Beat 1698

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Wet Leg in the spotlight Britain’s pre-eminent indie rockers highlight the return of global tours and festival lineups

MELBOURNE’S VOICE IN MUSIC, ARTS & CULTURE JULY 2022 ISSUE 1698

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EDITOR Lucas Radbourne ASSISTANT EDITOR Talia Rinaldo SUB-EDITOR / STAFF WRITER Sidonie Bird de la Coeur GRAPHIC DESIGNER Nathan Mossop GIG GUIDE Jacob Colliver CREATIVE DIRECTION Lachlan Siu CONTRIBUTORS Andrew Handley, James Robertson, Ben Lamb, David James Young, Jacob McCormack, Christine Lan, Bryget Chrisfield FOR ADVERTISING OR SPONSORED CONTENT ENQUIRIES advertise@furstmedia.com.au ACCOUNTS accounts@furstmedia.com.au DISTRIBUTION distribution@furstmedia.com.au

Editorial Note This month, we celebrate our immense privilege to share in the unique history and culture of Australia’s First Peoples on NAIDOC Week. Aussie hip hop king Briggs explains what the week means to him, and Kaytetye artist RONA speaks about her pioneering productions blending traditional language and synth-heavy electronica.

There’s a lot else going on, but Christ almighty it’s freezing. Admittedly, our secret plan to move Beat to a Caribbean island is a bit of an overreaction, but we still didn’t expect walking to the car in the morning to feel like Touching the Void.

What’s worse is that all this incredible stuff keeps happening, disrupting our natural state on the couch eating Uber Eats and subjecting us to amazing life experiences. Take the return of the coolest international bands in the world to our shores, like Wet Leg and Sofi Tukker. How dare they? Local talent like Teether and Ball Park Music getting us all riled up. Don’t even get us started on theatre, we witnessed one of the greatest Australian productions of all time this month, nearly killed us. It’s not all bad news; in the spirit of just sitting down and chilling out, we had a long chat to Sleaford Mods about the nature of success, David Willing about the state of Melbourne’s film industry, and Adrian Basso about PBS’ flashy new digs.

But, it turns out you’re going to be leaving the house a lot this winter, so there’s only one thing to do; don a full thermal tracksuit under your best outfit and drink straight spirits until you sweat hand sanitiser.

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

PUBLISHER Furst Media Pty Ltd 03 9428 3600 FOUNDER Rob Furst

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DISTRIBUTION Beat Mag will be distributed free every month to hundreds of locations around metro Melbourne, to enquire about having it at your venue email distribution@furstmedia.com.au

COVER

Our July cover stars are Isle of Wight indie provocateurs Wet Leg, with photography from Hollie Fernando.

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CONTENTS

News 10, Wet Leg 16, Arts Guide 18, Briggs 20, Sofi Tukker 22, Stage Reviews 24, Ball Park Music 26, Crooked Colours 28, Sleaford Mods 30, RONA 32, David Willing 34, Teether 36, Album Reviews 38, Thornbury Local + The Espy 40, Whole Lotta Love + Post Office Hotel 41, PBS 42, Gig Guide 45 beat.com.au

THE PEARLY SHELLS WINTER BALL Starring: Julie O’Hara & Hayley Hoopla 9/07 DOORS // 6.30PM // KITCHEN OPEN GUEST DJS // DRESS UP

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Starring: Tom Brooks, Laura Baxter, Patrick Wilson & Georgia Delves 16/07 // DOORS 1PM // KITCHEN OPEN // SHOW STARTS 1.30PM // AUSLAN INTERPRETED

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Celebrate the release of ‘Define’, ATR’s debut EP 23/07 DOORS 10PM // SHOW STARTS 10.30PM

THE BALLROOM KITCHEN IS OPEN FOR EVERY SHOW FIVE NIGHTS A WEEK. 314 – 316 SYDNEY ROAD, BRUNSWICK, MELBOURNE | 03 9387 1347 | BRUNSWICKBALLROOM.COM.AU

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NEWS

Good Things Festival drops 2022 lineup Bring Me The Horizon, Deftones, NOFX and TISM’s reunion headline the return of Good Things Festival, which will take place at Flemington Racecourse on December 2 this year.

Award-winning musical Come From Away announces return

Electric Fields, MSO announce NAIDOC Week show

Tony and Olivier award-winning musical Come From Away will play at Melbourne’s Comedy Theatre from 27 August onwards.

Come From Away follows the real-life journey of 7,000 air passengers who were grounded in Gander, Newfoundland in Canada in the wake of the September 11 tragedy.

Award-winning electronic music duo and self-described ‘feminine brothers’ Electric Fields are taking their already epic sounds to new heights through an orchestral treatment with the MSO for NAIDOC Week on July 7 at Hamer Hall.

Arctic Monkeys announce Melbourne shows The acclaimed rockers will perform two nights at Sidney Myer Music Bowl on January 4 and 5, 2023. Acclaimed Melbourne outfit Mildlife will join Arctic Monkeys as special guests for both shows.

Melbourne International Film Festival announces first program Melbourne International Film Festival has announced the first 33 films of its 2022 program, which will screen at a variety of cinemas across its huge platinum anniversary year. The expanded festival program will run from August 4-21 in-theatre, and August 11-28 online.

Melbourne Museum announce exhibition Tyama Melbourne Museum’s exhibition, Tyama: A Deeper Sense of Knowing is a digital multisensory experience that promises to take visitors on an immersive journey into Victoria’s vibrant nocturnal world, from the night sky through caves to shallow water and into the deep blue sea.

It opens on July 22.

WEDNESDAY 6TH JULY

Northcote is getting its own street festival Northcote’s High Street will host a bumper street festival that’s set to celebrate all the inner north has to offer, after Northcote Rise secured $300,000 in state government funding. The name and dates of the upcoming festival are yet to be confirmed.

John Mulaney announces Australian tour

Suzi Quatro leads Werribee’s One Electric Day Festival

Ne-Yo, Nelly, Ja Rule lead Melbourne’s new Juicy Fest

The iconic One Electric Day festival returns in 2022 with Suzi Quatro, Noiseworks and The Angels leading the 2022 lineup, with Suzi the festival’s first ever international headliner. The festival takes place at Werribee Park on November 20.

WEDNESDAY 13TH JULY

Former Saturday Night Live writer turned stand-up superstar John Mulaney has announced a 2023 Australian tour titled From Scratch. He’ll be playing Rod Laver Arena on Friday, February 10.

An all-star lineup of hip hop and R&B legends will grace the stage together in one epic concert party heading to Melbourne on Sunday 15 January 2023 at Burnley Circus Park. Bow Wow, Xzibit, Pretty Ricky, Mya and Twista are also on the bill.

WEDNESDAY 20TH JULY

F:RST SUNN + MONTY SHNIER SEXTET 8PM, $10

F:RST SUNN + HOLLY MOORE QUARTET 8PM, $10

THURSDAY 7TH JULY

THURSDAY 14TH JULY

GLASSHOUSE JAM 8PM, DONATION

SLURM + VILLAGE MENACE + GEMMA CURTIS 8PM

FRIDAY 15TH JULY

FRIDAY 22ND JULY

KICKIN THE B AT 303’ THURSDAY HAMMOND SESSIONS: THE STITCH 8PM DOORS, $20 FRIDAY 8TH JULY

HIGH HOMES & FRIENDS 8PM, $15

MOUNT KUJO 8PM, DONATION SATURDAY 16TH JULY

SATURDAY 9TH JULY

SANSONUS REUNION SHOW 8PM

THE CHERRY REDS + ROSE TURTLE ERTLER + MADELINE HUDSON 3PM, $10/$5 SLEAZY HORMIGAS 8PM

MONDAY 11TH JULY

MONDAY 18TH JULY

BOHJASS JAZZHUB 6PM, $5

BOHJASS JAZZHUB 6PM, $5

TUESDAY 12TH JULY

TUESDAY 19TH JULY

KLUB MUK 7:30PM, FREE

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YARRA BANKS JAM 8PM, FREE

F:RST SUNN + IN THE PINES 8PM, $10 THURSDAY 21ST JULY

BURNCITY TALES 6PM SATURDAY 23RD JULY

THE CLUNK ORCHESTRA 6PM, $5 DODGE SEDAN 8PM MONDAY 25TH JULY

BOHJASS JAZZHUB 6PM, $5 TUESDAY 26TH JULY

SMILING POLITELY COMEDY 7:30PM, $5

303 HIGH ST NORTHCOTE BAR303NOTHCOTE 303THEBAR FOR THE LATEST GIGS GO TO 303.NET.AU/GIGS-EVENTS

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THE DEAD SOUTH (CAN) No r t h c o t e T h e a t r e a c k n ow l e d g e s t h e Wur un d j e r i p e o p l e o f t h e Kulin n a t i o n , t h e t r a d i t i o n a l c u s t o d i a n s o f t h is l a n d , a n d p ay o ur r e s p e c t t o t h e Wur un d j e r i El d e r s , p as t a n d p r e s e n t .

Stranger Sings musical parody coming to Melbourne

Otōto is Melbourne’s new subterranean Japanese bar

Stranger Sings! The Parody Musical is coming to Melbourne for its Australian debut. An award winning Off-Broadway production, it’s a musical parody of the hit Netflix show Stranger Things. It’ll be showing at the Meat Market from November 3 until November 19.

In a subterranean space below the bustle of Flinders Lane, Otōto – meaning younger brother in Japanese – is Melbourne’s new underground Izakaya-style bar and restaurant housed in a former bank vault.

Be dazzled by the extreme visual theatre of The Melbourne Magic Festival, with special events, workshops and live shows. The festival is presenting over 130 performances across two weeks, with the current iteration set to run until July 9.

The Grass Is Greener is Geelong’s new music festival

Victoria’s WinterWild Festival returns this August

In some epic news for Geelong music lovers, North Queensland’s biggest music festival The Grass Is Greener is set to expand to Geelong, bringing a to-be-announced lineup to the Victorian coastal city on October 30 this year.

One of Australia’s most popular singer/ songwriters – the multiple-awardwinning, multiple-platinum-certified global superstar Dean Lewis – will come to The Forum on November 27. Dean Lewis’ Sad Boi Winter Summer tour has now been throughout North America and Europe in recent months and soon it’ll be Australia’s turn to experience Dean’s signature sound in the flesh.

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Billy Joel announces show at the MCG Billy Joel will be taking to the stage Down Under this December for one night only at Melbourne’s MCG on 10 December. The show will be presented as part of the Victorian government’s ALWAYS LIVE program. The Piano Man has sold over 150 million records, making him the sixth best-selling recording artist of all time.

Didgeridoo wunderkind William Barton to play Hamer Hall

Victoria’s answer to Dark Mofo is back for 2022 with live music, theatre, comedy, gourmet food, installations, swims, cemetery tours and more. The annual event will take place over two wintery weekends, August 12-14 and August 26-28 in Apollo Bay.

Dean Lewis announces Melbourne show

Melbourne Magic Festival on until July 9

Sky Bar is Melbourne’s new 140 metre-high venue Melbourne’s new 40 story, 140-metre high bar and restaurant, Sky Bar, has officially opened the doors to its 360-degree drinking and dining experience in Southbank. On the 40th storey of the Oakwood Premier building, Sky Bar boasts panoramic views and opened to the public on June 30.

Renowned world-over for his incredible virtuosity and awe-inspiring original music, William Barton will transport a Melbourne audience in Hamer Hall to a new sonic world, described as “transcending time and space” when he plays the unique Arts Centre venue on July 22.

New festival Spring Bliss set for Hanging Rock Spring Bliss is a new one-day festival coming to one of Victoria’s most famous landmarks, celebrating community connection for mental health through music, dance and workshops. It will take place at Hanging Rock on November 5.

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Melbourne Cinémathèque announces Ukrainian cinema season The Melbourne Cinémathèque has announced a season dedicated to Ukrainian masterpieces as a timely form of reflection during the nation’s ongoing military conflict. They’re showing six films over three weeks from July 20 until August 3. A not-for-profit, volunteer run society, Melbourne Cinémathèque runs out of ACMI.

Amyl and The Sniffers announce Melbourne show Amyl and The Sniffers have announced a national Australian tour in July and August with a show at The Forum in Melbourne on July 31. After a highly-successful world tour, they’ll be returning home to continue supporting their critically-acclaimed album Comfort To Me, which dropped in September last year.

The Offspring, Sum 41 announce new Melbourne show The Offspring and Sum 41 will now be playing a new show at John Cain Arena on December 7, after their original tour sold out nationally in just two hours.

The two bands have sold a combined 55 million albums. Offspring are promising wall to wall bangers of their anthemic, oft-humorous punk-pop singles.

Queenscliff Music Festival drops full lineup

Port Fairy Folk Festival reveals 2023 lineup

Queenscliff Music Festival has announced its full lineup. Baker Boy, Isabella Manfredi, Middle Kids and RVG will all play, with the festival running across three days from November 25, 26 and 27. QMF 2022 will be the festival’s grand return after two Covid-impacted years forced its cancellation.

Returning to the music-loving coastal village for its 46th edition from 10-13 March 2023, the Port Fairy Folk Festival have already announced their 2023 lineup led by UK bard Billy Bragg and US artists Eric Bibb and Steve Poltz, alongside local favourites like The Waifs.

Docklands’ futuristic light exhibition IMAGINARIA returns IMAGINARIA is an immersive walk-through experience that utilises sound, light, sculpture and scent, which is running now at Docklands, underneath the Melbourne Eye. Featuring a secret garden, black hole, infinity bubble, light maze and echo cave, it’s an illuminating all-ages experience for anyone and everyone to enjoy.

The Script are coming to Melbourne The Script are coming to Melbourne for a show at Rod Laver Arena, with special guest Conrad Sewell. With a catalogue including hits like ‘The Man Who Can’t Be Moved’ and ‘Breakeven (Falling to Pieces), they’re performing on September 17.

Bill Bailey confirms 2022 Australian tour dates

UB40 announce January tour

Kehlani announces January tour

UK reggae boy-band UB40 have announced they’ll tour Australia in 2023 with a show at The Forum in Melbourne on January 15, performing hits from their latest releases For The Many and Bigga Baggariddim.

Grammy nominee Kehlani has announced they’ll be bringing their Blue Water Road Trip World Tour to Australia and New Zealand in January 2023. They’ll play the Sidney Myer Music Bowl on Friday January 27.

FRIDAY 8TH JULY

FRIDAY 22ND JULY

Micheal Meeking 8pm

Bud Wilkins 8pm

SATURDAY 9TH JULY

SATURDAY 23RD JULY

Of the Wild 7:30pm

Sunset Stranger 8pm

SUNDAY 10TH JULY

Liars in Love 5pm FRIDAY 15TH JULY

Tues Trivia Weds Open Mic Thursday Happy Hours 5-11pm Kitchen till 11pm, Open Daily Live Music Fri, Sat & Sun All gigs Free Entry

Georgia Rodgers 8pm SATURDAY 16TH JULY

The Backyard Banjo Club 7:30pm

SUNDAY 17TH JULY

Ally Row 5pm

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One of the UK’s most-loved comedians has confirmed shows in Melbourne, Geelong, Ballarat and Bendigo for 2022.

