The sheer amount of good stuff packed into this month is making our heads spin.
Æ I mean, honestly, we’re spoilt for choice! From Ability Fest to Mode with everything in between, the city is raring to go and we’re along for the wild ride.
Our cover stars this month are The Huxleys who are making sports sparkle with The Winner Takes It All. Part arts happening, part free party, the event perfectly embodies the freaky, fun and fabulous essence of Melbourne Fringe.
Inside the mag, Southeast London collective Steam Down unpacks Afro-Infinitism ahead of their Melbourne Jazz Festival debut and viral country star Cooper Alan gives us a clue to why cowboy culture is kicking off before hitting the stage at Ridin’ Hearts.
What else? Cong Josie is using motorbikes to reconnect with his childhood. Cub Sport is embracing the bright side of being queer. Fat Dog is haggard and hungover in some park – that’ll be us in Edinburgh Gardens soon enough.
Plus, Xani examines the human body through quadrophonic sound and BARKAA encourages the kids to get out there and rap. If you don’t have at least one gig booked into your calendar this month, you’re doing it wrong, so read on and keep up!
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 October cover stars are The Huxleys shot by The Huxleys
BIG GAMES NIGHT OUT IS RETURNING TO FED SQUARE
Melbourne International Games Week is back and its free gaming extravaganza, Big Games Night Out, returns to Fed Square on October 10 with immersive gaming, featuring interactive setups and epic multiplayer competitions.
Ç MELBOURNE INTERNATIONAL JAZZ FESTIVAL REVEALS ITS 2024 PROGRAM
Melbourne International Jazz Festival returns for its 27th year from October 18 to 27, bringing international and local talent to Australia’s jazz capital. Highlights include a jazz bar crawl, a huge street party and performers including Herbie Hancock, Esperanza Spalding, Nubya Garcia and Antonio Sanchez.
FIRST NATIONS-LED COMMUNITY BBQ COMES TO FED SQUARE
On October 1, Fed Square will host COOKED: Seasoning the Grill as part of Melbourne Fringe Festival. The event will feature First Nations-led performances, art and a communal BBQ, with food by Mike Hewson. The night promises to be filled with smoke, dance and delicious cuisine, free and open to all.
COMEDY IN THE VINES BRINGS REGIONAL AUSTRALIA’S BIGGEST LINEUP OF COMICS
Returning to Mitchelton Wines in Nagambie, Victoria, from November 8 to 10, Comedy In The Vines offers delicious local drops, picturesque campgrounds and world-class comics including Jen Brister, Lloyd Langford, Joel Creasey and Melanie Bracewell.
Ç SKI MASK THE SLUMP GOD IS COMING TO MELBOURNE
Off the back of the release of his second studio album 11th Dimension, Soundcloud rapper Ski Mask the Slump God has announced his debut tour of Australia and New Zealand. He’ll be performing at Festival Hall on November 9.
RAVE GODFATHERS THE PRODIGY CONFIRM AUSTRALIAN TOUR
After teasing a tour with a mysterious imagery campaign, The Prodigy have announced three dates in Australia this February. They’ll be performing at Rod Laver Arena on February 18.
ST KILDA FESTIVAL’S NEW MUSIC COMPETITION OPENS
The hunt for Australia’s next music star has begun with entries now open for the New Music Competition, a highlight of the 44th annual St Kilda Festival, running from February 15 to 16, 2025.
Ç A NEW LIVE MUSIC VENUE HAS JUST OPENED IN A VICTORIAN-ERA BUILDING
Melbourne’s live music scene is getting a major boost with the launch of PERSA, the newly refurbished band room at the iconic Perseverance Hotel in Fitzroy. This venue has been transformed into a 380-capacity live music space.
THE ELWOOD LOUNGE LEFT DEVASTATED AFTER FIRE BREAKS OUT
Southside pub The Elwood Lounge suffered extensive damage after a fire broke out in September, forcing it to close its doors after more than 20 years.
Ç HELLO SUNSHINE DROPS 2025 LINEUP
The all-ages festival, taking place in Melbourne’s Caribbean Gardens on March 1, will feature rockers including Stone Temple Pilots, Smash Mouth, Wolfmother and Kasey Chamber.
NEW ROMANTICS: A TAYLOR SWIFT COVER NIGHT - WITH ELLIE GIBSON + FAMOUS TREASURE HUNTERS A NIGHTMARE ON SYDNEY RD - FT: SELECT ALL + KAI CULT + SCUD + LIGHT MUSIC CLUB TICKETS AVAILABLE VIA OZTIX AT YOUR LOCAL INDEPENDANTLY RUN MUSIC VENUE
THEMED GIG - WITH JADED STATE + MINIMUM WAGE COUNTING SILENCE ‘ TEN BIRDS’ ALBUM LAUNCH - WITH BUSHIDO + SONS OF ABRAHAM + BODIES ON THE MOUNTAIN ARVO: SHARNY WITH KYJU - ‘THE SUN WILL ALWAYS RISE’ EP LAUNCH FT: ELLA DUNSHEA + ANTVY + BOGIL CRUMP SUNDAY SCHOOL - FT: HELLPHX + VIDA FOX + CUP - $7 SCHOONERS OF LAGER/CIDER
STRICTLY LIVE PRESENTS - WITH SPECIAL GUESTS THE RAYES ‘LIMB PULLED TAUT’ ALBUM RELEASE SHOW - WITH CAHILL KELLY & THE ENCOUNTERS + HUGO VAN BURREN
TINA GROWLS ‘SACRIFICE’ SINGLE LAUNCH - WITH MER LO + CUDDLE
REBELTECH101: - WITH SIRUS + C54 + ROBOTS IN LOVE (NZ) + SEQUENTIAL ZERO (SYD) + ARC OF SUN + PALLIATIVE + MORE!
MUSE ARTISTS - PRESENTED BY MUSE VOCAL STUDIOS - FT: LORENA VIANCA + KEZIAH + FREYA SLOAN + EMYLEE MAE
BOTB GRAND FINAL! WITH SUNDAY HONEY + SEB SZABO + TRUBUG + LEFT AT THE AVENUE + JACQUI LUMSDEN
DROPOUT KINGS (USA) - WITH THE WEIGHT OF SILENCE + DRUID
GUSTO GUSTO ‘TO THE OCEAN THEY RETURNED’ DEBUT ALBUM LAUNCH - WITH HEADPHONE JONES
STRICTLY LIVE‘S FIRST BIRTHDAY - FT: AMONG THE RESTLESS + THE VALIANTS + TUDOR CLUB + OLYMPIC WHITE
CHRIS LANZON ‘THE ANGEL LITANY’ TOUR - WITH MATAHARA + HANNAH MCKITTRICK I’MDIFFICULT (TAIWAN) - WITH POLLY AND THE POCKETS
JIMMY FROM THORNBURY ‘FAILURE TO LAUNCH’ LAUNCH - WITH KATIE DEY + ARTEMIS MUÑOZ JACK BIILMAN AND THE BLACK TIDE ‘FOLSOM PRISON BLUES TOUR - FT:BRETT WOOD
HALLOWEEN HORROR NIGHT 1: BLOOD FEST AT THE BERGY- WITH TIGER DRIVER + SCAPHIS + VAN DIEMAN (TAS) + ASTRO ZOMBIES!
ARVO: TIM ALLAN ’STARGAZING ON A CLOUDY NIGHT’ SINGLE LAUNCH - WITH ISABELLE DAVIS
16/11 HARAKIRI FOR THE SKY (AUT) + AUSTERE 22/11 KING (UK)
ELECTRIC MARY 01/12 BÔA (UK) SOLD OUT 02/12 HEY SMITH (JPN) + VOODOO GLOW SKULLS (USA)
03/12 ANDY SHAUF (CAN) SELLING FAST 05/12 THIRSTY MERC SELLING FAST 06/12 JAMIE WEBSTER (UK) 07/12 JACK WHITE SOLD OUT 10/12 MANNEQUIN PUSSY (USA) SELLING FAST 14/12 SUPERCHUNK (USA)
22/12 DAN & AL (XMAS SHOW)
18/01 NOASIS
24/01 SYCCO
31/01 MIKE TRAMP’S WHITE LION
07/02 XIBALBA (USA) 20/02 THE PRIMITIVES (UK)
GUIDE 03/10 TENTENDO 04/10 TALKING SH*T WITH MONTAIGNE
Ç SOLOMUN REVEALS FIRST MELBOURNE SHOW IN SIX YEARS
Global DJ heavyweight Solomun has announced his long-awaited return to Melbourne on Saturday, November 30, for a mammoth show at the Coburg Velodrome.
Ç WHEN PIGS FLY DROPS LINEUP FOR NEW YEAR’S EVE BASH
Celebrate New Year’s Eve with a diverse lineup at the Collingwood Children’s Farm. When Pigs Fly will feature the likes of Acopia, Ajak Kwai, No Fixed Address, Milo Eastwood, Wax’o Paradiso and many more, offering a vibrant party along the Birrarung.
Ç BRYAN ADAMS IS PLAYING ROD LAVER ARENA
Rock icon Bryan Adams is heading to Melbourne on February 6 as part of his Australian tour. Accompanied by James Arthur, Adams will play his classic hits like Summer of ’69.
Ç KYGO IS COMING TO MELBOURNE
Global EDM sensation Kygo brings his infectious tropical house beats to Melbourne for an electrifying stadium show at John Cain Arena on March 7. He’ll be supported by special guests Cyril and Xandra.
MELBOURNE FRINGE TAKES OVER THE QUEEN VICTORIA NIGHT MARKET
Two of Melbourne’s favourite cultural icons have teamed up for a feast for the senses. The partnership serves up late-night bites, sweet treats and free performances ranging from buskers and musicians to comedians and dancers and it’s on until October 16.
Ç THE ROOTS, TALIB KWELI AND NAI PALM ARE TOURING
The Roots, joined by Talib Kweli and Melbourne’s Nai Palm, will perform at the Sidney Myer Music Bowl on New Year’s Day. This Australian tour brings a fusion of hiphop, soul and funk to fans in an electrifying collaboration.
THIS GAMES WEEK HACKATHON COULD LAND YOU A JOB IN THE INDUSTRY
The inaugural Games Education Symposium, a free two-day event, will take place on October 3 and 4, bringing together students, educators and industry professionals to uncover diverse career opportunities in the gaming industry.
CARIBOU IS PLAYING AN EXCLUSIVE MELBOURNE SHOW
Caribou is bringing his signature blend of electronic beats and emotional depth to Melbourne on January 4. This exclusive performance is anticipated to be a hypnotic and immersive live experience.
Ç THE MUSIC VICTORIA AWARDS NOMINEES ARE HERE
G Flip, Hiatus Kaiyote and Ninajirachi lead the 2024 Music Victoria Awards with nominations in key categories. Winners will be revealed at The Edge in Fed Square, on October 24.
ULTRA AUSTRALIA LOCKS IN MELBOURNE DATE
Flemington Racecourse will host major EDM festival ULTRA Australia on April 12. This event promises world-class DJs – last year’s lineup featured the likes of Steve Aoki and Zedd – and a high-energy electronic music experience.
A FIXED PILL TESTING SITE WILL OPEN IN MELBOURNE
Victoria is introducing pill testing services, officially launching in time for the summer festival season, with a fixed site set to also open in Melbourne in 2025. These services aim to reduce drug-related harm at music events, though such drug use remains illegal.
Ç HUMAN NATURE ANNOUNCES 20THANNIVERSARY TOUR
Australia’s beloved vocal group, Human Nature, is celebrating 20 years of music with a tour hitting Melbourne on March 29. Fans can expect a nostalgic performance packed with hits from their extensive career.
A NEW MELBOURNE MUSEUM HAS OPENED
Melbourne has welcomed its first new museum in 25 years, which opened in late September. The National Communication Museum in Hawthorn promises to showcase Melbourne’s rich history and culture, contributing to the city’s vibrant art scene.
NGV REVEALS 2024 ARCHITECTURE COMMISSION
Starting November 2024, the NGV will present Home Truth by Breathe Architecture, a labyrinthine structure that critiques Australia’s oversized homes and their environmental impact. It contrasts a grand external house frame with a compact timber interior, promoting sustainable, community-focused living.
