Beat 1722

MISS KANINNA

isn’t asking for our attention. She’s demanding it.

PRINT EDITOR

Kaya Martin

EDITOR

Lucas Radbourne

GRAPHIC DESIGNER

Riley McDonald

GIG GUIDE

Jacob Colliver

CONTRIBUTORS

Bryget Chrisfield, Sarah Duggan, Juliette Salom, Gabrielle Duykers, Jake Fitzpatrick, Kalani Giddey, Ashlynn Hannah and Oliver Winn

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Furst Media Pty Ltd

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Rob Furst

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EDITORIAL NOTE

Melbourne, we’re so back! Many of our favourite festivals have dropped their lineups in the past few weeks and it’s safe to say we’re impressed. Brat winter is officially over and we’re all dreaming of brighter days ahead.

Æ Miss Kaninna graces our cover this month, bringing out the dawg in all of us. The outspoken icon has taken time away from preparing to drop her debut EP and embark on a headline tour to talk with us about following in the steps of the strong women before her and defying expectations of what it means to be a black artist.

Elsewhere, Odette discusses cathartic songwriting, Agung Mango urges us to trust our instincts, Elijah teaches us how to navigate the modern music industry and FIDLAR and Dune Rats match each other’s rock ‘n’ roll freak ahead of their big double-header. Plus, from the ashes of Ferdydurke, something new has grown.

In the spirit of spring, we’ve got a challenge for you: listen to something new. Buy a record just because you like the cover. Hear music echoing out of a bar and stop by for the show. There’s so much good stuff out there if you keep your mind open and your ear to the ground. Keep it fresh sweet readers!

ACKNOWLEDGEMENT OF TRADITIONAL OWNERS

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

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 September cover star is Miss Kaninna shot by Michelle Grace Hunder

ARTS CENTRE MELBOURNE DEBUTS NEW, INTIMATE PERFORMANCE SPACE

The Show Room is Arts Centre Melbourne’s new 150-seat studio theatre, designed to bring audiences up close and personal with cutting-edge theatre, music and dance performances.

Ç BIGSOUND SHARES FULL 2024 SPECIAL EVENTS SCHEDULE

Australia’s largest music industry gathering, on from September 3 to 6, will feature international music showcases, networking breakfasts, a sunset cruise, tattoo pop-ups and so much more.

Ç MELBOURNE FRINGE FESTIVAL REVEALS COLOSSAL 2024 PROGRAM

Returning from October 1 to 20, Fringe will present more than 470 events, including transforming Fed Square into a public dining performance space, taking over the Queen Victoria Market and showcasing circus, comedy, cabaret and everything in between.

AUNTY MEREDITH UNVEILS THIS YEAR’S STELLAR LINEUP

This year’s Meredith Music Festival, happening from December 6 to 8, will feature Jamie xx, Waxahatchee, Genesis Owusu, Mk.gee, ZAPP, Angie McMahon, The Dare, Glass Beams, Mannequin Pussy and more.

STRAY KIDS ANNOUNCE MARVEL STADIUM SHOW

Global K-Pop superstars Stray Kids are set to thrill Australian fans with two exclusive stadium shows on their <dominATE> World Tour. They’ll be in Melbourne on October 19 and Sydney on October 26.

AUSTRALIAN WOMEN IN MUSIC AWARDS REVEALS NOMINEES

This year’s finalists have been revealed, including Deborah Conway, Mo’Ju, Alice Ivy, Tana Douglas, Mawunyo Gbogbo and Katie Noonan. The winners will be announced on October 2 at the awards ceremony in Brisbane.

TRIPLE J’S ONE NIGHT STAND COMES TO WARRNAMBOOL

After a five-year hiatus, the beloved day festival is back, with a lineup featuring G Flip, Ruel, Thelma Plum, Sycco and more. The all-ages event, which sold out in less than a day, will be happening on September 14.

Ç ACCIDENTALLY WES ANDERSON PHOTO EXHIBITION COMES TO MELBOURNE

Inspired by the viral Instagram account, this photo gallery will showcase charming, brightly-coloured and symmetrical images that appear straight out of a Wes Anderson film. It opens on September 18 at 360 Bourke St.

SPACETEMBER BRINGS OUT-OF-THIS-WORLD FILMS TO IMAX MELBOURNE

The annual film festival, kicking off on September 1, will showcase some of the best space films, including 2001: A Space Odyssey, Ad Astra, Apollo 11 and Gravity on the biggest screen in the Southern Hemisphere.

Wesley Anne y Anne

SEPTEMBER MEMO MUSIC HALL

ST. ALI ITALIAN FILM FESTIVAL SHARES THIS YEAR’S PROGRAM

Happening in cinemas across Melbourne from September 20 to October 16, the film festival will feature highlights including Marcello Mio, There’s Still Tomorrow (C’è ancora domani), Comandante and The War of the Nonni (La guerra dei nonni).

Ç BELFAST RAP TRIO KNEECAP ANNOUNCE FIRSTEVER AUSTRALIAN TOUR

One of Ireland’s most electrifying rap groups is set to touch down on their inaugural Australian tour early next year. They’ll be performing at 170 Russell on March 13 and 14.

Ç FUSE FESTIVAL REVEALS EXPANSIVE MULTI-ARTS PROGRAM

The City of Darebin’s major arts festival, running from September 14 to 22, will host Ganbu Gulin: Grandmother Spirit, a Welcome to Country event curated by artist Allara Briggs-Pattison, a keynote by Patricia Piccinini, a visual arts exhibition by Zena Cumpston and more.

Ç HANDPICKED FESTIVAL DROPS 10TH-ANNIVERSARY LINEUP

Set to take place at Langhorne Creek’s Lake Breeze Wines on November 9, Handpicked Festival will be led by Angus & Julia Stone, The Jungle Giants, Matt Corby, Pete Murray, The Dreggs, CYRIL, Coterie and Azure Ryder.

CLOSER FESTIVAL BRINGS VINYL-HEAVY TECHNO PARTY TO MELBOURNE

Happening on October 27 at the Northcote Theatre, this unique annual event, curated bu Warg Records, will feature Slin F2F Tarkno, Ruiz OSC1, April Kerry and Spez.

Ç THE SCRIPT LEAD A DAY ON THE GREEN LINEUP

The Irish rockers will return to Australia for their first shows in nearly three years. They’ll play at Mt Duneed Estate on February 1 alongside Calum Scott, Montaigne, X Ambassadors and Lotte Gallagher.

Ç BEYOND THE VALLEY IS BACK THIS NEW YEAR’S EVE

The camping, music and arts festival will return from December 28 to January 1, with a lineup led by FISHER, Ice Spice, Chase & Status, Marlon Hoffstadt, Tinashe, Royel Otis, Sammy Virji, Sugababes, Natasha Bedingfield, AJ Tracey and Denis Sulta.

Ç THE KID LAROI ANNOUNCES RESCHEDULED TOUR DATES

Australia’s alt-pop darling will be heading out on a national tour in support of his debut album The First Time with special guests Quavo and ONEFOUR. He’ll be performing at Rod Laver Arena on November 29 and 30.

AIR AWARDS ANNOUNCE 2024 WINNERS AT ADELAIDE SHOW

Australia’s top independent artists have been revealed at the Adelaide awards show. Winners include Genesis Owusu, Royel Otis, RVG and more. AIR will also be teaming up to bring A2IM, the world’s largest independent music conference, to Adelaide next year.

THE ESPY IS HOSTING RAPID-FIRE SPEED DATING THIS SEPTEMBER

Ready for romance? On Tuesday nights in September, the Espy will be hosting speed dating sessions in Louey’s ItalianAmerican kitchen for all genders and sexual orientations.

FED SQUARE’S FREE RESET FESTIVAL TEACHES SUSTAINABLE LIVING

Happening throughout September, the annual festival will feature workshops, talks, markets, performances, activities and walking tours focused on environmental sustainability and reconnecting with the natural world.

HARVEST ROCK CANCELS 2024 EVENT

The Adelaide music festival, which last year featured Beck, Jamiroquai and Santigold, has taken to social media to announce it will not be going ahead with its third edition.

Ç MELBOURNE’S BIGGEST ITALIAN CULTURAL FESTIVAL JUST GOT EVEN BIGGER

On October 5 and 6, the Melbourne Italian Festa will take over the Royal Exhibition Building, featuring import markets, live music, cooking demonstrations, wine tastings and plenty of delicious food and drink options.

Ç THESE AWARDS GIVE 13 EMERGING MUSICIANS

$10,000

EACH

APRA AMCOS has announced the opening of applications for the 2025 Professional Development Awards, offering an opportunity for songwriters and composers at a pivotal stage in their careers. Applications will close on September 24.

STRAWBERRY FIELDS GIVES TWO EMERGING ARTISTS THE CHANCE TO PERFORM

For the festival’s 15th anniversary, it’s giving one live act and one DJ the opportunity to share the stage with artists like Daddy G (Massive Attack), Seun Kuti & Egypt 80 and Jaubi. Applications close September 8.

Ç NEW ROOFTOP RESTAURANT SET TO OPEN IN THE CBD

Young Chef of the Year Nick Deligiannis will helm the brand-new restaurant MidAir, scheduled to open in October. Located on the 12th floor of Melbourne Place, the venue will draw inspiration from the chef’s Mediterranean heritage.

MELBOURNE IS BUILDING A LITTLE INDIA PRECINCT

The Victorian government has taken a step towards bringing hundreds of new homes and jobs to Dandenong. They’ll be forming a vibrant Little India precinct with new commercial and retail spaces including a supermarket and food hall.

BLUESFEST ANNOUNCES 2025 FESTIVAL WILL BE ITS LAST

After 35 years of celebrating the best in blues, roots music and beyond, the legendary festival will host its last event, featuring Crowded House, Tones and I, Ocean Alley, Gary Clark Jr. and Rag’n’Bone.

Ç ALWAYS LIVE UNVEILS DAZZLING 2024 PROGRAM

Set to run from November 22 to December 8, this year’s Always Live will host more than 65 events, including stadium shows, exclusive gigs and intimate performances. Highlights include Jack White, The Offspring, St Vincent, Anyma and Roísín Murphy.

BLAKTIVISM BRINGS FIRST NATIONS ICONS TOGETHER FOR A NIGHT OF ART AND SONG

On November 22, rapper, actor, dancer and artist Baker Boy is set to headline BLAKTIVISM 2024 alongside an impressive list of talent including Bart Willoughby, Yirrmal, Deline Briscoe, Yung Warriors and more.

Ç

THERE’S A 48-ACT FESTIVAL COMING TO ABBOTSFORD CONVENT

Tessellate-topia will take over the Abbotsford Convent on September 27, bringing an all-day spectacular of visual art, music and workshops. Visitors are invited to suspend disbelief and immerse themselves in a fleeting utopia.

THERE’S A LUSH MUSIC FESTIVAL HAPPENING AT HEIDE MUSEUM

Gateway Festival is set to offer a day of discovery at the Heide Museum of Modern Art Sculpture Park on December 7. This intimate event will have three stages, creating an oasis of music, food and drink for attendees to enjoy.

Ç LIVE AT THE GARDENS TO HOST CHET FAKER AND TASH SULTANA

The Royal Botanic Gardens event series has announced two new events: Chet Faker on November 22 with Mildlife and Phoebe Go and Tash Sultana on November 24 with Coterie, South Summit and Little Green.

CHLÄR

ANNOUNCES

MELBOURNE-EXCLUSIVE SHOW THIS OCTOBER

Electronic music aficionados in Naarm/ Melbourne are eagerly anticipating an electrifying night this October as Swiss-born, Berlin-based DJ and producer, Chlär, prepares to headline a one-night-only event at The Third Day. Presented by Untitled Group, this exclusive show on Friday, October 11 promises to be a highlight of the city’s techno music scene.

Ç PSYCHEDELIC ROCKERS THE FLAMING LIPS RETURN TO FESTIVAL HALL

Five years since their last visit, which saw them unleash vibrant orbs over the crowd, the beloved US psychedelic rockers will embark on a stellar run of shows. They’ll be stopping in Melbourne on February 1.

THE WEEKND HAS FINALLY ANNOUNCED MELBOURNE AND SYDNEY SHOWS

Following the cancellation of last year’s tour, The Weeknd has rescheduled his dates. He’ll be playing at Marvel Stadium on October 5 and 6 on his first trip back to Australia since 2017.

Ç MELBOURNE INTERNATIONAL GAMES WEEK DROPS THRILLING PROGRAM

Taking place from October 3 to 13, the massive gaming, tech and culture event will feature huge industry events like Play Now and High Score as well as interactive works, playable exhibitions, gaming tournaments, a collaboration with Melbourne Fringe and much more.

METAL MASTERS THY ART IS MURDER COME TO 170 RUSSELL

Winner of five Tony Awards, the smash-hit Old Vic production of Charles Dickens’ immortal classic is conceived and directed by Matthew Warchus (Matilda the Musical) and adapted for the stage by Jack Thorne (Harry Potter and the Cursed Child), audiences are welcomed into an immersive experience, brimming with music and merriment.

GOOD THINGS 2024 LED BY KORN, SUM 41 AND VIOLENT FEMMES

The pop punk and metal festival will also be bringing out Mastodon, Northlane, Bowling For Soup, Sleeping With Sirens, JET, The Gaslight Anthem and more. It’ll head to Flemington Racecourse on December 6.

Ç SHEPPARD ANNOUNCE ALL AGES HOMECOMING TOUR

The Nashville-based indie-pop sibling trio are headed home to Australia in support of their latest album, Zora, named after their grandmother. They’ll be playing at the Northcote Theatre on November 1.

Ç OLYMPIA BRINGS LEAVE YOURSELF BEHIND TOUR TO MELBOURNE

On October 18, the art-pop sensation will be wrapping up her national headline tour at the Brunswick Ballroom, performing her beloved hits and unheard material from her forthcoming full-length album.

A CHRISTMAS CAROL RETURNS TO MELBOURNE THIS NOVEMBER

Metal lovers get ready. After an eventful year of touring sold-out, headline shows, Thy Art Is Murder returns to Australia to tour their sixth record Godlike.

Supported by Canadian deathcore band Brand of Sacrifice, North America’s Great American Ghost, and Melbournes Lune, this tour will be unforgettable for Australia’s metal music scene.

EDINBURGH CASTLE

MISS KANINNA

WORDS BY GABRIELLE DUYKERS

“As long as this music makes black people feel good, I really don’t care what white people have to say about it.”

When asked to encapsulate the one message she hopes listeners will take away from her music, Miss Kaninna has only four words: “ Don’t fuck with us ”.

Æ The young artist’s ascent into the Australian music scene has been nothing short of meteoric. Unafraid to confront uncomfortable truths through sharp lyrics and an expanding array of sounds, Miss Kaninna has cemented herself as a force to be reckoned with. With her highly-anticipated debut EP, KANINNA, she isn’t asking for a seat at the table – she’s kicking down the door and telling the world to listen. Set for release on September 20, the EP is a dazzling reflection of Miss Kaninna’s multifaceted talent. Exploring freedom, vulnerability and reassertion of dominance, each track serves as a “theme song” for an aspect of her identity.

“I wanted this to be a selection of different emotions and feelings, kind of like a playlist where you’ve got a song for every situation,” she says.

Produced with YAOB and Jacob Farah, the songs draw hip-hop, rap, R&B and pop with swirls of Reggaetón and other global influences. The young musician is determined to avoid being “boxed in” to a single genre.

“I don’t want to be known as just a rapper, or just a singer, or for just being an Indigenous artist,” she says. “I want to be known as an artist.”

