Issue #15 by MouthZoff Mag

PowerMouth Entertainment presents

Issue 15 – June 2014

DIESEL

PLUS SASKWATCH / BLUES ON BROADBEACH / UVERSEU

Inside Editor of the Month Bruce Heath

4 HITS rip up the Underdog 22 Live review

Stev Kilbey & Robyn Hitchcock

Live review by Matt Thrower

5 Ask Abby

23 Garage Goss

Redesigning live music consumption

Unearthing Brisbane’s talent

24 Saskwatch

6 Sonic Boom

Local nine-piece act talk to MouthZoff

Urban Country Music Festival review

Sound Advice 25 Microphone placement Pt1

9 Cut/Copy

Live review

10 Live’n’local

Live review 26 Lulu & The Cutthroats

13 The Pierce Brothers

Blues on Broadbeach 28 Live review

Caught live

EP launch

Interview

15 Uverseu

30 Venue spotlight

16 The Empire Swings Back

31 WhatZon

Featured artist

The Beetle Bar

Behind the scenes at their video shoot

Diesel interviewed by Randy G

Sub-editor Randy G Regular writers Jae Salmon Sonic Edwards Randy G Abby Skye Angie Everingham Ben Knight Cat Anderson Matt Gleeson Mike Roberts Peter Muldoon Ian Pix Matt Thrower Dave Rowlands Bruce Heath General Manager Abby Skye Business Manager Wayne Ficnerski

Comprehensive gig guide for June

18 Cover story

Art direction & layout Mike Roberts

Photographers Ben Knight Gary Howard Brett Linsley Greg Elkenhans Hi Nrg Studios Bob McGahan Geoff Norris Bruce Heath Lauren Brodie Founder Randy G Web www.mouthzoff.com

On the cover: Diesel Pic: Supplied

Advertising/enquiries admin@mouthzoff.com

Editor’s letter IT’S been a big month here at MouthZoff – we’ve had some additions to the family (congrats to Ben Knight and wife Carla on their new edition) and welcome to Christi, Graeme and David on the photo and interview group. We also have some other changes – we a currently running an experiment with

rotating editors and updates/improvements to the web-page. Mike Roberts, our graphics guru, is leaving us as a result of moving up in the world – he will be sorely missed – and next month will see Peter Muldoon slot into the editor’s chair – good luck Peter! From a musical standpoint – we’ve

covered Blues on Broadbeach, interviewed Diesel and Saskwatch and you’ll find a load of photographs and reviews on your favourite local bands. Lots more to come throughout the rest of the year – see you on the streets! BRUCE HEATH

MouthZoff JUNE 2014

HITS

S WITH most live events involving local boozy rockers Hits, tonight resembles a mini-festival of growling punks and gloriously troubled rock ‘n rollers. First up, The Dirty F-Holes slam out their sweaty barroom rock on the main stage, while on another stage inside, Dead Wolves play a feral hardcoreinfluenced set, climaxing with frontman Bones smashing his head with his mic until the blood flows. Screamin’ Stevie performs with his trademark cape, organ and handwaves, treating the crowd to dirty white R&B that would not have been out of place on the Nuggets compila-

MouthZoff JUNE 2014

HITS/BITTER SWEET KICKS/MICK MEDEW & THE RUMOURS/GRAVEL SAMWIDGE/SCREAMIN’ STEVIE/DEAD WOLVES/THE DIRTY F-HOLES @ the underdog pics: ben knight

tion. There’s sludge aplenty from Gravel Samwidge inside, before local legend Mick Medew and his band The Rumours play solid versions of classics from Medew’s former act The Screaming Tribesmen, as well as a great take on The Only Ones’ Another Girl Another Planet (which suits Mick’s Pete Perrettesque sneer quite well). Next up is a riotous set from Melbourne’s Bitter Sweet Kicks, who The Hives might still sound like if they never reached stadium status. It’s scorching garage rock performed with complete abandon – the bass player nudes up while the singer and guitarist (sans guitar) dance on the pool table.

Somehow, this still fails to upstage Hits who happen to have made one of this year’s very best rock albums, Hikikomori. That same album is being launched tonight and right away, it’s clear that the new material is just as powerful and punchy as the older tunes. A suited-up Evil Dick is his usual prowling, shambolic self, while guitarists Stacey and Tamara chip in with shouted backing vocals and riffs that could make a glass explode. A mosh pit explodes at the foot of the stage and a boozy good time is had by all. One of those nights that makes you feel stoked to be alive. MATT THROWER

Ask Abby with ABBY SKYE

Redesigning the consumption of live music

T’S true that most working musicians are at the mercy of who will hire them. Setting your own ticket prices and choosing which countries you will and won’t include in your tour while enjoying your fourth holiday in the Bahamas for the year is reserved for a very small and select group of artists – but for your average local, hard-working muso, it’s not so easy to earn your paycheck. For a long while, your best bet was to find a really good agent, package up your marketing materials and pitch the buggery out of yourself and/or try to grow your name/brand into something that would eventually ‘sell itself’, however things change very quickly. With the recent uppercuts to our economic outlook, we may need to consider looking outside the square to keep employment as a musician a viable option.