Ç RUFUS WAINWRIGHT ANNOUNCES JANUARY CONCERT
Triple Grammy nominee Rufus Wainwright will perform at Melbourne Recital Centre on January 10. Known for his powerful voice and emotional depth, this show will highlight tracks from his extensive and critically acclaimed catalogue.
Ç WANGARATTA FESTIVAL OF JAZZ AND BLUES RETURNS BIGGER THAN EVER
The Wangaratta Festival of Jazz and Blues is back from November 1 to 4, celebrating its 34th anniversary. With a mix of veteran and emerging performers, new programs and the National Jazz Awards, the festival promises to be an unforgettable event.
NYE ON THE HILL DROPS 2024/25 LINEUP
This New Year’s Eve, NYE on the Hill returns to South Gippsland with Mallrat, Hockey Dad, Teen Jesus and the Jean Teasers and The Dreggs as headliners. It runs from December 30 to January 1.
THE KILLERS TO ROCK MELBOURNE WITH HOT FUSS
The Killers will perform Hot Fuss and Rebel Diamonds at their Rod Laver Arena shows this December 12 and 13. Expect epic nights featuring classics like Mr. Brightside and Somebody Told Me.
ONE ELECTRIC DAY 2024 FEATURES NOISEWORKS, BIRDS OF TOKYO
One Electric Day returns on November 17 at Werribee Park with headliners Noiseworks, Birds of Tokyo and Wolfmother. This iconic festival promises a day of thrilling performances by top Australian acts, including Baby Animals and Killing Heidi.
Ç PORT FAIRY FOLK FESTIVAL ADDS PETER GARRETT AND MORE
The Port Fairy Folk Festival, celebrating its 48th year, will feature Peter Garrett and his band The Alter Egos along with local and international acts. Running from March 7 to 10, this year’s performers include Jenny Mitchell, Ruthie Foster and more.
THE LIBERTINES ARE COMING TO THE FORUM
English rock band The Libertines will return to Australia in April, playing their first shows since 2018. The tour includes a Melbourne date on April 15 along with performances in Sydney and Brisbane.
Ç GREEN DAY TO PERFORM DOOKIE AND AMERICAN IDIOT IN MELBOURNE
Green Day will play their landmark albums Dookie and American Idiot in full at Melbourne’s Marvel Stadium on March 1. The Saviors Tour also features new tracks and special guests AFI, marking a major live event.
Ç THE RIVER FOLK FESTIVAL RETURNS THIS OCTOBER
The River Folk Festival is back from October 4 to 6 in Warburton, celebrating its fifth anniversary. This boutique event will feature a mix of music, performing arts, storytelling and community activities across multiple venues.
CHOPPED FESTIVAL LINEUP LED BY COSMIC PSYCHOS AND A. SWAYZE
Chopped Festival will take place at Carisbrook Racecourse & Recreation Reserve from October 4 to 6. The event, now in its 12th year, will feature Cosmic Psychos, Dr Sure’s Unusual Practice, A. Swayze and more, blending hot rods, motorcycles and music.
Ç MELBOURNE RECITAL CENTRE REVEALS OCTOBER PROGRAM
In October, Melbourne Recital Centre will showcase iconic debuts, emotional farewells and unique performances featuring quadraphonic sound and gender exploration. The venue will present the likes of Eliza Hull, Xani Kolac, Nobuyuki Tsujii and more.
Ç THIS FREE SOLARPOWERED GIG PROVES THE FUTURE IS NOW
Wildlive has created Australia’s first low-consumption, solar-powered live production setup and they’re showing it off with a free, allages gig and panel discussion at Collingwood Yards on October 11, featuring Kim Churchill, MzRizk, Wilson Blacklet and more.
ESOTERIC’S 2025 LINEUP LED BY KAYA PROJECT, ARJUNA AND MORE
Esoteric has announced the first wave of artists for its highly-anticipated 2025 event. The lineup, which promises to take the festival’s psychedelic circus to new heights, includes Giuseppe, Tristan, Shakta and Killerwatt, with more to be revealed soon.
Ç THE CORNER HOTEL IS BRINGING BACK THE CORNER AWARD
The iconic Richmond music venue has announced the return of the Corner Award after a four-year break. This year’s nominees include Folk Bitch Trio, Cool Sounds, Gut Health, KAIIT and more. Fans can vote for their favourite artist until November 3.
RED HOT SUMMER TOUR UNVEILS 2025 LINEUP LED BY ICEHOUSE
Headlined by the legendary Icehouse, the Red Hot Summer Tour also features Noiseworks, Wolfmother, Eskimo Joe, Baby Animals, Killing Heidi and Bachelor Girl. The renowned outdoor concert series will run from January to March 2025.
Ç SCOTTISH PIONEERS PRIMAL SCREAM ARE PLAYING IN MELBOURNE
Primal Scream are set to return to Australia for the first time since 2018. The band will bring their cosmic energy to the Forum on January 10, playing tracks from their iconic album Screamadelica as well as new material from their upcoming release, Come Ahead.
Ç TREATY IN THE PARK RETURNS TO WERRIBEE’S WYNDHAM PARK
The beloved celebration of First Nations music, culture and community will happen on November 24, with a deadly lineup of First Nations artists including Dan Sultan, Mo’Ju, Kutcha Edwards, Brolga, Madi ColvilleWalker and MC Isaac Compton.
Ç JAMAICAN MUSIC & FOOD FESTIVAL DROPS 2024 LINEUP
Happening at Seaworks on December 7, the Jamaican Music & Food Festival is back, with jerk chicken, rum punch, African drumming, a magic show and a lineup featuring the likes of Anthony B, DJ Banna, Flames Eye and Fitzroy Lee.
MUSIC HALL
OCT
THU 3RD BEKA BAKER presents BACK CATALOGUE BOWIE with guest MICHAEL DWYER
FRI 4TH STEVE LUCAS – A Night of X Music
SAT 5TH MOVING TOWARD THE PULSEBEAT DJ Randy Lipz XXX & DJ Bricolage
FRI 11TH VIDEO DISCO (Fringe Festival Event)
SAT 12TH SUPERSONIC 90ʼs ft. DJ Dan Brunswick & DJ Eddie Monsoon
FRI 18TH ʻTHEY CAME FROM BALLARAT,ʼ THE MAVISʼS (TISM Warm Up Show) with THE DEAD SALESMEN
SAT 19TH LITTLE MURDERS Under Northern Lights Album Launch
SUN 20TH SOUND AS EVER presents ʻ THE FL ANNEL FILESʼ CD LAUNCH ft. performances by Anthony Atkinson, Jane McCracken, KT V (duo), Rob Clarkson, Sodastream (duo), Penny Hewson, and Robots In Love (formerly Sobriquet)
FRI 25TH PSYCHO SEQUINZ (Glam Rock Covers)
SAT 26TH DARK GLOVE (Michael Sheridan of Max Q & No)
SUN 27TH PIANO 4TE with Adam Rudegeair, Solune, Ania Reynolds, Hong Yang
THU 31ST HALLOWEEN TIM BURTON/DANNY ELFMAN TRIBUTE ft. Lake Minnetonka
For full gig list & event details visit o de onric hm on d. co m .a u
SCAN QR FOR ALL EVENT TIX (OZTIX.COM.AU)
Want a gig at Odeon Richmond? Send band bio/performance links to: en quir ies @od eonric hm on d. co m .a u ODEON RICHMOND IS AVAILABLE FOR PRIVATE HIRE
Wesley Anne y Anne
BAND ROOM
Friday 4 October
Vanessa Estrada
Saturday 5 October
Blue Fur
Sunday 6 October
On the Couch with Beck Lister
Friday 11 October
The Good Behaviours
Saturday 12 October
Basement Spaceman
Sunday 20 October
Glenn Musto
Friday 25 October
Tamas Wells
Thursday 31 October
Rufous Whistler
Trivia with Sparx every Wednesday 7:30pm PRESENT THIS VOUCHER WHEN ORDERING AND GET...
FRONT BAR
Thursday 3 October
David Knight
Friday 4 October
Oscar LaDell
Friday 11 October
Bossa Brunswick
Saturday 12 October
Kira Natsis
Friday 18 October
Suzi So Blue
Sunday 20 October
Scott Candlish
Friday 25 October
Lee Jones Trio
Sunday 27 October
Tony King
Thursday 31 October
Ingrid Saker
THE HUXLEYS
“We think of ourselves as gay terrorists or cosmic wizards. Too much is never enough. If you think what we are wearing is too much, the answer is: No.”
You could say a lot about the Huxleys. You could say too much about the Huxleys but you could never say too little. The performance duo has been parading their gender-fucking act throughout Australia, spreading their surreal imagery through an appeal to the otherworldliness of queer presentation.
WORDS BY SIMONE ANDERS
Æ “I saw David Bowie on Rage late at night when I was a kid and I only thought: ‘freedom’. That is how we see our work. Seeing outside of everyday life and what people expect of you. Life doesn’t have to be prescribed. You can be as ridiculous or as amazing as you can dream of. That is our world,” says Will.
Will and Garrett Huxley have been performing since 2014, exhibiting their heightened sense of exuberance and joy through an art that refuses to be categorised.
“We are inspired by a lot of surrealist art. Looking at those shapes and ideas there really is no right or wrong, there are no binaries, and our work sits outside of that.”
For this year’s Melbourne International Fringe Festival, The Huxleys are planning a performance piece meets photoshoot meets cishet-larping event entitled The Winner Takes All. The piece is designed as an arts happening tinged with queer joy, encouraging people from Melbourne’s LGBTQIA+ community to share in the unique joy of wrestling sports away from the straights and making it weird.
Asking any performer to understand the impetus for their art is always a loaded question, but in this case, I had no choice.
“It came from years of trauma! Growing up in the times that we did, forced to play team sports in aggressively heteronormative spaces, we were completely at odds with that world and we were both bullied endlessly, even by PE teachers. Those things are traumatic but if we can make peace and laugh at it by revisiting, that is what is at the heart of this project. As queer people, we are often ostracised from athletics, and we thought let’s find a way of letting people be the sports hero that they wanted to be, even for a moment,” Will tells me.
“As artists, it is hard to make a living, but Australia generally worships sport, so we thought that we should thrust art into sport and see if that makes a difference.”
For the event, The Huxleys are encouraging people to come in their most eccentric takes on sport archetypes: Overeager Spectator, Sporting Failure, Umpire, Mascot and Orange Slice Attendant (very important). Participants are encouraged to dress up in all manner of heightened delights, encouraging them to make their own spin on the many archetypes of sport events glamour.
The aim is to come away with a series of photographs that are camp and surreal, strange and joyous.
“The idea is that we are going to be wearing costumes that are completely impractical to play sports in but it doesn’t matter; it is going to be fashion on the field. Losing is more fun for me anyway. I have always championed losing.”
It isn’t simply a gathering or an art-happening; it is an almost festival-like atmosphere of queer celebration.
“We are going to make it into a bit of a party atmosphere. At the end of the day, we are making art. You know how at the start of sporting events they get someone to sing a terrible national anthem? Our plan is to bring in Nefertiti LaNegra (who is one of our favourite performers) to come out and sing a queer anthem. We want it to be dumb and fun where people can play sports in ridiculous gear and also enjoy all of the other performers. There will be DJs, drag artists, gothic cheerleaders… It will be joyous. We want people to come together and laugh making art.”
I ask Will if losing will be the aim of the game with this event.
“The ethos has been to fail spectacularly, and that is the joy. There will be no losing and no winning. I hope this project at least inspires people to dress up and express themselves and their love (or hatred) of sports. These photos may fail, but it will be unforgettable regardless. Light and humour and being creative is always the way forward. I hope that some die-hard sports fans see these images and either be horrified or excited. Hopefully both!”
“Life doesn’t have to be prescribed. You can be as ridiculous or as amazing as you can dream of. That is our world.”
THE HUXLEYS
WHERE: VARIOUS LOCATIONS
WHEN: 6–12 OCT
BARKAA
WORDS BY JAKE FITZPATRICK
With her new EP Big Tidda, the pioneering rapper has created a path for herself and future generations of rap talent.
Æ To say 2024 has been a good year for BARKAA would be an understatement. From being named Artist of the Year at the 2024 NIMAs to releasing her new EP, Big Tidda to commercial and critical acclaim, BARKAA’s year has been the stuff of fantasy – a fantasy the Malyangapa and Barkindji rapper conjured in her head as a young girl.