Hailing from the remote shores of Bruny Island in lutruwita/Tasmania, the proud Yorta Yorta, Dja Dja Wurrung, Kalkadoon and Yirendali woman was born into a world with music and community at its centre. Her mother, Ruth Langford, played in a funk-reggae band before founding the Aboriginal social enterprise Nayri Niara and working for the Indigenous Women’s Legal Centre. Her grandmother, celebrated painter and activist Rosalind Langford, was instrumental in establishing the Aboriginal Information Service (AIS), Tasmania’s first Aboriginal organisation, and was elected as its first State Secretary.

“My whole life I’ve been surrounded by musicians,” Miss Kaninna says. “Growing up, I always told my mum that I wanted to be a singer. I believed that with my whole heart and soul.” Despite her early interest in music, Miss Kaninna shelved her aspirations after high school and moved into a career in nursing. “I realised that it wasn’t as easy as just giving it a go, so I kind of took a step away from that dream.”

A few years on, the pandemic reignited her passion. “Seeing the downfall of live music, it was like, ‘Oh my god have I missed my chance?’” she recalls. As social gathering restrictions eased, a series of “highly illegal” backyard concerts hosted by friends saw her take backing vocals. “Ever since then I just got the real hunger for it and started taking it more seriously.”

Throwing herself into songwriting and assembling a band, she played local gigs before moving to Naarm/Melbourne where her recordings began taking shape.

Since the release of her debut single, Blak Britney, in early 2023, Miss Kaninna has leapt from strength to strength. “My whole life has changed. It’s everything that I thought music was going to be and more,” she says.

“I really didn’t think that blackfellas all over the country would stand with me,” she says. “Black women have come up to me, from four years old up to bloody 90 years old, and said that they feel seen. To me, that’s the most important thing.” However, her lightning launch into the spotlight has not come without challenges. The multi-award-winner has been subject to frequent derogatory discourse since entering the public eye. Fortunately, any opposition only adds fuel to her flame.

“I know what hate is,” she says. “I know what racism is. I’ve experienced it my whole life, like my whole family has. Even in the face of that, we still rock up to the marches, we still go out to protect country and risk getting arrested by the cops or getting flogged. As long as this music makes black people feel good, I really don’t care what white people have to say about it. It just makes me want to do more and be more purposeful with my message.”

Reflecting on the whirlwind of her past year, Miss Kaninna speaks frankly about navigating the demands of the music industry.

“I feel the pressure of them wanting me to be a certain type of black,” she says. “I feel the pressure of making sure that I’m staying true to who I am, but also still trying to live off my music…Those people want nothing more than for me not to swear, to dress all covered up, to only talk positively and to trauma porn about how sad it is to be black. That’s not what I’m about.”

Instead, she pushes back on expectations to “censor” herself. “I’m trying to focus on the truth-telling of what’s happened and uplifting our community – especially in the lens of being a woman,” she says. “I’m 26, I’m in the prime of my fucking life. If I want to wear a G-string and nipple covers on stage, I will.”

The lead single from her forthcoming EP, Dawg In Me, is emblematic of her gutsy defiance – describing the song’s theme as “fuck around and find out”.

“Since coming out with music, a lot of people have been testing me to see what kind of person I am, to see if I’m going to react,” she says. “I’m not gonna move when you tell me to move, but if you do me wrong – you’re gonna get it at some point. Whether that’s me giving it to you or whether it’s the spirits, it’s gonna come back.”

Inspired by artist like DMX and Doja Cat, the track melds playful, cautionary bars over crisp drums and rumbling bass. With her steadfast anti-colonial message never far away, KANINNA challenges social perceptions of Aboriginal music and invites audiences to expand their understanding.

“People have been brainwashed to think that Indigenous people are a certain kind of way,” Miss Kaninna says. “They’ve become so comfortable with being racist around us that they don’t even realise that what they’re doing is racism, or they’re so comfortable with having a stereotype pushed on us. I’m trying to break down the barriers of those stereotypes.”

As she prepares for her first headline tour in November, Miss Kaninna expresses a mix of excitement and disbelief. “I still don’t really understand what’s happening,” she says. “It’s very surreal”.

Looking ahead, she says she’s working towards releasing an album and performing on international stages. But her vision extends beyond personal success, already brainstorming ways she could give back to communities that, like her own, face long-standing socioeconomic challenges.

“I’d like the opportunity to not only tour these major Australian cities, but to get into communities that are struggling and don’t have access to music,” she says.

Aiming to conduct workshops and engage with emerging artists, she hopes the representation of identity will be a beacon for young Indigenous Australians with a similar dream.

“I want to be able to share what I have experienced with other people,” she says. “We have some of the most talented artists, they’re just poor. I want to help give people what other people have shown me.”

MISS KANINNA

WHERE: LISTEN OUT –CARIBBEAN GARDENS

WHEN: 27 SEP

DOGWORLD

BY JULIETTE SALOM

Every now and then, a band explodes onto the Melbourne music scene with the kind of creative limitlessness and professional finesse that makes it hard to believe they haven’t been around for decades. dogworld is one of those bands.

Æ Yasmine Hosseini (rhythm guitar), Ella Tinney (drums), Jesse Dowley (bass) and Max Sturm (lead guitar, sampler) made the move from Canberra to Melbourne just six months ago and are already making soundwaves in the scene. “We came to Melbourne with a plan to try and play as many shows as we could,” Max says.

The dogworld bandmates are speaking from their rehearsal space in Brunswick, taking some time out from practice to chat ahead of their EP launch at Yah Yah’s bandroom later that night.

“It was hard in Canberra because there’s not as many venues,” Yasmine says, noting the beloved Canberra gig space Sideway was often their go-to before it shut down. “It’s exciting, playing lots of new places,” says Ella of bringing dogworld down to Melbourne. “Different types of venues as well,” she adds. “Like, tonight we’re playing a club, which could be fun.”

“It was a bit hard at first, because when you’re improvising you have to be really, really vulnerable, but it meant that we could do really different things.”

The title of the release doesn’t lie – these doggies have range. Now, with the writing responsibilities shared among the entire band, their deep collaboration and the sweeping extent of their musical abilities show just how far they can reach when they’re working together. This, Yasmine says, could only come from their willingness to be open with each other.

“It was a bit hard at first, because when you’re improvising you have to be really, really vulnerable, but it meant that we could do really different things,” she says. “A lot of the newer songs we were improvising, or on-the-spot writing, which is now how we do everything. But we had to start with the EP to do that.” The dogged determination to write the songs came first, then the eloquent artwork by photographer Nikola Jokanovic – from whose book Hotel Yugoslavia the band borrowed images for their EP art –and, finally, the title. “We spent such a long time trying to name the EP,” Yasmine says.

“We had a lot of controversy in the band,” Ella laughs. “But [RANGE] really fit the artwork, and it fits the body of music as well in the way that the songs are so different.”

The immense stretch of the sound spectrum of dogworld’s music, innovating past traditional genres and experimenting with diverse styles, is in part influenced by the band’s taste in music. They reference the creative limitlessness of black midi, the collective collaboration of Black Country, New Road, as well as bands closer to home that they take inspiration from – The Belair Lip Bombs, Shady Nasty, Piggietails and Sour Worm, to name a few.

The band shares a laugh about the unusual reputation the Fitzroy club holds, but their point stands: the wealth of venues in Melbourne brings with it a diversity of fans – fans which are coming in droves.

Since their initial three singles from 2022, dogworld has seen both an evolution in their sound and the process by which they create it. “I guess the biggest difference is that those early songs, they weren’t really written collaboratively,” Yasmine says. “They were my songs that I brought in, [but] I really wanted to do something collaboratively, which is how the EP came about.”

Despite not knowing each other well when dogworld first formed, Max says the bandmates quickly found common ground. “We all knew we had a similar level of musicality and similar interests in bands,” he says. “At some point, we realised that we’re all open to moving into lots of different genres, making it sort of boundless.”

That thirst to transcend boundaries led the band to spend several days tucked away in a shed in a conservation forested area on Yuin country near Braidwood, hunkered down, “playing pretty much all hours of the day and late into the night”, beginning to build the bones of what would be their debut EP, RANGE.

Speaking to me on the day of RANGE’s release, the band says they’re already working on new material. “We’re always writing,” Max says. “I think we’re pretty keen to jump into another project.” With an EP and a bunch of shows already under their collars, Yasmine says they’ve got their groove of writing down pat. “We’re hoping we can keep up the momentum,” she says. “What’s most important to us is making music that we’re really proud of and I think we’re heading in that direction.”

As dogworld wraps up speaking to finalise their rehearsal for the gig later that night, the band admits to sometimes feeling the rumble of nerves during their show. As Yasmine jokes, they get to share the burden of being on stage together. “The privilege of singing and playing together,” she corrects herself, laughing. “I’m keen for tonight,” she adds. “We might even do a little DJ set downstairs later.”

DOGWORLD

WHERE: NIGHTHAWKS

WHEN: 21 SEP

ARCTISKY

WORDS BY JAKE FITZPATRICK

From music composition student to indie hopeful, the Maldivian native hopes to create ripples in Melbourne’s music scene.

Æ The first thing I notice upon meeting Arctisky for the first time is how expressive he is with his hands. With each word he utters, a new flicker of motion bounces from them. Possibly used as a regulator of his emotions, such a trait must be an asset when your job is literally to be in touch with how you feel.

Arctisky, or Zul Arif, as he introduces himself to me, is a man deep in his work. Armed with a grin and floppy hair akin to a mid2000s movie, he greets me like an old chum from back home. Upon asking him how his day had been, he coolly offers, “It’s been an interesting day. I’ve been busy in the studio. Got a bit going on.” This is, of course, an understatement, given Arctisky has a lot going on.

Hailing from the Maldives, the soulful singer has been in the game for a long time. His musical journey began at the tender age of six when he started drumming. Speaking of this time, Arctisky offered “I was featured on Maldivian primetime TV as a child prodigy drummer. Between six and 10 I was performing around local venues both there and overseas.”

There, he quickly learnt the tricks of the trade. There was, however, only so far Arctisky felt he could take it within his home country. “I didn’t really grow up around an education system that cared for creativity. Maldives has a very special culture, but over there, people don’t really consider music to be a vocation.”

Set on being a singer, Arctisky felt he had no choice but to pack up and leave. Looking for pastures new, he eventually landed on Victoria. “Victoria offered a different type of lifestyle, something I couldn’t get back home. I really liked the music scene.” Especially, Arctisky tells me, AC/DC.

Landing here when he was in his early 20s, Arctisky was originally enrolled as a music composition student. Not knowing a single soul in Melbourne, he came wanting to nurture his craft.

Unfortunately, within a few months of his arrival, Melbourne was placed into a cold, hard lockdown. Trapped alone in a foreign country, Arctisky had no choice but to look inward.

“During COVID, I was in a house alone. I went through a couple of years where I had a lot of time just to think about things. I feel like my music just came out of that, really. The best ideas come to you when you’re by yourself. I learnt how to write and compose songs. I realised during this time that storytelling gives people a perspective that they might not have heard before.”

Slowly but surely, Arctisky built his musical foundation.“Basically, I just learnt about Western arts, pop culture and music theory, then threw it all into a blender. My music is what came out.”

One of the songs that emerged from this period was his latest single, Loose, written about an incident that occurred while he was in Southeast Asia. Arctisky chooses his words carefully when he describes this event to me.

“Some corrupt officials pulled me over because I was speeding by a bit. But really, they just wanted to make some money out of me. Eventually, they took me to the station and put me in the backroom all night. Basically, the whole song is written about the negotiation we had over how much money I was to give them.”

Arctisky eventually gave them $200 and went on his way. While he may have been $200 down because of the arrest, the event actually turned out to be positive, as he got a good song out of it.

The track was made with fellow music composition student Nic Rippon. “During lockdown, Nic and I were in the same personal bubble, so we would keep in touch, check in. He’d come over and we’d hang out and write music. It was a good way to get out of our hectic heads at the time.”

Looking to the future after Loose, Arctisky has even greater plans for his music, set to release his debut album, Roots Vol. 1. Across 13 tracks, his music will delve deep into a diverse range of influences from reggae to rock.

Arctisky is also looking to do some gigs going forward across Melbourne pubs and clubs. “I want to start off at local venues and take it from there. If you’re tight with the songs and the music, you can’t mess up on stage. Going forward, that’s what I’ll be doing –things like that.”

From chatting with Arctisky, you get the feeling that he’s still working things out. His music and live performances will be a litmus test. Will it all be great? No. But isn’t the point of starting out as an artist to learn the craft from the ground up? Plus, with stronger foundations than most, I get the feeling that Arctisky will be just fine.

“Some corrupt officials pulled me over because I was speeding by a bit. But really, they just wanted to make some money out of me.”

Arctisky.

This article was made in partnership with

Credit: Connor Robertson

TRAFFIK

WORDS BY JULIETTE SALOM

Almost 10 years in the making, The Signs is the latest work of funk extraordinaire Traffik. He’s gearing up to celebrate its release with a month-long residency at The Evelyn.

Æ Traffik exploded onto the music scene in 1995 as the youngest member of RnB group Taylah Made and was just a teen when he began making waves in the industry.

“I called up Wayne Fernandez’s radio show, WKD (PBS106.7) on a Friday night,” he says. Never one to go about things the traditional way, Traffik adds that he “had a bit of an audition for [Wayne] over the phone.”

A simple phone call one night and then everything changed – before he knew it, he was being mentored by Australia’s pioneer of Urban Radio and Club events, DJC. “I’d join him on the “Jammin” show at PBS from midnight to 2am,” Traffik says. “He’d be going through all these classic recordings with me, droppin’ jewels on the roots of hip-hop and RnB, soul music. I was taught the culture from those who laid the very foundation.”

Between being mentored by DJC and playing in clubs before he was of legal drinking age – “I don’t know if you’d get away with that nowadays” – Traffik was on track to become what he now refers to as a “music encyclopedia”.

“When something like that happens to you when you’re at such a young age, you’re very impressionable, you know? You just soak up everything like a sponge,” he says.

“I was taught the culture from those who laid the very foundation.”

Fast-forward to the early 2010s and Traffik became the first Australian artist to collaborate with a member of Parliament Funkadelic, Quazedelic, and receive the salute from George “Dr. Funkenstein” Clinton.

“It was an amazing experience,” Traffik says. “It was mainly me observing. You know, just watching him in the studio and how he put tracks together, how he’d incorporate live and programmed instrumentation.”

Alongside Quazedelic, Traffik also cites fellow P-Funk member William “Bootsy” Collins as a major source of inspiration for his own music. “He has a quirky kind of sensuality to what he does. He epitomises individuality,” Traffik says. “Bootsy’s like my spirit animal.”

After returning home to Australia, Traffik renamed Melbourne “Smelbourne: Funk Capital of Australia” and went to work, determined to make the most authentic funk album to emerge from the southern hemisphere. When asked what an authentic funk album means to him, Traffik explains, “For me, real, authentic funk should always be guitar-driven, steeped in the blues. Funk should never be too clean. It needs to be a bit more gritty, more abrasive. We wanted the guitar to be the centrepiece.”

Now, after almost a decade of working on what Traffik describes as “some REAL funk shit”, he’s gearing up to release his album The Signs. Composed and produced with the help of his stellar band – Graeme Pogson on drums/percussion, Evan Tweedie on bass and Simon Russell on guitar and mixing – the album is a mammoth body of work that represents years of determination, hard work and art. “Taking 10 years was not my original intention,” Traffik laughs. “Our dear friends, Goodworthy and I have put together a mini-documentary detailing the journey. Check it out!”

Having already released two singles from The Signs at the time of our conversation – Snakes & Ladders and Devotion (I Just Wanna) –Traffik feels both songs are “great representations of where we’re at musically.” Now, Traffik is gearing up to present the collection at his month-long residency at The Evelyn every Thursday in September. In anticipation of his first time back on stage since 2012, Traffik says he’s feeling great about playing in front of audiences again. In addition to the upcoming residency and the release of the album, Traffik is also at the helm of his own independent record label, Funkonditionalove, through which The Signs is being released. “The length it took to create the LP was as much about the determination to create the best work we could as it was making sure that when we do come out, we have our own independent platform.” For funk fans everywhere, thankfully, the time has come.

