 [sold out] on top of their performance at Golden Plains, which goes down from Friday March 8 and Sunday March 10.

“For it to feel worth doing; it had to feel like ‘I’m human’, and we just thought people would connect with that.”

Phoebe interjects before adding with a giggle “There’s no rules here.”

First Body is mixed by the acclaimed Rodaidh McDonald. Already credited on projects with: Sampha, King Krule, and The xx, and admired by the band prior to the collaboration.

“He was on the manifesto for like five years before it happened,” Clough announces with pride before Lou interjects, “But as a dream, you know. We didn’t think it would actually happen.”

“When he said he was keen to do it, it gave us a lot of confidence … He’s just the best mixer we’ve ever worked with,” Lou continues.

“There’s something really special about the way he can improve a track, without changing it on a technical level.”

Once they had begun to finish the album it was important they considered how it would be translated live. “[First Body] was a studio record. We hadn’t played it live before recording the songs. It’s more production heavy, and the songs haven’t lived and breathed in a real space,” Lou says. “[The process]

was like rewriting the songs into a different language.

“The kind of music that it is, is tricky to come up with a live show, but we were just determined to do something that was interesting,” Clough continues.

“We didn’t want it to be like karaoke style.

So, having a lot of live instruments and a lot of improvisational elements in the set was really important to keep up ‘the scariness’ in playing live,” Lou says. “For it to feel worth doing; it had to feel like ‘I’m human’, and we just thought people would connect with that.”

This project marks new beginnings for the duo, who now have an ignited passion to follow the project up and start something new and eclectic.

“I think [the album] will lend to that type of music that’s coming next,” Lou says. “Now we’re kind of excited about just doing this whole process again, but differently.”

BY SCOTT HUDSON

Two People’s debut album First Body is out on Friday January 18 via Terrible Records.

FEATURE / Q&A

Her… The Photographic Series

“I am living quite an ordinary daily life like any other human being, the only thing is I happen to be with a woman.”

Art comes in all shapes and sizes – so does love.

Artist Martha Ackroyd Curtis has chosen to represent the joys and intimacies of single sex relationships and her experience with them through the medium of black and white photography in a brand new exhibition, Her… The Photographic Series.

A multi-disciplinary artist, Curtis wanted a timeless feel for this exhibition, so chose black and white photography because of the classicism it offers. “I wanted to show beauty, but in a dignified and respectful way,” she says. “I wanted the viewer to feel the communication between the photographer and subject.”

The subject in question is in fact Curtis’ partner, the series offering a spotlight on the importance of respect and dignity, particularly in today’s socio-political climate. “There’s not quite enough respectful and dignified examples on television, in books and in movies,” observes Curtis. “It is still in some ways not mainstream to show women who share lives.

“As people in the LGBT community, we are more like straight people than we are not. We share the same human emotions, we want to feel safe, loved, and protected, we have ambitions, goals and dreams. We need to feel comfortable and able to be ourselves completely in day-to-day lives. I am talking not about just in Australia I am saying everywhere.”

Brenda Earle Stokes

As all art is of course open to interpretation, Curtis feels that having an exhibition is as complex as the making of a collection of photographs, saying, “I can create art and have confidence to show it, get opinions from people I trust [who know and understand my artistic concept] then I wait and see: how the work is interpreted by those who see it.”

Curtis admits she hasn’t wanted to be provocative or hyper saturate the viewer with nudity.

She’s kept the photographs about communication between the photographer and the subject, the staged delicacy, and the trust and, of cause, the love.

“The fact that there is not much documentation of women who love women in popular or general culture; be it exhibitions, in magazines television shows, that it is a ‘normal’ relationship and it is human and not ‘novelty’.

“I am living quite an ordinary daily life like any other human being, the only thing is I happen to be with a woman. My straight friends, and family don’t blink an eyelid. So the word ‘lifestyle’, I feel, is rather archaic,” Curtis continues.

MUSIC

When did you first start making music? I started classical piano lessons at age four, but the real turning point for me was when my high school music teacher played an Oscar Peterson recording. Hearing jazz made me realise that I was meant to be a jazz musician.

Is there much crossover between for you when it comes to growing as a musician or educator? Being a teacher means I’m constantly listening for ways to improve the music in every aspect. This has really developed my ear and has made me a more creative and innovative musician. It’s also taught me a lot of patience.

When performing live, what do you want your audience to appreciate? I want the audience to feel surprised and engaged by the material and especially the interaction between the musicians. I play a lot of very diverse repertoire and I love to feel like the audience can’t wait to hear what comes next.

How does the New York jazz scene compare to that in Melbourne? The jazz scene in NYC is massive and there are a lot of different “scenes” – from Latin to bebop to free playing to big bands. You have the option of hearing at least 30 different shows on any given night of the week.

You will be performing as a quartet for your upcoming Australian tour, how did the collective come together and who makes up the group? I made up the group using recommendations from my NYC-based Australian friends. I had the pleasure of playing with guitarist James Sherlock when I was in Toowoomba last year and he helped me put the band together.

Brenda Earle Stokes plays The Jazzlab on Thursday January 24 and The Paris Cat on Friday 25 and Saturday January 26. Tickets via the respective venues.

“We live in the 21st century and I am an artist, I do as artists have always done, I create work, I show it. You need to be able to stand on your own feet as an artist – solid, strong, and enjoy making art.

I have had many exhibitions centred around many different themes, some conceptual others not so. I create shows that can be completely different from the previous show, because I like to do something fresh each time. I do not want to waste an idea. And I never want to repeat the same style.”

Ultimately, it’s Curtis’ hope that her exhibition inspires in other people a very simple human reaction. “That they feel they do not have to intellectualise the work, that they can see the warmth and humanity in it. I hope it inspires kindness in people. I hope that politicising human rights in any negative discourse is somehow soothed and that people see that love and acceptance is not going to harm you, it can only heal.”

Her… The Photographic Series is open at Grey Cells Green from Wednesday January 23 until Friday February 1 bar Monday and Tuesday as part of Midsumma Festival. Head to the festival website for more information.

BY ANNA ROSE

The Vacant Smiles

MUSIC

When did The Vacant Smiles first come together and how did it happen? We’re actually coming up to ten years of the band, which might make our boring high school story vaguely interesting. Apparently I was reading The Idiots Guide To Starting A Band in our library class, Francis noticed over a copy of Guitar World, and Shay was conned into dropping his guitar lessons and taking up the bass.

Tell us about your new album Goodwill. For the last year and a half, we’ve been working on what was supposed to be our third album to be released before 2018 ended, and even though it was nearly done, it got to October and we decided it deserved a little more time to get right. But we wanted to stick to our word. So we decided to write, record and release a whole new album in about a month and a half – and the result was Goodwill. It’s pretty raw, wonky and a bit more chaotic than anything we’ve done before, but it might be our best album yet.

How would you describe your sound and how did you come to it? I’d just say garage rock, although rock ‘n’ roll if I’m talking to an auntie or something. I’m not sure how the sound came about, but recently someone told me my voice reminds them of Lockie Leonard, and I can’t really imagine Lockie Leonard playing any other style of music, so maybe it was destiny.

What can we expect from your upcoming shows? I’m getting pretty into guitar solos so you can expect some of those. I kinda just want to play as much from Goodwill as we can for a hot second, until it’s time to put out the next album in a few months.

The Vacant Smiles will support The Higgs at their album launch at The Toff on Friday February 8, and support Department at The Espy on Thursday March 7. Head to the band’s Facebook for more information.

BEAT.COM.AU

25

Live Photo by Mackenzie Sweetnam

Carmourflage Rose – Photo by Mitch Lowe

Photo by Mitch Lowe

FOMO Festival

Flemington Racecourse, Sunday January 13 It was a 30 degree day and the kids who were strutting about excitedly were all wearing variations of the same wardrobe: the girls in as little as possible with dashes of glitter paint added, and the boys dressed as either “there’s a sale at Cotton On for leopard print short sleeves and brown shorts” or “‘90s drug dealer”. Either way, they were clearly all there to have fun and were buzzing with energy. In addition, the fact that at least half of them were clearly under 18 meant that hardly anyone was drinking, which added an endearingly wholesome feel to the Melbourne leg of FOMO. Jerry from Jerry’s Vegiburgers shook his head when I asked how the day had been going. Looking around the enormous grounds of the Flemington Racecourse it seemed odd that the promoters had thought a space this large would be appropriate.

Groups of revellers stretched themselves out under any shaded spot they could find, and the bar staff smiled a little too broadly at anyone who walked by as if they hadn’t spoken to any customers for a while.

Kali Uchis and her band delivered a solid set of material from last year’s excellent debut album Isolation. The Colombian-American singer strutted and posed across the stage, twirling, dropping and sexy dancing with the microphone stand while looking every inch the pop star. Unfortunately her vocals were low in the mix and masked with reverb so it 26 BEAT.COM.AU

was hard to discern her words except during the sections where she pushed it a bit. This was a shame considering the band sounded good and she has some really nice songs.

Aminé was all trap hats and backing tracks, showcasing a particularly screamheavy style of rapping that sent me retreating to a shaded area. There I met a teenager attending her first festival and when I asked her where her friends were, she duly replied, “In there,” waving towards the stage area, “I couldn’t do it, it’s too much.” She then lay down and proceeded to take a nap.

Mura Masa’s set seemed decidedly laid back by comparison to the previous artist and from where we stood at the back of the crowd many seemed to take the opportunity to chat. “Why is no one clapping?” asked my friend after a song finished to complete silence. Masa, AKA Alex Crossan, had a one-man-band setup, and was surrounded by drums, percussion, drum pads, keyboards, and presumably something to play the backing tracks off. His musicianship was highly impressive as he moved skilfully between instruments in every song, never missing a beat. The style straddles jazzy hip hop and groove-based pop, with a sparseness and consistent melancholia that could only be British. He had two vocalists that came on intermittently and helped keep the energy high, but Masa was also able to maintain attention during the instrumental numbers, and doing so without any flashy techniques or solos. A couple of songs towards the end of the set, such as ‘Love$ick’ and ‘Firefly’ were met with warm applause and people mouthing the words.

There were obviously a lot of Rae Sremmurd fans in attendance, but I really couldn’t get into it. They weren’t doing anything particularly wrong, but the whole thing felt extremely generic, from the subject matter, to the production, to the way that the DJ was triggering air horn sounds after every song while Swae Lee shouted out the name of the city. Will anyone remember Rae Srummurd and their constant declarations of “SremmLife!” in five years time?

Everyone dutifully staggered to their feet and moved forward as a giant gold throne and two large golden unicorn statues were moved into position while the word Queen – the title of Nicki Minaj’s 2018 album – was raised above the stage. Once the lights dimmed and a triumphant fanfare played, a troupe of dancers took their position and Minaj emerged, posing at centre stage in a large yellow jacket that she quickly disposed of revealing a very small, mostly see through, pink dress.

