ISSUE NO. 694 DECEMBER 21, 2016
FREE Now picked up at over 1,600 places across Sydney and surrounds. thebrag.com
MUSIC, FILM, THEATRE + MORE
INSIDE This Week
A R T, PR IS ON A ND PUNISHMEN T
The paintings of Myuran Sukumaran come to Sydney Festival.
WA F I A
On breaking into a music scene she's not always comfortable with.
COR INNE B A IL E Y R A E
Tracing the evolution of soul.
A S S A S SIN'S CR EED
Aussie director Justin Kurzel takes on a blockbuster.
Plus
HIGH A S A K I T E DUBM A R INE F L ICK E R F E S T S A M SIMMONS A ND MUCH MOR E
MILES DAV IS
TRIPLE M PRESENTS
TICKETS FROM SPIDERBAIT.COM.AU
thebrag.com
BRAG :: 694 :: 21:12:16 :: 3
the BRAG presents
welcome to the frontline: what’s goin’ on around town... with James Di Fabrizio, David Molloy and Chris Martin
Newtown Social Club Monday April 10
five things WITH
TREVOR HALL
Your Band Szun Waves is an 3. experiment in improvisation. We
Inspirations Roedelius and Alice Coltrane are two of my biggest infl uences, but I’m continually inspired by all different kinds of music. Recently I’ve been listening to a lot of new-age ambient and Delta blues. Inspirational ideas come from all areas of life, not just from
2.
connected through music, met up in London and recorded our debut record the first time we met. We have a shared love of spiritual jazz and cosmic vibrations. We make it up as we go along, sincerely guided by the universe. We all have a lot of other projects too; I release as a solo artist and do production and mixing work too. Recently I mixed the Gold Panda album and currently I’m working on a record with a band called Gulp. The Music You Make Szun Waves make cataclysm-funk, antibody polymorph-rock, heavy sports
4.
jazz, rhizome five jams, ambient siren showers. We are the anti-jazz, the real jazz and the unheard jazz. We recorded our first album at James Holden’s studio in London, and we’ve started work on the second already.
MILES ELECTRIC BAND
Music, Right Here, Right Now 5. ‘The music scene’ isn’t anything;
Metro Theatre Sunday April 16
it’s what you make of it, you can ignore it. The best music scene happens behind closed doors with no audience, for the pleasure of the cosmos. Find like-minded people and go somewhere far away from all the noise, that’s where it’s at. What: At Sacred Walls out now through Buffalo Temple Where: St. Stephen’s Uniting Church as part of Sydney Festival 2017 When: Friday January 13
MANAGING EDITOR: Chris Martin chris@thebrag.com 02 9212 4322 SUB-EDITOR: Joseph Earp ASSOCIATE ONLINE EDITOR: David Molloy STAFF WRITERS: Adam Norris, Augustus Welby NEWS: David Burley, James Di Fabrizio, Harriet Flitcroft, David Molloy, Ariana Norton ART DIRECTOR: Sarah Bryant PHOTOGRAPHER: Ashley Mar ADVERTISING: Tony Pecotic - (02) 9212 4322 tony@thebrag.com PUBLISHER: Furst Media MANAGING DIRECTOR, FURST MEDIA: Patrick Carr - patrick@furstmedia.com.au, (03) 9428 3600 / 0402 821 122 DIGITAL DIRECTOR/ADVERTISING: Kris Furst kris@furstmedia.com.au, (03) 9428 3600 GIG & CLUB GUIDE COORDINATOR: Sarah Bryant - gigguide@thebrag.com (rock); clubguide@thebrag.com (dance, hip hop & parties) AWESOME INTERNS: Anna Wilson, Ariana Norton, Harriet Flitcroft, David Burley REGULAR CONTRIBUTORS: Nat Amat, Arca Bayburt, Prudence Clark, Chelsea Deeley, Christie Eliezer, Matthew Galea, Emily Gibb, Jennifer Hoddinett, Tegan Jones, Sarah Little, Emily Meller, David Molloy, Annie Murney, Adam Norris, George Nott, Daniel Prior, Tegan Reeves, Natalie Rogers, Erin Rooney, Spencer Scott, Natalie Salvo, Leonardo Silvestrini, Jade Smith, Aaron Streatfeild, Rod Whitfield, Anna Wilson, Stephanie Yip, David James Young Please send mail NOT ACCOUNTS direct to this NEW address 100 Albion Street, Surry Hills NSW 2010 ph - (02) 9212 4322 fax - (02) 9319 2227 EDITORIAL POLICY: The views and opinions expressed in this publication are not necessarily those of the publisher, editors or staff of the BRAG.
like us:
THE BRAG
4 :: BRAG :: 694 :: 21:12:16
THE STRUMBELLAS Oxford Art Factory Monday April 17
ST PAUL AND THE BROKEN BONES Metro Theatre Wednesday April 19
Virginia five-piece Windhand have gone from playing local underground shows to touring worldwide with some of the greats in just a few years, while metal band Cough have only recently returned from a five-year hiatus. The twin groups of thrashers are now set to tour Australia with an unstoppable double-header show, their songs undoubtedly set to inspire enough head-banging and pit-crawling to satisfy all their fans. Windhand and Cough take Newtown Social Club on Wednesday April 5.
EYES ON THE PRIZE
After judiciously listening to 364 albums, the committee for the 12th annual Australian Music Prize has revealed its longlist for 2016. From debut albums by the likes of D.D Dumbo and Dope Lemon, to the 16th studio album from Nick Cave and The Bad Seeds, the 12th AMP Longlist represents excellence in Australian music. Also making an appearance in this year’s nominations are A.B. Original for Reclaim Australia, The Avalanches with Wildfl ower, Camp Cope, The Delta Riggs, The Drones, Emma
IT’S A SKA-BQ
Still on a galactic-sized high after a fantastic 2016, Australia’s favourite ska conglomerate, the Melbourne Ska Orchestra, have just unveiled the 11 tracks they couldn’t fit on their last release in the form of new record Saturn Return, as well as locking in a set at the Factory Theatre. In late 2015, they teamed up with the Melbourne Symphony Orchestra to record Sierra-Kilo-Alpha, their award-winning LP. The leftover songs now form the body of Saturn Return, an intergalactic journey through true imagination. It will be presented in the form of a spaceship USB device and sees them enter a new creative galaxy, where no ska outfit has gone before. Melbourne Ska Orchestra play the Factory on Sunday March 5.
Russack, Flume, Mike Noga, The Nation Blue, The Peep Tempel, Yeo and many more. In 2015, 56 albums were longlisted for the 11th AMP with Melbourne singer-songwriter Courtney Barnett taking out the top prize for her acclaimed record, Sometimes I Sit And Think, And Sometimes I Just Sit. The shortlist will be announced on Wednesday January 18, with the winner announced in March 2017 and awarded $30,000 in prizemoney.
WASCALLY WABBITS
Scottish group Frightened Rabbit are heading to our shores on a newly announced tour. Coming in the wake of April’s Painting Of A Panic Attack, the group shacked up in the studio with The National’s Aaron Dessner to craft one of its most commercially successful records to date. Frightened Rabbit have built a solid fan base off their previous releases, including albums Sing The Greys, The Midnight Organ and The Winter Of Mixed Drinks. They’ll hit Oxford Art Factory on Friday March 10.
BACK IN OUR HEADS
My Disco
A DISMAL DANCE PARTY
My Disco are taking to the road once again. After hitting up next year’s Sugar Mountain festival, they’ll arrive on stages across the country off the back of their latest remix LP, Severe Remixes, and their fourth studio album, Severe, which was recorded, mixed and produced in Melbourne by acclaimed film composer and producer Cornel Wilczek. The entirely digital recording process was a huge change for the group, which had previously worked with renowned analogue tape guru Steve Albini. My Disco will play Newtown Social Club on Saturday February 11.
Following on from sold-out headline shows across the country and an acclaimed set at Splendour In The Grass, Tegan And Sara are returning Down Under for a national tour in 2017. They’ll be hitting Sydney off the back of their eighth studio record Love You To Death, which found them once more working with revered producer Greg Kurstin (Adele, Sia, Beck). They’ll headline at Taronga Zoo on Thursday March 9.
MAINTAINING COMPOSURE
Balance And Composure will be heading back to the country for their biggest string of shows to date. The tour will be their first visit here since 2014, when they travelled around Australian cities with fellow trailblazers La Dispute. This year, Balance And Composure released the impressive Light We Made, which will provide new live material for eager Australian fans. Get to the Factory Theatre on Tuesday March 28 for an all-ages gig. thebrag.com
Melbourne Ska Orchestra photo by Ian Laidlaw
follow us:
@TheBrag
Newtown Social Club Monday April 17
A NASTY COUGH
DEADLINES: Editorial: Friday 12pm (no extensions) Ad bookings: Friday 5pm (no extensions) Fishished art: No later than 2pm Monday Ad cancellations: Friday 4pm Deadlines are strictly adhered to. Published by Furst Media P/L ACN 1112480045 All content copyrighted to Cartrage P/L / Furst Media P/L 2003-2014
PRINTED BY SPOTPRESS: spotpress.com.au 24 – 26 Lilian Fowler Place, Marrickville NSW 2204
NIKKI HILL
Melbourne Ska Orchestra
ACCOUNTS RECEIVABLE: Kris Furst: accounts@furstmedia.com.au ph - (03) 9428 3600 fax - (03) 9428 3611 Furst Media, 3 Newton Street Richmond Victoria 3121
DISTRIBUTION: Wanna get the BRAG? Email distribution@ furstmedia.com.au or phone 03 9428 3600
CORINNE BAILEY RAE
Szun Waves photo by Richard Pike
CHEW ON THIS
The three-day music and camping festival in the Hunter Valley, The Gum Ball, has locked in a boom lineup for 2017. Next year’s event at Dashville will feature a headlining set from quirk rock icons Regurgitator, joined by comedy trio Tripod. Also appearing are songwriter Boo Seeka and collaborator Sammy Seeka, The Drones’ frontman Gareth Liddiard, three-piece rockers The Peep Tempel, Liz Stringer, Jack Carty, The Ocean Party, The Steele Syndicate, Mick Hart, Africa Entsha and Freya Josephine Hollick. Expect even more acts to be added on a second round lineup next month. The Gum Ball 2017 takes over Dashville at Belford in the Hunter Valley from Friday April 21 – Sunday April 23.
Enmore Theatre Thursday April 13
The Strumbellas photo by Josh Goldman
1.
Newtown Social Club Wednesday April 12
LUKE ABBOTT FROM SZUN WAVES other music. I fi nd Alan Moore’s ideas about magic really inspirational at the moment; I think he understands some deep truths.
Growing Up I grew up in the English countryside surrounded by fields. My father is a big muso and he introduced me to a lot of different music very early on. I’ve played in bands since I was about 14 years old – I used to play drums but I got into synths when I was at art school.
TURIN BRAKES
St Paul and The Broken Bones photo by David McClister
music news
thebrag.com
BRAG :: 694 :: 21:12:16 :: 5
live & local
free stuff
welcome to the frontline: what’s goin’ on around town... with Harriet Flitcroft and James Di Fabrizio
head to: thebrag.com/freeshit
songwriters’ secrets WITH
SCOTT DARLOW
happened in the past and things that continue to happen. I perform it live with a band, which is rocking with big guitars, and also solo with a yidaki and a loop pedal. The album is a collection of songs that are literally the soundtrack to my heart over the last several years. Songwriting Secrets I think for me the only secret is that I need to be passionate about the subject I’m writing about. From there it flows. It’s like writing an essay, really. I need to have something to say, and then a direct story will fl ow.
3.
The First Song I Wrote 1. A song called ‘Heart
And Soul’ – a terrible, cheesy love song for an ex-girlfriend. I think I was 18. The chorus was, “I gave you everything I had to give / Without your love I don’t think that I can live / I gave you everything, it wasn’t
enough, my heart and my soul.” The Last Song I Released 2. A song and album
simultaneously on November 11 called ‘Sorry’. It’s a song I wrote about my Aboriginal family and the history of Australia; things that have
Harts
The Song That Makes Me Proud 4. My biggest hit thus far is
a cover of ‘Solid Rock’ that is also on this record. It’s a rocking version of the 1982 Goanna release that the original author and performer of the hit, Shane Howard, was kind enough to sing with me as a duet. And as much as I love that song and my version, the song I’m most proud of is the current single, ‘Sorry’. It’s a song that when I play it live, I move people. I often have people in tears after a show – the lyric and also when I play yidaki and sing in Aboriginal language connects with them in a way they don’t understand even – and to be honest, I don’t really get it totally either, but that said, it’s humbling and I am so stoked that my music has moved them and hopefully
brought them some joy. The Song That Changed My Life 5. ‘Solid Rock’ was and
continues to be lifechanging for me on so many levels. The fact it was the first time that Aboriginal people actually heard a song about them on commercial radio … it’s also a rocking song. The other one as a performer was seeing Howie Day play ‘Ghost’/‘Beams Of Light’ live at the Roxy in Hollywood several years ago. What: Sorry out now independently And: Also appearing at Yurora Festival, The Tops Conference Centre, Stanwell Tops, Sunday January 8 – Thursday January 12
HARTS
Harts, Australia’s premier soul/electric/indie multi-instrumentalist and music-making machine has just released his new album Smoke Fire Hope Desire, recorded entirely in his own home. He’s only 24 years old, but Harts has already received much acclaim and even jammed with the late, great Purple One, Prince himself. Harts’ other influences include Jimi Hendrix, Nile Rodgers and Quincy Jones. The album is accompanied by The Official Songbook, which contains every song in tab format so any fan can learn to master Harts’ sound. If your hart desires a copy, we’ve got three copies to give away. Enter at thebrag.com/freeshit.
Vika Bull and Debra Byrne
Waax
FEEL THE EARTH MOVE
The legendary Carole King album Tapestry will be celebrated at a Sydney show in February. King’s musical masterpiece, which features classics such as ‘You’ve Got A Friend’, ‘Will You Love Me Tomorrow’ and ‘I Feel The Earth Move’, turned 45 this year and will be brought to life in a new show featuring two of Australia’s best musical performers. Vika Bull has been performing since 2013 in the tribute show At Last: The Etta James Story and has worked with artists such as Paul Kelly, John Farnham and Hunters And Collectors. She will perform alongside Logie Award-winner Debra Byrne, who has three solo records and a number of playbills under her belt. Tapestry remained number one in the Billboard 200 chart for 15 weeks, and has sold over 25 million copies worldwide since its release. Revisit the hits at the Enmore Theatre on Friday February 10.
I Know Leopard
MORE THRASH FOR THE VILLE
The debut edition of Thrashville has added Brisbane band and triple j faves Waax to its lineup, with Waax promising to bring the hard and heavy energy that has garnered them much attention from the music industry. Also newly scheduled on the first-time festival bill are Stone Lions, a pop-punky trio hailing from the Central Coast who have just dropped their debut EP Necking On & Kicking Off, Pt. 1. Aaron Gocs has also been announced as the festival MC; the viral YouTube star is known for his dry observational humour. Already announced for the impressive lineup are Cosmic Psychos, Hard-Ons, Clowns and Glitoris, plus more. Coming from the creators of Dashville Skyline, The Gum Ball and PigSty In July, Thrashville is the new (slightly heavier) kid in town. It will take place at Dashville in the Hunter Valley on Saturday January 21.
THE WINDS OF WINTERBOURNE
CHANGING SPOTS
Our very own dream-pop quartet I Know Leopard are starting 2017 with a bang. Their new tour dates follow the single ‘Rather Be Lonely’, an anti-love anthem that was immediately added to triple j rotation. After a year that saw I Know Leopard sign to acclaimed label Ivy League and set sail on two national support tours with The Paper Kites and Holy Holy, their forthcoming east coast tour will see them preparing to take next year by storm as well. I Know Leopard play the Hudson Ballroom on Friday February 10.
6 :: BRAG :: 694 :: 21:12:16
30 YEARS OF REYNE
It’s been 30 years since James Reyne’s praised debut album, his first departure from beloved band Australian Crawl. Since then, Reyne has enjoyed a solid solo career, but with the anniversary of his first record just around the corner, the singer-songwriter will celebrate the date with an exclusive show.
ENTER THE GARDEN
The organisers of Australia’s most extravagant forest party, Secret Garden, have revealed a 48-hour music program headlined by The Jezabels, Urthboy and Oliver Tank, with Donny Benet and friends curating Love Song Dedications and much more. As usual, Secret Garden 2017 boasts an extremely diverse and eclectic lineup, and the music is boosted by the addition of dance classes, glitter makeovers, a kissing booth, the famous Secret Garden Olympics and plenty other excitement. The full schedule features Alex Lahey, B Wise, Bec Sandridge, Gretta Ray, Japanese Wallpaper, The Ruminaters, Spod, Total Giovanni and many more. Secret Garden takes over a secret location outside Sydney from Friday February 24 – Saturday February 25. thebrag.com
Waax photo by Jeff Anderson
Off the back of a sold-out headline jaunt, Winterbourne are hitting the road again. Their biggest tour to date will see the boys hop into their trusty 1989 Volkswagen once more to head down the east coast for a string of shows. Having spent the last couple of months writing songs for their new record, Winterbourne will be travelling around the country as a trio for the first time, playing unheard songs as well as new adaptations of old classics including tracks from their second EP Pendulum. They’ll play The Lair at the Metro Theatre on Saturday February 11 and The Brass Monkey on Friday February 24.
Not only will he play fan favourites from the album in concert, his self-titled record will be reissued on vinyl for his most devoted fans. Commemorate the 30th anniversary of James Reyne at The Brass Monkey on Tuesday January 24.
thebrag.com
BRAG :: 694 :: 21:12:16 :: 7
Industrial Strength Music Industry News with Christie Eliezer
Lifelines Hospitalised: Mike Williams of US band Eyehategod had a successful liver transplant. A crowdfunding campaign smashed the original US$50,000 target. Charged: Fifth Harmony singer Lauren Jauregui, after allegedly being found with marijuana in her bag at a security checkpoint at Washington Dulles International Airport while on her way to perform in Brazil. In Court: a 31-year-old man from Massachusetts was ordered to stay away from Ariana Grande after he sent her text messages and gifts (including a giant pumpkin), and travelled to New York and Connecticut to try to talk to her. He also has to continue with his mental health counselling. Died: Mark Fisher of ’80s UK band Matt Bianco, details unknown. Died: US record exec Bob Krasnow, co-founder of Blue Thumb Records and CEO of Elektra/Asylum/Nonesuch Records. He signed Tracy Chapman, Anita Baker, Metallica, Parliament-Funkadelic, Ike & Tina Turner, Captain Beefheart, Gipsy Kings, Mötley Crüe, Keith Sweat and Dan Hicks and The Hot Licks, among others. Died: US rock photographer Richard E Aaron, 67, best known for the cover shot of Peter Frampton’s Frampton Comes Alive! album and Paul McCartney for Time magazine’s first rock musician cover.
APRA, PPCA TO COMBINE LICENSING SYSTEMS
Two major music rights management organisations designed to protect songwriters and publishers, APRA AMCOS and PPCA, are developing a single public performance licensing system under the name OneMusic Australia. They say it’s a simpler way to obtain, manage, report on and pay for music licences – similar to the way they’ve done it in New Zealand for three years. It’s business as usual for both organisations until the changes come into effect over the next 18 months. In the meantime, APRA’s director of member relations Milly Petriella is moving to the US to set up a new association in Los Angeles and Nashville called Australians In Music. The company has been designed to create new opportunities for members of the world’s largest music market. APRA CEO Brett Cottle said Aussies are finding a great deal of success Stateside. “In the last financial year we processed and paid out more than $40 million in international royalties to our members,” he said.
WARNER MUSIC AU TO GET NEW MD
Warner Music Australia will welcome a new managing director in 2017. Tony Harlow, the Brit who’s held that role for six years, will move to New York to take up the mantle of the new president of WEA Corp, effective Wednesday March 1. WEA Corp is a global artist and label service responsible for heading up the marketing, distribution, sales and research arm of the Warner Music Group.
NEW SOUNDCLOUD DEAL PROTECTS DJ MIXES
A new deal struck by SoundCloud with various licensing groups means that longer DJ mixes will not have to secure permission from the copyright holders of songs contained within them to stay on the site. Nonetheless, this does not apply to short mixes of individual songs. Despite the overall promising nature of the news, Billboard said a blog by SoundCloud founder Eric Wahlforss is sending mixed messages. There’ll be fewer takedowns, Wahlforss said, but added, “We respect the rights of all creators who request to have their content removed.”
COLDPLAY PASS FIVE BILLION SPOTIFY STREAMS
Recent Aussie tourists Coldplay have generated five billion streams on the Spotify
8 :: BRAG :: 694 :: 21:12:16
THINGS WE HEAR • Which musician is thanking his ailing mentor by moving him into his house to look after him? • Which musician proudly admits he uses his pointy-topped ARIA Award to open oysters when he goes fishing? • Will we see the original lineup of Live, now fronted again by Ed Kowalczyk, in 2017 as part of their world tour? • Will Bring Me The Horizon perform with an orchestra at the Sydney Opera House sometime soon? • Former Def FX singer Fiona Horne will release two books this year – her autobiography and a “surprise” project. Her last
was on witchcraft. • Lineup changes: Miami Horror guitarist and singer Aaron Shanahan has left the group after seven years to focus on his electro project Sunday. Also, after seven years of service, sax/ flute player Kate Charlwood and trumpeter Daniel Sutton said their goodbyes to The Cactus Channel. • After returning home to Brooklyn after their Australian dates, pop duo Chairlift announced they’re going their separate ways. Caroline Polachek is pursuing her solo career and Patrick Wimberly is producing records full-time. • The Music Managers Forum in New Zealand has revoked its Manager of the Year 2010 award to Matt Coleman, former manager of Avalanche City
platform. This makes them officially the biggest band in the world in terms of streams. Their most successful track is ‘Adventure Of A Lifetime’ from the album A Head Full Of Dreams, which has earned 322 million plays. Following that is ‘Hymn For The Weekend’, with 289,860,180 streams. The tracks from A Head Full Of Dreams together total one billion plays. When it comes to Spotify monthly listeners, Coldplay rank 12th with 25.4 million streams.
NSW GOVT TO FUND REGIONAL TOURS, FESTIVALS
The New South Wales Government has put aside $150,000 for the new Regional NSW Live and Local Initiative, to support musicians and grow live music in the state’s regional areas. A partnership with the Live Music Office will help councils stage micro-music festivals in new and creative places like local streets, cafes, shops, hospitality premises, parks and malls. Contact John Wardle from the LMO on 0407 400 018. Another $50,000 has been committed to a pilot program with MusicNSW to help musos build their regional touring skills and play gigs in regional and remote NSW, encouraging them to invite regional acts to open for them. Regional musicians planning to tour rural areas are also invited to apply.
(AKA Dave Baxter). Last month, Coleman was found guilty by the High Court of ripping off the act for over NZ$300,000. The raft of charges included collecting Baxter’s record royalties claiming to be his record label (which he wasn’t) and putting it into his own bank account. • AC/DC are releasing a pictorial book documenting their Rock Or Bust World Tour. • If a move to Brisbane interests you, influential community radio station 4ZZZ is looking for a new station manager. • Xavier Rudd, who’s been touring Europe for the past five years, just returned from his latest 28-date sell-out run, with his next release Live In The Netherlands in tow. • An auction by 20-year-old New Zealand woman and self-
‘Thunderstruck’, Mozart’s ‘Andante’ from Sonata For Two Pianos – a piece that’s “well known for its apparent beneficial effects on concentration and intellect” – or normal sounds from an operating room. Men proved more likely to listen to the music than women, concentrating less on the surgery. Lesson of the survey: next time you want to beat a man at a board game, blast him with hard rock!
AUSSIE START-UPS SCORING AS STREAMING RISES
The rapid adoption of streaming in Australia has been a big plus for a number of local start-ups, reports the Australian Financial Review, as growing revenues have aroused the interest of investors. Music collaboration app Vampr, developed by Hunters And Collectors guitarist Barry Palmer and Melbourne band Buchanan’s Josh Simons, has received a $150,000 cash injection, and there are plans to launch a major funding campaign this year. GiggedIn, which offers access to unlimited gigs
confessed “public mooner” Bailey Price to have someone’s name tattooed on her derrière for publicity’s sake was won by EDM artist Sir Ivan. He paid more than $5,000 and will fly her to Miami to do the inking. Sir Ivan is chasing publicity for his cover of John Lennon’s ‘Imagine’. Yoko Ono won’t give him permission to make a music video, and Facebook banned his album cover – a restaging of Annie Leibovitz’s famous shot of Lennon and Ono curled up in bed – for nudity. • Still in NZ, Caren McCormack of Invercargill claims Prince is the father of her adult son, and has plans to have her son undergo a DNA test to make a claim on the superstar’s will. She says Prince visited the town in 1976 aged 17, when she was 16.
for $35 a month, is rounding off a $1 million bridging fund after launching with $750,000 seed capital from Australian investors. The AFR also revealed that the online ticketing platform Pulse Global raised $1.2 million, while ticket sales marketing start-up Ticket Squad is set to announce a completed seed round in January.
