Beat 1711

DOPE LEMON

Angus Stone reveals the man behind the lemon.

EDITOR

Lucas Radbourne

ASSISTANT EDITORS

Sidonie Bird de la Coeur

Talia Rinaldo

STAFF WRITER

Kaya Martin

DESIGNER

Riley McDonald

GIG GUIDE

Jacob Colliver

CONTRIBUTORS

Bryget Chrisfield, Jacob McCormack, Lesleigh Luiten, Paul French, Andrew Handley, Cody Brougham, Sosefina Fuamoli, Joshua Jennings, Tahney Fosdike, Coco Veldkamp, Christine Morieson

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PUBLISHER

Furst Media Pty Ltd

FOUNDER

Rob Furst

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Æ There have been some huge tour and festival announcements recently so take time to peruse our news section, before you dive into a massive array of interviews: Birds of Tokyo, Lucky Oceans (Asleep at the Wheel), DMA’S, The Slingers, Ella Hooper, Gretta Ray, Tim Finn, Angie McMahon and Arlo Parks are all waiting inside, while we also feature important new community initiative Raw Lines and major New Year’s Eve music festival Beyond The Valley in this edition.

As we enter spring, our guides to the best gigs, art exhibitions, stage productions and festivals come to life. We also visit the wonderful Kindred Bandroom, MEMO, Rooks Return and Sooki Lounge to give you the low down, and review the latest releases from Dan Sultan, Hot Glue, Leah Senior, SAFIA and a particularly emotional record from Polaris.

ACKNOWLEDGEMENT OF TRADITIONAL OWNERS

Our magazine is published on the lands of the Bunurong Boon Wurrung and Wurundjeri Woi Wurrung peoples of the Eastern Kulin Nation, and we wish to acknowledge them as Traditional Owners. We pay our respects to their elders, past, present and emerging.

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COVER

Our September cover star is Dope Lemon, photographed by Jarrad Seng.

Dope Lemon, aka Angus Stone, is our dapper cover star this month as he brings his brand new record Kimosabè to the Forum on September 14.

CHRISTINA AGUILERA, ERIC PRYDZ LEAD ALWAYS LIVE

After delivering a solid debut run last year featuring TLC, Dua Lipa and Nick Cave and The Bad Seeds, the festival has returned with more than 60 stadium shows, exclusive appearances and intimate shows planned for November 24 to December 10.

BRIGHT EYES JOIN THE EIGHTY-SIX LINEUP

The genre-bending musical project will be touring through Australia for the first time in 12 years, joining The Eighty-Six lineup with Warpaint for a gig at Northcote Theatre on October 26.

LULIEPALOOZA: MELBOURNE’S HUGE ROCK ‘N’ ROLL STREET PARTY RETURNS

The Murlocs will headline the Abbotsford festival on November 11 with their 60’s tinged psych-rock goodness. Sydney’s own C.O.F.F.I.N will drop by to smash out some tunes from their new album, as will Brisbane’s Full Flower Moon Band, led by rock prodigy Babyshakes Dillon.

FALL OUT BOY, LIMP BIZKIT, DEVO LEAD GOOD THINGS 2023 LINEUP

Australia’s largest and favourite travelling music festival, Good Things Festival, returns this December with a bumper lineup also featuring the likes of I Prevail, Bullet For My Valentine and Corey Taylor.

HEAPS GOOD IS

MELBOURNE’S LATEST NEW YEAR’S EVE FESTIVAL

MELBOURNE RECITAL CENTRE ANNOUNCES SEPTEMBER PROGRAM

Get set to push some musical boundaries this September at Melbourne Recital Centre. From the sounds of Latinpop to ancient Persian stories and the rituals of the Eastern Orthodox Church, you can find a range of highly talented musicians taking you to other worlds with magical storytelling.

MELBOURNE INTERNATIONAL GAMES WEEK IS BACK IN 2023

Melbourne International Games Week (MIGW) is back bigger than ever from September 30 – October 8, with the beloved home of screen culture, ACMI, at its vibrant heart.

MELBOURNE FRINGE FESTIVAL REVEALS 2023 PROGRAM

This year’s Melbourne Fringe Festival program has officially dropped, with a formidable 475 events bursting at the seams across the city and suburbs of Melbourne from October 3-22.

Coming from the organisers behind Falls Festival and Splendour in the Grass, the festival is coming to Melbourne’s Sidney Myer Music Bowl & Surrounds on New Year’s Eve.

FUSE FESTIVAL IS LIGHTING UP DAREBIN THIS MONTH

Designed to support local artists, engage audiences, celebrate First Peoples and bring diversity to the forefront, Darebin’s beloved Spring FUSE Festival is coming back this September 2 - 17.

BEYOND THE VALLEY DROPS FULL LINEUP

Headlining Beyond the Valley are RÜFÜS DU SOL, Central Cee, Peggy Gou, Kelis, Mall Grab, Destroy Lonely, G Flip, Channel Tres, Jayda G, Romy, DMA’S and more.

RUSSELL MORRIS IS COMING TO HAMER HALL

Music legend Russell Morris takes to the stage with a 54-piece orchestra in a symphonic celebration of his stellar music career on October 31.

KING STINGRAY TO HEADLINE BLAKTIVISM

King Stingray leads a lineup of living legends and rising voices of First Nations musical activism at Hamer Hall on Friday 1 December as part of ALWAYS LIVE.

MELBOURNE ROYAL SHOW

Music from the likes of Sheppard, Bliss n Eso and Conrad Sewell, will allow crowds to extend their day at the Melbourne Royal Show from September 21 – October 1.

THE WEEKND ANNOUNCES AUSTRALIAN STADIUM TOUR

The Canadian R&B giant will be playing an expanded run of headlining shows this November and December.

MELBOURNE MUSEUM COMES ALIVE AFTER DARK

Rendezvous with friends on the second Thursday night of each month from this September as Melbourne Museum comes alive after dark for an adults-only evening of music, food, drinks and entertainment.

CAROLINE POLACHEK WILL BRING THE SPIRALING TOUR TO AUSTRALIA

The dazzling avant-pop star will be headlining dates in Australia for the first time ever this December, coming to the Forum on December 10.

RUSSELL KANE IS BRINGING THE ENGLISH VARIANT TO AUSTRALIA

Russell Kane, winner of Australia’s biggest gong The Melbourne International Comedy Festival Award, is coming to the Athenaeum on November 13.

LAGERFEST SHARES FIRST TASTE OF 2023 LINEUP

The swashbuckling music and beer festival will be led by Swedish death metal menaces The Halo Effect and Lagerstein. It’s coming to Northcote Theatre on November 19.

SONGS FOR FREEDOM OFFERS PROFOUNDLY MOVING SOUL, BLUES AND COUNTRY

A powerful concert created by artists in the Roebourne community and directed by Asleep at the Wheel’s Lucky Oceans is coming to Melbourne Recital Centre on September 15.

JPEGMAFIA ANNOUNCES MELBOURNE HEADLINE SHOW

JPGMAFIA has announced two headlining gigs alongside his appearances at Listen Out and Listen In festival. He will be playing at Melbourne’s Forum on September 25.

FRI 1

SAT 2

THUR 7

FRI 8

SAT 9

THUR 14

MSO CELEBRATES WOMEN IN MUSIC

Catch three world premieres and two further MSO debuts as Melbourne Symphony Orchestra launches their Celebrate Women in Music program, with the first performance on September 7.

BEER GARDEN - DIVE BAR - BANDROOM

CAROLINE POLACHEK, ALVVAYS, ALEX G JOIN MEREDITH LINEUP

The full Meredith lineup has been unfurled with Kraftwerk, Eris Drew & Octo Octa, Flowdan and more playing from December 8 - 10.

SEPTEMBER SHOWS

PRIMITIVE W/DEADWEIG HT 80 + THE ABSOLUTION SEQ UENCE + INTO THE VEIN THE AT TENTION SEEKERS RETURN SHOW W/BLOODY RIPPER + L A ZERLIPS + GROND MY GIDDY AUNT W/ELL A CL AIR + WINNIE L ANE + AMELIA ALL AN THE MOTION BELOW + NTH RD W/G HOSTSEEKER + SOUL SLEEP

FRI 15

FRI

SAT 16

SUN 17

THUR 21/FRI 22

SAT 23

MON 25

THUR 28

FRI 29

SAT 30

THE SWELL S W/CARP FACTORY + ROY DARBY TRIO + DJ PIERRE AND E SHOCK COLL AR W/DR AGO S AFTERPART Y + CHA SERS IRONSTONE W/ NEW MILLION + OUTER WORLDS + R ANSOM REVUE + ANA ATLVS “THE SHADOW DANCER TOUR” W/DARK M AT TER + DEADSKIN + INTO THE VEIN

A1 KR A SHN (US A) W/ B CM THE MOVEMENT + KID KODA + MR CONGO + MORE LISTEN UP MUSIC! MELB OURNE SEMI FINAL SHOWCA SE VOL ATILE WAYS (NSW) W/ BLOODMOUTH A VERY FUNNY NEAR THE BRUNNY MONTHLY COMEDY SHOWCA SE DR A STIC PARK W/ DOWN AND OUT (S A) + THIS SPACE IS OURS + FROM THE OTHER SIDE STEPPERS W/ M AD GAMBLE + HEADPHONE JONES MOOD SPILL W/ ROM ANIE + NONNA’S KITCHEN

JACK JOHNSON, TOM JONES LEAD BLUESFEST’S FIRST FESTIVAL LINEUP

The festival returns for its 35th Anniversary from March 28 - April 1 bringing along the likes of Jack Johnson, Tom Jones and The Teskey Brothers.

RESET FESTIVAL IS COMING TO FED SQUARE

This September, Melbourne’s iconic Fed Square is home to RESET – a month-long festival focussing on biodiversity and ways to live more sustainably, with events from September 2 - 27.

QUEENSCLIFF MUSIC FESTIVAL LINEUP EXPANDS

Geoff Achison & The Souldiggers, The Slingers and Frank Turner and The Sleeping Souls join the likes of Aloe Blacc, Boy & Bear, Something For Kate, Illy, Dan Sultan and more from November 23 – 26.

BEETLEJUICE MUSICAL COMING TO MELBOURNE

The eight-time Tony Award-nominated hit musical Beetlejuice will play exclusively in Melbourne at the Regent Theatre in April 2025.

BETH ORTON ANNOUNCES FULL BAND TOUR

British singer-songwriter Beth Orton will be heading Down Under this November for three big headlining shows. In support of her latest album, Weather Alive, she’ll be starting out at Melbourne’s Recital Centre on November 22.

SOUND TRACKS: THE NEW MUSIC FESTIVAL ON A STREAM TRAIN

From the evening of Friday October 6 to Sunday October 8, Sound Tracks will be taking visitors on a curated road-tripslash-music-festival taking place on a fully restored 13-carriage steam train, featuring the likes of Harvey Sutherland and Glass Beams.

6LACK HAS ANNOUNCED A 2024 AUSTRALIAN TOUR

Three-time Grammy nominated and multi-platinum R&B/Soul artist 6LACK is coming to Festival Hall on April 30 next year.

BALL PARK MUSIC, ALEX LAHEY LEAD NYE ON THE HILL

The festival’s 10th anniversary celebration will take place over New Year’s Eve, December 30 - January 1 among the rolling hills of South Gippsland near Loch Village.

WEEZER ANNOUNCE MELBOURNE SHOW THIS OCTOBER

US alt-rock legends Weezer are making a triumphant return to the Land Down Under after a six-year hiatus at John Cain Arena on October 6.

SAN CISCO ANNOUNCE NATIONAL HEADLINE TOUR

Australian indie powerhouse, San Cisco, is back with a bang. The beloved band has just unveiled a whirlwind national headline tour set to kick off this November. Locally they’ll perform in at Melbourne’s Northcote Theatre on November 11.

KOJEY RADICAL ANNOUNCES DEBUT AUSTRALIAN LIVE SHOWS

One of the UK’s most exciting new talents will be making his way to Australia for the first time ever for an intimate gig at Howler on October 4.

PROFESSIONAL RECORDING STUDIO, KITCHEN, LIVE MUSIC, BAR, FUNCTIONS, EXCLUSIVE EVENTS

PHONE: 03 9917 2844

ADDRESS: 10A Campbell St, Yarraville, VIC

JESS MAUBOY ANNOUNCES 23-DATE YOURS FOREVER TOUR

The tour will see Mauboy perform in theatres across the country, running from mid-March to mid-May. Locally you’ll be able to see her on March 16 at the Palais.

A-LIN IS COMING TO AUSTRALIA THIS OCTOBER

After performing multiple sold-out stops across continents, A-Lin will finally make her return to Australia at MCA on October 6.

NORTHCOTE RISE FESTIVAL IS RETURNING AFTER 13 YEARS

After a 13-year hiatus the festival is returning to Northcote on Sunday 18 February, 2024 with a family-friendly festival featuring local artists, outdoor dining and bars from local restaurants, mini stages, and stalls from local traders.

MS. LAURYN HILL ANNOUNCES AUSTRALIAN HEADLINE TOUR

The hip-hop and soul legend will mark the 25th anniversary of her groundbreaking album, The Miseducation of Lauryn Hill, at Rod Laver Arena on October 3.

STRAWBERRY FIELDS’ LITTLE SISTER WONDER MOUNTAIN IS COMING BACK

Wonder Mountain Festival is back in Beechworth from September 22 – 24 with Harvey Sutherland, Sampology and more.

HARVEST ROCK ANNOUNCES SIDESHOWS

Get ready for a jam-packed October as Santigold, Chromeo, Lemon Twigs and Sparks are all coming to Melbourne for Harvest Rock sideshows throughout October.

SIMPLE MINDS, ICEHOUSE LEAD RED HOT SUMMER TOUR

BOILER ROOM MELBOURNE DROPS LINEUP

The cult-favourite electronic party will be returning to Melbourne on October 28 with Marlon Hoffstadt, Breaka, Bakey and more.

