News 10, Marlon Williams

MARLON WILLIAMS

Words by Sosefina Fuamoli

From the comfort of his home on Aotearoa’s South Island, Marlon Williams looks refreshed for someone who has recently returned from a bout of international touring and completing a movie shoot, all the while preparing for the release of a new album.

“There’s a few learning curves going on,” he admits. “It’s quite hard jumping from TV land to flying out to Europe the next day and putting on my music hat, then doing the same thing again at the other end. It’s good [though], I’ve learned lessons!”

We’re mere weeks out from the release of Williams’ third studio album, My Boy, when we speak. Although promoting new music is something Williams is familiar with, this record in particular feels like new territory because in a lot of ways, it is. The album emphasises the chameleonic and playful nature of Williams’ songwriting that has been present throughout his catalogue. Yet with My Boy, this nature is pushed to prominence in a way that positions Williams beneath what is perhaps the most revealing of creative spotlights yet.

To properly enjoy the album is to let yourself become completely wrapped up in the lofty and escapist nature of it. Early singles such as ‘My Boy’, ‘Thinking Of Nina’; as well as more recent drops ‘River Rival’ and ‘Easy Does It’ demonstrate Williams’ dynamism as a songwriter, ratcheted up some notches

in offering the listener an intriguing insight into the writer he has become in the time he’s been away. Reflecting on the process of creating an album such as this against a backdrop of a national lockdown, a global pandemic, and the stripping away of the normalcy of life as he’d become used to, Williams explains that My Boy – though definitely a swerve in sonic direction – had less surprises in store during its actual creation.

“Listening back to it, there are things that do stick out to me but when you’re in the moment and in the flow of things, nothing shocks you because you’re feeling your way through it as you go.

“The writing happened over a while and I went through a lot of different versions of things; I had more time to overthink things and go in differ“I needed to be the new ent directions. The time factor meant that kid at school again and things had more room to branch out.” be able to be openly Recorded in Auckland at Neil Finn’s contradictory of my past Roundhouse Studios in late 2020, Williams took the concept self in some way, in some of ‘branching out’ literally, completely hopes of self-escape or overturning his usual environment in favour escape of a world that of a new lineup of studio musicians to myself and the Benders bring his ideas to life. Though Williams had created.” and his band - The Yarra Benders - will tour My Boy together through the final months of 2022 before select Australian appearances in the summer, Williams felt it necessary to break out of the artistic mould he had curated for himself across six years of releases and relentless touring.

So for My Boy, he called on the talents of drummer Paul Taylor (Feist), bassist Cass Michell (Ladyhawke, Tiny Ruins), Tom Healy (Tiny Ruins, The Chills); as well as frequent collaborator Delaney Davidson, Elroy Finn and the only other Aotearoa-based Yarra Bender, Dave Khan, to flesh the music out.

“It was a weird and hard thing, to go away from using The Yarra Benders, but that was kind of the point,” Williams admits.

“I needed to be the new kid at school again and be able to be openly contradictory of my past self in some way, in some hopes of self-escape or escape of a world that myself and the Benders had created.

“It was difficult then having to work out new dynamics in the studio. I at least knew all of the people who were coming into play, whether or not I’d ever worked with them.”

Considering the huge success of his sophomore album Make Way For Love in 2018 and the trajectory Williams’ career took in the year that would follow, it’s unsurprising that he might want to take a beat when it came to his next musical chapter.

Since the release of Make Way For Love, Williams’ profile became solidified internationally, largely thanks to his flourishing acting career with performances in Bradley Cooper’s A Star Is Born, Justin Kurzel’s True History Of The Kelly Gang and Netflix fantasy drama Sweet Tooth, establishing Williams as not just a charismatic musician with intrigue; but an emerging artistic multi-threat.

Remaining in Aotearoa throughout the onset of the pandemic – while stifling in many ways – did bring its benefits for Williams and ultimately, the process spurring on this new album. A significant part of said process has seen Williams delve back into his cultural studies, strengthening his grasp on te reo Māori and eventually, bringing the language further into his music. In weaving the traditional and contemporary with his art, and taking the language of ancestors with him into his life, Williams knows he’s locked something special within himself.

“One of the best parts about all of this has been being at home and being able to connect – it’s an increasingly humbling experience,” he says of his te reo Māori journey.