“I’m the youngest of nine,” she explains to me while on her way down to Warrnambool, a small town in Victoria. “I grew up in a household where my older brothers and sisters loved hip-hop. My eldest brother Shane used to rap and he was my hero. I wanted to be just like him. I also loved performing for my family.”
Later, performing Britney Spears’ Oops I Did It Again at a local talent quest proved solid training for the career BARKAA would come to inherit. “I feel like Britney subconsciously helped, even though I never won the talent quest and I got bullied for it. I still got up and did it, and I think that says a lot.”
These early experiences set the scene for a career in music. Not coming from a musical background, however, she didn’t know how to reach these heights.
“My mum has her master’s in criminology. She wanted us to be academics but it kind of didn’t end up that way,” she jokes. After BARKAA was released from custody, she began posting videos of herself on Facebook. While she enjoyed doing it and receiving feedback from the mob, she never thought she could make a career out of it. After receiving encouragement from rap pioneer Nooky, she decided to take it a bit more seriously. Their interaction proved to be the instigating force for BARKAA’s career.
“He later told me there was a Klub Koori gig at Carriageworks in Redfern. Him and the Bad Apples brothers were performing. Then he chucked me up for one song and it changed my life,” she recalls.
Later releasing her first EP, Blak Matriarchy, BARKAA finally found her feet both personally and professionally. She’s since inspired generations of young Indigenous rappers to give it a go.
“We’re big on encouraging more of the mob to get involved.
The more of us in the scene, the better. I’m big on telling people to just do it and take the risk. If I didn’t, I wouldn’t be where I am now.”
Since dubbed ‘the new Matriarch of Australian rap’, BARKAA has just released her second EP, Big Tidda.
“It’s about my tidda girls. It’s a form of endearment between sister girls in the community. It’s a form of endearment because we’re tying mob to kinship. So, the title basically just means big sister.”
In a more positive headspace than she was when writing Blak Matriarchy, BARKAA wanted to do something different with this EP. “I wanted it to show how I’m living now, south-west Sydney raised. Life’s not perfect, but it’s close. I’m in a better time in my life.”
Describing the recording process as ‘freeing’, BARKAA took a slightly more organic approach to this EP, focusing on honesty first.
“I just wanted it to be truthful. One of my mottos has always been ‘tell the truth even if your voice shakes’ and if you tell the truth in who you are, no one can use that against you.”
BARKAA pays tribute to her own mother in the song Alinta. “It’s about my mum and I’s struggles together as mother and daughter. How we’re closer now and stronger together. How we made it back,” she shares. This catharsis later allowed for forgiveness from both BARKAA and her mother.
“My mum didn’t have the services I did growing up. She went through trauma and powered through. I’m at an age where I don’t hold anything against her. I’m appreciative of the strong Blak woman she is and the strong Blak woman she’s raised me to be.”
Now a mother of three kids herself, BARKAA’s life is on the up. Mere hours after chatting to me she was brought out as a surprise guest by Thelma Plum. Needless to say, I think her rise will continue for a long time to come.
“If you tell the truth in who you are, no one can use that against you.”
BARKAA
WHERE: CORNER HOTEL
WHEN: 18 OCT
FAT DOG
WORDS BY JAKE FITZPATRICK
It’s 9am in London and Fat Dog keyboardist
Chris Hughes has still not been home.
Æ Chatting to me from a park he doesn’t know the name of in Bethnal Green, it’s clearly been a long, long night.
“I went to the pub and gate crashed some party, then ended up at some random’s house. You know how it is in London,” Hughes admits.
“This is the second time I’ve been interviewed by someone in this state. The first time I was in a telephone box that stank of piss and I threw up, so this is much, much better.”
It all sounds very rock ‘n’ roll, but alas, this is something Hughes is going to have to get used to. His band, Fat Dog are well and truly on the rise.
Fat Dog, the lovechild of vocalist and guitarist, Joe Love (mind the pun) began in 2020 during lockdown. Bored and bursting with creativity, Love began creating his own unusual solo music and eventually doing some gigs.
“Joe was like William Shatner singing along to his own little tracks, but instead of singing he was like speaking,” Hughes says of Fat Dog’s early iterations. Eventually after seeing a few of these gigs, he wanted to get involved.
“I only actually auditioned because I was going through a bad break-up. I asked the synth player if they had any spaces, and they told me they needed a viola player. They were like ‘Can you play?’ and I was like ‘Oh yeah, I can play’ which was a complete fucking lie.
“So that night I bought a viola on eBay and tried to learn it in a week. Then I auditioned and Joe couldn’t even look at me in the eyes. But the other synth player was leaving so he was like ‘Can you play keys?’. Then I got in.”
The band now consists of Love, Hughes, Johnny ‘Doghhead’ Hutchinson, Morgan Wallace and Jacqui Wheeler. Eventually signing with Domino Recording Company, the home of the Arctic Monkeys, Wet Leg and Four Tet, the band knew they were in safe hands.
“[Domino] came down to a lot of gigs. They sort of seduced us because they were like ‘We have a studio in Brixton and if you ever want to come down and make some tunes, do’. So we did.”
While the label, for the most part, has let the band do their own thing, they did make a few small changes.
“Some of the early lyrics were so gross,” Hughes admits. “So they were like, ‘Maybe you don’t want to keep that’. One of the lyrics that was eventually thrown out was ‘You’re so dumb, I should have cum on your mum’s bum’. I think the label made a good call there.”
The band also got to keep the odd name, which Love created on a whim after realising before a show that they didn’t have one. Eventually, after playing around the London gig circuit, the band began to gather a following. “We built an audience off live shows which is not something you see that much anymore.” This route, Hughes believes, creates a much stronger foundation than bands “getting famous off a seven-second clip of their songs on TikTok”.
“We’re so shit at social media anyway. Joe and I wanted to develop our TikTok presence the other day. But I don’t understand how that fucking app works. I had to uninstall it because it was too overwhelming.”
While the band might not be the best on social media, there appears to be no real need. After spending their summer tearing up the festival circuit including performances at Latitude, Glastonbury and Pukklepop, the band have made quite the name for themselves.
It’s all come at a perfect time too, in the lead-up to the release of their debut album, WOOF. After starting recording in February 2023, the band went on quite the nine-month journey to get WOOF finished.
“Joe spent a lot of time on King of the Slugs. He really wanted to put our best foot forward on that one. But the hardest one was Closer to God. You think you’re really cool making a song in an odd time signature and then you realise how fucking annoying it is to record it in a studio.”
Hughes calls Love a “benevolent dictator” when it comes to the recording process. “Which is no bad thing if you ask me. He keeps it efficient. I also don’t like having to think. It’s a really solid album.”
Unlike most artists who would be tearing their hair out before releasing their debut album, Hughes could not be more chilled. “I’ve been getting way too hungover to have emotions about this album anymore. This is my tactic to deal with the stress.”
But Hughes better pace himself, as the next few months are set to be hectic. “We’ve got a million gigs. More festivals in Europe, a UK tour, an EU tour, a North American tour, then Hong Kong and Japan. Then hopefully, one day, Australia – in the near future,” Hughes contends.
With that, it’s time to let Hughes go home and get some sleep. It sounds like he and the rest of the band will be needing it.
FAT DOG
LABEL: DOMINO RECORDING COMPANY
RELEASE: OUT NOW
Credit: Frank Fieber
Photo: Aurie Indianna
COOPER ALAN
WORDS BY KAYA MARTIN
Country music is having a moment.
Æ Even in Melbourne, one of the least ‘country’ places in the, uh, country, cowboy fever is catching. Bars are investing in mechanical bulls. Girls are investing in bandana tops and leather boots. Somewhere in the past handful of years, people went from saying they listened to “anything but country” to going full yeehaw.
And it’s not just a feeling. According to a study by the Country Music Association of Australia, the value of country music has doubled in the past two decades, selling more tickets, getting more radio play and climbing the charts.
As a result, it’s no wonder why festivals like Ridin’ Hearts have emerged. Following a successful debut last year, the event has returned with a cracking lineup featuring modern stars including Riley Green, Bella Mackenzie, Tanner Adell, Austin Snell and Cooper Alan.
It’s artists like this who are transforming the industry, using new tricks to sweep up fans and convert the non-believers.
Perhaps no one better represents this ethos than Cooper Alan. After moving to Nashville in an attempt to kick off his music career the old-fashioned way, the North Carolinian singer-songwriter started making TikToks. In them, he sings snippets of songs, hangs with friends, teases upcoming releases and sips Coors Light.
Long story short, he blew up. Now, he’s got over 10 million followers and a healthy music career to show for it. “I hated social media. I still kind of hate social media, but I love my fans. I love connecting with people,” he tells me.
“I remember the first viral video we had – my mum handed me a guitar and asked me to sing stuff. It was kind of silly, but I saw more followers come in that night than I’d ever had on Facebook, Instagram, or any of that stuff combined. So that’s when it felt real. It was like we could actually build something organically for the first time.”
Blonde hair peeking out from under a Winston-Salem baseball cap (hometown represent), Alan is as overtly sweet and affable as he appears in his videos. He’s radiating what they call Southern charm. He even laughs politely at my “not your first rodeo” joke regarding his previous trip down under for last year’s CMC Rocks.
“When we did CMC, I knew it was going to be pretty big… I was not expecting it to be how it was,” he tells me. “It blew us away. All the guys in my band, my wife, my crew, everybody was like, ‘this is probably the best thing we’ve ever done.’”
It’s not just his social media presence that sets him apart from past generations. He isn’t afraid to borrow from other genres, dabbling in sampling and remixes, a result of his diverse music taste.
“My favourite artist, technically, is Kid Rock, which I know sounds weird,” he says. He lists a few more: Eminem, Third Eye Blind, Blink 182, AC/DC, Hootie & The Blowfish, 50 Cent and Lynyrd Skynyrd.
“My first big phase of music was freaking disco music… I’ve been through about every genre. I think the only hard phase I haven’t gone through is jam band because that’s not totally my thing, but there’s some good stuff there too.”
Alan, who says his work is “sort of all over the place”, has released everything from wedding-ready love songs to EDM-infused bangers. Toss his discography on shuffle, and gospel track Jesus Saves could follow Colt 45 (Country Remix), an adaptation of Afroman’s Crazy Rap transformed to be about crushing beers.
“All the guys in my band, my wife, my crew, everybody was like, ‘this is probably the best thing we've ever done.’”
A personal favourite is Climate Change, a mournful ballad that likens the environmental phenomenon to a love gone cold. Alan smiles when I mention it, telling me it was the first song he dropped after he moved to Nashville.
“I think my dad had said, ‘Why don’t you write a song called climate change, but like, love?’ and I was like, ‘That is so stupid’. But then I brought it up in a room one day and we came up with that, and it actually turned out really cool,” he says.
“We don’t play it live anymore, just because nobody really knows it, but I’m glad you know it and maybe when we see you we’ll have to play it because I miss that song.”
It’s this outlook – open-minded, positive and not afraid to get a little goofy – that has helped Alan win the hearts of fans across the world. Maybe it also gives us a clue as to why the genre on a whole is on the rise, even among us city slickers. It’s just damn likeable. “Hey, country is for everybody,” Alan says. “I don’t really know why it hasn’t been having this moment for such a long time.”
COOPER ALAN
WHERE: RIDIN’ HEARTS –CARIBBEAN GARDENS
3 NOV
WHEN:
Credit: Matthew Berinato
CUB SPORT
WORDS BY GABRIELLE DUYKERS
“What if I died tomorrow and never told you?”.
Æ
Almost a decade ago, Cub Sport frontman Tim Nelson penned these lyrics about a love he hadn’t yet admitted to himself, let alone anyone else. Ahead of the band’s set at Ability Fest, the singer reflects on how songwriting helped him find his voice, and soon after, the love of his life.
Cub Sport’s celebration of self-expression and individuality carries a rare authenticity – one that feels like the culmination of years spent grappling with identity and fear, before triumphantly emerging in light.
“Before I was out or had told Sam anything about how I felt, it was all kind of coming out in the songs,” Tim recalls, referring to his bandmate and now-husband Sam Netterfield.