BLADE RUNNER IS SCREENING WITH A LIVE SCORE AT HAMER HALL

Experience Ridley Scott’s multi-Academy Award-nominated cult classic, Blade Runner (2007 Final Cut), on a vast screen while Vangelis’ synthesiser-led score is performed live in-sync with the 1982 motion picture on November 4 - 5.

MORRISSEY ANNOUNCES AUSTRALIAN TOUR

The former Smiths frontman has announced Australian headline shows in December for the 40 Years of Morrissey tour, with Palais shows on December 4 and 5.

CHET FAKER ANNOUNCES AUSTRALIAN TOUR

The genre-bending sensation will make his triumphant return to Melbourne on October 10 at the iconic Palais Theatre.

PAUL MCCARTNEY CONFIRMS AUSTRALIAN TOUR

These dates will see McCartney return for his first live performances in Australia in six years, playing Marvel Stadium on October 21.

One of Australia’s most sought-after summer festivals, The Red Hot Summer Tour is coming to Victoria on February 10 and 11.

SPACE #1 IS COMING TO THE FACTORY

SPACE #1 is bringing a superb local lineup to The Factory in North Richmond on September 30 for an event that celebrates and supports Naarm’s disabled music community.

OCEAN SOUNDS UNVEILS 2024 LINEUP

Each year, the event takes over Churchill Island (Phillip Island’s little sibling) for a delightful event of community and tunes on January 6. This year will feature Xavier Rudd, Spiderbait and more.

DOPE LEMON

Writing, reflecting and wrapping up with a glass of whisky.

WORDS BY LESLEIGH LUITEN

Credit: Jarrad Seng

Æ Next month, under the moniker Dope Lemon, Angus Stone will release his fourth studio album, Kimosabè. We can expect the combination of Stone’s seductive voice, mesmerising soundscapes, and an infusion of all things psychedelic. However, this time we can expect something a little different – for the first time in Dope Lemon history, Stone is giving audiences a glimpse at the man behind Dope Lemon.

Kimosabè is described as everything that is Angus Stone, it reflects upon the past and provides a glimpse into the future. Stone isn’t exploring anymore; he’s showing more of himself. He credits the success of Rose Pink Cadillac for giving him the confidence to really put himself out there.

“The success of Rose Pink Cadillac was so beautiful to see. Every record I write I put everything I have of myself and my thoughts into it. Watching the way that was received was really special, the way new people that hadn’t discovered Dope Lemon - as well as the gang that were already fanswere reacting with the record in their daily lives was very, very amazing to watch unfold. We feel so lucky to be able to have a labour of love turn into something so prevalent in people’s lives and being able to share what you create only then makes it a real thing - it becomes an entity in itself. Such a beautiful thing to be able to watch grow, it really is.”

Reflection is an art form in itself; it sets apart extraordinary artists like Dope Lemon, enabling them to be at the top of their game. While writing Kimosabè, Stone spent countless hours looking back on his life and past work and asking the important questions; what worked? What didn’t? What can we achieve this time?

“The whole process of writing is an adaptation of a reflective state you are in when you step into each song. Sometimes you don’t notice how far you are into completing the record as a whole until you come up for air and sit back and say ‘Woah, I think we have a record here.’ It’s a neat thing. It is a large amount of work but it’s a neat thing.”

“Each album you write feels like you are letting go of a part of you that you have lived through and sacrificed a large amount of time to create. Like any tradesman that dedicates a solid portion of their days to finish what they set out to complete, from the beginning there is pride in looking back and seeing the evolution from creation to creation evolve. I guess, looking back at the albums I’ve made, it’s cool to see somewhat of a journal of my life up to now and I have a feeling of pride in my work. It’s really cool like that.”Not only does Stone have Kimosabè, he’s also had the realisation of how he wanted to engage in his future. “The future, to me, is right here where I am now. I love what I am doing and I feel like that is the future of feeling content and happiness. I’m so lucky to have the fans I have and the people around me that support what I do and I love them all so much for that.”

And while some of us journal, reflect, create or craft to unwind after a hard day’s work, Stone has been doing all those things for months in the studio. So how does an artist relax and unwind? Whisky of course!

“Generally, a bottle of nice scotch to wash down all the hard work making another record and some good times with friends fishing and shooting some pool before another tour fires up. It’s been a large amount of work making this record and we are so excited to share it with the world.”

The last time Dope Lemon released an album it involved a beautifully restored rose pink 1960 Cadillac Fleetwood and a very lucky fan. “That was a real cool moment to give back to our fans in that way. A very large way indeed! It’s the least we could do really for the way they have given us loyalty in returning to each record as we move along in our career.”

A rose pink Cadillac makes sense given the title of the album - we’ve been racking our brains trying to decipher how Dope Lemon will celebrate the release of Kimosabè. Perhaps a golden cod or a blue moon fox? “We’ve definitely got something in the works for our fans for sure. Can’t say too much just yet but watch this space.” We’ve had two slices of Lemon so far with the release of Miami Baby and the titular Kimosabè. Inspired by classic comedy Step Brothers, Kimosabè has already broken a lot of the band’s previous streaming records, which Stone says is really special.

“On another unexpected level, we had the writers (Will Ferrell and John C. Reilly) give us a call saying they dig the tune and they were happy for Dope Lemon to use the samples of them in the song, which was a very cool thing. Always loved what they do, and it’s so neat to know they have listened to the track and dug the salute the Lemon has shown them in using the lines from the movie.”

Dreamy and psychedelic are words that come to mind when you think about a Dope Lemon show. The band are known for incorporating stunning visual elements into their performances, complete with themed outfits. The magic of Dope Lemon is really highlighted by alluring vibes and boisterous beats. The band are returning to Australia on September 14 and 15, for shows at the Forum and Sydney Opera House respectively. Both Australian shows promise to lure audiences into the world of Kimosabè, a magical place with a time capsule filled with arcane treasures from across the world. “As always, it’s going to be a very golden night out with the Lemon. The Forum is so regal and we love playing there so much, to the Opera House in Sydney! We have some special guests coming out and will be playing your favourite Dope Lemon songs from all the records including a handful from the new Kimosabè album. We feel so lucky to be able to come and see you all. We are back home baby. Grab those juicy, juicy tix now.”

DOPE LEMON

WHERE: FORUM

WHEN: 14 FEB

This article was made in partnership with BMG.

“Looking back at the albums I’ve made, it’s cool to see somewhat of a journal of my life up to now.”

BEYOND THE VALLEY

WORDS BY JACOB MCCORMACK

Æ Carloads of friends heading off to revel in the sun, soundtracked by beloved artists weaving their performances around the country. They don’t come any better than Beyond The Valley, the renowned fourday festival incites the quintessence of this summer narrative like no other.

In 2023, the festival is returning to Western Victoria, set to take over the picturesque Barunah Plains. Think the type of homestead you would see on a postcard, fully decked out with a sparkling dam, cottage and shearing shed - reinvented to host thousands of eager festival goers. It’s like a country getaway paired with a heaving summer party. Beyond the Valley has cemented itself as Australia’s largest multi-day music festival, having just sold out of their camping ticket allocation in under a week.

For access to Beyond The Valley, the only available option now is to purchase festival entry tickets (offering 2, 3, and 4-day alternatives). This accommodates those who prefer to stay outside the festival grounds, enabling them to commute daily or lodge in nearby local accommodations.

Positioned just a short 40-minute drive away from the Surf Coast, encompassing Torquay, Anglesea, Jan Juc and more, and a mere 30-minute distance from Geelong, the Beyond The Valley site holds appeal for attendees keen on transforming the occasion into a vacation.

In a makeover you have to see for yourself, the site will bring on the installation of a ferris wheel, an inflatable wedding chapel, roving drag performances by Poof Doof Pride Patrol, as well as swimming pools curated by Better Beer, the beer label established by Australia’s social media kings The Inspired Unemployed.

Beyond The Valley’s 2023 lineup raises the stakes this year, so potently varied that it’s shaping up to be an utter spectacle.

Globally acclaimed Australian heartthrobs RÜFÜS DU SOL, superstar British rapper Central Cee, and electronic music icon Peggy Gou lead the bill. But this isn’t a festival that relies on the strength of its major headliners - Kelis, Destroy Lonely, G Flip, Channel Tres, Jayda G, Romy, Mall Grab, The Jungle Giants and DMA’S all quickly follow. You’ll be kicking yourself if you don’t attend BTV this year.

These artists will be adorning a series of meticulously designed stages situated in the huge natural amphitheatre that is Barunah Plains.

BEYOND THE VALLEY LINEUP

JessB

DJ JNETT

Shake Daddy Sunshine

The Valley Stage features a custom design and world-class production, The Dance Dome sports a monolithic 70-metre-wide LED wall sure to hypnotise, and the muchloved Dr Dan’s – the cult sensation famed for its ‘secret sets’ – has been refurbished but retained its unique industrial charm.

The one-of-a-kind Podcast Stage will also feature in the festival this year, set to be headlined by Vanderpump Rules star Scheana Shay and her famous podcast Scheananigans With Scheana Shay – an Australian festival first.

Yet it still wouldn’t be a true Beyond The Valley experience without the highly mysterious Schmall Klub - a hidden party with spontaneous sets that you have to discover.

The Sanctuary will also return this year with yoga, sound healing, immersive theatre, speed dating and daily meditation. It’s all part of a Beyond The Valley ethos that goes far beyond entertainment. BTV have pledged to donate $1 from every ticket sold to the small-scale charity Igniting Change, which advocates for a range of social issues.

Saoirse

Treecreds are also back in a collaborative way this year as BTV offsets its emissions through investment in reforestation projects.

What more convincing could you need that this is the New Year’s party for you? Grab your mates, pack your cars and head west.

BEYOND THE VALLEY

WHERE: BARUNAH PLAINS, WENTWORTHS ROAD, HESSE, VIC

WHEN: 28 DEC 2023 – 1 JANUARY 2024

This article was made in partnership with Beyond The Valley.

Warmer days and balmier nights have incited a sense that summer is looming. It’s September and we are dancing on the perimeter of a fast-impending festival season.

RAW LINES

BRINGS MUSICIANS TOGETHER TO RAISE AWARENESS ON SEXUAL HARASSMENT FOR YOUTH

Yet despite the prevalence of these incidents, less than 20% of sexual harassment and bullying cases are ever officially reported. A reason for this may be a lack of public awareness of what falls under the umbrella of sexual harassment.

Unwanted touching, inappropriate comments, being overly possessive towards someone and indecent exposure are more obvious examples of harassment because they happen face-to-face, but some people might not know certain online conduct can also be defined as sexual harassment and can be reported and punished by law.

This includes the non-consensual sharing of naked pictures, exposing someone to a sexual image or video they did not wish to see, making indecent phone calls or sending disturbing or slut-shaming texts and social media posts. To make it abundantly clear to everyone, unsolicited dick pics are never endearing – that’s considered cyber flashing, which is another form of harassment.

Æ Whether it be on the street, at work or at a gig, we’ve all seen it. Unwanted bodies pressing up against us in the crowd, rude comments about how much skin we’re showing, our appearance and suggestive remarks, it’s not just “jokes” and it’s not something we should have to accept. It’s time we call it what it really is: sexual harassment, and it takes many guises not just the obvious.

Developed by Mushroom Group and supported by the Victorian Government, the Raw Lines initiative sees five renowned Australian musicians team up to shed light on what, despite the long strides we’ve taken towards equality, remains a nasty and persistent issue.

The powerful social media messaging initiative, featuring Ella Hooper, Mo’Ju, Ngaiire, Hatchie and Scott Baldwin of The Rubens, echoes a vital message – “Enough is Enough.” “We don’t want excuses and victim blaming” and “We don’t want the next generation to be having this same conversation”. The artists have come together to share some staggering statistics, to provoke awareness and education of what sexual harassment can look like and spread the message on how to prevent danger in our communities.

Mo’Ju says “I hope the starkness of the way [Raw Lines] is presented gives people cause to consider their actions…this is direct, and seeing people that you might recognise talking plainly about this behaviour, I hope this helps people to understand the gravity of it”.

The facts: according to the Australian Bureau of Statistics, 53% of women and 25% of men have experienced sexual harassment in their lifetime, with many reporting multiple accounts. Sexual harassment is more common towards those who are unmarried, experiencing financial stress or living with a disability. What’s even more concerning is there’s evidence the rates are only growing.

One of the factors that allows this perverse behaviour to thrive is a society that doesn’t take the matter seriously. The more we dismiss harassment and sexist comments as “funny” or “not a big deal”, the more it will continue to happen and potentially get worse.

The reality is doing nothing does harm. It’s our responsibility to protect those in our communities who may be more vulnerable to sexual harassment by calling out creepy behaviour when we see it. Checking in on our friends when they’re approached by strangers, letting women know that we support them, showing disapproval towards cat-calling and inappropriate jokes, stepping in when we notice disrespectful conduct and educating the next gen are all ways we can intervene and work towards making life a little more safe for everyone.

Raw Lines points people towards resources that offer a better understanding of harassment. The Line shares what’s okay and what’s not in relationships and Our Watch prevents harassment and violence against women and children in Australia.

The initiative’s closing line rings true: “It’s our right to be safe. It’s your responsibility to respect that.” No matter where we are, what time it is or what we’re wearing, no one deserves to be sexually harassed. Raw Lines makes it clear that enough is enough.

If you have experienced sexual abuse and need someone to talk to, you can call 1800RESPECT or Lifeline Australia for support and counselling or visit the list of resources provided by Raw Lines.

This article was made in partnership with Mushroom Group.

1 in 2 women and 1 in 4 men have experienced sexual harassment in their lifetime. Raw Lines wants to bring this behaviour out of the shadows to drive change and educate youth.