I know many feel the same way, but I’ll still package this simply as personal opinion – music will never die. It simply can’t. It is in engrained in us –it is part of our make up on many, many levels and it feeds us in ways we may never even understand. But a vital component of the availability of music CAN change – and that is the economic factor. If pubs, hotels and corporations are no longer financially able to include an entertainment allowance in their budget or they are reduced to an unserviceable figure, we may see a lot more empty stages when we hit the town on the weekend, hoping to catch a live band. Already, musicians are make a fraction of what we did a decade ago (I hear countless stories from bands about their

average performance price being 2-3 times what they make now) and while there are a number of factors that contribute to this, we cannot deny the impact that economics has on the availability of music. So what can we do about it? What we do best – get creative!

efforts and building performances around that? Like merchandise? Or like music itself (as in albums, vinyl, digital downloads, etc.)? Some ‘free’ or ‘for the exposure’ performances can actually become quite profitable if you have a simple way of collecting small, reasonable amounts of money from an audience in exchange for something of value to them, whether it’s a single, a t-shirt or a personalized commemorative piece to remember your performance by. If you are good at what you do and you believe in yourself, you will eventually attract people that want to support you. For many people, buying a t-shirt of a band they love is an exciting purchase and the enthusiasm they may wear it with can be invaluable promotion. The whole thing really is a great big, loving circle. People may not always be able to afford a $170 ticket to see one performer, but there will always be fans that will give $5 (even if that’s all they have) to support your latest release, if they love what you do and give.

The house-concert movement around Australia is a fantastic initiative. What a wonderful way to appreciate and enjoy music in an intimate and fulfilling atmosphere where artists are really appreciated and enjoyed and not shoved into a corner and treated as a jukebox. The technology to sell $5 tickets to an online concert is now at everyone’s fingertips and another excellent, viable way for musicians to package and sell their craft. But can we go even further than this? What about looking at other ways that musicians can be paid for their

I can’t help but feel that it’s more about re-designing our way of interacting with our audiences to better suit their needs than moulding to what the current economy allows for. Like I said, music will never die – it’s our consumption and the availability of it that may change. Rather than remaining at the mercy of whoever will actually pay us what we’re worth to play, perhaps we need to start making an art form out of the accessibility and availability of music and finding new ways for people to support it that doesn’t cost them the earth.

Pic: Brett Hotchkins

http://abbyskye.com.au/

MouthZoff JUNE 2014

Sonic Boom

HEN I was asked to do a review of the 2014 Urban Country Music Festival at Caboolture, my first thought was ‘oh hell no’. Not because I’m a music snob, as a working musician I will play any style of music audible to human ears, but it was because I had already had committed to seven gigs for that weekend. However when I thought about it a little more I realized that I have a rare insight into the festival – having been to every year since its inception 10 years ago, either as a punter as a muso, seeing the behind the scenes and comparing it to other festivals around the country. Hopefully you may get some insight into a weekend in the life of a session musician, who to watch in the Country Music scene and how much entertainment there is (and for those who claim to hate Country, very little of it sounds like Slim Dusty). As you’d expect, seven gigs, I didn’t catch too many of the other artists as the only

MouthZoff JUNE 2014

time I was out front and able to catch a performance was immediately before or after my own view of the audience and it will almost certainly be biased towards the people I play for... The Opening Concert on the Friday night was a great start to the festival even though the weather threatened to ruin the official opening. I’d been spending the day going over the seemingly limitless amount of songs I needed to know and didn’t allow enough time for Friday afternoon traffic. I made it with minutes to spare before Jesse Davis was to hit the stage to showcase his debut album, which he was also officially launching on Sunday, so I’ll come back to him. Just as we finished our set, the rodeo finals began in the Equestrian Centre for its fourth year here. Saturday started early for me with Dana Hassall first up at the Village stage playing her unique blend of Quasi Traditional