“The more you know, the more ignorant you are; it’s a beautiful thing too. I’m enjoying the mistakes and the way I’m learning things along the way. I’m excited for the rest of my musical life, to have this increasingly feed into my existence. “I’m reading this essay at the moment about the frequency of certain phrases throughout the history of traditional Maori music and what the cliches of the genre are.

“Even that in itself is such a beautiful thing because it makes you reframe all of these lines, the layers of irony…there’s so much depth there that will never be exhausted. There’s also the realisation that there are so many songs that, excitingly, don’t have melodies. There’s a real treasury of Maori music that’s waiting to be reshaped and brought back into the light again. There’s some anthologising that needs to happen and it’s exciting to be part of that.”

The forced time at home for Williams meant that pace could slow and with it, a period of reconnection, rediscovery and rejuvenation could eventually be embraced.

It can be heard throughout My Boy. There are moments of isolation, balanced beautifully with moments of romanticism and hope. Its sonic scope feels more expansive than previous Marlon Williams records – a reflection of how the artist’s own vision for his output moving forward has evolved as well.

“There’s certainly a lot about the world that made me feel detached,” Williams says of the different mental places My Boy took him. “Music is one of the only places I can cling to like a lifeboat.”

“I can cling to it and know that in some ways, it’s safe from the rigour and pressures of what’s going on in the world. It became a haven where it was impervious to the changes around it. It was a way of charting my own lockdown journey; there are a lot of stories about being alone and idle wanderings of the mind that are scattered across the record.”

“I’m super excited about taking these songs back to The Benders and navigating it with them,” he adds. “A lot of it is going to be difficult to fully represent live, but that’s part of the fun and challenge. I can’t wait.”

Marlon Williams is playing a special, intimate show at Howler on Friday September 9 with a full album tour soon to be announced. My Boy will be released via Virgin.

ARTS GUIDE Exhibitions to see in September

Words by Ben Lamb

States of Disruption

In a globally contentious political climate, there are a wide variety of factors that create disruption. The Centre for Contemporary Photography will be home to an exhibition that focuses on the multitude of forms that disruption has occurred within our lives over the past two years. A selection of twelve Australian and international artists will be exhibiting their work, exploring the social, cultural and economic disruptors that we’ve faced in recent times.

States of Disruption is happening at the Centre for Contemporary Photography throughout September.

Jaedon Shin: Double Moon

South Korean born, Melbourne-based Jaedon Shin is quickly becoming a popular artist within the local industry. His artwork creates a world of colour and shapes that are inspired by his multicultural background, and his experience as an immigrant living in Australia. At times, his work becomes deeply personal, detailing feelings of isolation and alienation – you’re able to shape a knowledge of the artist solely based on his pieces.

Double Moon is taking place at the Heide Museum of Modern Art throughout September. The Affordable Art Fair makes its triumphant return to Melbourne this September. There’ll be a collective of exceptional landscapes, sculptures, abstract pieces and lots more, exhibiting thanks to some of Australia’s greatest galleries. You can see art from popular names, alongside up and comers that are likely to become highly regarded. If you’re in the market for an affordable piece to decorate your home, this is the event for you.

The Affordable Art Fair happening at the Melbourne Convention and Exhibition Centre from September 1 until September 4.

Paul Yore: Word Made Flesh

Australian Paul Yore’s work is some of the most colourful and wonderful within the industry - you can easily get lost in the shapes and colours he uses. His new exhibition Word Made Flesh will celebrate all of his work, featuring a great collection of his quilts, needlework, banners, pendants and collages, and his popular large media installations. It’s self-described as a gesamtkunstwerk, a German term defined as a ‘total work of art’.

Paul Yore: Word Made Flesh is taking place at the Australian Centre for Contemporary Art from September 23.

First Peoples

Indigenous people aged from eight to 72 will be sharing their stories and journeys in a new exhibition, which will also feature discussions of Australia’s vast indigenous languages, and the 38 distinct languages that are spoken in Victoria alone. There will also be over 600 pieces of artwork shown, made by Aboriginal and Torres Strait Islander people. The exhibition has been curated by the Tulendj group of Elders, ensuring honour is paid to all people involved.