Minaj is something of a veteran these days and her stage presence reflects this.

The stage production was clearly all geared towards herself, but nevertheless it would have been hard to turn your attention anywhere else. Minaj oozed with attitude and confidence, rapping hard and fast in an extremely dexterous and rhythmically complex manner. Having reportedly fallen sick, she moved slowly around the stage, leaving the choreography to the troupes of male and female dancers, and often delivered the song sitting down. The hip-hop focused songs soon gave way to some of the clubcentric pop anthems that have yielded her so

many hits, including ‘Anaconda’, ‘Pound the Alarm’, as well some features such as Ariana Grande’s dance hall-inflected ‘Side to Side’.

Some interactions revealed how much she meant to the young crowd who had braved the heat to gather in awe. In search of ‘a sexy boy’, she selected a young man from the front and seated him on stage, as herself and the female dancers paraded around him before Minaj took a seat on his lap. The shocked participant was then briefly interviewed, where he held back tears and revealed he was 16 and had flown from interstate just to see her, before he got a selfie and a tour tee. Later Minaj staged a twerking competition on stage with some tearful fans who nevertheless got low and shook it in front of thousands of strangers.

“I have no idea if this is a lot of money,” she said, handing a note to the winner. “It’s a 50!” shrieked the pro twerker. It was that kinda day.

‘Superbass’ provided the last big chorus of the night, as streamers were shot into the air and Minaj strutted off after telling the crowd she loved them for the one hundredth time. Catching an Uber Pool out was probably the worst decision I could have made, but 45 minutes later we’d made it out of the car park and off into the sweet summer night.

Highlight: Nicki, obvs.

Lowlight: #SremmLife.

Crowd favourite: Nicki, obvs.

BY ALEX WATTS

LIVE

Interpol – photo by Sally Townsend

Interpol

The Palais Theatre, Friday January 4 Any band with over two decades under their belt has to assess a legacy with every show they play. It’s hard to say how comfortable NYC rockers Interpol are with that fact.

Once upon a time they were the second face of the 2000s New York post-punk revival, holding a mysterious literary edge over The Strokes’ brash, bald faced rock. Decades later, however, The Strokes have veered into far weirder territory than Interpol perhaps ever will. Interpol came out fully formed on their 2002 debut Turn On The Bright Lights, a work of understated grandeur led by vocalist Paul Banks’ post-9/11 collegiate existentialism and complemented by reverb-drenched groove.

The succeeding records stood fast in their airy-pop production, though as last year’s Marauder showed, the band have disappeared into self-imitation.

As the live quintet stepped out onto the Palais Theatre stage, they wore their signature mono black suits and brandished a staunch cool to a well-versed audience. Our Love to Admire’s ‘Pioneer to the Falls’ sliced open the vein of melancholic groove. Banks’ voice was more rugged than the studio recording, though as his earthy baritone asked “show me the dirt pile,” the ambiguity of his words felt physically affecting.

The band were shrouded in shadow under a giant disco ball, flanked by two smaller ones.

The purpose wasn’t as ironic as it seemed, with strobe lighting from behind refracted to speckle them. The overactive lights suited Interpol’s stationary stage presence; theirs was a disco of the heart. ‘C’mere’ followed, with a significantly faster tempo, just like many of the tracks on Antics. It wasn’t better or worse, simply more frantic.

TOTBL album track ‘Roland’ didn’t feel like a deep cut when guitarist Daniel Kessler began playing the fretful opening riff, but the near 2,500-strong Palais crowd awoke from their respectful seated slumber. Whatever the losses incurred by Banks’ bizarre rap solo ventures, they bolstered his performance here,

Soccer Mommy – photo by Monique Pizzica

as he barreled into double time flow. Kessler devised a kind of tap dance move to the desperate beat.

“Sam Fogarino on the Drumarinos,” Banks grinned.

When songs from Marauder sat next to these iconic tracks, they whimpered indistinctly. ‘If You Really Love Nothing’ was played with vigour, ‘Complications’ had a middling kind of funk and ‘The Rover’ almost attracted excitement but it all seemed to fall into an Interpol malaise. It was hardly incidental that Banks announced the name of every song from the record and no others.

Anytime these concerns about the band’s direction entered your head however, there was an ‘NYC’ to allay your worry. The song’s enveloping letter of love and paranoia to the big apple evidently rang out to Melburnians too: the idea that the backdrop of urban chaos is actually a comforting constant to the turbulent variance of life – just substitute the subway for PTV. Fan favourites ‘Rest My Chemistry’ and ‘Say Hello to The Angels’ accompanied the occasional band slip up, though the crowd didn’t miss one of Banks’ dictatory words.

At their core, Interpol are pop songwriters dressed impeccably well and the two tracks closing the main set showed them at the peak of their powers. ‘Slow Hands’ is a threeminute hit song with a faux profundity to its declarations of love (“You make me want to pick up a guitar and celebrate the myriad ways that I love you”). ‘The New’ is a six-minute prog dirge, tunnelling through several guitardriven sections with a violent kind of grace.

The instrumentation, however, still encases a poignantly simple sentiment that sometimes love isn’t enough (“I can’t pretend I need to defend, some part of me from you”).

The encore was, as expected, fit with ‘Evil’ and ‘Obstacle 1’, which, pleasantly, they still seem to enjoy playing. ‘Not Even Jail’ was the show’s non-obligatory gift to the hardcore fans. The siren-bass slapped with force over Fogarino’s snare march, before the guitar line burst through the ethereal ceiling. Nothing about this show felt like it looked to the future, but it’s hard to pile on the responsibility of legacy when the music is still this good.

Highlight: ‘Not Even Jail’ and ‘The New’.

Lowlight: The album tracks from Marauder ‘Number 10’ and ‘NYSMAW’ gaining nothing live.

Crowd Favourite: ‘Slow Hands’ and ‘Evil’.

BY JOSHUA MARTIN

Soccer Mommy

Howler, Monday January 7

No one has been able to explain how Clean Soccer Mommy’s debut album is. Apparently, her other two releases, 2017’s Collection and 2016’s For Young Hearts don’t count for some unknown reason. Pitchfork even gave Collection a serviceable 6.7. It makes no sense, but on the back of her un-debut album Clean, Soccer Mommy, the seriously uncool moniker of Sophie Allison, has come close to selling out her first Melbourne headline show.

As Howler filled up with punters, some still with their now-grubby Falls Festival wristbands hanging off their wrists, the anticipation was not rooted in any amount of mystery for the evening, but to simply see a pretty damn good album played live in a different order than you’d normally listen to on Spotify.

‘Henry’ is the typical new song; you’ve just released a critically acclaimed album and the record label is begging for new material to spruik whilst you’re on tour. So you record something in Rome or Bangkok on your two-day layover and of course you’re brutally hungover in the makeshift studio they’ve sent you to. We’ve all been there.

It’s never the artist’s best work, but it’s enough. And ‘Henry’ is enough.

Songs from her two cult, Bandcamppushed albums were interspersed through the set in an attempt to break up the Spotifyon-shuffle feeling. It works to limited effect, due mostly to the fact that Soccer Mommy’s earlier material is pedestrian at best. Sophie even admits that one song, the autobiographic ‘Allison’ was a project for college, one for which she got an A-.

Her candour is refreshing even if her inability to recognise Adelaide as a city is a

bit embarrassing. “Oh very funny, I’ll make sure to visit there next time” she quips before a larrikin responds “don’t bother, it’s not worth it.” in a typically Melbourne manner. The crowd laughs along, half in disbelief and half in awkwardness at her D in Geography.

But Allison’s lovelorn lyrics are so wise beyond her years that it’s easy to forget she’s still learning about the world as much as she’s learning about herself. It’s this beautifully voyeuristic element of Soccer Mommy’s music that made Clean one of the best albums of 2018.

A mid-set solo cover of Bruce Springsteen’s ‘I’m On Fire’ is sublime, one of the few songs where you hear the Nashvillebred drawl in her voice and it matches the smouldering intensity of the Born In The U.S.A classic. This spectacular moment is backed up by her own slow-burning masterpiece, ‘Still Clean’; a song that embraces the beauty of simplicity in songwriting and the devastating emptiness of being tossed aside by a lover.

The melodic texture of Clean owes nearly just as much to the early 21st century Seattle indie-pop of Sub Pop and Barsuk Records as it does her homegrown finger-picking heroes of the deep south. This balance is a rich mine to be explored. However, it will be interesting to see if Soccer Mommy can move past the sum of her own influences and create genuine dynamics in her sound, as her biggest criticism is resting too long in one comfortable gear that creates homogeneity in her sound.

But that’s something to figure out for her fourth/second album. Clean was the breakup album of 2018 and if the lovesick enthusiasm of her first Melbourne crowd is anything to go by, this won’t be the last we see of Sophie Allison. Who knows, next time she might even swing by Adelaide.

Highlight: The Boss.

Lowlight: “$50 for an artist with one album…a bit steep” – overheard at the bar.

Crowd Favourite: ‘Your Dog’. A brilliant feminist anthem.

BY CHRISTOPHER LEWIS

BEAT.COM.AU

27

ALBUM REVIEWS

Album of the Week (Liberation Records)

Singles WITH AUGUSTUS WELBY

Mercury Rev feat. Norah Jones

Okolona River Bottom Band (Bella Union)

Norah Jones has recently been stacking up her indie cred.

Last year saw the jazz pop singer collaborate with Jeff Tweedy and Doveman and here she joins Mercury Rev on a glorious version of Bobbie Gentry’s ‘Okolona River Bottom Band’. The lead track from the Rev’s full album reimagining of Gentry’s The Delta Sweete, the strippedback original is transformed into a sweeping astral jazz number. Jones shines out front, seeming to conduct and embolden the band’s baroque arrangement. Gentry’s 1968 original is a friggin corker, too.

Traffik Island

17

(Flightless)

Two weeks into the New Year and the 2017 nostalgia has already arisen. Kidding. Traffik Island’s debut single is more in tune with 1967 than any of this decade’s stylistic trends. A psych-pop throwback about someone’s failure to mature, it sits somewhere between the cutesy end of Piper At the Gates of Dawn and the more adventurous end of The Monkees catalogue. Project mastermind Zak Olsen wisely avoids the affected lo-fi qualities that can weigh down ‘60s pop homages, shimmering into the New Year in style.

8.5

Sharon Van Etten

Seventeen

(Jagjaguwar)

Two weeks into the New Year and the 2017 nostalgia has already arisen. Still kidding. The third single from Sharon Van Etten’s upcoming record is a keyboard-powered power ballad that pines for the freedom of 17 while recognising the virtues of growing up. Nearly all accomplished adults went through a phase of filthy teen recklessness. Fun at the time, but clinging to it several years later isn’t a good look.