He’ll be playing Costa Hall in Geelong on Saturday, October 15 and the Palais Theatre in Melbourne from October 20-22.

The Man From Atlantis 9pm SUNDAY 24TH JULY

John Taratsas 5pm FRIDAY 29TH JULY

The Burning Bridges Trio 7:30pm SATURDAY 30TH JULY

All night w/ Citizen.com DJ set SUNDAY 31ST JULY

Orange Laurence 5pm

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Mimi Webb, Sam Fischer announce Melbourne show Pop sensation Mimi Webb is venturing Down Under to tour her critically acclaimed Seven Shades of Heartbreak EP, which contains the global streaming hit ‘House On Fire’. She’ll be joined by ARIA-nominated, LA-based singer-songwriter Sam Fischer. They’ll be appearing at 170 Russell on September 11.

Conan Gray is coming to Margaret Court Arena Gracing Australian shores for the second time ever, platinum-selling singer and songwriter Conan Gray is coming to Melbourne’s Margaret Court Arena for a show on November 19.

Leaps and Bounds announces extended BEYOND program Bringing even more live music and special events to local venues and other unique settings across the City of Yarra, Leaps and Bounds + BEYOND has been extended to run for a whole month. Taking place from June 24 until July 24, the + BEYOND program is dedicated to instrumental artists working in experimental, contemporary and classical repertoire.

Mick Harvey, Springtime to re-score ‘Chopper’ at the Astor Hear My Eyes: Chopper + Springtime & Mick Harvey will feature a screening of celebrated Aussie crime biopic Chopper with a live re-scoring by Mick Harvey and Springtime (Gareth Liddiard, Jim White and Chris Abrahams) in two shows (6.15pm, 9pm) at the Astor Theatre on Wednesday 17 August as part of Melbourne International Film Festival.

Immersive space exhibition running at the Emporium Mars sunsets, Venus lightning storms and the surface of Jupiter, experience it all at Neighbourhood Earth, an award-winning exhibition that’s making its Melbourne premiere at the Emporium.

Featuring cutting-edge projection technology, the immersive experience of space runs until August 28.

Buddy Guy announces Australian farewell tour Eight-time Grammy winning blues legend Buddy Guy has announced a farewell Australian tour in April 2023. He’ll be playing a headline show at the Palais Theatre in Melbourne on Monday April 10.

The Whitlams announce Eternal Nightcap tour

FOJAM and MSO unite for ‘A Night of Compassion’

The Whitlams have announced an Australian tour to mark the 25th anniversary of their classic album Eternal Nightcap. They’ll be playing The Forum on September 17 with support from Icecream Hands.

Taking place on September 29, ‘A Night of Compassion’ will see composer Nigel Westlake reuniting with singer-songwriter Lior to perform their ARIA award-winning song-cycle ‘Compassion’ alongside the Melbourne Symphony Orchestra.

The Asia Pacific’s largest gaming festival is coming to Melbourne in October Connecting games, technology and culture, Melbourne International Games Week is returning to Melbourne for nine days of gaming events across multiple major venues from October 1 - 9.

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WET LEG Words by Andrew Handley Credit Hollie Fernando

Rhian Teasdale joins the video chat from her London home grasping her morning coffee, as birds chirp in the background.

The nine-hour time delay means it’s becoming cold and dark in Melbourne. “So you’re at the end of your day?” she asks waiting for her bandmate to join. Hester Chambers (who Teasdale affectionately calls ‘HC’) is only a minute late but apologises in her delicately soft voice. “I’ve done that thing where I haven’t downloaded Zoom on my phone yet.”

The two are the core members of the band Wet Leg, which formed in their hometown on the Isle of Wight in 2019. It was the release of their first single, the wonderfully fun and catchy ‘Chaise Longue’, in 2021 which began their stratospheric rise

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(the film clip has over five million views on YouTube.) They’ve since appeared on many of the late-night talk shows in the US and were the buzziest band at South by Southwest. Teasdale and Chambers would be the last two to tell you this though, humble as they are.

The two met in college and had known each other for a decade by the time they decided to start a band. They were riding a ferris wheel at End of the Road festival, having just seen IDLES perform. “When we started this band, it was literally just so we could go to festivals in the summer and get booked for

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a few shows,” explains Teasdale. “So we could go to the actual festival and roll around in fields for the weekend.”

Coming full-circle, like a drunken fairground ride, Wet Leg opened for IDLES earlier this year at their massive Brixton Academy show in London. “It was quite a surreal moment because we’d only ever joked about things like that,” says Chambers. and they’re playing Splendour In The Grass from July 22 - 24.

“I’m like, ‘Did we really do that?’ But we did, there’s a picture of it.”

The release of singles like ‘Wet Dream’, another provocative, playful earworm, and ‘Too Late Now’, an atmospheric post-punk track, proved the band weren’t just a viral sensation.

Teasdale says waiting for their debut album to come out wasn’t the nerve-wracking part. “I didn’t feel pressure before it was coming out, and then when it went to number one in the UK, that was really weird,” she says. “That stressed me out a little

Credit Hollie Fernando

bit… you hold yourself to a higher standard, I suppose.” Since their self-titled album came out in April it has reached number one in Australia too, but Teasdale couldn’t say why. “I dunno, man,” she says sheepishly. “It’s very nice.”

Wet Leg’s success is all the more impressive as Teasdale only learnt how to play the guitar for the band. “I’d been playing and writing on piano for a bit, and then I got really sick of that, and in a bit of a rut,” she recalls. “I tried when I was 14 to play guitar, but then it made my hand hurt, and everyone made it look so easy, and I just gave up.” It was the encouragement from her bandmate that kept her going.

“If I was like, ‘I can’t do it, I’m shit, this hurts, I don’t think I can get it,’ Hester would always be like ‘no, you can do it, you’ve got this,’” Teasdale says. “Something as simple as that, just having Hester to encourage me, and just a little gentle push back of my own self-doubt really helped.”

The success of the band’s breakout track ‘Chaise Longue’ is no doubt in part thanks to the wonderfully silly lyrics (“I went to school and I got the big D”). “I tried not to spend too much time on the lyrics,” says Teasdale. “Before this band, I was playing more folky stuff, so I wanted the lyrics to feel like poetry, I suppose, and it was very self-serious and introspective.” As the band was originally formed to gain entry to festivals, it made sense to write the songs for a festival environment. “We wanted to

“I’m like, ‘did we really do that?’

But we did, there’s a picture of it”

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get the set made really quickly, so we didn’t spend too long fine-tuning a lot of the lyrics,” she added.

Being signed to Domino was another shock to the band.

“We invited them to the Isle of Wight to go to our favourite pub, and then got them plastered, and they were like, ‘Yes, you’re signed!’ jokes Chambers. “Everyone [is] so lovely and passionate, and they work quite closely together. It’s a big label, but it’s still an independent label.” Judging by the label’s roster, which includes Arctic Monkeys, John Hopkins and Alex G to name a few, it’s clear they’re doing something right. “There’s a good energy that comes off [Domino], like when you sit on the beach and the sun is shining on your head,” Chambers adds.

It was through Domino that the band met producer Dan Carey, who has produced albums for other post-punks like Fontaines D.C., Squid, Geese and Black Midi. “He’s like way legit, and we are this little baby band,” says Teasdale. “The imposter syndrome hit pretty hard.”

Carey’s production style suited the band perfectly, recording the bass and drums together, and the two guitars together.

“We didn’t want to go into some dry, sterile studio space, where there’s glass between you [and the producer], and his studio is on the first floor of his house, so it instantly had a really homely feel,” explains Teasdale. The relaxed production style shines through on the album, which was recorded in only two and a half weeks. “He just kept it really fun, but there was a process, and he was very methodical,” says Teasdale.

The band continues to find themselves in outrageous scenarios, including playing a short set at a pre-Oscars party.

“All of us, apart from Henry (the band’s drummer), went to college together, [so] it’s just so funny to think of us at like 17 in college, and then finding ourselves at this little, star-studded Hollywood party,” chuckles Teasdale. “Yves Saint Laurent dressed us, so we all looked really funny… we were overly chic, we don’t normally look like that.”

Neither Teasdale nor Chambers have visited Australia before, but are excited to perform at Splendour in the Grass in July, as well as opening for Yeah Yeah Yeahs, and an (already sold out) gig at Howler in Brunswick. Teasdale hopes to catch The Chats at Splendour. “Someone showed me their video for Smoko,” she says. “I was like, ‘Oh my gosh, this is the best thing I’ve ever seen.’” This is high praise from a band with exceptional video clips themselves, several of which the duo directed. The band already have their second trip to Australia booked, opening for Harry Styles early next year. “I’m still waiting for someone to jump out and be like ‘you’ve been Punk’d,’” laughs Teasdale.

Fortunately for us, this is no joke and just the beginning for Wet Leg.

“I didn’t feel pressure before it was coming out, and then when it went to number one in the UK, that was really weird”

Wet Leg’s eponymous debut album is out now via Domino.

They’re supporting Yeah Yeah Yeahs at Margaret Court Arena on July 20 and playing a headline gig at Howler on July 21.

Credit Matsu

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Like a Wheel That Turns: The 2022 Macfarlane Commissions

Requiem to New York, Photographs by Ashley Gilbertson

ARTS GUIDE

Exhibitions to see in July

An ode to a pre-pandemic New York, Requiem to New York is a visually powerful collection that tells the story of a city in a time of uncertain crisis. Recognised for his photographs of conflict zones, photojournalist Ashley Gilbertson documents a New York in the throes of 2020, capturing the uncertainty that unfolded around him during his regular jogs of the city.

It’s on until July 23 at Vivien Anderson Gallery.

Jaedon Shin: Double Moon In his latest exhibition, Jaedon Shin interrogates his duel identity as a Korean and an Australian through the dream-like worlds represented in his paintings.

Vibrating with colour, memory and imagination, his work contemplates inner and transcultural experiences of growing up in the divided nation of Korea as well as his reflections on the migrant experience.

Visit the Heide Museum of Modern Art to catch Jaedon Shin: Double Moon. It runs from June 11 until October 30.

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Like a Wheel That Turns takes place from July 2 until September 4 at ACCA. Entry is free

Susan Jacobs: The Ants Are In The Idiom and Still Life Light: Works from Tate’s Collection

Head to Vivien Anderson Gallery for Bob and Mary, an exhibit featuring painted works from mother and son duo, Mary Gibson and Bob Gibson. Dedicated to exhibiting contemporary Indigenous art, Vivien Anderson Gallery has been representing extraordinary Indigenous artists for over 30 years. With a dedicated exhibition calendar for represented and guest artists, it’s part of the gallery’s key initiative to present Indigenous artists from remote, rural and urban centres internationally.

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The exhibition runs until August 22 at The Ian Potter Centre: NGV Australia in Fed Square

Words by Sidonie Bird de la Coeur

Bob and Mary

The third edition of the The Macfarlane Commissions – a partnership with ACCA that supports ambitious new projects of emerging and mid-career artists – features the works of Nadia Hernández, Lucina Lane, Gian Manik, Betty Muffler, Jahnne Pasco-White, Jason Phu, JD Reforma and Esther Stewart. In turn, they have approached the medium of painting as a vehicle to consider cultural and family histories, as well as our relationship to Country and the environment.

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A collection of over 70 works curated by Tate in the UK, the exhibition focuses on the artistic fascination with light by showcasing art from over 200 years of art history. Works from great Romantic painters such as Turner and Impressionist artists such as Monet, Pissarro and Sisley are juxtaposed against works of modern and contemporary sculptural art in this illuminating exhibition.

You can catch it from June 16 to November 13 at ACMI

The Picasso Century Charting the extraordinary career of Pablo Picasso, the NGV has collaborated with the Centre Pompidou and the Musée National Picasso-Paris to bring together over 80 works by Picasso. Curated by scholar of 20th century painting, Didier Ottigner, The Picasso Century also features over 100 works by his contemporaries, alongside dialogues of those who inspired his work. A powerful exploration of the artist’s personal, artistic and intellectual engagement with his peers, the exhibition is separated into 12 thematic sections to trace the many distinct periods of the artist’s career.

Two exhibitions presented side by side in Buxton Contemporary - The Ants Are In The Idiom is a presentation of newly commissioned work by Susan Jacobs that meditates on the relationship between language and matter through drawing, sculpture and installation.

Drawings and models ‘from the beginning’rsity of Melbourne’s Herbarium are presented in Still Life, an exhibition that explores symbiotic relationships, mycelial networks and microorganisms through the natural sciences.

The exhibition runs from June 3 to November 6 at Buxton Contemporary

Schoolhouse Gallery: Jodie Kipps and Jess Mitchell A not-for-profit creative space, Schoolhouse Studios offers residencies to up-and-coming artists in Melbourne. A community space that anyone can apply to, Schoolhouse Studios in Coburg comes with a gallery attached, where they run exhibits. In July, they’re exhibiting works

by Jodie Kipps from July 4 until July 18 and Jess Mitchell from July 18 until August 1.

Visit Schoolhouse Studios at 28 Victoria Street, Coburg. Or, if you’ve got a body of work, head to their website and inquire about putting on an exhibit of your own.

The Picasso Century runs from June 10 until October 9 at the NGV

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“I just try to embody my values and the values that have been handed down to me from my parents and my grandparents and carry that every day of the year.”

BRIGGS There are songs that are committed to truth-telling, that convey a profound sorrow, and make the listener weep with their healing delivery...

Words by Christine Lan

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‘Took The Children Away’ by Archie Roach is one of those songs.

Released in 1990, the landmark – which won the Human Rights Achievement Award in 1991 – is resonating with a new generation of artists. With the icon’s blessing, rapper Adam Briggs wrote the compelling sequel, ‘The Children Came Back’, 25 years after the classic song’s release.

While ‘Took The Children Away’ pays homage to the Aboriginal and Torres Strait Islander children who were removed from their families (Stolen Generations), ‘The Children Came Back’ celebrates the strength and heroes of Australia’s First Peoples, naming Cathy Freeman, Adam Goodes, Patty Mills, Jimmy Little, Gurrumul and Roach within the song’s lyrics.

These two songs embody why NAIDOC Week is so important: it celebrates the resilience, survival, wisdom and champions of Aboriginal and Torres Strait Islander peoples while continuing to acknowledge the issues of ongoing trauma, disadvantage and inequality.