First Peoples is taking place at the Bunjilaka Aboriginal Cultural Centre throughout September. This exhibition portrays three universal experiences through art. A plethora of artists will use their own experiences to create works that connect with those most-complicated of feelings. This show is happening as part of The Big Anxiety, a festival that aims to improve the mental health of Australians. Some of the artists involved include Peta Clancy, Naree Clare, Dominic Redfern and the T Collective, among many more.

Archives of Feeling: Trauma, Knowledge, Empathy is taking place at the RMIT Gallery from September 21.

Return to Nature

We’ve all been captivated by an enchanting landscape; this exhibition celebrates some of the finest landscape paintings produced in Australia. It will shape a view of Australian landscapes over a long period, showing audiences how things have changed. There’ll be over 60 artists involved, each bringing something different to the exhibition.

Return to Nature is happening at the Monash Gallery of Art throughout September.

Thor: Love and Thunder Costumes

Recently, the Marvel Universe got a little bit bigger thanks to Thor: Love and Thunder. The movie was actually a predominately Australian production, filmed during lockdown. It employed some popular Aussie costume designers, who created memorable designs that added another element to the film. Their work will be shown at ACMI this September - visitors can see costumes worn by Chris Hemsworth, Natalie Portman, Christian Bale, and even Russell Crowe’s Zeus costume.

Thor: Love and Thunder Costumes is taking place at ACMI throughout September.

ALTER STATE

Very few arts festivals set out to change the entire industry, but Alter State (12 September - 9 October) offers a radically different, inclusive and powerful potential for the future of arts.

Words by Kosa Monteith

Its uniqueness is encapsulated in a simple statement by Rodney Bell, one of the Foundation Artists behind the festival: “For disabled, by disabled”. A disability-led arts experience, with inclusivity and pride at its heart.

An internationally acclaimed performer, Rodney is from Aotearoa and descends from Tainui Waka and of the Ngaati Maniapoto Iwi (tribe). He acquired his disability 30 years ago and has been a professional dancer for 27 years.

Disabled artists, including Rodney, are leading the development and delivery of Alter State with Arts Centre Melbourne and Arts Access Victoria, foregrounding the lived experiences and creativity of deaf and disabled people, and ensuring these diverse voices can lead meaningful discussions about accessibility and inclusivity. Drawing on creativity from Australia and Aotearoa, Alter State honours First Nations cultures and makes space for kōrero and storytelling shaped by disability.

“We’re starting a strong conversation that needs to be had,” Rodney says. “Basically, if we’re not at the table, we must be on the menu. It’s about those people being at the table now, leading the conversation because we know what’s right for ourselves. But also we’re multi-skilled, and we’re not all the same kind of disabled. We [the festival organisers] work like one with the disabled community – and it’s such a diverse community, with ethnicities and so many different bodies, cultures and religions. It’s one of the most diverse communities. So how do we have a collective consciousness?”

The Alter State program of dance, film, circus, workshops and experiential events is underpinned by hope and potential, exploring and adopting new ways forward where deaf and disabled people are included in the planning and implementation of performance and the arts. There’s no denying that the arts scene, like many others, is broadly non-inclusive for deaf and disabled performers and audiences, where participation and access to creative expression are limited by the way the industry and society itself function. Alter State’s success will show the way towards a more inclusive industry, foster disability pride and create broader awareness of the ‘social model’ of understanding disability and how barriers can be dismantled.

“It’s all part of moving forward and breaking out of that medical model of understanding disability,” Rodney says.

“You see someone in a wheelchair and think, ‘they need help’ or ‘they’re sick’. You just jump to that objectifying. Language is very important, so through these principles, we’re evolving and using a language to talk about people and their relationship to being disabled, rather than just as inspirational.” Rodney is bringing his much-acclaimed work Meremere to the festival – an autobiographical journey of dance, reconnection and homecoming, developed with Movement of the Human. While the autobiographical work covers years of his life, the impetus came in 2015.

“Mere is carved from greenstone and tear-shaped, it’s a Maori weapon, and when it’s made from wood it’s meremere. I was carving it when I returned home to Aotearoa in 2015, wondering what journey it was going on and I watched all the shavings falling off this beautiful piece of wood and I was trying to make it beautiful but it already was. It reminded me of the sacrifice I had gone through in my life to dance. And I shared that story with Movement of the Human.”