Country and Quirky Rock/Pop (that sounds weirder than it actually is) showcasing songs from her debut EP ‘See It Now’ and even newer material yet to be recorded. On the same stage (thank god, I didn’t have to re-setup my gear) came 18 year old Caitlyn Shadbolt rocking the place (it was still barely 11am) with originals such as ‘Right Kind Of Wrong’ and covers like the Tom Cochrane classic ‘Life Is A Highway’ (yeah, I know Rascal Flatts covered it, it’s almost the only reason Country artists do this one). Once we had played our last note, I packed up and ran over to the QSEC Arena to soundcheck for Kiara Rodrigues – another 18 year old artist who scored the spot by taking out last years Voice of Urban (this years winner was Wal Neilsen, who I got to see supporting at Carl Wockners Album launch on Mothers Day – but that’s another article). We then had some time to kill to grab lunch nearby the Urban Hotel showcasing the Bush

Rear View of the Urban Country Music Festival 2014 Pics by Bob McGahan

Balladeers. I then stopped briefly to watch Livi Robins at the new Country Kitchen stage before heading back to play songs from Kiaras new EP such as the lead single ‘I’m Gonna Be Fine’. I then caught a couple of acts at the Main Concert in the (it’s handy having an all-access pass around your neck) including the Viper Creek Band sitting at the heavier end of Country, The McClymonts and Carl Wockner (don’t tell the organizers at Urban that he’s not Country, but his album is a cracker regardless). Honestly, the glamorous image of musicians drinking and drugging into the night doesn’t work if you’re juggling this kind of schedule and I couldn’t wait to get home to bed. Sunday was yet another early start with the Champion of Champions Showcase at the Next Generation stage featuring artists who had won sections in Queenslands largest competition. These included

X factors Justin Standley, up and comers Bridget O’Shannessy, Leigha Moore, Chandler Mowles, Karrie Hayward and seasoned artists Robert Hopkins, The Bridge (the Sweetman family – Greg, Tracy, Nick and Kelsie) and Jim Dionysius. Each of these artists played such different styles that as the backing band we had to be familiar with old, new, Country and Rock and that in itself is a skill. I quickly ran off to set up for the ‘The Best View’ Album Launch at Caboolture RSL for Jesse Davis. Up until 2011 the festival truly was ‘Urban’ in that the majority of it resided in the town square and the nearby RSL was the place to catch some killer acts. Since then it has moved to the Historical Village and a more ‘Country’ setting. It was good to be back and after the show I ate a late lunch there and had a quick rest before heading back up to the Urban Blaze concert.

Dozzi was the last artist for me and the second last of the entire festival, being sandwiched between The Deadliners and The Smokin’ Crawdads at the bonfire celebration heldhere since 2005. These three sisters have been going from strength to strength in Brisbane and the national scene and I’ll admit I was just a ring in for the regular bassplayer on this gig with these one of the few acts to use a regular band. The crowd were pumped and lapped up everything from their current single ‘I Need You Tonight’ to Taylor Swift and even a Lady Gaga cover... The gigs themselves aren’t stressful, I’m working with great musicians and world class crews, it’s the leadup to the weekend, learning a heap of songs (175, I believe) for thirteen diverse artists and usually only time for a cursory rehearsal (only two of my artists got this luxury). I wouldn’t trade it for anything, but I enjoyed my sleep in when I got it...

MouthZoff JUNE 2014

CUT COPY/TOUCH SENSITIVE/NILE DELTA @ EATONS HILL HOTEL PIC: BEN KNIGHT

CUT/COPY Reviewed by MATT THROWER

S CURRENT Bright Young Things, Sydney dance-pop collective RUFUS have tonight taken much of Cut Copy’s audience at a sold-out Tivoli gig. Although fellow synth-poppers Cut Copy as a result play to a much smaller audience at Eaton’s Hill, it’s clear right away that they are the superior band. They’ve also brought with them some most able supports, including atmospheric and building beatscapes from Nile Delta and, most impressively, the moustachioed Touch Sensitive who slaps his bass to melodic house while wearing an overcoat that could get him through the door if Mr Mister were

auditioning. And while the music is similarly ‘80s-inspired (there’s even a melodic quote from Art Of Noise’s Moments In Love), it’s simultaneously futuristic and, most of all, fun. And while Cut Copy do have some fierce competition tonight (as well as RUFUS, DZ Deathrays are also launching their new album at The Zoo), it still seems strange that such a modest amount of people come out to see them. Because as far as this writer is concerned, they are Australia’s New Order, Pet Shop Boys, ELO and Happy Mondays rolled into one – and with four albums behind them, a Greatest Hits compilation of

theirs would rival any of those bands. They are that good. Reassuringly, they express no disappointment at the relatively small crowd, putting totally energy and enjoyment into their performance. And the setlist is the stuff dreams are made of. New songs We Are Explorers and Free Your Mind already sound like pop standards, while Hearts On Fire, Lights And Music and the shoegazey So Haunted simply soar. They go back to their debut Bright Like Neon Love for the joyous Saturdays and Need You Now makes for a perfect encore, closing a superb set of luminous, elegant synth-pop.