TRAFFIK

WHERE: EVELYN HOTEL

WHEN: 5, 12, 19 & 26 SEP

This article was made in partnership with Traffik.

ARTS GUIDE

WORDS BY SARAH DUGGAN

SIX THE MUSICAL

Telling the story of King Henry VIII’s six wives as you’ve never heard it before, SIX makes its third visit to Melbourne. With a stellar cast and the most insanely catchy numbers, you’ll definitely want to catch this one while you can!

MELBOURNE COMEDY

THEATRE THROUGHOUT SEP

BEAUTY AND THE BEAST

Come and see what the critics are raving about and catch the musical adaptation of Disney’s Beauty and the Beast before it’s over! Be surrounded by magic as this beloved tale is brought to life on stage.

HER MAJESTY’S THEATRE THROUGHOUT SEP

HORIZON

Horizon is a double bill honouring the spirit and heritage of First Nations cultures through dance. The performances explore the concept of home and ancestral connection guided by the powerful legacy of their respective Indigenous cultures.

ARTS CENTRE MELBOURNE UNTIL 7 SEP

EXIT LEFT GASTRIC ARTERY

A stomach cell, tired of its usual digestive duties, hitches a ride on a red blood cell and embarks on a journey through the vascular system. Discover its story filled with vivid anatomical details and broaden your scientific vocabulary.

LA MAMA HQ 3–5 SEP

MOTHER

Starring Noni Hazlehurst and written by esteemed Australian playwright Daniel Keene, Mother is a powerful one-person play telling the story of Christie, a homeless woman. Winning the Matilda Award for her role in Mother, Hazlehurst’s performance has been capturing audiences for more than three years.

FAIRFAX STUDIO 4–14 SEP

INVISIBLE

Invisible blends rousing speech, introspection and audience engagement to confront the existential challenge of climate change. Asking the uncomfortable questions to inspire action, Invisible is far more than a play – it’s a form of activism.

LA MAMA HQ 6–8 SEP

RODGER & HAMMERSTEIN’S CAROUSEL: A CONCERT

Starring Anne O’Byrne and Marina Prior, Carousel tells the poignant love story of troubled carnival barker Billy Bigelow and mill worker Julie Jordan. Carousel has been praised since its debut in 1945, and with a stellar cast and on-stage orchestra, this performance will no doubt live up to the hype.

PRINCESS THEATRE 7–8 SEP

OF FORGETTING

Of Forgetting tells the story of Olga Stambolis, a WWII spy in Greece who, after being captured by the Nazis, reflects on her war service and her decision to leave her young family in Australia.

LA MAMA HQ 10–12 SEP

THE AUSTRALIAN

BALLET: OSCAR

Christopher Wheeldon’s Oscar explores the life and writings of Oscar Wilde and has been commissioned exclusively for the Australian Ballet. Humour and creativity collide in this awe-inspiring production.

REGENT THEATRE 13–24 SEP

MASK SOLO

Mask Solo is a world-class performance by Lily Fish. Showcasing a diverse array of characters through masks and physical theatre, it was created in collaboration with expert mask maker Beth Twentyman.

LA MAMA HQ 13–15 SEP

COST OF LIVING

Martyna Majok’s Cost of Living explores the complexities of human connection through the lives of four individuals. Featuring an ensemble cast, the play blends heart, humour and sharp observation to delve into what brings people together.

SOUTHBANK THEATRE FROM 14 SEP

QUASIMODO:

THE MUSICAL

Quasimodo: The Musical is an Australian world premiere, presenting a captivating new take on the Hunchback of Notre Dame with lush orchestrations and powerful numbers. It features a stellar cast and the Royal Melbourne Philharmonic Choir and Orchestra.

THE CAPITOL 20-22 SEP

TINA: THE TINA TURNER MUSICAL

TINA: The Tina Turner Musical celebrates the Queen of rock ‘n’ roll’s groundbreaking life and music, featuring more than 20 of her iconic hits.

PRINCESS THEATRE FROM 21 SEP

PRIDE & PREJUDICE: AN ADAPTATION IN WORDS & MUSIC

Nadine Garner, Madeleine Easton and Dan Le join together for the theatrical retelling of Pride and Prejudice in an intimate drawing-room setting, combining Jane Austen’s words with Carl Davis’ score from the BBC series for a limited season at Arts Centre Melbourne.

FAIRFAX STUDIO FROM 27 SEP

The venue to visit for an array of exciting circus shows and captivating performances this Fringe Festival.

SHOWS ↑

1-7 Chifley Drive, Preston

FESTIVAL GUIDE

WORDS BY SARAH DUGGAN

BEST OF THE COMEDY FESTIVAL

The Comics Lounge presents the Best of the Comedy Festival shows each week. Get ready to laugh until your tummy hurts with a mystery lineup featuring some of the best comedians from this year’s Comedy Festival.

THE COMICS LOUNGE THROUGHOUT SEP

AFFORDABLE ART FAIR

The Affordable Art Fair makes its return to Melbourne, featuring a mix of established and emerging artists with artwork priced up to $10,000.

ROYAL EXHIBITION BUILDING 1 SEP

BIRRARUNG RIVER FEST

Celebrate the Birrarung (Yarra) river with more than 30 events hosted over three weeks. Whether it’s a river walk, planting event or sunset jazz under the bridge, there’s something for everyone at the Birrarung River Fest.

YARRA 1–22 SEP

WONDER CHILDREN’S FESTIVAL

Last year’s Wonder Children’s Festival was so successful that it’s back again in 2024, with various whimsical and entertaining live kids shows taking place at Geelong Arts Centre throughout September.

GEELONG ARTS CENTRE 12–26 SEP

ST KILDA GIN FESTIVAL

With 30 Aussie Craft Distillers gathering in the heart of Melbourne, the St Kilda Gin Festival is one to mark in your calendar. Over 120 unique gins await, from classic to contemporary and everything in between.

ST KILDA TOWN HALL 13–15 SEP

HEATHCOTE FILM FESTIVAL

The Heathcote Film Festival returns for the 14th year, with a BYO picnic night on September 13, followed by a sit-down threecourse dinner on September 14. Showcasing both International and Australian films, this festival is gaining more and more popularity each year.

HEATHCOTE RSL HALL 13–14 SEP

TESSELAAR TULIP FEST

Tesselaar Tulip Fest is one of the most visually stunning festivals you’ll ever see. Located in Silvan, just beyond the Dandenong Ranges, you’ll find fields of blooming tulips. With an impressive calendar jam-packed with events for all ages, it’s not to be missed!

SILVAN FROM 14 SEP

ZERO WASTE FESTIVAL

Discover zero waste options, exchange ideas and connect with like-minded individuals at the Zero Waste Festival. Engage in workshops and listen to thought-provoking panel discussions to explore ways to live more sustainably.

FEDERATION SQUARE 14 SEP

WINE & VINE FESTIVAL

With more than 30 wineries housed in the same venue, Wine & Vine Festival is bringing the wine tasting to you! All tastings are included, with food available to purchase, live music and more.

THE ABBOTSFORD CONVENT 14–15 SEP

THE FAIR: FESTIVAL OF AI AND ROBOTICS

Aimed at industry, academic and government stakeholders along with investors and startups, the FAIR will showcase impressive technology, with keynote speakers, panel discussions, demonstrations and more.

MELBOURNE CONVENTION AND EXHIBITION CENTRE 17–18 SEP

DANGEROUS GOODS RAVE 3.0

With Alex Stein, Doruksen, Jacidorex, Lessss, Nik Kastel and Short Round leading the impressive lineup of house artists, RAVE returns to Melbourne for the third time.

MELBOURNE PAVILLION 21 SEP

KINGPIN FESTIVAL

Celebrating hardcore music new and old, Kingpin Festival features a modest but mighty lineup with Day Of Contempt and Miles Away headlining.

PRINCE BANDROOM 21 SEP

MELBOURNE MOON FEST

Food, entertainment and all-ages fun –Melbourne Moon Fest has got it all. Held at the iconic Queen Victoria Market, you can expect to be taken on a culinary journey from classic mooncakes to the most flavourful street food.

QUEEN VICTORIA MARKET 21–22 SEP

FESTIVAL OF CAKE

Created by The Australian Cake Decorating Network, Festival of Cake is a place for baking enthusiasts and taste-testers alike. The event will feature vendors displaying cake decorating essentials, live music, food trucks and family activities.

THE TIMBER YARD 21–22 SEP

ELIJAH

Talking at Howler on 8 September,

the British multi-hyphenate will advise creatives on how to make it in unconventional ways.

WORDS BY JAKE FITZPATRICK

Æ A mere few seconds into an interview with Elijah, you realise you are dealing with a character who means business. No nonsense, no small talk – he’s someone who can see right through the noise and extract what really matters, a trait that has clearly left him in good stead for a career in an industry as sharp as music.

Dialling in from Walthamstow, London amid an all-consuming British summer, Elijah appears fired up and ready to go. And for good reason – he’s is soon due to appear down under for a series of talks known as, Elijah The Talks and the Yellow Squares lecture. In this, he will share his knowledge on sustainable art, grime, social media, building an audience for your art and more.

Having forged a career as a record label founder, designer, artist manager and DJ, Elijah is the perfect person to do so. However, as he tells me, he wasn’t always supposed to find himself in this position.

“No amount of money will ever buy you an audience.”

Born in 1987, Elijah’s first taste in music was around the age of “six, seven or eight” when he was introduced to jungle and reggae. Coming from a Jamaican background, he couldn’t help but have this music spark something in him.

“I’d listen to pirate radio when I was a kid. They played jungle, then garage, then later grime. Then also coming from the place where grime was born, I couldn’t help but be a part of it. It was where I felt I could contribute something interesting. If I was born earlier, it might not have been that, but grime was an amalgamation of my early influences.”

As a result of this, Elijah got involved in pirate radio and started DJing. He also threw himself deeply into the grime scene.

“When I had my radio show in ‘07, I began to practice with records, but this practice was in public so I was literally learning while broadcasting.” There, he learnt a love for his trade and began to understand more about the logistics of the music business.

“Grime is like our electronic and rap. It felt like our own thing. But during this time of grime being at its peak, no one was actually buying the music. A lot of people were listening, but no one was buying it. Because of this, a lot of first-generation grime artists didn’t make any money.”

This changed around the time streaming services such as Spotify and Apple Music came to the forefront. “That stabilised things,” he says. “If you’re from a major label, and you’re getting paid per record and you sell lots of records, you will make money. But if you’re doing niche music, it’s harder. So, having some listeners is better than having no buyers.”

While setting this precedent, Elijah began to rethink the mechanics of the music industry. “I wanted to create something that allowed people to make a living,” he says. He set about devising several ways independent grime artists could explode despite not having the big label backing.

“No amount of money will ever buy you an audience. They can survive longer without earning, but in no way does that make your music more connected to an audience. In the grime music scene, no one had money, so it’s not as much of an issue in the music scene close to me.”

It’s this ingenuity that caused Elijah to rethink the traditional methods of making it within the music industry. He didn’t intend for this to become his thing, but somehow it has.

Inadvertent success seems to be a running thread in Elijah’s career. In 2021, during one of London’s brutal lockdowns, Elijah began to write his thoughts and ideas onto yellow sticky notes and put them on the wall. He eventually began to post them on Instagram. It immediately began to resonate.

“When things were opening up, I just wondered what the music industry would look like”, he says when reflecting upon the meaning of Yellow Squares. “I was just writing down a bunch of ideas I thought people would find useful. Then it started to grow. People had more ideas and questions.”

While Elijah has enjoyed making the Yellow Squares, he’s giving himself until December to finish off the project. As to a reason why, Elijah offered, “It just gives me a sense of urgency to finish it off, otherwise it could just go on forever.”

This intuition has clearly been instructive in Elijah forging his career. He knows when to end things and move on to the next. These droplets of wisdom are what he intends to impart to his Australian audiences.

“The lectures and events are for people sharing ideas in general. It’s about the DIY end of the industry. About flipping the conventional wisdom on its head and applying it to people with less resources. It doesn’t necessarily have to be in music. A lot of people making other stuff have found it useful too, so come with an open mind.”

“So”, he says through one final grin, “I’ll see you on the other side?”. I think you know what my response back was.

ELIJAH

WHERE: HOWLER

WHEN: 8 SEP

Credit:

Ejatu Shaw

ODETTE

WORDS BY ASHLYNN HANNAH

Calling from the town of Vigonza, Georgia Odette Sallybanks has been lapping up the Italian sun a few days after releasing her newest piece of music into the world.

Æ

“I’ve been working on this for so long with my creative partner, Kiah. We’ve worked so hard with nothing fueling us except our desire to create,” Odette tells me.

The first track since her sophomore album Herald, Reverence is as cathartic for the listener as it was for Odette to make. Born out of a long recording session for another song, Odette says she felt the track brewing inside her.

“It was the end of the track. Kiah was knackered,” she explains. “He was like ‘I need to go home’, and I was like ‘No, record right now’. He was like ‘Georgia’, and I was like ‘Please, something is inside and must come out’. We did this one take of the whole thing and the first part of the song is that recording and then it cuts into a different vocal.”

Raised in Sydney’s inner west, Odette has never been someone to let conventional boundaries limit her creativity. The raw and enigmatic emotions tethered to the lyrics of Reverence mark a new era where no feeling is left unturned in her music.

“I was very angry when I wrote it,” she tells me. “I was having a hard time at that point so when I wrote the song it was the moment I remembered how it felt to write something in one go, which I did a lot in my childhood and my adolescence.”

As someone who entered the music industry as a teenager, Odette is no stranger to the fine line between creativity and business. She likened being signed to entering high school, where making music slowly became like study, feeling more like work than passion.

Now as an independent artist, it is evident she’s claimed back her passion and is not holding back when it comes to having fun. She’s fierce but gentle, earnest but unapologetic and absolutely captivating in the music video for Reverence.

In the video, Odette is dressed in leopard print, sexy lingerie and bright pink high heels. She admits, “My dream is for Jennifer Coolidge to notice me.” While the leopard print is an ode to Coolidge, the creative direction of the video was influenced by the four months Odette spent being the ‘vocalist in residence’ for Gatsby at the Green Light.

“I’m surrounded by beautiful burlesque performers who were constantly taking off their clothes, and I was like, ‘Excuse me, I don’t have the qualifications for this but I’m gonna do it in my own way and have fun with it,’” she says.

“Being around people who are so liberated and confident kind of reignited a big spark in my belly and I really wanted to pay homage to that. You know, just shake my tatas.”

The music video has many little meanings through its intricate details which Odette says people will see again. As Odette allows me small intel on the symbolism of some of the visuals, her warm-hearted nature and quick wit radiate.

When talking about her recent creative process, Odette opens up: “Unfortunately I have been pretty mentally ill for the last hot minute so I kind of lost a bit of connection with myself which I’m only now really just getting back,” she says.

Odette, on social media, in her music and real life, always brings the same transparency when it comes to her mental health journey. “I was in hospital the day after we shot Reverence. I was admitted because I was unstable,” Odette tells me.

“Reverence was shot because I was like ‘I just need to feel good. I need to feel joy. Why do I feel so horrid all the time?’. It turns out I had been on the wrong medication so as soon as I came off it, I was like, ‘Oh my God, this is happiness.’ I forgot how this felt. I forgot how joy felt. I forgot how relief felt.’”

Odette’s lived experiences merge with her desire to create art, and she has been busy making music that speaks to how she feels.

“I have written a ridiculous amount of songs in the last two years. There is definitely an album in the works,” she says.