“I felt like I wasn’t giving away anything too obvious, but in retrospect so much of my truth that I wasn’t fully ready to actually say out loud came through in the music. I kind of owe where I am now with Sam to that process, because it was him listening to the songs that gave him the confidence to say something to me about it.”
In 2016 the pair came out to each other, their families and fans. A year later they were engaged, before tying the knot in 2018.
Tim has always spoken candidly about his path to self-love. Raised in the Pentecostal Church, he’s faced a number of internal and external pressures that made embracing his identity a complicated journey.
“It took me so long to accept that I was queer,” he says. “It was something that I didn’t like about myself, and when I finally did admit it, it was kind of begrudgingly, like ‘it is what it is’.” Music became a pivotal tool for introspection and a safe space to express matters of the heart. “I love getting my feelings out through music, and I hope that it’s something I can do for my whole life,” Tim shares.
The band’s musical output has been an ongoing exploration of identity – navigating the complexities of queer love, desire, spirituality and acceptance. These themes can be heard throughout Cub Sport’s discography, shifting from their earlier melancholic ballads to the rhythmic, bright and bouncy dance tracks on recent releases.
In contrast to the more reflective, gut-wrenching tracks on the band’s 2020 album Like Nirvana, their 2023 album, Jesus at the Gay Bar, birthed a new chapter of joyful and euphoric dance tracks, while maintaining the “emotional sincerity” beloved by listeners.
“After performing Like Nirvana and it being such a deeply emotional experience… I was kind of trying not to cry at so many points throughout performing that music. I wanted it to be a bit more fun and a bit more light –for myself performing it, and also for the audience.”
Since touring the record across Australia, New Zealand and North America, Tim says the lift in energy at their live shows was immediately palpable. “Having people dancing and stuff instead of crying – although it’s kind of a bit of both still – definitely feels different in a nice way.”
Cub Sport is riding the wave of a broader cultural shift with the rise of queer pop. Over the past decade, queer artists have found increasing success in the mainstream.
“It is such an exciting time,” Tim says, citing the achievements of artists like Troye Sivan and Chappell Roan.
“I feel like not that long ago, there were popular artists and then popular queer artists. But now it just feels like queerness has permeated all of the most important parts of culture. It’s the great things that queer people are doing that are really what’s shining.”
On a personal level, the shift has brought Tim a deeper appreciation of his LGBTQIA+ culture. “I love being queer,” he says. “It’s become something that I’m so happy and grateful for. Now I’m like, I hate to imagine life as a straight person. No offence to straight people,” he chuckles.
Cub Sport are wrapping up the production of a new album, scheduled for release sometime next year. Tim says the record will dive deeper into the “dancy and clubby vibes” the band has been exploring. He also teased a seventh album already in the works, featuring sounds akin to the band’s early recordings.
After 15 years together, the four-piece remain closer than ever. “I’m honestly so grateful to have five albums out now and still feel excited about it all,” Tim says. “I know how rare that is – to have a band that can stay so tight and keep getting tighter over time. More than ever, it feels like we’re a little family.”
CUB SPORT
WHERE: ABILITY FEST, ALEXANDRA GARDENS
WHEN: 19 OCT
Credit: Diego Campomar
XANI
WORDS BY JULIETTE SALOM
While lockdown stifled many artists, acclaimed violinist and composer Xani Kolac was able to transform the pressure of a world on the brink of apocalyptic collapse into much-needed art.
Æ For Xani, this period of uncertainty provided her with the catalyst she needed to create a piece that transcends bodily existence into a soundscape of human connectivity. You know what they say –diamonds are made under pressure.
It was lockdown and the concentrated focus on monitoring one’s body for symptoms that sparked Xani’s exploration of health anxiety. “[I realised] that I have no idea what’s going on inside my body,” she says.
This experience inspired her to create Stamina, a sound experience delving into the beautifully intricate workings of the human body that she’ll present at Melbourne Recital Centre on October 21 as part of the Melbourne International Jazz Festival.
Starting with the concept of the human body, Xani built a musical skeleton around this idea, gradually fleshing it out. This method, she explains, is how she likes to begin making new music.
“I get to imagine a world, a context, a history, a narrative, and then make sense of that world through music,” she says.
“It’s less about translation, and more about creating musical experiences that evoke emotional responses inspired by these concepts.”
In Stamina, Xani experiments with quadraphonic sound, where four speakers are positioned in the corner of a room for an immersive listening experience.
“I can better tell this story by using surround sound and having more control over the experience of a sonic environment,” she says. “When I work with this technology, I often feel like sound and music is created outside of my body, rather than internally, which is how I usually feel performing in stereo. I thought this was an interesting juxtaposition, especially since I am telling a story of what is going on internally. It’s a conflict.”
That conflict – between external and internal worlds – brings Stamina to life. It allows audiences the space to explore the ideas and reflect onto the music their own experiences. Xani emphasises that the audience’s engagement with the sound creates a shared sonic atmosphere, bringing everyone together.
“I have moments throughout the work which amplify and give space to the sounds of other bodies in the room,” Xani says. “Their breathing, their movements, their voices. The way we set the stage is that the quad speakers are surrounding all of us together. I hear exactly what the audience hears. I love the democracy of that.” In Stamina, the listener is not just an observer; they’re a participant too.
This deep connection between artist and audience is perhaps a welcomed shift from the solitary nature of creation for Xani. Her biggest challenge, she says, is that much of the creative process happens alone. “I am missing the element of collaboration,” she says. “It’s hard because I love bouncing ideas off other people. It’s a challenge, it’s messy and chaotic, but it’s in that state where I think I make my best work.”
For the final stages of Stamina’s creation, Xani collaborated with Glen Nicol, who will be mixing sound and running lights at the upcoming performance. Together with Glen, Xani was able to explore light and spatial sound within the work. “I loved that aspect,” she says. Even still, it seems like Xani might be able to make her most profound work when she’s caught in life’s endless rips of confusion and fear.
“Charting new and untested waters is part of my manifesto, if you like!”
“I like to keep moving, running experiments and pushing what the violin can do,” she says. “Two years ago, I never thought I’d be delving into the [Yamaha] five-string, but here I am. I tend to follow where my instincts take me. My imagination just keeps running wild. I believe in always learning – that is how I evolve.”
Xani’s own stamina is clearly relentless. Despite all the challenges, she says, “My body keeps functioning like a machine.”
Like muscle memory, Xani just keeps on pushing forward. “I called this work Stamina because despite my mind unravelling with health anxiety over the past four years, my body has endured.”
Not only has Xani endured – she’s excelled.
“Industry recognition opened some doors, but my own confidence in my ability to keep going and to trust my own instincts and judgements has grown. In a way, this work perfectly describes where I’m at musically, artistically and career-wise.”
“I just [have to] maintain my stamina,” she adds. “Mind, body and soul – I’ll be able to keep growing. My journey has always meant leaning hard into the unknown, the unexpected, the unplanned. I love it that way.”
XANI
WHERE: MELBOURNE RECITAL CENTRE
WHEN: 21 OCT
STAGE GUIDE
WORDS BY SARAH DUGGAN
SIX THE MUSICAL
This smash-hit musical turns history on its head as the six wives of Henry VIII take the stage to reclaim their stories. A fun, empowering and infectious pop musical, SIX is packed with catchy tunes and fierce performances, blending history with contemporary girl power.
COMEDY THEATRE UNTIL 20 OCT
TINA: THE TINA TURNER MUSICAL
This electrifying musical tells the life story of the legendary Tina Turner, from her humble beginnings to becoming the Queen of Rock ‘n’ Roll. Featuring her most iconic hits, this production is a joyous celebration of resilience, strength and unforgettable music.
PRINCESS THEATRE THROUGHOUT OCT
NO SHOW
In this experimental comedy, the comedian is a no-show and chaos ensues. With an overworked tech and a relentless heckler, the audience is in for a wild ride as they watch a show unravel and rebuild itself. It’s an inventive, meta-theatrical comedy experience full of unpredictable laughs.
THE MOTLEY BAUHAUS 1–6 OCT
SH*TBAG
In this bold solo debut, Hayley Edwards combines dark humour and raw honesty to tackle themes of chronic illness, mental health and sexuality.
TRADES HALL: ARCHIVE ROOM 2–6 OCT
BLACK GIRL RISING
This one-woman show fearlessly explores racism and mental health through a mix of stand-up, spoken word and storytelling. Engaging and hard-hitting, the performance dismantles stereotypes while making you laugh and reflect. A powerful production that sparks important conversations.
LA MAMA COURTHOUSE 2–6 OCT
TEMPLE OF DESIRE: THE PARTY
A visually stunning dance-theatre piece, Temple of Desire revives a pre-colonial world where divine beauty and sensuality were celebrated as paths to spiritual liberation. 16 dancers, trained in classical Indian Bharatanātyam, create a mesmerising fusion of traditional and modern storytelling.
MALTHOUSE THEATRE 4 & 5 OCT
I HOPE THIS MEANS SOMETHING
This world premiere explores the fragile psyche of an activist overcome by the enormity of the climate crisis. As their mental health deteriorates, the play navigates the fine line between sanity and madness, fact and fiction, in a powerful, provocative narrative.
CHAPEL OFF CHAPEL 2–13 OCT
GOLDEN BLOOD
Set in Singapore’s criminal underworld, Golden Blood tells the gripping story of two orphaned siblings who turn to gangster life for survival. This fast-paced drama combines violence, glamour and familial loyalty, leading to an emotionally charged and unforgettable conclusion.
FAIRFAX STUDIO FROM 25 OCT
PETER AND THE STARCATCHER
Discover the untold prequel to Peter Pan in this enchanting theatrical production. Featuring a stellar cast, including Peter Helliar and Colin Lane, this magical adventure takes audiences through a whirlwind of unforgettable characters and fantastical creatures.
PLAYHOUSE THEATRE FROM 8 OCT
BIANKA ISMAILOVSKI: WORKING GIRL
Bianka Ismailovski returns with her hilarious one-woman stand-up show, Working Girl, where she shares candid, laugh-out-loud stories from her life in sex work.
MUSEUM OF CHINESE AUSTRALIAN HISTORY 8–12 OCT
AFTER REBECCA
In this intense psychological thriller, an unnamed woman recounts her unsettling journey after running away with a millionaire reality TV star. Set in the isolated Australian outback, this play explores themes of gaslighting, power dynamics and hidden violence, keeping audiences on the edge of their seats.
LA MAMA HQ 9–13 OCT
HOUSE WITH A SUNKEN GARDEN
This intimate, one-person show invites audiences on a sensory journey through vivid memories and poetic reflections. Writer and performer Olive Weeks creates an emotional landscape that encourages viewers to find beauty in everyday moments, combining spoken word and movement in this immersive experience.
THE MOTLEY BAUHAUS 14–20 OCT
FESTIVAL GUIDE
WORDS BY SARAH DUGGAN
FRINGE FESTIVAL
Melbourne Fringe Festival is returning with over 450 unique events that span comedy, cabaret, dance, music and more. This festival is all about celebrating the unconventional, bringing daring ideas and creativity to life across the city for three weeks of fun and artistic expression.
ACROSS MELBOURNE 1–20 OCT
MELBOURNE BACHATA FESTIVAL
Get ready for a thrilling weekend of Latin dance as Melbourne hosts some of the biggest names in Bachata, with international stars like Cornel & Rithika and Sergio & Ana. TRANSIT DANCE 4 OCT
MODE FESTIVAL
Returning for its third edition, Mode brings some of the world’s finest DJs and producers to Melbourne and Sydney, including Young Marco, Sweely, Bored Lord, Jasper Tygner, Tommy Holohan and more.
PICA 5 OCT
MELBOURNE INTERNATIONAL GAMES WEEK
Celebrating its 10th anniversary this year, Melbourne International Games Week showcases the latest and greatest in games, technology and culture, with career opportunities, esports tournaments, game debuts and free community events.
VARIOUS LOCATIONS 3–13 OCT
4H FEST – LATIN RAP AND HIP HOP FESTIVAL
Celebrate Latin hip-hop culture at 4H Fest, featuring live performances from top Latin rap artists. With a mix of music, dance and community vibes, this event brings together fans for an exciting night at Wax Music Lounge.