COMMUNITY TV SURVIVES
Australia’s five community TV stations can stay on air until June, the Federal Government has declared. The channels were told in 2014 they had until Saturday December 31 this year before they would be forced to operate solely online. The government needed the spectrum space to sell to commercial free-toair channels or subscription TV providers. But after meetings with the Australian Community Television Alliance, the channels have been given a bit more breathing space. The affected broadcasters are Melbourne/Geelong’s C31, TVS Sydney, Brisbane’s 31 Digital, Adelaide’s Channel 44 and Perth’s West TV.
NICHE SIGNS M-PHAZES, SLUM SOCIABLE
The latest additions to Niche Productions’ artist agency roster are Grammy-winning songwriter and producer M-Phazes and Melbourne duo Slum Sociable. M-Phazes is set to drop a star-studded solo album next year; the first single is ‘Messiah’, co-written with Alison Wonderland and Treyshun Campbell, and a song that has been played in Wonderland’s DJ sets as a ‘mystery track’. Slum Sociable are similarly due to drop an album in 2017, with lead single ‘Name Call’ merging soul, hip hop and electronica. Their debut EP TQ, released in late 2015, landed on Spotify playlists and global radio (BBC, KCRW, Beats 1) and led to them playing headlining dates in the UK and US on top of sold-out shows in Oz, including spots during Laneway and Splendour In The Grass.
CARL COX BECOMES PARTNER IN BABYLON Techno legend Carl Cox, recently crowned King of Dance 2016 by Mixmag, has become an official partner of the new threeday Aussie EDM festival Babylon. The festival, founded by Richie McNeill, is due to be staged in Victoria and NSW in March. Cox said, “I travel to and play at Burning Man regularly, and many other destination festivals of this kind, so I am proud to be a part of Babylon and I am looking forward to playing an extended set in the spirit of an outdoor journey like this.”
REPORT: MEN MORE DISTRACTED BY MUSIC AT WORK
Men are more likely to be distracted by music at work – especially if it’s rock music. This is according to a report in the Medical Journal Of Australia. The study saw 350 people (who were not surgeons) go through a mock surgery on the board game Operation where they used tweezers to remove small plastic pieces resembling body parts from inside the board without touching the edges. During the process, they wore headphones blasting AC/DC’s
thebrag.com
presents
tickets for all shows on sale now ! tickets.destroyalllines.com thebrag.com
BRAG :: 694 :: 21:12:16 :: 9
COVER STORY
MILES ELECTRIC BAND STILL KIND OF BLUE BY A DA M NOR R IS
H
istory is a rather subjective thing. Sure, we might recognise that there is a vast array of dates and names, battles and buildings out there, but really, our personal histories tend to shape our outlook on broader history. Many trailblazers are somehow lost as everyday culture grinds ever on, but some remain, finding themselves reinvigorated as the years go by and new generations start carrying the torch. Miles Davis passed away in 1991, but the jazz legend – who ranks up there with Coltrane, Gillespie and Holiday – is still finding fans across the world, due in no small part to the Miles Electric Band. Davis’ nephew Vince Wilburn, Jr. and long-time Davis collaborator Robert Irving reminisce about the man and the myth. “It’s like a reunion every time we get together,” says the Chicago-based Irving. “We don’t get to see each other otherwise, now everyone is all over the place, on different coasts. We’ve lived and breathed the music so much, we know it so well, it’s just a matter of getting together and deciding what direction we want to go. And as the musical director, I want to make sure everyone gets the chance to have musical expression. And it just works out. It’s like a family.” For some, that sense of family runs even deeper. Irving, a keyboardist, has a creative partnership with Davis that stretches back to 1980, and includes his cowriting and arrangement of The Man With The Horn, the first album Davis recorded following a six-year retirement. For Wilburn, however, having Davis an an uncle makes that connection all the more potent.
10 :: BRAG :: 694 :: 21:12:16
“I’ve known Bobby [Irving] and Darryl Jones since 1977,” Wilburn recalls from his home in Los Angeles. Throughout our call, various jazz recordings are a constant companion in the background. “Bobby and I used to have a funk band together called AL7, and we used to rehearse in my mom’s basement. Miles would call and have my mom put the phone down so he could hear us rehearse, and then critique us after! ‘Bobby, try this, Vince, try that.’ He’d get all the cats to try different things before the next rehearsal. And then he’d call the next day, and the next day. One day he said, ‘Do you guys want to make a record?’ And that record was Man With The Horn, and he flew us out to New York. “Oh man, he had an uncanny ear!” the drummer continues, laughing. “He would tell us to try things, and we would look at each other like, ‘Really? He wants us to play that?’ He just had this knack, and it always worked. Whatever it was. He was sensitive, he cared about music. He cared about his family, had a great sense of humour. But it was always about the music. That was first and foremost. He sacrificed marriages, family. I mean, he cared about his family.” Wilburn pauses. “You always got the sense it was the music first, though. This man was the first to wake in the morning and the last to sleep at night, and it was all music.” The Miles Electric Band is a showcase of the man himself, yes, but it is far from a tribute band. It is better to think of Miles Davis as the spring that launches this ten-piece of extraordinary musicians across fresh directions. Their intention is to bring his music to new audiences – to pass a torch some of them have been gratefully carrying for over 20 years now – but more than that, they want to entertain.
“You just don’t know the impact that music has, and specifically, the music of Miles,” Irving says. “We’re creating spontaneously, creating from a space of freedom. So of course, why wouldn’t that be interpreted that way when it’s heard? I think it was 1988 I was in Australia with Miles. I had kids that were just born at that time, and now their generation are going back and listening to Miles and what we were doing in those times, taking bits and pieces and incorporating it into what they do. In the same sense, everywhere we travel there are young people doing the same. Young people are doing music from Decoy, which is very complex. So it was new jazz to me back in 1998, but for this generation, it’s a new discovery all over again.” “Somebody said once they couldn’t book us because we’re a Miles tribute band, but that’s not it,” Wilburn says. “I mean, I love my uncle, I love the Chief – that’s what we call him – but we’re just interpreting some cool-ass music that he blessed us with. We’re just so excited to present the music, we can play anywhere. It’s the beauty of coming together to play, and to see where we can take it, inform it and shape it, put another spin on it. That’s the beautiful challenge that we have. To have our own interpretation, and have people understand that we’re not playing the original recording. But we’re giving our heart and soul into music we love. It’s a heavy thing.” The band’s genesis came back in 2011, after Wilburn was invited to perform at the Miles Davis Festival in Chicago – a celebration that lasted a staggering four months. From there, the Miles Electric Band have won followers and accolades in droves, introducing dyedin-the-wool fans (“the Jazz Police, we call them”, Wilburn chuckles) and fresh faces alike to the evolving legacy of one of the most accomplished musicians of the 20th century. Next year, they’ll visit Australia for the first time, performing at Bluesfest. “You want to keep it interesting for the audience, and for us, too,” Irving says. “And because we’ve done this so many times, it
“[MILES DAVIS] SACRIFICED MARRIAGES, FAMILY. I MEAN, HE CARED ABOUT HIS FAMILY… YOU ALWAYS GOT THE SENSE IT WAS THE MUSIC FIRST, THOUGH.” becomes easier and easier because we’ve found a routine. With the Miles Davis Band, it was a very extensive tour schedule. At that time, it was a different kind of job. Miles would record all of the concerts, every night, and after every one I’d have to sit with him and listen to the entire concert. 90 minutes, two hours. He would review the spontaneous creativity that happened during the performance, and if there was something interesting and new that transpired, he’d add it to the repertoire. So there’d be these pieces like that, and the music would start growing and expanding. And with his back to the audience the next night, Miles would cue that little thing. “You know, people are kind of shocked when I talk about how personable Miles was, how caring. How much he loved kids, how funny he was! With that raspy Godfather voice, he would sing ‘Drive’ by The Cars.” Irving laughs at the memory. “Miles also painted of course, and he encouraged me to paint. One day we were sitting at his place overlooking Central Park at the Essex House Hotel after he and Cicely [Tyson] had broken up. He’d been painting for a number of years. He started sketching and then evolved to oil paints. He had about five canvases going at once. And he said, ‘Bobby, you should try this. It’s therapeutic. In fact, music is a painting that you can hear. And a painting is music that you can see.’ I thought that was very profound.” What: Bluesfest 2017 With: Zac Brown Band, Santana, Barry Gibb, Patti Smith and many more Where: Tyagarah Tea Tree Farm When: Thursday April 13 – Monday April 17 And: Also appearing at the Enmore Theatre on Thursday April 13
thebrag.com
THU 22 TWIN FIRES
+ BIG RED FIRE TRUCK
FRI 23 RACKETT + THE DINLOWS
LEVEL 2, 75 THE CORSO, MANLY WWW.HOTELSTEYNE.COM.AU | FACEBOOK/HOTELSTEYNEMANLY | @MOONSHINEBARMANLY
thebrag.com
BRAG :: 694 :: 21:12:16 :: 11
Highasakite Echo Chamber By Joseph Earp
I
t sounds suspiciously like Ingrid Helene Håvik is doing the dishes. The Highasakite vocalist has put the BRAG on speakerphone, and her echoing, muddied voice is only just audible over a barrage of clinking, clattering and the splashing of water – a cascade of noise that doesn’t let up for our ten-minute interview mostly full of questions being only half-answered. Indeed, whatever she’s fi ddling around with, dishes or not, it certainly seems to require most of her mental processing power. Even the very first inquiry into how her day has been so far seems to stump her. “I’ve had…” Håvik says, then stops. “Um… an OK day.” There’s a long silence. Has she been busy, then? “We’ve just been making stuff,” comes her answer after a pregnant pause. “So…” The rattling and splashing continues, but Håvik’s voice does not. Perhaps the singer can be forgiven for being distracted. She has had a busier 2016 than most, spending the last six months solidly touring the globe with Highasakite, the acclaimed band she has fronted for over fi ve years now. And that’s not to mention their crushing release schedule: despite dropping their second record Camp Echo back in May, the Norwegians somehow found the time to unleash a stripped-back live collection called Acoustic Versions in early December. The four-track EP, a powerful reminder of Håvik’s spiderwebthin yet signifi cant vocal chops, has already been eaten up by the band’s numerous fans. Highasakite
have worked hard to develop an almost cult-like legion of followers over the years, and those who follow their career treat them with the respect more commonly afforded to bands who have been on the touring circuit for decades. Acoustic Versions also makes plain the band members’ skills as songwriters. Stripping back a tune like ‘Samurai Swords’, the ballad chosen as one of Camp Echo’s lead singles and released with an odd ‘making of’ video that features the group sitting around looking glum and snapping at one another, goes a long way to revealing its subtler charms. Highasakite aren’t a band that only impress in terms of production – they are, at the heart of it, solid, understated writers with a good ear for nuance. Håvik makes it clear they work, write and tour simply because they enjoy doing so. Highasakite’s relentless touring schedule comes more from their unceasing desire to create art and less from any grand plan to climb the charts or to achieve commercial success. The frontwoman especially is the kind of artist who tries to work in a vacuum, away from the surfacelevel concerns that distract others. “I need to make something very often, or else I feel kind of useless,” she says. “Sometimes I really need to write, sometimes I really want to write. And sometimes it works and sometimes it doesn’t.” Indeed, Håvik’s deliberate, curated ignorance also extends to matters of genre. She has no real interest in musical buzzwords, and fi nds herself confused by the range of
terms and phrases the mainstream press have thrown at Highasakite ever since they burst onto the scene with 2014 single ‘Since Last Wednesday’. “My songs don’t really have a genre,” she says. “It could be anything. I just have to try and work out along the way what I want it to be. Sometimes [critics] call it indie-pop. I just call it pop music, because I don’t really know what ‘indie’ is. I don’t really care what people call it.” So what does she care about when she’s writing? What is she thinking about when creating a record like Camp Echo? “I had a very strong vision of what I wanted Camp Echo to sound like,” Håvik says. “I knew what I wanted everything to look like, like what clothes we would wear.” But every artist eventually has their vision sullied by those who don’t fully understand what they’re trying to do, and so it went for Håvik. “Sometimes you make compromises. And sometimes it’s good and sometimes it’s bad,” she says. “There can be a lot of confl ict.” One imagines such dialogue and compromise about one’s creations would be tricky, given that music can so often bypass language altogether and work on a level more emotive than cerebral. However, Håvik doesn’t agree. “You can easily explain [music] in words because you know exactly what you want to do,” she says. “You just need to learn the language. And do your homework. I don’t know how to explain it. You just have to do your homework.”
“I NEED TO MAKE SOMETHING VERY OFTEN, OR ELSE I Ultimately, as far as Håvik is concerned, the biggest tool a musician can utilise in the studio is language. It is quite easy, she
stresses, to explain songs in ways other people can understand. “I try to make myself more and more clear,” she says, as the clattering and
Corinne Bailey Rae Whispers And Moans By Shaun Cowe “There’s a really great future soul scene there with Thundercat, Flying Lotus, King and Moses Sumney. Lots of artists are making really soulful new music involving electronics. It felt like the centre of the world for the sort of music I like. I was really happy hanging out and learning and writing.” The Heart Speaks In Whispers saw Rae in the production chair for the first time. She says teaching herself to produce was one of the most difficult and time-consuming aspects of the album. However, she had help from her long-time producer and husband, Steve Brown. “Steve’s really inventive with melodies for instruments. He’s always coming up with different ideas and hooks. He really trusts musicians and gives them a lot of say. When you’re producing a record it’s really hard to know how much to run things and control and how much to just let things happen.” Rae wanted to make an album based on the theme of the subconscious, dreaming and nature, which led to a long writing process of vetoing songs that wouldn’t fit. She also sought to move away from her more traditional instrumentation choices to a layered synth sound inspired by her time in LA.
C
orinne Bailey Rae defined the summer of 2006 for many people. Her breakthrough hit, ‘Put Your Records On’, was ubiquitous and landed her a slew of award nominations, including at the coveted Grammys. Now, ten years on, Rae is a songwriting force. Her third studio
12 :: BRAG :: 694 :: 21:12:16
album, The Heart Speaks In Whispers, is an ethereal electronic soul record themed on dreaming and the subconscious. On the way back from a show in Cambridge, she talks about her music. “I think soul music never really went away, it’s just gone through so many phases,” she says. “When I was
growing up it had gone through a hip hop and reggae vibe, then there was trip hop which was really big. Then there was the whole Erykah Badu and D’Angelo phase. Now new artists are bringing electronic and synth jazz and atmospheric layers to soul. You’ve also got all the retro soul which is trying to sound exactly like Motown, Sharon Jones and The Dap-Kings,
that kind of vibe. It never goes away.” Rae wrote much of the new album in her hometown of Leeds. However, when the opportunity came up to record at Capitol Records in Los Angeles, she jumped at the chance. What was initially supposed to be a short seven-week stay turned into a semi-permanent living arrangement.
“Steve loves synths,” she says. “We also had a really big hand with King, who we got to work with as well. That’s a lot of what they do – vintage synths and layering and atmosphere and reverberant sounds. I love guitar but sometimes I just get a bit bored of it. I wanted something more floating.” Rae also collaborated with songwriters such as Amber and Paris Strother of King on ‘Green Aphrodisiac’ and Valerie Simpson
thebrag.com
Icehouse Life Begins At 40 By David James Young
I
va Davies still remembers everything. That’s one of the main things one learns upon speaking with the founding member of Icehouse for just a few minutes. On the eve of what will be the band’s 40th year in existence, the 61-year-old holds many fond memories across an illustrious multi-platinum career. Davies recalls in particular the earliest days of the group, and his transition from the world of classical music into rock – never to look back. “I had played acoustic guitar since I was about 13 years old,” he begins. “I played oboe – I was classically trained, and had even sat in with a symphony orchestra. By the time I was 21, though, I’d given it up entirely – so, on my 21st birthday, I bought my firstever hollow body electric guitar and a Marshall amp. One of my neighbours heard me playing over the fence, and it so happened that her son, Keith [Welsh], was a bass player. He came over, and we realised we had a lot in common musically. We formed Flowers, and soon after scored our first pub gig, which was actually the first time that I had ever been in a pub.”
FEEL KIND OF USELESS.” banging in the background increases, now almost totally drowning her out. “I know what I have to do and say to make it clear for people.”
What: Acoustic Versions out now through Propeller/Caroline With: Bec Sandridge Where: Oxford Art Factory When: Tuesday January 3 And: Also appearing at Field Day 2017, The Domain, Sunday January 1
Along with drummer Don Brown, Davies and Welsh formed the first known version of Icehouse in 1977. They were known as Flowers at the time, becoming Icehouse in 1981 after their song and album of the same name. Davies reminisces on a very different musical climate that greeted the band up and down the east coast. “It was a very exciting time for Australian music,” he says. “The punk scene had just arrived in Australia properly, so as young
music fans a lot of us were wrapping our heads around that. We were all just wrapped up in that energy. I guess Flowers kind of started as a sort of punk band, but we were definitely a strange sort of punk band. We used synthesizers a lot in our music, and at the time that was seen as being very out of the ordinary. “It was an extraordinary time in terms of innovations and inventions as far as musical technology was concerned. Our first album featured a lot of what were, at the time, brand-new synthesizers. The album after that [Primitive Man] featured a very early drum machine. By total accident, we as a band were pioneering a lot of these new sounds by incorporating them into our music.” Throughout the ’80s, Icehouse would go on to record their biggest hits – ‘Hey Little Girl’, ‘Great Southern Land’ and of course ‘Electric Blue’, boasting a music video that featured Davies sporting one of the finest mullets ever captured on film. For all their success and their extensive touring, however, Davies never once had the light bulb moment – the realisation that Icehouse had ‘made it’ against the odds. In the back of his mind was always the notion that the band was purely a fl uke. “Very early on, before the Flowers album had come out, the Sydney Conservatorium of Music had announced a new course,” he says. “They were going to be taking on six people, and the course was nine hours a day for six days a week. I told my bandmates then and there: if I got into this course, that would be the
end of the band. I went on to fail the test, and subsequently did not qualify – which, interestingly, was the first notable course for piano tuning. To think, if I didn’t spend 40 years making music, I’d have spent that time tuning pianos instead. I think it shows I was a great sceptic about the band, too – that would stay with me for many years. Strangely, I never truly thought what the band was doing was ever more than just a temporary thing.” Still, here we are. In 2017, Icehouse will celebrate their 40th anniversary with a run of headline theatre shows taking in elements of their entire body of work. These look to be some of the biggest Icehouse gigs ever, both in terms of physical size and runtime, as Davies and his bandmates look to the vaults to see what they can come out with. “We’re still in the process of developing ideas of what to play,” says Davies. “We’re in a relatively luxurious position of knowing we have a surplus of material – we know that we have such a body of work, there’s absolutely no way we can cover all of it at a single show. The difficult part comes with deciding what to leave out. It’d be easy to just pick the songs that hit the top 40 – we’ve got about 30 of those – but not all of those songs are necessarily fun to play live. It’s a matter of striking a balance between what people want to hear and what we’d like to play, so we’ll see how the decisions come from there.” Where: Enmore Theatre When: Friday January 13, Saturday January 14 and Friday June 23
“TO THINK, IF I DIDN’T SPEND 40 YEARS MAKING MUSIC, I’D HAVE SPENT THAT TIME TUNING PIANOS INSTEAD.”
Icehouse photo by Cybele Malinowski
on ‘Do You Ever Think Of Me?’ Rae met Simpson in New York when she played at an open mic night at Ashford & Simpson’s Sugar Bar.
“I LOVE GUITAR BUT SOMETIMES I JUST GET A BIT BORED OF IT. I WANTED SOMETHING MORE FLOATING.”
“The house band’s one of these incredible groups of musicians where you just get up and tell them the song you want to do and they know like every song that’s ever been made,” Rae says. “It’s the sort of event where you never know who’s going to be there. People from the community go there and they sing songs, but then somebody would be in the hallway putting on a pink tutu, getting ready to sing, or Quincy Jones would be there. It’s a real mixture of artists calling in on tour and people from the community. It’s just an amazing vibe.
playing soul music. So you’ll sing a particular line and people will shout out and cheer, they might say stuff if they like it. It’s really beautiful and it brings you in the moment. You know what people like and you can pursue it. The guitarist might be doing a solo and suddenly it’s going for twice as long because people are shouting out and stomping.
“‘Do You Ever Think Of Me?’ was just this song I wrote influenced by Curtis Mayfield. Then I saw Valerie in New York and asked her what she thought and she said to leave it with her. She sent me a version of the song with her chords woven in and her melody and it just took on this whole new life. It was incredible. I’ve done that a few times before – when I get stuck on something, I ask someone to jump in.”
“We’ve done shows on this tour where it’s all seated and quite polite and it’s like going to a classical concert where people are really enjoying it but they don’t want to shout out or anything because they feel it would be rude or interrupting. But then we’ll go to another show where everyone’s standing and dancing. It really depends on the place and sometimes that will really surprise me.”
Rae says one of the things that really strikes her about playing in the US is the difference in audiences compared to her home country. Her current tour has seen Rae play extensively throughout China, Europe and America, and she finds it strange to see how audiences react to her music in different venues. “At the Sugar Bar they’ve got this call-and-response culture that comes out of the African-American church. It becomes a really big feature when playing live and especially when
thebrag.com
What: Bluesfest 2017 With: Zac Brown Band, Santana, Barry Gibb, Patti Smith and many more Where: Tyagarah Tea Tree Farm When: Thursday April 13 – Monday April 17 And: Also appearing at the Metro Theatre on Sunday April 16 More: The Heart Speaks In Whispers out now through Virgin/ EMI
BRAG :: 694 :: 21:12:16 :: 13
Dubmarine Under The Sun By Augustus Welby
“WHILE IT SEEMS WE PLAY A LOT OF STYLES, WE DON’T ACTUALLY FEEL WE ARE WITHOUT BOUNDARIES.” we see a huge relationship in all the styles we do.” It’s been over three years since Laser Sound Beam, and ‘Solar Flare Fire’ is a taste of things to come, but just what will emerge remains to be seen. “We have tracks currently in the bag about to be mixed,” says Watson. “Will they be an album or an EP, oneoff tracks? We aren’t quite sure yet, but there is new Dubmarine material begin tinkered with currently for next year.” In the meantime, Dubmarine are headlining next month’s Future Folk festival at the Factory Theatre alongside acts like Circle Of Rhythm and New Venusians. They’re looking forward to making the trip back down to Sydney.
M
elding dub, drum and bass, dancehall and reggae with some rock and pop elements, there’s no band quite like Dubmarine. This has been apparent since their debut LP Depth Of Sound arrived in 2010, but the longer they stick around and continue to make music, the more challenging maintaining such stylistic elasticity becomes.
“It is always hard to answer what genre our act is,” says bass player Paul Watson. “But that said, we feel there is a strong thread that ties all of our music together, which I guess is dub, but more broader than that, bass culture. Our music reflects the styles we are listening to and who
liked tracking ‘Solar Flare Fire’.
is writing music in the band at the time.”
mix the track down to make the heavy voodoo come to life.”
In 2013, Laser Sound Beam followed Depth Of Sound, before Dubmarine returned in September this year with the new single ‘Solar Flare Fire’. It’s an especially big-sounding track that brings together acoustic and electronic instrumentation. The song was recorded in The Tanuki Lounge studio in the band’s home city of Brisbane.
Dubmarine have long been regarded as an exciting and unique live band. The stage is their chosen setting, whereas the studio can be a trickier space to navigate.
“It is always looking for the balance between live vibes and studio productions. What makes a good live show doesn’t necessarily mean it is good for the studio, so we are happy to rejig everything in the studio.”