WORDS BY KAYA MARTIN

SONGS FOR FREEDOM

Songs for Freedom is a powerful concert of profoundly moving soul, blues and country music, created by artists in the Roebourne community, guided by Ngarluma and Yinjibarndi Elders, and a moving tribute to

WORDS BY CHRISTINE MORIESON

Oceans has won two Grammy Awards as a member of Asleep at the Wheel (who are touring Australia in October) for Best Country Instrumental in 1978 and 1993. His solo albums masterfully moved the pedal steel into new directions, reinterpreting Hank Williams’ songs on the album Purple Sky, and worked as a radio presenter on Radio National. “In music I’m restless,” says Oceans with a laugh. “I like to change. I’m much more interested in songwriting now, mainly through the Roebourne experience. I want to put out an album of songs, but I also have an accelerated interest in spiritual jazz … Alice Coltrane, Pharoah Sanders. My pipe dream is to put together a group that plays those things that’s less about genre and more about deep celebration.”

Æ Grammy Award-winning musician Lucky Oceans is Musical Director of the inspiring Songs for Freedom concert at Melbourne Recital Centre. “It’s a great privilege to be allowed to do it,” says Oceans, the legendary pedal steel guitarist who has performed with Willie Nelson, Eric Clapton, Emmylou Harris, Paul Kelly, Gurrumul and Neil Finn, “because it’s such an important and hurtful issue that continues to be so.”

Songs for Freedom is a project by leading arts and social change organisation, Big hART, which advocates for change by raising awareness of the disproportionate incarceration rates of First Nations children in Australian prisons. Big hART were first invited into the community of Roebourne in 2012, running music and songwriting workshops at Roebourne Regional Prison, and working in dialogue with the Elders of Roebourne in serving the community and supporting its artists, painters, writers and musicians.

“That’s been the exciting thing of the Roebourne project, I came up there writing songs in Roebourne prison and then writing songs in the community,” says Oceans, “and we took the concert to Perth and now we’re taking it interstate. The concert has been linked to a whole political movement, which emphasises not only John Pat and the deaths in custody, but the untenable rates of incarceration of First Nations children. All the time, we’re making great art and we’re writing great songs. I’ve got a great crew of people together, musicians and people from Roebourne, and we’ve made an album of songs, Songs for Freedom.”

That talented crew of musicians and singers became The Freedom Collective. When they began recording Songs for Freedom last year, they had over a hundred songs to choose from. “I’ve been going up there for 10 years and writing songs from the very beginning and not only me, but other key members have been writing songs,” says Oceans. “People in the community have written them, other people from the Pilbara and the Kimberley have been embraced by the community for these concerts, and their songs have become a part of the show.”

The remarkable Roebourne experience has left an indelible impact on Oceans and he hopes that the Songs for Freedom concert will transport that same sense of enlightenment. “I hope they come away with enough knowledge about the issues, so they can be part of a movement that does something about the shame of our times, which is the unconscionable level of Aboriginal incarceration,” says Oceans. “That’s what I want them to take away – have a great time and feel like they know and value Aboriginal culture a little more and I want them to say, ‘I don’t want to live in a country where 50% of its children’s prison population is Aboriginal out of 2% of the population’.”

SONGS FOR FREEDOM AT MELBOURNE RECITAL CENTRE

WHERE: ELISABETH MURDOCH HALL

WHEN: 15 SEP

This article was made in partnership with Melbourne Recital Centre.

the family of John Pat in the 40th anniversary of his passing in custody.

Credit: Duncan Giblin

BIRDS OF TOKYO

Birds of Tokyo frontman

WORDS BY SOSEFINA FUAMOLI

Æ September will see Birds of Tokyo re-enter the orchestral space, performing selections from their extensive catalogue with symphony orchestras around the country.

Under the banner of Birdsongs, the tour comes to Hamer Hall from September 21 – 23, under the direction of acclaimed composer and maestro, Nicholas Buc. The last time Birds Of Tokyo were in this space, they performed arrangements of their music by Buc, conducted by the talented Vanessa Scammell.

For this 2023 edition, Kenny says the excitement he and the band have towards this new production is more than just refreshed. The curiosity that naturally presents itself when their music is reinterpreted, is what makes it intriguing, compelling, and terrifying.

“When it comes to our music, it really is a surprise to hear – each time – songs we’ve been sitting with for a long time, presented in such a complex way,” Kenny says.

“The amount of moving parts, the additional parts of the arrangement…there’s so much to it. It’s incredible to hear it so much bigger than we thought it would be, on a sonic presentation. That does make you think, it’s always holding a lighter to your creativity in thinking where else we can go as a band.”

Working with Buc for a second time too, has meant that Birds Of Tokyo have become more comfortable in the classical space when it comes to making that shift from the rock world into this one. Big fans of his approach to music in general, Kenny praises Buc for the way he has given extra space and nuance to these original Birds Of Tokyo arrangements.

“He himself, he’s a captivating dude, for his love of all sorts of music. He’s right into where our heads are going with these sorts of things,” he explains.

“I think we’re going to learn a lot more about Nic when he commands an orchestra and of course, commands us, to a point. Although we are a band that are so locked in our ways, there’s this wonderful learning thing where we’re like, “Are we going to play to the orchestra for this song, or are they going to play to us?” You don’t really know until it starts happening, it’s really in the moment. It’s exciting and terrifying at the same time. That’s going to be a fairly significant change to this presentation of the tour, it’s super cool.”

Such an immersive experience and process has made Kenny perceive his own original songs differently, for sure. But as the basis of a new Birds Of Tokyo album is starting to come together, stepping up to the challenges of an orchestra tour is a move Kenny is excited to grow and elevate as a musician through.

“We’re very fortunate that we can have multiple nights, it’s a pure joy,” he says.

“We really get to immerse ourselves in just how much of a different performance it is. We’re basically sitting in the middle of a 30-odd piece orchestra, which is such a cool performance space to be in. We didn’t know how it was going to go, the first time we did it. We didn’t know if this was going to be our world, or if we were going to fit. We were purely just interested in getting something else out of the music. It went really well and caught us by surprise, on a few levels.”

“I can’t believe that the band is still so engaged, but there’s still something to be engaged with. It’s really wild.” he continues.

“We’ve been at it for a long time, and we’ve never really taken the foot off the gas. It’s wonderful. It’s a true joy. What we share, we share with a lot of people – the band, music fans, the music community. We’re very fortunate and there truly are some wonderful people in there who make it work. It’s mind-blowing.”

WHERE: HAMER HALL

WHEN: 21 – 23 SEP

This article was made in partnership with MSO.

Ian Kenny is excited and slightly terrified to be performing with Melbourne Symphony Orchestra.

“He himself, he’s a captivating dude, for his love of all sorts of music. He’s right into where our heads are going with these sorts of things.”

BIRDS OF TOKYO AND THE MSO PRESENT BIRDSONGS

THE SLINGERS

WORDS BY JACOB MCCORMACK

Æ Meet Robert J. Mahon, a humble character brimming with intrigue and the charismatic lead vocalist of Melbourne’s not-so-underground gem, The Slingers. With Mahon steering the ship, the ensemble is completed by Darcy Lechte on drums, Greg Koumouris holding down the bass, Ben Hooper wielding the guitar, and Odessa Kemp on the keyboard (recently replacing Christian Hendy). Their journey commenced in 2017, rooted in the camaraderie of childhood friendships and a collective passion for music.

“The band probably started in earnest in 2017, but a cool group of us have been best friends since kindergarten. We were never that gifted at music and we were probably quite late to the whole thing, but we all just loved music. After high school graduation, we all obsessively listened to bands together and started thinking that maybe we could do this,” Mahon recalled.

“So, we have been making music for a while, but that year was when we had our first release and gigs and everything.” As the band began to put out their DIY singles, the scene quickly noticed that their genre-bending sound defies labels. Think alt-rock, alt-country, Americana, Australiana – and then add something entirely different. Or, you can use the genre devised by the band itself – ‘motel pop’.

“It’s something we just sort of came up with to describe what we were doing.

It’s more to do with substance over sound. It’s got that lounge lizardy kind of singing. That 80s period of Leonard Cohen type-feel. That sort of thing,” Mahon explained.

While the band’s journey began rather unassumingly, they rapidly gained recognition for their independent releases and idiosyncratic sound. A pivotal moment arrived in 2020 when their collaboration with Spike Fuck on the track Kind Hearts caught the attention of Flightless Records, an independent Australian label founded by former King Gizzard member Eric Moore.

On July 7 this year, the band finally gave us their debut album, Sentimentalism. Produced by the talented Errol Green, the album has quickly resonated with listeners, prompting a swift ascent in the ARIA Charts. By late July, Sentimentalism peaked at number four for Top Australian Albums and number five for Top Vinyl Albums.

Behind the scenes, Sentimentalism was a labour of love, taking shape over a span of three years.

“Sentimentalism was in the works for really fucking forever,” explained Mahon. “We started writing in 2021, in the next year we were recording in the studio and it took us ages to produce and tweak.

“We had a few songs already kicking around, but once it started to take shape, we wanted it to have a theme to it – a thread. We had heaps of unreleased music so there was an instinct to put everything into it and make an anthology of like 20 songs. But I am really glad we didn’t do that.”

That choice paid off with listeners, as the album’s thematic coherence gives it its backbone.

“We really wanted the album to be about love. We do really love and care about our music. We also wanted it to be about this Age. About now, rather than taking refuge in some false nostalgia,” said Mahon.

The opening track of Sentimentalism, Living in the Age of Loneliness, washes over you like warm water. With those first lines; “In this age of great estrangement / Deconstruction and rearrangement/ In the age beyond the age of reason/ The final stage before the change of season” the poetry alone could be self-standing.

“I do think we are in an age of loneliness – I love that phrase,” Mahon says.

“I don’t know who coined it, but I heard it for the first time in a documentary about MMA – not that that has much to do with anything. But it’s more broadly about what a lonely, alienating time this is. No one seems to be able to define or label it. It doesn’t even seem to have an essence.

As for what’s next for The Slingers, a sophomore album is (hopefully) just around the corner.

“We have got another album in the works. We have the bones of it; we just need to knock it into shape and fill it out. That’s really the next big thing for us. And hopefully a lot more touring and regional shows.”

They’ve got an eccentric sound that resists classification, and their lyrics are true poetry. Now, they’re ready with an album that’s going to make waves.

“We really wanted the album to be about love. We do really love and care about our music.”

WORDS BY ANDREW

ANGIE MCMAHON

Æ “I had to go through some hard shit to be able to write the songs that I’m now really happy I was able to write, but that all just took time.”

The slower approach to making the record helped shape it. “It was not my ideal timeline, and that is kind of beautiful in itself because a lot of what I’m writing about is the practice of failing and then restoring yourself and still feeling okay,” says McMahon. “The story of that is in the record and about the record.”

While the intimacy of McMahon’s first record can be felt on Light, Dark, Light Again, it has a richer and fuller sound. “I think on the first record I was really afraid of making something that wasn’t true to me, so I wanted to keep it quite simple,” she explains. “On this one, I felt a little bit more confident in who I am and what my vision was, so that meant that there was space to go deeper and bigger.”

McMahon also employs more vocal effects on the new record, distorting it heavily at times. “It was fun to be able to use the voice as an instrument, and not feel like I was restricted by it so much,” she says. “I was excited to make something with more complexity production-wise, and sonically I wanted it to feel cinematic, [with] a full spectrum of intimacy and also intense cosmic punches to the gut.”

The lyrical themes of McMahon’s songs have also shifted as she’s matured. “I look back on a version of myself five years ago, who was probably writing more about, and to, other people without the communication skills or maturity to be able to express myself,” she explains.

“I found with this [record] that when I was writing about other people, it felt less like a 19-year-old being like, ‘you’ve wronged me’ [or] ‘how dare you make my heart hurt,’ and… a lot more about restoring compassion to the way that I communicate with myself.”

The deeply personal music on Light, Dark, Light Again portrays a time of personal growth for McMahon. “I discovered a lot about myself and my brain neurotype and sexuality, and the different relationships that shifted within those discoveries,” she explains. “I had some things that I was really afraid of going towards that I had to go into.”

A bout of glandular fever deteriorated not only her physical but mental health. “I got really sick… and I was really, really depressed at the time [and] experiencing really high anxiety and panic attacks,” she says. “Emotionally I was at rock bottom, spiritually I was finding myself, but it was in the process of being at rock bottom.”

Fortunately, McMahon was able to work through many of the challenges. “That is where a lot of my current perspective on life, or my approach to life, came from, which is more calm and accepting than it used to be, still [with] plenty of anxiety,” she says.

As therapeutic as writing the record has been for McMahon, she cannot wait to perform it live. “It’s such a big release,” she explains.

“Not having it as a regular thing in my life has meant that I’ve had to learn other tools to release things from my body, which has also been healthy… but it feels like, for me, the most natural way to let go of stuff.”

McMahon has written an album to help her heal, which will undoubtedly go on to help heal others. “When I was writing the songs, I was really wanting to generate good energy for myself,” she says. “But also knowing that at some point I was going to play them live and hopefully that would generate a room full of good energy.”

ANGIE MCMAHON

WHERE: NORTHCOTE THEATRE

WHEN: SEPTEMBER 28

“My inner critic and perfectionist wanted it to be done and released probably 12 months after the first one, but that was not the path the universe had set out for me,” says the Melbourne singer-songwriter.

HANDLEY

“Emotionally I was at rock bottom,

spiritually I was finding myself,

but it was in the process of being at rock bottom.”

Credit: Bridgette Winten

DMA’S

“Especially after incorporating some of the songs with more of the electronic elements in it, it’s rounded off the set a lot more now. There’s still those big singalong moments with Delete and Silver, but there’s songs off the new album that have really brought a new energy, we’re feeling like all bases are covered now.”