WAX MUSIC LOUNGE 18 OCT
MELBOURNE INTERNATIONAL JAZZ FESTIVAL
Melbourne International Jazz Festival brings some of the world’s best jazz to the city with over 100 performances from renowned international and local artists. Spread across concert halls, intimate clubs and city streets, this festival is a jazz lover’s dream.
VARIOUS LOCATIONS 18–27 OCT
ABILITY FEST
With all proceeds going to the Dylan Alcott Foundation, this accessible music festival is an oasis for fans of all ability levels, with Auslan interpreters, viewing platforms, a tactile silent disco and more. Cub Sport, ONEFOUR, Ocean Alley and King Stingray lead this year’s lineup.
ALEXANDRA GARDENS 19 OCT
INDIAN FESTIVAL MELBOURNE
Experience a day of Indian culture at Queen Victoria Market, featuring traditional music, vibrant dances and a variety of mouth-watering street food. It’s a colourful celebration that brings the flavours and energy of India to Melbourne.
QUEEN VICTORIA MARKET 20 OCT
VICTORIAN FESTIVAL OF DIWALI
Celebrate India’s Festival of Lights at Federation Square, a day filled with cultural performances and workshops. Experience dazzling performances, craft activities and delicious Indian street food.
FED SQUARE 26 OCT
MELBOURNE’S
HALLOWEEN FEST
Celebrate the spooky season at this fun-filled family Halloween event, with candy, games, dancing and prizes. This festival is free for kids aged 3 and under and includes trickor-treating, a horror magic show, a reptile show and many more fun events for all ages.
CARIBBEAN PARK, SCORESBY 26–27 OCT
MELBOURNE CAT LOVERS FESTIVAL
The Cat Lovers Festival brings together feline fanatics with engaging demonstrations, breed parades and expert insights. Meow-tastic!
MELBOURNE SHOWGROUNDS 26 OCT
MELBOURNE DOG LOVERS FESTIVAL
The Melbourne Dog Lovers Festival celebrates everything dog-related with breed showcases, expert talks and interactive activities for pets and their owners. It’s the perfect event for dog enthusiasts to connect and learn more about their furry companions.
MELBOURNE SHOWGROUNDS 27 OCT
ASIA OASIS STREET FOOD FESTIVAL
Asia Oasis Street Food Festival offers a delightful blend of authentic Asian street food, entertainment and chilled-out vibes by the Yarra. Stroll through stalls under glowing lanterns, savour unique dishes not found in local restaurants and enjoy live performances, all with a chance to win exciting prizes.
ALEXANDRA GARDENS 24–27 OCT
THE EDGE GAMES ZONE
THE ATRIUM GAMES ZONE
FIGHTER 6 TOURNAMENT
HEAVENLY
STEAM DOWN
WORDS BY ANDREW HANDLEY
Steam
Down
aim to create more than just music.
Æ Over the last seven years, the jazz collective have built a community through their weekly improvised sessions in Southeast London. The renowned energy at Steam Down Weekly has made entrance coveted by those seeking the forefront of contemporary jazz. For the first time, the band will bring the spirit of these performances to Australia for the Melbourne International Jazz Festival, in a special showcase presented by pioneering UK promoter and label, Jazz re:freshed.
The band’s six core members are led by saxophonist Ahnansé, born Wayne Francis. His sculpture-like hairstyle is barely contained in the screen when he video-calls from his London home. “I wanted there to be a space for musicians and for audience members to connect, but it’s more about building community,” he says. “There’s an energy that we all feel when we enjoy music and that’s a unifying thought.
“If we can all feel the same thing at the same time, that’s true unity,” he continues. “That drives the whole thing; ‘How do we maintain that sense of unity and community?’ ‘How does the music facilitate those things?’”
Still buzzing from the band’s performance the night before as part of their seven-year-long weekly series, Ahnansé believes the band gives audiences a midweek boost. “It’s a space where people can come and let go of all of the stress of the day or the week,” he says. “You can get a pick-me-up in the middle of the week and I think that gives people some motivation, some energy.”
Aside from occasionally debuting a song, every Steam Down Weekly performance is improvised. “It’s all about finding that moment of creativity,” says Ahnansé, quick to clarify it’s not a typical jam session. “It’s like, ‘how do we write a song or write a piece of music all together in that moment on the spot?’”
“Everybody has that focus in the band, and we trust each other to put the right ideas in,” he continues. “I think you get to the point where the music just tells you what needs to happen next. You have to trust the energy at that point in time.”
All members of Steam Down are from the African diaspora, describing their genre as Afro-Infinitism. “It’s about going as far into the past as you can, as well as going as far into the future as you can, whilst also going as deep into the present,” explains Ahnansé. “We check out a lot of music from the past, traditional Afro music, as well as thinking about how we can use technology. Like, ‘How can we imagine another sound?’– something that’s fresh to us.”
The use of technology has led the band to incorporate modern genres like ragga, grime and garage into their music. “It’s less about genres and more about, ‘Do we feel it?’ ‘Does the energy feel right?’. They’re all connected on some level,” explains Ahnansé. “While I grew up with traditional jazz, I grew up with hip-hop… grime… [and] Afrobeat.”
Steam Down have recorded their forthcoming debut album. “I’m so proud of this body of work. All of us are,” Ahnansé beams. “I feel like we were able to authentically capture the energy that we have on the weekly nights. But more importantly, the songs all tell a story.”
The cost-of-living crisis has been an unfriendly inspiration. “We need to come through with some different energy… to change our paths… to find another way,” he emphasises. “It’s the music of change… to push you forward… to inspire you to make your life better. By extension, to make our lives collectively better so we can do it together.”
The band’s Melbourne International Jazz Festival performance will differ slightly from their weekly London performances, featuring improvised and written material. “A few people might know Free My Skin or Etcetera or some other tracks,” says Ahnansé. “We can’t come all that way and not give that to the people.”
While the band include slower, more meditative music in their sets, their top priority is to get people moving. “We’re here to have fun, so no statues if it’s time to dance,” Ahnansé says. “I’m going to get in the crowd to dance with you if you’re not dancing and then we’re all going to dance together.”
Like all but one member, Ahnansé has never travelled to Australia. “From the onset, I’ve wanted to share what we have with other people,” he says. “I love going on the road… touring… making those connections with people I’ve never met. It’s about creating these cross-cultural connections outside of just the music.”
Ahnansé says the band is eager to share the stage while on tour. “It’s also about connecting with other musicians in those spaces,” he says. “If there are any musicians in Melbourne that [would] like to do a Steam Down Weekly vibe… then shout us out. Hit us up.”
STEAM DOWN
WHERE:
170 RUSSELL
WHEN: 22 OCT
“I’m going to get in the crowd to dance with you if you’re not dancing and then we’re all going to dance together .”
OLYMPIA
WORDS BY JOSHUA JENNINGS
Olivia Bartley, otherwise known as art-pop singer-songwriter Olympia, is amped for the 44 gigs she has between now and the end of the year.
Æ Bartley says there are a few reasons why she feels excited about her upcoming Leave Yourself Behind tour. For one, it’s been a “hot minute” between band shows. For another, the pressures she experienced while touring her first two albums are past.
“I’m really looking forward to hanging out with some of my closest friends who I play music with, and having a really fun time on stage,” says Bartley. “It’s really come back to the artistry and music and performance, and I can’t wait.”
Between Olympia’s Leave Yourself Behind tour and her spot on the forthcoming Rockwiz tour, she has 44 gigs before the end of the year.
To prepare, she’s doing the work to get her delicately-wired voice into peak condition. Likewise, her fingers, two of which she recently crushed at the gym.
“Right now, I’m just focused on ‘energy out’, which is all about getting ready for the gig, getting fitness up, making sure my fingers are strong and my voice is strong and in good knick.
It’s sort of like a lazy athlete – like, I still have cake at night.”
You might know Bartley for many things. Her debut Olympia record, Self Talk, reached number 26 on the ARIA charts. The expansive synthpop driven LP was nominated for an ARIA, shortlisted in the Australian Music Prize and included as a triple j feature album.
2019 follow-up, Flamingo, hit heights of joy that manifested out of personal experiences of grief. Olympia dialled up the tempos and guitars within her highly architected dream-pop soundscapes and earned international airplay and tours across Europe and the UK.
You might have seen Bartley performing guitar, keys and backing vocals as a touring musician with Something For Kate, or playing on Rockwiz too.
Many lesser-known facts offer more clues into the music Bartley makes today: she travelled to an artist’s village in Taipei after Self Talk to write more music, she taught herself to play guitar by watching YouTube videos, she spent her twenties as a graphic designer and switched to grant application writing later in life, she sang and played piano at her local church in Wollongong as a kid and she wrote her first song in school.
“I’ve always been driven by this sense of ideas that I don’t know yet, so it’s always like you’re pursuing something, but you’re not quite sure what it is. That’s what has always fuelled everything. That’s what keeps me interested and keeps me on edge.”
It’s been five years since Bartley released a new album — she has two to release — but it’s not just the creative process she has to think about.
The economic rationale is something she has to reckon with as well.
“I spent a lot of time making these records,” says Bartley. “So much work goes into them and so much money. I wish my sole focus could be to create music, but…. I mean, 2019, we did three headline tours of Europe that I paid for.”
Barley says it was a huge investment and as the world fell into lockdown, it didn’t pay off as she’d expected. This played a part in the lengthy gap of time between releasing music.
“I think a lot of the audience don’t realise that they’re not paying for music. At some point, there is a gap between what people understand and what people expect,” she says.
“I want to create art that withstands the test of time, which means it takes longer. I’m not trying to service a trend for something that will be over in six months and I’m not trying to write for TikTok. I really believe in what I do, but it just takes time.”
In May, Bartley released her latest EP, Love For One, a four-song collection recorded and produced by herself and Burked Reid. Her forthcoming tour takes its name, Leave Yourself Behind, from the fourth song on that EP.
“When Burke Reid and I made this body of work in London, our brief to each other was that we would have fun making it and that there would be a maximum of four instruments at one time. I think we forgot that second one,” Bartley says.
“But we do absolutely have so much fun and there is so much love between us. He definitely gets in the trench with me when we make art. But yes, it has been a real revisioning. It’s so much fun, and there are so many great sounds in this EP…. It’s going to be a lot of fun to recreate live, but it will be very very different.”
WHEN: 18 OCT
OLYMPIA
WHERE: BRUNSWICK BALLROOM
Credit:
Bonnie Hansen
MELBOURNE INTERNATIONAL GAMES WEEK
10 epic gaming events to celebrate 10 years of Melbourne International Games Week.
WORDS BY JULIETTE SALOM
Æ This year’s Melbourne International Games Week, happening from October 3 to 13, has lined up a program of epic proportions. With everything from Mario Kart tournaments to interactive play exhibits, there’s no doubt you might feel a little overwhelmed by the sheer volume of quality events and exciting entertainment on offer. If you’re unsure where to start, look no further.
BIG GAMES NIGHT OUT
Mix up the roster of events at MIGW with Big Games Night Out – a night to play, network and maybe even party. Big Games Night Out will be a free, all-ages, all-accessible event. It will take place at Fed Square from 3pm until late. Everyone is invited to come along and celebrate the very premise of games – having some good old fun. So come play!
FED SQUARE & ACMI 10 OCT
AN EVENING WITH NAOKI YOSHIDA
Fans of MMORPG FINAL FANTASY XIV and everyone else are invited to come along to this talk with the brains behind the game, Naoki Yoshida. Hosted by Stephanie ‘Hex’ Bendixsen, this sold-out event will unpack Noaki’s revelations of the creative process and his experience working on some of the most globally beloved game franchises.
MELBOURNE CONVENTION AND EXHIBITION CENTRE 8 OCT
ROTTED LUCK
Rotted Luck is a meta exploration of addictive game design. Through its communal play and non-addictive features, Rotten Luck invites players into its interactive world. Examine the dark aspects of game play, all while having a blast.
ACMI 5–13 OCT
FEMININE PLAY
In a much-needed addition to any games festival roster, Feminine Play is here to challenge traditional notions of gender in gaming culture. This free exhibition sets to explore the femininity of games – a femininity that isn’t bound by gender – and the many interpretations this idea can hold.