The live score composed by Eden Mullholland will be played at Alter State by his brother, Jolyon (“They have a real strong sense of each other’s style.”) Rodney has performed Meremere since 2016, in front of thousands of audiences, but the work has evolved over time.

“Because it’s all autobiographical, as I change or get new accolades it’s added to the work,” he says. “Then I have pockets of surprise, where other dancers join me and those change for different performances. And it’s more than a solo work, because there’s design, audiovisual and live music.”

Collaboration and connection are at the heart of Alter State’s performances. The program also includes When The World Turns, a sensory landscape created by Polyglot Theatre (AUS) and Oily Cart (UK) for children with complex disabilities (but open to all). It’s an experiential art space of sound, sight, touch and wonder, fostering a connection with others and a “new, inclusive ecology”.

Naturally, the format of the festival and its delivery are fundamentally structured around accessibility and inclusivity for the audience as well, from having Relaxed Performances and Tactile Tours to offering a digital program. “Digital was always going to be a component of the festival, but Covid has highlighted how convenient this is for allowing people to access the art,” Rodney says. “Access is a huge thing, and Arts Centre Melbourne and Arts Access Victoria are really strong in this. It’s making the venues and website accessible, having Braille and Auslan and audio descriptions, making sure these are all in place.” Rodney points to ‘universal access’, an approach to making spaces accessible to all persons in a community, including people with disabilities or temporary injuries and the elderly – and how it benefits everyone.

“It takes time to make these kinds of events accessible,” Rodney says. “But if you want to include us in your community and have the advantage of accessing our community and looking at life in a whole new different light, you’ll be patient.”

Alter State facilitates connection, collaboration and coming together, creating an opportunity for what Rodney calls ‘deep listening.’

“Essentially, I be you and you be me. Deep listening and reciprocity,” he says. “I’m also looking forward to the bigger conversations that occur around [the festival], in the panels and so forth. Performers have the chance to talk about their experience in the arts and what access means to them, and how we can improve access and work in a collaborative way.”

The festival idea began at a development workshop in November 2019, involving Rodney, Carly Findlay OAM and Joshua Pether, who are the Alter State Foundation Artists. “We sat down and collaborated as a collective consciousness,” Rodney says, “and to find a disability-led way forward through creating the [festival] principles.” These Foundation Principles are Equity, Disability Identity and Pride, Disability Consciousness, Aesthetics of Access, Reduced Barriers, Accountability and Crip Time – likely an unfamiliar term to many non-disabled people. “[The idea of Crip Time] is working at our capacity,” Rodney says. “In the context of a disabled person, it means taking as long as it takes to get something done. We don’t have the same working hours in a day. Other people can maybe jump into the shower for five minutes. It takes me an hour and a half. So if I’ve got to be somewhere for 8, I’m going to get up at 5:30. Then we get there, and find we’ve got limited access into the building. I don’t call it a ‘challenge’, but it’s an ongoing presence. So this is a chance to ask, what does that mean for arts practice also?” Covid has led to an examination of the arts landscape – and the challenges and vulnerability it faces. This is the time to look for new ways forward. As a festival operating in a Covid world, Alter State can potentially draw on this shared experience to help non-disabled audiences explore not only how time works for disabled people, but also spaces.

“You see someone in a wheelchair and think, ‘they need help’ or ‘they’re sick’. You just jump to that objectifying. Language is very important, so through these principles, we’re evolving and using a language to talk about people and their relationship to being disabled, rather than just as inspirational.”

“We’re pretending that things are going back to normal, but we’re still dealing with this ongoing [Covid] risk,” Rodney says. “And I hope it’s provided some empathy, because it highlighted access in a huge way and what access means as a disabled person. We spend a lot of time at home, because things aren’t accessible. Some disabled people never get out of their home. So it wasn’t an uncommon space for us – for other people, it was just this Covid-space. It developed a kind of equity, where everyone had to be home, and we all shared that anxiety and so forth.” For Rodney, Alter State is an opportunity for audiences to encounter genuinely unique and insightful art, setting standards for accessibility and participation in creativity and starting vital conversations, and he’s excited to be part of it.

“Bringing my work and myself to the festival, Arts Centre Melbourne putting the money in and opening their doors – that’s an honour in itself,” Rodney said.