In the week beginning July 3, NAIDOC (National Aborigines and Islanders Day Observance Committee) Week celebrations will be held across Melbourne to celebrate and recognise the history, culture and achievements of Aboriginal and Torres Strait Islander peoples. With its origins in the 1938 Day of Mourning – the first national Aboriginal civil rights gathering and hailed as the start of the modern Aboriginal political movement – NAIDOC Week provides an opportunity for all Australians to gain knowledge about the world’s oldest living cultures and to engage with their local Aboriginal and Torres Strait Islander communities through various events organised by local councils, government agencies, schools and workplaces.

“For me, I’m so enthralled and wound up and bound to my work that every week is NAIDOC Week for me,” says Briggs. “I don’t switch and change my positions on anything by calendar month.

“I just try to embody my values and the values that have been handed down to me from my parents and my grandparents and carry that every day of the year.”

“There’s going to be some great events, cultural activities, and celebrations for blackfellas. For me, NAIDOC Week or not, I show up and do what I do.”

This year’s theme for NAIDOC Week is ‘Get Up! Stand Up! Show Up!’, which stands for a commitment to support and secure institutional, structural, collaborative, and cooperative reforms through seeking proper environmental, cultural and heritage protections, constitutional change, comprehensive truth-telling, working towards treaties and calling out racism.

“I was thinking about the slogan they’ve got this year – the theme ‘Get Up! Stand Up! Show Up!’ For me, it’s a reminder that we can’t be complacent. Many blackfellas have been doing this fight and this work for a lot longer than I’ve been alive, so I’m not allowed to be tired yet. It’s not about fighting all the time, but it’s about support and get up, stand up and show up for ourselves and for each other.”

NAIDOC Week encourages all Australians to engage with Aboriginal and Torres Strait Islander communities, to acknowledge our history and to realise that acknowledgement is a crucial unifier.

“It’s like mate, I’m not asking you to go and volunteer or give up your time, but acknowledge – wholeheartedly and truthfully – what went on and how this manifested and how we’re here and what that disadvantage is.”

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“I think a lot of the willingness to not engage with it, that White Australia has, comes from the top-down – it’s that Howard-era of ‘I refuse to look at the past with a black armband’, and so that tells people ‘that’s not my fault, why should I have to do anything?’

“It’s like mate, I’m not asking you to go and volunteer or give up your time, but acknowledge – wholeheartedly and truthfully – what went on and how this manifested and how we’re here and what that disadvantage is.

“For the regular Joe, it might not be your job to close the gap on Indigenous health; these are complex, sophisticated issues, but acknowledgement that it’s an issue and that the people whose job that is, should be doing something about it and fixing it. For the average Karen or Darren on the street, I’m not asking you to fix it – I’m asking you to understand that it’s an issue, wholeheartedly and truthfully.”

Through his music, writing and speeches, Briggs has been a compelling advocate for the need to address history as a whole and acknowledge the truth. “Not acknowledging truth and denying someone’s truth is abuse,” says Briggs. “There’s no healing to come from that. Australia has a history of picking and choosing what we want to celebrate. When you deny how things happened or how things came about, we’re not going to get the full picture. Australia won’t have a true identity until it acknowledges wholeheartedly that the culture that has been here for nearly 100,000 years is the true identity of this place.”

The proud Yorta Yorta artist, who was awarded Artist of the Year at the 2018 NAIDOC Awards, started his own record label in 2015, Bad Apples Music, to support and mentor new Aboriginal and Torres Strait Islander artists. “It was to create a platform and design something that was going to be able to amplify black stories,” says Briggs. “If I put out five black artists with their albums, then that’s five more that weren’t there, and just trying to change the landscape little bits at a time.”

NAIDOC Week celebrations will be held across Melbourne until July 10.

BEAT MAG

Australia has a love affair with Sofi Tukker.

Chuck on the radio, you’ll probably hear a Sofi Tukker track or two, they’ve played some memorable shows at the iconic Groovin The Moo over the years, and their hits ‘Drinkee’ and ‘Purple Hat’ have each reached platinum on the ARIA charts.

WET TENNIS, or When Everyone Tries to Evolve, Nothing Negative Is Safe, is the perfect follow up to their debut, and is the perfect album for these times, a positive journey featuring a soundtrack that’ll make you want to get up and move.

A versatile record, WET TENNIS also sees the duo dipping their toes into mellower moments.

“It feels amazing to have the album out,” Sophie, (Hawley-Weld, vocals and guitar) says. “We’re on tour right now, and it’s great to be playing the music every night, it’s exciting, it’s been a long time in the making.

“We also created a whole WET TENNIS production show where we’re on a tennis court with a scoreboard, really living the WET TENNIS world.

“I play a scoreboard like a drum set,” Tucker (Halpern, percussion) adds, “and it triggers sounds and video, and it’s really fun to see this idea we thought of during the pandemic be out there in the world.”

WET TENNIS could be considered a lockdown baby. Sophie notes the extended free time thanks to the years of self-sequestration was the perfect opportunity to finish all their unfinished music from years prior.

“We were working on WET TENNIS from before lockdown, so a lot of the songs are from life and personal experiences. We spent a lot of time during the pandemic looking at songs we had started, and just finishing them, adding new elements and stuff.”

The title track ‘Wet Tennis’ has been a clear fan favourite thanks to its sensual horns and infectious hook. “‘Wet Tennis’ was the last song we wrote and we had already named the album,” Sophie notes.

“We knew what we wanted the world to look and feel like.

“We were in our house, just kind of goofing around, and Tucker started singing ‘Bring your hips to life’ in a really bad boy-band accent.

“We wanted a fun song that would make people smile while dancing, it didn’t need to be emotional, it didn’t need to be deep, we just wanted to have fun on a song, but we felt like it was almost too electronic. So we went to Miami, and we got a bunch of incredible musicians to play, we got real incredible horn players to play, like a whole orchestra.”

“It was a little linear, and we felt like

“We make music that feels right in the moment. We just follow what we’re inspired by, and ‘What a Wonderful World’ and ‘Interlude’ felt really organic and natural.

“We didn’t want to just lose it, so we just repurposed it, then it had its own vibe. It was written to an upbeat, bouncy song. You never know how things are going to come out” The features on WET TENNIS come through hard and strong; Mahmut Orhan, John Summit, BOII, Amadou and Mariam, and even Tucker’s dad each make an appearance across the record.

“The one we did with Amadou and Mariam was really just a small musical chunk, then we went back and forth, it was very ‘from the beginning’,” Tucker says.

“Then there’s ‘Sun Came Up’ with John Summit, where we had a full demo of the song for a while, and never knew what to do with it. Then Words by Ben Lamb we were chatting with him on Instagram and sent him the demo, and he just took it that final step to make it feel so good.”

The pair will be hitting The Forum and Splendour In The Grass this month with a show you’re not likely to forget.

“It’s a whole world that we’re bringing, it’s super high energy. It’s a bit of a competition. You never know who’s going to win,” Sophie adds.

“It’s fun. There’s a crazy energy. People should prepare to get Credit Elizabeth Miranda sweaty, wear some comfy shoes, if you think you might not be it needed that funk, the groove that is just jumping that high, I’ll force you to.” Tucker impossible to make from a computer,” says with a laugh.

Tucker adds.

“We feel so lucky that people come WET TENNIS features the stylings to the shows and are just so joyous, it’s a we’ve come to love, but at times the really amazing culture.” album ventures into reflective territory, WET TENNIS is out now via Ultra Music. with a calming ‘Interlude’, and a cover of Sofi Tukker are playing Splendour In The ‘What a Wonderful World’.

Grass and are hitting The Forum on “Sometimes things come from July 23. totally opposite vibes,” Tucker mentions. “‘Interlude’ was originally written for a bridge in a dance song, we loved it so much, but it didn’t fit in the energetic fun song.

SOFI TUKKER

Sofi Tukker bring their WET TENNIS world experience down under and the party continues with their sophomore release.

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STAGE REVIEWS

Credit Jeff Busby

Credit Daniel Bould

CINDERELLA

THE PICTURE OF DORIAN GRAY

A surprisingly contemporary take on a classic fairytale, Rodgers and Hammerstein’s Cinderella is full of child-like whimsy and romantic escapism.

I’m going to make no bones about it – the Sydney Theatre Company’s adaptation of The Picture of Dorian Gray is one of the most spectacular pieces of theatre I’ve ever seen.

Witty, funny and with social commentary thrown in for good measure, it’s all the beats that you love and expect from Cinderella, with some twists that keep this particular production entertaining.

Originally written for television with Julie Andrews in the leading role, Cinderella made its long-awaited Broadway debut in 2013 with a new book by Douglas Carter Beane and direction

by Mark Brokaw.

Superb orchestrations, beautiful vocals, spectacularly smooth set transitions and jaw-dropping costume changes are the highlight of the musical, with the reveal of the Fairy Godmother being a particular highpoint. As well as the inclusion of a redeemable step-sister, Cinderella provides commentary on the nature of class through the added character of Jean-Michel, a revolutionary concerned with wealth equality.

A welcome addition to this version of Cinderella is added depth to the character of Prince Topher, played by the charming Ainsley Melham. In this version, parallels are drawn between the two leads – the kind-hearted Ella, played beautifully by Shubshri Kandiah, is bullied by her evil stepmother while the prince is pushed around by his scheming and cunning royal advisor. The union of Ella and Prince Topher feels deserved, a meeting of two generous and sympathetic people in a world that values cruelty.

Cinderella herself has more agency in this version of the story – it’s her initiation of the meeting of the Prince and Jean-Michelle that is the catalyst for change in the kingdom.

Interestingly, when running away from the banquet at the stroke of midnight, Cinderella takes her own shoe off and makes the active and intentional decision to leave it behind for the prince to take.

I really liked the raccoon and fox turned footman and driver – their transformation from delightful little puppets into men that leap and flip around the stage with impressive acrobatic talent left me smiling.

An engaging and enchanted production unabashedly about the power of kindness and the presence of good in the world, you’ll walk out of Cinderella humming every tune and believing in everyday magic.

Cinderella is showing at The Regent Theatre until July 22.

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Kip Williams’ adaptation of The Picture of Dorian Gray is a truly unforgettable performance. Equal parts funny and gripping, every element of this incredibly ambitious piece of stagecraft comes together for a flawless show.

Based on Oscar Wilde’s century-old fable of the same name, it’s bought to life by Eryn Jean Norvill, who takes the lead in a role unlike anything else I’ve ever seen before. Playing 26 characters, she populates the world of the story in a spectacular performance that will be remembered as perhaps one of the greatest on an Australian stage.

A one-person adaptation is a genius choice for Wilde’s gothic parable about the obsession with the self, exploring the themes of vanity and perception that warps one’s self-worth.

Her playing multiple actors is introduced delicately – dressed in a black shirt, Norvill switches in the opening scene between the artist Basil Hallward and aristocrat Lord Henry by swapping between holding a paintbrush and cigarette respectively.

As the play hurtles on, Norvill melts and shapeshifts before our eyes, shifting, changing and evolving to play multiple characters at once in an Olympic feat of performance. Live video is seamlessly blended with pre-recorded footage, as Norvill interacts with videos of herself, even arguing and bickering with said recordings in moments of fourth-wall-breaking levity.

The timelessness of Wilde’s story is bought to the forefront in the set design – while very much rooted in Victorian aesthetics at the start, the stage warps from traditional Gothic dress and sensibility into more modern glitz and glamour. A highlight is when in a moment of panic, Gray steps into a hansom cab, the scenery around him shifting from a gas lit London at the turn of the 19th century to a modern, neon, sky-scraper filled city.

If you only see one play this year, it should be Kip Williams’ adaptation of Dorian Gray.

The Picture of Dorian Gray is showing at Arts Centre Melbourne until July 31.

Words By Sidonie Bird de la Coeur

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BALL PARK MUSIC ‘It’s just getting weirder and weirder out here, baby.’

Words by James Robertson

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With their seventh album Weirder & Weirder, Ball Park Music went into recording with nothing to prove. Forgoing meticulous planning, the band got together in the midst of 2021 with no aim in mind.

“It was mid last year when we were really bored and wanted to hang out together in the studio and just have some fun,” says guitarist Dean Hanson. “Sam Cromack (lead vocalist and guitarist) had a few ideas floating around he wanted to try. It was at this point we hadn’t decided to start a record or anything.

We’re lucky enough, we have our own studio and produce all our own stuff so we have the opportunity to go in and start recording things whenever, without any real plan.”

This laidback approach clicked for the group, allowing for a moderately fast writing and recording process. “It was happening pretty easily and the songs we were making were pretty cool.”

Ball Park Music couldn’t escape the grasp of the pandemic, as bassist Jennifer Boyce had to make a quick decision: stay in New South Wales with her partner as a lockdown approached, or drive up to Brisbane to record with the band. “Last minute she threw all her possessions in her car, called her partner and said ‘I’m off to Brisbane, I don’t know when I’ll see you’.” Her sacrifice didn’t go unacknowledged. “She’s such a trooper,” says Hanson.

“Last year she made so many sacrifices so that Ball Park Music could keep going.”

Keep going they did. Hanson and the band launched themselves into the production of this new LP with abandon, relishing a sense of freedom after the release of their self-titled album in 2020. “We didn’t have any unfinished business with our last record. We didn’t release that thinking there was anything we could’ve done any different. And then sometimes when you do have a record out with unfinished business, you may have all of those things playing on your mind. But this time didn’t feel like that at all.”

“It almost felt too easy,” Hanson recalls with a chuckle.

“It was the easiest album we’ve made. You do start questioning if it’s really as good as you think it is, because you didn’t have to work as hard for it. But we’re all unbelievably proud of it.”

Weirder & Weirder certainly feels like the band pushing their sound forward, realising the best parts of Ball Park Music that fans love them for. All their weird sonic and lyrical oddities are dialled to eleven, exploding crunchy psychedelia through the lens of 21st century quirkiness. Their album title works as both a mission statement and a comment on the undeniable conditions artists such as themselves are creating in today.

“Some records you’ve made are influenced by what’s going on around you; like the pandemic, of course. But nobody wants to make a Covid record,” quips Hanson. Hoping to encompass the general state of the world, he shies away from singling out one issue. “This isn’t about one particular facet of the world.

It’s literally the whole thing. The themes of the record overall relate to this weirder and weirder attitude, about the world in general just getting weirder and weirder.”

This sense of weirdness permeates the entire album, tracing down to the lyrical content of the title track. “I first remember thinking holy shit, these are bizarre lyrics. But no one else can get away with that. Sam just has a way of putting shit in songs. If I wrote that down on a piece of paper, I don’t think I’d ever show a soul.”

Recent singles, ‘Manny’, ‘Sunscreen’ and ‘Stars In My Eyes’ show off just a taste of the weirdness to come, with eclectic guitar and synth coupled with relentless, driving drums. But even choosing these songs as the first preview for fans was

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tough. “We’ve never had an album where it’s been so difficult to pick what the singles might be,” says Hanson. “There’s so much depth on this one. It’s a good problem to have, but still a problem when you’re trying to pick a single and you’re not sure which one to go with, because all of them could play a role. I’m so excited to get feedback from people who aren’t directly involved in making the record.”