CARLISLE ST ARTS SPACE 4–18 OCT
GAMES EDUCATION SYMPOSIUM: CAREERS AND FRONTIERS
Games Education Symposium: Careers and Frontiers will be a bold new addition to Melbourne International Games Week. The two-day symposium is completely free, although registration is essential. The first session will happen at The Edge and focus on the secondary school industry. Then, the second day will be at ACMI and focus on the tertiary sector and industry.
FED SQUARE & ACMI 3 & 4 OCT
KING OF KART TOURNAMENT
On your marks, get set, and let’s get going to Fed Square for the ultimate Mario Kart tournament. King of Kart is gearing up to be the closest Melbourne is going to get to a real Rainbow Road. Gamers will compete roundrobin style to see who has the hottest wheels in the virtual world of this beloved game.
FED SQUARE 11 OCT
CO-PROGRAMMING WITH MELBOURNE FRINGE FESTIVAL
In an exciting collaboration with two of the city’s most sensational festivals, Melbourne Fringe Festival is teaming up with Melbourne International Games Week for a co-programmed series of events. Watch comedians unravel and theatrical actors drink themselves blind in this collection of shows that combine game-based storytelling with the hilarity of theatrics.
VARIOUS LOCATIONS 3–13 OCT
HONK! UNTITLED GOOSE EXHIBITION
The spiritual home of games and gaming will come alive at this MIGW with showings of the behind-the-scenes process for the global hit video game Untitled Goose Game. Come and experience the game and the magic behind it in this critically acclaimed interactive exhibition. No worries if you miss this special event during MIGW – you can catch it up until February.
ACMI UNTIL FEB 2025
HIGH SCORE
High Score is back with a bang to discuss all things music and sound in games. Curated by sound and games experts Tim Sheil and Amy McNickle, this is the must-go-to event for anyone interested in sound design within games. There’ll be talks, workshops, networking, and a community of new gaming friends.
LCI MELBOURNE 5 & 6 OCT
PAX AUS
PAX Aus is going to be nothing short of an expo of epic proportions. They’ve got everything your gaming heart could desire, from panels, entertainment and education, to music, comedy, networking and opportunities for some awesome gaming tournaments. If that doesn’t win you over, try this – PAX Aus will boast the largest-ever tabletop gaming area.
MELBOURNE CONVENTION AND EXHIBITION CENTRE 11–12 OCT
Can’t go out?
Enjoy Games Week from your couch
Enjoy Melbourne International Games Week from the comfort of your home with a range of exciting events programmed, including the Steam Page Festival, an evening with Naoki Yoshida on Twitch, the Queer Games Festival Showcase and the MIGW 2024 Podcast Season. This article was made in partnership with Melbourne International Games Week.
CONG JOSIE
WORDS BY JAKE FITZPATRICK
“I always wanted to do it, so I just went ahead and did it,” Nic Oogjes, or Cong Josie as he’s more commonly known, tells me of bleaching his hair.
Æ
“Everyone said it’s bad for your roots, but I didn’t care. I think it looks good.”
Armed with a natural irreverence, slicked-back hair and painted blue fingernails, Oogjes truly looks and acts the part of a Melbourne rocker. There’s a good reason for that: he’s been doing it for a very long time. As he tells me, after catching the music bug as a teenager, Oogjes immediately became hooked.
“Basically, we did a battle of the bands in Melbourne and happened to win that, so we got to play a festival in the late ’90s. Then we played the Espy and other bars. I later got into turntabling, then I learnt the drums and ended up in a band called Tik Tok Tokyo. I then founded a band called NO ZU.”
NO ZU, as it happened, was the band that ascended Josie’s career to even loftier heights. “We got to tour all over the world and play some of the biggest festivals in the late-night spots, like Primavera and all over Europe.” The band eventually grew to eight permanent members.
CONG JOSIE
WHERE: THE TOTE
WHEN: 12 OCT
While Oogjes looks back on these days fondly, he also believes the band got a “bit too big” and, as a result, took a slope. After taking some time off to pursue other things, Oogjes eventually re-emerged, this time as Cong Josie.
The unusual name, Oogjes tells me, came about due to the use of an anagram generator. “I didn’t want to go by my real name. It was the first one that came up when I typed it in. I liked it because ‘Cong’ is a fun word to say. Then ‘Josie’ has a feminine quality. I felt like I’m an equal part of both things, so it stuck.”
Equipped with a name, Oogjes then got to work with shaping the persona of Cong Josie.
“I delved deeper into the imagery of rock ‘n’ roll, then tried to find fun ways to subvert it. I knew I wasn’t going to entirely break new ground. We’re ultimately all a product of chewing up culture. I just thought if I’m slightly separate it all gets to be a lot more fun. I get to put on the cowboy hat and wear those tights.”
With a name and persona in tow, Oogjes got to work creating the music. After releasing his debut album Cong in 2021, Oogjes began to feel the buzz of making music again. He also really noticed a change in the way people approached him. “After that point, people would approach me on the streets and call me Cong.”
When it came time to record his second album, however, Oogjes wanted to do something quite different to the first.
“Around the time I started recording Cong, I started to see a psychologist. Of course, psychology always goes back to your childhood. You often discuss the root of your issues.” This, as Oogjes tells me, eventually led to Moto Zone.
“My dad worked for Ford and I didn’t feel at all connected to his world when I was a kid so I just wanted to re-explore this time of my life. I put pictures of motorbikes around the studio and started to look at biker imagery. The name Moto Zone just sort of fell out of that. It’s about people always being on the go and never able to relax.” Oogjes built a world with Moto Zone, recording most of the album within a week. In retrospect, he now views Moto Zone as a time capsule of his childhood.
While this was a while ago, you can still see in Oogjes’ eyes a certain freshness – a drive to continue to make something better. It’s the same bug he caught when he was a teenager learning how to play.
“You hear people like Warren Ellis talk about the final mystery of music. We don’t really understand music and why it resonates so well. That’s why I love it. We just want to do this for as long as we can.”
With that, Oogjes must go pick up his six-year-old from school. While reality does bite, Oogjes will still be the coolest Dad on carpool.
“After that point, people would approach me on the streets and call me Cong.”
SPRINGROCK PUBLIC BAR
Æ Springrock Public Bar has its fingers in many pies. One part divey New York eaterie, one part classic Melbourne pub, The Bourke St joint is both classy and homey, serving upscale pub eats and plenty of beers on tap. Located on an upper floor, it’s got a bird’s eye view that’s perfect for people-watching. On the walls, there are a few TVs where you can catch the game. And starting this month, it’ll have free live music on all weekend.
When conceptualising the venue, owner Mike Patrick (of Fancy Hank’s and Good Heavens fame) wanted to bring a solid, old-school pub to the heart of the city. And that he did. Since its opening in July, the space has quickly become a CBD hotspot, with punters flocking to sample the fare of Head Chef Jarrod Di Blasi or whittle away the hours with cocktails and chatter. Now, the weekly jazz, funk and soul offerings are the cherry on top.
From October 4 onward, the venue will host live music every Friday and Saturday night, handing over the mic to the city’s best crooners and groovers. Let your after work drinks turn into dinner, then have a boogie when the music kicks off at 9pm. The bar will be rocking drink specials (including cheap negronis!) to go along with the tunes, as well as a late night Supper menu from 10pm to midnight. Featuring fancy hot dogs, disco fries, wings and garlic bread, it’s got pretty much everything you could ask for at the end of a big, boozy night.
The bar is off to a good start with this month’s music program. The Jake Amy Trio will be bringing their chilled-out jazzy vibes to the floor, as well as Larry Crestani’s musical project Standing Circle and the experimental and acclaimed Laneous (and a handful of others).
With future programming, the team plans on highlighting shimmering local talent, giving guests the chance to discover new favourites and catch tried-and-true gems.
Whether you’re hungry, thirsty or craving some tunes, Springrock’s where it’s at. Stop by and see what all the fuss is about.
KITA ALEXANDER
WORDS BY BENJAMIN LAMB
These days, Aussie festivals look very different than they did 10, even five years ago.
Æ Gone are the days of multi-city, international-headlined megafests. Instead, we’re seeing more local, independent and niche festivals that perfectly tune in to how we’re all listening to music at the moment.
One such festival is Dylan Alcott’s Ability Fest. Now in its fifth year, the festival is designed to give all fans the chance to enjoy music live and loud, no matter their ability level.
As well as a fully accessible venue set up, featuring a sensory silent disco, elevated viewing platforms, designated chill-out spots and an assistance dog area, the festival features an impressive lineup. This year, it’s bringing out Ocean Alley, Cub Sport, ONEFOUR, King Stingray, Kita Alexander and more.
Fresh off an arena tour support role for Madison Beer, we caught up with Kita. “I loved it,” recounts the Brisbane-based pop singer of her recent support slot. “I was there to win over some of her fans. I was there to make an impression.”
She says she hadn’t taken an opening position for roughly eight years, so she was determined to pick the right one. “I wanted to do a show where people are absolutely unfamiliar with me.”
In March, Kita dropped her hotly anticipated debut record Young In Love, which has been the highlight of gigs across the country.
“I definitely feel like people come to your shows not necessarily knowing all the songs. You don’t really expect everyone to go through the whole record,” Kita says with a laugh.
“I played Matter Of Miles, which is the last song on the record, and it really meant a lot to me. That one really resonated with people. I was excited to hear that and see that in real life.” Up next, Kita’s got Ability Fest. “I’m good mates with Dylan Alcott,” Kita tells me. “We hadn’t even talked about it being a possibility, so when that came through, my mind was like, ‘Oh my God, yeah, of course.’”
It’ll be her first Ability Fest, and given the festival’s inclusive, heartwarming and pioneering nature, she’s so excited.
“I think it’s such a cool festival and it kind of gives me goosebumps talking about it – just what Dylan’s done for Australians and including everyone. I just think it’s really, really amazing.”
SPRINGROCK PUBLIC BAR
WHERE: 87 BOURKE ST, MELBOURNE
OPEN: THU–SAT 12PM–1AM / SUN–WED 12–10:30PM Made in partnership with Springrock Public Bar.
KITA ALEXANDER
WHERE: ALEXANDRA GARDENS
WHEN: 19 OCT
MARSHALL MONITOR III A.N.C HEADPHONES
WORDS BY CHRISTOPHER HOCKEY
For over 60 years, the Marshall logo has been one of the most iconic images in rock ‘n’ roll.
Æ The sight of a Marshall stack looming behind guitar greats like Jimi Hendrix is burned into our collective memory, as is the thunderous sound they produce. In more recent years, Marshall has expanded its catalogue to include a series of top of the line audio products, and the latest additions are their brand new Monitor III A.N.C Bluetooth headphones.
Founded in England in 1962 by Jim Marshall, Marshall Amplification quickly became beloved by the British rock acts of the day for their extremely loud 100w amps, catering for rapidly increasing venue and audience sizes. Immensely influential artists like Pete Townshend and Eric Clapton were early adopters and the rest is history. The aggressive yet warm sound of a Marshall remains a benchmark for guitar amplifiers to this day and their iconic look remains as cool as ever.
With the Monitor III A.N.C Headphones, Marshall has successfully recaptured the essence of their singular aesthetic as well as producing one of the finest pairs of Bluetooth headphones on the market. Green Day’s Billie Joe Armstrong is the ambassador for the campaign, honouring the product’s classic punk rock character.
Featuring Marshall’s classic textured black finish, just like on their amplifiers, the Monitor III headphones have a simple, classy and timeless design The black finish really allows the star of the show, Marshall’s famous logo, to pop in all its golden glory.
Arriving in a quality case with a velvety red lining, these headphones carry with them a distinct feeling of quality and prestige. The headband and headphone cushions are extremely plush and comfortable, which is crucial for long listening sessions. There’s nothing worse than that headache you get from a cheap, uncomfortable pair of cans.
The Monitor IIIs feature a simple gold control knob that has multiple functions. When held down for a couple of seconds, the LED indicator glows blue, indicating that the headphones are ready to pair with your device of choice. This multidirectional knob can also be used to control music and phone calls and when held down again for one second, switches the headphones off. The Monitor IIIs can be charged via a USB-C cable, the port for which doubles as an audio input, meaning these headphones are not limited to usage with Bluetooth enabled devices.
A.N.C refers to ‘Active Noise Cancellation’, a fantastic feature that really elevates these headphones to another level. Active Noise Cancelation is a technology that analyses surrounding noise from the world around you and eliminates it. This is a great feature for both work and play, helping you to focus on what you’re listening to in busy, loud environments like bustling offices or crowded public transportation.