MouthZoff JUNE 2014

BASKERVILLAIN Pic: Mike Roberts

BLACK DIAMOND

ZZ TOP TRIBUTE BAND

Pic: Hi NRG Studios

Pic: Brett Linsley

MR Q Pic: Greg Elkenhans

smoking martha Pic: Hi NRG Studios

meatloaf TRIBUTE BAND Pic: Brett Linsley

DEAD LETTER CIRCUS Pic: Hi NRG Studios

For further information and enrolment details, please visit www.basslinemusic.com.au

MouthZoff NOVEMBER 2013

talks to

PIERCE BROTHERS

HE Pierce Brothers are twins from Melbourne who are taking the world by storm. They have sold a whopping 20,000 CDs independently and have just been announced to perform at Lowlands festival in the Netherlands which has just sold out at 180,000 tickets. Jack and Pat Pierce talk to Jae Salmon. Did you both develop a love for music at the same time and at what age did you pick up your first instrument? We were about 6 or 7 years old when our older brothers started playing guitar and we thought they were the coolest people on the planet, so of course we wanted to follow them. We were listening to a lot of Nirvana and Pearl Jam in the early 90s and so naturally we wanted to rock out! (Jack) I remember the first song I ever played was “Come As Your Are” on Acoustic guitar. I couldn’t even hold the thing up, I had to hold it on my lap and pluck away. I was so stoked when I mastered it, I would show anyone who’d pay any attention that I COULD DO IT WITH MY EYES CLOSED!! We started getting guitar lessons in yr 7 and then kept going as we just fell in love with music. Sometimes Brothers can be competitive. Are The Pierce Brothers competitive and if so, what is the positive aspect of that? We’ve actually found that we’re less

MouthZoff JUNE 2014

Interview by JAE SALMON

competitive than you’d imagine. We’re both working towards the same goal of doing the best show possible, so we’re happy to slot into our roles and smash them as well as we can! Jack is more the front man, jumping around and running the show, while Pat sits back and runs the music. We work better as a team when there’s less competition between us. Outside of making music, I’d say we’re very competitive!

it, something like 1900 permits were given out in Melbourne since last June! Its fantastic! So yeah, get out there! Play open mics, busk or just do what we did and travel with a board up the coast playing shows to pay the way to the next surf town!

You have sold 20,000 CDs independently. Do you have any tips for bands who would also like to have that kind of success?

NO I’M NOT!! YOU ARE!! - I guess accepting blame doesn’t really come easy to anyone. Its pretty hard to accept blame and responsibility and to get over your stubbornness and show a little humility. In the case of identical twins, there just MAY be a LITTLE bit of stubbornness when it comes to admitting fault …

As Arnold would say; “More energy!” To us it’s all about putting in the most energy to the live performance. We started by busking, so we learned how to pull an audience from the hundreds of people walking past. We just jumped around and acted like crazy apes until people paid attention. It gave us the opportunity to sift through our catalogue and see what songs people responded to and what they didn’t. Every day is like a marketing survey! All we can say is just get out there and play! Busking is such an excellent way to go about it; it gets people to shows and sells CDs! The stigma attached to busking as a form of begging is ridiculous. Busking is such an important part of every city’s cultural heritage and something to really get into! I think more and more people are getting into

Your latest release is titled “It’s My Fault”. Does accepting blame come easy to the Pierce Brothers? (lol)

Describe your reaction when you found out you had been accepted to play at the Lowlands Festival in the Netherlands in August alongside acts like Snoop Dog, Queens of the Stone Age, The National and London Grammar. We were actually having a beer in St Kilda at the time, and about to go home when we got the news. We were so stoked that we jumped around and ordered a couple of shots! We still haven’t come to terms with it, I keep reminding myself (Jack) “Oh yeah! That’s happening!” and then I immediately feel a little daunted! It’s a massive deal! We are pretty effing thrilled!

Big Bear and Spotify Presents

4-9pm - Doors at 3.30 RNA - Marquee, Bowen Hills Brisbane Tickets via www.liveitupfestival.com.au THIS IS A DRUG, SMOKE AND ALCOHOL FREE EVENT

UVERSEU FEATURE ARTIST

WHO IS ...?