Van Etten puts in a stellar vocal performance and although synths have replaced guitars, the minor key crescendo wouldn’t sound out of place on any of her records.

Arbes

Strange Power

(Independent)

A lesson in doing a lot with a little from Melbourne trio Arbes, ‘Strange Power’ feels like a mini-epic though it’s assembled from scarce materials. The rhythm section’s sprightly exchange is dressed by swishes of hooky lead guitar. Ethereal synths pad out the atmosphere while the lead vocals alternate from strong-willed to hypnotised.

Two People

First Body First Body is such an immersive, atmospheric, experience; that it isn’t hard to close your eyes and fall into a trance. Each track features a dense instrumental that wouldn’t feel out of place in a Hollywood thriller, and amongst it you will hear Phoebe Lou’s hypnotic vocals that guide you to its meaning.

The dream-pop/electronic genre has been getting its legs across the last decade, and there’s been a struggle of balancing ambience and energy within its discography. Two People walk that line, methodically creating an ambiguous mix of songs you can fall asleep to, but would also fit into the right club environment.

“I miss you/your phone call/do you regret it/I try to forget it,” this is an example the eerie lyricism that floats above the ethereal landscape of ‘Phone Call’. Each track reveals layers to dissect as you refocus on the lyricicm, or track the multitude of instruments that fill the mix; the rhythm of drums, choir of vocal harmonies, synths, keys or whatever else you hear.

Underneath each track lies a complex story you can explore. ‘Fading’ details the slow dissolution of a connection; “Till the walls fall down and I fall out/we are fading/feel me fading.” While ‘In the Garden’ chronicles regaining your independence in a relationship.

First Body’s instrumentation has such a strong presence but despite that, it doesn’t overwhelm the vocals as they sit harmoniously in tune with each other. This tracklist is perfect for anyone who wants to add a little intensity to their morning commute or enhance their home’s natural ambience.

BY SCOTT HUDSON

WEDNESDAY 16 JANUARY

FRIDAY 25 JANUARY

SATURDAY 16 FEBRUARY

KID HERON

W/ LOW LIFE + LAI + DEEP RED - ON SALE NOW SUNDAY 27 JANUARY 5PM (EARLY SHOW)

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28 BEAT.COM.AU

CURTIN COMEDY

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SATURDAY 23 FEBRUARY

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ALBUM REVIEWS

Albums

Cub Sport

8

Intimate and introspective are the two main words associated with Cub Sport’s latest LP. The Brisbane quartet have wasted no time following up albums, with this being the third they’ve released since their 2016 debut.

The first two offerings were brilliant albums, but this one features more experimentation; there’s sweeping atmospheric moods and vocal effects and techniques that push the limits of what this band can be.

Lead single ‘Sometimes’ is (as expected) a highlight of the record, and latest track ‘Party Pill’ tells the story of vocalist Tim Nelson’s first love. It’s beautiful, sad and the type of story we don’t hear enough in contemporary, alternative or mainstream music.

‘As Long As You’re Happy’ is another song that ebbs and flows between sadly reflective and somewhat happy, while ‘Limousine’ is another stand out track. It’s so personal in both lyrical content and delivery that it feels like Nelson is right there in your ear, quietly singing the verses to you.

Many of the songs may sound more restrained, but overall it’s more out there than anything Cub Sport have done before. Three albums in, the band are in fine form and it’s exciting to imagine what they will do next.

Joe Jackson

Fool

(Napalm Records)

Cub Sport

(earMUSIC)

(Independent)

7.5

7

Musical indiscrimination seems to follow Joe Jackson everywhere he goes. You just pick up any album – like his previous outing Fast Forward, in which he dedicates four sections of music to a city of his choice. He’s a man who stretches his talent to use whatever genre or theme he can to make the song cool; Joe Jackson style.

Shorter in length, however, his latest album Fool does exactly as expected. Waving his wand, Jackson pulls out the tricks you already know and love.

He whips out his unique, melodic senses for songs like ‘Kisses’ and ‘Big Black Cloud’; the latter being a highlight.

On ‘Fool’ and ‘Fabulously Absolute’, his spikey wit is noticeably at the forefront of his lyrics, and the latter has a surprising punk vibe in it. So surprising, I nearly fell out of my chair.

The piano work on this album gives it more depth too, with ‘Alchemy’ and ‘Strange Land’ demonstrating his wizardry, and the work of his session players as well.

Keeping it consistently inconsistent, Jackson’s magic is still intact after all these years.

BY RHYS MCKENZIE

BY ALEXANDER CROWDEN

John Garcia

John Garcia & the Band Of Gold

The undisputed desert king has returned. Following the acoustic explorations of 2017’s The Coyote Who Spoke In Tongues, former Kyuss frontman John Garcia is back to his old tricks with his new John Garcia & the Band Of Gold, offering up a down ‘n’ dirty debut so sun-soaked that you could catch a tan off the speakers.

Album opener ‘Space Vato’ lumbers in like a dregged out stoner sasquatch, before rearing back and lurching into a fat slab of that signature desert riffery that we’ve come to expect from Garcia - it’s clear from the jump that this isn’t so much a rebirth as it is a resurrection.

The Band Of Gold show no sign of slowing on the swaggering lead single ‘Jim’s Whiskers’ or the infectious disco-stomp of ‘Chicken Delight’, while album highlight ‘Kentucky II’ serves up grooves as deep as the furrows in Luke Perry’s brow. Things only get fatter from there, with the pace refusing to let up until album closer ‘Softer Side’ slides on in to gently cradle you back to Earth from whatever cloud you were riding.

If you’re after surprises, you wont find one here. But if you’re after a downright filthy forty minutes of fuzz, you’ve come to the right place.

BY JOSHUA TURK

Myth Of A Man

The lone star state has produced its share of garage and psych rock, including The Night Beats. Fronted by Texan native Danny Lee Blackwell, they’ve dropped a trilogy of albums since their 2011 debut, keeping in line with Texan psychedelia.

However, their latest offering is a little different. After a particularly tumultuous period for the band, Blackwell emerged the sole remaining member and set off to Nashville to work with a string of unnamed session musicians. The result is an album that errs closer to classic soul, blues and rock than it does psych rock.

From opener ‘Her Cold Heart’, a song packed with shimmering electric and acoustic guitars, to the lush keys and strings of ballads ‘I Wonder’ and ‘Too Young to Pray’ this is an album packed with layers and intricate arrangements that tend to be more often clean than fuzzed out. Yet the Night Beats of old are never too far away - tracks like the riff-filled ‘One Thing’ and ‘Eyes On Me’ hark back to their earlier work.

It’s still distinctly the Night Beats, just with a twist of Nashville and a little more melancholy and soul - and its well worth a listen.

BY TOM J FISHER

(4AD/Remote Control)

Night Beats

(Jagjagawar/Inertia)

(Heavenly)

7

8

Sharon Van Etten

Remind Me Tomorrow

This recording is probably the most unnerving yet of Sharon Van Etten’s growing catalogue and hints at darker elements in both writing and sound.

“Sitting at the bar/ I told you everything/ You said holy shit“ are the ominous opening lines of the record on the song ‘I Told You Everything’. The listener is drawn into the world of believing they are privy to some insight, some revelation as if in a confessional. By track two, ‘No One’s Easy To Love’ the sense of mystique grows.

‘Comeback Kid’ is suitably a peak of sorts, just as the title suggests. Like stepping into an ‘80’s goth nightclub, which plays more endearing songs. As she sings ‘Don‘t Look Back’, the future does seem quite bright.

‘Seventeen’ is a heartfelt ode to her longterm hometown of New York City and is littered with many personal signposts. It is monochrome and fuzzy. An accomplished actor, she can shift into roles easily and into the coterie of musicians such as Nick Cave and The National.

This tapestry of songs is not in the ilk of her previous recordings, but is certainly the type of record everyone should possess.

BY BRONIUS ZUMERIS

6

Deerhunter

Why Hasn’t Everything Disappeared

Whilst their neo-pysch contemporaries may be disappearing from your playlist with their eight album, Deerhunter make the case to remain on high rotation.

Seminal neo-psychers Deerhunter ask a deeply sardonically and self-effacing question with the title of their eight studio album. Why are they still releasing albums on a major label when other acts that were leading the way when tie-dye was trending in 2008 like Akron/Family and The Unicorns have gone the way of The Dodos and Midlake, and MGMT are barely hanging in there?

Deerhunter is essentially reusing the diffidence alluded to by 2015’s Fading Frontier.

Sonically the sound on Why Hasn’t Everything Disappeared sits in the same sphere as 2010’s transcendent Halcyon Digest.

This album’s lead single ‘Plains’ has the same effortless waddle as their tripped-out banger ‘Revival’ from the band’s aforementioned lauded fifth album.

Whilst Deerhunter haven’t disappeared, this album sees the band struggled to separate themselves apart from what has come before. And there is a precedence for this band to pull something out of the hat as they did with their 2013 release Monomania that featured one of the finest two minutes of garage rock ever recorded, ‘Back To The Middle’.

BY DAN WATT

BEAT.COM.AU 29

Gig Guide

FEATURED GIGS

Arbes

Arbes

THE WORKERS CLUB

Marking a new era for themselves with the New Year, local alternative trio Arbes are launching full force into 2019 with the premiere of their new single and music video ‘Strange Power’. Going down this Thursday January 17 at The Workers Club, the three-piece will be joined by supports Cacartu and Annaliese Rose when it kicks off from 8.30pm. Entry is a breezy $5 on the door. Get on it.

Joe Chindamo THE JAZZLAB

Acclaimed Melbourne-based jazz pianist Joe Chindamo is set to bring his trio to The Jazzlab on Thursday January 17. With performances at the likes of Umbria Jazz Festival, The Tokyo Dome and New York’s The Lincoln Centre under his belt, it’s sure to be a treat to catch this world class act in such an intimate setting. Soak it all up from 8pm and grab your tickets for $25 via the venue website.

Gerry Hale

THE BROTHERS PUBLIC HOUSE

Multi-instrumentalist Gerry Hale will be bringing a stack of acoustic covers and originals to The Brothers Public House this Thursday January 17. Performing on multiple string instruments throughout the set, Hale is sure to impress when he takes the stage from 8pm. Free entry.

Wednesday 16 Jan Jazz, Soul, Funk, Latin & World Music ACID HOMMUS - FEAT: ABBEY HOWLETT + ELLE SHIMADA + ATHINA + DJ SUSHICAT Section 8, Melbourne Cbd. 6pm.

BOPSTRETCH Uptown Jazz Cafe, Fitzroy.

8:30pm. $15.

BRAZJAZ ENSEMBLE Paris Cat Jazz Club, Melbourne Cbd. 8pm. $25.

DAVID JONES MINI ORCHESTRA The Jazzlab, Brunswick. 8pm. $30.

DIZZY’S BIG BAND The Fyrefly, St Kilda.

6:30pm. $15.