Nearly a year since her To A Stranger anniversary tour, Odette is eager to get back on the road and play more new tracks – released and unreleased. As much as she is excited to wear outfits and strut her stuff, Odette’s favourite part of performing live is watching the audience relax.

“I just really like to see how everyone connects and it feels like the room becomes one. It’s really special,” she says.

ODETTE

WHERE: BRUNSWICK BALLROOOM

WHEN: 20 SEPTEMBER

“Being around people who are so liberated and confident kind of reignited a big spark in my belly and I really wanted to pay homage to that. You know, just shake my tatas.”

SKA NATION INTERNATIONAL MUSIC FESTIVAL

Get your skank on at Ska Nation International Music Festival.

Æ Welcoming in the summer season, Ska Nation returns to Colac Showgrounds across the weekend of 30 November – 1 December 2024. A favourite on the calendar, Ska Nation is a vibrant music festival that aims to celebrate the art of ska and all of its secondary offspring within the punk and reggae realms.

This year’s event promises an unforgettable experience with an electrifying lineup of ska, rocksteady, punk and reggae music, international headliners, and a vibrant array of activities. The trumpets are at the ready as Ska Nation nuzzles its way to the forefront, so let’s jump into what makes the festival a must-attend.

Ska Nation has championed and celebrated the genre since its inception, keeping the Australian ska scene well and truly alive. Ska Nation’s 2024 festival is telling of the calibre of active Ska bands in Australia and afar, and this year’s lineup is a global indicator that ska is not dead.

The festival has secured a major international name in their headline driver’s seat: Japanese punk/ska band HEY SMITH. Hailing from Osaka, HEY SMITH have been building their following since 2006 thanks to their infectious sounds and upbeat live shows. They’ll be joined by Voodoo Glow Skulls, hailing from the States. The band illuminated the ska scene during the genre’s second wave in 1988.

The festival further draws from the best in Australia, including Queensland’s Sunny Coast Rude Boys, South Australia’s The Overits, New South Wales representatives Operation Ibis, Steel City Allstars and The Skarntz and Victorian victors, The Resignators, The Kittyhawks, Loonee Tunes, Admiral Ackbars Dishonourable Discharge and The Pirateska Rebellion. The two days will also see DJ sets from Con Dodgie, Beefy and Gary Skaman.

That’s just the first lineup announcement with more to come in the lead-up to the November/December dates.

Ska Nation is a celebration of ska culture, music and community so naturally, there is more on offer, including delicious festival food, merchandise a poster exhibition. One of the longest-running and most significant music festivals to make its way to Victoria’s Western District, Ska Nation is not to be missed this year.

SKA NATION

WHERE: COLAC SHOWGROUNDS

WHEN: 30 NOV–1 DEC

This

EMERGING WRITERS’ FESTIVAL

Expand your mind, get the creativity flowing and mingle with some of the country’s most buzz-worthy literary talent at the Emerging Writers’ Festival.

Æ If you’re a person who cherishes the written word (and we’re assuming you are because you’re currently reading this magazine), there’s a festival this month with your name written all over it. The Emerging Writers’ Festival, one of Australia’s most revered literary events, is happening in spring for the first time this year. Taking on the fresh, revitalising spirit of the season, the program is chock-full of workshops, networking events, talks, exhibitions, performances and professional development opportunities designed to help writers sharpen their skills and let their imaginations run wild. Plus, a ton of stuff is free, so there’s no excuse not to take full advantage.

The National Writers’ Conference is a gem in the festival’s crown, taking place at the Wheeler Centre on the weekend of September 7 and 8. The first day is focused on craft – assembling all the tools required to build a fruitful writing practice – and the second is focused on the ins and outs of the publishing industry. Elsewhere on the festival program, find free workshops dedicated to flash fiction, unblocking creativity, working through fears, mood boarding and more. Those wanting to dive deep can enrol in masterclasses featuring speakers including Kerrang’s first female editor Robyn Doreain and artist, producer and Tissue author Madison Griffiths. Part workshop, part round table, the Writers’ Salon will also host intimate events.

For a boost of inspiration, check out a performance. From ghost stories and scary movies on Friday the 13th to a sensual night of erotic fiction and fantasy readings, these events will be filled with curiosities and connection.

Finally, the festival will close with a celebratory banquet, giving new and old friends the chance to gather one last time for a feast of the senses with curated performances and ethereal eats. Whether you’re a reader, a writer, or a young hopeful with a big dream, the Emerging Writers’ Festival will leave you with everything you need to put the pen to the paper.

EMERGING WRITERS’ FEST

WHERE: VARIOUS LOCATIONS

WHEN: 5–15 SEP

This article was made in partnership with the Emerging Writers’ Festival.

article was made in partnership with Ska Nation.

Credit: Rhy Dyball

DUNE RATS

The iconic Aussie rockers talk about their new album, cheap flights and their upcoming tour with FIDLAR.

WORDS

BY JAKE FITZPATRICK

Credit: Paul Grace

Æ It goes without saying that an interview with Dune Rats will always be memorable. But little did I know how memorable this one would be.

The Aussie rockers have been running amok up and down the country for almost 13 years now. From their rowdy gigs to singles which call out just about everyone under the sun, the band have always had something to say and a distinctly Aussie way of saying it. Given this, I should probably have come slightly prepared for the pandemonium that ensued upon interviewing them.

“My plane’s about to leave in about 15 minutes,” lead singer Danny Beus tells me while sipping sachet coffee from a paper cup at the South Coast’s Merimbula Airport. It’s the day of Dune Rats album release and Beus appears to be a wanted man. In this case, however, it is by airport staff rather than a PR or hair or makeup team. This, I tell him, feels truly rock ‘n’ roll. “Yeah, ‘As he goes to his private Rex jet…’” Beus sniggers. The trio have just released their fifth studio album If It Sucks, Turn It Up. Notorious for writing hooky, lightweight pop-punk designed for the mosh, their newest effort is no exception.

Comprised of Beus on guitar and lead vocals, BC Michael Marks on drums and backing vocals and Brett Jansch as bassist, Dune Rats created the album after a few disastrous recording sessions in Los Angeles.

“A couple of years ago, we were given some record money for our third album [Hurry Up and Wait] to go to Los Angeles and write a bunch of songs with LA songwriters or whatever. We found out pretty quickly that we had a different way of writing. Anyway, we were in this session and the producer was just like, ‘Does this song suck?’ And then Bretty goes, ‘Mate, turn it up. Everything’s great if it’s loud.’ You know when you listen to a song and the louder it gets the more you start to feel it?”

While that song did not make it onto that album or even their last, Real Rare While, the trio managed to find a home for it on their newest outfit. Although they were forging a markedly different sound for their newest record, they wanted to include it to make a bit of a statement.

“We knew that it would come with a lot of people questioning what we are doing, people saying ‘Give us Scott Green’. But BC always made the valid point that if you want to listen to Scott Green, it’s recorded, you can go listen to it. If you want to listen to something fresh, then listen to this. It’s a cheeky first song to have on the record.”

Unlike on their previous records, the band now utilise the mentality of making music they want to hear, which Beus considers fair enough given “I’m the prick that has to play it every night.”

This new direction has even bled out into the band’s cover art. Created by Lee McConnell, it’s the kind of image you can stare at for hours on end and not get bored. The only brief they gave him was “a cliched show that goes wrong”.

The band told him chaotic tales from the road they wanted to be included in the image as easter eggs.

“Like there’s a taxidermy crocodile backscratcher that I bought in Florida, and our tech guy Bunnyman is in there.

We just thought if you’re going to make someone fork up cash for vinyl, it better be worth it.”

Recorded largely at their manager’s farm and at Beus’ house on the South Coast, the album had a similar recording process to most Dune Rats records. About to offer more, Beus pauses and listens to the airport announcements. “Do you know what? I need to go in. Let’s just keep doing the interview there,” Beus says, heading to the gate.

When I ask about the band’s upcoming tour with American punk band FIDLAR, Beus tells me it came about as somewhat of a happy accident.

“We were in this session and the producer was just like, ‘Does this song suck?’ And then Bretty goes, ‘Mate, turn it up. Everything’s great if it's loud.’”

“We were in South Africa doing shows. They were in the UK doing shows and we just sent them a message, saying ‘Can we come over and play some shows with you?’. So we did, and while sitting in the back room in London we realised we were going to release albums at the same time. We asked them if they wanted to come tour with us and they said yes. So yeah, come along. We’ve got some fun shit planned.”

As our interview comes to a close, I can hear announcements overheard saying Beus’ plane is about to leave. He’s got albums to sell, promo to do and a tour on the horizon. While he might not think it, in my eyes, this is real rock ‘n’ roll.

“I’m scared,” FIDLAR’s Zac Carper says about the band’s imminent tour with Dune Rats.

Æ “Those guys are true rockstars. True Australian rockstars, which is, like, a subgenre of rockstar.”

But if you know anything about FIDLAR, you know Carper has nothing to be scared of.

The band, whose name stands for Fuck It Dawg, Life’s a Risk, have been tearing up the scene since 2009. Despite building their career off songs about booze, drugs and rock ‘n’ roll – songs with names like Wake Bake Skate, Cheap Beer, Cocaine and 40oz. On Repeat – Carper says they’ve reigned it in since then.

“Bro, hangovers [now] last so long and don’t even mention cocaine. If I do one line of cocaine, I’m fucking done for a week,” Carper says.

Dialling in from a “90 degree” Los Angeles, Carper appears freshfaced, with sun-drenched hair and a well-kept smile. Sitting in front of a whiteboard plotting out his next album, Carper seems miles away from the uncouth rapscallion he was in his 20s.

FIDLAR, also made up of guitarist and vocalist Elvis Kuehn and drummer Max Kuehn, are on the precipice of releasing their first new album in five years, Surviving the Dream. During this time away, the FIDLAR boys began to explore other ventures.

“Honest truth, I was writing songs for other people – rock music, alternative, hip-hop stuff. It all started during the pandemic. Most people were sheltering and I did that for two months, but then I needed to work and the only people that would work were DJs and rappers. So I dove headfirst into working with DJs and rappers.”

After spending two and half years doing this, Carper eventually came around to the idea of making another FIDLAR record. There was just one problem – he was all out of ideas. “I had just used all my ideas up on other people. In hindsight, I should have probably kept some of those ideas for myself.”

In a strange turn of events, the album’s title stems from a conversation Carper had with a cowboy.

“During lockdown, I went somewhere in the South – I think Texas. This cowboy asked me ‘How are you doing, man?’ and I said back ‘Living the dream’. Then I asked him how he was doing and he said ‘Surviving the dream’ and it just blew my fucking mind. It has a negative connotation and a happy thing to it. It trips people out, especially younger people.”

Equipped with an album title, Carper got to work, crafting songs in a slightly unorthodox manner.

“Usually, I’ll write the songs with a ukelele or guitar and get the basic structure. Then I’ll write lyrics and record it. Then I won’t listen to it for two days, listen to it again, then delete it and record another. I’ll do this like five to seven times per song.” If it’s any good, Carper will then bring the song to the rest of the band and ask, “How do we make this go off live?”.

The sound forged on the new album is a slight departure from their previous work. “I go off inspiration and YouTube,” Carper says. Wanting to push the band’s boundaries further, he even tested out a shoegaze influence on the song Low. “I would just type ‘shoegaze’ into YouTube and then try and mimic it in my own way.”

Given the five-year gap, one can’t help but wonder if FIDLAR are somewhat apprehensive about releasing new music. In speaking on this, Carper offers, “When we first started, Spotify was not a thing. But I still went ‘I don’t think I’m ever going to be making money off of my music other than shows and merch.’”

“It’s human nature to want more numbers,” he continues, “but it’s not like we’re seeing any more money. I also don’t even listen to my music. It’s not really for me.”

In anticipation of the band’s upcoming tour with Dune Rats, Carper tells me the last time he was in Australia, he nearly got in a boxing match with a kangaroo: “I was at Brett [Jansch]’s place and it tried to fight me, so I just started to run away.”

As our interview winds to a close, I ask Carper what he has planned for the rest of the day. Despite an imminent tour and album release, he admits he’s already seven songs into the next record – a record he hopes, will “piss people off”. Another true rockstar.

DUNE RATS + FIDLAR

WHERE: FORUM

WHEN: 6 SEP

WORDS BY JAKE FITZPATRICK

Credit: Alice Baxley

AGUNG MANGO

WORDS BY KAYA MARTIN

There aren’t many rappers in Melbourne working as hard as Agung Mango.

“Every time I’ve trusted my gut, I’ve reaped the benefits.”

AGUNG MANGO

WHERE: THE NIGHT CAT

WHEN: 21 SEP

Æ

Fusing jazzy, genre-bending beats with a cool-as-ice flow and a unique lyrical perspective, the Indonesian-Italian artist has built up a cult-like following at home and abroad. He’s got something that isn’t easy to come by. Charisma isn’t the right word for it; neither is passion – though he has both in droves.

Perhaps ‘taksu’ comes closest. The Balinese psycho-spiritual concept combines a God-given gift with an enduring commitment. On the opening track of Mango’s debut album In Belly We Trust, his uncle waxes poetic on the topic atop a mystic, ambient instrumental made with fellow Picked Last member Sam Varghese.

The idea of blurred boundaries between body, mind and spirit sits at the core of the album. Mango doesn’t shy away from intense topics, musing on love, death, spiritual belief and visions of the future. As someone who’s constantly drawn to new ideas, Mango (an abridgement of ‘man on the go’), says the title of the project came from finding clarity in trusting his instincts.

“When you’re constantly inspired like me, it’s super easy to be overstimulated and misguided. During the creation process of In Belly We Trust, I was overstimulated by a lot of things around me — work, family, friends, the law and other factors,” he says. “There was a point during the album where I wanted to block everything out and only listen to my gut. This was a heavy decision because it led to a number of different ways of thinking that I now embrace, such as not giving a fuck when I make stuff.

It all falls under trust at the end of the day.”

Growing up, Mango was inspired to get into music by his older brother, who’d been making tracks with his friends. “As a kid, all I wanted to do was copy my brother in whatever he did, like most younger brothers do,” he tells me. Detroit-based rapper and producer J Dilla was (and still is) his favourite artist. “His ability to push boundaries within hip-hop left an undeniable mark on music until this day. His soulful samples with intricate rhythms always left me more curious than before.”

Borrowing J Dilla’s laid-back approach to production, Mango pulls from a broad range of textures, whether that be moments of candid chatter, groovy RnB bass lines, saxophone solos or squealing rock guitars. Thus far, he’s taken a structureless approach to songwriting: “Every time I’ve trusted my gut, I’ve reaped the benefits,” he offers. The production is glossy, but his sound is distinctly his own, a result of a busy mind and a dedication to the game.

“Freely creating without thinking too much helped this project become what it is,” he tells me. “Coming up to my next projects this year, I think this will be the last time I approach an album like this. I’d rather the process be more directed and premeditated.”

The day after the release of In Belly We Trust in July, Mango caught a flight to Indonesia for his first international headline tour.

“The culture from Bali, Indonesia, has a big influence on how I create music,” he says. “To perform outside my city and to see actual fans show love to my music is a wild feeling. I couldn’t believe the turnout from every city and how much love and appreciation they all have for the art. From Yogyakarta, Bandung, Jakarta, to Bali, all the shows mark the beginning of a trusty relationship.”

On September 21, he’ll bring the tour home to Melbourne for a longawaited album launch party at The Night Cat. He’s relieved the record is finally out in the world, but as someone who is always thinking of his next moves, he’s still learning how to celebrate his wins. “I have people constantly reminding me to seize the moment,” he says.