BY CODY BROUGHAM

Æ Their first single Delete skyrocketed immediately to number 88 on the ARIA charts, and after drawing a legion of fans at home and abroad including the likes of Liam Gallagher, the band have continued to expand upon their initial traction, where many bands falter at such lofty early expectations.

Their most recent album How Many Dreams has continued the band’s meteoric rise, as the band took a left turn from their earlier Brit-pop roots and headed into a more electronic era with their most dance ready record to date. Critical acclaim and new chart heights have followed, and after playing sold out shows around the UK and Europe the group has announced a 19-date Australian tour this spring.

Speaking to guitarist Johnny Took during a brief stint back in Melbourne, the band have clearly recovered as strong as ever from the dark period of Covid that briefly put the whole music industry on pause. Their most recent venture overseas included sold out shows in Ireland, England, the Netherlands and Germany, and although their sound may have shifted towards a more dance-centric area begging for parties, the band have been able to mature on stage and evolve their live sound for the growing audience.

“We did Wembley Arena, which was an amazing gig,” Johnny says. “It was quite a simple layout which I kind of like, I like those shows where it’s just a big hall you know, maybe a bit of tiered seating on the side. I think it’s just like any job that you have. You get better at the little things, we’re onto the fourth album now and maybe a little smarter when it comes to touring and I really think the live show has come a long way.

As mentioned, most notable on the group’s recent release has been their shift in sound. A band much loved for their UK influence, you can almost visualise songs such as album closer De Carle pounding through the walls of the iconic Hacienda back in the early 1990s, and although a quick image search of DMA’S may show the group adorned with their favoured acoustic guitars, Johnny’s studio now features a wall lined with iconic synthesizers and a tumble of wires. Change can be jarring for longtime fans, but the new sound and direction may just be the injection needed to revitalise their already polished show and provide a new energy to concertgoers, returning to the live scene in the hangover of the Covid shutdown.

“There are a lot of upbeat songs, and even though they’re not fully electronic, it’s nice to just incorporate some aspects of it in there. It’s like in the 2000s - New Order were still a rock band but they were bringing those elements of electronic music into their set. It’s definitely elevated the live show a lot, there’s a lot of really upbeat, feel-good songs on the new album so we’ve enjoyed putting those into the setlist. It’s funny, Delete was always the big song, and then Silver was our big song from The Glow, but we’ve been doing these shows in the UK and the one song we always know that people are really going to get into seems to be Everybody’s Saying Thursday’s The Weekend.

“I feel like if there’s a few songs off each album that people really want to hear live, then that’s enough.

“People are always going to want to hear songs off the first EP, they’re going to want to hear songs off the first and second records, but you can’t always play them all. Every time it’s just like tightening the screws of the set. There’s going to be songs that you only incorporate for a tour, but then there’s songs that really stick around and they become staples of the live show and I really love that aspect of it.”

The band’s 19 date Australian tour is their largest to date. As well as hitting usual stops like the Forum, Frankston, Castlemaine, Torquay and Wodonga can all expect the group later this spring.

“It feels like the right time to come home and do a big tour in Australia…there’s no point in writing the songs in the studio if you don’t get to see people singing them back.”

Since their beginnings back in early 2014, Australia’s own DMA’ S have consistently subverted expectations for a band’s typical journey.

WORDS

“I feel like if there’s a few songs off each album that people really want to hear live, then that’s enough.”

ELLA HOOPER

BY LESLEIGH LUITEN

Æ Ella Hooper is the latter after releasing her second solo album Small Town Temple, topping the ARIA Charts, touring her album, and setting off on the Way Out West tour with James Reyne. We spoke with Ella about Covid, healing and feeling through music, and of course her second tour of the year.

First of all, we wanted to know what her secret was. Surely, she has some kind of superpower helping her achieve so many great things in one short period. Alas, there is no secret – Ella tells us she is making up for lost time.

“Does it look like somebody post-Covid trying to make up for lost time? Everyone’s just scrambling. Every musician I know is working so hard to regain ground or build something new. It’s a crazy time for us but it just has to be that way. You know what? I love it! So yes, it’s been a huge year, but I kind of don’t really want to be doing anything else either, so I’m cool with it.”

“I think everyone’s in a similar mood to just sort of live in the moment and buy the shoes, so to speak.

“You know, eat the cake, buy the shoes, buy the tickets, let’s do it.” Ella started working on her new record before Covid, not yet knowing that it would be Small Town Temple. She said she was too busy to get into the flow and had trouble finishing her songs. Covid afforded her the time to slow down and put pen to paper. Within six months, Small Town Temple was a fully realised vision waiting for lockdown to end.

Ella describes the album as her healing process. Small Town Temple is a love letter to Violet Town, as well as a profoundly personal expression of family, friendship and her younger self. Ella took us through why she found writing this album so freeing.

“I think it’s like a form of self-therapy when you write it down and you sing it and you commit to sort of analysing your feelings it really helps. A psychologist told me to let the subconscious know that you’re listening to it, whether that’s through journaling or meditation, or writing down your dreams. For me it’s songwriting. It lets your inner, inner person that’s deep, stuck in there that doesn’t always show its face day-today know that you are aware of it, know that you’re listening and that you sort of care.”

Sharing her true self with the audience has been a turning point in her career. Knowing that the audience relates to the most vulnerable parts of her is freeing.

“I enjoy getting vulnerable and feeling that intensity because you know we just rush around and we do so much sort of humdrum, day-to-day shit. It’s a real privilege to get intense with people and feel your feelings. So part of me just loves that even though it’s intense. The feedback is incredible, it’s actually never been better in my whole career. Like people are really responding to these songs, maybe because they are so honest. Or I’m sharing a lot more of who I really am.”

In contrast to the emotional side of things, Ella also describes touring as her joy and her life. After getting a little bit teary talking through the album and what it means to people, we were able to segway into the Way Out West tour.

“I think I’ve always just loved performing and I’ve loved the joy that brings to other people, or all the tears. I’ll take either; I’ll take laughter, I’ll take tears as long as they’re feeling something. I feel really like I’ve got a reason for being basically. So yeah, it’s such an amazing job and it’s a hard job.”

The Way Out West tour was rescheduled earlier this year after James Reyne - who is headlining alongside Ella - broke his ankle. When we spoke with Ella, she was keen to get the show on the road. “I’m itching! I mean, I saw James this morning as I was doing promo and we both agreed that it’s about time! We’re just really looking forward to having some fun and hopefully we will stay safe and not fall off anything or do anything too risky the whole time we’re out there.” Ella then added that when she finally sees James on the tour they are going to “high-five like nobody’s business”.

Ella guarantees a high level and classy night of music. Speaking of James Reyne and herself she said “we’re both into the classics, we both love incredible musicianship, and the musicians are just amazing. The songs are good! You know, they’re just good quality. We’re not really relying on trends, and we’re not trying to be hip or cool. Do you want to know that you’re gonna have an awesome night of really high-quality music? If the answer is yes, this is the gig for you!”

ELLA HOOPER

WHERE: PALAIS THEATRE

WHEN: 16 SEP

We are well past the halfway point of 2023 and some of us are wondering where the year went, while others are looking back at their achievements and wondering how they did so much in such a short period of time.

WORDS

“You know, eat the cake, buy the shoes, buy the tickets, let’s do it.”

Credit: Laura May Grogan

ART GUIDE Exhibitions to see this month

WORDS BY JACOB MCCORMACK

BRONWYN HILL: SWARM

Swarm obfuscates the parameters of portraiture and still-life in a stripped-back, but exceptionally detailed series of paintings. As the scenes reside in a complete form, the aspects that make up the broader assemblage urge audiences to contemplate their interpretation in depth. Insects increase in number throughout the body of work, arriving at a swarm reflective of the anxieties the artist experiences in the pursuit of her craft - A relatable analogy that truly evokes.

FLINDERS LANE GALLERY UNTIL 23 SEP

ROBYN STACEY AS STILL AS LIFE

JEROME RUSH: HOLDING UP THE SKY

SARAH CONTOS: IN THE BELLY OF MARY SHELLEY

Sydney based artist Sarah Contos is set to be present here first solo exhibition in Naarm/Melbourne. Through three separate films she traverses the psychological impacts of German expressionist theatre and film. Combining collage and AI technologies, the representation of multiple life cycles pays homage to Mary Shelley’s seminal work Frankenstein, and is sure to provoke audiences into existentialism.

GERTRUDE CONTEMPORARY FROM 16 SEP

In a retrospective exhibition compromised of Monash Gallery of Art’s collection of Robyn Stacey’s still-lifes, audiences can expect to be lead through the mesmerising complexities of photographic representations. In an act of genre-transcending subversion, Stacey draws attention to the historical narratives woven into the documentation of still-life art, questioning their original meaning and the historical narratives that accompanied their ubiquity, all the while utilising a modern medium to incite keen observation.

MONASH GALLERY OF ART THROUGHOUT SEP

As the more-than-human is juxtaposed against human-made forms, Holding up the Sky acts as a side-by-side analysis of the differences and similarities that reside in that very comparison. Contrasting the dispositions of organic matter with geometric, machinic and architectural constructions of buildings Jerome Rush draws forth the dualistic existence that humans lead, particularly in urbanscapes. The artist found solace and meaning in connecting with birds and wildlife during the challenges that came with living in Melbourne amidst the pandemic. Holding up the Sky acts as an invitation to audiences to consider their own daily rituals and relationship to the natural world around them.

SOL GALLERY UNTIL 16 SEP

DESMOND LAZARO: COSMOS

Desmond Lazaro is a mapmaker that employs miniature painting to document his artistry. His exhibition Cosmos tugs at the ends of his personal experience and how that weaves in and out of the stars, and wider cosmic spaces. Reimagining the universe through subjective microcosmic experiences he disturbs and challenges the conventions of his chosen form. Contemporarily we exist in a time of crisis but Cosmos will undeniably extract a sense of something greater than the individual.

ARC ONE 20 SEP

YVONNE BOAG: CONTINUATION

Scottish-born Australian painter Yvonne Boag’s painting series Continuation juxtaposes interior and exterior landscapes, and the overlap that merges the two. Acting as a visual challenge to the complicated and intriguing dimensions of fundamental physics, Continuation remains vibrational and kinetic, influenced by anthropomorphic migration. As the landscapes remain oxymoronic in their togetherness and divergence, audiences will be educed into defining their own sense of place and belonging.

FOX GALLERIES UNTIL 24 SEP

SPRING (A COLLECTION)

In an archival exhibition hosted by RMIT gallery, Spring, as both a concept informed by its climatic significance and as a period of change for people muses on seasonal transition, particularly coming into something new after a period of dormancy. As capricious weather dictates climatic conditions and life launches back into abundance, Wurundjeri people map springtime conditions in Melbourne/Naarm between August and November – a time that reflects fastpaced changes in weather conditions – three seasons rather than one: Guling, Poorneet and Buath Garru. With works from as early as the nineteenth century to more contemporary art that all span a diverse range of mediums, Spring calls forth the consideration of social and emotional states in relation to the shift of seasons. A timely and relevant reminder to check in with oneself.

RMIT GALLERY FROM 5 SEP

GRETTA RAY

Æ Positive Spin, Ray’s second album, follows on from her 2021 studio debut Begin to Look Around. Begin to Look Around was a coming-of-age record replete with infectious pop for early 20-somethings reckoning with all the angst of identity.

Positive Spin, which jets off a little from this headspace, lands as Ray settles into her mid-20s. She says she feels more in command of her songwriting than ever now.

And, with Positive Spin, it shows.

Single Don’t Date the Teenager is a gluey earworm with bubblegum hooks to make breakup pop-loving Taylor Swift, Dua Lipa, and Lily Allen fans swoon. It is also an inflection point of sorts.

“I feel like I’ve worked quite hard to achieve being able to write songs like Don’t Date the Teenager,” says Ray. “I think I never would have been able to do that years ago.

“It has taken time and practice and learning from other collaborators to get me to arrive at that point.”

If you know anything about Ray, it’s quite likely the well-documented fact that 2016 was her breakout year. Busy with year 12 then, she was named Triple J’s Unearthed High competition winner. She also won the feted Vanda and Young Global Songwriting Prize for her faintly woodsier and folkier guitar-pop song Drive. By 2018, she began her first co-writing sessions. The following year, she started to work with “topliners”, songwriting artists commonly active in pop and hip-hop recording industries, who ordinarily provide melodies and lyrics over beats or demo tracks.

“When I started writing for Begin to Look Around, the whole process of cowriting was a pretty new world to me still, but the terminology in those sessions, you pick up on pretty quickly. “There are so many. There is the writer-producer – they’re the person producing, but they’re also the writer, because they’re in the room and they’re contributing to the writing, as well as the track.

“Then there’s the topliner. That’s the name you would use just for the other person in the room who is not producing, but is helping with the melodies. And the topline is also a term for a melody. It’s very interesting – there’s a whole other sea of words.” There’s a whole discourse happening beneath the surface of Positive Spin too.

After investing close to a lifetime exploring songwriting (Ray wrote her earliest songs at the age of five), Ray says she knows from experience that making pure pop music that resonates with pop-lovers is the ultimate challenge.

And yet, on Positive Spin, she’s delivered in spades with songs such as the acoustic diary entry America Forever, and the triumphant anthem Heartbreak Baby.

“To write a catchy pop song is the hardest task of all,” she says. “I have written songs where I have crammed so many bloody words and melodies in; there is no sense of structure; the chorus comes in a minute and a half into the song and it’s all over the place.

“Sometimes that is totally good and it works, but there is this sense of form, and there does need to be that sense of structure for some things to stick like a popular song does. And it’s really hard to learn.”

After Begin to Look Around received a nomination for both an ARIA Music Award (Breakthrough Artist – Release) and a J Award (Australian Album of the Year), Ray performed a sold-out headliner tour in 2022, along with an Australian arena tour supporting Gang of Youths.