UverseU is a new alternative rock band from the Gold Coast - Four musicians and a production team. Our in-house ‘Do It Yourself’ approach allows us to function as well-oiled musical machine. HOW LONG HAVE YOU BEEN PERFORMING/RECORDING? We’ve been hard at work for the last year on our debut EP - carving out a multitude of fresh original material, then testing the results at full volume in our scenic rehearsal space in Beechmont. In respect to performing together as a live group we are brand new, however each and every musician has a lifetime of experience playing and recording in previous projects. It’s an exciting time. HOW DO YOU DESCRIBE YOUR SOUND? We have a collective love of Grunge and Metal. While we aren’t strictly Grunge, Punk or Metal. We describe the sound between the ethereal tones of A Per-

fect Circle and the hard hitting rock sensibilities of stalwart bands such as Chevelle.

Occasionally hints of a Smashing Pumpkins riff, a faint twang of Eddie Vedder’s guitar or a sudden gutteral squall that could have come from the voice box of Johnathon Davis can be picked up in the mix. BEST GIG YOU HAVE PERFORMED SO FAR AND WHY? So far we have just dipped our toes in the South-East Queensland Scene. Our foray into regular gigs in 2014 will kick off in May alongside a bunch of other Brisbane bands involved with a Community project called ‘Fuck The System’ - Helping others to promote a Do-It-Yourself culture. You can be expecting plenty of beer, sweat and running mascara at a UverseU show. CAN YOU EXPLAIN YOUR WRITING/ CREATING PROCESS? When approaching the sometimes difficult task of creating exciting original music we all tend to put on the bull horns, lock the door, hit the record

button and duke it out.

From day-one we have recorded every single thing we’ve done into Pro-Tools. Once we feel we’ve created music of ‘substance’ we’ll often stop, listen back to what we’ve done, review and then continue with the strengths of a new song. Everyone in our band is a songwriter - So once material is brought to the table it’s basically a free for all whereby we all carve out our own niche in the music. THE BRISBANE MUSIC SCENE IS….

A fantastic adornment for the beautiful city of Brisbane and a great place to belong. The Gold Coast has limited opportunities, hopefully this will change.There’s nothing like the drive up the Highway before a big show full of nervous energy! WOULDN’T IT BE NICE… To jump in the tour van and hit every music starved town in Oz. BEN KNIGHT

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MouthZoff JUNE 2014

DIESEL COVER STORY

Interview by RANDY G

ITH Soul, Rock, R n B and Folk all in the mix what is it about the Blues that still comes out on top for you? The Blues is intrinsic to my music, I may feel that what I’m doing is not as blues based as something else that I’ve done until someone else will hear something that I haven’t noticed ,then I realize that blues is pretty much in my “DNA”. “Best Male Artist awards” seem to be a running theme with you and though I’m sure the ladies in particular agree whole heartedly, I’d love to tap into your thought process and ask- what goes on in that Diesel mind? What drives you and helps you to strive so highly in your artistic achievements particularly your performance? To be honest, I’ve never had a plan as to what, where, how I’m going to do things, I’ve really just gone where the music takes me. When it comes down to it I’m dealing with an occupation where I’ve actually dreamt a song idea, how do you manage or plan that?! Performing live is probably the most tangible thing for and is something I will always challenge in the sense that if I do a great show I want to see if I can do better. As well as vocalist/backing vocalist, songwriter, composer, multi (and I mean multi) instrumentalist you have also done extensive production work at a high level. How does this rate for you as opposed to being a performing artist?

MouthZoff JUNE 2014

It can be very fulfilling at times although sometimes I wish I could delegate some of the work, I’ve “burned the midnight lamp” many times on projects. as far as playing instruments I never dreamed of, I guess you can do all kinds of things when you are in the moment. As much as I love working in the studio I think I probably wouldn’t love it so much if I couldn’t play live.

and how has this changed and affected the shape of your music throughout the years?

By 1997 you had sold over 800,000 records and earned a soirée of awards, yet at this time you decided to up n move to New York? What prompted this decision and what did you do during this time?

You’re a fine example of longevity and resilience in an industry that’s not always the easiest to conquer. What’s your secret and what advice could you offer to young and up coming artists?

I had been to many places at that point but New York city was the one place I really wanted to go back to and actually live in.It’s a really different feeling when you actually relocate with all your possessions and put down roots. It was literally the first time I had stopped touring since everything got busy for me 9 years before so it was a good time to make such a move. The best thing for me now is going back and feeling like NYC is an old friend. You returned to Oz and in 2006 you released ‘Coathanger Antennae’ How and why did you choose to change your methods for recording this album? With “Coathanger Antennae” I wanted to use more of a band scenario and also a string quartet as a big part of the sound, writing charts for the quartet as part of the writing process. Who were/are your biggest influences

I’ve listened to so much music and continue to love finding new things, It would be hard to pinpoint who has influenced what but I would have to say Jimi Hendrix and Otis Redding have really made an impact on me.. It’s a long list...