Though In Belly We Trust has barely been out for a month at the time of our conversation, Mango says he’s got a lot more where that came from, promising fans two more projects before the end of 2024. “Plenty of work to go, but my word is bond,” he says. “Just a reminder, I’m still independent and free to do what the fuck I want, so I shall feed my fans what I think they should have for the remainder of this year. I know for a fact they will enjoy this new work ethic.”

JEM CASSAR-DALEY

For Jem Cassar-Daley, the heart of music lies in its profound ability to forge connections with people.

WORDS BY GABRIELLE DUYKERS

Æ Her celestial vocals retain a refreshing authenticity, weaving through a blend of sounds with raw lyrical prowess. While proudly carrying the legacy of her father – renowned country musician Troy Cassar-Daley – Jem is dedicated to carving out her own artistic identity. Her latest single, Big Container, is a shining example of her ability to create music that resonates deeply.

The Gumbaynggirr/Bundjalung singer-songwriter is an emerging voice in the Australian music scene, rapidly becoming known for her captivating stage presence and heartfelt storytelling.

Surrounded by music from birth and learning to accompany herself on piano at an early age, Jem was destined to find her place on stage. However, it wasn’t until a tour with her father in 2019 that she decided to dedicate all of herself to music. Feeling uncertain about pursuing tertiary studies after high school, her father suggested she join him on the road.

“We did about 70 dates in the year, which was pretty jampacked. But from that moment, I realised that it was something I just absolutely adored. From then on, I just focused on performing and writing my music. That was a real turning point.

I wanted to do it as much as I could.”

Since releasing her debut single in 2021, Jem has experienced a whirlwind of success.

In less than three years, she has released a series of successful tracks and garnered attention through her live performances at various festivals and shows across the country. Already receiving numerous accolades for her work, she recently took home both Best Pop Award and Song of The Year at the 2024 Queensland Music Awards, as well as Independent Song of the Year at the AIR Awards for King of Disappointment.

Reflecting on the busy period, Jem says the experience has been nothing but enjoyable.

“It’s honestly been so much fun and every opportunity has been completely unique and different. It’s been so beautiful to just meet a whole bunch of new musicians who are all doing a similar thing. It’s been a really cool couple of years.”

A sense of connection and community has been vital for Jem, particularly in her move to Melbourne earlier this year. Despite missing friends and family back in Brisbane, she says the relocation has brought new opportunities for growth and creativity.

“I moved to Melbourne as a bit of a change of scenery and it’s just so inspiring as a songwriter to be in a new environment and be around new people. So many people have reached out wanting to write a song or have a jam. The community in Melbourne has been really lovely and supportive.”

Out now, Jem’s single Big Container is a slight departure from her previous releases, offering a more stripped-back, acoustic sound that showcases her enchanting relatability and songwriting talent. The track came about after a recent breakup, inspired by performances she experienced at Woodford Folk Festival a few years back.

“It’s that feeling of wanting to mentally compartmentalise the experiences that you’ve had. I wanted to take all of those emotions and feelings and just put them in a box and see if I could push the lid down – shove it to the back of my mind and not have to address it. But obviously, things don’t work that way.”

The song’s production, led by platinum-award-winning producer Garrett Kato, highlights a shared love for the banjo, adding a unique texture to the track. Jem’s musical curiosity is something she attributes to a blend of influences, ranging from 70s rock, indie-pop, rap and country.

“I love artists who just play what they want to play. I think the minute you focus on genres you kind of limit yourself when it comes to your creative experience and expression. We as people are such a unique tapestry of genres and styles and influenced by so many different things, so I think it’s very important to just be free and try not to put yourself in a box.”

A strong connection to her Indigenous roots also informs much of her approach to songwriting, with each track vignetting a particular chapter in Jem’s life.

“I wanted to take all of those emotions and feelings and just put them in a box and see if I could push the lid down... But obviously, things don’t work that way.”

“Storytelling has obviously been such a huge part of our family. My dad has always been very honest and transparent about his experiences in life through his music and that’s definitely been passed down to me,” she says.

Exploring classic coming-of-age themes around self-love, heartbreak and managing societal expectations, Jem offers tender and uncomplicated lyrics without sounding cliché.

“I try to keep it as real as possible, even though I sometimes feel that I overshare,” she remarks jovially. “But I think that’s important. As a 23-year-old girl experiencing things for the first time and learning how to navigate through life with your own compass, it’s really important for me to be truthful.”

The earnest quality of Jem’s music serves as a cathartic outlet, offering a sense of healing not just for herself, but for her listeners. “It’s therapeutic to be able to get those emotions and feelings down on paper and be able to put it into a piece of art,” she shares. With new experiences often rousing feelings of uncertainty and loneliness, Jem hopes her songs will bring audiences comfort in such moments.

“I love when people after a show will come up and will say that they’ve been through exactly the same thing, or that they resonate with a particular song. That’s so special to me. It’s always coming from a place of feeling so vulnerable when you’re writing these songs, sometimes there’s even fear of being too honest…but when people relate to it on a really personal level, honestly, what I write music for is that connection.” Looking ahead, Jem is excited about the future. Revelling in the collaborative process of co-writing and meeting new creatives, she is now preparing for the release of her debut album – currently in its final production stages. While pondering her musical journey so far, she expresses gratitude for the support of her family and the confidence they instilled to pursue her own sound. “When I first started, I didn’t know where I sat. Stylistically I was kind of in a few different worlds. But eventually, I started to realise that you can be whoever you want to be and you can fall into any sort of world. There’s no limits.”

JEM CASSAR-DALEY

WHERE: THE RETREAT HOTEL

WHEN: 20 SEP

EMBERTON III & WILLEN II

WORDS BY KALANI GIDDEY

Marshall’s newest offerings into the Bluetooth speaker world are an upgrade to tried and true favourites.

Willen II

Æ Marshall is a name that will immediately have any serious music fan’s ears prick up and for good reason. Marshall is one of THE great amplifier builders, responsible for some of the best guitar and bass tones ever committed to a recording. With a handful of effects units in their toolbox as well, it only made sense to expand their horizons into home audio and portable speakers. When a partnership with the company formerly known as Zound was formed in 2010 and a foray was made into the market, the rest was history. This brings us to today, as we take a look at Marshall’s newest offerings in portable speakers: updated versions of their classic Willen and Emberton II Models.

They’ve managed to hang onto what made these speakers so great in the first place while finding new ways to optimise and improve user experience, retaining the same classic look and sound, with a few nifty little changes that’ll make life that much easier.

First up, we have the smaller of the dynamic duo, the Willen II. The second iteration of the bantam-weight bruiser, it capitalises on many of the same features of its predecessor. It’s a little bit bigger, has a more sophisticated Bluetooth matrix (Bluetooth LE with Auracast capabilities), a slightly longer battery life (17 hours as opposed to 15), a higher quality build and materials and a new control interface and battery display. This does away with the former on/off Bluetooth combo, opting for a two-button solution to make things a little simpler. It also boasts a built-in microphone for hands-free calls and operation, as well as a strap on the back for portability. To make the deal all that much sweeter, the whole thing can survive underwater for half an hour, so it’s safe to assume it’ll survive any shower endeavours you subject it to.

When paired with the Marshall Bluetooth app, you can make use of three distinct EQ profiles: Marshall, Push and Voice. Marshall is the default setting, a bass and midheavy arrangement that’ll make most music sound great. Push boosts the treble and bass, scooping out some of those mids for a bit of extra clarity and presence, tightening up the low mids and sub-bass as well. Last but definitely not least, there’s the Voice setting, which I found lent itself quite well to podcasts, YouTube videos and 70s motown and soul. It excelled in the low-to-medium volume ranges, with a slight bit of distortion at max volume, typical of a speaker of this construction, but still sounds immaculate for its size.

Emberton III

Next up we have the Willen II’s big brother, the Emberton III. This is the third generation of one of Marshall’s speaker staples, and much like the Willen, has improved on the older model in a couple of ways.

It boasts a 32-hour battery life, Bluetooth LE and Auracast in future, and most of the bells and whistles included in the updates to the Willen II, but with a key difference. It retains the ‘True Stereophonic’ sound, making for a rich, multidirectional listening experience, wherever you are in a room.

The listening experience was truly a cut above the rest, with a dynamic range that the Willen II lacked in parts; it felt as though the music could breathe a little bit more, allowing certain elements to really shine. It boasts the same EQ presets as the Willen II, producing most of the same effect, though I have to admit the contrast was a little more stark. The Push setting is still my personal favourite, though I found the default setting to be a little more listenable, with the voice setting standing out as well. For an even bigger sound, the speakers have Stack mode, which allows them to sync with other Marshall speakers.

With pre-orders coming in at $289.99 for the Emberton III and $199.99 for the Willen II, these speakers are an investment in quality sound. They just look so good and would make a brilliant addition to the home of any serious music lover out there. It’s a timeless design, and you can see the echoes of Marshall’s storied past in these mighty additions to the family. Now available at your nearest JB Hifi.

AUDIO-TECHNICA

AT-LP70X & AT-LP70XBT

Audio-Technica has just brought out their new flagship and affordable offering to their catalogue of turntables, but will they hold up where it counts?

Æ Audio-Technica is known for representing excellence and innovation in the home and pro-audio worlds, bringing us iconic bits of kit used by musicians and music lovers the world over, whether they be microphones, headphones, speakers or the topic of today’s review: turntables!

Introducing Audio-Technica’s flagship offering to sound recreation, the AT-LP70x and its Bluetooth variant AT-LP70xBT. These are the newest in a long line of automatic belt-driven offerings from the audio giant, and this time they’re going down a less-is-more route to keep the average consumer and tech nerd happy, as these are still packed with features.

Audio-Technica has always been an audio house for audiophiles, by audiophiles, committed to the belief that high-quality audio should be accessible to all and their newest offering is something to behold. With a sleek exterior that blends retro-modern stylings with a minimalist control set, a three-piece chassis and a bespoke cartridge mounting system with a removable stylus for all sorts of experimentation and upgrading, The AT-LP70x and AT-LP70xBT are quite the package.

Let’s get into our first impressions. Right off the bat, the folks at Audio-Technica have made the setup process a real no-brainer – more or less plug-and-play with a design that negates the need to balance the tonearm, set the antiskid weight or install the cartridge, streamlining the process for anyone new to turntables. After a little assembly, things are more or less straightforward, with easy connection with the provided RCA cable or Bluetooth capabilities of the AT-LP70xBT, which can be used with any wireless speaker, headset or other device at the touch of a button. There’s no need for an amplifier either, as this one boasts a built-in switchable phono pre-amp, negating the use of a separate phono stage (though the option to use one is still present).

Continuing this theme of ease of use, we have the convenience of fully automatic operation, which will be one of those quality-of-life improvements for the average home listener. Gone are the days of hovering around your stereo waiting for an LP or single to end so you could lift the tone arm in time and avoid that characteristic sound.

At the centre of the whole arrangement is Audio-Technica’s baby blue AT-VM95C cartridge, mounted in a fixed position inside a newly designed J-shaped tone arm. The simplicity really shines here, because even though you’ll never be able to replace the cartridge, the solid design theoretically provides better audio quality overall with a lack of unnecessary connection points and various joints. If you still weren’t sold on it, the cartridge included on this model can be

upgraded with any of the stylus’ from Audio-Technica’s range, with anything from an affordable improvement like the VM95E to ultra-premium holy-grail shibata-grade VMN95SH.

As for the sound itself? Couldn’t have asked for anything better in this price range. The clarity was stellar when playing through a couple of my favourite LPs, maintaining an impressively low noise floor, and retaining the dynamic range that you sometimes lose with more affordable turntables. Distortion at higher levels was pretty low as well. The vibrations were kept to a minimum, courtesy of a low centre of mass with electronics mounted to the bottom of its three-piece chassis, which provides a little extra rigidity to emphasise resonance dampening.

The Bluetooth functionality on the slightly more premium option worked a treat, and I had no problems getting it to connect to my hi-fi and a couple of pairs of headphones. I was concerned about the audio clarity, but for the most part, the transmission is largely lossless. It still doesn’t sound as good as it does wired through a pair of ATH-M50xBTs, but the difference is negligible, especially at this price range. Did we mention that the LP70x starts at $499 and its Bluetooth cousin at $599?

This new offering from Audio-Technica ticks all the boxes for an easily accessible and affordable introduction into the world of turntables and home audio, a welcome addition that’s sure to kick-start anyone’s new obsession or find its place among a dedicated collector’s hi-fi setup. This is the sort of thing that would make company founder Hideo Matsushita proud.

To find out more about the AudioTechnica AT-LP70x and ATLP70xBT turntables, head to their website.

ASTER

Æ Months ago, it was with heavy hearts that we said goodbye to Ferdydurke, Melbourne’s CBD loft club best known for its late-night parties and welcoming stage. Luckily, from the ashes of that fabled club, a new Melbourne venue has risen like a phoenix – and a stylish one at that.

Aster is the new kid in town. Ran by the Office of Public Works group (the same team behind Section 8 and The Beast), the space is poised to be a more intimate, more mature compliment to Section 8 below. With a fresh renovation and a brand-new concept, the Aster era is defined by comfort, charm and culinary expertise.

The changes to the bar have gone far beyond a new coat of paint. The space is looking cozier than ever before, with warm mood lighting, mid-century brass finishes and a roaring fireplace in the corner (a beloved remnant of the Ferdy days). Behind the bar, staff are eager to show off their cocktail skills, brandishing shakers and swizzle sticks. Inside the wine cabinet, find a dedicated selection of old and new world drops, perfectly curated to accompany the small, decadent bites on the food menu.

From black truffle and squid ink salami to poached prawn rolls with burnt butter aioli, the culinary options go far beyond what you could expect at a typical venue. This could be because Aster doesn’t see itself as a typical venue in any kind of way – it wants to break boundaries and reimagine the music-listening experience.

Like the late Ferdydurke, the bar will still feature DJs on the weekends, spinning an eclectic selection of tunes ranging from jazzy house to Cumbia rhythms, Northern Soul and smooth Amapiano. But instead of getting loose in the crowd, the bar welcomes patrons to sink into a chair and take in a different kind of listening experience where music, conversation and drinks flow like water.

GLAMORAMA

WORDS BY OLIVER WINN

LIVE MUSIC: At Glamorama tailors towards house and techno enthusiasts, regularly hosting esteemed DJs and providing bass-heavy beats.

FAMOUS FOR: Its respectable liquor list which includes Australian whisky producers such as Bakery Hill and more.

INFAMOUS FOR: Its 5am licence. Glamorama is one of those clubs where time seemingly operates on its own set of rules. You’ll stumble outside and see the sunlight, feeling an odd combination of exhilaration and regret.

Æ Walk into Glamorama and let yourself be engulfed in its red hedonistic haze because once you enter, you’re in for a big night. This venue has all the necessary ingredients for a great nightclub, while also supplying a wide range of Australian whiskies for those looking to dabble in a Hellyers Road single malt or the like.

Nestled in the heart of Fitzroy, the venue once home to First Floor 393 is known for its high ceilings, giving a larger-than-life feeling. The vast bar is always stocked with great cocktail deals and wellpriced drinks, allowing you to dance freely without feeling hindered by potentially breaking the budget.

Recently reopening after a five-week break to allow final renovations to be completed, Glamorama is back and better than ever. Embrace a bigger courtyard, revamped lighting and an even stronger sound system.

As mentioned earlier, this venue doesn’t strictly limit itself to wild, techno-fuelled nights. Its respectable range of Australian whiskies and a carefully collated cocktail list means this venue also provides for a slightly less rowdy night, but a fun one nonetheless. Recline into one of the many stylish booths and sip on a sophisticated tipple or an adventurous cocktail. If you’re hungry, order some food off the club’s no-fuss menu, which delivers a range of burgers and some traditional sides.