“It was the easiest album we’ve made. You do start questioning if it’s really as good as you think it is, because you didn’t have to work as hard for it. But we’re all unbelievably proud of it.”

This feedback is crucial for Ball Park Music. Reflection on their previous six albums has often enforced where the band goes next, particularly in regards to where they’ve pushed their sound in the past. “You think in the moment that you’re pushing it too far. We think at the end of every record; we did push it, but we could’ve gone further. Maybe it’s when you get to that last moment in the mixing, you get a little bit scared that you’re making an alienating record, or it sounds a bit too polarising, so you shy away from it. But I think with every record we get a little more confident about it.”

Confidence is not only emblematic of their recording process, but within their attitude towards the music industry. Working with their own record label Prawn Records has allowed the band to guide themselves, making their own bold decisions. This is exemplified by their recent response to the delay of Weirder & Weirder’s vinyl release.

“We did everything we could to get the vinyl here on time for the tour and the record, so we had to be finished at the start of January, really pushing to have it mixed and finished.

But then five months down the track we got the call from the vinyl printing plant that they can’t get nickel, because of the war in Ukraine, so they said the earliest they could get stock was December. It was the most down in the dumps I’d been in ages. But this is completely out of our control. We tried our best and there’s no one to blame.”

“The earliest we could have the record out on vinyl was

by July, but we’ve got the album tour starting in June,” Hanson laments. “So we were faced with this dilemma of whether to push the whole album back or not. But we can’t go out on our album tour without our album being out.”

Frontman Sam Cromack said in a statement that “after more than two years of our industry suffering non-stop setbacks, we’ve decided to give this situation the middle finger and run in the other direction.”

The simple solution was laid out for them. “Let’s just move it forward,” says Hanson, recalling the conversation with their distributors. “Hey, is it possible to change absolutely everything and move it forward a week?”

Weirder & Weirder is out now via Prawn Records. Ball Park Music are playing The Forum on July 16, 17.

BEAT MAG

CROOKED COLOURS Crooked Colours are down to the wire on their third studio album.

Words by David James Young

Credit Matsu

It’s just within their grasp, according to keyboardist Leon Debaughn – as he speaks to Beat from the trio’s native Perth, the others are in an adjacent studio working on what he describes as “the last 10%” of the as-yet-untitled album. “It’s been in the works more or less since the last one came out,” he says – referring to their 2019 record, Langata.

“It’s been a turbulent time, to say the least, but we’ve still been writing this entire time. We must have sent thousands of ideas back and forth, building up all these songs. We’ve ended up with a real surplus, and it’s come down to picking the right songs that fit what we want to go with.” It’s asked of Debaughn, then, whether the album that they initially set out to make in the wake of Langata’s release is the same one that will eventually end up in fans’ ears later this year. “We all have a different outlook now,” he replies.

“I think these last two years have really allowed us a sense of re-evaluation. In a way, it was a good thing to have that time just to sit back and go, ‘alright, where do we want to go now?’”

Indeed, two key changes have factored into the making of the third Crooked Colours album. The first was them signing to Atlantic Records, marking their first major international deal in the process. “That really opened our eyes to America – going over there and, going into their big studios and seeing the way that they do things over there,” says Debaughn. At the insistence of Atlantic, the alternative-dance band experimented more with collaboration and co-writing – something they’d only touched on in the past. The fruits of those labours are evident on two of the already-released singles: ‘Rather Be With You’, which features Hayden James, and ‘Light Year’, which saw them team up with Masked Wolf and Jasiah. Debaughn describes the latter, in particular, as “unlike

“I think it encapsulates the whole album, in a way. If we were going to pick any song as a sounding of the alarm – like, ‘this is it, the album’s coming’ – I’m glad we went with this one.”

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anything Crooked Colours have ever done before.”

“It’s definitely a lot more steeped in the hip-hop world, which we’ve never really tried,” he says. “It was really cool to get the opportunity to dip our toes into that sort of sound – and it was something the three of us had always wanted to try, as well. It definitely points to a different vibe that is a part of this album – we definitely felt more at liberty to dabble in different areas rather than just staying in our lane. We really wanted to make a point of letting the music be its own thing.”

Said liberties are also reflected in the group’s most recent single, ‘Feel It’. With its lively synth-bass, choppy samples and driving beat, it’s kicked off Crooked Colours’ eventful 2022 in style. “When we showed it to Atlantic, they really caught onto it,” says Debaughn. “I think it was the catchy guitar line that really hooked them in, but as soon as we played it for them in the studio they were just loving it. It’s been simmering in the background since then, and I think it’s become one of the strongest songs on the entire album.

“I think it encapsulates the whole album, in a way. If we were going to pick any song as a sounding of the alarm – like, ‘this is it, the album’s coming’ – I’m glad we went with this one.”

A national tour in support of ‘Feel It’ has been announced, which will see the band playing some of their biggest headlining shows to date. Although Debaughn expresses nerves about the band going “straight into the deep end” as he puts it, there’s also a real excitement within the camp as Crooked Colours starts anew.

“It’s all a little daunting in its own way,” he says. “Straight off the bat, everything is really feeling sink-or-swim. Even so, we’re in the designing stage at the moment and it’s already looking like we’re bringing something big to this tour. The venues are all really good, and this run feels like it has greatness ahead.”

Crooked Colours are playing Margaret Court Arena on September 9. Tickets on sale now.

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Credit Johan Rönnow

SLEAFORD MODS We spoke to the always-candid Jason Williamson of Sleaford Mods from his hotel room in New York mid-tour about the nature of success.

Words by Niam Hegarty

In the documentary Bunch Of Kunst (the 2017 documentary about Sleaford Mods) I remember your manager at the time was going on, “this band shouldn’t be popular, it doesn’t make any sense.” Is it weird making it, later in life, as a musician?

Yeah, it’s weird as fuck. We didn’t expect it, we didn’t actually expect it so it’s really weird; it was a massive surprise but kind of almost made it fairy-tale, do you know what I mean?

Where it came out of the blue and all your dreams were answered in a very short space of time, like, six months, less than that probably – all your dreams that you’d ever wanted were answered.

And I’m not for one second rubbishing the effect that my wife and my children have had on me but professionally, as a career, as something you want to do with your life. Most people,

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you just don’t expect ever to be successful, especially in this game. So, to achieve that, but to achieve it on a level where we kickstarted a whole new sound, we kind of woke up the English music scene a little bit or we were partly responsible for that anyway, to have that under your belt as well that’s just brilliant.

So, were you part of a scene coming up or were you outliers?

No, we were just on our own. I was interested in rap music, I was interested in punk, I was interested in Two Lone Swordsmen, which are an electronic duo from England. But I was interested specifically in their album, Tales From the Double Gone Chapel which lent heavily towards post-punk, and obviously I mixed that with the punk and the rap influence and that’s what made

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Sleaford’s sound predominantly, over Andrew’s beats.

When I met Andrew [Fearn] he customised what I had in my head, tailored it to his own ability and he invented the sound that you hear today. So, it was largely accidental that it sounded post-punk, I was influenced by people who were listening to post-punk but I never for one minute thought about post-punk, I just didn’t.

I was just us really, Fat White Family in London had similar stuff, just trying to break the mould of what had become so stale in England, the aftermath of Britpop, the aftermath of the New York scene – the Yeah Yeah Yeahs, The Strokes. There was a bit of a cavity in England, there wasn’t much going on.

It seems like many of the big, exciting bands at the moment shouldn’t be popular in a traditional pop sense. Why do you think this has happened in this current climate?

It’s just done properly, and I don’t mean to sound arrogant, but it’s just got the right amount of all the good things that we’ve put into a mixing pot, and we’ve just managed to create good music that people have connected with. But also, it talks about the here and now, it’s not cliched, it’s not obvious. I mean

out on drugs but you’re certainly not living on the fuckin’ edge.

And what is that? I think it’s just patronising.

I am fervently in favour of supporting working-class people in music because that’s where I come from. At the same time, how are you connecting to it? Are you any good?

A lot of people have a misconception about bands like yourself that they’re quite wealthy.

No, absolutely not. I’ve certainly got more money than I used to have but I can tell you now that I’m by no means rich.

But, yeah, if you put me next to the average geezer who works in an office job then yeah, I’m earning more money. I’m not a millionaire but we are comfortable now. I guess that is rich to some people, but the misconceptions are massive. They see you touring around the world and assume that you’re a fucking millionaire and it’s just not the case.

I think that will keep happening, but it’s few and far between, you just get a lot of shit in the middle. And I’m not saying ‘we’re real, we’re good’, that’s bullshit, but you do find most stuff is shit, don’t you? And you put up with it, but it’s shit – it’s not saying anything.

“It talks about the here and now, it’s not cliched, it’s not obvious. I mean we’ve been going for 10 years but it’s still to me contemporary music, we still seem to keep changing” we’ve been going for 10 years but it’s still to me contemporary music, we still seem to keep changing.

And over the last couple of years there has been other stuff, we don’t mind being associated with Amyl & The Sniffers for one, other stuff in England, Billy Nomates, Dry Cleaning.

There’s stuff out there, all these bands you would consider they wouldn’t be in that central area, are now in that central area, and I suppose we have a little bit of a faint connection.

But I don’t know why, they’re good songs they’re the here and now. People need to be reminded of life don’t they?

It talks about the here and now, it’s not cliched, it’s not obvious. I mean we’ve been going for 10 years but it’s still to me contemporary music, we still seem to keep changing.

It doesn’t necessarily have to be class-politics, although we did deal in that heavily in the early days, still do to a certain degree. It’s just anything that reminds you of the here and now and the here and now just happens to be quite political.

Everything just feels a bit more political now and I think that’s going to come out sooner or later in creativity.

You’ve recently released a live EP, captured in November of last year. The EP features live versions of tracks such as ‘Mork N Mindy’, with Billy Nomates, and ‘Nudge It’, with Amy Taylor.

It’s a digital EP, all of it was done at Nottingham Ice Arena last year on the Spare Ribs tour. We released it for a bit of momentum really, I mean we really wanted to get it out because the recordings were great and then we used it as a bit of a reminder for the US tour.

We’re currently demoing a new album, hopefully that will be done by September and see where we go from there. Got a tour planned for Australia for next year and more touring in the States and all that. There’s lots in the pipeline but it’s, like, how do we keep this moving on in a way that means something as well? Demo stages of doing albums are fucking horrible to be honest, but that’s the game.

Sleaford Mods’ Live From Nottz Arena is out now via Rough Trade / Remote Control.

You describe your career as ‘like a job’. Do you feel there is still a place for rockstars, for people to be taken away from their daily lives through music?

I think if it’s valid, there [are] no rules. I used to be dead against it 10 years ago, it just used to annoy me. Now I think if it’s valid, I’m not talking about your cartoon highly-educated young people coming out of cushy lives, but these images that young working-class people have pushed into the industry. You get a lot of these poseurs and that’s not right, but I think if it’s done properly, then yeah. But there’s so many levels to this and it’s a discussion that you could have all night.

If you’re trying to hopelessly flog the idea of being strung out on drugs and living on the edge…I mean you might be strung

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BEAT MAG

RONA. In light of her maiden EP release, Kaytetye artist RONA. uses electronic music as a means of telling stories and sharing alternative narratives to those which have dominated Australia since the arrival of colonists.

Words by Jacob McCormack

Although music has been a significant outlet in RONA’s storytelling, she has only been producing electronic music for just over five years: “I started producing in 2016, when I’d been in Naarm for a few years,” RONA. says. “I’d been in bands before that, playing instruments like guitar and violin.”

It was the infectious nature of a conglomeration of culture and the expansive electronic music scene that lured RONA. into actively participating in the community ubiquitous in Naarm/ Melbourne. Naturally this stemmed into experimenting with synths and digital production to express feelings and emotions through soundscapes.

“I was really inspired by the cultures that are expressed all across the city of Naarm, and the clubs and the energy and music that you find down there. I got really into electronic music and starting tinkering on synths, and it took a few years before I finally found my sound.”

Despite the newfound connectedness RONA. has discovered in Naarm, she constantly recognises the importance of her relationship to Country and community. Especially that of Mparntwe/Alice Springs and the surrounding central desert.

“I was living in Naarm and moving back and forth from there and Mparntwe/Alice Springs. It was in that period of winter where I was working in a high intensity job, and I was a bit burnt out and was feeling this yearning to be back in Country and to be surrounded by and held by Country.”

It was this very longing that inspired the title and first track on the EP, ‘Closure’, which features eastern Arrernte knowledge custodian Helena Buzzacott. Originating from a poem that embodied the pining to be back on Country, RONA. then developed the soundscape around that and invited Helena to speak language on it.

“I wrote a poem and started writing around what that poem meant to me and it was some words that really spoke to walking through Country with our old people, and how important that is as a process, but also what our old people teach us about Country.

“When we’re held by Country, and we look after Country, it looks after us. When I got back to Alice Springs a few months later I sat down with Helena, who is a good friend of mine and she really reflected on a similar experience she had when she often left Alice Springs to go down south, and she wrote those

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words and translated them into eastern Arrernte.”

Within RONA’s storytelling lies a deep respect and understanding of the importance music maintains within Indigenous cultures. The collaboration with Buzzacott echoes this sentiment but expands on the long and rich history of music on this continent by adapting storytelling into the context of electronic music.

“For First Nations communities, music was one of the first forms of cultural expression and a way of sharing knowledge.

I want my music to be able to share knowledge and embody stories that I have an authority to tell, but also stories that are able to connect people to Country and place.

“It’s been amazing playing my tracks to an audience, and even though it only just came out I could really see people connecting to it. It’s been the same wherever I play it, often it has been at parties or doofs in the desert, people know it and connect to it.

“Being able to play it on Country that it’s not connected to, but to hear her words out in eastern Arrernte felt really grounding and connecting. It embodies this feeling and emotion that anyone can connect to and dance to.”

As RONA’s storytelling through the soundscapes she creates expands and permeates throughout Australia, seemingly, we as a nation are reshaping what has been a destructive and ignorant relationship to First Peoples.

“As an artist I am looking for ways that I can centre the stories of our community in the work, as well as create space for other mob to be able to come through that are able to hold different narratives outside of those that I might be holding.”

RONA’s Closure EP is out now. She’s playing Falls Festival New Year’s Eve.

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DAVID WILLING “Quotas are a good start, but it would also be great to see the industry focusing on different audiences in Australia and offering them films that entertain them.”

Words by Lucas Radbourne

Credit Andy Railton

We spoke to burgeoning Melbourne director David Willing ater the release of his first feature film, Surrogate, about the joys and challenges of making films in Melbourne.