FIRETAIL + ALLARA Open Studio, Northcote.

8pm. $5.

HARRY TINNING QTET Brunswick Green, Brunswick. 8:30pm.

MJR'S SUMMER SERIES - FEAT: THE JACKSONS + KOOL & THE GANG + THE POINTER SISTERS + VILLAGE PEOPLE + SISTER SLEDGE + SOUNDS OF THE SUPREMES Sidney Myer Music

Bowl, Melbourne. 5pm. $149.76.

RICE PAPER ROLLERS Evelyn Hotel,

Fitzroy. 8pm. $10.

TOM FRYER BAND + DDM PROJECT + TRIPATAKA + RED SEA BLU 303,

THE MOLDY FIG

Inspired by improvisation, jazz, Middle Eastern and Western classical music, Aurora Lumina are an eclectic four-piece who’ll be taking to The Moldy Fig on Friday January 18. Catch their unique brews from 7pm and enjoy free entry too.

OPEN MIC NIGHT Penny Black, Brunswick.

Collingwood. 8pm. $5.

Brunswick East. 5pm.

7:30pm.

OPEN MIC NIGHT Customs House Hotel,

Williamstown. 8:30pm.

OPEN MIC NIGHT Some Velvet Morning,

Clifton Hill. 6:30pm.

WHISKEY WEDNESDAYS - FEAT: VARIOUS ARTISTS Swamplands Bar, Thornbury. 6pm.

Sooki Lounge, Belgrave. 7pm.

House, Electro, Trance & Club Nights 3181 THURSDAYS - FEAT: HANS DC + JESSE BROWN + LUKE VECCHIO + JAMES WINTER + LE'BRUH Revolver

Upstairs, Prahran. 6pm.

Indie, Rock, Pop, Metal, Punk & Covers EYES OF EVENTIDE + MONUMENTAL AMNESTY + MASS OF THE INFINITE Bar Open, Fitzroy. 8:30pm.

FREDA & JACKSON + PJENNÉ + MIDNIGHT TENDERNESS + KEN OATH SOUNDSYSTEM Boney, Melbourne

HUMAN=GARBAGE + MOUSEATOUILLE + PLAZA-TRG Toff In

GUERNS - FEAT: LORD FASCINATOR + JULIAN CASTLES + GREETINGS STICKS + STONES + FOSTA + SRIRACHA New Guernica, Melbourne Cbd.

Northcote. 7:30pm.

$5.

Town, Melbourne Cbd. 8pm. $8.

JANIS + SPRUNG BAD + LAUREN STEWART Tote Hotel, Collingwood. 8pm. $10.

JOAN JETT + CABLE TIES + CHIKO MOLLS DJS Corner Hotel, Richmond. 8pm.

PSYCHIC HYSTERIA SUMMER FEAT: HEARTS & ROCKETS + EATMAN + SUNFRUITS Tote Hotel, Collingwood.

Hotel, Fitzroy. 8pm. $5.

Cbd. 10pm.

10pm.

INFRAGHOSTS + MEME GIRLS + VLF Tote Hotel, Collingwood. 7pm.

LIVE ELECTRONIC MUSICIANS OF MELBOURNE - FEAT: DISCOJESUS + LOEVERVE + DISCO COMPUTER + DAMIAN TANGRAM + ISAIAH BOOKER Swamplands Bar, Thornbury. 7pm.

NO COMPLIMENTS + BRAE GRIMES + ARCHER DEPTHLESS Yarra Hotel, Abbotsford. 7:30pm. $5.

Collingwood. 8pm.

PARTYSHIRTS THOMPSON + BEN LAWRENCE + YANNI ARSENAKIS + ANYO + DELTOID CURVE + EL MADERA + TORY ALLEN Onesixone,

Collingwood. 7pm. $10.

PLANÈTE + MERVE + PREQUEL + HOUSE OF FRIENDS Section 8, Melbourne

THE GURDIES + ETERNAL SMOKO + POLITE SKELETONS Grace Darling Hotel, TURTLE WAVE + TOMGIRL + FRANJAPAN + KÖDA Gasometer Hotel,

House, Electro, Trance & Club Nights

Prahran. 8pm.

Cbd. 6pm.

POLITO + TWO GIRLS & A POP SONG Classic Southside, Elsternwick. 8pm. $10.

Northcote. 8pm.

WONDERCORE WEDNESDAYS FEAT: KID HERON + HA NA + DJ SHEA BUTTER LOVE John Curtin Hotel,

Carlton. 8pm. $12.

Hip Hop & R&B NINE 2 FINE + SINKS + TIMID Workers

GROOVECULT RECORDS PRESENTS - FEAT: HONEY HUNTER + LEMON DAZE + WARDENS + SAPPHIRE STREET Last Chance Rock And Roll Bar, North

Melbourne. 8pm. $10.

JORDAN + ELIZA JOAN + FORRER Retreat Hotel, Brunswick. 8pm.

LEMON DAZE + DANITCHY + FRANK JAMES + SVM Revolver Upstairs, Prahran.

8pm. $5.

MATT BRADSHAW Elephant & Wheelbarrow, Melbourne. 9:30pm.

MICHAEL SITA Customs House Hotel,

Williamstown. 8pm.

MISS ROSIE & THE TOP CATS Musicland,

Fawkner. 7:30pm. $10.

MUDPUNCH + ZANDATA + SLIKNITA Bendigo Hotel, Collingwood. 8pm. $10.

PAUL LAINE + THE RADIO SUN Northcote Social Club, Northcote. 8pm. $30.

PINK WOOL PRESS + TED DEMPSY + LAUREN HART Bar Open, Fitzroy. 8:30pm.

PLOTZ + GUN CTRL + GORDON HOLLAND Spotted Mallard, Brunswick. 8pm.

RANGER ROCK BENEFIT GIG FEAT: I AM DUCKEYE + OVERTIME + SILTMAN + BOXTHORN Tote Hotel,

Collingwood. 7pm. $10.

RICHARD CLAPTON & BAND Caravan Music Club, Bentleigh East. 8pm.

SEDDON + MOONSHIFTER + CROOKED THIEVES + NIBIRA Mr

Boogie Man Bar, Abbottsford. 7pm. $10.

STAGE FRIGHT - FEAT: VELVET BLOOM + STRANGERS FOR SALE + FOOL CHILD Stay Gold, Brunswick. 8pm. $10.

SYLVIA FONTEYN, WARREN BOOTH + SYLVIA FONTEYN + WARREN BOOTH Inkerman Hotel, Balaclava. 8pm.

THE KARLY JEWELL BAND + BOBBY DANGER + ADRIAN Whole Lotta Love, Brunswick East. 7:30pm. $10.

THROWBACK - FEAT: VARIOUS DJS Lucky Coq, Windsor. 9pm.

TURNSTILE + CITIZEN + OUTSIDERS CODE Corner Hotel, Richmond. 7:30pm. $44.

WILD CITY + THE HUMDRUMS + DEAD EYES Tote Hotel, Collingwood. 9pm. $10.

YOU AM I + JEBEDIAH Matthew Flinders Hotel, Chadstone. 7:30pm. $60.20.

Hip Hop & R&B HIP HOP THURSDAYS - FEAT: VARIOUS DJS Carlton Club, Melbourne Cbd. 8pm.

Brunswick. 8:30pm.

ANDREA KELLER TRANSIENTS TRIO

POSTAL - FEAT: POST PERCY + DAN SAN Revolver Upstairs, Prahran. 7pm.

WIND IT UP - NUESTRO PLANETA - FEAT: SK SIMEON + SAVAGE THE GIRL + MAI + C.FRIM Northcote Social Club,

FOREIGN/NATIONAL + LONG LUNCH + ON DIAMOND Gasometer Hotel,

Cbd. 7:30pm. $32.50.

Carlton Club, Melbourne Cbd. 8pm.

Cbd. 9pm.

Office Hotel, Coburg. 8:30pm.

EZEKIEL OX + DAVID SPRY Old Bar,

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

Jazz, Soul, Funk, Latin & World Music

NEW KIDS - FEAT: BDYLNG + DJ GORGEOUS + AKA ZEB Boney, Melbourne

DOWSER + THE HIGH DRIFTERS Post

LAUNDRY THURSDAYS - FEAT: VARIOUS DJS Laundry Bar, Fitzroy. 10pm.

NEXT CROP HIP HOP SHOWCASE - FEAT: C.T + BRANDON STØNE + NEEQ + FRAME + ANARCHIST FINCH + SNAKEEYES + YOUNG TRÆ

KASSETTE - FEAT: MZRIZK + SLIPPERY SLOPES + KAM + RUDI

Club, Fitzroy. 8:30pm. $10.

30 BEAT.COM.AU

Fitzroy. 8pm. $15.

BEAT COLLECTIVE - FEAT: SAULT + SPECTORAL + SIKANDER + TALI + CVES Horse Bazaar, Melbourne Cbd. 8pm. $8.

DILATE - FEAT: PUSCHA + OXYGN + MEXICALI + SIMON MISCEVIC Evelyn

7pm. $66.72.

Aurora Lumina

OPEN MIC Spotted Mallard, Brunswick. 8pm.

OPEN MIC NIGHT Whole Lotta Love,

Fitzroy. 8:30pm.

Thursday 17 Jan

Club, Melbourne Cbd. 7:30pm. $25.

THE GROWLERS + THE CHATS + PIST IDIOTS Forum Theatre, Melbourne Cbd.

Melbourne-based songstress Neeko will slide into Edinburgh Castle on Friday January 18. Bringing her honest and poetic approach to lyricism together with lush chords, floating melodies and contagious grooves, Neeko is set to provide a special night of music. Kicks off at 6pm and entry is free.

Darling Hotel, Collingwood. 8pm. $8.

JONAH GRANT QUINTET Paris Cat Jazz

Cbd. 7pm.

7:30pm. $20.

EDINBURGH CASTLE

Melbourne. 9pm.

ARBES + ANNALIESE ROSE + CACARTU Workers Club, Fitzroy. 8pm. $5.

DAG Edinburgh Castle, Brunswick. 8pm.

DONNARUMMA + KILL THE DARLING + HOLIDAY PARK Grace

KINNON Drunken Poet, West Melbourne. 8pm.

MUDDY'S BLUES ROULETTE - FEAT: ROB PAINE & CO TIPPING Catfish,

ZIGGY ALBERTS + NATHAN BALL

THE BODY + GELD + RELIGIOUS OBSERVANCE + POLISH Old Bar, Fitzroy.

Neeko

JEMMA NICOLE Drunken Poet, West

JAZZ BAZAAR - FEAT: AUDREY POWNE + MORE Horse Bazaar, Melbourne

7pm.

Neeko

Acoustic/Country/Blues/ Folk

FABULOUS DIVA - THE MUSIC OF DR NINA SIMONE Paris Cat Jazz Club, Melbourne JOE CHINDAMO TRIO The Jazzlab, Brunswick. 8pm. $25.