WHERE: 31 TATTERSALL LANE, MELBOURNE

OPEN: TUE—SAT 5PM–LATE

WHERE: 393 BRUNSWICK ST, FITZROY

OPEN: THU–SAT 9PM–5AM

MAX WATT’S HOUSE OF MUSIC

WORDS BY ASHLYNN HANNAH

LIVE MUSIC: In an intimate setting such as Max Watt’s means once the band starts to play, the sound radiates out from the stage and quickly fills the entire venue.

FAMOUS FOR: Hosting a ridiculous variety of quality shows from singer-songwriters to heavy metal and even comedians. You name the act and they’re probably played at Max Watt’s.

INFAMOUS FOR: Its stumbly staircase – make sure you grab onto that handrail, party people.

Æ The first sign of a band about to light up Max Watt’s is the line swarming out the front door, around the corner and down Little Collins street. Once you get inside, tickets scanned and wrists stamped, you’ll feel like you’ve been transported into a basement rave.

Known as Hi-Fi pre-2015, Max Watt’s lives on with a name that is a play on the term ‘maximum wattage’.

As the night progresses and the room fills up, it makes sense why the only furniture is a few tables near the bar. The small but mighty bar has stellar staff and great drinks, but if having a cold one is not your main concern, waste no time getting down into the pit to join your brothers and sisters in arms for a mosh.

Max Watt’s has tiered stairs going down to the dance pit where you can have a perfect view of the artist no matter your height. Not many live music venues have a lower level where you can have a dance and a higher level where you can see over the heads of those jumping up and down without compromising the quality of watching the show.

A night at Max Watt’s will leave you with a heavy head full of music and a hankering to return.

PRINCE BANDROOM

WORDS BY OLIVER WINN

LIVE MUSIC: Knows no boundaries at Prince Bandroom. It has seen icons including everyone from Nick Cave and Birthday Party to Midnight Oil and Paul Kelly. Now, contemporary music giants such as Billie Eilish and Glass Animals are on the books.

FAMOUS FOR: Hosting heavy-weight musical acts making the transition from smaller venues to big-time bandrooms. Go to the Prince Bandroom and you can guarantee live music of the highest quality.

INFAMOUS FOR: Being so freakin hot! Even if it’s winter, dress for summer, because the large bandroom may as well be an oven after enough sweaty patrons fill the space.

Æ The Prince Bandroom is situated in the beloved suburb of St Kilda, an integral place for Melbourne’s live music scene. Established in the 1950s, this venue has endured the test of time, which is a testament to its reliability in delivering a good night out.

Stroll down St Kilda’s Fitzroy street until you see the famous chalkboard sign out the front, then ascend the stairs and enter the bandroom. This venue is bloody huge, holding a staggering 900 people at capacity. When you’re lost in the mosh, the cavernous bandroom seemingly extends for hundreds of metres in all directions, adding to the feeling you’re truly lost between bodies and the swathes of music. While you wait for the action to begin, get dinner in-house at the Prince Dining Room. While many live music venues offer traditional pub classics, far fewer can pride themselves on delivering exceptional and innovative feeds. Spearheaded by award-winning Sydney chef Mitch Orr, the Prince Dining Room’s menu focuses on high-quality regional produce and woodfired techniques. Once you finish feasting, you can simply enter the bandroom right away – no exorbitant Uber fare required.

WHERE:

125 SWANSTON ST, MELBOURNE

OPEN: MON–THUR 9AM–4:30PM

Check gig guide for opening times.

WHERE: 29 FITZROY ST, ST KILDA

OPEN: MON-FRI 12PM–2AM / SUN-SAT 12PM–3AM

KING GIZZARD & THE LIZARD WIZARD

Flight b741

Æ Flight b741 suggests this ridiculously prolific band from Victoria’s Surf Coast was raised on a steady diet of classic American rock from the ‘60s and ‘70s (think: early Steve Miller Band, The Doobie Brothers and The Band). King Gizz have dropped 26 studio albums since 2012 and, according to frontman Stu Mackenzie, they’ve already “made a dent” in number 27.

Harmonica and honky-tonk piano and blues-infused guitar, oh my! Even when “winging it”, King Gizz sound first-class.

“What does the sunlight feel like on your skin?/ Does it smell like the sound of a pill kickin’ in?/ Or the taste of a song that makes you wanna scream?” – Raw Feel, resplendent with phantasmagorical imagery, celebrates our differences.

Sporting matching flight suits (see: “Oink Oink” Flight b741: The Making of…), all six members of King Gizzard & The Lizard Wizard crowded around two mics to record the walls of BVs that elevate this rollicking 10-song set.

All band members sing on Gizz’s latest record and their pass-the-mic lead vocal approach is aptly demonstrated during Le Risque’s film clip.

Midway through this bass-throbbing number, prepare to be wowed by drummer Michael Cavanagh’s deep Sprechgesang parts. Then you’d better fasten those seatbelts: “Helloooooooo, Evel Knievel!/ Running through the red light!” – Ambrose Kenny-Smith gatecrashes, snatching the mic.

“I’ve been drinkin’ on the job/ Not much thinkin’ going on about the passengers I got on board…” – aha, Sad Pilot be drunk AF! Despite upbeat, jaunty melodies – including gang backing vocals that chime in like cheeky inner voices – this highlight track, upon closer inspection, is lyrically harrowing.

Elsewhere: the glam-rock Field Of Vision (“I’m feeling like a horse on Ket”) is giving Primal Scream’s Rocks (choon!), Hog Calling Contest is as bonkers and shambolic as its title promises and charming “Shooby-doo-wop” harmonies add sophisticated lustre to the piano-driven Rats In The Sky.

“Find that person you hate/ Grab ‘em by the hand, look ‘em in the eye and say ‘I love you’/ ‘Cause they’re gettin’ fucked-up daily…” – seven-plus minute closer Daily Blues spruiks empathy.

As delightfully loopy as its cover art, which features a sounder of swine aboard an ancient aircraft, Flight b741 closes out with the sound of a whinnying horse.

Kenny-Smith has said he’s forever trying to channel Exile On Main St. – his all-time fave LP – and this latest Gizz offering probably flies closest to The Stones’ party album.

It’s actually not a stretch to imagine Flight b741 forming the basis of a madcap jukebox musical.

Fun fact: Flight b741 is not only the name of a Boeing 747 that crashed into the Atlantic Ocean in 1996, but also a classic-rock chord progression favoured in the ‘70s (which is utilised in Sad Pilot).

LABEL: P(DOOM) RECORDS

RELEASE: OUT NOW

ALMA ZYGIER

LIVE

Æ “Please don’t treat me so doggone mean…” – Alma Zygier’s captivating, gritty vocals are backed by sparse handclaps and percussive stomps during opener Be My Husband (a Nina Simone cover).

Recorded earlier this year over three nights at The JazzLab, one of the stages Zygier regularly graces, LIVE successfully curates highlights from her much-lauded shows by showcasing her extraordinary gift for inhabiting and reinventing classic songs. Loping, bass-heavy and seductive – you’ve never heard Hound Dog presented this way, human-supplied woofs and all!

Fluttering keys aptly illustrate some of Old Black Magic’s lyrics (“Those icy fingers up and down my spine…”) before sassy brass stabs and shimmering cymbal rolls add vivid sonic texture.

Those solos in St James Infirmary Blues, though! During some banter towards the end of this record, Zygier praises her incredible backing band composed of “really nice people”.

If you don’t get all misty during Maybe This Time, you’re probably dead inside. “It’s gonna happen/ Happen sometime/ Maybe this time…” – Zygier’s hopeful delivery, underpinned by just the right amount of impassioned vibrato, subtly escalates throughout before concluding with a delightful, world-weary sigh.

For set closer Say Goodnight, her dad Willy Zygier’s uke playing provides a gossamer cradle for those elastic, jazz-inflected vocals. Old-worldly, but never naff, this LIVE debut is timeless and elegant. It’s also an excellent ad for her future gigs.

Did you know? Alma Zygier features on What Are You Doing New Year’s Eve? from Paul Kelly’s Christmas Train (2021).

LABEL: INDEPENDENT

RELEASE: OUT NOW

EMILY WURRAMARA

NARA

Æ “What’s more important than telling your stories?” – Emily Wurramara, a proud Warnindhilyagwa woman, asks during the uke-guided lullaby Verandah.

In 2019, Wurramara’s house in Meanjin/Brisbane was gutted by fire. She lost everything and was left with nara, which translates to ‘nothing’ in the Anindilyakwa language. But through tragedy, Wurramara found peace: “It was when I had nothing, I realised I had everything.”

Longing for home and missing loved ones is a recurring theme throughout Wurramara’s breathtaking second record, which embraces collaboration while celebrating community. “Don’t forget me when I go back home…” – WWGBH, a woozy, sundrenched ballad featuring Zeppelin Hamilton, laments the tyranny of distance.

As FRIEND escalates, Wurramara eventually sounds utterly crestfallen while repeatedly admitting, “I wish I never called you friend”.

Arringarri (aka Sharky), Wurramara’s little brother, makes his musical debut with a guest spot on the upbeat STFAFM (short for Stay The Fuck Away From Me). Written on her ancestral home of Milyakburra (Bickerton Island), Wurramara cheekily ponders, “Do I have some breakfast? Do I wake and bake?” during this cathartic focus track featuring a reggae-infused breakdown.

The pop/R&B-leaning Lordy Lordy (feat. Tasman Keith) – a “protest club song” – highlights the importance of listening to and respecting First Nations voices. Lisa Mitchell’s divine, breathy contribution to See Me There lands like a comforting hug from a wise older sis.

“Oysters on the beach”, Auntie’s padlocked fridge, “Underneath the starry gaze of our ancestors…” – rich with lyrical detail, NARA welcomes us into her world. Wurramara creates the kind of music that saves lives.

NICK CAVE & THE BAD SEEDS

Wild God

Æ Nick Cave put The Bad Seeds “out to pasture” for his last few albums, but they’re back! Our ears particularly welcome the return of Thomas Wylder behind the kit as well as occasional theatrical clangs and hisses provided by percussionist Jim Sclavunos.

Some honorary Bad Seeds of impeccable pedigree were also brought in for album number 18, including bassist Colin Greenwood (Radiohead) and Double R Collective on BVs – gospel choirs have become an important presence in Cave’s work of late.

“I woke up this morning with the blues all around my head/ I felt like someone in my family was dead…” – Joy’s opening lyrics were inspired by a blues classic (Death Letter by Son House) and give us actual chills in light of the devastation that has been thrust upon Our Nick in recent years.

Further elevated by forlorn, dignified French horn, this standout track also encapsulates the entire record in a single line (delivered by “a wild ghost”): “We’ve all had too much sorrow, now is the time for joy.”

As soon as we recover from Cave’s use of the word “panties”, we’re floored by O Wow O Wow (How Wonderful She Is) as well. This moving tribute to Anita Lane (who died in 2021) closes out with a 2019 phone recording of the former Bad Seed playfully reminiscing – immortalising her childlike wonder and ageless speaking voice.

Cave recently told Stephen Colbert that, on the other side of cumulative grief, “There is joy and there is happiness in a way you could never believe possible”. A triumphant, biblical listening experience, Wild God chronicles Cave letting the light in.

Fun fact: That jaw-dropping, transcendent final build in Conversion was entirely improvised by Cave and the gospel choir.

TELENOVA

Time Is A Flower

Æ “Time is a flower that blooms as every hour goes by/ And after all maybe time is not a line from beginning to the end…” – opener The Wallpaper expands on this album’s title, offering thematic insight.

Although recently formed, the previous projects of all three Telenova members achieved notable success: lead singer Angeline Armstrong, also a filmmaker, was one half of Beachwood and multi-instrumentalist/producers, Joshua Moriarty and Edward Quinn, were formerly of Miami Horror and Slum Sociable respectively.

“Cinema for your ears” is how Telenova describe themselves. They’re the whole package, as well: musically gifted, telegenic and top content creators to boot.

Throughout, Armstrong’s vocals are delicate and longing – particularly her upper register – but also steadfast (eg. Tremors, Traces: a piano house-led highlight featuring vibrant bongos). While “pulled over on the side of the road, crying into [her] journal”, Armstrong penned January’s lyrics as a love letter to her “first friend” who had almost died that day.

We’ve heard Margot goes off live, which comes as no surprise: “Shoulda known better than to think I could forget her/ Heaven could’ve sent her, did I have it all wrong?” – that staccato chorus is so immediately catchy!

Lyrical repetition is used brilliantly and hypnotically at various points (see: Preamble – “I’ve got a feeling I’ve been here before,” especially when repeated, gives déjà-vu). Tamil Rogeon’s string arrangements, brought to life by more than 20 musicians, provide a swoon-worthy throughline.

Time Is A Flower captures the human experience in all its messy, flawed, topsy-turvy glory.

GIG GUIDE

SEPTEMBER 2024

THU 05 SEP

CURLY & THE FRINGE

Edinburgh Castle Hotel. Brunswick. 6pm.

SCENE QUEEN

Stay Gold. Brunswick. 7pm. CHILD

Cherry Bar. Melbourne. 9pm. $20.

ROCK N ROLL

MANIA: GYPSY COMPANY.

UNHALE, NINEBARKS

The Last Chance Rock & Roll Bar. North Melbourne. 7.30pm. $11.25.

ANDY FILLMORE. DOM RODGERS

Mamma Chen’s. Footscray. 7pm. $10 - 12.

KING CANOE Bar 303. Northcote. 8pm. $20.

NOBUO UEMATSU CONTIKI SHOW

Melbourne Recital Centre. Southbank. 7.30pm. $89.

EMILY BURKE: UNDERCOVER

Wesley Anne. Northcote. 8pm. $38.80.

K. WALSH & THE PODIUM BABIES + POLLYMAN

Gem Bar. Collingwood. 8pm. Free.

URBAN PRODUCTIONS PRESENTS

COMEDY CHRONICLES

FT: Joe White, Suren Jayemanne, Amna Bee, Thabo Tshuma, Aaqib Merchant, Aarti Vincent, Akwasi Bergy Bandroom. Brunswick. 7.30pm. $16.85.

MICHAEL BEACH (BAND). MOD CON, SUMMER FLAKE, CHIMERS Shotkickers. Thornbury. 7.30pm. $23.45.

MIGUEL RIOS & ASH JONES. SPAWN

The Merri Creek Tavern. Northcote. 8pm. $15.

SOCIETY OF CUTTING UP

MEN + HARLAND RUST. REALNAME, GODFIRE, LATIBULATE

The Tote. Collingwood. 7.30pm. $16.35.

FISHEYE. CHARLOTTE BRIDIE, LALU Bar Open. Fitzroy. 8pm. $11. DVOŘÁK & BRUCKNER

Hamer Hall (Arts Centre Melbourne). Southbank. 7.30pm. $75. INNER SANCTUARY

FT: DJ JNETT + Jimmy James Whitehart Bar. Melbourne. 3pm. Free.

FRI 06 SEP

FRIDAYS WITH MIKE GURRIERI

FT: The Choobs. Ben Emes

Whitehart Bar. Melbourne. 5pm. Free. BAD BANGS. HOOPER CRESCENT, THE FILLMORES, BACK POCKET

Brunswick Ballroom. Brunswick. 7pm. $28.15.

LABITULATE. HARLAND

RUST, S.C.U.M. Old Bar. Fitzroy. 8pm. THE CALABRIANS + BLOWN CONES Bar 303. Northcote. 5pm. Free.

CATFISH & THE BOTTLEMEN

Festival Hall. West Melbourne. 7pm. $119.90.

DUNE RATS + FIDLAR. DARTZ, THE PINGERS Forum Melbourne. Melbourne. 7.30pm. $70.

OLD MERVS Northcote Theatre. Northcote. 7.30pm. $46.40.

LICKLASH. SCUD, GLEN

Gem Bar. Collingwood. 8pm. Free.