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Locally written, directed and produced ghost-horror film Surrogate recently hit Melbourne screens and sold out its run at the Sun Theatre Yarraville – selling more tickets than The Batman and Morbius combined - thanks to a strong grassroots campaign that’s made Willing’s film one of the more interesting success stories to come out of the local film industry in recent times.

Like most local directors, Willing’s feature debut was a long-time coming. He fell in love with films at five-years-old when he saw 1939’s seminal adventure flick Beau Geste starring the famously taciturn Gary Cooper. Willing needed his own stoicism in over 15 years teaching screenwriters and filmmakers while many of his shorts, including My Little Life – a comedy mockumentary set in the world of competitive miniature dollhouse making – and Collier Brothers Syndrome – depicting two brothers suffering mental illness – were garnering rave reviews. Producing fantastic work is only half the challenge.

“The toughest part at the moment is getting your film into theatres, it’s not like the 90s when independent films were regularly screened,” he explains. “We were very lucky for the support from Sun Theatre in Yarraville.

“Marketing manager Kristina Jannson really liked Surrogate and was very enthusiastic about making the film work for their audience and it was very successful there. Subsequently, Thornbury Picture House picked up Surrogate, which performed really well in their market too. However,” he quickly adds, “this is rare, very few independent films have any sort of theatrical run aside from festivals. It would be great to find ways to make this happen a bit more.”

In the home-theatre streaming era, there’s a short supply of independent cinemas financially capable of taking a punt on an extended run for a local flick. Yet this is contrasted by the plethora of film festivals in Melbourne catering for every cinematic appetite.

“Like all films, no matter where you are based, you are always fighting against the clock and budget irrespective of what amount of time and money you have” As this goes to print, Melbourne is preparing for the global prestige of Melbourne International Film Festival (one of the oldest and largest in the world) and the Scandinavian Film Festival. We’ve only just finished the St Kilda Film Festival, and can still keenly remember the obscure novelty of the Fantastic Film Festival, the emotionally-charged Human Rights Arts & Film Festival, the adventure-packed Banff Mountain Film Festival, and the linguistically selective French and German film festivals that have all illuminated our silver screens over the past few weeks alone.

“I’m not sure there is anything uniquely challenging about Melbourne compared to any other western city to make films in,” Willing says.

“Like all films, no matter where you are based, you are always fighting against the clock and budget irrespective of what amount of time and money you have.

“On Surrogate we were lucky that everyone involved in the film was supportive. Of course problems pop up completely out

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of your control, but a big part of filmmaking is problem solving on the run.

“I’ve found on every film I’ve made, people providing locations are always extremely helpful in making the project happen,” Willing continues. “We secured some incredible locations for Surrogate and every one of them were accommodating, generous and enthusiastic about having us. I’m extremely grateful, as it made production easier and resulted in Surrogate having an incredible and unique look.”

So how does the community-driven nature of Melbourne’s film festivals and local features fit within Melbourne’s burgeoning industry for producing foreign films, with global projects like NBC’s Metropolis reboot and Robbie Williams’ biopic Better Man attracted by the now world-leading technology at Docklands Studios? More broadly, how do local directors feel that the heavy investment in Melbourne’s global film capability arrives at the same time that Screen Australia is battling for marginal local content quotas on streaming services?

“The local film industry is broken down broadly into three sectors,” Willing explains. “Government-funded productions, international films (predominantly from the US, China and India), and independent productions. Surrogate fits firmly into the independent sector [and] Melbourne has always had a great history and enthusiasm for these types of privately financed and made films.

“Australia can never compete with the marketing budgets of Hollywood, so our films need some extra support to get exposure.

“Quotas are a good start, but it would also be great to see the industry focusing on different audiences in Australia and offering them films that entertain them.

“The great thing about international productions is they provide well-paying jobs for production crews. The downside is the cost of production can get pushed up, especially wages or hiring equipment, which charge premium-price for Hollywood.

You can always find a good price for an independent film and many places will accommodate your budget, it just takes a bit more time to secure such deals.”

Ultimately for Willing, it comes down to the support of the people involved. In a city with a proud history of making dynamic, confronting and exhilarating films (think Animal Kingdom, Romper Stomper, Dogs In Space), there’s rarely a shortage of people willing to sacrifice time and effort to help create something they believe in. His advice for emerging directors is simple.

“The two most important things to do are watch a lot of films, and do a lot of the discipline you want to work in; whether that be directing, cinematography, writing, editing. It’s important to watch a wide variety of films. Growing up I was obsessed with horror films but also fell in love with Italian cinema from the 1950s-70s. When I was at film school I watched films from all decades, genres and different countries – exposure to different types of storytelling techniques is the best film school possible.

“Influences in Surrogate as broad as Japanese, Spanish and Italian cinema from the 70s to 90s. On a practical level, practice, practice, practice at your chosen skill is paramount to hone your talent.

“More importantly, it shows people what you are capable of doing, they don’t want to hear you’re a director, they need to see that you have directed something.”

Surrogate is screening regionally now.

BEAT MAG

TEETHER Future rap, Machona and music’s brave new world

Words by Ben Lamb

Credit Nicole Goodes

The Aussie rap scene is becoming broader and more innovative every day, with new artists hitting the city with unique styles and original beats and - very occasionally - carving a niche or taking the world by storm. One of the freshest acts in Melbourne’s evolving hip-hop culture is Teether [Luigi Chisenga], an artist who brings influences from metal to hip-hop to his genre-bending tracks.

He’s worked in groups like Too Birds - a trio that have quickly gained a lot of attention - with artists like Billy Woods, Hextape, and black metallers Dispossessed, and has pulled influences from these vastly different areas and beyond for his release, Machona.

“For this album, I was really into a lot of 70s stuff and prog from the 90s,” Teether notes. “I was listening to a lot of old explorations, where they’ve gone in on this one feeling for like an hour, even though the sounds and songs are changing, you get this one feeling all the way through.”

His new album Machona dropped on May 27, which in itself is an exciting time, but Teether is a creative powerhouse who’s already looking down the line at more music.

“It’s exciting,” Luigi says. “A long time in the works, it’s exciting to have it here. I always just want to keep putting stuff out, I’ve got a lot of stuff in the works.”

In the last few years, we’ve received a lot of albums and collaborations from the burgeoning artist, each conveying a different story to people’s ears. Machona follows suit and like a conceptual record, it really needs to be heard in full.

He comes from a background combining metal and hip-hop, two genres that traditionally stuck to full albums, a premise that’s becoming increasingly rare in music nowadays.

“When I was trying to pick singles to drop before the album, I was having a whole meltdown,” he laughs. “I was like ‘these songs don’t really make sense on their own’.

“I think there are certain types of music that do really need to flesh out a full album to be able to communicate exactly what you’re trying to communicate.

“I think metal is still a genre that’s keeping that idea alive a lot, they’ll only drop an album every like, three, four years, so it’s good to be a statement.

“Then bigger artists like Kendrick [Lamar], who just dropped an album, I’m sure everyone’s listening to that all the way through. I think it’s not that common, but there’s still a time and a place for the album format. I don’t think it’s gonna die out anytime.”

Working in groups like Too Birds and with a bunch of other performers in the scene, Teether has gained a number of contacts across the industry, with a number popping up on this record. He notes that the features only happen if they don’t feel forced.

“I think it’s really important to capture the people around me,” he explains, “so I really liked the idea of working with people that I’m close with on this record, I think it’s trying to capture natural moments and natural collaborations.”

One of the most prominent features on the release comes from Chef Chung, who received the track from Teether and added his own special flair to it, an idea that Teether carries through with all his numerous features.

“I met Chef Chung years ago and we’ve become close recently, I basically just sent him the track, and told him to do whatever feels right,” he says.

In the constantly colliding worlds of rap and metal, the transformation of recorded work onto the live stage is often vastly different than other genres. The power and energy that goes into a performance often appears to operate in another realm.

When you catch Teether live on stage, it’s a moment in time that he’s prepared for you. The songs aren’t textbook across the tour, rather they’re based on how he’s feeling that night.

“When it’s time to play live, I think, ‘what songs do we have?’, then we’ll go through it and kind of figure out, ‘can I do this live?’. It’s on a whim [but] I’ll just sit down, pick a bunch of songs that I feel at that time.

“Sometimes it’s funny, I’ve had people walking into a venue and say ‘can you play this song tonight?,” he laughs. “I’ll have to be like, I don’t have the files on me, and I can’t even do it as a surprise.”

Machona: Afar, You Are an Animal is out now via X Amount Records.

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EGGY WITH GUSTO Album Reviews by Bryget Chrisfield A sample of a Swiss children’s orchestra – resplendent with choir and accordion – opens With Gusto and, if not forewarned, you could be forgiven for suspecting your Bluetooth speaker’s been hijacked.

Then – just in case you’re not already familiar with Eggy’s wild-and-woolly sonic aesthetic – ‘Begin At The End’ is attacked by sax before multiple instruments reintroduce synchronised, syncopated grooves to bring it home.

Wait, did we just hear humans barking like dogs to open ‘Gold And/Or Silver’?

Shouldn’t be at all surprised, really, since this quintet traditionally laugh in the face of convention. ‘Magic 8 Ball’ opens with what sounds like a UFO hovering overhead. Then enter a sample of an astrological reading (for Geminis), feedback squall, jaunty drumming, limber, hypnotic bass – all within the song’s first 15 seconds or so!

Lead single ‘A Toast To Your Good Health’ derails from the get-go, but really flies its freak flag around the halfway mark when the arrangement strips right back to just cabasa accents: “Go to the party/ Get dressed up” – these fun-activity

You’ve quite possibly clocked some of Eggy’s players cross-pollinating in the various other local outfits of interest: Dominic Moore also contributes to Kosmetika’s fuzz-soaked indie stylings, Zoe Monk is one of The Stroppies and you may recognise Sam Lyons from House Deposit (which is a lousy band name to Google, BTW) .

suggestions, repeated in robotic fashion, soon become unwelcome commands.

Percussive panting enlivens ‘Fill In The Blanks’ and this song’s outro – which conjures gremlins trashing the studio – is just about as madcap as Eggy gets.

“Off to the shops with a hop-and-skipand-jump...” – ‘The Luckiest Girl In The World’ calls to mind a hapless victim in a fairytale, blissfully unaware of their impending doom. That is until a flurry of strings swarm the scene, like an unprovoked bee attack.

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If you find yourself scratching your noggin wondering, ‘WTF?’ after giving With Gusto a spin, then you’re certainly not alone.

But also, something tells me this out-there Melbourne collective wouldn’t have it any other way. Eggy aim to “forge a sound that is at once fascinating and disconcerting”.

Mission accomplished then, legends! More playful than self-indulgent, With Gusto intrigues at every turn and you simply cannot argue with that. Or the irrefutable fact that there ain’t nothing beige about Eggy.

Label: Flightless Records Release date: 22 July

Phil Jamieson

Somebody Else Having fronted Grinspoon since they first formed back in 1995, when he was just 18, Phil Jamieson finally releases his debut solo record – which he’s playfully labelled “dad pop” – and serves up some food for thought in the opening title track: “If you could be somebody else/ Would you turn back time?”

Some of these songs predate his stint playing St. Jimmy in Green Day’s musical ‘American Idiot’ (2017). And Jamieson’s solo journey began with ‘Kapow!’, which expertly bottles the buzz of a spontaneous getaway (“Let’s run away together/ To a village by the sea”).

Jamieson has actually performed this Stereophonics-esque lead single during live sets for about a year now and claims he’s already been “DM’d on socials” about the “mystery song in the set”.

There’s an abundance of thrilling ‘ooooooh shiiiiiit!’ arrangement twists throughout killer second single ‘Trouble’ (co-written/co-produced by You Am I’s Davey Lane). Those gnarly riffs are so unexpectedly sexy and Jamieson flexes the upper reaches of his singable compass here (“...THIIIIIIINGS I’VE DONE!) – such a showoff. ‘YCBM’ (You Could Be Mine) struts in with cowboy swagger and what sounds like slinky güiro accents “You could be mine/ If I could find the time”. Jamieson channels the debonair Alex Turner here; just one of the various new sonic identities he tries on, across this LP’s eight tracks, while transforming from Grinspoon’s frontman into Somebody Else entirely.

Label: Cheersquad Records & Tapes Release date: 27 July

BEAT.COM.AU

Sappho

Outright

Alex The Astronaut

Sappho

Keep You Warm

Hold up. That breathy, alluring vocal delivery – like a tantalising secret whispered just out of earshot…sounds so familiar… aha! That’ll be because Phoebe Baker, the mastermind behind this project, was previously lead vocalist for the now-defunct indie-pop band, Alpine.

When she was born, the story goes that Baker’s parents were torn between naming her Phoebe or Sappho, hence her choice of solo moniker. Baker first launched Sappho back in 2021 with the shimmering debut single, ‘Flex’ (which thankfully has nothing to do with the gym). “Take me to the frontline where I’ll flex with my heart,” she coos over euphoric keys and crisp percussive accents.

But the blinding jewel in Sappho’s tiara is EP opener and latest single, ‘Scared Angel’. Sappho gleefully shares the dancefloor with Kylie on this one – that sultry, ‘Confide In Me’-inspired spoken-word breakdown! Since there’s such a wealth of bad-girl bangers kicking around, Sappho offers an alternative perspective here: “I’m not a bad girl, I’m just a scared angel.”

‘Accelerate’ employs a sensual, swaying pace while Sappho woos a love interest through lyrics (even teasing a date at the zoo). Elsewhere, ‘Trouble’ shoulder-shimmies with irresistibly cheesy, so-‘90s abandon and ‘Collide’ finds Sappho indulging in some imaginary lovin’ over a seductive, pulsing beat.

Need five new tracks to freshen-up your Elegant Poolside Soirée playlist?

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There’s only a few simmering seconds of atmospheric drone before Outright unleash full fury all over track one, ‘Truth Teller’. Beautifully brutal from the outset, instrumentation reflects the heavy themes addressed throughout Keep You Warm, such as the impact of colonisation on people and culture (‘Tied Through Time’) and the climate emergency (‘Silent Spring’): “Skewed by our recent bias/ Instead of trusting the science.”

With its title referencing the witchcraft handbook Malleus Maleficarum (The Hammer Of Witches), ‘The Hammer’ was “born from the frustration of an abuser not taking accountability for their actions”, according to badass vocalist Jelena Goluza. This lead single sets a breakneck pace, thanks to Rory Kelaart’s relentless drumming, as Goluza bellows, “Saviour of Satan when it suits!” Then on the band’s follow-up single ‘Burn’, Goluza rages about the normalisation of burnout: “I won’t set myself on fire, just to keep you warm.”