The Monitor IIIs are also compatible with Marshall’s Bluetooth App, which enables several features that work in conjunction with the
subtle ‘M’ button on the headphones (that being the ‘M’ in the Marshall logo). The app features an equaliser that enables users to fine tune the sound of their headphones to taste and also allows users to change the function of the ‘M’ button. Depending on what selection you make, the ‘M’ button can either engage EQ settings, voice assistant or work as a ‘Spotify Tap’ feature, which instantly starts playing music tailored to your taste at the press of a button.
As one would expect from a company that has built a 60-year legacy on sound quality, the Monitor IIIs sound absolutely fantastic. Featuring a thick, lush sound with plenty of detailed sonic texture, these headphones have a generous but controlled amount of bottom end and a warm, natural tonality. Slightly rolled-off highs give them a subtle vintage quality while still maintaining plenty of clarity, which also helps with combating ear fatigue during extended listening sessions.
All in all, Marshall’s Monitor III A.N.C Headphones are not only a great product but also a great way to own a piece of Marshall’s incredible legacy. For those who enjoy the aesthetic and iconography of rock ‘n’ roll, the Marshall name and design are simply irresistible. As well as looking the part, these headphones are incredibly comfortable and the minimal controls are exceptionally easy to use.
Most importantly, they sound absolutely fantastic, exhibiting the warmth one associates with the Marshall name without colouring the sound too much. The noise cancelling is extremely effective and truly a lifesaver in certain situations and features like app connectivity place these headphones firmly in the present, despite their retro appeal. So, if you’re in the market for a pair of over-ear wireless headphones, these are a fantastic choice.
To find out more about Marshall’s Monitor III A.N.C Headphones, head to its website.
AUDIO-TECHNICA
ATH-CKS30TW+ HEADPHONES
WORDS BY KALANI GIDDEY
Audio-Technica has unveiled their newest offering to the true-wireless earbud world in the form of the ATH-CKS30TW+, an update to a staple in their lineup complete with a few extra bells and whistles.
Æ The culmination of a 15-year quest for super deep bass, this much-anticipated addition sets out to shake up the market, bringing a slice of the audiophile world to the average music-lover at prices that’ll make your wallet happy too.
In a world where music is just a few taps away, having a killer pair of cans you can bring wherever you please is simply a must and nobody understands this quite like Audio-Technica. While we’d all like to be able to walk down the street with a nice vintage pair of studio monitors, sometimes it just isn’t practical.
This is where these instruments of awesome come into the picture, a package that’s truly a cut above the rest. The ATH-CKS30TW+ embodies the belief that high-quality audio should be available to anyone, delivering an experience that rivals competitors far outside its price bracket. Audio-Technica has really gone the extra mile here, prioritising a streamlined, customisable listening experience and a chest-rumbling bass response that’ll knock your socks clean off.
The attention to detail here is evident. These puppies are just bursting with nifty features that’ll make any self-respecting audio nerd blush, while also putting a smile on the face of any casual listener.
First, we begin with the exterior, featuring slick plastic construction in four colour ways (one of which being a translucent option, which looks oh-so-cool). The earbuds are a bit like a pair of spaceships: oblong shapes with indicator lights, charging contacts and replaceable rubber earpieces, making for a snug fit and minimal bass leakage. They’re held in place with magnets, sitting quite snuggly in their charging bays. As a unit with the case, the ATH-CKS30TW+ will last for up to 20 hours total listening time, and 7.5 on their own. With active noise cancelling, you’re looking at 17.5 hours with the case and 6.5 without.
One striking thing is how light this unit is, coming in at about 40 grams. One might think this would make the whole thing a bit flimsy, but it’s clear this is a serious piece of gear. If you need any extra reassurance, the whole thing is IP55 dust and waterproof-rated, meaning no worries about getting things dirty or wet. If you lose them at any point, they boast a handy Out of Range Alert and Product Locator function so you can keep track of the little devils.
As for the listening experience? Let’s just say that we are thoroughly enjoying the fruits of Audio-Technica’s labour. You really get your bang for your buck here, producing a soundstage that lets you sink into the music, delivering on every promise made. Think ultra-low noise, ultra-low distortion and a bass response befitting of an over-ear
headset. Rich and detailed mids, tight lows and sparkly highs make long listening sessions through these a treat.
The real cherry on top of this whole affair is Audio-Technica’s EQ suite, accessible through their A-T Connect app, allowing users to customise the way they listen to the music. On top of the standard presets like Dynamic, Vocal and Clear, the app also has Bass Boost - Deep and Bass Boost - Beat, which boosts ultra-low frequencies in two distinct flavours, with the latter being the tighter and more crisp of the two (and my personal favourite). Despite all the extra low-end, the whole affair was pretty flub and mud-free, something a lot of wireless buds struggle with. This is helped along by a series of specially engineered acoustic ducts, boosting the bass response even more.
Another feature that makes this all the more special is AudioTechnica’s intuitive touch controls, allowing total control over your tunes. I will admit they took some getting used to, but the CKS30TW+ utilises a series of swipes and taps to pause, play, skip/rewind, volume up/down and more, along with a set of controls for its sophisticated active noise cancelling system, which features a hear-through and talk-through function, allowing a little more interaction with the outside world without fully taking you out of your tunes.
Audio-Technica has truly spoiled us again. The ATH-CSK30TW+ is a stellar offering in the wireless earbud range, and probably one of the best options at its price range. Coming in at $199.99 at JB Hi-Fi and online, these earbuds are like an old friend that’ll be there for you every single time.
To find out more about Audio-Technica’s ATH-CSK30TW+ earbuds, head to its website.
LAUNDRY BAR
WORDS BY MIEN NGUYEN
LIVE MUSIC: Laundry is the place to go for hip-hop, rap, trap, EDM, LGBT+ events and Afrobeat. Plus, they host bands as well! Catch everything from local acts to hip-hop royalty –Ghostface Killah and Childish Gambino have both performed at the venue.
FAMOUS FOR: Wanna feel fancy? Get a private booth for that VIP experience and get down with your squad. Laundry has a reputation for being the place to go when you don’t want the fun to end, hosting some legendary afterparties over the years.
INFAMOUS FOR: its strict door policy. If you’re acting up, making people uncomfortable, causing a scene or just bringing bad vibes, the staff will kick you out faster than a full spin cycle.
Æ Laundry Bar has always been the ultimate hip-hop spot in Fitzroy. As the Melbourne scene has ebbed and flowed, the bar has stayed true to its roots and has never lost that classic Fitzroy vibe.
Step inside and you’re met with LED light walls, lasers, smoke machines and two massive Funktion One sound systems. Lights hang above the dance floor, which is both intimate and rowdy. It’s the perfect place to drop it low and pick it up slow, especially on Friday nights when it’s all about the throwbacks.
The venue has become a launchpad for local talent. One night you’re watching some kid spit bars in the corner and the next thing you know they’re on triple j. True to its old-school roots, Laundry Bar may be rough around the edges, but in the best way.
Since it first opened in 2011, Laundry Bar has become part of the cultural ecosystem. It’s where tunes, art and maybe a whiff of detergent all get mixed up in this weird, wonderful cocktail. Whether you’re a regular or a first-timer, rock up and have a dance, but remember their age-old motto: “Keep it classy, Fitzroy.” Whatever the hell that means.
NIGHTHAWKS
WORDS BY MIEN NGUYEN
LIVE MUSIC: Bob your head to punk rock, lo-fi, and garage punk tunes. Nighthawks is well-known for bringing fresh Naarm-raised sounds to your ears, with a vibe that swings from rowdy to downbeat faster than you can say “encore”.
FAMOUS FOR: being the ideal spot for solo drinkers to unwind. Make your taste buds dance to Nighthawks’ whisky selection, or relax in the sprawling beer garden perfect for those balmy Melbourne nights. You can even turn strangers into drinking buddies with your mid-week chats here. It’s channelling that authentic US dive bar feel.
INFAMOUS FOR: the stairs leading to the band room that become an Olympic event after a few drinks. Some say Nighthawks has that “authentic” aroma that adds to the character. Plus bar staff who occasionally channel their inner New Yorker (folks, it’s all part of the charm).
Æ Step into Nighthawks and you’re instantly transported to a world where the jukebox never stops and the good times keep rollin’. This Collingwood gem is the brainchild of Leah Henry and Marcus Davies, two hospitality vets who’ve bottled the essence of American dive bars and Japanese drinking culture into one.
Named after Hopper’s iconic painting, this place is dripping with personality and taste. It’s giving adventurous nostalgia vibes. Every inch of wall space is a treasure trove of trinkets collected by the owners on their globe-trotting adventures, from vintage band stickers to boomboxes, neon signs to the odd taxidermy head. It’s like your cool uncle’s garage had a baby with a rock museum.
What sets Nighthawks apart is its commitment to creating a space where everyone feels at home. Whether you’re flying solo or rolling deep with your crew, there’s a spot for you here. Grab a stool at the bar for some quality banter with the staff, or head out to the spacious beer garden to soak up the Collingwood vibes.
And here’s a pro tip: while there’s no kitchen, you can order pizza from across the street. Remember, at Nighthawks, the golden rule is simple: be nice or leave.
LIVE MUSIC: From smooth bebop and classic standards to contemporary jazz and innovative new sounds, the Paris Cat’s live music lineup showcases an impressive array of talent. Whether you’re a jazz aficionado or just starting to explore the genre, the Paris Cat delivers a unique listening experience.
FAMOUS FOR: its intimate ambience and unforgettable interior. The venue’s design pays homage to the classic jazz clubs of Paris, offering a cozy and stylish setting to enhance each performance. With its velvet-lined walls and elegantly designed seating, it creates the perfect jazz setting. Even Bob Dylan visited the Paris Cat – you can’t get much better than that.
INFAMOUS FOR: being the kind of place where the music keeps playing well into the evening, making it a favourite for the late-night fiends. The club’s jams and impromptu sessions often lead to unforgettable music moments, ensuring that every visit is unique and filled with surprises.
Æ If you’re searching for a spot where the timeless allure of jazz takes centre stage, look no further than the Paris Cat Jazz Club.
Established way back in 2005 and nestled in the heart of Melbourne, this iconic venue is a sanctuary for jazz enthusiasts and curious newcomers. The venue regularly hosts a variety of events including live performances and special themed nights, making it a dynamic part of Melbourne’s nightlife.
The Paris Cat offers a thoughtfully curated selection of drinks to complement its musical offerings. The bar features an extensive list of cocktails, fine wines and craft beers, alongside a selection of gourmet snacks and a full full tapas and Italian street food menu.
Whether you’re a jazz purist or someone looking to immerse yourself in Melbourne’s music scene, the Paris Cat Jazz Club offers an alluring experience that shouldn’t be missed.
YAH YAH’S
WORDS BY MINA WAKEFIELD
LIVE MUSIC: is showcased on the iconic Yah Yah’s bandstand. Otherwise, it hosts a series of exciting themed parties ranging from your favourite artist’s discography to emo, pop and RnB nights.
FAMOUS FOR: its red-painted walls, luxurious chandeliers, spectacular cocktail specials and incredibly sticky floors.
INFAMOUS FOR: the renowned weekly Thursgays, Melbourne’s most iconic queer stomping ground.
Æ Yah Yah’s is situated in the heart of Fitzroy, right at the end of Smith St. With two levels and two stages, it is the perfect place for a marvellous boogie. Events range from themed nights and bangin’ DJ sets to exciting live performances and album parties, all sure to leave you sweaty and satisfied.
Yah Yah’s shares the street with many great bars, restaurants and clubs, making it the best place to end up after dinner or drinks. The venue is reminiscent of Melbourne’s flashy past, with a memorable and well-preserved interior of enticing red walls, velvet drapes, booths, couches and extravagant lights.
The enticing red glow and the sure-to-please music make for an incredible atmosphere. You’ll find yourself at the bar one way or another, so be sure to check out the sweet, sweet drink deals. They’ll often have cheap shots, two-for-cheap deals and fun cocktails.