To mark the launch of Positive Spin, Ray has 11 Australian tour dates lined up.

“Right now, my whole world is the album and the Big Pop Show tour that I have coming up… and then hopefully, at some point, it would be really lovely to have a holiday. Like, a week, maybe!”

“I have written songs where I have crammed so many bloody words and melodies in, there is no sense of structure.” GRETTA RAY

“To write a catchy pop song is the hardest task of all.”

WORDS BY JOSHUA JENNINGS

FESTIVAL GUIDE

Festivals to experience this month

WORDS BY JACOB MCCORMACK

MELBOURNE ROYAL SHOW

Acting as a landmark on the spring calendar for families, children and adults alike, The Melbourne Royal Show brings together the charm of the country with the spectacle of the city. Expect the usual suspects, amusement rides, food and drinks from across the state, fairy floss and of course showbags. With live music being showcased at night and the regular farm animal shows on display punters are assured they will be entertained with a huge range of all-inclusive, interactive and fun activities and aspects to the Melbourne Royal Show they have come to love over the years.

MELBOURNE

SHOWGROUNDS 21 SEP–1 OCT

LISTEN OUT

The fan-favourite Listen Out is back in 2023, but not as you know it. The festival has made the move to Scoresby, providing the backdrop for an alternative day-party experience. Labelled as Melbourne’s forgotten wonderland, the new site at Caribbean Gardens boasts a quintessential Listen Out lineup, full of Australian and International hip-hop and electronic music. If dancing in the new season is your thing, Listen Out has you covered.

29 SEP

CARIBBEAN GARDENS

COLLECTIVE POLYPHONY FESTIVAL

In an attempt by multiple art collectives scattered around the globe to bring community support and peacebuilding to the forefront of art-making, Collective Polyphony Festival will see Melbourne and Victoria transformed into a cauldron of critique through art, workshops and panel discussions. Dispersed across multiple art spaces including Blindside (CBD), Gertrude Glasshouse (Collingwood), Daine Singer (Brunswick), Stockroom (Kyneton, VIC), Testing Ground (CBD, Victoria Market), Mary Cherry (Collingwood), Seventh Gallery (Richmond), the festival features 10 collectives: Pitcha Makin Fellas, Gudskul: Ruangrupa, Serrum, Grafis Huru Hara collectives, ShrewD Collective, The Chinese Museum Art Collective, LAST Collective, Saluhan Collective, Collective Agitation, London Alternative Photography Collective, Seaweed Appreciation Society international and In-Kind Collective. The festival seeks to analyse the impacts of collective organisation as a foundation for globalised peacebuilding through the exploration of the most urgent social-political matters including indigenous affairs, gender diversity and culturally diversity.

MULTIPLE VENUES 2 SEP–28 OCT

KOREAN FILM FESTIVAL

The Korean Film Festival in Australia returns this month, and the program is fully stocked with stirring story-telling, mesmerising and profound cinematography and refined acting. In its 14th year running this year’s festival will feature blockbusters, noir films, rom-coms, gripping thrillers and much more. Facilitated by the Korean Cultural Centre Australia, this year’s Festival will undeniably boast at least one cinematic experience that will resonate with everyone.

ACMI 7–11 SEP

MELBOURNE INTERNATIONAL GAMES WEEK

Melbourne is rich with game development studios, animation houses and industry service providers making it the perfect destination for a celebration of the world of gaming. The Melbourne International Games Week will take over multiple venues in the city to host an array of different events. From Industry Professional talks to showcases of innovative and new technological developments, to interactive concert-performances, this years festival has it all for the industry worker and gaming enthusiast alike.

MULTIPLE VENUES 30 SEP–8 OCT

FUSE

FUSE is Darebin City Council’s premier Spring multi-arts festival. In a welcoming homage to the changing of the seasons the area is transformed into a vibrant mecca of many art mediums. All are welcome as the festival kicks off with its opening event Ganbu Gulin, an invitation to all to come and be welcomed onto country and participate in workshops. Darebin prides itself on its inclusivity, creativity and forward-thinking ethos, which is apparent in bounds in Fuse. Join the community at FUSE and the revel in the opportunity to learn, evolve, grow and connect.

FLOW FESTIVAL

Art shouldn’t be exclusive, and FLOW Festival is breaking down the barriers of just that to ensure art can transcend these limitations and create meaningful experiences for all. The festival this year showcases the stories and artistry of Deaf and Hard of Hearing creatives through a dynamic program of exhibitions, performances, workshops, and presentations. Expect an unrestricted selection of art that encourages experimentation, exploration and collaboration, all the while providing a unique and inclusive experience for any attendee.

MULTIPLE VENUES 15–17 SEP

TIM FINN

Æ Over his multi-decade career, he has played a vital role in bands Split Enz, Crowded House, as well as writing his own music and collaborating with a range of different musicians.

Recently he had taken time away from performing, to focus on writing music for musical theatre. However, he is now returning for an Australian tour in September. Entitled The Life and Times of Tim Finn, the tour will see him perform at the notable Palais Theatre on Wednesday, September 13.

The run of shows will involve performing hits from all the significant moments throughout his involvement with Split Enz, Crowded House and his own solo works.

“So this show is about music from the 80s to the early 90s,” says Finn.

“Almost the mid-90s and then it stops and so there’s another show that I could do, but that would involve lesser-known songs. It would still be enjoyable for a lot of people though. I might get to that, but this, that’s what this show will be, the known songs to create a nostalgic experience for all of us.”

Despite the upcoming tour being about a chronological showcase of music that he’s been responsible for writing, whether individually or as a collaborative effort, Tim is still writing and recording today. A mentionable collaboration is the long-standing relationship he has maintained with poet and singer-songwriter Andy White.

“I did two albums in ’94,” says Finn. “One with Neil called Finn and one with Andy and Liam (Andy White, Liam Ó Maonlaí from Hothouse Flowers) called Alt. Altitude is the name of the record, the project was Alt. Last year, they released the album on a boutique UK label called Needle Mythology. Finn and Altitude were both released on vinyl. Andy had talked about our friendship in Dublin in the early 90s and what a wonderful summer we had together writing songs.

“Andy would say ‘the sea holds the memory’, which was so beautiful because Liam and I used to swim a lot, especially at this particular swimming hole. What’s

more, my dad was dying towards the end of it and when we made our first record of ‘94, Liam’s dad had just died. So, there were always connections and powerful kind of triggers going on. Andy is also so good at the lyrics. So, our relationship has evolved to where I can just send him a draft and he can rework it and send it back or vice versa.”

This ongoing relationship with White is just one example of the plethora of poets, musicians, playwrights and creatives that Tim has collided with throughout his life. In the early days of Finn playing bands, Talking Heads acted as his contemporaries in the 70s and 80s.

“We’d all picked up on the energy of the 60s. Velvet Underground were a huge influence on a lot of bands out of that period but The Beatles were the major influence on us, with their rich harmonies and melodies. David Byrne is somebody who I think is a true artist and I always look with interest for what he’s doing.”

However, it was the versatility and creative prowess of David Bowie, and his covert fascination with musical theatre that really sparked inquisition in Tim.

“I’m glad you mentioned Bowie before,” he says. “Because I found out recently that his greatest dream and his desire, his singular desire was to write a musical. At the time when musicals had come off that huge wave of classic musicals in the 50s and the 60s. A lot of the time, musicals would have been thought of as not so interesting because everybody was just so cool and so rock.

“Bowie was a revolutionary, yet why would he want to do that? I find it fascinating that he had that little engine going back then, which I think he used again and again in creating characters like Ziggy Stardust and the Thin White Duke.”

“Although I didn’t know about all that as a kid, I was still writing plays and putting them on. I wrote a parody of My Fair Lady ‘cause someone had taken me to see My Fair Lady when I was about eight or nine and it blew my mind. I can remember jumping to my feet and shaking just, you know, in exultation.” For Tim, whose creative undertakings span so far and so extensively, it is perhaps best to witness his stage presence live. To reconnect with songs that have held important moments in your life, or to simply, for the first-time bear witness to one of the most prolific musicians of the last 40 years.

TIM FINN

WHERE: PALAIS THEATRE

WHEN: 13 SEP

“Bowie was a revolutionary, yet why would he want to do that?”

Since he first started releasing music, Tim Finn has never just sat on a singular project or been satisfied by creating music through a single means.

WORDS BY JACOB MCCORMACK

STAGE GUIDE Shows to experience this month

WORDS BY JACOB MCCORMACK

MATTEO LANE

Voted as one of Variety’s Top Ten Comics to Watch, Matteo Lane will be bringing his ‘Al Dente World Tour’ to the Palais Theatre this month. He came into the public light through Netflix series’ ‘Stand Out: An LGBTQ+ Celebration’ and ‘The Comedy Lineup’ but his talents outside of comedy as a trained Opera singer, a skilled visual artist and a self-professed pasta aficionado are what has formed his unique and authentic humour. A comedic flair that will have you heaving in laughter.

TUBULAR BELLS

In an ode to the groundbreaking and seminal work of Mike Oldfield – Tubular Bells, Daniel Holdsworth and Tom Bamford are reimagining the impactful album throughout two special live performances. Faced with the arduous task of playing over 20 instruments, the meticulously choreographed musical performance that features theatrical elements, there is no room for hesitation or mistakes. Having scored the pop culture classic film, the Exorcist, Tubular Bells changed the musical landscape in bounds upon its release in the 1970s, this show is guaranteed to enthrall from start to finish. Go and see it before it’s too late.

ARTS CENTRE MELBOURNE 8–9 SEP

BANGARRA DANCE

THEATRE: YULDEA

The famed Bangarra Dance Theatre are bringing their latest creation to theatres around Australia. With Frances Rings at the helm in his maiden foray as artistic director, Yuldea acts as an awakening of land and sky to depict the story of the Anangu people of the Great Victorian Desert. Yuldea moves through the period of time when traditional life was confronted with the colonial ambition of industrial progress and development. Stolen water and atomic testing sites forced the Anangu people from their country, a people enduring by the propelling nature of culture, lore and connection to land and sky. Yuldea is a choreographed solemnity of the undying kinship to the homelands of the Anangu.

PLAYHOUSE 27 SEP–7 OCT

PALAIS THEATRE 8 SEP

AGATHI: REFUGEE

In a multimodal presentation of music, poetry, Indian classical dance - Bharatanatyam, Agathi tells the stories of hardship endured by refugees. Influenced by the personal experiences of Apsaras Arts’ artistic director, Aravinth Kumarasamy, a former refugee and poetry written by refugee children in the Book of Poems: Expressions from our Youth the production draws light on the stigmatisation of refugees, particularly in Australia. In an emotionally driven portrayal of the struggles of seeking refuge and the displacement and adjustment that ensues, Agathi is a poignant insight into the experiences of refugees.

ALEXANDER THEATRE 17 SEP

CELEBRITY

Delivered through the stylised performative structure of a lecture-performance hybrid, Celebrity is the new solo work by Suzie J. Jarmain. Tackling the westernised phenomenon of a celebrity, a status that places an individual on a pedestal, glorifying them as bigger than Jesus and greater than God. Employing dark comedic techniques to analyse celebrity addiction and worship, the performance will feature a guest appearance from Thatcher Christian – motivational icon slash actor slash singer-songwriter slash artist slash brand ambassador slash influencer slash spokesperson slash nonaward-winning, self-proclaimed deity.

LA MAMA 20 SEP–1 OCT

THE AUSTRALIAN BALLET: SWAN LAKE

Swan Lake is a classic in the ballet world, acting as a staple in the history of The Australian Ballet. In 2023 it returns, this time reinvented by Artistic Director David Hallberg and inspired by Anne Woolliams’ 1977 production. In a 60th anniversary celebration Hallberg makes his debut through exploring the motifs of love, betrayal and yearning all encapsulated in honour of The Australian Ballets commitment to a classical repertoire. Soundtracked by an emotively charged Tchaikovsky score, this enduring tale of doomed love will move audiences as it has done countless times before.

STATE THEATRE 19–30 SEP

EMERGING PERFORMER’S SHOWCASE

As part of FLOW Festival, the Emerging Performer’s Showcase will see a selection of deaf performers take to the stage. Featuring a diverse line-up of raw talent and fresh perspectives, the showcase empowers and supports emerging performers, offering them a chance to share their talents and artistic narratives with eager audiences. The showcase is set to be an unforgettable afternoon, shining a spotlight on the incredible talent and stories of people from the deaf community.

DAREBIN ARTS CENTRE 17 SEP

ARLO PARKS

Æ Like the most affecting of songwriters, Parks penetrates a deeper place within the listener’s soul. Across her Mercury Prizewinning debut album, Collapsed In Sunbeams (2021), and the 2023 release of her impressive sophomore album, My Soft Machine, Parks’ poetic and honest observations on love, vulnerability, trauma and mental health have impacted fans across the globe. Ultimately, it is within the potential of music and art’s healing capacity that she finds spiritual freedom.

“I think there’s something about experiencing art – whether that be music or film or a book – that verbalises very complicated feelings that you thought you were completely alone in or that you didn’t really have the words to explain or to shape,” says a reflective Parks, when we meet the day after her inspired performance at the Forum. “I think, for me, it’s the soothing property of music – the way that it inspires me, the way that it makes me feel understood or less alone in pain. In a live space, it’s the community that it builds and that safe space, especially when it comes to queer people and people of colour. The things that are difficult to talk about in conversation always flow more easily when it’s in song for some reason. It’s also that sense of turning the knotted, difficult and impenetrable into something that brings joy and understanding to others. I think that alchemy of it makes it easy to do, a little easier than if it was just simply joy.”

In her exquisitely unique vocals and honest, observational songwriting, the influence of Thom Yorke, Elliott Smith, Joni Mitchell and Frank Ocean is palpably felt. Parks’ poetic lyricism has seen her described as a voice for the new generation. The significance of political songs, such as Bob Dylan’s Masters of War (1963) and The Lonesome Death of Hattie Carroll (1964) or Marvin Gaye’s What’s Goin’ On (1971) and Radiohead’s Idioteque (2000) continue to resonate today.