“Recording Dubmarine has always been a bit of a tough one,” says Watson. “It is walking that line between electronic and live and separation versus vibe. Each LP was recorded quite differently. However, in our new recordings, including ‘Solar Flare Fire’, we have tried different techniques once more. With ‘Solar Flare Fire’ being recorded quite live, band-in-a-room approach – we really
Once again, aspects of reggae, dub, dancehall and drum n bass are all apparent in ‘Solar Flare Fire’. But there is a method to the band’s characteristic genre-fusing. “While it seems we play a lot of styles, we don’t actually feel we are without boundaries. We definitely keep everything related to bass and dub. In fact, we don’t really consider ourselves a genre-bending band, as
“We tracked with our long-time collaborator PaulieB and also had Paulie edit the track with us and add some extra juju,” Watson explains. “When the time came we had Damien Charles AKA King Charlie
“We love the people organising the event. They completely get us and our sound. We love the New Venusians and Circle Of Rhythm is an act we have seen many times at Woodford Folk Festival. Those guys are all geniuses, and [we’re] also keen to see Deepchild once more. I can’t wait to see what else gets announced, but needless to say we are excited to come back to Sydney for Future Folk.” What: Future Folk With: Circle Of Rhythm, Matiu Te Huki, New Venusians, Deepchild (DJ set) and more Where: Factory Theatre When: Friday January 6
Even More Or Less By Patrick Emery
“I
’m not like a Benny or Björn songwriter,” says Even guitarist and vocalist Ash Naylor. “I can’t lock myself in a cabin and come out with a ‘Waterloo’.” Naylor is musing on the stillmysterious creative process of songwriting ahead of the relaunch of Even’s debut album Less Is More, which celebrated its 20th anniversary this year. New music is on the way too, with a seventh record in development. “Writing tunes is never a problem – fi nishing off lyrics is a problem,” says Naylor. “But it’s a good problem to have because it’s a fun thing to make a record. The object is to make the music sound effortless. And that’s the hard thing – you put so much effort into making it sound effortless and light and buoyant.” Even have been working on their new record for two years, suggesting a laborious production process, but the reality is the domestic and other musical commitments of Naylor, bass player Wally Kempton and drummer Matt Cotter mean studio time is difficult to fi nd. In
fact, Naylor suggests, Even have probably spent as much time in the studio as they did when they recorded Less Is More over four weeks in the mid-’90s. The band isn’t beholden to a record label, so there’s no external pressure to complete the album. “You’re making a record for its own sake,” Naylor says. “You’re playing to an unquantifi able audience. In effect, it’s pure in the sense that you’re making a record for your own artistic purposes. And that’s a good feeling.” Less Is More, released in 1996 and now set to arrive on vinyl for the first time, was named after a self-help book published around the same time. The title also refl ects Naylor’s view that a record shouldn’t be over-engineered. But as a perfectionist songwriter and musician, Naylor admits he’s prone to “lumping shit” all over his songs. “The new album isn’t intentionally a bookend, but we’ve reverted to the trio recording as a unit and there’s less overdubbing,” he says. “It’s pretty well the sound of the bass, drums, guitar and vocals, which is basically how we
“IT’S PURE IN THE SENSE THAT YOU’RE MAKING A RECORD FOR YOUR OWN ARTISTIC PURPOSES. AND THAT’S A GOOD FEELING.” 14 :: BRAG :: 694 :: 21:12:16
recorded the first few records, with minimal additional sounds. I’ve been trying to exercise a bit more economy in the sound. Hopefully there’s a bit of breath in these songs, a bit of space.” It’s not just Even’s songs that have been afforded a bit of space. In contrast to their halcyon period between 1995 and 2004, when the band toured regularly, Even shows come at a premium these days. “We used to play all the time, and it was a bit of a whirlwind back in that first decade,” says Naylor. “And then the rhythm of life changes, for everyone really.” Looking back on those days, Naylor’s only regret is that he didn’t take time out to enjoy the fun. “I look back on it now and think it was a great period in my life. Hopefully I can speak for Matt and Wal as well – it was a great time to be in a band, from the early ’90s to 2000s, and it still is now. We’re so infrequent now, so it’s a big event for us when we do play. But I don’t tend to be too philosophical looking back. We’ve made the records and wherever you stand in the overall scheme of Australian music, it doesn’t really matter.” With: The On And Ons, The Soul Movers Where: Newtown Social Club When: Friday January 13
thebrag.com
BRAG’s guide to film, theatre, comedy and art about town
arts in focus
flickerfest ickerfest
xxxx
short films by the shore
also inside:
ART, PRISON AND PUNISHMENT / ASSASSIN'S CREED / SAM SIMMONS / HAKAWATI / ARTS NEWS / REVIEWS thebrag.com
BRAG :: 694 :: 21:12:16 :: 15
arts in focus
free stuff head to: thebrag.com/freeshit
arts news...what's goin' on around town... with Ariana Norton and David Burley
Nicole Lizée
five films to see AT
SUNSET CINEMA NORTH SYDNEY selling milkshake makers to franchising one of the world’s largest fast food companies.
Trolls
T
he annual Sunset Cinema on the lush turf of North Sydney Oval is one of our city’s most picturesque locations for cinema under the stars. The 2017 program is pretty packed, too, so here are fi ve of the hottest tickets.
The Founder Showing Thursday January 19 Have you ever found yourself wondering, as you’re biting into your Big Mac, how
La La Land
Macca’s started out? The Founder is the true story of the creation of a billion-dollar fast food empire, and follows a struggling travelling salesman (Michael Keaton) who goes from
Wil Anderson
Wednesday February 1 Numerous Oscar favourites feature on the Sunset program, including Best Picture contender La La Land. La La Land tells the story of Mia (Emma Stone), an aspiring actress, and Sebastian (Ryan
Lion Saturday March 4 and Thursday March 9 Another Oscar contender is Lion. If you’re after an uplifting drama then this is the one to see! Dev Patel plays a reallife fi gure separated from his family in central India at age fi ve and reunited with them a quarter-century later. It is tipped as a sober and profoundly stirring contemplation of family, roots, identity and home. Also starring Nicole Kidman and Rooney Mara.
Hidden Figures Saturday March 18 Last but not least is Hidden Figures. This biographical comedydrama follows a team of African-American women who provide NASA with important mathematical data needed to launch the program’s first successful space missions. The protagonists are crusaders for both feminism and civil rights in segregated Virginia, and the visionary trio cross all gender and race lines to inspire generations to dream big. What: Sunset Cinema North Sydney Where: North Sydney Oval When: Thursday January 19 – Saturday March 18 More: sunsetcinema.com. au/northsydney
LIE BACK AND ENJOY
Nicole Lizée is a Canadian performer who mixes genres and eras together in a way that has led to her being commissioned by the Kronos Quartet and mentored by Howard Shore, the composer behind The Departed, The Lord Of The Rings trilogy and Gangs Of New York, to name but a few. Lizée’s latest work, Sex, Lynch And Video Games, explores the catalogue of auteur David Lynch. Performing at Sydney Festival, Lizée will bring retro video game footage together with love soundscapes and ’80s pop hits, and slice pieces of Lynch’s work into piano compositions, with help from the Australian Art Orchestra. If this (twin) piques your interest, we have a double pass to give away to the show on Thursday January 19 at City Recital Hall. Enter at thebrag.com/freeshit.
Relatively Speaking
The perfect night out/night in is coming to Parramatta Park this summer. For everyone who can’t make their mind up about going to the cinemas to catch a new release or staying at home to watch a movie in bed, Mov’In Bed is the solution for you. Throughout March and April 2017, Mov’In Bed will be screening 45 movies at a 150-bed venue in Parramatta Park. The bumper program includes a selection of new releases like Rogue One: A Star Wars Story, Fantastic Beasts And Where To Find Them and Passengers, as well as classics like Se7en, The Lord Of The Rings and The Lion King. The cinema will be open from Friday March 3 – Sunday April 23 at The Crescent in Parramatta Park.
WHERE THERE’S A WIL…
Sydney has a brand new home for stand-up comedy and it’s bringing out the big guns. Located below The Deck Bar & Restaurant at the iconic Luna Park, the Sydney Comedy Club will open its doors in January, with Wil Anderson set to christen the stage on opening night. Darren Sanders, Mikey Robins, Barry McLeod, Tommy Dean, Andrew Barnett and Mick Meredith are all set to bring the laughs in the New Year with more sure-to-be-hilarious acts to come. The Sydney Comedy Club is opening Friday January 20. Visit sydneycomedyclub.com.au for full details.
Mov’In Bed
IT’S ALL RELATIVE
Glen Street Theatre is set to kick off its 2017 season with a heart-warming production of Alan Ayckbourn’s much-loved comedy Relatively Speaking. Set in 1960s London, Relatively Speaking tells the hilarious story of a blithely misinformed young man who turns up on his girlfriend’s parents’ doorstep to ask for her hand in marriage. Things, however, are not as they seem and the ensuing chaos results in a series of perfectly paced misunderstandings and an exquisite entanglement that will leave you guessing to the very end. Relatively Speaking will play at Glen Street from Tuesday January 17 – Sunday January 22.
UNDER THE SUN BU21
INSIDE THE OUTHOUSE
Stuart Slade’s London-based dark comedy BU21 is coming to Sydney to kick off the Outhouse Theatre Company’s 2017 program. After a sellout, award-nominated run in London that earnt it a West End transfer, BU21 is heading Down Under in February. The play deals with the inescapable reality of terrorism in modern life, especially in larger cities. Head along to find out how playwright Slade produces laughter from such a morbid topic. Outhouse Theatre’s ongoing plan is to produce contemporary work that deals with the complexities of modern society. BU21 will do just that at the Old 505 Theatre from Wednesday February 8 – Saturday February 25.
16 :: BRAG :: 694 :: 21:12:16
SEX, LYNCH AND VIDEO GAMES
The State Library of New South Wales will play host to a large-scale photography exhibition of new works commissioned from 15 artists responding to Australian photographer Max Dupain’s iconic 1937 image, ‘Sunbaker’. Under The Sun: Reimagining Max Dupain’s Sunbaker will feature works from Peta Clancy, Christopher Day, Destiny Deacon, Michaela Gleave, Nasim Nasr, Sara Oscar, Julie Rrap, Khaled Sabsabi, Yhonnie Scarce, Christian Thompson, Angela Tiatia, Kawita Vatanajyankur, Daniel Von Sturmer, Justene Williams and William Yang as they reimagine the famous photo and explore what it means to be Australian. The artists themselves reflect Australia’s multicultural, multi-ethnic and multi-faith society, each with their own unique experiences and perspectives. The exhibition will show at the State Library from Saturday February 18 – Monday April 17.
HUNGARIAN FESTIVAL
Go absolutely mad for Hungary as the Hungarian Cultural Festival rolls back into town this January. The six-day festival will feature
everything from gala concerts to folk dance workshops, a folkloric music recital, lectures on history, IT, language and literature, a comedy theatre night at NIDA, a harbour cruise and a patrons’ dinner. The festival has been running for 16 years and gives Hungarian Australians a chance to connect with each other as well as giving everyone else a taste of Hungary’s vibrant and unique culture. The festival will run from Wednesday January 4 – Monday January 9 at venues in and around UNSW. See magyartalalkozo2017.com for more.
WHAT IS IT YOU CAN’T FACE?
Sing-A-Long-A Sound Of Music is turning 16 (going on 17) as it returns to the State Theatre for another year. It’s the State Theatre’s longest-running live event and it’s returning for two very special shows in February with costume contests and interactive fun packs, hosted by long-time celebrity judge Katrina Retallick. So warm up your voices, practise your do-re-mis and get ready to start at the very beginning (a very good place to start). Sing-A-Long-A Sound Of Music is on Saturday February 25. thebrag.com
Sex, Lynch and Video Games photo by Murray Lightburn
Friday January 20 and Friday February 10 Sunset Cinema boasts a great mix of familyfriendly movies including Trolls. Enter a colourful, wondrous world populated by hilariously unforgettable characters and discover the story of the overly optimistic Trolls!
Gosling), a dedicated jazz musician, who are struggling to make ends meet. Set in modern-day LA, this original musical about everyday life explores the joy and pain of pursuing your dreams against all odds.
arts in focus
arts reviews ■ Film
PATERSON In cinemas Monday December 26 ‘Feel-good’ films slot into their own distinct subgenre nowadays. The phrase is a marketing tool more than anything, designed in no small part to pigeonhole films that sweep award ceremonies and pack out multiplexes – films concerned with the triumph of the little man and the beating of unbeatable odds.
■ Film
DANCER In cinemas now Dancer, the documentary offering by director Steven Cantor, is a gripping insight into the world of breathtaking artistry. The fi lm examines the life of Sergei Polunin, who at age 19 became The Royal Ballet’s youngest ever principal dancer. Cantor’s fi lm leaps and bounds through what is to be found off stage – in the wings, rehearsal spaces and family dining rooms. We are taken through Polunin’s rise to fame, his tussles with the newfound attention, and his attempts to shrug off a lifestyle that consumes. The story starts in the small town in Ukraine where Polunin spends his early years. The desolate, postSoviet architecture and sparse foliage fuel the sense of unease surrounding the possibility of a prosperous, artistic existence. His family speak of wishing Sergei to have a chance at a better life; a life far away from Ukraine. Ballet is to be his ticket out, and the family starts upon a strategy of geographical separation to ensure Sergei gets his chance. It is from these early motions of disunity that cracks start to appear. Sergei is sent to the United Kingdom, where he is to have his shot at dancing. Yet simplicity is not to be found in the world of elite dance. Sergei speaks of seeing success as his only way to bring his fractured and isolated family together. In a society built on the hierarchy of merit, being the best in one’s fi eld is to achieve respect and happiness. But it’s here that Dancer reveals the doubt, pain and confusion Polunin still experiences at the pinnacle of his craft. Cantor depicts a brilliant artist in the throes of emotional, familial and motivational torment. Having spent his entire childhood training for perfection and eventually attaining his lofty heights, Polunin opens us up to a world of loneliness and confusion. He has spent 15 years away from his family in a country that will only have him stay for his talent. He sees dancing as the way to reunite his family, but when this goal is extinguished, his wrangling with motivation causes one of the biggest upsets in ballet history. Dancer is an intimate look into the life of one of our generation’s greatest dancers. The nuance and complexity found within the backstory of Polunin’s journey raise an important discussion in our world’s obsession with perfection. Amy Henderson
OH!BOO
THE SCIENCE OF CHOCOLATE
In that way, Jim Jarmusch’s Paterson is not necessarily a feel-good film as one might know it. The work is curiously, notably devoid of adversity – there are no real catastrophes for our hero, Paterson (Adam Driver) to overcome, nor are there any touching monologues about crisis and catharsis to be delivered. A bus driver who happens to share a name with the city in which he resides, Paterson writes poetry by the side of a waterfall while eating lunch from a pail adorned with a picture of Dante, and infallibly rises at 6:30 each day while his partner (Golshifteh Farahani) sleeps. So no, the film contains not a single moment in which the audience is meant to champion its outsider hero, nor is Paterson even really an outsider hero. He’s just a man, played with understated perfection by Driver, and his desires and accomplishments are
subdued in their nature. This is a film in which the minutiae of life are treated with the same dignity as major plot points in a Hollywood blockbuster – in which an overheard conversation on the bus takes up five uninterrupted minutes and is then never mentioned again.
and a one-time resident of Paterson, guides the film, and his poetry provides both one of Paterson’s ‘major’ plot developments and its closest reference point. Like Williams, Jarmusch rejects large-scale plotting and gives over to the moment itself, and the film revels in random encounters and tiny victories.
The humour is deadpan, as Jarmusch’s always is, and ‘jokes’ are often coincidences and observed absurdities rather than traditional laugh-out-loud moments. This seasoned filmmaker revels in setting up visual motifs, and the film is dominated by shots of twins, black-and-white stripes and cupcakes.
Paterson won’t be for everyone, and is not the kind of film that will have the audience on its feet cheering by its conclusion. But it is a feel-good film in the truest sense of the phrase; a film full of pure, simple kindness, and one that gives off a warmth so genuine that it shimmers.
The spirit of writer William Carlos Williams, that martyr of the minute
Joseph Earp
■ Film
UNDERWORLD: BLOOD WARS In cinemas now If a film could be held up by Kate Beckinsale in black leather, and an unapologetic case of hipster balayage, then Underworld: Blood Wars would have had a fighting chance. Unfortunately, most filmgoers these days have a thirst for decent plots, well executed fight scenes and un-clunky dialogue. Bless, Blood Wars is so low on any meaty components, we’re all at risk of becoming anaemic. Blood Wars picks up where its predecessor, 2012’s Awakening, dropped off. There’s the usual tension between Lycans and vampires (humans, sod ’em, have finally buggered off elsewhere and the real beast of a tiff can run its course). Yet as movie franchises go, it seems Underworld has started to hound us. There is of course a new Lycan leader, Marius, as Beckinsale’s Selene is far too effective a deathdealer to leave the same hairy abomination lolloping around at the end of each film. Our designated eye candy here, however, is David (Theo James), the troubled but noble vampire. His haunted countenance
provides some interest, but he’s quickly bogged down in the saturation of subplots and high school English exchanges. Still, action-fantasy audiences are usually willing to forgive strained and jilting dialogue in service of fight scenes, an impressive soundtrack and incredible visuals. For a film that has the phrase ‘blood wars’ in its title, however, the action scenes are too few and leave an aftertaste of awkward choreography. The soundtrack is mediocre at best, and the graphics, while gripping, are
Who they are: Brother and sister team Alex and Fanny Chan run Oh!Boo, blending European patisserie training with gastronomic technology – a combination set to activate your palate. After her degree in microbiology and food science, Fanny went to Belgium and France to live the chocolate dream and train as a master chocolatier. She eventually got homesick and came back to Australia, where she decided she wanted to make chocolate for a living. Alex has a master’s degree in food technology from the University of New South Wales. He is a firm believer that creating amazing chocolate is a science. Opened in 2015, Oh!Boo is Alex and Fanny’s ‘coming of age’ in the chocolate world. They started out as early as 2007, when from their savings and with a bit of family support they opened their first shop in Darlinghurst, Boon Chocolates.
thebrag.com
not in the league of Underworld’s contemporaries. Blood Wars’ narrative journey is tangled in too many sublots to maintain much sense, suspense or satisfaction. It is near impossible to attain substantial closure for any of the ridiculous twists. The film ends upon a wide-open note of possibility, which means there are definitely more instalments to come. We can only hope it’ll be a case of better luck next time. Amy Henderson
What they do: Contrary to mass-produced chocolates, Alex and Fanny don’t create mono-flavour, low-quality and sugary snacks that use artificial flavouring to give you the illusion of good taste. Each and every Oh!Boo delicacy is handmade in the Barangaroo store by Fanny, who spends at least 48 hours on each flavour. Fanny and Alex prefer the ‘fingerprinting’ technique, which entails a deep understanding of each of the chocolates’ flavour profile and focuses on layering – combining different products to make one truly unique chocolate. Layering means letting the flavour develop in your palate from one bite to the next, tasting new, surprising flavours until the very end. Oh!Boo specialties include pralines (Belgian/Franco-style chocolates where the soft centre filling is made from fresh cream, chocolates
and fresh or natural ingredients); caramel brittle (freshly made caramel brittle that sells out in a flash, made with the best Danish butter); and Almond Rocher (made with Australian almonds, slowroasted for 30 minutes, mixed with Rice Krispies then coated with Oh!Boo chocolate). Where to get them: Buy them online at ohboo.com. au/shop or drop by the Oh!Boo boutique store in Barangaroo: Shop 1, 33 Barangaroo Avenue. BRAG :: 694 :: 21:12:16 :: 17
arts in focus
Assassin’s
FEATURES
“I
love deadlines,” author Douglas Adams once said. “I love the whooshing sound they make as they go by.” If there’s anyone who has become acquainted with the peculiar noise made by missed targets, it’s Justin Kurzel, the South Australian director in charge of wrangling the Hollywood monster known as Assassin’s Creed. “I only finished [the film] last week, so it’s kinda odd talking about it in retrospect,” Kurzel admits with a wry chuckle. “The film’s in 3D as well, so we’re doing 3D passes and finishing the colour grade and working right up to the last second … There’s definitely something about the finality of it that churns your stomach a bit, when there’s no more decisions to make and it’s finally landed.” Finishing work on a film a mere matter of weeks before it’s set to premiere is fairly mental, but Kurzel admits it’s not even the most insane challenge he’s faced during the lengthy production period of this big-budgeted beast. “The whole two years has been anxiety-inducing,” he says. “It’s never-ending when you make a film like this. There’s always the next stage of it, which is always really challenging.”
Flickerfest
[FILM FESTIVAL] No Short Order By David Molloy
F
or the 26th year running, the Flickerfest International Short Film Festival will once again take over Bondi Pavilion in January to bring Sydney the best of the brief, screening short films under the stars. It’s an exciting time for Bronwyn Kidd, with the 2017 iteration marking one year shy of her 20th anniversary as director and 15 years since Flickerfest picked up Academy accreditation. The program naturally takes months to curate, and Kidd, her colleagues and an army of volunteers on the selection committee have whittled the screeners down to 60 from more than 2,500 submissions. “We’re looking for unique stories,” says Kidd of the curation process. “I’m not looking for half-hours of television. I’m not looking for rip-offs of Hollywood blockbusters. I’m really looking for unique stories that people are going to find insightful, moving, contemporary and fresh. “The great thing about short film is that people can make films immediately – they don’t have to wait to raise a budget over seven years like you do to make a feature. You can go out, you can grab a camera, you can do some crowdfunding, and you can make a film that you’re really passionate about … It’s not just that incredible creativity but also the immediacy of the stories that people are focusing on telling.” For Kidd, the proliferation of technology has made her job significantly more interesting, as broader access to cheap filmmaking equipment has meant a greater variety of creatives with new perspectives, voices and styles can produce films of a high calibre. “Once upon a time, back in the day when I started making films, we were making films on film, so only people with lots of money and access to that kind of rare technology … could go out and afford to get the film processed. The whole editing process, you couldn’t do it yourself on your laptop. So I think that the accessibility of technology has created a more diverse range of storytelling.” While Flickerfest has no specific quotas for diversity, the committee’s passion for unique stories has allowed for a range of films to organically come to the fore.
“We support a lot of female directors, we support indigenous directors – I mean, we’ve got a full indigenous team that directed our trailer this year, behind the scenes and [with] a full indigenous cast,” says Kidd, referencing Dena Curtis’ Wizard Of Oz-themed trailer featuring Miranda Tapsell and Christine Anu. “We’re really not about just the white Neighbours view of Australia; we’re very much trying to represent Australia as it really is, and the filmmakers coming through from a widely diverse range of backgrounds.” Such support is, of course, greatly welcome to filmmakers like Kidd who came up in an industry that has always heavily favoured the Y chromosome. This was highlighted only recently at the AACTA Awards, when the red carpet was hijacked by female protestors dressed as sausages and shouting, “End the sausage party.” Hilariously, Kidd missed this rather spectacular moment, mired as she was in the vast amount of programming work required to get Flickerfest up and running. “I haven’t even watched the news, tell me what’s going on!” she laughs, before turning to the issue. “There has been a male dominance, and I think female directors coming through, they can make some fantastic short films, but it’s really hard for them to get to the next level of their career. Particularly in the ad industry, which is where people make their money between shorts and features … [it’s] very much a boys’ club in Australia. “I think the efforts of Screen NSW and Screen Australia, who have been incredibly proactive in their funding over the last 12 months just to put in some schemes that really support female directors, and recognise the unique support that they need in their careers – these things, I think, will really reap great benefits in five to ten years’ time.” With the future looking somewhat brighter, Kidd is focusing on the present, and the thrill of revealing the Flickerfest program to its mix of Academy judges, BAFTA reps and regular Aussie punters. After all, some of Australia’s most internationally viable directors – including David Michôd (Animal
What's in our diary...
A lot of that comes from the multitude of expectations Kurzel has to deal with. The film, a time-hopping romp centred around Michael Fassbender’s Callum Lynch – a convicted murderer who realises he plays an important part in a long-standing war between the secretive Knights Templar and a legion of assassins – is an adaptation of the exceedingly popular video game series of the same name, as well as an expensive epic mounted by producers keen to bust blocks.
“THE GREAT THING ABOUT SHORT FILM IS THAT PEOPLE CAN MAKE FILMS IMMEDIATELY – THEY DON’T HAVE TO WAIT TO RAISE A BUDGET OVER SEVEN YEARS.” Kingdom), Cate Shortland (Lore) and Wayne Blair (The Sapphires) – are Flickerfest alumni.