I don’t really know the answer to longevity, my advice would be try to avoid the cliches that are all over the music industry. I for one am by no means perfect but I’ve figured out to a decent degree what is really going to help or hinder me. at the end of the day you’ve got to really love the music because there will be days where that’s all you will have. Tell us please, about your current ‘Let it Fly tour’- what are the highlights of this tour and what can we look forward to? Having Tim Chaisson on the road with us for some of the tour was amazing, especially being that he played on some of the record. We recently had my brothers Mike and Brian playing horns in Kings Park WA doing shows with Hunters And Collectors, that was a lot of fun, with each new record the piece of string gets longer and it’s always exciting introducing the new songs to “the family”.

EL Pic: Todd Barry

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Steve Kilbey Robyn Hitch T

HERE are moments in the life of this reviewer when I feel particularly daunted by the opportunity to review the artists before me, and tonight is one of those nights. A rare occasion that two highly respected and influential doyens of the music scene appear together; they are Steve Kilbey (The Church) and Robyn Hitchcock (The Soft Boys). Steve Kilbey entertains us first with tunes he particularly enjoys performing; many of which give pause to reminisce with stories of old friend and band-mate Grant McLennan; one time songwriter and member of The Go-Betweens. The pair were known as the duo act Jack Frost in the 90’s. Kilbey is not shy to mention his age and is in fact proud to be 60 and still performing, which I find refreshing and completely warranted. He is still in fine form from my perspective and his voice still sounds as it did in the 70s and 80s Both physically and vocally Kilbey appears to have experienced none of the ravages time is well known for delivering. There are friends and acquaintances from the past in the audience here in support tonight and Kilbey acknowledges them with amusing anecdotes drawn from experiences of share house living. Kilbey displays for us this evening what appears to be his penchant and adept skill at entertaining not only with song

STEVE KILBEY/ROBYN HITCHCOCK NEW GLOBE THEATRE PICS: BRUCE HEATH 20

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but with storytelling, which is perhaps what has inspired him to write a biography that is due out soon. He is most concerned this evening with delivering observations that are quintessentially pithy, after sharing with us the story of reading a review that said he was better off sticking to pithy observations. I’m not sure that by the end of the evening we as a collective reached a satisfactory definition of exactly what a pithy observation actually was. Overall Kilbey’s solo set was a joy and a pleasure; he is a charming, witty and talented performer who would best be served by a guitar that didn’t need constant tuning (those who were there will know what I mean). There was also an announcement of a new album for The Church on the horizon so keep an ear out for the arrival date. Kilbey would return later in the performance to duo with our next guest Robyn Hitchcock. Hitchcock is an experience. That is the best way to describe him. Having had no previous experience of seeing The Soft Boys live

I am a little unsure of what to expe had preempted Hitchcock’s perform abundant flatteries that described pleasant eccentricities and he was on every account. Hitchcock waste to inform us that the anagram of hi Horny Bitch Cock and continues th the evening to provide nonsensical amusing descriptions to his perform

The most striking aspects of Hitchc sheer physical presence of his hair incredible voice. The very second th left his sound hole my whole body l attention. You could not be in a roo man singing and not notice. The con

y& hcock

ect. Kilbey mance with Hitchcock’s s correct ed no time his name is hroughout l yet highly rmance.

cock are the r and his he first note leapt to om with this ontributions

to the annals of alternative music from Hitchcock have been prolific. He has collected a loyal following over the forty years of his performing life with his songs that often cast surrealistic and somewhat melancholy reflections upon the ordinary aspects of life. Hitchcock is an experience I hope to have again. The evening draws to a close with both Hitchcock and Kilbey teaming up duo style. The pair are magical together on stage and take the art of performing music to a deeper more personal level. Their years of experience in the industry combined is to be respected and tonight is an exceptional opportunity to bask in the glow of supreme talent. And then it happens – those familiar chords are being strummed - and we are away - “Sometimes when this place gets kind of empty...” I know this is age-identifying but I saw The Church perform in ‘83 in a church in Gatton of all places, a night I will always remember for reasons I will not divulge here. Anyway the point of this recollection is that Kilbey’s still got it; the man is so brilliant I can even forgive him stuffing up the words (LOL). I leave this gig tonight satisfied and thoroughly entertained thank you Horny Bitch Cock and Set Bike Levy. Come again sometime. JAE SALMON