Does she feel pressure to address complex social and political issues?

“I think it should be natural,” Parks muses. “I think it should be telling the truth whatever the truth is in that moment and allowing your craft to change and grow over time. I think just following where you naturally go rather than forcing yourself in any direction is where the most meaningful art will come about because if you try to go against what your nature is telling you to write about, then it won’t feel genuine and it won’t have the spiritual urgency that I think makes good work. Music is something that people who may feel alienated, wherever they are in the world in their family or at school or wherever they may be, feel they are accepted into something that they can connect to. Independent music has always been at the cutting edge of making more experimental work and real truth-telling in music. The independent spirit is unbreakable.”

The forthcoming release of Parks’ first book, The Magic Border, allows fans and wordsmiths intimate access into her personal poetry. It was since a very young age that Parks knew she wanted to be a writer since words were her primary way of understanding the world and herself. Raised in London by Nigerian and Chadian-French parents, Parks’ full name is Anaïs Oluwatoyin Estelle Marinho. “My dad used to play audiobooks in the car,” Parks recalls. “We would have long trips from London to the south of France and he would play Moby Dick and Treasure Island, The Day Of The Triffids, The Old Man And The Sea, and we would sit in silence and listen to these stories. The way that it kind of connected my family together and also how it made me feel – that sense of connection to the characters and anticipating the next chapter – was really beautiful.”

“The independent spirit is unbreakable.”

Arlo Parks has become one of the most enlightening singersongwriters and poets of our time.

WORDS BY CHRISTINE MORIESON

DYSON ZONE

NOISE-CANCELLING HEADPHONES

One thing that jumps out immediately on first listen is the purity of output, particularly in regards to upper mids and diction. At 16 ohm, and boasting some of the lowest distortion properties out there for a headphone of this type (0.08% at 94 dB at 1 kHz), the clarity and precision on hand here is striking to say the least, a feat made even more impressive when we take into account the fact that the 40mm neodymium drivers are positioned in very close proximity to the Zone’s dual air compressors, which draw air through the double-layer filters and project two streams of purified air to the user’s nose and mouth.

WORDS BY PAUL FRENCH

Æ Given their futuristic appearance and the fact that Dyson are the first company to combine the seemingly disparate worlds of air purification and high end consumer headphone - and all within their first foray into the audio market no less - it was inevitable that these were always going to cause a stir.

Dyson are a company who specialise in taking product design into interesting and innovative new places, and just one look at the Dyson Zone more than reiterates this. A large over ear headphone with what can only be described as a reflective, detachable mouthpiece - these immediately stand out, simply by virtue of there having never been a product like this available to the public before. Then again, until now, there has never really been a need for one.

Designed to tackle the dual threats of noise pollution and air pollution that plague our increasingly urbanised environment, the Dyson Zone headphones are a wearable, multi-purpose solution to an unfortunate modern reality.

While that alone is worthy of praise, what probably isn’t as obvious at first glance is the lengths to which Dyson have gone at the R’n’D stage to ensure that the Zone is taken seriously as a legitimate audio product. Suffice to say, in terms of providing a stellar listening experience, I am happy to report that they have more than succeeded on this front.

While you might be forgiven for thinking that this could serve as an obvious compromise to general audio quality, rather, this is precisely where Dyson’s expertise as an industry leader in air purification comes to the fore. The state of the art motor is whisper quiet and the insane level of isolation afforded by the onboard active noise cancellation work to cleverly offset any potential mechanical noise that could affect the overall listening experience.

In terms of audio quality, the 40mm neodymium drivers also provide some seriously impressive low end extension (all the way down to 6hz) and the quality of these sub frequencies is particularly noticeable across classic sonic film tropes like depth charges and big budget explosions.

Dyson’s emphasis on providing minimal distortion at the drive stage also has the added upside of giving the Zone headphones some lightning fast dynamic recoil properties, with transient information being reproduced accurately and efficiently across the frequency spectrum. For those with a particular voicing preference for their everyday listening, the MyDyson app also offers Dyson EQ (‘enhanced’), Bass Boost and Neutral settings, as well as a built in limiter and real time air quality information to gauge ambient NO2 levels.

On the topic of the air purification system, this was perhaps one of the biggest surprises of all and one of the biggest takeaways from some time spent with the Dyson Zone.

As a civilian who has limited experience with air purification, I was legitimately taken aback at how instantly refreshed and energised it felt, breathing in this new and improved air.

If I was to liken the experience to anything, it would be like having a Vitamin B12 shot or an extra few hours of sleep.

As a first foray into the world of Consumer Audio, the Dyson Zone headphones land precisely where they should in terms of audio quality. The advanced active noise cancellation, purity of voicing and the obvious health upside of the filtration apparatus all combine to make a set of headphones that are both enjoyable to listen to and successfully help to introduce the idea of wearable air filtration to a world that so definitely needs it.

Find out more about the Dyson Zone Noise-Cancelling Headphones by scanning the QR code.

There’s a good chance that by the time you read this, you will have already seen pictures of the Dyson Zone Headphones circulating the internet - and for good reason.

This article was made in partnership with Dyson.

DAN SULTAN

Dan Sultan

Æ “There’s a note on my door/ We don’t want you around/ And I felt the fear/ The first time that I found out…” – Story, the powerful opening statement and lead single from Dan Sultan’s self-titled latest fifth record, recounts one of this award-winning Arrernte/Gurindji singer-songwriter’s earliest memories. Aged four, he returned to his family home in Northcote, Melbourne to discover a racist note had been left on their doorstep. Utilising his immense talent, Sultan reclaims his own narrative here (“Tell me my past and my shame isn’t real… It’s true, this story is mine”). And through transforming “something so disgusting and ugly” into a thing of beauty, Sultan has created a song for the ages.

Sultan also self-discloses in his follow-up single, Wait In Love: a moving ballad about deciding to get sober while hoping his then-girlfriend, now-wife Bron would stick around (“Will you wait in love with somebody?/ ‘Cause you’re all I have”). Amongst all the fear and uncertainty of recent years, Dan and Bron also shared the extreme joy of welcoming two children into their world, which informed the dreamy, loved-up Fortress (feat. Julia Stone).

Aside from Stone’s trumpet playing on this latest single, Sultan and his good mate Joel Quartermain (Eskimo Joe) – also this album’s producer – played every instrumental part throughout. Another serene moment – Undreamt Shores, featuring cascading keys – washes over like a lullaby with Sultan’s vocals channelling Matt Corby. Whilst we’re on the subject of those flawless, distinctively husky pipes, prepare to be floored by Sultan’s gasp-inducing vocal leap in Rise Up.

Never fear, Sultan’s self-titled set contains some upbeat, stomping numbers as well. Ringing In My Ears, which namechecks Father John Misty, is perfect for road-trip playlists (which makes total sense since inspo for this one struck while Sultan drove through the Northern NSW hinterland with this eccentric artist’s Fear Fun record pumping through the car stezza).

One of this album’s key themes is positive transformation, which is deeply felt in Sultan’s liberation anthem, Won’t Give You That, during which he plays clapsticks. “There are some people who…it suited them when I was unwell,” Sultan details in this single’s accompanying presser. “It suited their internal narrative about themselves. I let it happen, I wasn’t well enough and I wasn’t strong enough. That’s not where I am anymore.” Built from a buoyant riff that evokes Daryl Braithwaite’s As The Days Go By, this song’s overall tone is optimistic as Sultan stands firm in his conviction: “Now you can never steal my fire.”

Touching, intimate and ultimately triumphant, Sultan sounds creatively fulfilled and excited for the future throughout his latest album. In career-best form as he prepares to embark on this new musical chapter, with clarity of vision and a renewed sense of purpose, Sultan’s time is now.

LABEL: LIBERATION RECORDS

RELEASE DATE: 18 AUG

HOT GLUE Hatchet

Æ Jangly guitars, punchy drumming and appealingly insouciant vocal harmonies

– Hot Glue navigate big feelings, long-overdue apologies and friendship breakups on Hatchet. Composed of siblings Pearl and Lily Harnath – frontperson and bassist/backing vocalist respectively – plus drummer Henry Lucas, this Melbourne trio infuses the ride-or-die intensity of adolescent relationships into an addictive set of edgy-yet-syncable songs.

The lyrics paint vivid pictures – a full moon on prom night, slept-in makeup, limousine rides and past lives – with repetition often used to great effect (eg. “Can’t finish what you started/ Can’t finish what you started…” – Roadkill, the band’s latest single).

Arrangements enhance each individual song’s message throughout, giving the floor to Pearl’s nuanced portrayals: “Words like these fall/ On shoulders that are small” – Slow Death’s vulnerable vocals are cradled by minimal instrumentation. Standout track Limousine opens with gentle strumming, drums notably absent ‘til beyond the one-minute mark. Confessional closer What A Shame (“I know it doesn’t seem it/ But I am a romantic in my way”) builds slowly, until suppressed emotion finds cathartic release through uninhibited wailing, pummelling drums and an unhinged guitar freakout.

Elsewhere, a howling werewolf pack prowls through Final Girl’s conclusion and Consequence’s guitar solo is electrifying.

Ever wagged a uni tute to hang with your mates in the caff, just in case your crush happens to wander through for a durry break? Then Hot Glue’s for you.

LABEL: DITTO MUSIC

RELEASE: 31 AUG

The Music That I Make

Æ This album’s scene-setting opening title track features an old-worldly intro, which would make a fitting soundtrack for a Shakespearean court dance and also complements the ye olde cover art.

After acknowledging she’s “thankful” for “the gift of expression”, Leah Senior defines her creative practice as “a labour of love”: “And I get put out by the music business/ But I’m grateful to the people that come along and listen/ I’m getting older and I’ll never stop/ In fact I’m more dedicated though I keep working my day job…” – you can tell she poured her entire heart into The Music That I Make and the winsome clarity of Leah’s vocals evoke Eva Cassidy.

Channelling a cowboy’s “I don’t give a fuck” ‘tude, Pony (a palomino, obvs) –which Leah composed after finding herself “stranded in the country for a while without a car” – feels carefree and spacious, with airy BVs supplied by her sister, Andi. The instrumental Downpour incorporates the pitter patter of rain and atmospheric bell chimes.

Sweeping piano melodies, pensive fingerpicking, waltz rhythms, contemplative lyrical content (eg. “I led you on to thinkin’ I was sweet/ ‘Cause I sing so high and clean/ But I’m selfish as a cat and I’m hungry as the sea…”) – listeners are transported to Leah’s “sand house by the sea” in Anglesea throughout her fourth record, until the closing Room offers a glimpse inside her creative space “out back amongst the trees”.

POLARIS Fatalism

Æ This is the last set of complete songs that Polaris wrote together with their lead guitarist Ryan Siew, who passed away in June, aged 26. Through releasing this album and continuing to tour as planned, the Eora/ Sydney melodic metalcore outfit hope to honour their artistic soulmate’s memory while summoning the healing power of live music to help them grieve alongside their loyal fanbase.

Before pressing play, we already know this record will be bleak and heavy AF, both aurally and thematically. “Cutting to the marrow, right through the bones” – these lyrics from opener Harbinger perfectly describe the penetrative impact of Polaris’ sound.

While the global pandemic engulfed the world, drummer Daniel Furnari – also one of the band’s main songwriters – had an epiphany: “our collective dread was our greatest unifier”, which soon became a thematic thread running through Fatalism.

The dystopian Nightmare kicks off with demonic clickety-clack rim clicks before dense, lurching riffs take hold. With its percolating undercurrent, Overflow threatens to boil over: “Where do I shelter when it’s raining inside?/ No peace and quiet from the noise in my mind…” Aftertouch’s soothing, keys-led intro gives listeners a rare moment to catch their breath. The perfect vehicle to showcase Polaris’ enviable synergy, All In Vein – this record’s stacks-on finale – hits like a sonic smash room.

Ooft, Fatalism is beautifully brutal. Best you fling your limbs around, expend some pent-up energy and get involved.

SAFIA A Lover’s Guide To A Lucid Dream

Æ This record’s Vocoder-featuring opening title track hovers like a UFO collecting data: “We’re letting go /Let’s flow where the rivers flow/ And heal /The more we search the more we feel…” Enter inquisitive synth lines until a belated drop, around the three-minutes mark, ushers in oscillating, danceable bliss. Listening to vocalist/ keyboardist Ben Woolner sing is an actual wellness tool. His distinctive, yearning timbre regularly cascades before leaping octaves to attain thrillingly unexpected peaks.

“Maybe your entire life is a kind of dream” – ponders The Now, tapping into this album’s surreal quality. Warning: once Today’s gently pulsating beat gets under your skin, it’s impossible to shake off. The chorus sounds like popping candy: “today”, separated into two syllables, bounces around and repeats ‘til the word becomes unrecognisable.

Falling Down, a song about “constantly pouring your heart and soul into something and feeling like you’re getting nowhere, yet you push on anyway”, evokes skillful trampoline gymnastics playing out in slow-mo. Woolner penned Fall Right Back To You’s lyrics the very day his long-term relationship ended (“I don’t love you/ I need to let you go”). Downtempo and downhearted, Maybe It’s Time – which follows – continues this breakup theme: “I guess we should say our goodbyes...”

“So where do we go from here?” –closer Season Changing shifts towards acceptance, with hopeful melodies and a reassuring beat, until instrumentation peters out and we’re ultimately left with just Woolner singing a pensive, solitary tune.

A Lover’s Guide To A Lucid Dream is an interplanetary good vibe zone (thanks, Jamiroquai).

LEAH SENIOR

KINDRED BANDROOM

LIVE MUSIC: is only one part of the puzzle that makes up Kindred. The bandroom is a place for experimentation. Unrestricted by genre, the stage welcomes all types, and visitors are always in for a pleasant surprise.