“I’ve never been involved in something that’s had such a strong brand and fan base from the beginning,” Kurzel says. “So the responsibility of that and
Pressed for standouts, Kidd is tight-lipped about the hotly contested Australian competition, but is more than happy to speak to some of the international inclusions that she’s particularly excited to showcase. “There’s a film called Nocturne In Black from Lebanon, and it’s set in Syria – it’s an incredible story of people living under siege where music is banned,” she says. “It’s just incredibly real, raw, poignant, and you feel like you’re immediately in that situation.” Another short, Switzerland’s Bon Voyage, hits on a contemporary pressure point when a couple romancing on their yacht come across a boatload of refugees. “Both of these films are nominated for Academy Awards, by the way,” Kidd says. “Well, they’re shortlisted at this point, so fingers crossed.” Fear not, for there’s more to the fest than dark and hard-hitting dramas. Kidd points to Ready To Assemble, a comedy about “the power of IKEA to make or break relationships”, as just one of the festival’s many comedic highlights. Add to that the general good vibes at the Bondi Pavilion, a Young Henrys pop-up bar and food aplenty, and Kidd is certain that Flickerfest 2017 will be a truly memorable entry in her tenure as director. “It’s going to be a fantastic experience of hanging out on the balcony overlooking the beach, watching films under the stars with like-minded people who love creative independent storytelling, and want to experience some really moving and amazing stories.” What: Flickerfest 2017 Where: Bondi Pavilion When: Friday January 6 – Sunday January 15
arts exposed
Shakespeare In The Park Sport For Jove is back with its annual outdoor Bard bash this summer. Now entering its eighth year, Shakespeare In The Park features some of Australia’s finest acting talent in the classic tales of Julius Caesar and Anthony And Cleopatra. These two plays are widely regarded to be some of Shakespeare’s most influential, with powerful characters and political commentary that resonate beyond their settings. Directors Michael Pigott and Damien Ryan lead the esteemed cast. Tickets start at $38/$32. Visit sportforjove.com.au. 18 :: BRAG :: 694 :: 21:12:16
Julius Caesar photo by Marnya Rothe
Bella Vista Farm, until Saturday January 7
thebrag.com
Creed
arts in focus FEATURE
[FILM] The Legacy Of Blood By Joseph Earp
understanding what you’re making and what you’re being inspired by [puts] a lot more pressure on the project. I guess you’re juggling a lot of balls of expectation with it.” Also difficult for Kurzel was handling the film’s multiple timelines. Within its first 20 minutes, Assassin’s Creed jumps between ancient Spain, California in the ’80s and the present day, and is so filled with plot and lore that it takes a while before the audience has enough perspective and information to fully work out what’s happening. “With these sorts of films the hole you can get trapped in is over-explaining things, and I think sometimes people can get to the point where they lose any mystery or intrigue. And so we were always conscious of that, thinking, ‘How do you tell a really complex story that audiences can really follow and engage with?’”
“So I was quite fascinated by the legacy of blood, and the legacy of your own life, that it doesn’t just stop with you. What you experience and the way you live your life is passed on through your blood to your children and their children. So I found that very moving and very interesting.”
Indeed, as far as Kurzel is concerned, making a big-budget Hollywood blockbuster ultimately shares a lot in common with helming a small indie film. “When you’ve just got two actors on set and you’ve got a really well-written scene and you’re trying to find an intimacy between those two actors, it’s the same,” he says.
In that sense, Assassin’s Creed can be considered a companion piece to Kurzel’s debut, the true crime thriller Snowtown.
“With two actors, whether it be the ones I was working with on Snowtown who were nonactors and doing it for the first time, or Michael on Assassin’s Creed, it’s really the same. It’s that wonderful thing of two people listening to each other and responding to each other and the moment and the take. That’s something that’s always been consistent with the different films I’ve done.”
“Defi nitely in that fi lm I was playing around with ideas of nature and nurture, and whether violence is just innately in someone or if it actually nurtures and grows in certain circumstances,” he says.
“IT’S NEVER-ENDING WHEN YOU MAKE A FILM LIKE THIS. THERE’S ALWAYS THE NEXT STAGE OF IT, WHICH IS ALWAYS REALLY CHALLENGING.” What: Assassin’s Creed (dir. Justin Kurzel) Where: In cinemas Sunday January 1
The answer came from Kurzel’s embracing of traditional cinema tropes and structure. “Adam [Arkapaw] the cinematographer and I were very inspired by things like Lawrence Of Arabia and some very old-school-looking films that did period in a very grounded way. We wanted to feel as much grit and reality in there as possible, which is why we shot a lot of it for real and in-camera. That was about trying to find something authentic in it.” In some ways, Assassin’s Creed is a marked change of direction for Kurzel. Given his history directing dark and powerful semi-horror films like Snowtown and Macbeth, it’s initially hard to understand exactly what drew him to the project. But Kurzel was keen to explore the legacy of violence – a theme that has haunted his work from day dot. “I was really curious about that, about violence, about discovering whether that is something that is connected to your DNA. If your ancestors were violent in the past or had violent tendencies, are those experiences passed on in your blood to your children? Do they experience those violent tendencies through instinct?
Sam Simmons
FEATURE
[COMEDY] What To Expect When You’re Expecting By David James Young
“A
ww, you little fucko!” This – instead of the usual, “Hello, Sam speaking,” or even just the plain old “hello” – is how Sam Simmons answers his phone. If you didn’t know Simmons or his work, it would catch you completely unawares. Coming from perhaps the country’s finest comic in the realm of surrealism, absurdism and the avant-garde, however, it’s just another part of his repertoire. After a year of working out of London and Los Angeles, Simmons is back on Australian turf for a couple of months for two key reasons. The first is an upcoming run of shows at the Sydney Opera House in January, in which Simmons will perform his hour-long show, Not A People Person, for the final time. The second is a little more personal in nature – Simmons’ wife is soon to give birth to their first child. It could easily be seen as a stressful time for the Adelaide-born performer, but Simmons is surprisingly quite collected. “It’s fine, y’know – it’s the fun stuff I’m looking forward to,” he says. “I know it’ll be a lot of hard work and late nights and stuff, but I know the fun parts of being a parent are going to make it all worth it. I’m not stressed or anything like that. It’s at that point at the moment where we’ve just been waiting around for ages for the birth to happen – we just wanna get in and out, really.” Following the birth and the Sydney shows, Simmons and his newly expanded family will head back to foggy London town. In fact, Simmons has spent the better part of the last few years as an expatriate, returning for only brief stints at festivals before going overseas again. It may seem a curious career move to some, but for Simmons it’s a complete no-brainer.
“There’s a lot more opportunity overseas for someone like me,” he says. “I’ll still come back to Australia every year, and I still love performing in Australia…” At this point, Simmons ticks over into the booming, melodramatic voice he often employs while performing. “I STILL LOVE IT!” he affirms. A beat, then back to normal: “I’m getting a lot of work in the UK, and there’s only so much you’re able to get done here. There’s only a few places in Australia, like the ABC or Stan, where you’re really able to work on comedy – and even then, it can be really hard. Right now, I’m working on two different projects – one is for BBC4 in the UK, and the other is for FX in the States. Nothing’s been green-lit yet, but we want to have something to show them.” Prior to arriving in Sydney, Simmons performed Not A People Person extensively at several key festivals and residencies. Melbourne, Perth and Adelaide all got a look-in, as did several locations in the UK. The show, according to Simmons, takes him back to basics – without, of course, compromising on everything he has learned in his years as a stage performer and comedy writer. “I took out a big award at the Edinburgh Fringe last year, and I was really scared to write another show,” he says. “I felt there was a lot of pressure to live up to that – and it did send me a bit mad when I returned to the festival this year. I think what made it work, though, was the fact I reverted back to just doing a stupid, silly show. “There’s dark stuff in there – I think there always will be with my shows – but it gets really stupid, and it’s pretty awesome to do that sort of thing onstage. I feel a lot more natural
onstage right now – it’s a real evolution, I think.” True to the nature of a great Sam Simmons show, Not A People Person is filled with unexpected twists, fourthwall-breaking and a treasure chest full of props. “I don’t think I’ll ever stop,” says Simmons of his prop comedy. “It’s just in my DNA to want to put on more of a show.” Simmons’ logic makes sense, which is something you don’t get to say about him all that often. After all, this is the same comedian who has spent previous shows smashing cabbages together, drinking what appeared to be sunscreen and pushing Old El Paso tacos into his chest. There aren’t many other comics – Australian or otherwise – who quite fit into that Venn diagram between weirdness and whimsy. “I get the feeling that people seem to think I’m some sort of anti-stand-up,” Simmons says. “Some people just think it’s all bread shoes and getting my cock out – just walking around with a crumpet on my head going, ‘Ner-ner!’ The reality is that I just like the more creative side of performance – I like weighing in on that element more than most. I have so much respect for the art of stand-up comedy. My favourite comedians are Bill Burr, Tom Gleeson, Judith Lucy, all just people that are naturally funny. I just approach it differently. I’ve been told that I’m too weird and too niche my entire career. Maybe they’re right, but I’m so glad I stuck to my guns.” What: Not A People Person Where: Playhouse, Sydney Opera House When: Thursday January 5 – Saturday January 14
“PEOPLE SEEM TO THINK I’M SOME SORT OF ANTI-STAND-UP. SOME PEOPLE JUST THINK IT’S ALL BREAD SHOES AND GETTING MY COCK OUT.” thebrag.com
BRAG :: 694 :: 21:12:16 :: 19
arts in focus FEATURE
Shit photo by Sebastian Bourges
Myuran Sukumaran: Art, Prison And Punishment [VISUAL ARTS] Another Day In Paradise By Joseph Earp
A
s part of Sydney Festival 2017, Campbelltown Arts Centre will host the first major exhibition of art by Myuran Sukumaran, a member of the so-called ‘Bali Nine’ who was sentenced to death for drug trafficking in Indonesia. During Sukumaran’s incarceration, he was visited by award-winning Australian artist Ben Quilty, who took the prisoner under his wing and taught him the art of portraiture. Now, in the aftermath of Sukumaran’s death, the BRAG presents a story of art, prison and punishment.
The Painting On Friday January 23, 2015, Myuran Sukumaran – a Britishborn Australian citizen convicted by an Indonesian court of drug smuggling and sentenced to die alongside his fellow Australian Andrew Chan – painted one of his most striking portraits. Daubed in the warm, earthy colours that define his work, it depicts a middleaged man staring off into middle distance, his lips pressed gently shut. At first glance, it’s not necessarily obvious that the figure represented is Indonesian President Joko Widodo. In photos, Widodo looks sterner, less beatific. He has a mouth that naturally pulls downwards – the mouth of a man who does not forgive easily. But there he is in Sukumaran’s portrait: calm, peaceful even. Sukumaran painted the man who ignored his pleas for clemency – the man who assisted, at least through inaction, in having him killed – as though he were a saint, or perhaps someone’s kind, quietly spoken uncle. On the back, Sukumaran wrote a short inscription: “People can change”. Three months later, he was executed by firing squad. He had refused a blindfold.
Sukumaran’s legacy is an artistic one – his catalogue is striking enough to be appreciated even without having to emphasise his execution and the injustice he faced – but it is also one that compels us to rail against such injustice; against an outdated view that ignores rehabilitation and stresses death and punishment over any other alternative. According to his brother, Sukumaran’s final wish was to “paint for as long as possible”. As long as possible should have meant years. It should have meant for the term of his natural life. That it didn’t – that it instead was a question of a few hours – is a sickening fact, a damnation of a system too broken to provide that most natural of human emotions: forgiveness.
The Sentence Before his death, Sukumaran had spent nine full years fighting his conviction, lodging appeals and requesting clemency while being moved from jail cell to jail cell. Most of his pleas were only briefly considered – one judicial review was overturned in the space of a day. Such a punitive attitude was, sadly, to be expected. Indonesia has long maintained a hard-line stance against drugs and drug trafficking: of the 14 people executed by the government in 2015, the year Sukumaran went to the firing squad, every last one had been convicted of a drug-related crime. The only other crime punishable by death in Indonesia is murder. What was perhaps less predictable was the conservative Australian press’ reaction to the execution. Sukumaran’s death prompted a
Self-Portrait by Myuran Sukumaran
“PEOPLE JUST WANT PEOPLE TO BE PUNISHED. THEY DON’T PARTICULARLY HAVE AN INTEREST IN WHETHER THEY CHANGE. AND I THINK 20 :: BRAG :: 694 :: 21:12:16
thebrag.com
arts in focus Ben Quilty with paintings by Myuran Sukumaran
discussed occasionally in the form of rare feelgood stories about ex-cons successfully re-entering society. Stories, essentially, that don’t reflect the broader reality. “It’s about, I think, revenge,” O’Sullivan says. “People just want people to be punished. They don’t particularly have an interest in whether they change. And I think this stands in the way sometimes of good policy.” O’Sullivan’s sentiment is one echoed by other professionals, including Anita McGregor, the clinical director of the Wentworth Forensic Clinic. “From a systemic perspective, most organisations indicate the importance of rehabilitation,” she explains. “However, there is often a wide gulf between theory and practice. Personal attitudes and bias, as well as pressures on limited resources, often see rehabilitation efforts getting the short shrift.” Pressingly, rehabilitation has proven value. It’s not a soft science, or a liberal sentiment. However desperately we might want to throw away the key when it comes to our offenders – however strongly we might feel that criminals are always criminals; that blood stains – it is near impossible to do so while believing we’re undertaking the correct or moral action. We can punish all we want. The facts are not on our side.
The Art There is evidence enough that Sukumaran had reformed before his death. The governor of Kerobokan Prison, one of the many institutions in which he was jailed, called him a “model prisoner”. He was even selected to lead a group of fellow convicted offenders, men he soon had a “positive impact on”. And he painted obsessively, for long periods without a break. Through the art he developed a voice – one powerfully evident now, striking enough to justify the use of the phrase ‘Sukumaran-esque’. He painted in browns and reds. He painted quickly, in rapid, thick strokes. And he painted himself, producing selfportrait after self-portrait. As O’Sullivan stresses, Sukumaran isn’t an outlier in this respect. Offenders frequently have a pressing need to create; a desire to transform both themselves and how they are viewed by society at large. “My first office in Long Bay [Correctional Centre] was part of what was called the art program,” O’Sullivan explains. “It was a studio. In there, it didn’t matter who you were. There were murderers. There were multiple murderers. There were people who had done very nasty things. But it was a studio. You worked on your art. It was run by one petite woman. And you produced marvellous stuff.”
flurry in media circles, with usually centre-to-right publications like The Daily Telegraph and The Australian decrying the injustice. The Telegraph in particular launched a fullscale smear campaign against the Indonesian government and, indeed, Indonesia in general – a series of snarling, snapping op-eds with titles like ‘Drugs, Sex And Schoolies: Why Bali Is Every Parent’s Worst Nightmare’ were published in droves. And yet all the while, the paper continued to unironically cover brutal homegrown murder cases in the most lurid of terms, dog-whistling readers who were eager to vicariously lap up the punishment of criminals.
Ben Quilty photo by Daniel Boud
After all, though Australia abandoned the death sentence almost 40 years ago, our justice system has only a passing, surface-level interest in rehabilitation. The prevailing government view of prisons and prisoners is couched largely in the language of punishment, and the media often encourages the general public to view offenders as lost causes. “There are a lot of things that get in the way of people understanding that people change,” explains Kevin O’Sullivan, a clinical psychologist from the University of New South Wales, who has long studied and worked in Australia’s criminal justice system. “[Rehabilitation] is viewed with scepticism by many, partly based on the inability of people like me to convince the general public that this stuff really works. People change.” Ultimately, O’Sullivan’s field is one blighted by emotion and muddied by deep-seated views. Despite the fact that studies have already proven the effectiveness of rehabilitation, from a young age Australians are encouraged to consider criminals as inherently ‘bad’, and reform tends only to be
Ultimately, as far as O’Sullivan is concerned, such artistic production fulfils a basic human need – one that becomes of particular importance to those imprisoned. Our current justice system is based on the goal of reducing identity; of stripping back the signifiers that make you human, and removing the things about yourself that you recognise and can be recognised for. “In the trade we often say, ‘You go to prison as punishment, not for punishment,’” O’Sullivan says. “Being removed from society is the punishment.” Art, then, in its most fundamental form, is about learning the language to talk about yourself – to discuss, in the plainest of terms, who you are and what you want. “Art gives you an identity,” O’Sullivan says. “You’re an artist. And I think identity is very important. If you’ve got to choose between being a crim, between being a drug mule or an offender, or being an artist, that’s an easy choice. An ‘artist’ is something to put in your CV.
FEATURE
Hakawati
[SPOKEN WORD/FOOD] Received Wisdom By Adam Norris
C
ombining storytelling with a four-course meal, Hakawati – an Arabic word for ‘teller of tales’ – is unlike any dinner conversation you’ve ever heard. As director Wayne Harrison explains, this intriguing addition to the Sydney Festival program will sate all appetites. “What makes a good story?” Harrison muses. “I like the traditional answer, which is to have a beginning, middle and end. The experiences I’ve had of hakawatis over the years has shown that they do structure very well, and that’s how you get through a 15-minute monologue. It’s a bit like how a Hollywood movie works. At the 20-minute mark, something has to happen, where you get things like Chekhov’s gun. That age-old technique where if you walk into the theatre and see a gun on the set, the gun has to be used, otherwise why is it there? And that’s one of the key ingredients of storytelling. “And indeed, we’re using quite a few Chekhov’s guns here. That’s the secret of storytelling. Nothing is there that isn’t used, nothing is wasted. All the stories entwine, and that’s to do with the structure. How do you create the beginning, set the details in motion? The middle, you then elaborate and consolidate, and then you resolve.” The role of the hakawati is a wonderfully romantic image. Picture yourself in a large room decked out with cushions and tapestry, the smell of shisha in the air. Before you stretches a banquet table covered in food, while nearby stands the hakawati – the storyteller enchanting diners with legends and fables that craftily weave current events and personalities into the tale. It is this atmosphere that Harrison and his team hope to conjure, blended with a contemporary look at life in Western Sydney; a cultural smorgasbord that is too often overlooked.
“I went to Istanbul to research another project for Riverside Theatre, a Justin Fleming play called Shellshock,” Harrison explains. “So I went, and some friends took me to a restaurant where there was a week-long storytelling event happening. That was the hakawatis, even though they’re not really Turkish, they’re from Syria, Lebanon, Israel. But that led me to learning more, and I really love the fact that they do trade on the mythical stories of the Arabian Nights. They were really cheeky with it, and changed the stories to refl ect contemporary politics, having a dig at the leaders and bureaucrats. They weren’t quite The Wharf Revue,” Harrison laughs, “but I love how it had a contemporary element to it. “We’re working on a reverse of that, I suppose. Ours are contemporary stories that reference the Arabian Nights in interesting ways. That’s how I hit upon the format for the storytelling. Going to these restaurants and fi nding the hakawatis, and even though I didn’t understand a word they were saying, it was fantastic. You got the essence of how they engaged with the audience, and the audience engages with the creation of the story. There’s a bit of manipulation going on, and it was a great addition to what else was going on with the evening. The food, the coffee, the stories. “So now at El-Phoenician, we do food, then a story, food, story, repeat. The stories are contemporary with a mythical edge to them, and talk about life in Western Sydney. And hopefully they’ll reveal a few wisdoms along the way.” What: Hakawati as part of Sydney Festival 2017 Where: El-Phoenician Restaurant, Parramatta When: Wednesday January 11 – Saturday January 21
“GOING TO THESE RESTAURANTS AND FINDING THE HAKAWATIS, AND EVEN THOUGH I DIDN’T UNDERSTAND A WORD THEY WERE SAYING, IT WAS FANTASTIC.”
“Art externalises something. You put it out into the world … That’s something [prisoners] don’t get to do a lot. They live in a very inward-focused, resourcepoor, low-expectation world. And to produce something that people can look at and go, ‘Jeez, that’s actually good,’ to prove that you contributed to the stock of the world – that’s amazing. That’s why bands form in jail. People paint and sculpt and whittle. They make stuff.” That was what Sukumaran was doing: making stuff. But he was also forming himself, re-establishing the boundaries of personality and altering the labels used to describe him. Ultimately, despite its best efforts, the system that executed him – an international system that relies on the depersonalization of those who offend, that relies on painting reform as some elaborate fantasy – could not undo the work he did towards the end of his life. Myuran Sukumaran did not die a criminal. Myuran Sukumaran died an artist. There is no system in the world, no matter how broken, that could deny him that. What: Myuran Sukumaran: Another Day In Paradise as part of Sydney Festival 2017 Where: Campbelltown Arts Centre When: Friday January 13 – Sunday March 26
– KEVIN O’SULLIVAN, THIS STANDS IN THE WAY SOMETIMES OF GOOD POLICY.” CLINICAL PSYCHOLOGIST thebrag.com
BRAG :: 694 :: 21:12:16 :: 21
BARS BRAG
THE THIRSTY WOLF
bar bar
OF
ADDRESS: 127 KING STREET, NEWTOWN PHONE NUMBER: (02) 9517 2081 WEBSITE: THETHIRSTYWOLF.COM.AU OPENING HOURS: TUE – SAT 6PM-MIDNIGHT; SUNDAY 6-10PM
TH
EK
B R A G ’ S G U I D E T O S Y D N E Y ’ S B E S T WAT E R I N G H O L E S
A Work In Progres King St, Sydney CBD (02) 9240 3000 Mon – Fri noon-2am; Sat 5pm-2am The ArtHouse 275 Pitt St, Sydney CBD (02) 9284 1200
E E W
bar
Care for a drink? The Thirsty Wolf specialises in fun cocktails, with a variety of sweet, fresh or even spicy items available for the adventurous. Our signature drinks are Dragon’s Breath (chilli-infused vodka, chartreuse, lemon, egg white and bitters) and Snowstorm (tequila, strawberry liqueur, lime, passion fruit and strawberries). We also have a variety of dessert cocktails with home-made syrups and infusions. At the moment we’re hosting Unicorn Month, which offers two cocktails with house-made fairy floss! Sounds: Our playlist is a mix of classic and new-age R&B with sprinkled in hip hop and a bit of pop music. We want you to sing along and lose those inhibitions – have fun! Tell us about your bar: The Thirsty Wolf is a small bar oasis on the northern end of King Street in Newtown. We’re passionate about making people feel comfortable so we’ve tried to ensure there’s something for everyone. From our main bar at the front to our private event space upstairs and beer garden out the back, you’ll love it here!
22 :: BRAG :: 694 :: 21:12:16
What’s on the menu? We offer an extensive menu of quality food to satisfy even the pickiest of eaters. Go nuts with our oversized traditional style burgers, fresh salads, pasta and share boards. Our signature? The Wolf – beef patty with lettuce, pickles, tomatoes, caramelised onions and onion rings on a milk bun drizzled with mustard and BBQ sauce.
Highlights: We are about fun. We created Unicorn Month, we were the first bar in Sydney to serve fairy bread on the menu and it’s not uncommon for us to challenge you to a dance-off. Come party with us – we have a lot of fun and everyone is welcome! The bill comes to: To pair The Wolf with Dragon’s Breath you are looking at $31.95.