KYLIE AULDIST + MORE Cherry Bar,

Melbourne Cbd. 8pm. $10.

MISS ADVENTURE + JJ BAILEY Open

Studio, Northcote. 8pm. $8.

OTIRA ROGUE + FRYING ADAMS Grace Darling Hotel, Collingwood. 9pm. $5.

Laundry Bar, Fitzroy. 9pm.

SOLILOQUY + COMA-CHI Penny Black, TEKWANI + CLANDESTINO Bar Open, Fitzroy. 7pm.

THROWBAX THURSDAYS - FEAT: DJ ANYA + CITIZEN.COM + FLIP3000 + TEE DUBYA + DJ SENSI + SISTA SARA + LOTUS MOONCHILD + MORE Little Jax, Melbourne. 6pm.

THE BOWIE PROJECT Paris Cat Jazz Club, Melbourne Cbd. 8pm. $25.

YUNG SHOGUN + WENDELL + JAKE PLUMB Toff In Town, Melbourne Cbd. 8pm. $15.

Indie, Rock, Pop, Metal, Punk & Covers

Acoustic/Country/Blues/ Folk

FOR THE FULL GIG GUIDE HEAD TO BEAT.COM.AU/GIG-GUIDE

FEATURED GIGS

FENN WILSON + RORY WALKER Some

Wrangler Studios, Footscray. 6:30pm. $10.

JAMES MCQUEEN + ALBERT GRAY

Music Club, Bentleigh East. 8pm.

Velvet Morning, Clifton Hill. 8pm.

RICHARD CLAPTON & BAND Caravan

Swamplands Bar, Thornbury. 8pm.

SAN CISCO Pier Bandroom, Frankston. 8pm.

8pm.

SORDID ORDEAL + CREEK + KAKU

Melbourne. 7pm.

SUMERU + LO! + DESCENT + MUNT

JESSE SHEERS Fitzroy Pinnacle, Fitzroy North.

OPEN MIC NIGHT Drunken Poet, West RHYLEY MCGRATH Wesley Anne,

$39.80.

Bombay Rock, Brunswick. 8pm.

Northcote. 6pm.

Bendigo Hotel, Collingwood. 7:30pm. $15.

Brunswick. 6:30pm.

$19.40.

STEVE TYSSEN Charles Weston Hotel,

Friday 18 Jan Indie, Rock, Pop, Metal, Punk & Covers A WHALE CALLED PHOENIX + DELSINKI + THE LAGERPHONES Memo Music Hall, St Kilda. 7:30pm. $18.

ACTION SAM Elephant & Wheelbarrow,

Melbourne. 11pm.

AUTO-MASH DJS Rainbow Hotel, Fitzroy.

9pm.

BASTILLE + NICOLE MILLAR Forum

Theatre, Melbourne Cbd. 7pm.

BOSS MELODY + DENTAL PLAN + RISE OF THE RAT + BOSS MELODY DJS Reverence Hotel, Footscray. 8pm. $10.

BUZZ & THE PICKUPS + THE HUM DRUMS + AUTO LAPSE Penny Black,

Brunswick. 8pm.

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

CHELSEA LORRAINE + RACHEL CADDY + SEB SZABO Toff In Town,

Melbourne Cbd. 7pm. $10.

COFFIN + HORACE BONES + RADOLESCENT + GIRL GERMS Last

Chance Rock And Roll Bar, North Melbourne. 8pm. $10.

COUNTDOWN 80'S Musicland, Fawkner.

7:30pm. $10.

CREPES + GREGOR + COOL SOUNDS Howler, Brunswick. 8pm. $15.

DAN KROCHMAL Wesley Anne, Northcote.

8pm. $20.

DEVIL ELECTRIC + THE DUSTY BOYS + DEAR THIEVES Cherry Bar, Melbourne Cbd. 8pm. $10.

DJ RAGDOLL Swamplands Bar, Thornbury.

11pm.

FLORENCE & THE MACHINE + MARLON WILLIAMS Sidney Myer Music Bowl, Melbourne. 8pm.

GEORGE TRIMMER BAND Royal Hotel, Essendon. 10pm.

GREWSUM TEWSUM Last Chance Rock And Roll Bar, North Melbourne. 6pm.

HOMEGROWN - BATTLE OF THE BANDS - FEAT: DANITCHY + THE IANS + HONEST LIVES + ALIAS MAY + STRANGER Stay Gold, Brunswick. 7pm.

INDIGO CHILDREN + FROOT LUIPS + SUNEDEN Yarra Hotel, Abbotsford. 8pm.

JONATHAN BREE + CYANIDE THORNTON + AMAYA LAUCIRICA John Curtin Hotel, Carlton. 8pm. $30.

KEZRA + ZAC SABER + LACUNA Grace Darling Hotel, Collingwood. 8pm. $10.

LEON KROEBER + JACK & CHARLY + BOY GRADUATE + JEMMA SILES Evelyn Hotel, Fitzroy. 8:30pm. $16.

LOS DOMINADOS The B.east, Brunswick

East. 7pm.

MID CITY + EASTBOUND BUZZ + MANTELL Old Bar, Fitzroy. 7:30pm. $15.

MIDDLE MANAGEMENT + TINA GROWLS Post Office Hotel, Coburg. 8pm.

MR MCCLELLAND'S FINISHING SCHOOL Gasometer Hotel, Collingwood.

9:30pm. $10.

MT. MOUNTAIN + PSEUDO MIND HIVE + LA BRONCO Tote Hotel, Collingwood. 8pm. $15.

NOUGHTS + DR SURE'S UNUSUAL PRACTICE + DEARTH Grace Darling Hotel,

Collingwood. 9:30pm. $10.

PETE MURRAY + TAYLOR SHERIDAN Grand Hotel Mornington, Mornington. 8pm.

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

RAGNARÖK - FEAT: DONNA KATE + DJ JULZ + DJENTROPIC + DJ LEFTÖVERS Loop, Melbourne Cbd. 9pm.

REPLACEMENT BUSSES + ATRIOX + SHREDDER + WAKE THE BLIND

SURFACING Sooki Lounge, Belgrave. 8pm.

TENTH COURT RECORDS DJ SET FEAT: VARIOUS ARTISTS Queen Victoria Gardens, Melbourne. 5pm.

THE FAIM + YOURS TRULY + RED HOOK Gasometer Hotel, Collingwood. 6pm. $18.40.

THE FAIM Wrangler Studios, Footscray. 1pm.

THE NICOTEENAGERS + GO DOG GO + SLOMO Revolver Upstairs, Prahran.

7:30pm. $15.

THE TWISTEES + LAEDJ + DADA ONO Retreat Hotel, Brunswick. 8pm.

WHOLE LOTTA ROCK - FEAT: FUNKARELLOS + EAT THE DAMN ORANGE + STINKY GRRL + LITTLE CHILI Whole Lotta Love, Brunswick East. 8pm.

$10.

Hip Hop & R&B AFTER HOURS - FEAT: DJ SPELL + SKOMES Horse Bazaar, Melbourne Cbd. 8pm.

HAVANA FRIDAYS - FEAT: MC SEBA + MORE Khokolat Bar, Melbourne Cbd. 9:30pm.

LAUNDRY FRIDAYS - FEAT: VARIOUS DJS Laundry Bar, Fitzroy. 9pm.

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

Jazz, Soul, Funk, Latin & World Music CANNONBALL (WITH CHANTAL MITVALSKY) Paris Cat Jazz Club, Melbourne Cbd. 8pm. $32.50.

CRAIG SMITH QUINTET Paris Cat Jazz Club, Melbourne Cbd. 9pm. $32.50.

DANY MAIA QUINTET Paris Cat Jazz Club,

Melbourne Cbd. 6:30pm. $32.50.

DJ LADY LOVE POTION Edinburgh Castle,

Brunswick. 9pm.

DJ RICK HOWE Spotted Mallard, Brunswick.

9pm.

FORMIDABLE VEGETABLE SOUND SYSTEM Open Studio, Northcote. 6:30pm. $20.

JESS MAHLER TRIO Compass Pizza,

Brunswick East. 7:30pm.

MAYA Night Cat, Fitzroy. 10pm. $5.

SAM ANNING SEXTET The Jazzlab, Brunswick. 8pm. $30.

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

TANIA BOSAK & BAND Open Studio, Northcote. 9pm.

THE BARNEY MCALL QUARTET Uptown Jazz Cafe, Fitzroy. 8:30pm.

THE MOONHOPS Gem Bar, Collingwood.

9pm.

THE PEACOCKS Wesley Anne, Northcote.

6pm.

THE PIRATESKA REBELLION + MR MANIFOLD & THE RESOLUTION Bar

Open, Fitzroy. 9:30pm. $10.

WAX POETS - FEAT: DJ LEGO + DJ HAWK I + DJ MAARS + MARCUS TALLAWAH Red Betty, Brunswick. 7pm.

House, Electro, Trance & Club Nights CHILADELPHIA FRIDAYS - FEAT: VARIOUS DJS New Guernica, Melbourne Cbd. 4pm.

DANCE FLAWS - FIRST BIRTHDAY FEAT: HIDDEN SPHERES + PREQUEL + EMMA STEVENSON + STRING THEOREM + DJ MITCHELL GEE Yours

& Mine, Carlton. 10pm. $15.

DARK RIDDIMS - BACK TO THE BEGINNING - FEAT: EVILO + EXIT99 + NOCEUR + SCATTER BRAIN X PUBLIC HOUSING + WARPA!NT Grumpy's Green, Fitzroy. 7pm. $10.

DJ KARL Fitzroy Pinnacle, Fitzroy North. 6pm.

DO THE JOB - FEAT: HALSKI + MICKEY EDWARDS Ferdydurke, Melbourne

Cbd. 7pm.

ELEPHANT IN THE ROOM Carlton Club, Melbourne Cbd. 10pm.

FORMATION - FEAT: DONNY + MORE Lucky Coq, Windsor. 9pm.

FRIDAYS - FEAT: AYNA + FALO + HARLEY JAMES + CLIFTONIA + BEN & LIL + CITIZEN.COM Carlton Club,

Melbourne Cbd. 5pm.

HUGS & KISSES' FINAL PARTY FEAT: DANNY HOTEP + DJ ANDEE FROST + 6AM AT THE GARAGE + FI IN 3D + MORE Hugs & Kisses, Melbourne.

10pm. $30.

I'M LISTENING - FEAT: EMMA STEVENSON + ESCAPE ARTIST + VJ CRISTINA MARGHERITA + MIRANDA WARNING + OLLY D + STALKS + WUAS Boney, Melbourne Cbd. 10pm.

NIGHTFALL - FEAT: CUPIDS CUT + CLADDY + INDICIA + SIMONETTI Boney, Melbourne Cbd. 9pm. $15.