GONE WESTERLY + KIER STEVENS

The Thornbury Local. Thornbury. 8pm.

MUSIC WITH HARRY & WENDY Micawber Tavern. Belgrave. 7pm. Free.

PRATEEK KUHAD

Corner Hotel. Richmond. 8.30pm. $81.50.

SUGARUSH: CHARLI XCX

BRAT PARTY

Stay Gold. Brunswick. 11pm. $17 - 23.

GREAT AUSTRALIAN BANK. ADORED, CLOSE IN, NO HOPER

Bergy Bandroom. Brunswick. 8pm. $15.

EMMA VOLARD + RUBY JACKSON

The Night Cat. Fitzroy. 8pm. $35.

JESS CHALMERS. WALIENS

Leadbeater Hotel. Richmond. 7.30pm. $35.

FLAVOUR. IN XIRA, FORM1LANE

Wax Music Lounge. Melbourne. 8pm. $15.80 - 20.91.

THE ROYAL MOTOWN REVIEW WITH NARDIA + PAUL SLATTERY

Paris Cat Jazz Club. Melbourne. 9.30pm. $45.

SHOTA IKEDA TRIO

Wesley Anne. Northcote. 6pm.

EMILY BURKE: UNDERCOVER

Wesley Anne. Northcote. 8pm. $38.80.

NGV FRIDAY NIGHTS:

TEMPO RUBATO

CURATES SOPHIA KIRSANOVA & MELBOURNE STRINGS

NGV - National Gallery of Victoria. Melbourne. 6pm. $45.

GOOD PASH. MOOD SPILL

Lulie Tavern. Abbotsford. 7pm. Free.

JESS CHALMERS

The Leadbeater Hotel. Richmond. 8pm. $39.80.

LICKLASH. SCUD, GLEN

Gem Bar. Collingwood. 8pm. Free.

FRED AGAIN.. APPRECIATION NIGHT

The Espy (Esplanade Hotel). St Kilda. 9pm. $11.75 - 22.95.

WILLIAM CRIGHTON. SORDID ORDEAL

Howler. Brunswick. 8pm. $39.

THE SUBURBAN. MALIBU SPACEY, CURLY & THE FRINGE

The Penny Black. Brunswick. 9pm.

THE AUSTRALIAN INXS TRIBUTE SHOW

The Round. Nunawading. 7.30pm. $74. LA DESCARGA. DJ EMMA PEEL Shotkickers. Thornbury. 8pm. $28.80.

LUCKY MAX. MINILUV, TONITE Retreat Hotel. Brunswick. 7.30pm. $20.

TAYLOR SWIFT: THE ERAS PARTY

Max Watt’s. Melbourne. 7.30pm. $19.90 - 35.99.

HIPPOPOTAMUS REX (PBSFM) 20 YEAR ANNIVERSARY

Revolver Bandroom. Prahran. 9pm. $0 - 25. THE VOLCANICS. YABBY, JJ MCCANN TRANSMISSION

The Tote. Collingwood. 8.30pm. $23.50. OBDURATE. SELECT ALL, THE NOISE, C.A.T.O Bar Open. Fitzroy. 8.30pm. $15.

ECLIPSE: PINK FLOYD ORCHESTRATED Hamer Hall (Arts Centre Melbourne). Southbank. 8pm. $79.

SAT 07 SEP

HANADAYORI NIGHT: SHOSO SHIMBO WITH SLAVA GRIGORYAN Melbourne Recital Centre. Southbank. 7pm. $78.

RICHIE WEED. IMMIGRANT UNION, AL MATCOTT

Old Bar. Fitzroy. 8pm. $17.35.

OLD MERVS. FOOL NELSON

Northcote Social Club. Northcote. 12pm. $49.50. BLEEDING THROUGH Corner Hotel. Richmond. 7.30pm. $57.

AM//PM EMO NIGHT

FT: Heavensgate, Synge, Fallweather Stay Gold. Brunswick. 7pm. $17.85 - 22.95.

SOUNDSLIKE BANDROOM

FT: Markets, The Kitchen, Here & There, The Stoned Toes, Six Degree Sunburn Grattan Gardens Community Centre. Prahran. 5.30pm. Free. TEN GALLON HEAD + GOLDEN RAIL Old Bar. Fitzroy. 4pm. Free.

YO YO HONEY SINGH

Festival Hall. West Melbourne. 6.30pm. $131.40.

KOBIE DEE

The Curtin. Carlton. 8pm. $29.

MELB BLITZ #2: GALA BALL Odeon Richmond. Richmond. 7pm. $28.60. SUGARFOOT RAMBLERS WITH GEORGIE DARVIDIS

Paris Cat Jazz Club. Melbourne. 9pm. $40. JAZZ ARVOS

The Motley Bauhaus. Carlton. 5pm. Free.

DOWNTOWN JAZZ QUARTET

Wesley Anne. Northcote. 6pm. AUSTRALIAN CHAMBER

ORCHESTRA: TOGNETTI. MENDELSSOHN. BACH

Melbourne Recital Centre. Southbank. 7.30pm. $49.

MADELEINE

CLARE & DAN BRODIE

Ragtime Tavern. Preston. 8pm. Free.

DEADBEAT DADDIOS

The Cosmopolitan Hotel. Trentham. 3pm. Free.

GIRL FRIDAY

The Merri Bar. Preston. 7pm.

THE DESERTERS (DELSINKI + BROOKE TAYLOR)

Memo Music Hall. St Kilda. 7pm. $25 - 40.

THE ROCKY HORROR PICTURE SHOW: LIVE SHADOW CAST BY THE PELVIC THRUSTS Astor Theatre. St Kilda. 7pm. $25. GOODWIN. GROMMY, BERKELY

The Leadbeater Hotel. Richmond. 7.30pm. $12.75 - 17.85.

LUNATIC. DIRT ROAD WAVE, SECRET ACT

Gem Bar. Collingwood. 4pm. Free.

EARLY BIRD PRESENTS: NO SCRUBS: 90S + EARLY 2000S PARTY

The Espy (Esplanade Hotel). St Kilda. 7pm. $14 - 22.95. SOLSTICE FT: Benjamin, Black Dave, syrup-E, Adrian LR, Guhrl, Homage, Lexï Howler. Brunswick. 7pm. $17.34 - 38.76.

COLOUR & SHADE. ENGRAVED, RISE FROM ASHES, ANA, HALADRENE

Bergy Bandroom. Brunswick. 7pm. $16.85.

SHELLEY’S MOTOR CLUB. INSUFFICIENT FUNDS

The Beast. Brunswick East. 9pm. Free.

LOVELY, LONELY, LANDFILL

The Toff In Town. Melbourne. 7.30pm. $17.34.

MARCIA HINES

The Round. Nunawading. 7.30pm. $79.

MR TRAUMATIK + DEVILMAN. DJ FRENZEE

Max Watt’s. Melbourne. 9pm. $55 - 75.

VOLT JOLT. CRUSHED LAVENDER, AMBULANCE, DIRTY GWEN

Revolver Bandroom. Prahran. 7pm. $12.

THE PRETTY LITTLES

The Tote. Collingwood. 8pm. MIDNIGHT CIRCUITRY / SYNAPTIC DREAMS Bar Open. Fitzroy. 11pm. Free.

DVOŘÁK & BRUCKNER

Hamer Hall (Arts Centre Melbourne). Southbank. 7.30pm. $75.

TAIJAE + AMIN PAYNE Whitehart Bar. Melbourne. 12pm. Free.

THU 12 SEP

INNER SANCTUARY FT: DJ JNETT + Jimmy James Whitehart Bar. Melbourne. 3pm. Free.

DUSTYESKY: PERFORMS MUSIC TO THE SCREENING OF ‘EARTH’ Brunswick Ballroom. Brunswick. 8.30pm. $60.79.

HIDDEN CYCLES. SUDS, ANOTHER ROTTING CORPSE

Old Bar. Fitzroy. 8pm. $12.

PARENTS BATTLE OF THE BANDS: NORTHSIDE V SOUTHSIDE FINALS FT: AB/CD, The Portals, Assembly, Westgarth Idol, more Corner Hotel. Richmond. 7pm. $35.30.

ALL THE SMALL SINGS KARAOKE COMP HEAT #5 Stay Gold. Brunswick. 7pm.

CHILD

Cherry Bar. Melbourne. 9pm. $20.

IN HEARTS WAKE. PALEFACE SWISS, KING 810, GRAVEMIND Forum Melbourne. Melbourne. 7pm. $69.90.

HARVEY RINGWORM & THE PADDY BATES. SPÜRTS, THE PIGGIETAILS

The Last Chance Rock & Roll Bar. North Melbourne. 8pm. $11.25.

THE DARRYN FARRUGIA PROJECT

Paris Cat Jazz Club. Melbourne. 7.30pm. $40.

ANIA

Wesley Anne. Northcote. 6pm.

BRANDENBURG: HANDEL’S HOUSE

Melbourne Recital Centre. Southbank. 7pm. $30.

THE 1980’S. FUR BLOSSOM, THE PET ROCKS

The Leadbeater Hotel. Richmond. 7pm. $12.75.

K. WALSH & THE PODIUM BABIES + FREYA J HOLLICK Gem Bar. Collingwood. 8pm. Free.

LATE NOVEMBER. SUNSICK DAISY, CHLOE BOOTH

Bergy Bandroom. Brunswick. 7.30pm. $24.90.

PONTRESINA. BUSTED CHOPS, SOCIAL ST

Retreat Hotel. Brunswick. 7pm. Free.

BILLY BARKER + DAMON SMITH

The Merri Creek Tavern. Northcote. 8pm.

DROVA. VEILED ARCH, FIRE ROOTS

The Tote. Collingwood. 7.30pm. $11.25.

ANATREPIX

Bar Open. Fitzroy. 6pm. Free.

FRI 13 SEP

FRIDAYS WITH MIKE GURRIERI

FT: Thy Love. pHinioUS & Friends

Whitehart Bar. Melbourne. 5pm. Free.

DUSTYESKY: PERFORMS MUSIC TO THE SCREENING OF ‘EARTH’

Brunswick Ballroom. Brunswick. 8.30pm. $60.79.

CLUTCH 3

FT: Browning Mummery, Sun Vessel, Bloated Data, Sulphur Garden Nighthawks. Collingwood. 8pm. $20.

LUNE RIVER. KEAPER, THE SONIC CORRIDORS

Old Bar. Fitzroy. 8pm. $11.25. AQUILUS + MONDERNTE. IRREPARABLE, REQUITE

Northcote Social Club. Northcote. 7.30pm. $24.

BRENT HONEY

Corner Hotel. Richmond. 9pm. $17.50 - 25.

COLOSSVS: A DECADE OF ‘UNHOLY’. PHANTOMS, WEREWOLVES, ALGOR MORTIS

Stay Gold. Brunswick. 7pm. $24.50.

DON’T THANK ME, SPANK ME. OBSCURA HAIL, THE SALMON SISTERS

The Last Chance Rock & Roll Bar. North Melbourne. 8.30pm. $23.50. NORTHEAST PARTY HOUSE. SACHI, JUNO MAMBA

Forum Melbourne. Melbourne. 7.30pm. $65.05. THE SKELLINGTONS WITH EAMON MCNELIS & GEORGIE DARVIDIS

Paris Cat Jazz Club. Melbourne. 9pm. $40.

JACKIE

BORNSTEIN: PEACE & LOVE

Melbourne Recital Centre. Southbank. 7pm. $50.

ATTICHE

Wesley Anne. Northcote. 6pm.

THNDO Hawthorn Arts Centre. Hawthorn. 8pm. $40 - 50.

VAUDEVILLE SMASH. HONEY

The Night Cat. Fitzroy. 7.30pm. $36.70.

SAINTÉ Northcote Theatre. Northcote. 7.30pm. $64.90.

CHRIS HOFFMANN

Micawber Tavern. Belgrave. 7pm. Free.

NGV FRIDAY NIGHTS: TEMPO RUBATO CURATES AFFINITY QUARTET

NGV - National Gallery of Victoria. Melbourne. 6pm. $45. SUN GOD REPLICA Bendigo Hotel. Collingwood. 9pm.

THE WILBURY LEGENDS: THE MUSIC AND THE STORIES OF THE TRAVELING WILBURYS

Memo Music Hall. St Kilda. 7pm. $45 - 65.

CHARLI XCX BRAT RELEASE PARTY

The Espy (Esplanade Hotel). St Kilda. 9pm. $11.75 - 20.80.

MAJAK DOOR.

TAYLAH CARROLL, GLOB

Bergy Bandroom. Brunswick. 8pm. $29.99.

THE SONGWRITING PRIZE: SEMI FINAL FT: Alicia Lis, Angus Robb, Anya Alchemy, Cooper Lower, Dela Cruz, Ezy Konbini, Lili-Violet, Lily Jones, Mareya, Ollie Howlett, Paige Barnard, Prudns, Tig, Younique The Toff In Town. Melbourne. 7.30pm. $23.46.

IN FUZZ WE TRUST FT: Budd, Lucifungus, Smoke Witch Shotkickers. Thornbury. 8pm. $18.35.

MARIO KART LIVE! Retreat Hotel. Brunswick. 7.30pm. $25.

SORRY, DAVE. ADORED, KITE VENDOR

The Tote. Collingwood. 7pm. $16.35.

GONE FISHIN’. SOCIAL AFTER PARTY, DAEZY Bar Open. Fitzroy. 8.30pm. $15.

GRUG Arts Centre Melbourne. Southbank. 6.30pm. $22.

SAT 14 SEP

SHAKY STILLS

The Drunken Poet. North Melbourne. 9–11pm. Free

UNCUT RHYTHM. BINOFSKI, MR PITIFUL Whitehart Bar. Melbourne. 12pm. Free.

DUSTYESKY:

PERFORMS MUSIC TO THE SCREENING OF ‘EARTH’ Brunswick Ballroom. Brunswick. 2.30pm. $60.79.

SAMARA CULLEN

The Thornbury Local. Thornbury. 8pm.

THE DUSTY DIMES Edinburgh Castle Hotel. Brunswick. 6pm.

DANE BLACKLOCK & THE PREACHER’S DAUGHTER Corner Hotel. Richmond. 8.30pm. $35.30.

ALLY ROW & THE CORDUROYS.

LILY RIZZETTI

Creatures of Habit Bar & Bandroom. Fitzroy. 7pm. $25.

THE OMNIFIC. LUNE

Northcote Social Club. Northcote. 8.30pm. $29.90.

DR SURE’S UNUSUAL PRACTICE

The Curtin. Carlton. 8pm. $22.85.

TEENAGE DADS. PHOEBE GO, ALEKSIAH Forum Melbourne. Melbourne. 7pm. $67.05.

RUDI SOUND SYSTEM: JAH

CARLOS + TEA MONEY Bar 303. Northcote. 8pm. Free.

THA UNKTION

FT: Crooked TP, Borringal, Mr. Congo, ACP, Yambra, RAP, Jak, dappah, Smirk, PKG, Olive Yaah, Leo, Nobuki, MpathSoul, Culture Evolves, Nnamdi, Wrong Ways, Shiralee Hood, Alchemy Orange Retreat Hotel. Brunswick. 6pm. $30 - 40.

DELINQUENTE: 10 YEAR

ANNIVERSARY

FT: Hidden Spheres, DJ

Kiti, Donald’s House

Wax Music Lounge. Melbourne. 5pm. $38.80.

SUBURBAN SPELL. KAYO, INFRAGHOST

Odeon Richmond. Richmond. 7pm. $23.50.

JESSIE GORDON & MARK TURNER

Paris Cat Jazz Club. Melbourne. 6.30pm. $45.

MURRAY COOK’S SOUL MOVERS. BAREFOOT SPACEMEN

Cherry Bar. Melbourne. 8pm. $22.59.