Mon noon-midnight; Tue – Wed 10am-midnight; Thu 10am-1.30am; Fri 10am-3am; Sat noon1.30am Ash St Cellar 1 Ash St, Sydney CBD (02) 9240 3000 Mon – Fri 8.30am-11pm Assembly 488 Kent St, Sydney CBD (02) 9283 8808 Mon noon-midnight; Tue 5pm-midnight; Wed – Sat noon-midnight The Australian Heritage Hotel 100 Cumberland St, The Rocks (02) 9247 2229 Mon – Sun 11am-midnight Bar Eleven Lvl 11, 161 Sussex St, Sydney CBD (02) 9290 4000 Mon – Thu 4-9pm; Fri – Sat 4-11pm The Barber Shop 89 York St, Sydney CBD (02) 9299 9699 Mon – Wed 4pm-midnight; Thu – Fri 3pm-midnight; Sat 4pm-midnight Barrio Cellar Basement Level, 58 Elizabeth St, Sydney (02) 9232 7380 Mon – Sun noon-late Basement Bar Basement, 27-33 Goulburn St, Sydney CBD (02) 8970 5813 Mon – Thu 5pm-10pm; Fri – Sat 5pm-midnight The Baxter Inn Basement 152-156 Clarence St, Sydney CBD (02) 9221 5580 Mon – Sat 4pm-1am Beta Bar First Floor, 238 Castlereagh St, CBD (02) 8599 8970 Wed – Thu 5pm-midnight; Fri midday-midnight; Sat 5pm-midnight Bulletin Place First Floor, 10-14 Bulletin Place, Circular Quay Mon – Wed 4pm-midnight; Thurs – Sat 4pm-1am; Sun 4-10pm Burrow Bar De Mestre Place, Sydney 0450 466 674 Tue – Sun 4pm-midnight The Captain’s Balcony 46 Erskine St, Sydney CBD (02) 9299 3526 Mon – Fri noon-midnight; Sat 5pm-midnight deVine 32 Market St, Sydney CBD (02) 9262 6906 Mon – Fri noon-11.30pm; Sat 5.30-11.30pm Easy Eight 152-156 Clarence St, Sydney (02) 9299 3769 Tue – Sat 4pm-midnight El Camino Cantina 18 Argyle St, The Rocks (02) 9259 5668 Mon – Sun noon-midnight Frankie’s Pizza 50 Hunter St, Sydney CBD Sun – Thu 4pm-3am; Fri noon-3am Gilt Lounge 2/49 Market St, Sydney CBD (02) 8262 0000 Wed – Friday 5pm-midnight; Sat 6pm-midnight The Glenmore 96 Cumberland St, The Rocks (02) 9247 4794 Mon – Thu, Sun 11am-midnight; Fri – Sat 11am-1am Grain Bar 199 George St, Sydney CBD (02) 9250 3118 Mon – Sun noon-midnight Grandma’s Basement 275 Clarence St, Sydney CBD
(02) 9264 3004 Mon – Fri 3pm-midnight; Sat 5pm-1am The Fox Hole 68A Erskine St, Sydney CBD (02) 9279 4369 Mon 7am-3pm; Tue – Fri 7am-late The Grasshopper 1 Temperance Ln, Sydney CBD (02) 9947 9025 Mon – Thu 4pm-midnight; Fri noon-1am; Sat 4pm-midnight Hacienda Sydney 61 Macquarie St, Sydney CBD (02) 9256 4000 Sun – Thu noon-10.30pm; Fri – Sat noon-midnight Harpoon Harry 40-44 Wentworth Ave, Sydney CBD (02) 8262 8800 Mon – Sat 11.30am-3am; Sun 11am-midnight Hudson Ballroom 53-55 Liverpool St, Sydney CBD Wed – Thu 5pm-11pm; Fri 5pm-3am; Sat 6pm-3am Kittyhawk 16 Phillip Ln, Sydney CBD Mon – Thu 3pm-midnight; Fri – Sat 3pm-2am The Lobo Plantation Basement Lot 1, 209 Clarence St, Sydney CBD 0415 554 908 Mon – Thu, Sat 4pm-midnight; Fri 2pm-midnight The Local Bar 161 Castlereagh St, Sydney CBD (02) 9953 0027 Mon – Wed 7.30am-10pm; Thu – Fri 7.30am-11pm The Loft (UTS) 15 Broadway, Sydney (behind 2SER) (02) 9514 1149 Mon – Thu 2-10pm; Fri 2-11pm Mojo Record Bar Basement 73 York St, Sydney CBD (02) 9262 4999 Mon – Wed 4pm-midnight; Thu 4pm-1am; Fri – Sat 4pm-1am The Morrison 225 George St, Sydney CBD (02) 9247 6744 Mon – Wed 7.30am-11pm; Thu 7.30am-midnight; Fri 7.30am-2am; Sat 11.30am-2am Mr Tipply’s 347 Kent St, Sydney CBD (02) 9299 4877 Mon – Thu 11.30am-10pm; Fri 11.30am-midnight; Sat 10pm-4am The Palisade 35 Bettington St, Millers Point 9018 0123 Mon – Fri noon-midnight; Sat – Sun 11am-midnight Palmer & Co. Abercrombie Ln, Sydney CBD (02) 9240 3000 Sun – Weds 5pm-3am; Thu – Fri 3pm-3am; Sat 4pm-3am Papa Gede’s Bar Laneway at the end of 348 Kent St, Sydney CBD (02) 9299 5671 Mon – Fri 4pm-midnight; Sat 5pm-midnight Peg Leg Pyrmont 11a Pyrmont Bridge Rd, Pyrmont Mon – Thu 3pm-midnight; Fri – Sun 11am-midnight PS40 40 King St, Sydney CBD Mon – Sat 4pm-midnight Ramblin’ Rascal Tavern 199 Elizabeth St, Sydney CBD Mon – Fri noon-midnight Rockpool Bar & Grill 66 Hunter St, Sydney CBD (02) 8078 1900 Mon – Fri noon-3pm, 6-11pm; Sun 5.30-10pm
The Rook Level 7, 56-58 York St, Sydney CBD (02) 9262 2505 Mon, Sat 4pm-midnight; Tue – Fri noon-midnight The SG 32 York St, Sydney CBD Tue – Fri 4pm-midnight; Sat 6pm-midnight Shirt Bar 7 Sussex Ln, Sydney CBD (02) 8068 8222 Mon – Fri 8am-10pm Since I Left You 338 Kent St, Sydney CBD (02) 9262 4986 Mon – Tue 4.30-10pm; Wed – Fri 4.30pm-midnight; Sat 6pm-midnight Small Bar 48 Erskine St, Sydney CBD (02) 9279 0782 Mon – Fri noon-midnight; Sat 5pm-midnight The Smoking Panda 5-7 Park St, Sydney CBD (02) 9264 4618 Mon – Sat 4pm-late Stitch Bar 61 York St, Sydney CBD (02) 9279 0380 Mon – Tue 4pm-midnight; Wed – Sat 4pm-2am The Swinging Cat 44 King St, Sydney CBD (02) 9262 3696 Mon – Sat 4pm-midnight Tapa Vino 6 Bulletin Place, Circular Quay (02) 9247 3221 Mon – Fri noon-11.30pm; Sat 5-11.30pm Tuxedo Bar 195 Gloucester St, The Rocks Tue – Wed 3-9pm; Thu – Sat 3-10pm Uncle Ming’s 55 York St, Sydney CBD Mon – Fri noon-midnight; Sat 4pm-midnight York Lane 56 Clarence St, Sydney CBD (02) 9299 1676 Mon – Wed 6.30am-10pm; Thu – Fri 6am-midnight; Sat 6pm-midnight
121BC 4/50 Holt St, Surry Hills (02) 9699 1582 Tue – Sat 5pm-midnight Absinthe Salon 87 Albion St, Surry Hills (02) 9211 6632 Wed – Sat 4-10pm Arcadia Liquors 7 Cope St, Redfern (02) 8068 4470 Mon – Fri 4pm-midnight; Sat 3pm-midnight; Sun 3-10pm Bar Cleveland Cnr Bourke & Cleveland St, Redfern (02) 9698 1908 Mon – Thu 10am-2am; Fri – Sat 10am-4am Bar H 80 Campbell St, Surry Hills (02) 9280 1980 Mon – Sat 6pm-11.30 Bellini Lounge 2 Kellett St, Potts Point (02) 9331 0058 Thu – Sun 6pm-late The Bells Hotel 1 Bourke St, Woolloomooloo (02) 9357 3765 Mon – Sun 10am-1am The Beresford 354 Bourke St, Surry Hills (02) 8313 5000 Mon – Sun noon-1am Big Poppa’s 96 Oxford St, Darlinghurst Mon – Sun 5pm-3am Black Penny 648 Bourke St, Surry Hills (02) 9319 5061 Mon – Fri 3pm-midnight; Sat noon-midnight; Sun noon-10pm Button Bar 65 Foveaux St, Surry Hills thebrag.com
(02) 9211 1544 Mon – Sat 4pm-midnight Café Lounge 277 Goulburn St, Surry Hills (02) 9016 3951 Mon – Thu 5pm-midnight; Fri – Sat 4pm-midnight; Sunday 4-10pm Casoni Italian Bar & Eatery 371-373 Bourke St, Darlinghurst Tue – Thu 5pm-11pm; Fri – Sat 5pm-midnight; Sun 5pm-10pm Central Tavern 42-50 Chalmers St, Surry Hills (02) 9212 3814 Mon – Sat 10am-2am; Sun 10am-10pm Ching-a-Lings 1/133 Oxford St, Darlinghurst (02) 9360 3333 Wed 6-11pm; Thu – Sat 6pm-1am; Sun 5-10pm The Cliff Dive 16-18 Oxford Square, Darlinghurst Fri – Sat 8pm-3am The Commons 32 Burton St, Darlinghurst (02) 9358 1487 Tue – Wed 6pm-midnight; Fri noon-1am; Sat 8.30am-1am; Sun 8.30am-11pm Darlo Bar 306 Liverpool St, Darlinghurst (02) 9331 3672 Mon – Sun 10am-midnight Darlo Country Club Level 1, 235 Victoria St, Darlinghurst (02) 9380 4279
Wed – Thu 5pm-midnight; Fri – Sat 5pm-2am Dead Ringer 413 Bourke St, Surry Hills (02) 9331 3560 Mon – Fri 5pm-midnight; Sat noon-midnight; Sun noonmidnight Della Hyde 34 Oxford St, Darlinghurst Thu – Sat 5pm-late Eau-De-Vie 229 Darlinghurst Rd, Darlinghurst 0422 263 226 Sun – Fri 6pm-1am; Sat 6pm-midnight The Exchange 34 Oxford St, Darlinghurst (02) 9358 2311 Mon – Sun noon-late Fonzarelli’s 65-67 Foveaux St, Surry Hills 0402 874 511 Wed – Sun 5pm-midnight The Forresters 336 Riley St, Surry Hills (02) 9212 3035 Mon – Wed noon-midnight; Thu – Sat noon-1am; Sun noon-10pm Gardel’s Bar 358 Cleveland St, Surry Hills (02) 8399 1440 Tue – Sat 6pm-midnight Gazebo 2 Elizabeth Bay Rd, Elizabeth Bay (02) 8070 2424 Tue – Sun noon-midnight Golden Age Cinema & Bar 80 Commonwealth St, Surry Hills (02) 9211 1556
Wed – Fri 4pm-midnight; Sat – Sun 2:30pm-midnight Goros 84-86 Mary St, Surry Hills (02) 9212 0214 Mon – Wed 11:30am-midnight; Thu 11:30am-1am: Fri 11:30am-3am; Sat 4pm-3am Hinky Dinks 185 Darlinghurst Rd, Darlinghurst (02) 8084 6379 Mon – Sat 4pm-midnight; Sun 2-11pm Hollywood Hotel 2 Foster St, Surry Hills (02) 9281 2765 Mon – Wed 10am-midnight; Thu – Sat 10am-3am The Horse 381 Crown St, Surry Hills 1300 976 683 Mon – Sat noon-midnight; Sun noon-10pm Jangling Jack’s Bar & Grill 175 Victoria St, Potts Point Tue – Wed 4-11pm, Thu – Sat 4-1am, Sun noon-11pm Hustle & Flow Bar 3/105 Regent St, Redfern (02) 8964 93932 Tue – Thu 6pm-midnight; Fri – Sat 5pm-midnight; Sun 2pm-midnight Li’l Darlin Darlinghurst 235 Victoria St, Darlinghurst (02) 8084 6100 Mon – Sun 4pm-midnight Li’l Darlin Surry Hills 420 Elizabeth St, Surry Hills (02) 9698 5488
Mon – Fri noon-11pm; Sat 4pm-midnight LL Wine and Dine 42 Llankelly Place Potts Point (02) 9356 8393 Mon – Thu 5pm-11pm; Fri – Sat 5pm-midnight; Sun 11am-10pm The Local Taphouse 122 Flinders St, Darlinghurst (02) 9360 0088 Mon – Wed noon-midnight; Thu – Sat noon-1am; Sun noon-11pm The Long Goodbye 1/83 Stanley Street, Darlinghurst (02) 8957 7674 Tue 5-11pm; Wed – Sat 5pm-midnight; Sun 5-10pm Love, Tilly Devine 91 Crown Ln, Darlinghurst (02) 9326 9297 Mon – Sat 5pm-midnight; Sun 5-10pm Low 302 302 Crown St, Surry Hills (02) 9368 1548 Mon – Sun 6pm-2am Mr Fox 557 Crown St, Surry Hills 0410 470 250 Tue – Wed 4pm-midnight; Thu – Fri 4pm-midnight; Sat 3pm-midnight; Sun 10am-10pm Moya’s Juniper Lounge 101 Regent St, Redfern 0431 113 394 Tue – Sat 4pm-11pm; Sun 2-10pm The Noble Hops 125 Redfern St, Redfern
0431 113 394 Mon – Fri 4pm -midnight; Sat 3pm-midnight; Sun 3pm-10pm The Norfolk 305 Cleveland St, Surry Hills (02) 9699 3177 Mon – Sat noon-midnight; Sun noon-10pm Old Growler 218 William St, Woolloomooloo 0458 627 266 Tue – Sat 5pm-midnight; Sun 4-10pm The Oxford Circus 231 Oxford St, Darlinghurst 0457 353 384 Wed – Sat 6pm-3am The Owl House 97 Crown St, Darlinghurst 0401 273 080 Mon – Fri 4pm-midnight; Sat 6pm-midnight; Sun 6-10pm Peekaboo 120 Bourke St, Woolloomooloo 0403 747 788 Tue – Thu 4pm-10pm; Fri – Sat 4pm-midnight Play Bar 72 Campbell St, Surry Hills (02) 9280 0885 Tue – Thu 5pm-midnight; Fri 4pm-midnight; Sat 5pm-midnight Pocket Bar 13 Burton St, Darlinghurst (02) 9380 7002 Mon – Sun 4pm-midnight The Powder Keg 7 Kellett St, Potts Point (02) 8354 0980 Wed – Thu 5pm-midnight; Fri – Sat 4:30pm-midnight; Sun 5pm-midnight
26th International Short Film Festival
The Print Room 11 Glenmore Rd, Paddington (02) 9331 0911 Thu – Fri noon-midnight; Sun – Wed noon-10pm Queenie’s Upstairs 336 Riley St, Surry Hills (02) 9212 3035 Tue – Thu 6pm-late, Fri noon-3pm & 6pm-late; Sat 6pm-late Riley St Garage 55 Riley St, Woolloomooloo (02) 9326 9055 Mon – Sat noon-midnight Roosevelt 32 Orwell St, Potts Point (02) 8696 1787 Tue – Fri 5pm-midnight; Sat noon-midnight; Sun 3-10pm Rosie Campbell’s 320 Crown St, Surry Hills (02) 9356 4653 Mon – Thu 5pm-midnight; Fri – Sun 11am-midnight Shady Pines Saloon Shop 4, 256 Crown St, Darlinghurst Mon – Sun 4pm-midnight The Soda Factory 16 Wentworth Ave, Surry Hills (02) 8096 9120 Mon – Wed 5pm-midnight; Thu – Fri 5pm-3am; Sat – Sun 6pm-3am Surly’s 182 Campbell St, Surry Hills (02) 9331 3705 Mon – Sat noon-midnight; Sun noon-10pm Sweethearts Rooftop 33/37 Darlinghurst Rd, Potts Point (02) 9368 7333
Mon – Thu 4pm-midnight; Fri – Sun noon-midnight This Must Be The Place 239 Oxford St, Darlinghurst (02) 9331 8063 Mon – Sun 3pm-midnight The Tilbury Hotel 12-18 Nicholson St, Woolloomooloo (02) 9368 1955 Mon 9am-10pm; Tue – Fri 9am-midnight; Sat 10am-midnight; Sun 10am-10pm Tio’s Cerveceria 4-14 Foster St, Surry Hills (02) 9368 1955 Mon – Sat 4pm-midnight Tipple Bar 28 Chalmers St, Surry Hills (02) 9212 0006 Mon midday-10pm; Tue –Sat midday-midnight Vasco 421 Cleveland St, Redfern 0406 775 436 Mon – Sat 5pm-midnight The Village Inn 9-11 Glenmore Rd, Paddington (02) 9331 0911 Mon – Sun noon-late The Wild Rover 75 Campbell St, Surry Hills (02) 9280 2235 Mon – Sat 4pm-midnight The Winery 285A Crown St, Surry Hills (02) 9331 0833 Mon – Sun noon-midnight
Anchor Bar 8 Campbell Pde, Bondi
Program and Session Times DAY
10am
2pm
4.30pm
6.30pm
8:45pm Festival Opening Highlights & Party (7:45 for 8:15 start)
FRI 06
SAT 07
SUN 08
FlickerKids (ages 6–12)
Best of International 1
Best of Australian 1
Best of Australian 2
Best of Australian 3
Best of International 2
Best of Australian 4
Best of International 3
Best of Australian 5
Best of Documentary 2
Best of Australian 6
Best of International 4
Best of Australian 7
Windows on Europe 1
Windows on Europe 2
Love Bites
Short Laughs Comedy
Short Laughs Comedy (Repeat)
From the Oscars
MON 09 Best of Documentary 1
TUE 10
WED 11 Best of International 5
TH THU 12
F FRI 13
FlickerLab (10am – 5pm)
SA SAT 14
FlickerUp School Shorts Competition Final
SUN 15
BONDI P PAVILION BONDI BEACH JAN 6 – 15 JANUARY 2017
(02) 8084 3145 Mon – Fri 5pm-late; Sat – Sun 12.30pm-late Bat Country 32 St Pauls St, Randwick (@ The Spot) (02) 9398 6694 Mon – Sat 7am-midnight; Sun 7am-10pm Beach Road Hotel 71 Beach Rd, Bondi Beach (02) 9130 7247 Mon – Fri 11am-1am; Sat 10am-1am; Sun 10am-10pm Bondi Hardware 39 Hall St, Bondi (02) 9365 7176 Mon – Thu 4pm-midnight; Fri noon-midnight; Sat 9am-midnight; Sun 9am-10pm The Bucket List Shop 1, Bondi Pavilion, Queen Elizabeth Drive (02) 9365 4122 Mon – Sun 11am-midnight The Corner House 281 Bondi Rd, Bondi (02) 8020 6698 Mon – Fri 5pm-midnight; Sat 9am-midnight; Sun 9am-10pm Fat Ruperts 249 Bondi Rd, Bondi (02) 9130 1033 Tue – Fri 4-11pm; Sat – Sun 2-11pm Jam Gallery 195 Oxford St, Bondi Junction (02) 9389 2485 Wed – Sat 7pm-3am The Phoenix Hotel 1 Moncur St, Woollahra (02) 9363 2608
GreenFlicks Competition
From the Oscars (Repeat)
Closing Night Awards, Winning Highlights & After Party Closing Night
Tickets available at FLiCKERFEST.COM.AU #flickerfest2017
thebrag.com
BRAG :: 694 :: 21:12:16 :: 23
out & about Queer(ish) matters with Arca Bayburt
The Minor Inconveniences Of Living A Queer Life
Q
ueers have a whole gamut of reasons to feel hard done by. I mean, our rights are up for public discussion, we’re discriminated against when it comes to work, health and education, we’re still represented poorly (or under-represented) in the media and we’re still hated by some people simply for existing as we are. This week, I don’t want to talk about those big things; the giant hallmarks of queer suffering are very real and very difficult to get around sometimes. Instead, I want to discuss the comparatively more minor inconveniences that are part and parcel of queer life.
1. Tokenism
In other words, being defined as ‘the gay friend’. Being reduced to your sexuality in any way, so that someone else may feel evolved and enlightened, is incredibly irritating. I’ve been introduced as, “Oh, and this is my gay friend.” It’s disrespectful. I don’t like to feel like an exotic pet you can parade around for some progressive cred.
2. Stereotyping
Ah, stereotypes – the annoying imaginary boundaries that trap us all, one way or another, in an identity we didn’t choose. The media plays a huge role in shaping public perceptions of something. Lesbians have often been portrayed as masculine,
for the diary…
frumpy and unattractive. Cue the well-meaning but hideously misguided compliment, “But you’re too pretty to be a lesbian, wow!” along with other such gems as, “But you don’t look like a lesbian!” or “You work in retail? Cool, I thought you might have been a mechanic or something.” Like we all need to be wearing grease-stained flannel and a buzz cut to be ‘real’ homosexuals.
out 3. Coming (again)
Some people have never been able to pass as straight. Some people are clocked as weird or different right off the bat. Others are not, so while coming out can be relieving or traumatising or a non-event, it’s rarely the only event. As with most things in life, your first time is the most memorable. I’ve had to come out to many people throughout my life, not because I have this undying need to scream that I’m gay (only occasionally), but because it’s sometimes a necessity. I’ve had to come out to doctors for the sake of my sexual health, I’ve had to come out to people who made the assumption that I was straight – and in that sort of situation, I’ve found that it feels like when somebody gets your name wrong and you decide whether or not it’s worth correcting them. It happens a lot. Such is the straight world we live in.
an 4. Being unwilling ambassador
My views do not necessarily represent those of my queer brethren. Perhaps I should say this every time I speak, so I don’t confuse people who think that all gay people know each other and have monthly meetings. It’s easy to become the designated mouthpiece for your people when you’re part of a minority group. Well-meaning individuals will ask you about gay stuff and you’ll tell them what you know. The trouble comes from them assuming that you’re speaking for everybody. I can forgive my 80-year-old grandmother for pointing at the TV during the Mardi Gras parade and asking me, “She’s gay, do you know her?” I have a harder time dealing with people who ask me things like, “Why do you all dress that way?” or “Do you all really just do drugs and sleep around constantly?” or “Is it true that lesbians sleep standing up?” I suppose these things will exist so long as ignorance abounds. I think once the mainstream media does a better job at portraying us as fully realised humans, the bizarro interrogations will slow down and ignorance will decrease. Straight people won’t be kept awake at night, wondering if the lesbians next door are asleep standing up. They’ll know we sleep upside down, like bats.
The UV Race
On Saturday December 24, get on down to the Imperial Hotel for the Girlthing x Boything X-Mas Bash. Ditch the family you were born into and spend some time with your real family, including Dunny Minogue, Dolly, Cunningpants, Fungusmonk and Akashic_. Tickets are available now. On Saturday January 14, the Rad Queer Festival is on at the Romantica Social Centre in Petersham. It will be a day of talks, workshops, art and film screenings, followed by an evening Holy Balm
asking interested parties to get in touch via the Facebook event if they’d like to be involved. Also on Saturday January 14, Marrickville Bowling Club is hosting Nag Nag Nag III. Sydney’s premier underground music offering returns, bringing together artists from all walks of weird. Check out The UV Race, Holy Balm, Low Life, Orion, Constant Mongrel, The Shifters, Rapid Dye, Hurtsville, Primo!, Enderie, Heartbreak, Oral B and Display Homes. Presale tickets are available now.