NYXEN + ESSIE HOLT + FLUIR Northcote

Social Club, Northcote. 8:30pm.

POP TILL YOU DROP - FEAT: VARIOUS DJS Carlton Club, Melbourne Cbd. 10pm.

QURZFK FRIDAYS - MISFIT MANSION - FEAT: VARIOUS DJS Rubix Warehouse, Brunswick. 9pm. $12.

REVOLVER FRIDAYS - FEAT: WHO + MIKE CALLANDER + DANNI B + JADE MAY + HEYLADY + MORE Revolver Upstairs, Prahran. 7pm.

WANKELMUT + LUKE VECCHIO + RORY MARSHALL + RYAN HAYNES + J-MUSH + MORE Pawn & Co, South Yarra.

10pm. $15.

Acoustic/Country/Blues/ Folk BLUES ROULETTE + MORE Spotted

Mallard, Brunswick. 8:30pm. $28.89.

LIV CARTLEDGE + EAGLEMONT + RENNIE Some Velvet Morning, Clifton Hill. 8pm. $10.

MISSION BROWN Bar Open, Fitzroy. 6:30pm.

MOONEE VALLEY DRIFTERS Pistol

Pete's Food N Blues, Geelong. 9:30pm.

NEEKO Edinburgh Castle, Brunswick. 6pm.

NICE BOY TOM + ERIN WILL BE MAD + TENDERLOINS Workers Club, Fitzroy.

8:30pm. $12.

OLD SKOOL JAM NIGHT - FEAT: PHIL PARA BAND The Fyrefly, St Kilda. 7:30pm. $15.

RATTLIN’ BONES BLACKWOOD Swamplands Bar, Thornbury. 6:30pm.

STACKHOUSE + MONGREL Swamplands

Bar, Thornbury. 8pm.

Funk De Vue ROYAL OAK

R&B and New Orleans-inspired outift Funk De Vue are slated to take over Royal Oak on Friday January 18.

The collaboration between a group of experienced Melbourne musicians who have performed with such legendary names as Greg Ham (Men At Work), Ross Hannaford (Daddy Cool), James Black (Mondo Rock and Rockwiz), this powerhouse group are a treat to see live. Catch them from 8pm with free entry to boot.

The Lost Backpackers THE DRUNKEN POET

Irish duo The Lost Backpackers will be slinging traditional Irish music, ballads, folk and modern hits with an Irish twist when they take to The Drunken Poet on Friday January 18.

It’s all going down from 8.30pm, and as always at The Poet, entry is is free.

Get on it.

Agus Batara Quartet COMPASS PIZZA

Agus Batara Quartet are slated to bring two sets of original jazz to the Compass Pizza stage this Saturday January 19. Having formed just shy of two years ago, the four-piece have gone on to play the likes of Castlemaine and Halls Gap Jazz Festivals, all the while stretching the idea of what jazz can be. Soak them up, pizza slice in hand, from 8pm.

Entry is free.

MONARCHUS BOMBAY ROCK

Melbourne-based alternative noise/ fuzz rock band MONARCHUS will take over Bombay Rock on Saturday January 19. Joined by A Basket of Mammoths, Swamp Moths and Mongrel, this is shaping to a mighty fine night of music. 8pm start and best of all, entry is free.

THE LOST BACKPACKERS Drunken Poet,

West Melbourne. 8:30pm.

TRADITIONAL IRISH MUSIC SESSION Drunken Poet, West Melbourne. 6pm.

Saturday 19 Jan Jazz, Soul, Funk, Latin & World Music ABOUBACAR DJÉLIKÉ KOUYATE Penny Black, Brunswick. 9pm.

ADAM RUDEGEAIR Wesley Anne, Northcote.

6pm.

AGUS BATARA QUARTET Compass Pizza,

Brunswick East. 8pm.

ALEX DUNCAN QUARTET + LAURA KOOMEN Open Studio, Northcote. 5:30pm. $8.

BACK POCKET Rainbow Hotel, Fitzroy.

9:30pm.

BERNADETTE NOVEMBRE + LORETTA MILLER & HER BOYFRIENDS Memo Music Hall, St Kilda.

7:30pm. $20.

BILLY DAVIS & THE GOOD LORDS + TENTENDO + BLASKO + MILAN RING Howler, Brunswick. 8pm. $26.25.

CHINA BEACH Night Cat, Fitzroy. 10pm. $5.

EXPOSURE - FEAT: 70MG + VOLCANO RELIEF FUND + DJ KIT + HOT 'N' HEAVY Red Betty, Brunswick. 6pm.

FEM BELLING QUARTET The Jazzlab,

Brunswick. 8pm. $30.

FUNK BUDDIES Open Studio, Northcote. 9pm.

$12.

FUNKY KINGSTON - FEAT: MOHAIR SLIM + RICK HOWE + JESSE I + STICK MAREEBO + JACK DRISCOLL + ANNALIESE REPLICA Section 8, Melbourne Cbd. 5pm.

SASAMI

SASAMI

THE CURTIN

LA-based music gun SASAMI is set to play The Curtin on Saturday January 19 ahead of a massive 30date European and US tour she’s embarking on. It comes amid the upcoming release of her debut selftitled album, which she’s found time to create amongst her commitments as a music teacher, band member, session player and being a scorer and arranger for film. Bask in this musical wonder when she takes to The Curtin from 8pm, with Hachiku and Candy in tow as support. Tickets are $12 via Music Glue.

Intoxica

SWAMPLANDS

No frills rock ‘n’ roll outfit Intoxica are gearing to take over Swamplands on Saturday January 19. They’ll have fellow rock purveyors The Wraylettes in tow as support when it all goes down from 9pm. Entry is free.

BEAT.COM.AU

31

FEATURED GIGS

NADIRA & FRIENDS Paris Cat Jazz Club,

Steve Tyssen + more

QUARTER STREET Bar Open, Fitzroy.

Part drummer for hip hop duo Deathbeat and part solo alt-folk artist, Steve Tyssen is set to headline Bar 303 this Saturday January 19 alongside a slew of guests. Locals Muck, Mojo Pin and SLOMO will kick things off from 8pm, before Tyssen rounds out what is sure to be a beauty of a night. Entry is $10 on the door.

9:30pm.

BAR 303

Exposure 001 RED BETTY

Promising to bring the unheard and unimaginable to punters’ ears, Red Betty will be throwing down their free event, Exposure 001, on Saturday January 19. The lineup features 70mg, Volcano Relief Fund, DJ Kit and Hot ‘n’ Heavy and it’s all geared to go down from 6pm. Brace yourself.

Melbourne Cbd. 6:30pm. $25.

T Mccormack Park, Laverton. 4pm.

TAM VANTAGE + NICK VAN BAKEL

9:30pm. $10.

Edinburgh Castle, Brunswick. 5pm.

SOL NATION The B.east, Brunswick East.

SOUTH SIDE SOUL Royal Hotel (mornington), Mornington. 8pm.

THE ARTHUR WASHINGTON SAXYTET Paris Cat Jazz Club, Melbourne Cbd. 8pm. $30.

THE CONNIE LANSBERG QUARTET Lido Jazz Room, Hawthorn. 8pm. $25.

THE JAIMZ PROJECT Open Studio, Northcote. 2:30pm. $10.

THE MARK FITZGIBBON TRIO Uptown

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

THE NARDIA ROSE BAND Drunken Poet, West Melbourne. 9pm.

THE SAM KEEVERS TRIO + GIAN SLATER Classic Southside, Elsternwick. 8pm. $25.

VINTAGE ROOTS (WITH MINTI) - FEAT: VINTAGE ROOTS (WITH MINTI) Paris Cat Jazz Club, Melbourne Cbd. 9pm.

$32.50.

ZEDSIX The Jazzlab, Brunswick. 11pm. $10.

Indie, Rock, Pop, Metal, Punk & Covers BASTARDIZER + MALICHOR + BUTTERFLY + 180 PROOF Bendigo Hotel,

Collingwood. 8:30pm. $15.

ASKYA

BLACK ACES + THE NEPTUNE POWER FEDERATION + RAMBLIN’ GOLD Cherry Bar, Melbourne Cbd. 8pm. $10.

CEBERANO & CO. - FEAT: KATE CEBERANO + ODRIGO BUSTOS + KATHLEEN HALLORAN + ALISON AINSWORTH + JESS FAIRLIE + DAVE MATTHEWS Caravan Music Club, Bentleigh East. 8pm.

ASKYA + Ryan Edmonds + Albert Gray WESLEY ANNE

Producer and singer-songwriter ASKYA will bring his unique blend of folk, electronic and gorgeous airy vocals to Wesley Anne on Sunday January 20. Joined by WA natives Ryan Edmonds and Albert Gray, ASYKA will helm the band room from 3pm. Tickets are $10 via Eventbrite or you can snag one on the door for $15.

Catfish Gumbo LOMOND HOTEL

Local five-piece Catfish Gumbo are geared to play the Lomond Hotel on Sunday January 20. Slinging New Orleans grooves and Chicagoinspired blues, this is gearing to be a rollicking Sunday afternoon of music.

Kicks off at 5pm and entry is free.

Ruby Saltbush CHARLES WESTON

Hailing from NSW, Ruby Saltbush is an eclectic and soulful artist 23/19 who fuses intricate guitar melodies with three-part harmonies. With a repertoire ranging from bluegrass to Bowie, she’s sure to have something for everyone when she takes to the Charles Weston stage on Sunday January 20. 4pm start with free entry.

Mykaela Jay WESLEY ANNE

Singer-songwriter Mykaela Jay will take over the Wesley Anne front bar on Sunday January 20 for an intimate rendition of their Sunday Sessions series. Playing in solo form, the Byron Bay native will explore the variety of instruments and genres that she calls home, from charango, ukulele and cigar box guitar to drifting between jazz, blues, folk and more. Soak it all up from 6pm and enjoy free entry too.

32 BEAT.COM.AU

COLD ERA + ADVOCATES + EARTHBØUND + STEADFAST + SOME HEARD TROUBLE Stay Gold,

Brunswick. 7pm. $15.

DARK FAIR + HOT TO ROT Retreat Hotel, Brunswick. 4pm.

DJ TARDISCO Edinburgh Castle, Brunswick.

9pm.

FLIGHT TO DUBAI + COFFIN + PISTOL PEACHES + MARLON BANDO + UNDERCOVER CROPS Old

Bar, Fitzroy. 7:30pm. $10.

GROOVE NATION Royal Hotel, Essendon.

9pm.

INTOXICA + THE WRAYLETTES Swamplands Bar, Thornbury. 9pm.

THE ADELAIDE CROWS + SHIT BITCH + BELLA QUINLAN Tote Hotel, Collingwood. 8pm. $5.

THE BLACK QUEEN + DRAB MAJESTY + ELISABETH DIXON Northcote Social Club, Northcote. 8:30pm.