“To audiences I say, bring your lived experience and open hearts, and maybe in your silence, you’ll shift how you see our disabled artists. But also come with gratitude, because gratitude is the attitude.”

Rodney Bell will perform Meremere at Arts Centre Melbourne’s Fairfax Studio as part of Alter State on September 29, 30, and October 1.

FESTIVAL GUIDE Events to experience this September

Words by Ben Lamb

Listen Out

International festivals have well and truly made their return to Australia, with Listen Out happening this September. There’s some great internationals and locals involved, to name a few, the lineup features internationals like AJ Tracey, Trippie Redd and Tove Lo, on top of a stacked local lineup with legends like Stace Cadet and The Jungle Giants.

Listen Out is happening at Catani Gardens on September 23.

Transmission Festival

If you’re an electronic fan, this is the festival for you. The world of electronica is mixed with special effects, great equipment, and much more. There’ll also be some mind-boggling audio-visual shows that will likely be the highlight of the night. Some of the great acts involved include Marlo, Rank 1, Vini Vinci, and plenty more.

Transmission Festival is happening at the Flemington Racecourse on September 17.

Sriracha Festival

No, this isn’t a festival celebrating everyone’s favourite hot sauce, rather a one-day energetic music festival that’s said to be full of tasty beats, great food and good people. There’ll be music from Mike Akox, Project Peters, and some good food courtesy of The Real Jerk Food Truck.

The Sriracha Festival is taking place at The Timber Yard from Saturday September 3 until Sunday September 4. Australian Tap Dance Festival

The Australian Tap Dance Festival brings all the elements of the style into a weeklong celebration. Talented professional dancers from Australia and New Zealand will be in attendance, sharing their expertise with adoring Aussie crowds, leading talks, classes, among much more.

The Australian Tap Dance Festival will be taking place in Melbourne from September 24.

Tesselaar Tulip Festival

If you’ve ever wanted to see a million tulips, you’re in luck thanks to the Tesselaar Tulip Festival. On top of flowers, attendees will be able to enjoy live entertainment, quality food, and much more. It’s taking place in Silvan, just past the Dandenong Ranges, perfect for a scenic drive.

The Tesselaar Tulip Festival is happening in Silvan from September 10.

Melbourne Belly Dance Festival

Yet another dance festival is making its way to Melbourne this month, this time celebrating all things belly dancing. Teachers and students from Melbourne and wider Australia will be in attendance showing why they’re experts in the field. Opening night will take place on Friday September 9, and will include food and drinks.

The Melbourne Belly Dance Festival is taking place across Brunswick from Friday September 9 until Sunday September 11. A massive festival making its way to Melbourne’s shores this month, the Melbourne Writers Festival will feature illuminating minds from across the world. The festival will be live across Melbourne venues, and beamed into many more, with the lineup of actors, authors and academics sharing their knowledge. Some of the writers involved include Jenny Slate, Brian Cox, and Anita Hill.

The Melbourne Writers Festival will be happening across Melbourne from September 8 until September 11.

Asian Fun Festival

The Asian Fun Festival attempts to capture the contrast between traditional and contemporary Asian cultures, through food and a diverse range of performances. Events include cosplay, K-Pop, drum performances and more.

The Asian Fun festival is taking place at the Meat Market from September 10 until September 11.

Tequila and Mezcal Festival

As the weather starts to warm up, the time for great tequila is here. There’ll be presenters on show, sharing their extensive knowledge of the world of tequila and mezcal. With tastings taking place in a decommissioned tram, it’s an experience that doesn’t come along too often. If you’re a tequila expert, be prepared to be blown away with the rare finds that will be available.

The Tequila and Mezcal Festival will be happening at Retropolis on Sunday September 17.

Malaysian Hawker Festival

If you’ve ever been to Singapore, Malaysia or Thailand, you’ll be well-versed in the world of Hawker food. Now you can get an authentic taste of the dining experience at home, with the Malaysian Hawker Festival. Queen Vic Market will be transformed into a Hawker centre, complete with hawker food, entertainment, lanterns, mooncakes, and lots more.

The Malaysian Hawker Festival will be taking place from Saturday September 10 until Sunday September 11 at the Queen Vic Market.