Bar-racuda 105 Enmore Rd, Newtown (02) 9519 1121 Mon – Sat 6pm-midnight Batch Brewing Company 44 Sydenham Rd, Marrickville (02) 9550 5432 Mon – Sun 10am-8pm Bauhaus West 163 Enmore Rd, Enmore (02) 8068 9917 Fri – Sat 4pm-midnight The Bearded Tit 183 Regent St, Redfern (02) 8283 4082 Mon – Fri 4-11pm; Sat 2-11pm; Sun 2-10pm B.E.D. 36 Glebe Point Rd, Glebe (02) 9660 0678 Tue – Sat 2pm-midnight; Sun 2-10pm Blacksheep 256 King St, Newtown (02) 8033 3455 Mon – Fri 4pm-11pm; Sat 2pm-11pm; Sun 2pm-10pm Bloodwood 416 King St, Newtown (02) 9557 7699 Mon – Fri 5pm-midnight; Sat noon-midnight; Sun noon-10pm Calaveras 324 King St, Newtown 0451 541 712 Tue – Wed 6-10pm; Thu 5-11pm; Fri – Sat 5pm-midnight; Sun 5.3010pm Cornerstone Bar & Food 245 Wilson St, Eveleigh (02) 8571 9004 Sun – Wed 10am-5pm; Thu – Sat 10am-midnight Corridor 153A King St, Newtown 0405 671 002 Mon 5pm-midnight; Tue – Thu 4pm-midnight; Fri – Sun 3pm-midnight Cottage Bar & Kitchen 342 Darling St, Balmain (02) 8084 8185 Mon – Wed 5pm-midnight; Thu – Sat noon-midnight Deus Sydney Bar + Kitchen 98-104 Parramatta Rd, Camperdown (02) 9519 0849 Mon-Tue 8am-3pm; WedSun 8am-11pm Different Drummer 185 Glebe Point Rd, Glebe (02) 9552 3406
Mon 4.30-11pm; Tue – Wed 4.30pm-1am; Thu – Sat 4.30pm-2am; Sun 4.30am-midnight Doris & Beryl’s Bridge Club and Tea House 530 King St, Newtown Mon – Fri 5pm-midnight; Sat – Sun 3.30pm-midnight Earl’s Juke Joint King St, Newtown Mon – Sat 4pm-midnight Forest Lodge Hotel 117 Arundel St, Forest Lodge (02) 9660 1872 Mon – Sat 11am-midnight; Sun noon-10pm Freda’s 109 Regent St, Chippendale (02) 8971 7336 Tue – Sat 4pm-midnight; Sun 4pm-10pm The Gasoline Pony 115 Marrickville Rd, Marrickville 0401 002 333 Tue – Thu 5-11.30pm; Fri – Sat 3-11.30pm; Sun 3-9.30pm The Grifter Brewing Co. 1/391-397 Enmore Rd, Marrickville (02) 9550 5742 Thu 4-9pm; Fri – Sat noon9pm; Sun noon-7pm The Hideaway Bar 156 Enmore Rd, Enmore (02) 8021 8451 Tue– Thu 4pm-midnight; Fri – Sat 4pm-1am Hive Bar 93 Erskineville Rd, Erskineville (02) 9519 1376 Mon – Sat noon-midnight; Sun noon-10pm Kelly’s On King 285 King St, Newtown (02) 9565 2288 Mon – Sat 10am-11pm; Sun 11pm-midnight Kingston Public Bar & Kitchen 62-64 King St, Newtown (02) 8084 4140 Mon – Thu 4pm-midnight; Fri – Sun 2pm-midnight Knox Street Bar Cnr Knox & Shepherd St, Chippendale (02) 8970 6443 Tue – Thu 4-10pm; Fri – Sat 4pm-midnight Kuleto’s 157 King St, Newtown (02) 9519 6369 Tue – Sat 4pm-3am; Sun 4pm-midnight Leadbelly 42 King St, Newtown (02) 9557 9409 Sun – Thur 4pm-midnight; Fri-Sat 4pm-1am The Little Guy 87 Glebe Point Rd, Glebe (02) 8084 0758 Mon – Fri 4pm-midnight; Sat 1pm-midnight; Sun 3pm-10pm Mary’s 6 Mary St, Newtown (02) 4995 9550 Mon – Thu 4pm-midnight; Fri – Sat noon-midnight The Midnight Special 44 Enmore Road, Newtown (02) 9516 2345 Tue – Fri 5pm-noon; Sat 1pm-midnight Miss Peaches 201 Missenden Rd, Newtown (02) 9557 7280 Wed – Sun 5pm-midnight Mr Falcon’s 92 Glebe Point Rd, Glebe (02) 9029 6626 Mon – Thu 4pm-midnight; Fri 3pm-midnight; Sat noon-midnight; Sun 4pm-10pm Newtown Social Club 387 King St, Newtown (02) 9550 3974 Mon – Thu 4pm-midnight;
Fri – Sat noon-2am; Sun noon-10pm The Oxford Tavern 1 New Canterbury Rd, Petersham (02) 8019 9351 Mon – Thu noon-midnight; Fri – Sat noon-3am; Sun noon-10pm Lord Raglan 12 Henderson Rd, Alexandria (02) 9699 4767 Mon – Sat noon-midnight; Sun noon10pm The Record Crate 34 Glebe Point Rd, Glebe (02) 9660 1075 Mon – Thu 5pm-midnight; Sat noon-midnight; Sun 3-10pm The Royal 156 Norton St, Leichhardt (02) 9569 2638 Mon – Thu 10am-1am; Fri – Sat 10am-3am; Sun 10am-midnight Secret Garden Bar 134a Enmore Rd, Enmore 0403 621 585 Mon – Tue 7am-5pm; Wed – Fri 7am-11pm; Sat 7am-10pm; Sun 7am-11pm Staves Brewery 4-8 Grose Street, Glebe (02) 9280 4555 Thu 4-10pm; Fri – Sat 4pm-midnight; Sun 4-10pm Temperance Society 122 Smith St, Summer Hill (02) 8068 5680 Mon – Thu 4pm-11pm; Fri – Sat 3pm-midnight; Sun 3-10pm Thievery 91 Glebe Point Rd, Glebe (02) 8283 1329 Mon – Thu 6pm-11pm; Fri 6pm-midnight; Sat noon3pm & 6pm-midnight The Thirsty Wolf 127 King St, Newtown (02) 9517 2081 Tue – Sat 6pm-midnight; Sun 6-10pm Timbah 375 Glebe Point Rd, Glebe (02) 9571 7005 Tue – Thu 4-10pm; Fri 4-11pm; Sat 3pm-11pm; Sun 4pm-8pm Vernon’s Bar L2. One Penny Red, 2 Moonbie St. Summer Hill (02) 9797 8118 Mon 4-10pm; Tue – Thu 4-11pm; Fri – Sat 4-midnight; Sun 4-10pm Wayward Brewing Co. 1 Gehrig Ln, Annandale (02) 7903 2445 Thu – Fri 2-10pm; Sat noon-10pm; Sun noon8pm Websters Bar 323 King St, Newtown (02) 9519 1511 Mon – Sat 10am-4am; Sun 10am-midnight Wilhelmina’s 332 Darling St, Balmain (02) 8068 8762 Wed – Fri 5-11pm; Sat 8-11pm; Sun 8am-10pm The Workers Lvl 1, 292 Darling St, Balmain (02) 9555 8410 Fri – Sat 5pm-3am; Sun 2pm-midnight Young Henrys D & E, 76 Wilford St, Newtown (02) 9519 0048 Mon – Fri noon-7pm; Sat 10am-7pm; Sun 11am-7pm Zigi’s Wine And Cheese Bar 86 Abercrombie St, Chippendale (02) 9699 4222 Tue 4pm-10pm; Wed 4pm-midnight; Thu – Sat 3pm-midnight
Your bar’s not here? Email: chris@thebrag.com
Crooked Tailor 250 Old Northern Road, Castle Hill (02) 9899 3167 Mon – Sun 4pm-midnight Daniel San 55 North Steyne, Manly (02) 9977 6963 Mon – Thu 4pm-midnight; Fri – Sun 11am-2am Firefly 24 Young St, Neutral Bay (02) 9909 0193 Mon – Wed 5-11pm; Thu 5-11.30pm; Fri noon11.30pm; Sat noon-11pm; Sun noon-10pm The Foxtrot 28 Falcon St, Crows Nest Tue – Wed 5pm-midnight; Thu 5pm-1am; Fri 4pm-2am; Sat 5pm-2am; Sun 4-10pm The Hayberry Bar & Diner 97 Willoughby Road, Crows Nest (02) 8084 0816 Tue – Thu 4pm-midnight; Fri & Sat noon-midnight Sun noon-10pm Hemingway’s 48 North Steyne, Manly (02) 9976 3030 Mon – Sat 8am-midnight; Sun 8am-10pm The Hold Shop 4, Sydney Rd Plaza, Manly (02) 9977 2009 Tue – Fri 5pm-midnight; Sat 3pm-midnight; Sun 3-10pm Honey Rider 230 Military Rd, Neutral Bay (02) 9953 8880 Tue – Sat 4pm-midnight; Sun 4pm-10pm InSitu 1/18 Sydney Rd, Manly (02) 9977 0669 Tue – Fri 4pm-midnight; Sat 9am-midnight; Sun 9am-10pm The Hunter 5 Myahgah Rd, Mosman 0409 100 339 Mon – Tue 5pm-midnight; Wed – Sat noon-midnight; Sun noon- 10pm Jah Bar Shop 9, 9-15 Central Ave, Manly (02) 9977 4449 Tue 5pm-midnight; Wed-Fri noon-midnight; Sat 8am-midnight; Sun 9am-10pm Manly Wine 8-13 South Steyne, Manly (02) 8966 9000 Mon – Sun 7am-11pm Miami Cuba 47 North Steyne, Manly 0487 713 350 Mon – Sun 8am-4pm Moonshine Lvl 2, Hotel Steyne, 75 The Corso, Manly (02) 9977 4977 Mon – Thu 9am-3pm; Fri – Sat 9am-2am; Sun 9am-midnight The Pickled Possum 254 Military Rd, Neutral Bay (02) 9909 2091 Thu – Sat 9pm-1am SoCal 1 Young St, Neutral Bay (02) 9904 5691 Mon – Wed 5pm-midnight; Thu 5pm-1am; Sat noon2am; Sun noon-midnight The Stoned Crow 39 Willoughby Rd, Crows Nest (02) 9439 5477 Mon – Sat noon-late; Sun 11.30am-10pm The Treehouse Hotel 60 Miller St, North Sydney (02) 8458 8980 Mon – Fri 7am-midnight; Sat 2pm-midnight thebrag.com
Holy Balm photo by Samuel Hodge
24 :: BRAG :: 694 :: 21:12:16
of spoken word, music and delicious food. The festival organisers are open to anybody contributing and are
Mon – Wed 4-11pm; Thu – Fri noon-11pm; Sat – Sun 8am-11pm The Robin Hood Hotel 203 Bronte Rd, Waverley (02) 9389 3477 Mon-Sat 10am-3am; Sun 10am-10pm Selina’s at Coogee Bay Hotel 253 Coogee Bay Rd, Coogee (02) 9665 0000 Selina’s Thu 8pm-midnight; Coogee Bay Hotel Mon – Thu 7am-3am, Fri – Sat 7am-6am; Sun 7am-midnight Speakeasy 83 Curlewis St, Bondi (02) 9130 2020 Mon – Sat 5-11pm; Sun 4-10pm Spring Street Social 110 Spring St, Bondi Junction (02) 9389 2485 Tue – Sat 5pm-3am Stuffed Beaver 271 Bondi Rd, Bondi (02) 9130 3002 Mon – Sat noon-midnight; Sun noon-10pm
bread&thread Food & Fashion News... with David Burley
Gelato Messina
42Below
KEEPING IT CLEAN
42Below has launched a recycling program that turns cocktail leftovers into soap. Cocktails these days are normally dressed up to look all pretty with fruit and other garnishes, and once they’ve been drunk, all the extras just get thrown out. This new eco-friendly initiative sees leftover lemons from drinks made in pubs and bars set aside and turned into soap, which is then given back to the venue. Already the program has caught the eye of a dozen of Sydney’s favourite venues, including Stitch Bar, Earl’s Juke Joint and Pocket Bar. Head along to help save the planet one cocktail at a time.
Holy Duck
LOVE DUCK? YOU’RE IN LUCK
A brand new Chinese fusion restaurant has just opened up in Chippendale. Holy Duck is the food child of Kensington Street revitaliser Dr. Stanley Quek (no, seriously), and the creator of Chefs Gallery, Kaisern Ching. The menu is stacked with traditional duckcentric Chinese dishes that have been given a 21st century twang. Dishes like the crispy crackling roast pork belly with Pommery mustard sauce and crispy fried Shantung chicken are bound to get your mouth watering. Some handy handheld dishes are also available for a quick feed. Holy Duck is located on Kensington Street in Chippendale and is open from 11am till 10pm daily.
FOMO FOOD LINEUP
While you’re devouring tunes from acts like Empire Of The Sun and Peking Duk at Parramatta Park’s FOMO Festival, here’s the selection of tasty food stalls you’ll have to choose from. The smells of Butter’s famous fried chicken will be wafting over the mosh while the wandering restaurant Let’s Do Yum Cha will be serving up its dreamy dumplings. There’ll be a huge selection of burgers on offer thanks to Pub Life Kitchen, and Happy As Larry is setting up shop with its 2.2-tonne wood fired pizza oven from Naples. Eat Art Truck and Berlin Bangers will also be there with a selection of scrumptious, easy-to-hold meals that are perfect for festivals. To top it all off, the iconic Gelato Messina will be there to offer hungry festivalgoers their just desserts. FOMO is coming to Sydney on Sunday January 8.
NEW YEAR’S RESOLUTIONS
With New Year’s just around the corner, it’s time to start planning some resolutions, and the Resolutions menu at Slide is well worth a look. The new offerings will be entirely gluten-free, with vegetarian and vegan options available and plenty of superfoods and other healthy goodies scattered throughout. The menu will be on offer during the venue’s
El’ Circo show, which means the nine courses will be accompanied by nine exciting circus acts from a range of talented performers. Enjoy the Resolutions menu from January to March – head to slide. com.au for the full menu and booking info.
FLINDERS TO REOPEN
Darlinghurst’s beloved Flinders Hotel is set to reopen after being
ZEBRA GREEN CAFÉ
purchased by a new owner. Concrete Playground reported that a spokesperson for the buyer, who remains anonymous at the time of writing, will renovate the venue into something “a little bit upmarket”. The Flinders shut its doors in early 2015, with the owners at the time blaming the lockout laws for a lack of business. Live music will return to the Flinders when it’s relaunched, joined by a menu offering of gourmet pizza, burgers, ribs and more.
restaurant of the week
ADDRESS: 82 BRONTE RD, BONDI JUNCTION OPENING HOURS: DINNER TUESDAY TO FRIDAY; BREAKFAST, LUNCH AND DINNER SATURDAY AND SUNDAY. are made here. We also have our own sauces and pickles ranges which we offer with our signature chips. Something to start with: People always start with our chips – it sounds heavy but once you’ve had them once you don’t want to wait till the main course. Also, our sticky wings to share are finger lickin’ good and at the moment the watermelon salad with pickled cabbage and walnuts. The main course: Slow cooked for eight hours, mustard crust Junee lamb shoulder, lemony roast potato, chickpeas, peppers, feta.
Zebra Green photos by Will Williams
Room for dessert? We bring a dessert box to every table so people can choose one or more for one or more! It’s fun and people love seeing the choices.
Who’s the cook/bartender? Shane Lurie is the owner and our head chef. He has spent years working for Michelin-rated chefs in Europe and opened his first restaurant in Bondi before he was 30. For ten years he had Blue Orange, a locals’ favourite there. Eye candy: We wanted it to feel like you have come to our home to eat, so working with Shane’s designer brother, Jason Lurie of Jalin Design in London, we came up with the concept and he helped thebrag.com
us source the original retro art and furniture including our cool bars. All our wall art is out of this world and we handed blank spaces to the amazing creatives that are Sindy Sinn, The Grizz and local Bondi artist Mike Watt. Flavours: Modern Australian comfort food, accessible and designed to share. Lots of vegetarian choices and locally sourced ingredients. We focus on strong flavours and once you eat our food we know you’ll come back – memories
Care for a drink? Jugs of Young Henrys fizz are a winner. YH cider, 666 Tassie butter vodka, fresh apples, lemons, mint… Sounds: ’80s retro non-stop! We have a Sonos system and three rooms, so we often have ’80s in the parlour, gangsta rap for a function in the loft and cool jazz vibes in the garden. The bill comes to: On average $35 Website: zebragreen.com.au BRAG :: 694 :: 21:12:16 :: 25
snap sn ap
up all night out all week . . .
VIEW FULL GALLERIES AT
thebrag.com/snaps
live reviews What we’ve been out to see...
JAPANDROIDS
The Red Rattler Tuesday December 13
THE STONE ROSES Sydney Opera House Monday December 12
For a band that only has two studio albums to its name – the last of those coming more than two decades ago – The Stone Roses stir a religious fervour in their fans to rival any of their contemporaries. Even on a Monday night, half the world away from Manchester, the band’s first show of three at the Sydney Opera House saw the faithful passionately singing along to not only the words but basslines (the intro to ‘I Wanna Be Adored’) and guitar riffs (‘Waterfall’). During openers ‘I Wanna Be Adored’ and ‘Elephant Stone’, it seemed as though the Roses were finding their way back into their stride, what with it being their first show since the middle of the year. By ‘Sally Cinnamon’, things were up and running as they should be, with the indomitable bass and drum combo of Mani and Reni reaching full power. Like all the band’s post-reunion shows, the setlist relied heavily on tracks from the Roses’ classic 1987-1990 period, including all 11 from 1989’s self-titled
debut. For those with a place in their heart for 1994’s (unjustly overlooked) Second Coming, we were treated to more songs than on the band’s last visit in 2013, with the frenetic ‘Begging You’ and the epochal ‘Breaking Into Heaven’ getting an airing, along with the swaggering blues of ‘Love Spreads’. Following on from the extended funk workout of ‘Fools Gold’, ‘All For One’ made its Australian debut. The first new Stone Roses single since 1995 and one of two songs released by the band this year, it held its own during a set rich with anthems. The already euphoric atmosphere in the room went up another couple of notches as the show reached its conclusion. From ‘Love Spreads’ through ‘Made Of Stone’, ‘She Bangs The Drums’, ‘This Is The One’ and the final triumphant climax of ‘I Am The Resurrection’, almost everyone in the crowd was on their feet, in full voice and with hands in the air. Leaving a jubilant crowd in their wake, The Stone Roses well and truly made Monday night in Sydney feel like a Saturday anywhere, and that’s a beautiful thing indeed. Michael Hartt
Science dictates that time goes only one way; that the past is a foreign country, inaccessible and remote. But who gives a rat’s about science? If Japandroids’ sweaty, deliciously slobby gig at The Red Rattler on Tuesday proved anything, it’s that a beloved band can return to its roots with ease, somehow stepping back to its beginnings without such a move ever seeming like a regression. After all, Japandroids have enough selling power to fill a venue like the Rattler ten times over. Selling power and something more too; something harder to define. This is a band that people feel like they own, somehow – a band with songs of the audience, not just for them – and as hit wrecked into hit, the crowd gave off warmth in waves.
had no reason to be. Such extreme physical reactions are the songs’ natural endpoint. Even tunes from the band’s yet-to-bereleased record, Near To The Wild Heart Of Life, inspired wild moshing and furious, semi-serious dancing. You don’t have to know a Japandroids song inside out for it to work on you. That’s why people take to these guys so quickly – because they require so very little and provide so much. Indeed, such creative generosity explains why none of the audience seemed particularly concerned about the two tearyeyed, shirtless, sweaty men shouting along to every bloated chorus. It explains why every hand shot up to support an especially enthusiastic music industry rep as she sorta crowd-surfed, hovering in front of the tiny stage with nowhere particularly go. And it explains why people turned to each other, smiling, strangers nodding at strangers, acknowledging the same ridiculous, vital tunes.
That’s partly because a song like ‘The House That Heaven Built’ wants you to love it; because ‘The Nights Of Wine And Roses’ is a beckoning hand, forever calling for you. These songs rely on audience participation the way pantomimes do, and though drummer David Prowse seemed surprised by the slow dance circle pit that broke out halfway through ‘Continuous Thunder’, he
Ultimately, the gig ended the only way it was ever going to end: with vocalist Brian King being held up by the audience, awkwardly trying to riff his way through AC/DC’s ‘Back In Black’, till finally he slipped into the crowd and the music stopped. That image – a man being gently swallowed whole by the people who love him – is Japandroids to a T.
POLISH CLUB, TWIN FIRES
view. The music still wasn’t fast enough for some, as a heckler started the night’s banter with, “Play a little faster you pussy!” But Novak delivered a premium return serve: “We’re building something here, we’ll get there together – get ready, unbutton your shirt…” before continuing coolly, “You want fast, you fucker?” and launching into the next tune.
Newtown Social Club Saturday December 17
It was a week before Christmas, and the milestone wasn’t lost on Polish Club, who served up a rendition of festive queen Mariah Carey’s ‘All I Want For Christmas Is You’ in their punchy, strident style during the last show on their first headline tour. While the room was busy belting out Carey’s track with smirks galore, Ginuwine’s ‘My Pony’ weaved its way through with gritty ferocity before singer/ guitarist David Novak plummeted into Polish Club’s next romantic twist of the evening – a French-filled belter. Ahead of the French and mid-’90s touches, Twin Fires had transported Newtown Social Club to America’s Deep South with a sonic wall of rolling guitars, hip-shaking percussion, harmonica and an American twang. The band’s appeal was clear after lead singer Ed Worland encouraged the crowd to lose their inhibitions and fill the front of the floor. Like a bull at the gates, drummer JohnHenry Pajak smashed out a crescendo of drums and Polish Club charged into
Joseph Earp
With jams that would be stretched to hit three minutes, there’s no lack of interest in Polish Club’s loud, frantic repertoire. Thanks to Novak’s charisma, conviction and eye-rolling deliveries – not to mention that husky, whisky-tinged howl – and Pajak’s grinning, head-thrashing beats, the duo plays some good old-fashioned rock that’s far from serious and full of fun. Between swigs of Jameson, their beloved tracks ‘Beat Up’ and ‘Beeping’ and a steady stream of one-liners from Novak, he declared that Polish Club’s debut album is ready, and it’s “good, really good. So good.” After treating their hometown fans to new cuts from the record, they saw the night out writhing on the floor, with reverb wailing and punters in raptures. It won’t be the last time they go out that way. Emily Gibb
party profile
summernats It’s called: Summernats
It sounds like: Aussie rock, banging beats and engine noise. Acts: Drapht, Airbourne, Spit Syndicate and Thirsty Merc. Sell it to us: The annual Street Machine Summ ernats Car Festival, proudly supported by Rare Spares, is Austra lia’s biggest horsepower party. The Summernats delivers four days of high-octane extreme auto action including Australia’s top street machines, the world’s best burnout battle and two epic nights of concerts. It’s all set against a backdrop of burnt rubbe r, rock’n’roll, and one of Australia’s biggest motor retail trade shows as we search for the Street Machine Summernats Grand Champion. The bit we’ll remember in the AM: Nothin ’ but a good time. Crowd specs: 100,000+ over the weekend. Wallet damage: From $49 (day pass) and $140 (season pass). Where: Exhibition Park, Canberra When: Thursday January 5 – Sunday Janua ry 8
PHOTOGRAPHER :: ASHLEY MAR
26 :: BRAG :: 694 :: 21:12:16
thebrag.com
snap sn ap
VIEW FULL GALLERIES AT
thebrag.com/snaps
THE MONKEES
Enmore Theatre Thursday December 15 Generally, the idea of seeing a version of a vintage band that only contains a couple of members of the classic lineup should be approached with extreme caution. The Monkees, however, have never been your average band. Only Micky Dolenz and Peter Tork remain from the Pre-Fab Four that debuted on American TV in late 1966; Davy Jones passed away in 2012 and, having only appeared sporadically during the band’s various reunions, Michael Nesmith played his last show as a Monkee in September. Aided by a crack backing band in Sydney, the remaining two Monkees put on a thoroughly entertaining and endearing show full of exquisite pop songs from an invincible catalogue. Garage classics like ‘(I’m Not Your) Steppin’ Stone’, ‘Saturday’s Child’ and ‘Mary, Mary’ still held their rawness, Dolenz’s gravely growl giving them plenty of attitude. As well as all the obvious crowdpleasers, the band delved into The Monkees’ deep cuts with gems like ‘Papa Gene’s Blues’, ‘D.W. Washburn’ and ‘Your Auntie Grizelda’. There was also a suite of tracks from the band’s kooky
cult classic film Head, beginning with the space cowboy rock of ‘Circle Sky’, through the blissed-out ‘Porpoise Song (Theme From Head)’ and concluding with the jaunty ‘Long Title: Do I Have To Do This All Over Again?’. Several tributes to the sadly departed Jones were paid throughout the show. His isolated vocal tracks were backed by the live band on a touching version of ‘Shades Of Gray’, whie Jones’ voice returned to lead the crowd in a mass sing-along to ‘Daydream Believer’. Also given an airing were tracks from this year’s new (actually bloody great) Monkees album Good Times, including ‘She Makes Me Laugh’ written by Weezer’s Rivers Cuomo and ‘You Bring The Summer’ written by XTC’s Andy Partridge. The highlight of the new tracks was the Ben Gibbard (Death Cab For Cutie) composition ‘Me & Magdalena’, which saw Tork and Dolenz share its weary but tender vocals. It’s odd to think that, potentially, a current band could be performing a similar anniversary tour in 2066. If it does, will the songs be anywhere near as impeccable as the likes of ‘Last Train To Clarksville’, ‘She’, ‘For Pete’s Sake’ or encore tracks ‘Pleasant Valley Sunday’ and ‘I’m A Believer’? It’s a tough ask. Michael Hartt
PHOTOGRAPHER :: ASHLEY MAR
thebrag.com
COLDPLAY, LIANNE LA HAVAS Allianz Stadium Tuesday December 13
Money might not buy love, but a vast production budget can fill 51,000 hearts with joy. Love or loathe their music, there is no resisting a Coldplay show – or any show – as spectacular and warm as this. With an opening quote from Charlie Chaplin’s The Great Dictator, we were promised a wonderful adventure and that’s exactly what we got, by way of confetti cannons, lasers, fireworks and a dozen dazzling light shows; better than any spaceship or elevating drum kit, the flashing Xylobands worn by the majority of the audience might just be the best gimmick in gig visual design history. “Oh, I think I’ve landed / In a world I hadn’t seen,” sang Chris Martin as he ran the length of the runway to the centre of the stadium. Well, he has seen a similar sight on at least 60 nights since March, from Argentina to New Zealand. Yet the band’s enthusiasm hasn’t waned and – despite all the pyro – this is the real key to the pleasure of the show. Coldplay are (let’s be honest) probably a decade past their best recording output but still loving every minute of playing for their fans. Chris, Jonny, Guy and Will are
up all night out all week . . .
still the student outsiders who got a little lucky and are too scared to take any of it for granted. Martin is completely at ease with his geeky awkwardness, so while there’s no way in hell a Tuesday night Sydney crowd could ever consider itself the best in the world, it was charming when he told us we were set for a cheering world record. When he danced, all flailing limbs, to the ‘Paradise’ remix, his kids might’ve squirmed, but for the audience his silly turn was endearingly contagious. And what of the music? The pseudodisco of ‘Adventure Of A Lifetime’ sounds average on record but made complete sense when accompanied by graphics of rainbow-coloured gorillas, balloons and fans of all ages nodding along. Set a gorgeous light and laser show to nowclassics like ‘Yellow’ and ‘Clocks’ and you can’t go far wrong. The same ‘can’t quite believe this is my job’ look shone on the face of supporting folk/soul star Lianne La Havas. She carried herself exceptionally well, the powerful single-word chorus of ‘Forget’ reverberating around a slowly filling stadium as the sunlight dimmed. It was all enormously entertaining. David Wild
PHOTOGRAPHER :: ASHLEY MAR
BRAG :: 694 :: 21:12:16 :: 27
g g guide gig g send your listings to : gigguide@thebrag.com
pick of the week Phantastic Ferniture
MUSIC
Jr’s Jazz Jam B.e.d., Glebe. 7:30pm. Free. Live Jazz And Blues The Long Goodbye, Darlinghurst. 5pm. Free. Swamp To Sahara Lazybones Lounge, Marrickville. 8pm. $10.