THE BLACKTIDES + SHEWOLF + MACHINEGUN TOUNGUES Last Chance

Rock And Roll Bar, North Melbourne. 8pm. $15.

THE OUTDOOR TYPE + BABY BLUE Yah Yah's, Fitzroy. 8pm. $10.

THE VANNS + PACIFIC AVENUE + KELSIE RIMMER Wrangler Studios, Footscray.

1:30pm.

LEPA BRENA + STEFAN ZIVIJINOVIC

Woody's Attic Dive, Collingwood. 8:30pm.

WRESTLEROCK + MASON + VARIOUS DJS Corner Hotel, Richmond.

7:30pm. $25.

House, Electro, Trance & Club Nights BUZZ KULL + MODERN HEAVEN + PURIENT Grace Darling Hotel, Collingwood.

8pm. $20.

CAPACITY - FEAT: BLOODY MARY + DYLAB + ACID SAFARI + BODY LANGUAGE + JAMES STEER + JXTPX Boney, Melbourne Cbd. 10pm. $12.

DISCOTEP XL - FEAT: GLORIA + DJ ORCA + COLETTE + JOSH KEYS + DANNY HOTEP + SIMON TK + DJ JNETT Gasometer Hotel, Collingwood. 3pm.

EAT THE BEAT - FEAT: ETWAS + MATTEO FREYRIE + CHRISS MATTO + JACOB MALMO + GAV. WHITEHOUSE + JPA New Guernica, Melbourne Cbd. 10pm. $10.

FAILURE 2 LAUNCH - FEAT: SALVADOR DARLING + RENNELLI + RU. D + BENJI + DJ ESCARGO + JULIAN Loop, Melbourne Cbd. 8pm.

JAMO + VELVET BLOOM & THE VITO COLLECTIVE + THE HODZ + KRAMERVS Toff In Town, Melbourne Cbd. 7pm.

Cbd. 11:45pm.

7pm. $12.

ROCKY WATER PROMOTIONS PRESENTS - FEAT: THE SEQUELS + NEO RELIC + NOTHING LIKE YOU + HÊDRON Whole Lotta Love, Brunswick East.

7:30pm. $10.

SASAMI + HACHIKU + CANDY John

Curtin Hotel, Carlton. 8pm. $12.

SHOP TALK - FEAT: FLIGHT TO DUBAI + MILLICENT WINDSHUTTLE Old Bar, Fitzroy. 3pm.

SHRIMPWITCH + PORPOISE SPIT + WAY SHIT + AFFECTION + PACKAGED GOODS + MORE Tote Hotel, Collingwood. 6pm. $10.

SKYSCRAPER STAN Gem Bar, Collingwood.

8pm.

SORRENTO MOONS Fitzroy Pinnacle,

Fitzroy North. 5pm.

STEVE TYSSEN + MOJO PIN + SLOMO + MUCK 303, Northcote. 7:30pm. $10.

SUMMER FLAKE + CRAIG DERMODY Tramway Hotel, North Fitzroy. 4pm.

SUMMER SOUNDS 2019 - FEAT: BIG

Melbourne Cbd. 8pm. $15.

VENUS - QUEER CHIC PARTY - FEAT: DJ LILLY STREET + DJ LA DRAMA

MALLEE SONGS + CONTRAST Post MICK ROHOTAS' ANNUAL BIRTHDAY BASH - FEAT: ANTHEA JEWELS + DEB STARR + LEA ROSE + BRONNIE GORDON + ABIGAIL COMBER + MORE Musicland, Fawkner. 7:30pm.

MONARCHUS + A BASKET OF MAMMOTHS + SWAMP MOTH + MONGREL Bombay Rock, Brunswick. 8pm.

OVERPOWER + BREAKTHROUGH + INCINERATED REQUIEM + WARPATH + TEMPLE OF ATHENA + DEFENESTRATION Workers Club, Fitzroy.

ELECTRIC DREAMS - FEAT: VARIOUS ARTISTS Co., Southbank. 9pm.

KHOKOLAT KOATED SATURDAYS FEAT: DAMION DE SILVA + DURMY + MORE Khokolat Bar, Melbourne Cbd. 9:30pm.

LAUNDRY SATURDAYS - FEAT: VARIOUS DJS Laundry Bar, Fitzroy. 9pm.

THE GET DOWN - FEAT: CHINA MAY + SIRPREME + LITTLE JASE + CANDYMANGU + NIASHA + MC WASP & DJ DOPEBEAT + BLACK SHADES & ARROGANCE Horse Bazaar,

$10.

Hotel, Fitzroy. 8:30pm. $20.

$10.

Office Hotel, Coburg. 9pm.

Hip Hop & R&B

UMACFEST - FEAT: CRYPTIC ABYSS + MOTHERSLUG + DR. COLOSSUS + DEAD + YA¸NOMAMÖ + JACK HARLON & THE DEAD CROWS + MORE Spotted Mallard, Brunswick. 1pm. $23.77.

UNIDENTIFIED FLYING MUSCLE CARS + FLUFF + PERCH CREEK Evelyn

LEON KROEBER + JACK & CHARLY + JEMMA SILES Evelyn Hotel, Fitzroy. 1pm. $35.

LEPA BRENA AFTER PARTY - FEAT: POVRATAK OTPISANIH + MORE Max Watt's, Melbourne. 10pm. $24.

Toff In Town, Melbourne Cbd. 11pm.

JANK FACQUES Carlton Club, Melbourne MARMALADE - FEAT: DJ 906 + ADRIANA + KAYROY Ferdydurke, Melbourne

Cbd. 9pm.

MYTHOLOGY - FEAT: AWESOME WALES + REV LON + CLADDY + GAY ROBERTO + LEWIS FIDOCK Boney, Melbourne Cbd. 9pm.

OFFICIAL RACQUET CLUB AFTER PARTY - FEAT: ANDY MURPHY The Emerson, South Yarra. 9pm. $10.

PAWN SATURDAYS - FEAT: VARIOUS ARTISTS Pawn & Co, South Yarra. 10pm. $20.

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

SNACK ATTACK (WITH DJ 2P) Elephant

& Wheelbarrow, Melbourne. 10pm.

SOOKI SATURDAYS - FEAT: BRIAN FANTANA + LUKE VECCHIO Sooki

Lounge, Belgrave. 6pm. $10.

STACKS ON AFTER PARTY - FEAT: SUPERGLUE + JPS + MISTA SAVONA + THE CHIEF + WONQI ROSE 24 Moons,

Northcote. 10pm. $10.

STACKS ON FESTIVAL - FEAT: JAMIE MACDOWELL & TOM THUM + SPOONBILL + ED SOLO + TOO MANY T'S + COOL OUT SUN + MORE Ceres Environment Park, Brunswick East. 12pm. $50.

SUPERSMALL - FEAT: MADELEINE + MORE La Di Da, Melbourne Cbd. 10pm. $10.

SYMPATHY FOR THE DISCO Gasometer Hotel, Collingwood. 10pm. $18.40.

THE LATE SHOW - FEAT: RANSOM + BINOFSKI + MAT CANT + MORE Revolver Upstairs, Prahran. 6pm.

TOFF CLUB - FEAT: LORD HANS DC

FOR THE FULL GIG GUIDE HEAD TO BEAT.COM.AU/GIG-GUIDE

Acoustic/Country/Blues/ Folk CIARAN BOYLE Drunken Poet, West Melbourne. 3pm.

GRACEJEAN Wesley Anne, Northcote. 8pm.

LANEOUS Charles Weston Hotel, Brunswick.

6:30pm.

Forum Theatre, Melbourne Cbd. 7:30pm. $106.27.

MATT GLASS & THE LOOSE CANNONS Lomond Hotel, Brunswick East.

9:30pm.

NO BETTER + LUCKY MOORE + AMY POLLOCK Workers Club, Fitzroy. 1pm. $7.

THE GOLDEN RAIL DUO + NICK BATTERHAM Some Velvet Morning, Clifton

Hill. 8pm.

TRACY MCNEIL & DAN PARSONS Union Hotel (brunswick), Brunswick. 5pm.

Sunday 20 Jan House, Electro, Trance & Club Nights AUTOSEA - FEAT: DAWN AGAIN + GEORGIA BIRD + BABA NOIR + PAUL LYNCH + ESKAPET Section 8, Melbourne

Cbd. 2pm.

CAMP MIDSUMMA CARNIVAL AFTER PARTY - FEAT: MATTYLONGLEGS + JACK HARDMËN + FINN OD + BOYBLEWE New Guernica, Melbourne Cbd. 8pm. $10.

CHAOS IN THE CBD - FEAT: PREQUEL + MERVE + CHICO G Penny

Black, Brunswick. 4pm. $25.

DAYDREAMS - FEAT: MARKFREE.DJ + MAXWELL S Gasometer Hotel, Collingwood.

12pm.

DÉJÀ VU SUNDAYS - FEAT: VARIOUS ARTISTS Co., Southbank. 9:30pm.

EAT OUT - FEAT: MHA IRI + JAVI MORELY + BETH GRACE + ANYO + SCOTT FREEMAN + TRENTOFF VS ADAM WICKS Pawn & Co, South Yarra. 9pm.

FERLA + MOON CUP + MORE Grace

Darling Hotel, Collingwood. 4:30pm.

MOLLY + ACID SAFARI + DYLAN GRIFFIN + LOUAY + SUNDELIN + MORE Revolver Upstairs, Prahran. 8pm. $20.

PIKNIC ÉLECTRONIK - FEAT: VARIOUS ARTISTS Sidney Myer Music Bowl, Melbourne. 2pm. $20.

ROOFTOP SUMMER SERIES - FEAT: VARIOUS DJS The Emerson, South Yarra.

12pm.

SUNDAY BEATS IN THE BEER GARDEN - FEAT: DJ MALPRACTICE Inkerman Hotel, Balaclava. 2pm.

SUNDAY SPIN OUTS - FEAT: VARIOUS ARTISTS Evelyn Hotel, Fitzroy.

1pm.

TOMBOY PARTY - FEAT: VARIOUS DJS Carlton Club, Melbourne Cbd. 6pm.

Jazz, Soul, Funk, Latin & World Music ARTIE WASHINGTON SEXTET Fitzroy

Pinnacle, Fitzroy North. 4pm.

ASKYA + RYAN EDMOND + ALBERT GRAY Wesley Anne, Northcote. 3pm. $10.

CRAIG FERMANIS TRIO Brunswick Green,

Brunswick. 4pm.

DANIEL GASSIN 5 (WITH HUGH STUCKEY) The Jazzlab, Brunswick. 8pm. $20.

JACK EARLE TRIO (WITH NINA FERRO) Paris Cat Jazz Club, Melbourne Cbd.

6:30pm. $32.50.

JAZZ ORBIT Brunswick Green, Brunswick.

7:30pm.