From thrash metal to melodic punk, Outright’s second full-length is dynamically exhilarating, with this outstanding Melbourne hardcore outfit even entering stoner-rock territory on standout track ‘The Call’: a monumental, lurching, seven-and-a-half-minute beast featuring surprisingly catchy, fuzz-drenched riffs and euphonic vocals that weigh in like a Greek chorus: “Fear of the known/ Is a horror show.”

Using Outright as her weapon, Goluza – an impassioned spokesperson for the silenced – says no to complacency. Keep You Warm is an incendiary listening experience.

How To Grow A Sunflower Underwater

Label: Ivy League Records Release date: 29 July

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Sometimes it’s not just an artist’s songs, but also their very essence and everything they represent that further endear them to us. Such is the case with Alex The Astronaut (aka Alexandra Lynn); it’s her irresistible candour that draws us in.

The Arcade Fire-level winsome ‘Airport’ was inspired by a trip Alex took to the States to visit her dog Martin, who she hadn’t seen for four years, which resulted in “the best reunion ever”: “I’ve loved you. All. This. Time”– ouch, my heart!

Alex has said she watched My Octopus Teacher at a time when she felt embarrassed about her autism spectrum disorder diagnosis. Afterwards, she processed her messy feelings through song and latest single ‘Octopus’ spilled out. Simultaneously cute and heartcrushing (kinda like the accompanying film clip, which never fails to make our eyes leak), this song’s lyrics should form the basis of a children’s book: “Trying so hard to blend in/ I forgot I had something to give” – a delightful reminder to embrace and champion individuality.

Obsessing over details and being eternally curious is what makes Alex The Astronaut’s song-worlds so incredibly evocative. And it comes as no surprise to learn that hearing Paul Kelly’s ‘They Thought I Was Asleep’ – as a six-yearold relegated to the backseat in her parents’ car – is one of Alex’s earliest music memories.

Label: Warner Release date: 22 July

Label: Rage And Reason Records Release date: 15 July

BEAT MAG

VENUE SPOTLIGHTS

Post Office Hotel

The Espy

LIVE MUSIC is always free for patrons – showcasing a wild variety of tunes, from western to reggae and punk to bluegrass, the Post Office Hotel offers music in the front bar from Thursday ‘til Sunday every week.

LIVE MUSIC like nowhere else in the south - featuring live gigs, open mics and comedy in the basement or the iconic Gershwin room, there’s always something on at The Espy.

FAMOUS FOR Coburg Brewing Co’s onsite micro brewery and leafy beer garden.

INFAMOUS FOR keeping punters on their feet by putting on huge surprise gigs with short notice – still very sad to have missed the one-off surprise King Gizzard acoustic night last year.

Located in the heart of Coburg, the Post Office Hotel is a local pub with iconic art deco features that boasts a great selection of food and drinks. With free live music for patrons, grab a beer in the charming beer garden as well as their lounge and enjoy the tunes. If it’s a boogie and a beer you’re after, The Post Office likes to shake things up with DJs playing ‘til late on Saturday nights.

With a longstanding reputation for being an iconic neighbourhood pub, their food is the perfect blend of modern gastronomy and classic pub feeds. You can even hold your wedding in the adjoining Dining Hall – with the venue’s in house wedding planner taking care of your special day, enjoy the great atmosphere and delicious food in one of the Post Office Hotel’s event spaces. If you’re looking for something smaller, they host Bijou Weddings, as part of their alternative, affordable wedding package. Whether it’s an intimate private dinner or a large cocktail style party, there are many options for hosting an event here.

Whether you’re looking for a new local or hoping to delve outside the suburb you call home, make sure to add The Post Office Hotel to your list.

Visit them at 231 Sydney Road, Brunswick. The Post Office Hotel is open from 3pm on Monday and Tuesday, and from midday Wednesday ‘til Sunday. They’re open until late.

FAMOUS FOR being the southside’s premier destination for live music. With their new Espy Live program, they’re reinvigorating the south with some killer gigs.

INFAMOUS FOR the venue’s crazy past – from the home of the NGV’s enigmatic and extremely wealthy benefactor in the 19th Century, to a steamy and smoky jazz venue in the 1920s, to a disco in the ‘70s … The Espy has seen it all.

Situated on the St Kilda foreshore, overlooking both the bay and Catani Gardens, this laid-back hangout is an extremely versatile space. With a 1950s style Studio Bar on the ground floor, Cantonese restaurant Mya Tiger on the first floor and mezzanine-level function room, The Espy is a live music and entertainment labyrinth ready for you to discover.

Live music shows, open mic nights and comedy sessions are all happening across the expansive venue, showcasing everything from intimate jazz and acoustic sets to heavier rock bands all weekend and most weeknights. Whether it’s a gig in the prolific Gershwin Room or a weekly free show in the basement, The Espy’s past, present and future is as the home of live music located right at the heart of St Kilda.

“It’s hard to talk about what live music can mean, at its best, without sounding pretentious. And it should never sound pretentious,” says renowned singer-songwriter Ben Lee. “Because it’s everything at once – holy and horny, debauched and devotional, fantastic and fun. I just can’t wait to be back on a stage, sweaty and singing my heart out for a group of humans that want to take a journey together for an hour or two. Allowing my mind to drift, I can hear the angels calling me now ‘the Espy awaits! The Espy awaits! Don your coolest hat and shoes and be ready to be merged into music once again!’”

Visit The Espy at 11 The Esplanade, St Kilda. They’re open from midday, everyday.

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BEAT.COM.AU

Thornbury Local

Whole Lotta Love

LIVE MUSIC for free on Friday, Saturday and Sunday nights as part of their beloved free gig series – full of some of Melbourne’s best up-and-coming acts.

LIVE MUSIC takes place on the front stage. With standing room only, they’re up and close, intimate gigs.

FAMOUS FOR their weekly Tuesday trivia nights, where you can grab as many $12 pizzas as you can eat.

INFAMOUS FOR their extended Thursday night happy hour – stretching from 5 – 11pm, that’s a lot of time to guzzle their $9 pints.

A two story venue located on High Street, the Thornbury Local are a huge supporter of the ultra-local live music scene. “This is a local’s bar,” says co-owner Nick Darling. “The kitchen’s open late seven days a week and we’ve always got music on.” Co-owner Daniel Crowe adds “We feel incredibly lucky to be part of such an friendly and supportive community. It’s been exciting to see how the neighbourhood has grown and changed over the years to support a bustling nightlife and live music scene. Thornbury is the place to be!”

They’re known for their live music series, where they invite local acts to play on their stage in a series of free gigs that take place every week on Fridays, Saturdays and Sundays.

Enjoy, or perform in, their open mic on Wednesdays from 8pm, accompanied by $12 burgers. “Ours is really an incredibly bustling, fun community of people that come every week,” Darling continues. “There’s always a couple of new people who’ve never been here before. The hosts are very focused on getting the new people up onstage as a priority.

Relax after work with an extended happy hour on Thursday between 5 – 11pm, where the kitchen dishes out $1 buffalo wings and buffalo cauliflower bites, as well as $9 pints. With friendly staff, two levels of funky bars and North-American style flavours from the kitchen, visit the Thornbury Local and discover why it’s so beloved by the regulars.

FAMOUS FOR the friendly staff and locals, if it’s your first time, or your hundredth visit, you’ll always be welcomed at Whole Lotta Love and feel right at home INFAMOUS FOR their Led Zeppelin murals – the rock legends take up the entire back wall watching over you as you enjoy your beer, while the stage backdrop is one of the most recognisable around.

A bastion of the local music scene that gives as many acts as possible a chance to perform – whether it’s your first gig ever or you’re a bigger artist looking to sell out a more intimate show. They’re small, but they pack a punch, you can get cosy in this small venue or hang out in their wood-panelled garden with heaters and umbrellas.

Supporting local artists at all points of their career, the musicians perform on a stage that faces the small and intimate bar, making it the perfect place to get up close and personal with an up-and-coming act. They’re a Led Zeppelin themed bar, but they support a diverse range of genres, running everything from open mic nights and acoustic showcases, to brutal metal or groove laden blues. Come for the bands, stay for the vibes.

Now, after surviving a pandemic, state of emergency, lockdowns, development threats, and just the challenge of operating a live music venue in Melbourne, The Whole Crew are celebrating the last 11 years with 11 special gigs throughout July, and you are all invited to be part of it.

Rock out at Whole Lotta Love by heading to 524 Lygon Street, Brunswick East. They’re open from 4pm Tuesday to Sunday.

Words By Sidonie Bird de la Coeur

Head on down to The Thornbury Local on 635 High Street, Thornbury. They’re open ‘til late from 3pm Monday – Thursday and midday Friday – Sunday.

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BEAT MAG

PBS 106.7FM “It’s not an easy process, moving a radio station,” says Adrian Basso, the outgoing general manager of PBS, in something of an understatement.

In his 15-years steering the community radio station – champions of local artists, little-heard music, niche genres and under-represented voices – Basso has ensured they’ve continued broadcasting through a global financial crisis, the Covid pandemic and, most recently, physically relocating every last piece of equipment to the station’s shiny new high-tech home.

With the 2022 PBS Radio Festival recently completed, when volunteer presenters ask listeners to ‘Complete The Connection’ by either joining or renewing their membership, they did so from the $2.5 million digital studios they moved into over Christmas, which are conveniently located 200 metres from their previous building. Public support is the bedrock upon which PBS can not only survive, but thrive.

PBS, which stands for Progressive Broadcasting Service, began life back in the late ’70s in St Kilda, moving to Easey Street in Collingwood in 2001. “We knew that was coming to an end, because the building got sold and the new people weren’t going to extend any further terms,” explains Basso of the move they had been logistically pre-planning for years.

“Sort of like Lion, the Witch and the Wardrobe, you open them up, but there’s nothing behind it” “Collingwood Yards popped up just around the corner, which timing wise, was perfect. Conceptually, perfect,” he says of the Johnson Street location, where they are now neighbours with The Push, Music Victoria “and a whole bunch of other like-minded music organisations, or just creative organisations, so it’s a precinct that’s bustling with creativity.

“When the opportunity came about we put in an expression of interest and were the first tenant to be announced, and because of the complexity of building studios and all the tech, we’re the last tenant to move in.”

The relocation process involved 25 large skip bins as they demolished the old studios, salvaging what they could for others to benefit from. “A lot of the stuff we repurposed, like some of the old desks we gave to other community radio stations, so we’ve sent one up to an Indigenous station in central Australia,” he says.

Some pieces of history made their way across, such as the old entrance doors with their “little PBS backlit light,

42

quite a part of the fabric of the station” that featured in the background of countless guest Instagram photos. They’re now inside, decorating the corridors.

“Sort of like Lion, the Witch and the Wardrobe, you open them up, but there’s nothing behind it.”

The move has also included updating a lot of gear. “This is probably the first time that we’ve had a lot of new stuff, ever,” he states emphatically. “Most of the time it’s been secondhand, recycled, reused, like we’ve re-purposed a lot of things because that’s the nature of what we like to do. We’re not into contributing to landfill, by any means; and always quite frugal.

But it’s nice to have something new that we know is brand new and it won’t break!”

Impressively, the move was navigated without a moment of dead air, as they continued broadcasting the entire time. PBS, which can also be listened to via digital radio, web-streaming and PBS-On-Demand, can now settle in to the next chapter.

“It’s like when it moved from St Kilda to Collingwood. This is a new era for the station, new facilities in an exciting precinct, and all that that brings, there’s lots of possibilities,” says Basso, which is why come mid-year, he will step down as GM. “The station is fully equipped for the future and I think it’s just time for me to do something else, and hand over the reins to someone who can write the next chapter,” he says.

Basso says he’s proud to be leaving PBS 106.7FM poised for an exciting future. “That’s not just for us,” he clarifies. “It’s for music lovers, musicians, it’s for the community. I feel like a custodian of an institution and it’s a quite a living and breathing organisation.”

While PBS exists for the listeners, they also can’t function without listener support. “We need people to get behind us to keep this great institution going, so it’s the time of year that fills the tank and keeps us on the journey for the coming year,” he says of the current membership campaign.

As he prepares for his final day, Basso says his time there has been both wonderful and rewarding, and moving on is not without emotion. “Yeah, I’ll miss the place. But, there’ll be the next me, they’ll go through it and then they can miss the place.

Hopefully, the station will be here for decades and decades to come and I’ve got no doubt it will”.

Listen to PBS at 106.7FM or via their website.

BEAT.COM.AU

PINEAPPLE DOES GO WITH PIZZA BEER HALL & PIZZERIA

NOW OPEN - 27 HUME STREET HUNTINGDALE

SPECIAL BIRTHDAY GIGS Every WEEKEND IN JULY

CATCH(IN THESE BANDS: ALPHABETICAL ORDER)

ADMIRAL ACKBAR’S DISHONOURABLE DISCHARGE ALGAROTH - ALUMINUM MONSTER BASTARD NORTH - BRICKS - DEVIL MONKEY DISTORTION - EAT THE DAMN ORANGE I AM DUCKEYE - IRREPARABLE - KUNTSQUAD LONG HOURS - NEPHALEM - NUREMBERG CODE PERSECUTION BLUES - PISSBOLT RAT KANGAROO - RATTLEBACK - ROB RYLES THE MONAROS - THE MURDERBALLS THE NEPTUNE POWER FEDERATION - THE STRIPP UDDER UBDUCTEES - VIPERS + MORE TBA! TICKETS THROUGH EVENTBRITE

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Gigs + Events Jun09 – Jul02.

Thursday July 7 THE SNIPPERS Daylesford Hotel. Daylesford. 6pm.

THE STITCH Bar 303.

Northcote. 8pm. $20.

JACKIE BORNSTEIN & AARON MICHAEL WITH JOHN MONTESANTE QUINTET Golden Gate Hotel. South Melbourne. 6.30pm. $11.

A MAN CALLED SON. THE PHOSPHENES, MAYZIE

Leadbeater Hotel. Richmond.

8pm. $9.70.

STUDIO 54 The Toff In Town.

Melbourne. 11pm. $25.

THE SLEEP-INS + OVEN GLOVES Old Bar. Fitzroy.

FLEUR DE MUR: DEBUT EP LAUNCH The Toff In Town.

8pm.

PASSING STRANGE

Melbourne Meat Market.

North Melbourne. 7.30pm. $48 - 58.

WEST END RIDDIM EXCHANGE Kindred Studios.

Yarraville. 7pm. Free.

ELECTRIC FIELDS + MELBOURNE SYMPHONY ORCHESTRA Hamer Hall

(Arts Centre Melbourne).

Melbourne. 8.30pm. $55 - 95.

THE RAYES + BUTTERNUT SWEETHEART Brunswick

KRISTIAN CHONG & FRIENDS

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(Arts Centre Melbourne).

Melbourne. 8.30pm. $55 - 95.

Arts Centre. Box Hill. 7.30pm. $30.

WENDY MATTHEWS. PETER FARNAN Yarraville Club.