ACOUSTIC, COUNTRY, BLUES & FOLK
THURSDAY D EC E M B E R 2 2 Oxford Art Factory
Phantastic Ferniture + Big White + Flowertruck + Betty & Oswald + more 8pm. $23.10. WEDNESDAY DECEMBER 21 INDIE, ROCK, POP, METAL, PUNK & COVERS Karaoke Wednesdays Scruffy Murphy’s Hotel, Sydney. 10pm. Free.
ACOUSTIC, COUNTRY, BLUES & FOLK
Folkswagon Cafe Lounge Bar, Surry Hills. 7pm.
snap
Free. Manouche Wednesday - feat: The Squeezebox Trio Mr Falcon’s, Glebe. 7pm. Free. You And Your So-Called Friends + Mindy Sotiri The Gasoline Pony, Marrickville. 7pm. $7.
JAZZ, SOUL, FUNK, LATIN & WORLD MUSIC
Andrew Dickeson Trio Lazybones Lounge, Marrickville. 8pm. $10. Salsa Wednesdays -
feat: DJ Miro The Argyle, The Rocks. 8:30pm. Free. The Gypsy Art Club DJango Bar @ Camelot Lounge, Marrickville. 6:30pm. $10. Wailing Wednesdays Rosie Campbell’s, Surry Hills. 6pm. Free.
THURSDAY DECEMBER 22 JAZZ, SOUL, FUNK, LATIN & WORLD
Anthony Charlton Australian Arms Hotel, Penrith. 7pm. Free. Echo Deer The Temperance Society, Summer Hill. 7pm. Free. Folk At The Lodge - feat: John Vella + Leroy Lee + Friends Forest Lodge Hotel, Forest Lodge. 7pm. Free. Harbourview Hullabaloo Christmas Concert - feat: Zack Martin + Laura And Susie Bishop + Domenica Garrett + Russell Neal + Yelsha + James Chelliah + Kenneth D’Aran + Tim Walker Harbourview Hotel, The Rocks. 7pm. Free. Jim Finn Carousel Inn Hotel, Rooty Hill. 8pm. Free. Nat James Mr Falcon’s, Glebe. 8:30pm. Free.
INDIE, ROCK, POP, METAL, PUNK & COVERS
Anthony Charlton Australian Arms Hotel, Penrith. 7pm. Free. Balmain Blitz Band Comp Bridge Hotel, Rozelle. 7pm. $15. Blake Tailor Penrith Panthers, Penrith. 6:30pm. Free. Christmas Kisses St George Leagues Club, Kogarah. 6pm. Free. Ed Kuepper Camelot Lounge, Marrickville. 7pm. $40. Live At The Sly
FRIDAY DECEMBER 23 ACOUSTIC, COUNTRY, BLUES & FOLK
The Dirty Earth + Arrowhead + Way Of The Wolf Town Hall Hotel, Newtown. 9pm. $12.
JAZZ, SOUL, FUNK, LATIN & WORLD MUSIC
Isaiah B. Brunt Trio B.e.d., Glebe. 7:30pm. Free. John & Yuki Well Co. Cafe And Wine Bar, Glebe. 8pm. Free. The Regent Street Big Band Lazybones Lounge, Marrickville. 8pm. $15.
INDIE, ROCK, POP, METAL, PUNK & COVERS
Soundproofed Revesby Workers Club, Revesby. 8:30pm. Free. A Very Salty Xmas - feat: Salty Snacks The Gasoline Pony, Marrickville. 6pm. $7. Accidental President Chatswood Club, Chatswood. 8:30pm. $10. Adam Disney Mr Falcon’s, Glebe. 8:30pm. Free. Basement Fridays feat: Bad Pony The Eastern, Bondi Junction. 9pm. $10. Black Mass Xmas - feat: Black Mountain + Lord Ragnar + Sarcophaguts + Chambers Of Insanity + Gary Grim Valve Bar, Agincourt Hotel, Ultimo. 8pm. $10. Blake Tailor Duo Penrith Panthers, Penrith. 8pm. Free. Botany Idol Grand Final feat: Karaoke Competition Botany Bay Hotel, Banksmeadow. 9:30pm. Free. Caravana Sun + Letters To Lions + Fripps & Fripps Miranda Hotel, Miranda. 8pm. $19. Christmas Kisses Cabravale Diggers Club, Sydney. 6pm. Free. Clever Little Secretaries Trio Pittwater RSL, Mona Vale. 7pm. Free. Cover Me Crazy Rooty Hill RSL Club, Rooty Hill. 8:30pm. Free. DJ Ta$k Pittwater RSL, Mona Vale. 7pm. Free. Ed Kuepper Camelot Lounge, Marrickville. 7:30pm. $40. Georgia White Penrith Panthers, Penrith. 6pm. Free. Gheysar Factory Theatre, Marrickville. 8pm. $59. High Rollers Big Band The Juniors, Kingsford. 7pm. Free.
Hits & Pieces Minto Mirage Hotel, Minto. 8pm. Free. Love Child Towradgi Beach Hotel, Towradgi. 9pm. Free. Merry Riffmas feat: Arrowhead +The Dirty Earth + Way Of The Wolf Town Hall Hotel, Newtown. 9pm. Free. Paper Hearts The Fiddler, Rouse Hill. 8pm. Free. Rackett + The Dinlows Moonshine Cider & Rum Bar, Manly. 5pm. Free. Sam Wall Manly Wharf Hotel, Manly. 4pm. Free. Soundproofed Revesby Workers Club, Revesby. 8:30pm. Free. Stephanie Lea Club Central, Hurstville. 5pm. Free. The Matchbox Tribute Show Colonial Hotel, Werrington. 9pm. Free. They Call Me Bruce Quakers Inn, Quakers Hill. 7pm. Free.
SATURDAY DECEMBER 24 JAZZ, SOUL, FUNK, LATIN & WORLD MUSIC
Dubioza Kollektiv Factory Theatre, Marrickville. 7:30pm. $55. Orszaczky Budget Orchestra Hyde Park, Sydney. 8:30pm. Free.
INDIE, ROCK, POP, METAL, PUNK & COVERS
Beatnix - Beatles Show Rooty Hill RSL Club, Rooty Hill. 11:30pm. Free. Cath & Him Town Hall Hotel, Balmain. 9:30pm. Free. DJ Ivan Drago Rooty Hill RSL Club, Rooty Hill. 8:30pm. Free. Geoff Yule Smith The Bar Sir
Stamford Hotel, Sydney. 6pm. Free. Hits & Pieces Trio Winmalee Tavern, Winmalee. 8pm. Free. Jed Zarb Penrith Panthers, Penrith. 9pm. Free. Laurie Bennett Penrith RSL, Penrith. 2pm. Free. Mesa Groove Revesby Workers Club, Revesby. 8:30pm. Free. Stephanie Lea Penrith Panthers, Penrith. 5:30pm. Free. The Loudhailers B.e.d., Glebe. 7:30pm. Free. The Shadows Nepal + Tumbleweed Inc. Metro Theatre, Sydney. 8pm. $30.
SUNDAY DECEMBER 25 JAZZ, SOUL, FUNK, LATIN & WORLD MUSIC Jazz Nouveau Revesby Workers Club, Revesby. 11am. Free. The Squares Moya’s Juniper Lounge, Redfern. 6pm. Free.
INDIE, ROCK, POP, METAL, PUNK & COVERS
Ben Woodham Revesby Workers Club, Revesby. 5pm. Free. Cath & Him Lantern Club, 11:30am. Free. Chris Ball + Cath & Him Pittwater RSL, Mona Vale. 12:30pm. Free.
ACOUSTIC, COUNTRY, BLUES & FOLK
Acoustic Sessions Buena Vista Hotel, Mosman. 2pm. Free.
MONDAY DECEMBER 26 JAZZ, SOUL, FUNK, LATIN VIEW FULL GALLERIES AT
thebrag.com/snaps
PICS :: AM
up all night out all week . . .
birds of tokyo
- feat: Project Collective Ska + Black Bird Hum + Tin Toko + Zig Zag Wanderers DJs Slyfox, Enmore. 8pm. Free. Live Band Karaoke Unity Hall Hotel, Balmain. 9pm. Free. Los Romeos Oxidados The Gasoline Pony, Marrickville. 7pm. $7. One More Time Memorial Show feat: Eager 13 + The Baddies + The Stuckas + Chaos + Black Rats + Katy Chaos Valve Bar, Agincourt Hotel, Ultimo. 8pm. $10. The Phantastic Ferniture Christmas Extravaganza feat: Big White + Flowertruck + Betty & Oswald + Emma Russack + Morning Tv + Georgia Mulligan Oxford Art Factory, Darlinghurst. 8pm. $23.10. Twin Fires + Big Red Fire Truck Moonshine Cider & Rum Bar, Manly. 9pm. Free. Upstairs Live The Beresford Hotel, Surry Hills. 8pm. Free.
15:12:16 :: Enmore Theatre :: 118-132 Enmore Rd Newtown 9550 3666 28 :: BRAG :: 694 :: 21:12:16
thebrag.com
snap
VIEW FULL GALLERIES AT
thebrag.com/snaps & WORLD MUSIC
Latin & Jazz Open Mic Night The World Bar, Kings Cross. 7pm. Free. Sistas With Soul - feat: Mxxwll + Billy Davis & The Good Lords + Silent Jay + Mz Rizk + Cman + Klasik + Dx Cooh, Alexandria. 2pm. $29.99.
ACOUSTIC, COUNTRY, BLUES & FOLK
John Maddox Duo
Mr Falcon’s, Glebe. 7pm. Free. Moreland & Arbuckle Brass Monkey, Cronulla. 6pm. $31.65.
INDIE, ROCK, POP, METAL, PUNK & COVERS Frankie’s World Famous House Band Frankie’s Pizza, Sydney. 9pm. Free. Matt Lyon Penrith Panthers, Penrith. 3:30pm. Free. Stephanie Lea
Penrith Panthers, Penrith. 5:30pm. Free. The Monday Jam The Basement, Circular Quay. 8:30pm. $6.
Free.
INDIE, ROCK, POP, METAL, PUNK & COVERS
TUESDAY DECEMBER 27
Bucket Lounge Presents Live & Originals Mr Falcon’s, Glebe. 7pm. Free.
ACOUSTIC, COUNTRY, BLUES & FOLK
JAZZ, SOUL, FUNK, LATIN & WORLD MUSIC
Songsonstage - feat: Stuart Jammin + Guests Kelly’s On King, Newtown. 8pm.
up all night out all week . . .
Alma Music Presents Lazybones Lounge, Marrickville. 8pm. $10.
picks up all night out all week...
dz deathrays
PICS :: AM
Caravana Sun
15:12:16 :: Factory Theatre :: 105 Victoria Rd Marrickville 9550 3666
Miranda Hotel, Miranda. 8pm. $19.
Ed Kuepper
Rackett + The Dinlows Moonshine Cider & Rum Bar, Manly. 5pm. Free.
SATURDAY DECEMBER 24 WEDNESDAY DECEMBER 21
FRIDAY DECEMBER 23
You And Your So-Called Friends + Mindy Sotiri The Gasoline Pony, Marrickville. 7pm. $7.
Basement Fridays Feat: Bad Pony The Eastern, Bondi Junction. 9pm. $10.
THURSDAY DECEMBER 22
Black Mass Xmas - Feat: Black Mountain + Lord Ragnar + Sarcophaguts + Chambers Of Insanity + Gary Grim Valve Bar, Agincourt Hotel, Ultimo. 8pm. $10.
Echo Deer The Temperance Society, Summer Hill. 7pm. Free. Ed Kuepper Camelot Lounge, Marrickville. 7pm. $40. Live At The Sly - Feat: Project Collective Ska + Black Bird Hum + Tin Toko + Zig Zag Wanderers DJs Slyfox, Enmore. 8pm. Free. Twin Fires + Big Red Fire Truck Moonshine Cider & Rum Bar, Manly. 9pm. Free.
thebrag.com
Caravana Sun + Letters To Lions + Fripps & Fripps
Dubioza Kollektiv Factory Theatre, Marrickville. 7:30pm. $55. The Shadows Nepal + Tumbleweed Inc. Metro Theatre, Sydney. 8pm. $30.
wed
thu
21 Dec
(9:00PM - 12:00AM)
22 Dec
(9:00PM - 12:00AM)
fri
23 Dec (10:00PM - 1:40AM)
MONDAY DECEMBER 26 Sistas With Soul - Feat: Mxxwll + Billy Davis & The Good Lords + Silent Jay + Mz Rizk + Cman + Klasik + Dx Cooh, Alexandria. 2pm. $29.99.
CHRISTMAS EVE
BOXING DAY
4:30PM 7:30PM
mon
26 Dec
sat
24
5:45PM 8:45PM
Dec
(8:30PM - 11:30PM)
(10:00PM - 1:15AM)
Echo Deer
CHRISTMAS DAY 25 CLOSED Dec sun
tue
4:30PM 7:30PM
27 Dec
Merry Christmas to one and all
(8:30PM - 11:30PM)
EVERY SATURDAY
Party DJs GROUND FLOOR - AFTER BANDS
BRAG :: 694 :: 21:12:16 :: 29
brag beats
BRAG’s guide to dance, hip hop and club culture
on the pulse club, dance and hip hop in brief... with Ariana Norton, Chris Martin and James Di Fabrizio
five things WITH
GUY GERBER winter music. But it’ll obviously be summer in Australia over NYE so I’ll be bringing back the kind of vibe that I have at my Rumors parties in Ibiza. Music Right Here, Right 5. Now
Growing Up When I 1. was growing up
in Tel Aviv, I was listening to the likes of The Beatles, Jimi Hendrix and Joy Division. I’m also a big fan of David Bowie – my influences were definitely that kind of music. Inspirations Right now, 2. I really love the new Frank Ocean album. It’s different from what I would usually listen to,
but I really got into it. When I first started production, I was listening to The Smiths and I really wanted to be Johnny Marr as I loved his guitar playing. I really wanted to play the song ‘Bigmouth Strikes Again’ on the acoustic guitar, so it really got me into making music.
analogue synths when I was playing in a band. I travel a lot but I try to surround myself with friends as much as possible. I’ve lived in so many cities. This summer I had my whole crew living in Ibiza with me, which really helped me to keep my feet on the ground.
Your Crew The Music I actually got You Make 3. 4. into electronic music And Play while jamming around with some
I’ve got my Here Comes The Rain
EP coming out in January next year. It’s actually a quite old track but it took me a long time to decide to release it after lots of people asked for it. I really love the melody, it’s this kind of chime. It was written on a snowy night in New York – it was a beautiful moment when I looked out the window. I’ve been preparing for my upcoming London show focusing on that kind of
There’s a lot of music out there and it’s reaching a wider audience now, which is great. But sometimes it feels like the crowd wouldn’t know the difference between me, Maceo Plex or Solomun and they’re satisfied with mediocre DJ sets. With more people into it, there’s a lot of fresh new ideas, which is great, but I’d prefer it to be moving a little more towards the cutting edge rather than into the mainstream, which is where it feels like it’s going at the moment. What: CODE NYE With: Mano Le Tough, Alex Niggemann, Audiojack, Umek Where: Greenwood Hotel When: Saturday December 31
Illy is on a roll. After his acclaimed new record Two Degrees debuted at the number one spot on the ARIA Charts – boasting the triple-platinumselling single ‘Papercuts’ with Vera Blue – the rapper and vocalist has followed up with his biggest tour to date. Getting in on the action are special guests Spit Syndicate, Paces and Maribelle. See Illy at the Enmore Theatre on Friday April 7.
and powerhouse lyrics global. The Mardi Gras Party is on after the Parade, at Playbill Venues and the Entertainment Quarter on Saturday March 4.
KREWELLA TO BE KIND
Ring in the New Year at Marquee with an epic electropunk experience brought to you by up-and-coming sister duo Krewella. Hailing all the way from Chicago, Jahan and Yasmine Yousaf have quickly built up a reputation as one of the world’s most dynamic female electronic acts, even scoring a spot at the Democratic National Convention earlier this year. With a heavy rock and dance influence, the girls are set to bring a brand new sound to our shores and kick off 2017 with a bang. See them at Marquee on New Year’s Eve, Saturday December 31.
TAKE A Z-TRIP TEGAN AND SARA LEAD THE PARTY
Having only just announced their own Aussie tour, Canadian indie-pop duo Tegan And Sara are set to headline Sydney’s famous Mardi Gras Party
in March next year. The proudly queer identical twins are heading our way yet again to celebrate their most recent album Love You To Death, released in June, and are the first artists to be announced as part of the 2017 Mardi Gras Party lineup. The
Illy
ILLY GOES BIG
sisters have been playing gigs since the ’90s and became an instant indie hit, making waves in the mainstream scene with the release of their 2013 album Heartthrob. With a new focus on the pop market, Tegan And Sara are set to take their stellar vocals
Legendary DJ Z-Trip is heading to Sydney. Considered one of the sharpest live DJs in the game, Z-Trip has found acclaim from tastemakers and fans alike the world over, taking over the likes of Coachella, Lollapalooza, Bonaroo, SXSW and Big Day Out (RIP) with lauded sets.
Most recently, he collaborated with Lee Scratch Perry to rework Bob Marley’s classic ‘Punky Reggae Party’ and with Brillz for Jay Z’s hit ‘Dirt Off Your Shoulder’. Take a trip to the Factory Theatre on Saturday January 28.
ENTER THE FOLD
Three-time Grammy-nominated Paul Oakenfold will top the lineup for a massive New Year’s Day party in Darling Harbour. The Englishman has become a stalwart of the dance scene, and has earned residencies at Ibiza superclubs Amnesia and Pacha. He has worked in collaboration with and remixed for artists worldwide, including names such as Madonna, Moby, U2 and The Rolling Stones. He can also add being the promoter of the Beastie Boys and Run-D.M.C. to his list of achievements, and he signed hip hop duo Salt-N-Pepa and cheeky chappies DJ Jazzy Jeff and The Fresh Prince to Champion Records in New York City. The event will also feature local talents such as Kate Monroe, Alex Taylor and Mark Dynamix, promising a party to kick off a banging 2017. Oakenfold will headline Resolution on Sunday January 1 at Bungalow 8 and The Loft. Toro y Moi
L-Fresh The Lion
Australia Day just isn’t Australia Day without the triple j Hottest 100, and Parramatta Park is bringing the party to you. Paramatta’s Hottest 100 Party will feature a whole bunch of DJs and live acts on the main stage, with the countdown streaming between sets. MC Jake Stone (formerly of Bluejuice) is set to host proceedings, with the lineup including rapper L-Fresh The Lion, art rock goddess Olympia, local dance duo VXV, triple j Unearthed artist Froyo, indigenous hip hop act Kuren and alt-rock four-piece Hurst. You’ll also be able to take full advantage of an outdoor bar, Australian and international barbecue, food trucks, amusement rides and a classic cricket match with Cricket NSW. The Hottest 100 Party is free on Thursday January 26.
30 :: BRAG :: 694 :: 21:12:16
DAYS LIKE THIS MAKE US HAPPY
Days Like This is the brand new dance festival coming to Sydney in 2017 off the back of Victoria’s Pitch Music festival, with which the new event shares some massive names in the electronic world. Global dance star Dixon leads the program, spearheading a big-name German contingent also including Ben Klock, Recondite, Dominik Eulberg and Gerd Janson. Meanwhile, Toro y Moi will bring his live show to the festival stage, as will US singer and producer Abra. Days Like This debuts at Royal Randwick Racecourse on Saturday March 11. More info and tickets are available at dayslikethisfestival.com.au.
thebrag.com
Guy Gerber photo © Silvana Fazzalari
HOTTEST 100 GOES WEST
Wafia Middle Ground By Shaun Cowe
A
few years ago, Wafi a Al-Rikabi – or just Wafi a as she normally goes – was releasing YouTube videos of herself covering songs. Now her own songs are reaching multimillion-level viewership, and the otherwise introverted and unassuming singer/producer has found herself in the midst of an international career in music. It’s 9am and Al-Rikabi is still slowly getting ready for the day as she stops to chat with the BRAG. Most of her songwriting is done at night, so she’s tried to structure her days to allow herself time to create music.
Wafi a photo by Claire Wakeford
“I realised my writing comes in waves. I just have to allow myself to be present for it,” she says. “Sometimes I’ll be out and have no means to write a song but I’ll have an idea, so I’ll just type something into my notes or hum something into my voice memos.” Al-Rikabi says she often fi nds herself in these songwriting frenzies when coming back from a tour. This year, she’s travelled alongside Perth producer and collaborator Ta-ku through Europe, Asia and New York, promoting her new EP, (M)edian. Upon her return, she found herself inspired to complete more work. “I’ve noticed that I really like synths that are really polyphonic and have
a lot of layers to them,” she says. “I really like distortion as well. I’m really drawn to the idea of taking something masculine and making it feminine. Like maybe taking a hip hop beat and adding a really pretty synth line to it. “I also think you can’t go past a great piano. That’s how all my songs start. It’s really important to my songwriting. I think, at the end of the day, I want to be able to strip away all the production and still have my song sound like a song. I’m playing a gig in Sydney and that’s really exciting because I get to just play piano and show people the songs as they came to be.” While Al-Rikabi likes to retain a large amount of creative oversight on her projects, she worked closely with Ta-ku for (M)edian. It’s a working relationship that started by accident, with the pair meeting while both were in Melbourne. “We actually met on some basketball courts by complete chance and I didn’t think anything of it. But then he hit me up on Twitter looking to work together. He sent me a bunch of demos – like a whole Dropbox folder full of them – but nothing originated from that. I think I tried but I wasn’t really inspired by what was in there. He seemed to appreciate my honesty. So nothing happened but we kind of stayed in touch here and there.
“But then he hit me up last year with a cover of ‘American Girl’, asking me if I wanted to sing on it. I felt pretty comfortable with him by that point, so I sent him ‘Heartburn’ to produce out and he killed it. After that I realised we had something really special, so I flew to Perth and we sat in the studio for a few days and mowed out the EP. Circumstance brought us together and we both went through kind of similar things with our families, which became what the EP was about. He’s like a big brother to me now.” Al-Rikabi says she finds it difficult to work with people on a purely professional level – she has to know them personally before she can trust them with her music. It’s this closeknit interaction that really defines her music career. “I don’t think I’ve ever been the networking type. Sometimes I wish I could be the sort of person who just introduces themselves and what they do, but I have trouble even telling strangers what I do. My music’s such a personal thing for me. I guess the only reason I share my music is to enable me to continue to make it.” Wafia is also signed to the Australian record label, Future Classic, alongside Ta-ku and other prestigious names like Flume and Nick Murphy (formerly Chet Faker). Her management, however, is based overseas.