FAMOUS FOR: being an impressively massive creative hub. The huge venue features a little bit of everything: a cafe, a bar, yoga and dance studios, private rehearsal rooms, co-working spaces, a photography studio and more. Essentially, if you’re looking to get a project done, Kindred will probably have what you need,

INFAMOUS FOR: being a little distracting. With so much exciting stuff going on, it can be hard to resist getting pulled away into an interesting collaboration or some shiny new project. But is that really such a bad thing?

Æ Artsy types in the west gather at Kindred as if it were the only watering hole in a vast desert (not that Yarraville is any kind of desert – there’s a surprising amount of cool stuff out that way). Listed by Lonely Planet as one of the top ten workspaces in the world in 2016, the artist-owned business gives people a space to come together, create and learn.

It’s the ultimate place to soak up the creative spirit. On any given day, they host African drumming tutorials, glee club, acting classes, and filmmaking workshops. There are also soundproofed rehearsal rooms for bands that are frequented by local legends including Sampha The Great, REMI, Didirri and The Casanovas, as well as a sweet little bar and cafe area for drink and snacks.

The creative ethos spills into the bandroom as well, where every night offers something new. Music, but sometimes also comedy, storytelling and God knows what else.

Each Thursday night, the fluid house band Flow State delivers over two hours of fully improvised jazz, house, funk and hip hop music. It’s always free and anyone is welcome to bring their own instrument and join the jam (if they’re brave enough). As Kindred is also the home of the Victoria University Bachelor of Music, it’s not uncommon to see students testing out new material on stage.

WHERE:

1648 BURWOOD HWY, BELGRAVE

OPEN: WED & THU 4PM–LATE FRI 4PM–3AM SAT & SUN 4PM–LATE

MEMO MUSIC HALL

LIVE MUSIC: is on almost every night at Memo. From killer tribute shows to some of music’s greats, the stage is a mixed bag in the best way.

FAMOUS FOR: being a fixture of the St Kilda scene since the roaring ‘20s. This place is a part of Melbourne’s music history, and trust us: it’s seen some wild things in its time.

INFAMOUS FOR: its brief stint as a recording studio in the ’60s, under the guidance of sound engineer Bill Armstrong. During this time, it recorded everyone from Olivia Newton John to Normie Rowe.

Æ Just enter Memo Music Hall and you can feel the rich history reverberating through the walls. The beautiful art deco building has been dedicated to music and general merriment since its opening in 1924. Envisioned as a memorial at the end of the First World War, it originally hosted balls and film screenings that would raise money for veterans and their families.

During its long and rich life, the two-level space has been used as a movie theatre, a recording studio and a film studio – the 2003 film Ned Kelly was rehearsed there. Now, 99 years later, the music hall is doing what it does best: hosting some impressive talent from Australia and beyond. Over the years, the stage has been home to Tripod, Kate Ceberano, Paul Kelly, The Models, Chris Wilson and so, so, so many more.

These days, as well as the music hall, the building features a public bar, a member’s bar and a lounge bar as well. Take a look around at the posters and decor and you’re sure to spot a few relics. The music hall is a great space for intimate, sit-down gigs, as well as more rambunctious affairs when the mood is right. The sound is famously impeccable and you’re guaranteed a direct view from anywhere in the room.

Pick up some (surprisingly affordable) drinks and snacks at the bar and bring them in to watch the show. If an ideal night out to you sounds like a mix of old world sophistication and tried-andtrue musical talent, you’ll definitely find that at Memo.

THE ROOKS RETURN

LIVE MUSIC: is a common occurrence at Rooks Return. On Wednesdays it’s jazz, on Thursdays it’s honky tonk and there are DJs all weekend long for those looking to sneak in a little boogie.

FAMOUS FOR: somehow feeling both like a homey, unpretentious pub and a classy establishment – just the kind of energy you need to welcome all types through the door.

INFAMOUS FOR: being a little too cosy. The warm lighting, recycled timber interior, old oil paintings, plus booths and frayed rubs give it that hygge cabin feel and at the end of a long night, you may feel tempted to rest your eyes for just a minute. Luckily, there’s usually enough ambiance to keep you wide awake.

Æ Rooks Return is a pub that feels utterly Fitzroy. Bringing together the rustic northside charm with a cocktail menu that seriously delivers, it’s the kind of easygoing place you could rock up to on a big night out with friends, spend a lowkey afternoon playing chess or board games, or bring your parents when they come to town.

The welcoming energy mixes nicely with the intimacy of the space. When it’s especially busy, you’ll be dodging and weaving through the crowd and you’re likely to brush up against someone interesting. They also do an excellent job of curating the vibe, so if you’re trying to get away from the riff raff (AKA bachelor parties, pub crawls and the like) you’ll most likely be safe here.

Of course, no good pub is complete without a generous selection of taps, but the cocktails are not to be missed. With no traditional cocktail menu, the laidback staff are more happy to take direction. They’ll stir or shake up a classic just the way you like it – dirty, dry, or with a lemon twist. If you’re not feeling fussy, tell them to surprise you and you’ll be in for a treat. It’s also BYOF, so pack some snacks or pick something up nearby (a word to the wise: Hector’s Deli is just down the street).

For a ciggie or even just a moment of quiet, the courtyard can’t be beat. Especially in rough weather – there’s something so lovely about being warm and dry while listening to the patter of raindrops on the covered rooftop.

WHERE: 201 BRUNSWICK ST, FITZROY

OPEN: 7 DAYS, 3PM–1AM

SOOKI LOUNGE

LIVE MUSIC: Sooki lounge may be the beating heart of Belgrave’s live music scene. Hosting up-and-comers, tribute bands and even big fish like Alex Lahey and DZ Deathrays, they’re bringing in top-notch music.

FAMOUS FOR: the immaculate vibes. The massive complex has both indoor and outdoor spaces to eat, drink and be merry. Tucked into the foothills of the picturesque Dandenong Ranges, it’s been called an oasis or a retreat in the hills.

INFAMOUS FOR: the $6 shot deals. Wednesday is Jager, Friday is Fireball and Saturday is Sours. No big city prices here.

Æ If you’re having a big night out in Belgrave, you’re probably doing so at Sooki Lounge. The game plan is as follows. You start with a few cheeky afternoon cocktails in the tree-lined beer garden. Our recommendations are the Strawberry Contessa, the Tamarind Margarita and the Bloody Flatlanders – the perfect choice for us big city folk.

Once you’ve well and truly whet your appetite, grab some Mexican-inspired munchies from their wide-ranging menu, such as the Elotes, the Texi Burger or the Mexi Parma (if you’re curious, it’s a normal parma with jalapenos and pineapple on it). Then catch some live music in the band room or, depending on the day, hang around for one of the other regular activities: a fully-equipped open mic, karaoke or comedy. Grab a few night caps from the raunchy Jungle Bar, make a bunch of new friends and call your ride home. Sooki Lounge is not your average pub. It’s the kind of place every town needs – somewhere central and versatile that can function just as well for a quick catch up with friends, a good feed, or a top of the line gig. Without quality music venues like Sooki Lounge, smaller towns tend to get skipped when artists tour, meaning fans outside of the city have to commit to a long commute or they miss out on the fun altogether. Places like Sooki Lounge draw in nationally-acclaimed artists with the promise of a solid sound system, a good time and a fun and dedicated crowd. It’s a win-win!

WHERE: 1648 BURWOOD HWY, BELGRAVE

OPEN: WED–SUN 4PM–LATE

GIG GUIDE SEPTEMBER

for more gigs go to beat.com.au/gigguide

THU 7 SEP

HOT GLUE. POLLY & THE POCKETS, KINCAID

GASOMETER HOTEL, COLLINGWOOD.

7:30 PM $23.50

Restless

FT: Stevie Whatever, Pooks, No Era, Clickbait, Senor Salty, Harley James

SECTION 8, MELBOURNE.

6 PM FREE

THE LOVER WITH THÉOTIME LANGLOIS DE SWARTE

MELBOURNE RECITAL CENTRE, SOUTHBANK.

7 PM $30

MICHAEL BENEBIG QUARTET

303 BAR, NORTHCOTE.

8 PM $20

WHERE’S YOUR HEAD AT? PODCAST CORNER HOTEL, RICHMOND.

7:30 PM $35.30

BASEMENT

SPACEMAN

EDINBURGH CASTLE HOTEL, BRUNSWICK.

6 PM FREE

LONI RAE

THOMSON. ANNIE ROSE MALONEY

GEM BAR, COLLINGWOOD.

7PM FREE

MY GIDDY AUNT.

ELLA CLAIR, WINNIE LANE, AMELIA ALLAN

BERGY BANDROOM, BRUNSWICK.

7 PM $13.80

OPEN MIC ON THE BABY GRAND

RAGTIME TAVERN, PRESTON.

7PM FREE

FRI 8 SEP

LITTLE GEORGIA.

BENNY WILLIAMS

GEORGE LANE, ST KILDA.

7 PM $25

BOB SEDERGREEN’S LIFETIMES JAZZ JOURNEY

PARIS CAT JAZZ CLUB, MELBOURNE

5:30 PM $40

G-Funk The System

FT: Amin Payne & OJ Kush, Antagonize, Naru, Lixxxtrado SECTION 8, MELBOURNE.

6 PM FREE

Sleazetacular IV: Elvis

F**king Christ

presents The Cramps

FT: Hypno Sex Ray, Hanky Panky Social Club, Screamin’ Jay Hawkins & The Frenzies CHERRY BAR, MELBOURNE.

8 PM $17.48

PISCO SOUR. GOODBYE BUTTERFLY, KAREN TOOK THE KIDS

NORTHCOTE SOCIAL CLUB, NORTHCOTE

8:30 PM $15

LEE JONES

EDINBURGH CASTLE HOTEL, BRUNSWICK

6 PM FREE

RENEE SPIJKER

THE THORNBURY LOCAL, THORNBURY.

8 PM FREE

PRINCE: A TRIBUTE BY LATE NITE TUFF GUY HOTEL ESPLANADE (THE ESPY), ST KILDA.

9 PM $48.50

THE MOTION BELOW + NTH RD. GHOSTSEEKER, SOULSLEEP BERGY BANDROOM, BRUNSWICK.

8 PM $22.95

THE HUMAN JUKEBOX RAGTIME TAVERN, PRESTON.

8 PM FREE

HORMAGAUNT + GRAVEPEELER GASOMETER, COLLINGWOOD.

7 PM $17.85

ENSEMBLE LIAISON + CAMPBELL DIAMOND

MELBOURNE RECITAL CENTRE, SOUTHBANK.

7 PM $55

ECHO SOCIAL CLUB. DED//WESZ

THE BEAST, BRUNSWICK EAST.

9 PM FREE

RHYLEY MCGRATH DAYLESFORD HOTEL, DAYLESFORD.

6 PM FREE

JEFF MARTIN (THE SEVEN DEADLY SINS). JACK BRATT CORNER HOTEL, RICHMOND.

8:30 PM $61.90

SAT 9 SEP

Rot8te

FT: X8nder.M + Friends

SECTION 8, MELBOURNE.

6 PM FREE

THE DEBRA LA VELLE QUARTET LIDO JAZZ ROOM, HAWTHORN.

8 PM $25–30

HASSALL. HOT TUBS TIME MACHINE RINGO BARR, BRUNSWICK.

8PM FREE

DELANEY DAVIDSON. MATT JOE GOW GEORGE LANE, ST KILDA

7:30 PM $30

Folk Music For Foodbank

FT: Gone Westerly, Broken Creek, Good Earth KINDRED BANDROOM, FOOTSCRAY.

2 PM FREE

HEARTBREAKER: LIVE DEBUT. TUSCAN TURBO, VIDA FOX, TERRA ROUGE BAD DECISIONS BAR, FITZROY.

8 PM $15–20

BOB SEDERGREEN & FRIENDS WITH MAL SEDERGREEN & ASHLEY GAUDION CLASSIC SOUTHSIDE, ELSTERNWICK.

8 PM $25–30

ADAM RUDEGEAIR: THE BOWIE PROJECT

KEW COURT HOUSE, KEW.

8 PM $24–30

SisterWorks Spectacular

Cultural Festival

FT: Luzviminda Filipino Seniors Dance Group, Cambodian Association of Victoria Dance Group ABBOTSFORD CONVENT, ABBOTSFORD.

6 PM FREE

BAG FARMER. WAY DYNAMIC GEM BAR, COLLINGWOOD.

4 PM FREE

THE BONE FOLDERS

THE THORNBURY LOCAL, THORNBURY.

8 PM FREE

MELLOWTONIC. THE VALLIANTS, KAREN TOOK THE KIDS HOTEL ESPLANADE (THE ESPY), ST KILDA.

7:30 PM

THE SWELLS. THE CARP FACTORY, ROY DARBY TRIO, DJ PIERRE. DJ E BERGY BANDROOM, BRUNSWICK.

8 PM $16.85

JOCELYN WINTER RAGTIME TAVERN, PRESTON.

8 PM

ARC OF SUN. THE SAFETY WORD, SANDS GASOMETER, COLLINGWOOD.

7:30 PM $17.85

ELISION: THE TABLE OF KNOWLEDGE

MELBOURNE RECITAL CENTRE, SOUTHBANK.

7:30 PM $37

BAREFOOT SPACEMEN. SOCIAL STREET THE BEAST, BRUNSWICK EAST.

9 PM FREE

CURLY & THE FRINGE

DAYLESFORD HOTEL, DAYLESFORD.

6 PM

DJ DAN MURPHY PRESENTS CLUB BROADWAY

NORTHCOTE THEATRE, NORTHCOTE.

5 PM $42.84

PAPA M

NORTHCOTE SOCIAL CLUB, NORTHCOTE.