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Garage Goss news from the STARS OF Brisbane’s smaller venues with JAE SALMON

DON LOCO There is a brand new band in town for your consumption and enjoyment. Band names always intrigue me as I feel their purpose is to manifest a visceral experience of the band’s performance. So the name Don Loco translates in my head to “lose your sh*t”. Experiencing Don Loco is like taking a step back into the 80’s when bands like Foreigner and Journey had the airwaves firmly in their grasp and Damian the vocalist for Don Loco recreates that sound brilliantly. If you like your rock bands straight up and awesome then Don Loco is for you. They are all about solid bass lines fancy guitar licks, thrashing drum beats and a voice that just won’t quit. I have no hesitation in slapping a “Satisfaction Guaranteed” sticker on the side of Don Loco. If you don’t love these guys then you just don’t like music. This is meat and three veg rock in all its wholesome goodness. And none of this fancy Porterhouse steak rubbish either, I’m talking good, honest, thick, juicy T-bone (apologies to the vegetarians), something to really sink your teeth into and satisfying. Get out and see Don Loco at the Underdog, June 7 and lose your sh*t.

Pic suppli

ROOK

Pic: Georgia Fitzgerald

Another fresh find for you is Rook. A little like the Phoenix from the ashes Gary Summers who was the voice of Geomantra has reincarnated his passions into Rook. Plagued by drummer maladies so prevalent in the band scene world wide, it has taken almost twelve months for Summers to gather a stable crew behind him so, once again Brisbane audiences can enjoy the pleasure of hearing a voice that can only be described as phenomenal. For those who may have seen Geomantra, Rook recreates some of what Geomantra was but Rook has a raw quality that connects listeners to more deeply to the performance and the material. Summers is demonstrably passionate about performing. There is something magical about watching people do what they are passionate about. The enjoyment and fulfillment they are experiencing flows out and infects the viewer with a dose of that same fulfillment, which is why live music is so addictive. I am looking forward to seeing as many repeat performances of Rook as I can, and I suggest you swoop on the next opportunity you get to see them play.

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talks to

Saskwatch M

OUTHZOFF got to speak with Saskwatch, supported by local band Onxy Reign, after a packed all-ages concert at Bond University amphitheatre on the Gold Coast in mid-May celebrating Bond Uni’s 25th anniversary. Interviewing the 9 piece collective was an interesting experience.

You’ve got a new album out - “Nose Dive” – that’s been out about a month now. What’s the response been like? Nkechi: Response has been really great – the album entered in the ARIA top 50 – and it’s a very different from our first album and goes in a new direction for us. We’ve matured as a band and Liam (McGorry) as the writer of our music has been listening to a lot of different sounds and is charting a new vision and direction for us. We’re moving away from the whole Soul scene – well, not entirely – but we’re trying to expand our musical style. Rob: We’re not really moving away from being a Soul band – it’s just that Liam is writing the good songs and we’re playing them.

For a young band, your line-up is tight and incredibly talented – I can imagine that it would be easy to get stuck in a genre, and you are clearly trying not to do that, so where is the album taking you musically?

Rob: The main thing for us is that we’re playing good music with our friends and it doesn’t matter what genre it is – we not looking to get stuck in one area, but we don’t feel the need to break out either. Nkechi: We just trying to do Liam’s songs – or any songs – just really well. Once the music is out there the popularity of the song is sort of secondary to just making good music. It’s only really been the last two years where it’s started to snowball to where more people outside of Melbourne are hearing the music. Bluesfest and Edinburgh have really grown our audience. And what about side projects? Oh yeah – everyone in the band plays in different bands ! - Liam plays in a band called Eagle and the Worm

Words & pictures by BRUCE HEATH

- Liam and Will and Rob play in a band called The Dorsal Fins - Nkechi, Rob and Tom play with the Do Yo Thangs - Tom, Nick, Ed, Will and Olaf play in Let Your Hair Down Girls - Booi (Sam Boon) is an arranger/ composer. Who else is out there at the moment that you like as new sounds? There are a lot of Australian bands out there at the moment that we really like – Pond (WA), Palms (NSW), Foam (WA), King Gizzard and the Lizard Wizard. And the tour? Grizzly Jim Lawrie is playing with us on the tour – Foam is supporting us in WA and we try to find local bands in each state. Saskwatch are currently touring nationally and have upcoming gigs at The Soundlounge on the Gold Coast 13/06, and The Zoo in Fortitude Valley 14/06 with special guests Little Odessa and Grizzly Jim Lawrie.