“I’M REALLY DRAWN TO THE IDEA OF TAKING SOMETHING MASCULINE AND MAKING IT FEMININE.” thebrag.com
“It took me a really long time to find management. I kind of like that I can be a little removed from the Australian music industry. I haven’t had very many positive experiences with it, if I’m being honest. There are many great people, don’t get me wrong, but on the whole I just never really felt a part of it. I’m kind of OK with a little bit of isolation.” Al-Rikabi says her future plans mostly involve her creating more music and building her career, with an ambition to keep travelling. She says she prefers to write EPs rather than singles, always aiming for a collected work based on a particular mood or impression she wants to make. In terms of genre, she sees her music as a strange amalgam of everything she listens to. “I listen to a lot of hip hop and rap, so I’m really influenced by that. I love Brian Eno – I’d seriously die if I ever got to collaborate with him. There’s also a lot of Middle Eastern music. I also seriously love pop music. I listen to a lot of Ariana Grande and I like what producers like Benny Blanco do. I love that accessibility; people can listen to a song and identify with it. It brings people together. Pop music’s a really great vessel.” What: (M)edian out now through Future Classic Where: St. Stephen’s Uniting Church as part of Sydney Festival 2017 When: Friday January 27
BRAG :: 694 :: 21:12:16 :: 31
club guide g
club picks p up all night out all week...
send your listings to : clubguide@thebrag.com
club pick of the week TroyBoi
FRIDAY D EC E M B E R 2 3 Metro Theatre
TroyBoi 8pm. $34.60. WEDNESDAY DECEMBER 21 CLUB NIGHTS
Sbw Side Bar, Sydney. 8pm. Free. Sosueme Christmas Party - feat: Plump DJs + Furnace And The Fundamentals + The Kava Kings Beach Road Hotel, Bondi Beach. 8pm. Free. Wet Wednesdays Scary Canary, Sydney. 9:30pm. Free.
THURSDAY DECEMBER 22 CLUB NIGHTS
Femme Fetale The Argyle, The Rocks. 6pm. Free. Get Some Goodbar, Paddington. 6pm. Free. House Keeping Side Bar, Sydney. 8pm. Free. Marquee Christmas feat: Will Sparks Marquee, Pyrmont. 10pm. $21.50. Throwback Thursdays Scruffy Murphy’s Hotel, Sydney. 8pm. Free. Yo/ Da Fu/ Nk - feat: Resident Funk DJs The World Bar, Kings Cross. 9pm. Free.
HIP HOP & R&B
Argyle Thursdays feat: Mike Champion + Moto + Nino Brown + Tubz + A-Game The Argyle, The Rocks. 12pm. Free.
FRIDAY DECEMBER 23 HIP HOP & R&B
Changeroom Fridays feat: DJs On Rotation 32 :: BRAG :: 694 :: 21:12:16
Ivy Bar/Lounge, Sydney. 9pm. Free. Fatback Hudson Ballroom, Sydney. 9pm. Free.
CLUB NIGHTS
Argyle Fridays The Argyle, The Rocks. 6pm. Free. Bassic - feat: Sliink + A-Tonez + Jade Le Flay + Totem + Bvsik + Goldbrix + Netfleek + Sidhu + Leviathan Chinese Laundry, Sydney. 9pm. $22.90. El Loco Later - feat: DJs On Rotation Excelsior Hotel, Surry Hills. 9pm. Free. Fire Up Fridays - feat: Cool Jerk DJs Rosie Campbell’s, Surry Hills. 5pm. Free. Freeform - feat: Sc@R + Heretic + Focus + Dean Exploration Valve Bar, Agincourt Hotel, Ultimo. 8pm. $10. Friday Frothers Side Bar, Sydney. 8pm. Free. Friday Night Dance Off - feat: Modern History + DJ Lou Lou Scruffy Murphy’s Hotel, Sydney. 6pm. Free. House N Snags 3 - feat: Brooke Powers + Kate Doherty + Sideboob + Cunningpants + S Sports + Val York + Dirty & Flirty DJs Red Rattler, Marrickville. 7pm. $16.50. Krafty Kuts (Prince Tribute Set) + Kid Kenobi + Q45 Oxford Art Factory, Darlinghurst. 8pm. $33.80. Marquee Zoo - feat: A-Tonez Marquee, Pyrmont. 10pm. $11.55. Peoples Club Weekly - feat: Fishing + Ben Fester + Rydeen + Smooth Prince + Haiku + David Bangma + U-Khan Goodbar, Paddington. 8pm. $15. Resident DJ: Kali Harpoon Harry, Surry
Hills. 6pm. Free. Role Modelz Beach Road Hotel, Bondi Beach. 8pm. Free. Rotarydisco Christmas - feat: Nick Field + Andy Donaldson + Tony Garcia + Pisani + Alex Low + John Mchaffie Tatler, Darlinghurst. 8pm. Free. TroyBoi Metro Theatre, Sydney. 8pm. $34.60. Welove Xmas Party feat: Pepperpot + Sam Ritter + Anya B2B The Tempo + Montana + Jakob + Scott Lamont B2B Emmet Greene Burdekin Hotel, Darlinghurst. 9pm. $10. Yeah Buoy! Boat Party - feat: Arena + Bass RQ + Buried King + Dekkadence + Fiktion + Gale + Jay Bhana + Ludovic + Sanchezy + Sidhu + Xan Müller Wharf 9, King St Wharf, Sydney. 4pm. $40.
SATURDAY DECEMBER 24 HIP HOP & R&B
Xmas Eve Establishment Saturdays - feat: MC Lyko + DJs On Rotation Nemz + Alex Borello + Nik Nak + Shortstar The Establishment, Sydney. 8pm. Free.
CLUB NIGHTS
Argyle Saturdays feat: Tass + Tap-Tap + Minx + Crazy Caz The Argyle, The Rocks. 6pm. Free. Christmas With Spektrum - feat: Scott Rotton + Mitch Fowler + Eden Simon Mellor + The Lost Boys + Lee Novel + Nicholas George + Bobby Blaze + Lights Out Burdekin Hotel, Darlinghurst. 9pm. $15.
Clique Sydney Cruise Bar, Sydney. 8:30pm. $20. El Loco Later - feat: DJs On Rotation Excelsior Hotel, Surry Hills. 9pm. Free. Frat Saturdays Side Bar, Sydney. 8pm. Free. Jaysounds Candy’s Apartment, Potts Point. 8pm. $20. Lndry - feat: Sonny Fodera + Kormak + Alex Bonnici + Wild Fox + Sarkozy + King Lee + Mike Hyper + Dollar Bear + Scruby & Aron Chiarella + James Petrou + Nuendo + Jez Sands + Torbynik Chinese Laundry, Sydney. 9pm. $33.10. Owt. Xmas Eve Rooftop Party - feat: Mclean & Mai + B&H Smooth + Nine Yards + Nocturnal Dolphin + Charlie Cripps + Saint Peters + Steven Williams + Owt DJs + Soundscape DJs Kings Cross Hotel, Kings Cross. 2pm. $10. Pacha Christmas Eve feat: Nervo Ivy Bar/Lounge, Sydney. 6:30pm. $27.70. Precious Cargo - feat: Special Guest DJs Cargo Lounge, Sydney. 8pm. Free. Resident DJ: Kali Harpoon Harry, Surry Hills. 6pm. Free. Selecta Saturdays feat: Cool Jerk DJs + Special Guests Rosie Campbell’s, Surry Hills. 8:45pm. Free. Sonny Fodera + Kormak Chinese Laundry, Sydney. 9pm. $33.10. Telefunken Manly Wharf Hotel, Manly. 6pm. Free. Xmas Event - feat: Pepperpot + Thom’as B2B Edoardo Perlo + Nick Reverse + Db Zoo Project, Potts Point. 10pm. $20.
MONDAY DECEMBER 26 CLUB NIGHTS
80s Nation - feat: DJ M.I.S.H.O + Darcy +
Steve K + Boogie Barry + David Chaim + MC Mike Scott The Establishment, Sydney. 9pm. $28.60. Courtyard - feat: Example + DJ Wire + Command Q + Tha Trickaz Ivy Bar/Lounge, Sydney. 1pm. $44. Etcetc Poolside - feat: PNAU (DJ Set) + Set Mo + Bang Gang DJs + Kormak + Friendless + Avon Stringer + Kinder + DJ I-Dee + Deckhead + Goldbrix + King Lee + Mike Hyper Ivy Bar/Lounge, Sydney. 2pm. $48.50. G-Wizard Candy’s Apartment, Potts Point. 8pm. $20. I Love Mondays Side Bar, Sydney. 9pm. Free. Northern Beaches House Party - feat: Kilter + Lo’99 + Klue + Made In Paris + Nyxen + Korky Buchek + Oh? + Nocturnal Dolphin + Double Touch Mona Vale Hotel, Mona Vale. 12pm. $45. Reign Sydney Cargo Lounge, Sydney. 9:30pm. $20. S.A.S.H Boxing Day Bash - feat: Djebali + Mia Lucci Greenwood Hotel, North Sydney. 2pm. $25. S.A.S.H Boxing Day Bash (Night) Home Nightclub, Darling Harbour. 10pm. $40. Somatik + Alex Mac + Telefunken Manly Wharf Hotel, Manly. 3pm. Free.
TUESDAY DECEMBER 27 CLUB NIGHTS
Coyote Tuesdays The World Bar, Kings Cross. 8pm. Free. Propaganda Tuesday Scary Canary, Sydney. 9:30pm. Free. Side Bar Tuesdays Side Bar, Sydney. 9pm. Free. Stuart B + Husky + Oh? Manly Wharf Hotel, Manly. 4pm. Free. Nocturnal Dolphin
WEDNESDAY DECEMBER 21 Sosueme Christmas Party - Feat: Plump DJs + Furnace And The Fundamentals + The Kava Kings Beach Road Hotel, Bondi Beach. 8pm. Free.
THURSDAY DECEMBER 22 Marquee Christmas - Feat: Will Sparks Marquee, Pyrmont. 10pm. $21.50.
FRIDAY DECEMBER 23 Bassic - Feat: Sliink + A-Tonez + Jade Le Flay + Totem + Bvsik + Goldbrix + Netfleek + Sidhu + Leviathan Chinese Laundry, Sydney. 9pm. $22.90. House N Snags 3 - Feat: Brooke Powers + Kate Doherty + Sideboob + Cunningpants + S Sports + Val York + Dirty & Flirty DJs Red Rattler, Marrickville. 7pm. $16.50. Fatback Hudson Ballroom, Sydney. 9pm. Free. Krafty Kuts (Prince Tribute Set) + Kid Kenobi + Q45 Oxford Art Factory, Darlinghurst. 8pm. $33.80. Rotarydisco Christmas - Feat: Nick Field + Andy Donaldson + Tony Garcia + Pisani + Alex Low + John Mchaffie Tatler, Darlinghurst. 8pm. Free. Yeah Buoy! Boat Party - Feat: Arena + Bass RQ + Buried King + Dekkadence + Fiktion + Gale + Jay Bhana + Ludovic + Sanchezy + Sidhu + Xan Müller Wharf 9, King St Wharf, Sydney. 4pm. $40.
SATURDAY DECEMBER 24 Christmas With Spektrum - Feat: Scott Rotton + Mitch Fowler + Eden Simon Mellor + The Lost Boys + Lee Novel + Nicholas George + Bobby Blaze + Lights Out Burdekin Hotel, Darlinghurst. 9pm. $15. Lndry - Feat: Sonny Fodera + Kormak + Alex Bonnici + Wild Fox + Sarkozy + King Lee + Mike Hyper + Dollar Bear + Scruby & Aron Chiarella + James Petrou + Nuendo + Jez Sands + Torbynik Chinese Laundry, Sydney. 9pm. $33.10. Owt. Xmas Eve Rooftop Party - Feat: Mclean & Mai + B&H Smooth + Nine Yards + Nocturnal Dolphin + Charlie Cripps + Saint Peters + Steven Williams + Owt DJs + Soundscape DJs Kings Cross Hotel, Kings Cross. 2pm. $10. Pacha Christmas Eve - Feat: Nervo Ivy Bar/Lounge, Sydney. 6:30pm. $27.70. Xmas Event - Feat: Pepperpot + Thom’as B2B Edoardo Perlo + Nick Reverse + Db Zoo Project, Potts Point. 10pm. $20.
MONDAY DECEMBER 26 Etcetc Poolside - Feat: Pnau (DJ Set) + Set Mo + Bang Gang DJs + Kormak + Friendless + Avon Stringer + Kinder + DJ I-Dee + Deckhead + Goldbrix + King Lee + Mike Hyper Ivy Bar/Lounge, Sydney. 2pm. $48.50. Northern Beaches House Party - Feat: Kilter + Lo’99 + Klue + Made In Paris + Nyxen + Korky Buchek + Oh? + Nocturnal Dolphin + Double Touch Mona Vale Hotel, Mona Vale. 12pm. $45. S.A.S.H Boxing Day Bash - Feat: Djebali + Mia Lucci Greenwood Hotel, North Sydney. 2pm. $25.
thebrag.com
five things WITH Growing Up My childhood 1. was always deeply
rooted in music. My parents had my brothers and me in piano lessons from a young age, and my father was a solo entertainer under the name Impact One. My older brother noticed my interest during these lessons and suggested we pool our resources, buy some equipment and learn how to DJ. This was also the year I discovered electronic music, and became hooked on its energy. Inspirations Justice were 2. my first encounter
with electronic music, and they are still one of my favourite acts. I followed their rise to fame as I began my own career in music and they became one of my biggest inspirations. Ajax was another huge fi gure for me coming up in the industry; we first met at one of his sets that I was supporting at, I loved his style and
JUSTIN MUSCAT FROM FIKTION
followed him ever since. I actually named my cat Jaxi in memory of him! Claude VonStroke is another of my big inspirations for what he’s done with his label Dirtybird. Your Crew I started 3. the Allfriends
entertainment company years ago wanting to surround myself with others passionate about music and bring a positive, communitylike vibe back to our nightlife. I’m happy to say that our group today has an amazing collection of characters, each with their own unique talents, and these are the people I get to spend my daily with. I feel lucky to have my best mates as my colleagues, as we all know how to have a good time but also how to put our heads together and work hard to make things happen. The Music You Make 4. And Play
I’m a fairly versatile musician; as a DJ I play a pretty wide range of genres from drum and bass to hip hop, but my production style so far has
been around bass house and garage. I don’t believe in pigeonholing yourself to one genre if you enjoy others as well; each style has its own
unique vibe. As our upcoming boat party Yeah Buoy! has an ‘all things bass’ theme, I’ll be moving up through bass house, trap and DnB. Musi c, Right Here, Right 5. Now The music scene right now is the
most competitive it’s ever been, which I think is a good and bad thing. It’s so accessible now that anyone can come out and express themselves, meaning we have all these amazing musicians that might not have been unleashed otherwise. But
this also makes it quite crowded and especially with Sydney’s lockout laws closing many of our venues, opportunities for gigs are becoming slimmer. A bit of competition doesn’t worry me too much though, it keeps us all working at our best!
What: Yeah Buoy! Exclusive Sydney Boat Party With: Arena, Bass RQ, Buried King, Dekkadence and more Where: Departing Wharf 9, King Street Wharf When: Friday December 23
five things WITH Growing Up My parents 1. were mods so
we grew up with a lot of soul and Northern soul music. On Sundays in our house TV was not allowed; we would move the couch into the middle of the room and play balloon volleyball for hours while my parents would play their records and eighttrack cartridges. I was quite a rebellious child according to my parents and I guess solace was found in music. It still is the most important thing in changing from one mood to another.
thebrag.com
NICK FIELD
Inspirations Gil Scott2. Heron, The Jam,
James Brown, Talking Heads, Larry Levan, Ron Hardy, DJ Harvey, friends, my wife and my kids. So many, many more…
Your Crew My brother 3. was a big infl uence
on me musically; he had a lot of Japanese imports of The Jam, The Who and Northern soul seven-inches. I’ve been working with mates mainly; the collaboration of a group of friends in a room bouncing ideas off each other is most pleasing. My wife and I run a fashion
company in Bali designing clothes that puts the bread and butter on the table. We have two kids aged fi ve and seven that keep us pretty busy too. The Music You Make 4. And Play
Good dance music, a bit of disco, house, Italo, acid, and I try to get it in the right order! Music, Right Here, Right 5. Now It’s wonderful and vibrant; there is so much music that is accessible now and people can dig and explore to their heart’s content. I live in Bali most of
the year; there are a lot of great DJs and local bands here that are really pushing musical boundaries. There is this one guy called Dea in Bali who has an amazing record collection and is one of the best DJs I’ve ever heard. It’s exciting to hear someone playing eclectic dance music, stuff you’ve never heard, but they can piece it all together.
What: Rotarydisco Christmas Where: Tatler When: Friday December 23
BRAG :: 694 :: 21:12:16 :: 33
Off The Record Dance and Electronica with Alex Chetverikov
I
t’s been a tremendous year.
A year of death, a year of rebirth, and a year of renewal. A year in which we were reminded of our individual and collective fragility. A year that saw doyens of music and popular culture pass so frequently that it became an almost familiar feeling. A year in which Fabric nightclub, one of electronic music’s most esteemed and publicly recognised venues, fell prey to vested interests, only to be granted renewal with strict licensing conditions.
five things WITH Growing Up Our father is 1. Pakistani and our
mom is AmericanEuropean, so our house was juxtaposed with Bollywood movie soundtracks, classic and progressive rock, and protest music from our mom. Our infusion of tablas and tribal percussion in our most recent work stems from our fascination with Bollywood at a young age. Inspirations Some of our 2. favourite artists
are Incubus, Sum 41, Fall Out Boy, Kanye, The Postal Service, System Of A Down and Lady Gaga. Our dad was a big fan of ABBA’s Gold, which was one of our favourite records, and I think that’s a huge part of why we’re obsessed with harmonies and catchy hooks. David Gray’s White Ladder
A year that saw Bob Dylan awarded a Nobel Prize for literature.
A year that saw Carl Cox relieve himself of frontline duties at Ibiza’s Space club following almost 15 years at the helm. A year in which Australian electronic music found its voice again. A year that saw Paddington’s Goodbar reopen and, persisting patron management issues aside, come through with consistent bookings week after week. A year in which we were reminded of our individual and collective strength.
KREWELLA
was always in the CD drive in our Mazda minivan. Your Crew Our crew is 3. everyone from our
family to a few oldschool buddies, our loyal business team full of homies, and our hardcore fans! We fell in love with music as little kids, but pursued it as a career almost ten years ago. A lot has evolved in the past couple years, but the one constant throughout the entire process has been both of us sisters. Throughout this experience of establishing our current sound, we’ve formed a really tight group of youthful, energetic and super talented producers like Diskord, Cody Tarpley and Chaz Jackson. We’re just really grateful to be able to collaborate with people who really support us
in experimenting artistically yet have such a pop dance sensibility as well. The Music You Make And 4. Play
Our sets are quite an adventure and always high-energy! For our DJ club shows we play a healthy mix of our original songs, remixes of our music, hip hop, throwbacks and top 40 vocals that we mix into trap drops. For the past few months we’ve been playing ‘Game Over’ by Lookas non-stop whenever we want a really brutal moment in the set. We’re really obsessed with the new Dvbbs release ‘Wicked Ways’ – the drop is super melodic and has a dope groove. Music, Right Here, Right 5. Now
Right now is a cool time for music.
Because there is so much oversaturation in the dance music scene, we’re really going to see what stands out among the masses. That requires elements of uniqueness, solid songwriting and melodies, yet familiarity in the sound as well. That recipe is something you can’t force, and it’s quite the challenge. The process can be neurotic. But I think that’s what makes artists survivors in a certain sense, because you have to be able to handle so much rejection and hundreds of your songs going into the vortex until you have one that really feels authentic to you as an artist, but also pops off. Where: Marquee, The Star When: Saturday December 31
live reviews What we’ve been out to see...
B WISE, MANU CROOK$, LEFT.
‘Assumptions’, and the room ignites into a sea of bodies trying to get airtime in front of the stage.
Few can say they’ve had as much of a whirlwind year as B Wise. Having been given a healthy boost onto the Australian hip hop stage in 2016 under the extended wing of Elefant Traks, he’s gone from strength to strength, including the official release of his debut EP Semi Pro, supporting the likes of ScHoolboy Q, and now headlining his own show in Newtown. It’s a dream come true for the boy from Liverpool in Sydney’s south-west, and the passion that’s driven him all the way here just oozes out of his live show.
10pm rolls around and Wise is front and centre. As a pre-set ritual, he asks everybody in the crowd to turn to somebody they don’t know and say, “What up?” This doesn’t sound like a very complicated request, and it isn’t, but the effect it has on the morale in the room is undeniable. People huddle in close and shake hands, setting up a room full of eager listeners who are now comfortable in each other’s company.
Newtown Social Club Thursday December 15
Left. and the next support in line, Manu Crook$, complement each other brilliantly. We’re reminded that we’re at a hip hop show when Crook$ drops tracks like ‘Blowin’ Up’ and
Riding with some of his newer tunes like the feel-good ‘Smile’ – matching Wise’s humble and inviting grin – makes for a good time. Elsewhere, the punters chant along to one of his older, more jazz-hopinspired tunes as Wise sings: “Longneck, brown paper bag / Pouring out some liquor for the things we never had”. The incredibly lively ‘Prince Akeem’ closes out the night, reminding us of Wise’s humble beginnings and leaving us excited for all the things he’s going to accomplish in the future. One of our very best prospects. Ben Pearce
THIS YEAR’S PLAYLIST:
Spread across house, techno, electro and jazz, here are 20 releases that helped soundtrack 2016: Harvey Sutherland – Priestess/Bravado Nicolas Jaar – Nymphs Tim Hecker – Love Streams DJ Seinfeld – Season 1 City People / 20 Below – It’s All In The Groove (reissue) Elza Soares – The Woman At The End Of The World Idris Ackamoor and The Pyramids – We Be All Africans Mézigue – Mangez Moi Robert Hood – Paradygm Shift Volumes 1 and 2 Steven Julien – Fallen
Convextion – 2845 Africaine 808 – Basar Various – SALT002 Xali’p – Glass Horizon Autechre – Elseq 1-5 Various Artists – Boombox: Early Independent Hip Hop, Electro And Disco Rap 1979-82 Soccer96 – Juniper Masterdive Edits Sfire – Sfi re 3 (John Talabot remixes) Move D – House Grooves Vol.1 Yussef Kamaal – Black Focus
Nicolas Jaar
And what would a retrospective list be without a favourite mixes list? Mister Saturday Night x Bradley Zero – RA Live 2016.07.09 Move D @ Gottwood Festival 2016 – RA Live 2016.06.10
Keita Sano – Resident Advisor Podcast 515 Pender Street Steppers x Beautiful Swimmers @ Dekmantel 2016
Ben UFO – Live at Twitch, Belfast DJ Stingray – XLR8R Podcast 450 Mall Grab @ Boiler Room Paris
RECOMMENDED FRIDAY DECEMBER 23
Krafty Kuts
Krafty Kuts + Kid Kenobi Oxford Art Factory
SUNDAY JANUARY 1
Soul Of Sydney NYD Special: Gang Of Brothers Secret Location
FRIDAY JANUARY 6 Harvey Sutherland Goodbar
FRIDAY JANUARY 20
Fouk Civic Underground
THURSDAY FEBRUARY 2 Tycho
Metro Theatre
FRIDAY MARCH 10
The Field (latenight set) Oxford Art Factory
thebrag.com
Keep Sydney Open Rally photo by Ashley Mar
The night is opened by Left., the progressive electronic duo from the Inner West. Vocalist Sarah Corry is captivating in her tone, controlling the crowd from bouncy high points to lower, more gentle moments. Guitar and keys duties are handled by Jonathan Graham – a maestro in his own right who has the group’s sound emanating through the venue and packing bodies in early.
34 :: BRAG :: 694 :: 21:12:16
A year in which Sydney residents rallied twice in their thousands against the prolonged social and cultural suffocation of entirely unsubtle lockout laws.
26th International Short Film Festival
Photography: Mark Rogers
BONDI PAVILION BONDI BEACH 6 –15 JANUARY 2017 TOURING NATIONALLY TICKETS ON SALE AT FLiCKERFEST.COM.AU
Academy® Accredited & BAFTA Recognised Gala Opening Night & Closing Night Parties /flickerfest
@flickerfest
Over 100 Hot Shorts Under the Stars Over 10 Days & Nights
FLiCKERFEST.COM.AU
Panoramic Pop Up Beach Bar with Food & Drinks @flickerfest
# @flickerfest2017