8:30 PM $56.80

A Whole Lotta

Vanda, Young, Wright & Rosie

FT: Dave Stevens, Dave Leslie, Simon McCullough, The Bon Boys, The Awesome Ride All Star Band, Angels CORNER HOTEL, RICHMOND.

8 PM $40.40

THU 14 SEP

DOPE LEMON

FORUM MELBOURNE, MELBOURNE.

7 PM $81.30

JACKIE BORNSTEIN’S SCREEN SONG

PARIS CAT JAZZ CLUB, MELBOURNE.

7:30 PM $40

THE SLINGERS

NORTHCOTE SOCIAL CLUB, NORTHCOTE.

8 PM

WINN ROSE. AFTER SCHOOL CARE, DEAR MATILDA OLD BAR, FITZROY.

8 PM

OPEN MIC ON THE BABY GRAND RAGTIME TAVERN, PRESTON.

7 PM

BIRDPOP

BRUNSWICK BALLROOM, BRUNSWICK.

8 PM $23.05

LONI RAE THOMSON. LEWIS COLEMAN

GEM BAR, COLLINGWOOD.

7 PM

SHOCK COLLAR. CHASERS, DRAGO’S AFTERPARTY

BERGY BANDROOM, BRUNSWICK.

7:30 PM $9.70

KIDS BREAK GLASS. UNCLE UMMA GASOMETER, COLLINGWOOD.

8 PM $12.25

FRI 15 SEP

SONGS FOR FREEDOM

MELBOURNE RECITAL CENTRE, SOUTHBANK.

7:30 PM $50

EDAPOLLO. PINES, LATE JUNE EVELYN HOTEL, BRUNSWICK.

9 PM $25

Surreal-Indie

FT: Y Street, Sean Frayne, Bernadette Novembre CHERRY BAR, MELBOURNE.

8 PM $15.43

SIDESPLITTER. THE RAMSHACKLE ARMY, STRAWBERRY FISTCAKE, ADMIRAL ACKBAR’S DISHONOURABLE DISCHARGE, SHADOW LEAGUE 303 BAR, NORTHCOTE.

7:30 PM $15

DAMIAN COWELL CORNER HOTEL, RICHMOND.

8:30 PM $49.90

DEADWEIGHT 80. JUDO CHOP! THE BEAST, BRUNSWICK EAST.

9 PM FREE

JUMPIN’ JACK JORDAN THE THORNBURY LOCAL, THORNBURY.

8 PM

THE SLINGERS HOTEL ESPLANADE (THE ESPY), ST KILDA.

8 PM $38.25

IRONSTONE. NEW MILLION, OUTER WORLDS, RANSOM REVUE, ANA BERGY BANDROOM, BRUNSWICK.

7 PM $16.85

BOOF!

RAGTIME TAVERN, PRESTON.

8 PM

A SWIFT FAREWELL. EXCUSE OF AN EXIT, MAIZIE GASOMETER, COLLINGWOOD.

7:30 PM $20

LASCA DRY

DAYLESFORD HOTEL, DAYLESFORD.

6 PM

COOKIN’ ON 3 BURNERS

NORTHCOTE SOCIAL CLUB, NORTHCOTE.

8:30 PM $35.30

SAT 16 SEP

THE MICHELLE NICOLE BAND

LIDO JAZZ ROOM, HAWTHORN.

8 PM $25–30

JAMES REYNE + ELLA HOOPER PALAIS THEATRE, ST KILDA.

7PM

More Styles

FT: Able8, Calculon, Campbell, Kassie, Kiva, Tamen SECTION 8, MELBOURNE.

6 PM FREE

NIASHA. CEEKO, TENDA MCFLY, DJ GLOW

NORTHCOTE SOCIAL CLUB, NORTHCOTE.

8:30 PM $35.30

AL MATCOTT. HEADSPIN, LAURA NORDA OLD BAR, FITZROY.

8 PM $15

THE FCKUPS

THE BEAST, BRUNSWICK EAST.

9 PM FREE

THE TAMARA KULDIN QUARTET CLASSIC SOUTHSIDE, ELSTERNWICK.

8 PM $25–30

PERFECT WHIP + THE HOT BLOOD

GEM BAR, COLLINGWOOD.

4 PM FREE

WOBBYGONG

THE THORNBURY LOCAL, THORNBURY.

8 PM

WORLD’S GREATEST FREAK SHOW

HOTEL ESPLANADE (THE ESPY), ST KILDA.

4:30 PM $59.70

THE PRESETS

20TH ANNIVERSARY DJ TOUR

HOTEL ESPLANADE (THE ESPY), ST KILDA.

8 PM

ATLVS. DARK MATTER, DEADSKIN, INTO THE VEIN

BERGY BANDROOM, BRUNSWICK.

8 PM $28.05

BONNIEMUSE + REFLEJOS

RAGTIME TAVERN, PRESTON.

8 PM

THE RUBY BABY. FRANKLIN’S MINT, DR EL SUAVO, KHADIJAH, BIGSHAREBAG

GASOMETER, COLLINGWOOD.

7:30 PM $12.25

THE DISTANT SOUTH DAYLESFORD HOTEL, DAYLESFORD.

6 PM

GYROSCOPE + BODYJAR. KLINGER, CHEAP SKATE

CORNER HOTEL, RICHMOND.

8 PM

THU 21 SEP

BB SABINA. TEXAS MILK BAR

THE MERRI CREEK TAVERN, NORTHCOTE.

7 PM $10

Birds of Tokyo + Melbourne Symphony Orchestra present Birdsongs

HAMER HALL (ARTS CENTRE MELBOURNE), MELBOURNE.

7:30 PM $75–135

MOUNT KUJO

303 BAR, NORTHCOTE.

8PM

AMBUR. MAYZIE, SPORES

OLD BAR, FITZROY.

8 PM

WILSON & WHITE EDINBURGH CASTLE HOTEL, BRUNSWICK.

6 PM

NICK KEOGH

THE WESLEY ANNE, NORTHCOTE.

8 PM.

LONI RAE THOMSON. FERLA GEM BAR, COLLINGWOOD.

7 PM

Listen Up Music!: The Songwriting Prize - Melbourne Semi Final (Night 1)

BERGY BANDROOM, BRUNSWICK.

7 PM FREE

OPEN MIC ON THE BABY GRAND RAGTIME TAVERN, PRESTON.

7 PM FREE

KVNYL. REX, JAY

ZAYAT, DJ BBSANII, BOLER MANI GASOMETER, COLLINGWOOD.

6 PM $17.85

FRI 22 SEP Night of Power

3: Power Ballads

All Night.

FT: DJ Thin Lindsay BRUNSWICK ARTISTS’ BAR, BRUNSWICK.

7:30 PM FREE

Kwazar: I’m In A Cave And It’s Warm In Here.

FT: Sevn Aguarda, Chromepalms, Pantsman THE TOFF IN TOWN, MELBOURNE.

8 PM $15

Birds of Tokyo + Melbourne Symphony Orchestra present: Birdsongs

HAMER HALL (ARTS CENTRE MELBOURNE), MELBOURNE.

7:30 PM $75–135

VARDOS: MUSIC TO SPY TO MELBOURNE RECITAL CENTRE, SOUTHBANK.

6 PM $30–37

DAVE GRANEY & THE CORAL SNAKES: ‘NIGHT OF THE WOLVERINE’ 30TH ANNIVERSARY CORNER HOTEL, RICHMOND.

8:30 PM $56.80

OUR CARLSON. CONG JOSIE & THE CRIMES, ELEKTRONIK GIRL EPIC OLD BAR, FITZROY.

8 PM $23.50

JESS PARKER BAND. SIN CITY GEM BAR, COLLINGWOOD.

9 PM FREE

GYPSY KING JONES TRIO

THE THORNBURY LOCAL, THORNBURY.

8 PM

NOASIS + SPECIAL GUESTS

HOTEL ESPLANADE (THE ESPY), ST KILDA.

8 PM $37.25

Listen Up Music!:

The Songwriting Prize - Melbourne

Semi Final (Night 2)

BERGY BANDROOM, BRUNSWICK.

7PM

ADAM RUDEGEIR + JAMES LOCKWOOD

RAGTIME TAVERN, PRESTON.

8 PM

MUNTED CHUNTS. THE BIN STOMPERS, NEPHALEM, SCARN-ON

GASOMETER, COLLINGWOOD.

7:30 PM $12.25

LOST BRANCH. MERAKI MINDS

THE BEAST, BRUNSWICK EAST.

9 PM FREE

DANNY ROSS

DAYLESFORD HOTEL, DAYLESFORD.

6 PM

GRETTA RAY. CATE NORTHCOTE THEATRE, NORTHCOTE.

7:30 PM $51

SISTERS DOLL NORTHCOTE SOCIAL CLUB, NORTHCOTE.

8:30 PM $29.10

THE JACKIE BORNSTEIN

QUARTET

CLASSIC SOUTHSIDE, ELSTERNWICK.

8 PM $25–30

Birds of Tokyo + Melbourne Symphony Orchestra present Birdsongs

HAMER HALL (ARTS CENTRE MELBOURNE), MELBOURNE.

7:30 PM $75–135

AUDIOGARDEN

CHERRY BAR, MELBOURNE.

8 PM $17.48

J. L TRIO

EDINBURGH CASTLE HOTEL, BRUNSWICK.

6 PM

THE JENNIFER

SALISBURY & MARK MORAND QUARTET

LIDO JAZZ ROOM, HAWTHORN.

8 PM $25–30

KARAKAS

THE THORNBURY LOCAL, THORNBURY.

8 PM

YOLANDA BE COOL HOTEL ESPLANADE (THE ESPY), ST KILDA.

8 PM FREE

VOLATILE WAYS + BLOODMOUTH

BERGY BANDROOM, BRUNSWICK.

8 PM $22.95

FUNGAS. METDOG GASOMETER, COLLINGWOOD.

7 PM $12.25

XANI KOLAC

MELBOURNE RECITAL CENTRE, SOUTHBANK.

8 PM $37

BLOODY RIPPER

THE BEAST, BRUNSWICK EAST.

9 PM FREE

THU 28 SEP

JG THIRLWELL

MELBOURNE RECITAL CENTRE, SOUTHBANK.

7 PM $60

CHECKERBOARD

LOUNGE

303 BAR, NORTHCOTE.

8 PM $20

JBEE CORNER HOTEL, RICHMOND.

7:30 PM $49.90–64.90

Public Holiday Eve

FT: Sarah Yagki, Pretty Moi, The Cuisines OLD BAR, FITZROY.

8 PM $11.25

JEB CARDWELL

LULIE TAVERN, ABBOTSFORD.

6 PM FREE

RODEO NIGHTS

EDINBURGH CASTLE HOTEL, BRUNSWICK.

6 PM

LONI RAE THOMSON. NAT PAVLOVIC GEM BAR, COLLINGWOOD.

7 PM

BRITISH INDIA. LOSER HOTEL ESPLANADE (THE ESPY), ST KILDA.

8 PM $44.40

DRASTIC PARK. DOWN AND OUT, THIS SPACE IS OURS, FROM THE OTHER SIDE

BERGY BANDROOM, BRUNSWICK.

8 PM $16.85

OPEN MIC ON THE BABY GRAND

RAGTIME TAVERN, PRESTON.

7 PM

ANGIE MCMAHON NORTHCOTE THEATRE, NORTHCOTE.

7:30 PM

FRI 29 SEP

BRAND: NO GODS, NO MASTERS LAUNCH. HELLVIS, GARDENIA, MISS AMARIS BAD DECISIONS BAR, FITZROY.

8 PM $21.68

SYSTEM OF A DON’T + STRONGER THAN ALL CHERRY BAR, MELBOURNE.

8 PM $22.59

LOJAY CORNER HOTEL, RICHMOND.

8:30 PM $84.90

DAYZED. MATURE THEMES, DOG DOOR OLD BAR, FITZROY.

8 PM $11.25

JUMPING JACK JORDAN RAGTIME TAVERN, PRESTON.

8 PM

JOSCELYN WYNTER THE THORNBURY LOCAL, THORNBURY.

8 PM

BOB EVANS HOTEL ESPLANADE (THE ESPY), ST KILDA.

8 PM $44.40

STEPPERS. HEADPHONE JONES, MAD GAMBLE BERGY BANDROOM, BRUNSWICK.

8 PM $16.85

HERNÁN CATTÁNEO (5 HOUR EXTENDED SET). JAMIE STEVENS, KASEY TAYLOR, KARL PILBROW, KALLISTO NORTHCOTE THEATRE, NORTHCOTE.

2 PM $86.70

SAT 30 SEP

SCARLETT COOK

RAGTIME TAVERN, PRESTON.

8 PM

ANGES MANNERS. THE BRILLIANT DANCE, R.U.B, SLIM KRUSTY CHERRY BAR, MELBOURNE.

8 PM $15

BETWEEN YOU & ME. GRENADE

JUMPER, BESTIES NORTHCOTE SOCIAL CLUB, NORTHCOTE.

8 PM

MAGGIE ALLEY + ECHO SOCIAL CLUB OLD BAR, FITZROY.

8 PM

BUSTED CHOPS

EDINBURGH CASTLE HOTEL, BRUNSWICK.

6 PM

ALEXANDER

NETTELBECK’S NEW IMPROMPTU QUARTET CLASSIC SOUTHSIDE, ELSTERNWICK.

8 PM $25–30

THE DELVENES THE THORNBURY LOCAL, THORNBURY.

8 PM

MELLOWTONIC. WIZARD TRICKS, RAMONA SKY HOTEL ESPLANADE (THE ESPY), ST KILDA.

7:30 PM

MOOD SPILL. ROMANIE, NONNA’S KITCHEN BERGY BANDROOM, BRUNSWICK.

8 PM $16.85

EXTASY MORRICONE

MELBOURNE RECITAL CENTRE, SOUTHBANK.

8 PM $25