Yarraville. 8.40pm. $30 - 91.50.

DRAPHT Night Cat. Fitzroy.

8pm. $44.60.

ISABELLE DAVIS WESLEY ANNE. Northcote. 8pm.

WENDY MATTHEWS Bird’s

Basement. Melbourne.

7:30pm. $80.

FOLK IN THE ROAD Some Velvet Morning. Clifton Hill.

7:30pm. Free.

BAKERS EDDY Sooki Lounge.

Artists’ Bar. Brunswick.

8.30pm. Free.

Belgrave. 8pm. $24.50.

RAGTIME TAVERN OPEN PIANO Ragtime Tavern.

YUNIOR TERRY: UNDERCURRENTS The

Preston. 6.30pm. Free.

Daylesford Hotel. Daylesford.

6pm.

THE BOITE & ACCORDION SOCIETY OF AUSTRALIA PRESENTS THE STILETTO SISTERS Box Hill Community

ELECTRIC FIELDS + MELBOURNE SYMPHONY ORCHESTRA Hamer Hall

Brunswick. 8pm. $10.

KYLE CHENOWETH

HIGH HOMES & FRIENDS Bar 303. Northcote. 8pm. $15.

Melbourne Recital Centre.

Southbank. 6pm. $50.

MUCH LOVE PRESENTS: J-OK + A-WELL The Bergy Seltzer.

Melbourne. 8pm. $15.

TEX PERKINS & THE FAT RUBBER BAND Hotel

Westwood. Footscray. 8pm. $43.29.

For thousands more gigs head to beat.com.au/gigguide

Friday July 8

Jazzlab. Brunswick. 7:30pm. $30 - 35.

THE FOUR SCOOPS Bar Open.

Fitzroy. 6pm. Free.

NGV FRIDAY NIGHTS: ELLE SHIMADA + BILLOS + KLOMP NGV - National Gallery of Victoria. Melbourne. 6pm. $16 - 40.

BEAT MAG

PAUL SPURLING Ragtime Tavern. Preston. 7pm. Free.

STIMPIES Yah Yah’s. Fitzroy.

9pm. $17.48.

KIM SALMON Hotel Westwood. Footscray.

9.30pm. Free.

JAMES HOWARD: ANCESTRAL REDUX

LENNON WELLS + CHASE CITY Cherry Bar. Melbourne.

8pm. $15.43.

THE SLINGERS Brunswick Ballroom. Brunswick. 8pm. $30.

DRASTIC PARK Leadbeater Hotel. Richmond. 7.30pm. $17.85.

Melbourne Recital Centre.

Southbank. 7pm. $25.

DRAG RACE ALL STARS SCREENING PRIDE OF OUR FOOTSCRAY Community Bar.

SANSONUS. ELECTRIC TOOTHBRUSH, MOUSSE CANNON Bar 303. Northcote.

8pm.

8pm. $13.30.

WHISKEY BALLADS & CHEESY DUETS WITH POLASH LARSEN + MADELEINE CLARE. SUZI

BAKERS EDDY (MATINEE SESSION) Northcote Social

Footscray. 7pm. Free.

Ragtime Tavern. Preston.

8pm.

AMADOU SUSO & FRIENDS Bird’s Basement.

RAMONA SKY. SUNDAY HONEY, TAX EVADERS The

Melbourne. 7:30pm. $44.

SUGAR FED LEOPARDS + DON’T THANK ME, SPANK ME. DJ BRONTESAURUS SEX JOHN Curtin Hotel. Carlton.

MSO + SPINIFEX GUM (MATINEE SESSION) Hamer

8pm. $22.85.

CHICAGO DIME Post Office

MSO + SPINIFEX GUM Hamer

THE BRADS. BLUE NUDE, TUDOR CLUB, DJ SWIMGOOD

Hall (Arts Centre Melbourne).

Melbourne. 7.30pm. $45 - 95.

Sooki Lounge. Belgrave. 8pm. $19.40.

THE MIFFS. THE EVILS, CREEK The B.East. Brunswick East. 9pm. Free.

ABRAMELIN. WEREWOLVES, CARCINOID Northcote Social

Saturday July 9

Club. Northcote. 8.30pm. $29.10.

NO QUARTER: THE ULTIMATE LED ZEPPELIN LEGACY Corner Hotel. Richmond.

8.30pm. $51.10.

6pm. $10 - 15.

PASSING STRANGE

Melbourne Meat Market.

North Melbourne. 7.30pm. $48 - 58.

46

Yarraville Club. Yarraville.

8.40pm. $35 - 90.50.

OFF LICENCE. FOURA, FĒI, TINIKA, SAVAGETHEGIRL, SOVBLKPSSY Section 8.

FULL TONE GENERATOR. HIGH AS HELL, GARGOYLE

KUNTSQUAD PRESENTS: FILTHY FRIDAY FEST OF FURY The Tote Hotel.

THE TROPES. LICKLASH, CLASSROOM Old Bar. Fitzroy.

NO QUARTER: THE ULTIMATE LED ZEPPELIN LEGACY

OF THE WILD The Thornbury Local. Thornbury. 7.30pm.

Free.

Collingwood. 9pm. $13.80.

Collingwood. 8.30pm. $11.25.

Tote Hotel. Collingwood.

8.30pm. $11.25.

Melbourne. 6pm. Free.

NONNA’S KITCHEN. GOODBYE BUTTERFLY, SLYPON The Tote Hotel.

STORYTELLERS AT THE STATION: ALISON FERRIER Casey Radio. Cranbourne East. 7pm. $15.

MUCH LOVE PRESENTS: MIA & AVA DOUBLE SET The

Bergy Seltzer. Brunswick.

8pm.

SUNNYBOYS. EVEN, LITTLE MURDERS Corner Hotel.

RAMONA SKY. SUNDAY HONEY, TAX EVADERS The

MARIAH MCCARTHY TRIO

Daylesford Hotel. Daylesford.

6pm.

BAKERS EDDY Northcote Social Club. Northcote.

8.30pm. $29.10.

Richmond. 8pm. $77.20.

MATT HOYNE SEXTET The

Jazzlab. Brunswick. 8pm. $30 - 35.

Club. Northcote. 2pm. $29.10.

Tote Hotel. Collingwood.

8.30pm. $11.25.

Hall (Arts Centre Melbourne).

Melbourne. 2pm. $45 - 95.

Hotel. Coburg. 9pm.

QUALITY USED CARS. ZIG ZAG, THE IRONBARK BROTHERS Old Bar. Fitzroy.

PASSING STRANGE

Melbourne Meat Market.

North Melbourne. 7.30pm. $48 - 58.

BABIE CLUB PRESENTS: DONATACHI & FRIENDS The Toff In Town. Melbourne.

8:30pm. $27.50.

Hotel Westwood. Footscray.

2pm. $16.91.

EMMA PASK Bird’s Basement. Melbourne.

7:30pm. $44.

GOOD SNIFF Hotel Westwood. Footscray. 8pm. $11.64.

WIREHEADS + THIGH MASTER. PERMITS, DELIVERY John Curtin Hotel.

AC/DSHE Cherry Bar.

Carlton. 8pm. $22.85.

Melbourne. 8pm. $22.59.

THE PEARLY SHELLS WINTER BALL Brunswick Ballroom.

ABRAHAM KENNY + A MAN CALLED SON Post Office

Hotel. Coburg. 9pm.

Brunswick. 6.30pm. $33.76.

BEAT.COM.AU

CHANTEUSE CHANTEUSE: AN EVENING WITH MICHAELA JAYDE & THANDO

BUD WILKINS Edinburgh Castle Hotel. Brunswick.

6pm.

The Jazzlab. Brunswick. 8pm. $50.

RYU. SNAKES DON’T NEED KEYS Brunswick Artists’ Bar.

CHANTEUSE CHANTEUSE: AN EVENING WITH MICHAELA JAYDE & THANDO (LATE SESSION) The Jazzlab.

Brunswick. 8pm. $17.95.

MOLASSES. SNUB, LITTLE FOOT Old Bar. Fitzroy. 8pm.

VASILY PETRENKO CONDUCTS ELGAR Hamer

RUMOURS Cherry Bar. Melbourne. 7pm. $15.43.

Friday July 15

CRITTER RECORDS PRESENTS EXPO. POLLY & THE POCKETS, TAPDOG, SHELBY Old Bar. Fitzroy. 8pm.

IMMIGRANT UNION + LOST RAGAS. DJ REDWOLF

Hall (Arts Centre Melbourne).

Melbourne. 7.30pm. $69 - 136.

JESS MAHLER TRIO

Brunswick. 10:30pm. $50.

Daylesford Hotel. Daylesford.

6pm.

Thursday July 14

MOUNT KUJO Bar 303.

Northcote. 8pm.

DANNY ROSS Daylesford Hotel. Daylesford. 6pm.

PARVYN. EMILY ROSE & THE WILD THINGS Brunswick

Ballroom. Brunswick.

8.30pm. $33.76.

PAUL KELLY & PAUL GRABOWSKY Melbourne

ATTICHE / HORNBY / LACKMANN Bar Open.

Recital Centre. Southbank.

7.30pm. $65 - 90.

JOHNSTON BROTHERS Melbourne Recital Centre.

Southbank. 7pm. $25.

RAGTIME TAVERN OPEN PIANO Ragtime Tavern.

Preston. 6.30pm. Free.

KATE CEBERANO Bird’s

Basement. Melbourne.

7:30pm. $94.

MICHAEL J BRADY TRIO

Some Velvet Morning. Clifton Hill. 7pm.

THE PCG’S. TOEY CHONZ, COCO JUMBO Sooki Lounge.

Belgrave. 8pm. $10.

YUNIOR TERRY: UNDERCURRENTS The

Jazzlab. Brunswick. 7:30pm. $30 - 35.

Northcote Social Club.

Northcote. 8.30pm. $30.10.

Fitzroy. 6pm. Free.

DISENTOMB + DEFEATED SANITY. WRATH Northcote

Social Club. Northcote. 7pm. $34.10.

UNCOMFORTABLE SCIENCE Hotel Westwood. Footscray.

8pm. Free.

ANTELODIC Melbourne Recital Centre. Southbank.

8pm. $25.

BARBOD VALADI Ragtime Tavern. Preston. 7pm.

LOOSE, LOUD & LIVELY AT THE LEADBEATER. MAZ GREEN, THE HUNEEZ, BETTER THAN THE WIZARDS

Bar 303. Northcote. 8pm.

BLEW LAYN. SLEDGEHAMMER HONEY, TUDOR CLUB The Tote Hotel.

GEMMA CURTIS Some Velvet Morning. Clifton Hill. 8pm. $15.87.

MY FLIGHT Post Office Hotel.

Coburg. 9pm.

FROM PARIS TO BRAZIL: BASTILLE DAY WITH JACKIE BORNSTEIN QUINTET Paris GLASSHOUSE JAM SESSION

Richmond. 8.30pm. $40.40.

Collingwood. 9pm. $17.35.

Leadbeater Hotel. Richmond.

8pm. $17.85.

Cat Jazz Club. Melbourne.

6pm. $40.

PSYCHEDELIC PORN CRUMPETS Corner Hotel.

SPIDERBAIT. PINCH POINTS, MOODY BEACHES Northcote

Theatre. VIC. 7.30pm. $74.90.

LOST CANOE. FREUD & THE FAMILY SOLUTION, JENNA CAMPBELL Sooki Lounge.

Belgrave. 8pm. $10.

PETRICHOR The Jazzlab.

Brunswick. 8pm. $20 - 25.

JULY 6TH  TOQUI + KATARZYNA WIKTORSKI JULY 8TH  PAUL SPURLING JULY 9TH  MADELINE CLAIRE JULY 13TH  TOQUI + PATRICK BRITTON JULY 15TH  BARDOB VALADI JULY 16TH  DAMON SMITH JULY 20TH  TOQUI + BILLY MATHIESON JULY 22ND  MARGIE LOU JULY 23RD  DAMON SMITH HOME TO MELBOURNE’S ONLY SPINNING BABYGRAND

206 TYLER STREET, PRESTON RAGTIMETAVERN.COM.AU OPEN 5 DAYS 6PM11PM

47

JULY 27TH  TOQUI + TRIANGLE JULY 29TH  JUMPING JACK JORDAN SUNDAY NIGHT  SUNSET SESSION JAZZ JAM THURSDAYS  OPEN PIANO

BEAT MAG

VASILY PETRENKO CONDUCTS ELGAR Hamer

HACKITT. SCREEN SAVER, TOMMY & ROY, HEIR TRAFFIC

Hall (Arts Centre Melbourne).

Melbourne. 7.30pm. $69 - 136.

Old Bar. Fitzroy. 8pm.

DRAG RACE ALL STARS SCREENING PRIDE OF OUR FOOTSCRAY Community Bar. Footscray. 7pm. Free.

STATIC MOTION + THE HUNEEZ + TERRA ROUGE The Bergy Seltzer. Brunswick.

7:30pm.

Saturday July 16 NEPTUNE POWER FEDERATION. THE STRIPP, BASTARD NORTH, EAT THE DAMN ORANGE Whole Lotta Love. Brunswick East.

7.30pm. $26.09.

DUMB PUNTS Hotel Westwood. Footscray.

9.30pm. Free.

ALTARS. WHITEHORSE, CONTAMINATED, CHARNEL ALTAR Hotel Westwood.

Footscray. 8pm. $22.19.

LIGHTS ON HEATHROW. MOYA, CHILIAD Brunswick

Artists’ Bar. Brunswick. 8pm. $12.85.

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Brunswick Ballroom.

Brunswick. 1.30pm. $33.76.

Daylesford Hotel. Daylesford.

6pm.

A NIGHT IN PARIS WITH TWO MADAMOISELLES FEAT: TAMARA KULDIN, RALEIGH WILLIAMS Royal Brighton

NGV FRIDAY NIGHTS: HOBSONS BAY COAST GUARD + ANDRAS NGV -

Yah’s. Fitzroy. 9pm. $12.37.

BERNARD ALEXANDER TRIO

Northcote. 8pm.

Hotel. Richmond. 8pm. $28.85.

CAROLINE & CLAUDE Yah

GEORGIA STATE LINE

SLEAZY HORMIGAS Bar 303.

FRANKO GONZO. ZHULI, YOUR GIRL PHO Leadbeater

National Gallery of Victoria.

Melbourne. 6pm. $16 - 40.

2.30pm. $10.

Yacht Club. Brighton.

8.15pm. $50.

STORIES. PRIDELANDS

Northcote Social Club.

Northcote. 8.30pm. $29.10.

THE AUSTRALIAN FOO FIGHTERS SHOW (TAYLOR HAWKINS TRIBUTE). LITHIUM - THE OZ NIRVANA TRIBUTE, MR. BRIGHTSIDE: THE AUSTRALIAN KILLERS SHOW

DAMON SMITH Ragtime Tavern. Preston. 7pm.