JAMES O’BRIEN & AVA MCDERMOTT

Wesley Anne. Northcote. 6pm.

SWINGIN’ JAZZ N COOL BLUES WITH THE JACKSON COMBO

Victorian Jazz Club @ Clayton RSL. VIC. 8pm. $25.

VARDOS: WOMEN OF EASTERN EUROPEAN MUSIC

Melbourne Recital Centre. Southbank. 7pm. $37.

DOWNTOWN QUARTET

Ragtime Tavern. Preston. 8pm. $10.

NATHAN SEECKTS

The Cosmopolitan Hotel. Trentham. 3pm. Free.

DAN DINNEN

The Merri Bar. Preston. 7pm.

GRAND WAZOO: SPRINGTIME SOUL SPECTACULAR

Memo Music Hall. St Kilda. 7pm. $55 - 60.

HELEN TOWNSEND & THE WAYWARD HEARTS

Gem Bar. Collingwood. 8pm. Free.

OSAKA PUNCH. SENTIA, TRUBUG Bergy Bandroom. Brunswick. 8pm. $35.

SUNDAY HONEY. THE TOOTHPICKS

The Beast. Brunswick East. 9pm. Free.

SOCIAL HIJACK. SORRY NEIGHBOUR, STRAIGHT SHOOTERS

The Penny Black. Brunswick. 9pm.

DOSA DOPA

NAARM VOL. 02

The Toff In Town. Melbourne. 8pm. $23.46 - 28.56.

LE YOUTH

Max Watt’s. Melbourne. 8pm. $44.90.

27FEST

FT: Captives, Catholic Guilt, Ramshackle Army, Strawberry Fist Cake, Madigan’s Wake, The Coolabahs, Dirty Harriet

The Tote. Collingwood. 6pm. $35.

THE GLAMOUR. GLEN WEE, MAEVE GRIEVE Bar Open. Fitzroy. 8.30pm. $20.

TAN DUN: NINE Hamer Hall (Arts Centre Melbourne). Southbank. 7.30pm. $75.

THU 19 SEP

HAWKER HEIGHTS

Bar 303. Northcote. 8pm. $20.99. THE DAIMON BRUNTON QUINTET:

THE HIP SESSIONS

Paris Cat Jazz Club. Melbourne. 9pm. $40.

TYLA MOONCHILD

Wesley Anne. Northcote. 6pm.

FRANK GAMBALE ALL STARS

Bird’s Basement. Melbourne. 6pm. $70.

INNER

SANCTUARY

FT: DJ JNETT + Jimmy James Whitehart Bar. Melbourne. 3pm. Free.

SPIDERBAIT. PRIVATE FUNCTION, DESTRENDS

Forum Melbourne. Melbourne. 6.30pm. $89.90.

SONIC REALMS: AN EVENING WITH OBDURATE.

FT: No Wuckas, Straight Edges, Naked Mannequin

The Last Chance Rock & Roll Bar. North Melbourne. 7pm. $11.25. GUITARRA

Melbourne Recital Centre. Southbank. 8pm. $99.

K. WALSH & THE PODIUM BABIES + SWEET NOTHINGS

Gem Bar. Collingwood. 8pm. Free. AN EVENING ADVENTURE WITH CLARE BOWDITCH

Howler. Brunswick. 7.30pm. $54.57.

MERCI, MERCY. CAROLINE & CLAUDE

Bergy Bandroom. Brunswick. 8pm. $35.

HANNIE DAY. PRIVATE MOUNTAIN, LUCY HARRINGTON

Retreat Hotel. Brunswick. 7.30pm. Free.

ACCLIVOUS QUARTET

Bar Open. Fitzroy. 6pm. Free.

FRI 20 SEP

BIG BEATS BOUTIQUE PRESENTS: THIRD BASS

Laundry Bar. Fitzroy. 9pm. $10.

HARMINIA

The Thornbury Local. Thornbury. 8pm.

GREGG ARTHUR: THE GREAT AMERICAN SONGBOOK

Melbourne Recital Centre. Southbank. 8pm. $75.50.

THE STAMPS. DAISY KILBOURNE

Wesley Anne. Northcote. 8pm. $12.25.

DAN SULTAN

The Ian Potter Centre for Performing Arts. Clayton. 7.30pm. $20 - 65. WHATEVER RECORDS SHOWCASE

Old Bar. Fitzroy. 7.30pm.

KID SAM. WATER SIGNS, MARY GLENN Northcote Social Club. Northcote. 8.30pm. $32.15.

JEBEDIAH + MAGIC DIRT

Corner Hotel. Richmond. 8.30pm. $73.10.

UNDEATH. GUTLESS, RESIN TOMB

Stay Gold. Brunswick. 7pm. $59.90.

FURNACE & THE FUNDAMENTALS

Festival Hall. West Melbourne. 7pm. $81.45.

EMILEE SOUTH

The Curtin. Carlton. 8pm. $22.85.

SPIDERBAIT. THE VOVOS, PRIVATE FUNCTION, ELECTRIC STARDUST

Forum Melbourne. Melbourne. 6.30pm.

JESSICA YOUNG QUINTET

Paris Cat Jazz Club. Melbourne. 6pm. $45.

CONOR ANDERSONVAGUE TRIO

Wesley Anne. Northcote. 6pm.

NIKODIMOS & HIS ORCHESTRA + AARTI JADU

Darebin Arts & Entertainment Centre. Preston. 8pm. $20 - 35.

NGV FRIDAY NIGHTS: MUSIC IN EXILE CURATES AJAK KWAI NGV - National Gallery of Victoria. Melbourne. 6pm. $45. BEEFY’S SKA CLUB PRESENTS THE PIRATESKA REBELLION. LOONEE TUNES, THE NEW MONOS Bendigo Hotel. Collingwood. 9pm. TREEBEARD. SOMA PLUME, DROID, BLACK ALEPH Shotkickers. Thornbury. 7.30pm. $23.05.

SWEET TALK & FRIENDS. EILS, THE DRIP

The Leadbeater Hotel. Richmond. 8pm. $31.40.

BENNY J & THE PSYCH WARD + LAVA FANGS

Gem Bar. Collingwood. 8pm. Free.

DES CORTEZ

The Espy (Esplanade Hotel). St Kilda. 7.30pm. $15.85.

PABLO DISCOBAR: 15 YEAR REUNION SHOW

The Toff In Town. Melbourne. 7.30pm. $33.66.

JEM CASSARDALEY + SPECIAL GUESTS

Retreat Hotel. Brunswick. 7.30pm. $25 - 30.

SUGARUSH: PINK PONY CLUB - CHAPPELL ROAN NIGHT

Max Watt’s. Melbourne. 9.30pm. $17 - 25.

MILES AWAY. THE CHAIN, FEEL

THE PAIN, DIZDAIN

Revolver Bandroom. Prahran. 7pm. $31.62. JARROW. PROGRAM, ARBES, DJ GRELP

The Tote. Collingwood. 8pm. $16.35.

THE COMEDIANS

FT: Mick Molloy, Lawrence Mooney, Sam Pang, Marty Sheargold

Hamer Hall (Arts Centre Melbourne). Southbank. 7pm. $99 - 119.

FRIDAYS WITH MIKE GURRIERI

FT: Colette

Whitehart Bar. Melbourne. 5pm. Free.

SAT 21 SEP

50 YEARS OF HITS! ROSS WILSON & THE PEACENIKS Brunswick Ballroom. Brunswick. 8.30pm. $55.69.

JEFF MARTIN: THE SONGS OF DAVID BOWIE. BULLY HAY Corner Hotel. Richmond. 8.30pm. $51.10.

SUNSET CITY MELBOURNE: TRIBUTE PARTY

FT: Even Flow, Blood Sugar Sex Magik, Jailbreak, Antigravity Stay Gold. Brunswick. 6.30pm. $34.70 - 40.80. DILEMMAS. SLOMO, RAINDOGS, DUMBHEAD

The Curtin. Carlton. 8pm. $17.75 - 22.85. AUNTIE LEO & THE BACKSTABBERS. NASAL SPRAY, MILOU MOON

The Last Chance Rock & Roll Bar. North Melbourne. 8pm. $11.25 - 15.

SWEETHEARTS. HOOPER CRESCENT, THE FILLMORES, BACK POCKET Brunswick Ballroom. Brunswick. 2pm. $17.95. DELIGHTS

Whitehart Bar. Melbourne. 12pm. Free. NOT SO BIG BAND: SHAKEN NOT STIRREDTHE MUSIC OF JAMES BOND

Paris Cat Jazz Club. Melbourne. 9pm. $45.

THE JAMES LOCKWOOD TRIO

The Motley Bauhaus. Carlton. 7pm. $15.20. FRANK GAMBALE

ALL STARS

Bird’s Basement. Melbourne. 6pm. $70. DOUBLE SHOT

MAGGIE

Micawber Tavern. Belgrave. 8.30pm. Free. SIMON HUDSON

The Thornbury Local. Thornbury. 8pm.

GEORGIA RODGERS

Edinburgh Castle Hotel. Brunswick. 6pm.

THE POURSHOTS

Coburg RSL Club. Coburg. 3pm. Free. THE FRIENDLY AFFAIR + TRIP HAZARD SOUNDSYSTEM.

JIM WESTLAKE, FRIENDLY PETE, ANDREW LAW, D-FUNK-E

Bar 303. Northcote. 8pm. $10.

CIRCLE STUDIOS: OVER THE RAINBOW

Melbourne Recital Centre. Southbank. 6pm. $60.

RUBY’S ROGUES

Ragtime Tavern. Preston. 8pm. Free.

COUCH WIZARD. HOGWASH, TONEMARROW

Bendigo Hotel. Collingwood. 9pm. $17.35.

AL CARR + JESSE LAWRANCE

The Cosmopolitan Hotel. Trentham. 3pm. Free.

SANTERRES & FRIENDS.

JORDAN MARRO, FAITHVFATE, ANTAGONIZE, ZALINA

Wax Music Lounge. Melbourne. 8pm. $28.58.

ADAM HATTAWAY

The Merri Bar. Preston. 7pm.

SHAUN KIRK

Memo Music Hall. St Kilda. 7pm. $30 - 35.

SIN CITY SING SPRINGSTEEN Gem Bar. Collingwood. 8pm. Free.

NOCTICA. BROKEN EARTH, ULTRAVLT, MANI BLU

Bergy Bandroom. Brunswick. 8pm. $22.95.

PORTAL GUN. PONTRESINA, VANGO MANGO

The Beast. Brunswick East. 9pm. Free.

LION FIAH. SAOKO COLLECTIVE DJ’S, NES STYLA, DEMASR, DANCE SHOWCASE, MORE

The Toff In Town. Melbourne. 8pm. $64.01 - 98.95.

STARVE. DIESECT, OUTSIDER, IDENTITY ERROR

Revolver Bandroom. Prahran. 7pm. $30.

BURGWORTHS. BLYSS, SOUTHSCOPE, POVERTY POINT

The Tote. Collingwood. 7.30pm.

MIDNIGHT CIRCUITRY / SYNAPTIC DREAMS

Bar Open. Fitzroy. 11pm. Free.

HUGH SHERIDAN

Hamer Hall (Arts Centre Melbourne). Southbank. 8pm. $75.95 - 95.95.

THU 26 SEP

MICK THOMAS’ ROVING COMMISSION

Brunswick Ballroom. Brunswick. 8.30pm. $49.88.

QUEENIE. HOGWASH, MORE Northcote Social Club. Northcote. 8pm. $29.10.

JULIA COLE

Stay Gold. Brunswick. 7.30pm. $64.90.

CENTRAL RAIN

Wesley Anne. Northcote. 8pm. $17.35.

INNER

SANCTUARY

FT: DJ JNETT + Jimmy James Whitehart Bar. Melbourne. 3pm. Free.

TYLA MOONCHILD

Edinburgh Castle Hotel. Brunswick. 6pm.

THE DARYL MCKENZIE JAZZ ORCHESTRA WITH NINA FERRO

Paris Cat Jazz Club. Melbourne. 7.30pm. $45.

CHINESE OPERA GALA

Melbourne Recital Centre. Southbank. 7.30pm. $68.

VELVET PARADE. REMIT, OFF // AXIS

The Last Chance Rock & Roll Bar. North Melbourne. 7.30pm. $13.30.

BRITISH INDIA

The Espy (Esplanade Hotel). St Kilda. 7pm. $48.75.

LONELY LANDS LIQUIDS PARTY

FT: Tash Sultana (DJ Set) Howler. Brunswick. 7pm. $28.56.

SQUID THE KID. IJALE, ALISYA RAE

Bergy Bandroom. Brunswick. 7.30pm. $22.95.

EMU. THE MIFFS, FLY!, SMOKE WITCH

Shotkickers. Thornbury. 7.30pm. $18.35.

BENCH PRESS. SCREENSAVER, THE MAGGIE PILLS, MORE

The Tote. Collingwood. 8pm. $23.50.

STEAMBOAT WHISTLERS

Bar Open. Fitzroy. 6pm. Free.

FRI 27 SEP

PARTY DOZEN. HOOPER CRESCENT, THE FILLMORES, BACK POCKET

Brunswick Ballroom. Brunswick. 8.30pm. $30.

CRADLE OF FILTH. INFECTED RAIN

Northcote Theatre. Northcote. 7pm.

NEARLY FRIDAY. MINOR DELUSION, BLANK FACE

Mamma Chen’s. Footscray. 7.30pm. $15 - 20.

GRAND FINAL GRUNGE FRIDAY

FT: Hello Enemy, Shylox, Bonespace, Jaded State Bar Open. Fitzroy. 8pm. $15.

ALISTER TURRILL

The Thornbury Local. Thornbury. 8pm.

GO-JO

Northcote Social Club. Northcote. 8.30pm. $24.

ALT.QUEERDOM

Stay Gold. Brunswick. 6pm. $17.35 - 27.05.

ROYALTY NOISE

FT: OJ Kush, Stay Nice, Tahu Dubs, Poli Pearl Wax Music Lounge. Melbourne. 8pm. $20.40.

PLAYLIST

ACOUSTIC DUO

Micawber Tavern. Belgrave. 7pm. Free.

NO REGRETS:

THE EDITH PIAF STORY WITH NIKKI NOUVEAU

Paris Cat Jazz Club. Melbourne. 9pm. $48.

ALICE BISSCHOPS

TRIO

Wesley Anne. Northcote. 6pm. NGV FRIDAY NIGHTS: MUSIC IN EXILE CURATES AUSECUMA BEATS NGV - National Gallery of Victoria. Melbourne. 6pm. $45.

THE REFLEX, THE AUSTRALIAN DURAN DURAN EXPERIENCE

Memo Music Hall. St Kilda. 7pm. $32 - 45.

YACHT ROCK REVIVAL

The Espy (Esplanade Hotel). St Kilda. 7.30pm. $38.25.

TILE

Bergy Bandroom. Brunswick. 8pm. $16.85.

MULCARA

The Penny Black. Brunswick. 8pm. FLYWIRE

The Tote. Collingwood. 8pm. $11.25.

BITE CLUB: 2ND SERVE

Arts Centre Melbourne. Southbank. 8pm. $79.

FRIDAYS WITH MIKE GURRIERI

FT: Ice Cream Sundays House Party Whitehart Bar. Melbourne. 5pm. Free.

SAT 28 SEP

BRAVE NEW WORLD: BIG NIGHT OUT. HOOPER CRESCENT, THE FILLMORES, BACK POCKET

Brunswick Ballroom. Brunswick. 8pm. $30.70 - 38.86.

TIMOTHY FRANKLIN TRIO

The Thornbury Local. Thornbury. 8pm. CHRIS

JOHNSTONE

SEXTET: PLAY GRANT GREEN & JOE HENDERSON

Paris Cat Jazz Club. Melbourne. 9.30pm. $45.