JUNGLE FUSION + CHICAGO DIME + MARK GARDNER Bar Open, Fitzroy. 8pm. $10.

Acoustic/Country/Blues/ Folk ACOUSTIC SUNDAYS - FEAT: MICHELLE GARDINER + PAIGE SPIERS + PAIGE SMITH Customs House

MYKAELA JAY Wesley Anne, Northcote. 6pm.

RED SEE BLU Open Studio, Northcote. 2:30pm.

Hotel, Williamstown. 2pm.

RUBY PAGE QUINTET Royal Brighton Yacht

Rainbow Hotel, Fitzroy. 4pm.

$10.

Club, Middle Brighton . 1pm.

RUSSIA + MORE Evelyn Hotel, Fitzroy. 8pm. $10.

SUNDAY JAM - FEAT: BARTON FINK HOUSE BAND Barton Fink, Thornbury. 5pm.

THE BORNSTEIN ULTIMATUM Pause

Bar, Balaclava. 4:30pm.

THE OLD MARRIED COUPLE Bar Open,

Fitzroy. 6pm.

YOLANDA INGLEY & BAND Fireflies

Wine Bar, Fitzroy North. 4pm.

Indie, Rock, Pop, Metal, Punk & Covers

BENNY PETERS & THE MISTREATERS BLUEGRASS JAM - FEAT: VARIOUS ARTISTS Retreat Hotel, Brunswick. 8pm.

BLUES ROULETTE Way Out West Roots

Music Club, Newport. 2pm. $25.

CATFISH GUMBO Lomond Hotel, Brunswick

East. 5:30pm.

FENN WILSON + GUS + STEVE TYSSEN Workers Club, Fitzroy. 1pm. $10.

GOPHER BROKE VII - FEAT: UNCLE BEN'S LAST WORDS + BRODYGREG + BRI + JUDE JOSEPH + GUTTERS GRR Reverence Hotel, Footscray. 12pm.

INVICTUS QUARTET Classic Southside, Elsternwick. 5pm. $15.

Tuesday 22 Jan House, Electro, Trance & Club Nights DRAB MAJESTY Toff In Town, Melbourne Cbd. 7pm. $23.68.

DUMPLINGS 'N' MASSAGE - FEAT: DJ MZRIZK Horse Bazaar, Melbourne Cbd. 6pm.

$15.

NENEH CHERRY Melbourne Recital Centre, Southbank. 7:30pm. $90.

Indie, Rock, Pop, Metal, Punk & Covers DIAMONDS OF NEPTUNE + SIENNA WILD Evelyn Hotel, Fitzroy. 8pm. $5.

HOT GLUE + INDIGO KING + UVA URSI Gasometer Hotel, Collingwood. 7:30pm. $10.

JANIS + SPRUNG BAD + MIDDLE MARCH Workers Club, Fitzroy. 8pm. $10.

SCOTT HILDEBRAND + A WHALE CALLED PHOENIX Northcote Social Club,

BAR CHOIR - FEAT: VARIOUS ARTISTS Workers Club, Geelong. 6:30pm. $10.

CEBERANO & CO. - FEAT: KATE CEBERANO + ODRIGO BUSTOS + KATHLEEN HALLORAN + ALISON AINSWORTH + JESS FAIRLIE + DAVE MATTHEWS Caravan Music Club, Bentleigh

JAMES FAHY, OSKAR HERBIG The

ELLIOTT BRAIN + PHIL COGLEY Old

Studio, Northcote. 5:30pm. $10.

Jazz, Soul, Funk, Latin & World Music

4pm.

PINK PURSE The Jazzlab, Brunswick. 8pm. $20.

Brunswick. 4pm.

Acoustic/Country/Blues/ Folk

B.east, Brunswick East. 3:30pm.

MANDY CONNELL Standard Hotel, Fitzroy.

7pm.

PETER BAYLOR & THE ROADHOUSE ROMEOS Gem Bar, Collingwood. 7pm.

PHIL PARA BAND Cherry Bar, Melbourne Cbd. 3pm.

East. 2:30pm.

ROSE DE LA MONTAÑA + MORE Open

Bar, Fitzroy. 3pm.

ROZ GIRVAN Drunken Poet, West Melbourne.

Edinburgh Castle, Brunswick. 4pm.

RUBY SALTBUSH Charles Weston Hotel,

GEORGIA FIELDS + CODA CHROMA GIRLS TO THE FRONT - SUNDAY SESSIONS - FEAT: DJ MZRIZK Corner Hotel, Richmond. 3pm.

HELPLESS - THE SONGS OF NEIL YOUNG Spotted Mallard, Brunswick. 6pm. $25.82.

HIDEOUS SUN DEMON + GUTTER GIRLS + LOST TALK Old Bar, Fitzroy. 6:30pm.

SAMMY OWEN BLUES BAND Royal

Hotel, Mornington. 3pm.

SIME NUGENT Union Hotel, Brunswick.

3:30pm.

THE AARON GILLETS BOOGIE BAND Drunken Poet, West Melbourne. 6:30pm.

$10.

THE TIPSY SCHOLARS + HARRISON + VILLAH Toff In Town, Melbourne Cbd. 6pm.

6pm.

VANDERLAY + BENIGAR + DOG FUTON Yarra Hotel, Abbotsford. 4pm. $5.

VICTORIANA GAYE Union Hotel, Brunswick.

HORNS OF LEROY (WITH SHANNEN WICK) + EMMA PEEL Malvern Gardens, HOUSE DEPOSIT + DAVID GAUCI + PTING Tote Hotel, Collingwood. 5pm.

INTIMATE SUNDAY BAR SHOW - FEAT: MADI LEEDS + MICHAEL GATE + EAMONN CONOR & THE DEMERITS + JAMIE MCLENNAN Whole Lotta Love, Brunswick East. 3pm.

NO SISTER + MYSTERY GUEST Post Office Hotel, Coburg. 4:30pm.

NOT TODAY FESTIVAL - FEAT: JARROW + JUNE JONES + PINCH POINTS + MEMPHIS LK + SLEEPING LESSONS + S'AVERAGE GARDEN + MORE John Curtin Hotel, Carlton. 5:30pm. $15.

OPEN/MIC JAM NIGHTS Musicland,

Fawkner. 7pm.

PAPPY + THE FACULTY Tramway Hotel,

North Fitzroy. 4pm.

PETE MURRAY + TAYLOR SHERIDAN Grand Hotel Mornington, Mornington. 8pm. $49.

SOUR MASH + THE MERIDIAN SUNS + TESS GUTHRIE Whole Lotta Love, Brunswick East. 8:30pm.

SUMMER SOUNDS 2019 - FEAT: DARREN MIDDLETON + ALICE SKYE Commonwealth Reserve, Williamstown. 2pm.

THE BLACK QUEEN + DRAB MAJESTY + ELISABETH DIXON Northcote Social Club, Northcote. 7:30pm.

THE HITS OF CROWDED HOUSE Memo Music Hall, St Kilda. 3pm. $18.

$10.

5pm.

Monday 21 Jan Jazz, Soul, Funk, Latin & World Music 303 YARRA BANKS JAM NIGHT 303,

Northcote. 7pm.

ANDREA KELLER CURATES MASTERS & APPRENTICES The Jazzlab, Brunswick. 8pm. $15.

Indie, Rock, Pop, Metal, Punk & Covers JULIA HOLTER + GRAND SALVO Melbourne Recital Centre, Southbank. 7:30pm. $55.

LEFTFIELD LUXURY + MARLON BANDO + PAPER TAPIR Bendigo Hotel,

Collingwood. 8pm.

LOVE BONER + GIRL GERMS + TRAGIC CARPET + THE BACKS Old Bar,

Fitzroy. 7:30pm. $10.

MONDAY NIGHT MASS - FEAT: KVLT .45 + SAD + DARK WATER + GUN CTRL Northcote Social Club, Northcote. 8pm.

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

THE PHOSPHENES + VICUNA COAT + UNPAINTED PROSPECTS Retreat Hotel,

Hip Hop & R&B

THE VANNS + PACIFIC AVENUE + NANCIE SCHIPPER Wrangler Studios,

Fitzroy. 8pm. $5.

Brunswick. 2:30pm.

Footscray. 1:30pm. $18.40.

TOTE'AL ROCK FEST - FEAT: SHADOWQUEEN + GRASSHOLE + THE HOLLOW MAJORS + EAT THE DAMN ORANGE + BREAKING KEBABS + MORE Tote Hotel, Collingwood.

3:30pm. $15.

VAN WALKER + THE HAPPY LONESOME + TERESA DUFFYRICHARDS + HENRY J. SAWYER Swamplands Bar, Thornbury. 5pm.

WORLDS GREATEST SHAVE CHARITY SHOW - FEAT: SARAHJ + BELL PARK + THE NINTH DIMENSION Workers Club, Fitzroy. 7:30pm.

KILLER HERTZ + MORE Evelyn Hotel,

House, Electro, Trance & Club Nights STRUGGLE - FEAT: VARIOUS DJS Lucky Coq, Windsor. 9pm.

Acoustic/Country/Blues/ Folk DUDI SHAUL + STAV. Open Studio, Northcote. 8pm. $20.

LISA MILLER & SHANE O'MARA Retreat Hotel, Brunswick. 8pm.

NIGEL KENNEDY Hamer Hall, Southbank.

8pm. $119.

Northcote. 7:30pm. $5.

THE OVERHEADS + BELLA VENUTTI + MARA Retreat Hotel, Brunswick. 8pm.

THEM HIGH SPIRITS Cherry Bar, Melbourne

Cbd. 9pm.

BROOKE RUSSELL & BEN FRANZ Compass Pizza, Brunswick East. 8pm.

HOI PALLOI + BUMPY (SOLO) + CACARTU Gasometer Hotel, Collingwood. 8pm. $10.

INTERNATIONAL HONK BRASS JAM - FEAT: ENVIRONMENTAL ENCROACHMENT + SULO Open Studio, Northcote. 8pm. $5.

IRISH SESSION Lomond Hotel, Brunswick East. 9pm.

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

MUMFORD & SONS + MICHAEL KIWANUKA Sidney Myer Music Bowl, Melbourne. 5pm. $109.50.

OLDTIME JAM TUESDAYS - FEAT: VARIOUS ARTISTS Some Velvet Morning, Clifton Hill. 7pm.

OPEN MIC NIGHT Swamplands Bar,

Thornbury. 6pm.

SLATZAPALOOZA - FEAT: PAUL SLATTERY + BLUES ROULETTE Spotted

Mallard, Brunswick. 8pm.

THE FRETLESS Melbourne Recital Centre, Southbank. 8pm. $30.

TUESDAY TRIBUTE - DR JOHN FEAT: DAMON SMITH & ADRIAN WHITEHEAD Drunken Poet, West Melbourne.

8pm.

UPCOMING GIGS FEATURED GIGS

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