GOD SAVE THE QUEEN. SADIVA, MRS. WALLACE, TURBO THOT, NO NAME NATH, ANGUS GREEN, DJ NOKIA 3210, GHOSTNOTES, X8NDER.M, ZAYLER Section 8. Melbourne. 3pm. Free.

Corner Hotel. Richmond.

8.30pm. $29.10.

HACKITT. SCREEN SAVER, TOMMY & ROY, HEIR TRAFFIC

LUCY LORENNE & THE EARLY BIRDS. IMMY OWUSU, THE WHITE FLOWER SOCIETY

Old Bar. Fitzroy. 8pm.

Bar Open. Fitzroy. 8.30pm. $20.40.

Hall (Arts Centre Melbourne).

Melbourne. 2pm. $69 - 136.

TOTE ROCKS 40 PRESENTS SEEDY JEEZUS. EMU, ZELKOVA The Tote Hotel.

ALLAN CLAYTON & KATE GOLLA: A WINTER’S JOURNEY Melbourne Recital

Collingwood. 8.30pm. $28.60.

INVERNO: WINTER FEAT: SIMONA CASTRICUM, PLEASURE SYMBOLS, M8RIARCHY, FRIENDSHIPS, JAMES SEEDY, DARK WATER, ENOLA, MOHINI X PIXIESHIFT, WILLING, PILLOW PRO John Curtin

Centre. Southbank. 7pm. $40 - 153.

MISS FRIBY & THE FEMMES PRIDE OF OUR FOOTSCRAY Community Bar. Footscray.

7pm. $27.

STATIC ANIMAL Edinburgh Castle Hotel. Brunswick.

6pm.

Thursday July 21 SHANNON & THE CLAMS Hotel Westwood. Footscray.

8pm. $41.71.

SLURM. VILLAGE MENACE, GEMMA CURTIS Bar 303.

Northcote. 8pm.

ENCLOSURES Sooki Lounge.

Belgrave. 8pm. $15.

ADAM MILLER TRIO The Jazzlab. Brunswick. 7:30pm. $20 - 25.

KAT GRETA. LUKE MEDLEY, THOMAS BYRNE Old Bar. Fitzroy. 8pm. $11.25.

JEFF THE BROTHERHOOD Northcote Social Club.

Northcote. 8pm. $44.

The Jazzlab. Brunswick. 8pm. $30 - 35.

HOMECOMING: ALEXANDRA FLOOD & ALEX RAINERI

THE ELVIS BIG BAND: 45TH ANNIVERSARY SPECTACULAR Thornbury

Melbourne Recital Centre.

Southbank. 7pm. $50.

BB SABINA. SIGNAL CHAIN

3pm. $5 - 10.

Theatre. Thornbury. 7pm. $57.75.

Hotel. Brunswick. $65.

VASILY PETRENKO CONDUCTS ELGAR Hamer

Hotel. Carlton. 2pm. $43.80.

BLACK MONEY & THE SIRENS WITH DEBRA BYRNE

SIZE QUEENS: CHRISTMAS IN JULY Duke of Edinburgh

THE CHERRY REDS. ROSE TURTLE ERTLER, MADELINE HUDSON Bar 303. Northcote.

KIERAN CHRISTOPHERSON PRESENTS GRAND MOTE: ONE NIGHT ONLY. LACHLAN ROSE, PETER SIMONSEN, DJ KITSCH KITCHEN Brunswick

Ballroom. Brunswick.

6.30pm. $23.05.

BIIG PIIG. YB. Corner Hotel.

Richmond. 8pm. $54.90.

Retreat Hotel. Brunswick.

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RENEE GEYER Bird’s Basement. Melbourne. 6pm. $45.

CAMERON DEYELL / LAURENCE PIKE: ISOLA

Melbourne Recital Centre.

Southbank. 7pm. $25.

MELBOURNE CHAMBER ORCHESTRA PRESENTS MOZART/SALIERI Melbourne

NGV FRIDAY NIGHTS: MYLLO + LOURE NGV - National

Gallery of Victoria.

Melbourne. 6pm. $16 - 40.

ELLERY COHEN The Toff In Town. Melbourne. 7.30pm. $20.

FLYING DUTCHMAN. HOWLING MOUNTAIN, SOUTHBOUND SNAKE CHARMERS The Bergy

Recital Centre. Southbank.

7.30pm. $70 - 143.

Seltzer. Brunswick. 7pm.

Friday July 22

RACCOON CITY. WORLD SICK, KERATIN, TUMOUR Old

MARGIE LOU Ragtime Tavern.

Bar. Fitzroy. 8pm.

AMY WINEHOUSE TRIBUTE

Hotel. Coburg. 9pm.

MCW BALLROOM BRAWL

Thornbury Theatre.

Thornbury. 7:30pm. $32.31 - 53.12.

BENAUD TRIO Melbourne

Brunswick. 8pm. $30 - 35.

Centre Melbourne).

Melbourne. 7.30pm. $69 - 119.

Brunswick. 8pm. $35 - 40.

Centre. Southbank. 3pm. $50.

REBECCA MENDOZA QUARTET The Jazzlab.

WILLIAM BARTON: SKY SONGS Hamer Hall (Arts

BACK AT ONE: THE SONGS OF BRIAN MCKNIGHT WITH NINA FERRO The Jazzlab.

BENAUD TRIO (EARLY SESSION) Melbourne Recital

GREAT SAGE Post Office

SHANNON & THE CLAMS

Recital Centre. Southbank.

6pm. $50.

Corner Hotel. Richmond.

8.30pm. $54.60.

THE FOUR SCOOPS Bar Open.

Fitzroy. 5.30pm. Free.

CONFIDE. SIMONA, TINIKA, SIMONETTI, JESSE DM The

Toff In Town. Melbourne.

11pm. $18.

BURNCITY TALES Bar 303.

Northcote. 7pm. $15.

Saturday July 23 DAMON SMITH Ragtime Tavern. Preston. 7pm.

GROOVE BANDITS PLAY GRAND THEFT AUDIO: SONGS OF VICE CITY Cherry Bar. Melbourne. 8pm. $17.48.

THE CLUNK ORCHESTRA Bar

303. Northcote. 3.30pm.

49

ABSOLUTELY 80S: MADE IN AUSTRALIA SHOW Yarraville

Club. Yarraville. 8.40pm. $36 - 91.50.

LATIN LINGO FEAT: CRIS GAMBLE, JALMAAR, MORE

Section 8. Melbourne. 6pm.

Free.

SUNSET STRANGER + THE MAN FROM ATLANTIS The

Melbourne Recital Centre.

Southbank. 7.30pm. $49 - 115.

MADI LEEDS Daylesford Hotel. Daylesford. 6pm.

Richmond. 7pm. $35.30.

Ballroom. Brunswick. 5pm. $28.15.

IKE SEE, WENHONG LUO & RICHARD NARROWAY

Footscray. 7pm. Free.

THE BENNIES + 28 DAYS + THE PORKERS. LOSER, THE RESIGNATORS Corner Hotel.

VAN WALKER & THE FERRITERS. THE CARTRIDGE FAMILY, TERESA DUFFYRICHARDS Brunswick

BUD WILKINS The Thornbury Local. Thornbury. 5pm.

DRAG RACE ALL STARS SCREENING PRIDE OF OUR FOOTSCRAY Community Bar.

GIG FOR BRUCE FEAT: RUBBER NECKER, SECRET ACT, HEARTS & ROCKETS, USER Old Bar. Fitzroy. 8pm.

Hotel. Carlton. 8:30pm. $17.75.

Leadbeater Hotel. Richmond.

7.30pm. $23.75.

Hotel Westwood. Footscray.

8pm. $22.19.

Recital Centre. Southbank.

7pm. $25.

KILAT. FACELESS BURIAL, ESP MAYHEM, HEMLOCK LADDER DJS John Curtin

GORILLA ORCHESTRA. OSHIMA, LIPSTEREO

Preston. 7pm. Free.

MEATSHELL Melbourne

DODGE SEDAN Bar 303.

Northcote. 8pm.

Thornbury Local. Thornbury.

8pm. Free.

PISSBOLT. ALGAROTH, IRREPARABLE Whole Lotta

SHINING STRINGS: THE ART OF THE QUARTET Melbourne

Love. Brunswick East.

7.30pm. $15.87.

Recital Centre. Southbank.

7.30pm. $52 - 101.

JEFF THE BROTHERHOOD

Thursday July 28

Hotel Westwood. Footscray.

8pm. $35.90.

ECLIPSE: PINK FLOYD ORCHESTRATED Hamer Hall

(Arts Centre Melbourne).

Melbourne. 8pm. $90.75 - 151.95.

AMONG THE RESTLESS

Brunswick Ballroom.

Brunswick. 10pm. $14.89.

GEORGIA GORDON

Daylesford Hotel. Daylesford.

6pm.

JESSE DAYTON Cherry Bar. Melbourne. 8pm. $60.61.

THE ECHUCA MOAMA WINTER BLUES FESTIVAL 2022 Echuca-Moama

(Various Locations). VIC. 9am. Free.

BEAT MAG

UNCOMFORTABLE SCIENCE

Hotel Westwood. Footscray.

8pm. Free.

SOOTY OWLS. BLUFFY, MINOR MISCHIEF Sooki

Lounge. Belgrave. 8pm. $16.35.

MAT JODRELL QUARTET The Jazzlab. Brunswick. 7:30pm. $20 - 25.

THE ARTIE STYLES QUARTET Bar 303. Northcote. 8pm. $20.

KERATIN. THE WORLD AT A GLANCE, GUSH, ADORE Old Bar. Fitzroy. 7.30pm.

THE BACHS Melbourne Recital Centre. Southbank.

7pm. $30 - 170.

MATT MALONE. ASH JONES The Bergy Seltzer.

Brunswick. 8pm. Free.

BLOCKCHAIN. KOTTING, OLI COX / ZELA PAPAGEORGIOU Bar Open. Fitzroy. 8.30pm. $14.30.

THE ECHUCA MOAMA WINTER BLUES FESTIVAL 2022 Echuca-Moama

(Various Locations). VIC. 9am. Free.

NGV FRIDAY NIGHTS: ACOPIA + VINCENT SOLE NGV -

National Gallery of Victoria.

Melbourne. 6pm. $16 - 40.

BLOCKCHAIN. KOTTING, OLI COX / ZELA PAPAGEORGIOU Bar Open. Fitzroy. 8.30pm. $14.30.

DRAG RACE ALL STARS SCREENING PRIDE OF OUR FOOTSCRAY Community Bar.

Footscray. 7pm. Free.

Recital Centre. Southbank.

7pm. $50.

Brunswick Ballroom.

Brunswick. 1.30pm. $28.15.

HOLLY HUMBERSTONE. YB.

Corner Hotel. Richmond.

9pm.

Saturday July 30 Lotta Love. Brunswick East.

6.30pm. $15.87.

THE FAUVES Brunswick Ballroom. Brunswick. 8pm. $33.76.

Bar. Footscray. 7pm. $16.91.

ANDREW MCSWEENEY & THE WISHING HORSE

RA RA VIPER Leadbeater

Wesley Anne. Northcote.

8pm.

Hotel. Daylesford. 6pm.

Hotel. Richmond. 8pm. $17.85.

SANDRIINA Some Velvet Morning. Clifton Hill. 8pm.

THE PEARLY SHELLS SWING ORCHESTRA WITH REBECCA BARNARD The Jazzlab.

Brunswick. 8pm. $30 - 35.

GREAZEFEST PRESENTS: A SOUTHERN SHAKEDOWN. JESSE DAYTON, LIL’ MO, THE DETONATORS Thornbury

Theatre. Thornbury. 7pm. $61.20.

KATANKIN Bar 303.

Northcote. 8pm.

50

6pm. $27.55 - 38.80.

HIGH ACE. JESS PARKER, GEORGIA RODGERS

PRIDE COMEDY PRIDE OF OUR FOOTSCRAY Community

HUGH MCGINLAY Daylesford

MINDY MENG WANG & TIM SHIEL Nexus Arts Venue. VIC.

NAT BARTSCH Melbourne

I AM DUCKEYE. NEPHALEM, RATTLEBACK, VIPERS Whole

Hotel. Richmond. 8pm. $15.50.

Melbourne Recital Centre.

Southbank. 8pm. $37.

PINKO COLLECTIVE Bar 303.

Northcote. 3.30pm. Free.

Northcote Social Club.

Northcote. 8.30pm. $29.10.

Ragtime Tavern. Preston.

7pm.

WALIENS. TAX EVADERS, CJX MIDNIGHT, DAYDREAMERS Leadbeater

PANORAMA BRASIL

COTERIE. PRIDELANDS

JUMPIN’ JACK JORDAN

Whole Lotta Love. Brunswick East. 7pm. $15.87.

303. Northcote. 8pm.

BRET MOSLEY The Shiraz Republic. VIC. 2pm. Free.

Yarraville. 7pm. $30.

DEVILMONKEY. THE NUREMBERG CODE, RAT KANGAROO, LONG HOURS

GABE. RENAISSANCE ALLSTARS, THE OWLERY Bar

BRET MOSLEY Golden Vine Hotel. VIC. 6.30pm. Free.

MIDWINTER SALSA NIGHT WITH DEL BARRIO + SON QUBA Kindred Studios.

Friday July 29

TIARYN Daylesford Hotel.

Daylesford. 6pm.

SHEPPARTON AIRPLANE. HEARTS & ROCKETS, ROLLING SHITSHOW John

Curtin Hotel. Carlton. 8pm. $27.29.

THE ECHUCA MOAMA WINTER BLUES FESTIVAL 2022 Echuca-Moama

(Various Locations). VIC. 9am. Free.

I LOVE YOU ELTON Ragtime Tavern. Preston. 8pm. Free.

BUTTER SESSIONS + RESEARCH RECORDS LABEL SHOWCASE FEAT: SLEEP D, REELIZE, BIG YAWN, POLITO, YL HOOI, EMELYNE, MORE Forum Melbourne.

Melbourne. 5.30pm. $45.

THE BACHS Melbourne Recital Centre. Southbank.

7pm. $30 - 170.

MATTHEW GILBERT & THE DWELLERS Wesley Anne.

Northcote. 8pm.

MICHELLE NICOLLE QUARTET The Jazzlab.

Brunswick. 8pm. $30 - 35.

CONFUSION IN COLOUR. HOTDOG, COALBY, PINK FLAMINGO Old Bar. Fitzroy.

8pm. $15.

CHRIS CHENEY Corner Hotel.

Richmond. 8.30pm. $50.10.

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ted Keep our communities connected this winter.

Vaccination helps to prevent severe illness from COVID-19.

Don’t delay your winter dose. coronavirus.vic.gov.au