Yah Yah’s has built up a name for itself for its iconic queer party on Thursdays, what they call Thurs-gays. After pleasing Melbourne’s queer community for many years now, the venue has long been declared one of the best LGBT+ clubs in the city. On any given Thursday, you’ll be blessed by non-stop pop bops, talented DJs and a variety of performers and drag queens to keep you entertained.
Perhaps you’ll find yourself there on a Friday instead. You’ll likely be clad in a costume for one of its themed nights, be it an evening dedicated to a specific artist, genre or music era. Here, you’ll be surrounded by like-minded music listeners. You’ll be singing along in unison, guessing the next song and probably wearing the same outfit. There will be no doubt of a good time.
WHERE: 6 GOLDIE PL, MELBOURNE
OPEN: THU 7–10PM / FRI–SAT 5:30–11:30PM / SUN 5:30–8PM
WHERE: 99 SMITH ST, FITZROY
OPEN: THU–SAT 9PM–5AM
DOBBY
Warrangu; River Story
Æ We’re a tad tardy to the party with this one, but Warrangu; River Story – five years in the making – is way too important to ignore. Infused with birdsong, water sounds and recordings of Indigenous elders passing down knowledge, DOBBY’s debut album is also a harrowing call to take action.
As the 2017 recipient of Create NSW’s Peter Sculthorpe Fellowship, DOBBY researched, composed and produced Warrangu; River Story, which charts the history and degradation of the three rivers that form tribal boundaries in his ancestral home of Brewarrina, New South Wales.
“Rivers taken, look at what we facin’/ All the fish are dead in the Murray-Darling Basin.”
After securing the funding to tell this story, DOBBY immediately got in touch with language and cultural consultant Brad Steadman, who suggested they take a walk down Bogan River to receive the messages of land and waterways on Country. The resulting yarn, underscored by their own crunchy footsteps trudging through the dry riverbed, bookends this record.
“Am I the road back to the country, or is the country the road back to me?”
I was hooked from the moment I heard DOBBY’s pied butcherbird sample, warbling rhythmically throughout Dirrpi Yuin Patjulinya (the Ngemba phrase for ‘The Bird Names Himself’). A Murrawarri-Filipino drummer and rapper (he calls himself a “drapper”), DOBBY spits bars in English as well as the First Nations languages of Ngemba and Muruwari. We’ve since discovered DOBBY didn’t even alter the tempo or pitch of his birdsong sample, instead shaping the music around it. Just wow.
Fun fact: DOBBY recorded the now-famous butcherbird one hot morning back in 2018 at his aunty Noeleen Shearer’s house in Brewarrina.
DOBBY draws from a disparate sonic palette, incorporating jazz drumming, The Miseducation Of Lauryn Hill-inspired piano interludes and hip-hop/sampled vocals alongside audio documentary. Over lush, orchestral arrangements, he drops truthbombs.
“Irrigators hide their face from the papers/ This our nation/ Watergate Investigation.”
Elsewhere, Kelsey Iris’ singing shimmers over Rivers Run Dry – an acoustic, strummed number – and closer Language Is In The Land is DOBBY’s nod to jazzy J-Dilla rhythms.
Steadman also speaks of a sixth dimension – “seeing the life in it”. If you let the river “be what it is, it will bring you information”, he enlightens during the closing Story.
“When you see the life in it, then you know the life in you.”
DOBBY has said of Warrangu; River Story, “The stories are the primary source of information,” but it’s his compositional nous that makes messages stick. Whatever your level of listening, the impact of Warrangu; River Story runs deep.
Light Sides
Æ This companion EP for Light, Dark, Light Again (2023) collates five songs that emerged during songwriting sessions for Angie McMahon’s stunning, dynamic latest album that didn’t quite fit into the final sequencing. As such, similar themes of rebirth, surrender and welcoming mistakes as opportunities for growth course through Light Sides.
Featuring occasional drum beats, Beginner’s introductory pace already feels crestfallen. Angie’s breathy, broken delivery – “I missed the peak of the mountain while I was cryin’ on the floor/ Felt like I was dyin’, but I just was being born…” – adds gravitas. Then instrumentation creeps in stealthily until unexpected brass parps gild what’s now morphed into a swinging waltz tempo. A gentle acquiescence is suggested, like admiring tiny fragments of light dancing across your bedroom walls following a sleepless night.
Untangling – with its buoyant, driving melodies – conjures Bruce Springsteen and houses another ouch-my-heart lyrical sentiment: “My least favourite feeling is hurting someone, ‘cause I was slow at healing.”
Like sonic chiaroscuro, light and shade happily coexist in the hopeful, luv’d-up Interstate: “Bruised enough to hide away but light enough to smile...”
Angie has described closer Take Up Space as Exploding’s “sister song”. While deft piano playing gallops and ascends, we visualise arms extending skyward and releasing gravitational waves into the universe: “I WANNA TAKE UP SPAAAAACE!”
Moments of suspended peace often precede instrumental flurries throughout Light Sides, with Angie’s trademark all-encompassing vocals encouraging cathartic release and then gathering listeners in for a healing hug. “If you get everything right, then there’s nothing else left…” – play Just Like North whenever you need reminding that it’s okay to feel unmoored for a spell.
ANGIE MCMAHON
LABEL:
YANNIS & THE YAW
Lagos Paris London
Æ FYI: Specifically relating to a moving ship or aircraft, yaw means to swerve around a vertical axis.
As Yannis & The Yaw, Foals frontman Yannis Philippakis plans to release a string of collaborations, the first of which is an EP featuring some of Tony Allen’s final recorded beats.
Lagos Paris London was about 60% done before Allen died, but Philippakis knew the legendary Afrobeat drummer wanted these songs to be heard. So he recruited Allen’s engineers, Vincent Taeger and Vincent Taurelle – who also contribute percussion/marimba and keys respectively –explaining they “simply knew how Tony would want things to sound”.
The initial sessions went down in Paris during the 2016 refuse strike, with Walk Through Fire drawing inspo from the streets surrounding the “smoke-filled, ‘70s throwback studio”, which were minging – all that uncollected garbage!
During Rain Can’t Reach Us, opening bleeps and an oscillating hook step aside once Allen’s dexterous drum crescendo kicks in. Lyrically, Philippakis has described the closing Clementine as “a thematic cousin to Foals’ Everything Not Saved Will Be Lost”.
Under The Strikes is a clap-happy jam, set adrift by bold, joyful brass flourishes. Philippakis sings this standout track – which whittles right back to delicate drums and gently plucked, meandering guitar – in falsetto. These lyrics were written following Allen’s death, with Philippakis lamenting, “I once thought we had time to spare…” – his plans to tour this material alongside Allen, one of the world’s greatest and most innovative timekeepers, now cruelly thwarted.
If you randomly chucked on one of these tracks at a party, every reveller within earshot would be like, “Who dat behind the drum kit?”
Say
Æ
“Nuh-uh, don’t touch me, baby/ Step back, ‘cause I’m having fun” – hands off unless explicitly invited, amirite? Opener Don’t Touch Me Baby (ft. Melbourne’s own DJ Boring) is a cranking ‘Fuck off, I’m dancing!’ anthem. This is Memphis LK – one of Paul Kelly’s daughters – in speak-sung, cool-girl (“with the baddie allure”) mode: “You don’t need to buy me drinks, ‘cause I got the funds.”
“Doo-doo-DOO/ Doo-doo-doo-doodoo…” – if this bittersweet ascending - descending vocal melody sounds familiar, that’ll be because Just The Way You Are –Memphis LK’s latest single – is a cover of a 2002 song by the Italian house group, Milky. One of her all-time fave songs, it’s a savvy selection by Memphis LK, whose vocals are pop perfection, embodying childlike curiosity here.
Need You Now, with its alien-baby vocals, drips with a longing that’s offset by its bouncy, cymbal-heavy beat. Within Say’s crisp overall production, cymbals typically shimmer and linger.
A euphoric, piano house riff elevates this EP’s title track, a Willaris. K collab, before Prosper lures us into a basement club after-after party. During this banging closer, brass stabs – distant yet jubilant – dally with layered vocalisations, which hover like a flight of guardian angels.
Turn that bass ALL the way up! The louder the better.
Now London-based, Memphis LK tours Australia this October. And we can’t wait to hear these choons blasting through subwoofers!
MISSY HIGGINS
The Second Act
Æ
“Here’s my body/ Here’s my scars…” –You Should Run, The Second Act’s opener, sees Missy Higgins name-checking her chart-topping debut single, Scars. Missy was 21 when she released 2004’s The Sound Of White and has described this latest, sixth set as “a kind of sequel” to her debut, which dropped 20 years ago to the day.
As a newly divorced mother of two, Missy found songwriting therapeutic while mourning the loss of her imagined future. During Story For The Ages – the first song she tearfully composed for this album –Missy sings, “It was never meant to be like this… The book went up in flames.”
“I’ll always love your daddy/ ‘Cause together we made you…” – A Complicated Truth, the record’s third single, was written in response to some tricky questions her fiveyear-old daughter Luna started posing from her car seat. Craters, an upbeat stomper, brings some welcome levity: “I know by now becoming whole again just takes time.”
Then there’s the heart-rending Blue Velvet Dress, which transports us back to New Year’s Eve, 2021, when Missy performed at the Sydney Opera House forecourt against the backdrop of realising her marriage was unsalvageable.
Missy’s vulnerable, confessional songwriting is her superpower. Having established herself as an artist with longevity, Missy will be inducted into ARIA’s Hall Of Fame this year. From The Special Two to When 4 Became 3, Missy powers through The Second Act with dignity and grace.
MEMPHIS LK
GIG GUIDE
OCTOBER 2024
THU 03 OCT
MY LEONARD
COHEN
Bird’s Basement. Melbourne. 7.30pm. $40.
TENTENDO
Northcote Social Club. Northcote. 8pm. $24.90.
BISEXUAL INTELLECTUALS
Trades Hall. Carlton. 6pm. $10 - 40.
DAVID KNIGHT Wesley Anne. Northcote. 6pm.
ANGLERR + MIDNIGHT VIOLET
Old Bar. Fitzroy. 8pm.
BEKA BAKER PRESENTS BACK CATALOGUE
BOWIE: INTIMATE & ACOUSTIC.
MICHAEL DWYER
Odeon Richmond. Richmond. 7pm. $17.35.
POLTERGEIST 9000
The Last Chance Rock & Roll Bar. North Melbourne. 7.30pm. $9.20.
OPEN MIC NIGHT
The Drunken Poet. West Melbourne. 5pm.
PATRICK WILSON
The Beast. Brunswick East. 9pm. Free.
THE WHITLAMS (LOVE THIS CITY 25 YEARS).
ASHLEY NAYLOR, KIM SALMON Corner Hotel. Richmond. 7pm.
INNER
SANCTUARY
FT: DJ JNETT + Jimmy James Whitehart Bar. Melbourne. 3pm. Free.
NOT ON YOUR RIDER
Brunswick Ballroom. Brunswick. 7.30pm. $43.96.
BACK ON THE WAVES 3.0
FT: TITRATION, The Crystal Ship, Ymi & The Street Cats Bergy Bandroom. Brunswick. 7.30pm. $25.
UNHALE. THE TREPIDS, LOV3SICK
Hotel Esplanade (aka The Espy). St Kilda. 7.30pm. Free.
NOTURNS. ERICA AVENUE, LONELY RIVER, DANTE C.Z
Bar Open. Fitzroy. 8pm. $15.
ANNE’S LACE. SATURDAY ESCAPADES, KATE’S COMPANY
The Workers Club. Fitzroy. 7pm. $17.85.
MINI MELT
Bar 303. Northcote. 8.30pm. $20.
JACK ROBINS
Edinburgh Castle Hotel. Brunswick. 8pm.
FRI 04 OCT
THE SHARP: CELEBRATING 31 YEARS OF “THIS IS THE SHARP” Bird’s Basement. Melbourne. 7.30pm. $35.
FRIDAYS WITH MIKE GURRIERI
FT: Nightfall. Claddy & Co Whitehart Bar. Melbourne. 5pm. Free. HIGH PASS FILTER + MACHINE TRANSLATIONS Howler. Brunswick. 8pm. $28.56.
BELLE HAVEN Bendigo Hotel. Collingwood. 7pm.
A NIGHT OF X MUSIC & OTHER THINGS. STEVE LUCAS Odeon Richmond. Richmond. 7pm. $23.50.