Sound Advice by PETER MULDOON

Microphone placement Pt 1 - room mics, kick drums and phasing issues

N LAST month’s issue we looked at microphone choice and explored the different types, polar patterns and frequency responses to try and help you choose the right microphone for your intended purpose. Assuming you now have a microphone or few we will now look at microphone placement for recording in the studio and for live sound. When placing your microphones you have to ask yourself, “What am I trying to capture?”. I say this because if you are recording electric guitar for example and you place a microphone right in front of a guitar cabinet, the microphone will only capture the sound coming directly out of the speaker. This technique is known as close miking. If you place the microphone on the other side of the room it will capture the sound coming from the speaker along with all the reflections of the room. Both techniques would yield very different sounds and result in a very different outcome for your final mix. The closer the microphone is to the source, the less room sound you will capture and vice-versa. In most cases a combination of these techniques will be used to achieve the right sound. You’ll often hear that drums are by far one of the hardest instruments to record. Not only is it time consuming, but not getting the right drum sound can be detrimental to the rest of your mix. The main difference between the drums on a professional rock album and drums recorded in your home studio (besides the quality of the microphones) is the size of the room in which they are being recorded. The bigger the room, the bigger the sound. Professional recording studios will usually have a large live room for this reason. Recording engineers will place as many room microphones as possible around the live room in order to capture this big drum sound. When recording in a home studio we may not necessarily have the luxury of a large live room, leaving us

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and result in a more “woofy” sound. As you move the microphone closer or further away you will hear the sound change. Try to place the microphone in a spot that sounds loudest to your ears. Figure 1 - The two signals are considered to be out of phase, with the green wavelength cancelling out the red wavelength

Figure 2 - The two signals are considered to be in phase, with the green wavelength reinforcing the signal of the red wavelength

to make use of close miking techniques. Close miking will not pick up any room sound, eliminating the need for a large studio and therefore any issues associated with the sound of the room. Eliminate the need for room sound and you can track drums practically anywhere from your bedroom to your bathroom or even your backyard if you so please. Fortunately, with the use of your DAW and the various room and reverb plugins that are available, we can imitate the sound of these large studios. There are many instructional videos available on the web for how to do this. When miking a kick drum there are a few popular techniques to choose from. The first is to place the microphone inside the kick hole. By pointing the microphone in different directions you will capture different sounds. Pointing or placing the microphone away from the beater will result in a more “muffled” sound, while pointing or placing the microphone close to the beater will result in a slightly clearer sound with the beater more present. Another technique is to place the microphone just outside of the kick hole. This will capture the sound of the air escaping from the inside of the drum

A third technique is where the microphone is placed at the drummer’s side of the kick drum and aimed at the beater. This captures the “click” of the beater as it hits the skin and is a popular technique for rock and metal. More often than not a combination of these microphone placements is used, although the moment a second microphone is introduced to a sound source we encounter phasing issues. When recording drums the entire kit is considered to be the sound source. As the sound leaves the source it produces wavelengths that travel from negative to positive amplitudes. These waves can differ in size and length depending on the frequency of the sound. If one microphone is placed within a positive amplitude and a second microphone is placed within a negative amplitude of the same wavelength the frequency will be cancelled out, resulting in a much “thinner” sound. The microphones are then considered out of phase (Refer to Figure 1). There are many rules and texts associated with phasing issues, but rather than trying to work out the distance at which the microphones need to be placed from one another to avoid phasing, the simplest way is to just listen back to them. If the two signals sound full and fat when soloed and then appear to get thinner when played together, chances are the microphones are out of phase. This is easily fixed by moving one microphone closer or further away from the source until the two sounds sound full and fat when played together (refer to Figure 2). Next month we’ll look at microphone placements for the rest of the drum kit and other popular instruments.

LIVERE JAE SALMON

Lulu and the Cutthroats

ONIGHT is a date that has been set in my calendar for a long time. I will admit that when this gig was first posted, The Halls were the band I was most excited to see as this would be their first gig for 2014 and it has felt like such a long time between hangouts with the Halls. However since pressing “join” on the facebook invite some weeks ago I have had the sublime pleasure of catching a live set from the other support act tonight – Switchblade Suzie and have investigated the headliners – Lulu and the Cutthroats and that is why I am now standing here at the Zoo with a grin from ear to ear and a body full of anticipation because know I am in for a great evening and I will not be disappointed. Switchblade Suzie take a stab at opening the evening with a precision blow. Their smooth, swooney, blues, rock style is the perfect accompaniment to almost anything. Lead singer, Willow Nicholls could win a global “Best Voice” competition hands down and Bass player Eliza Heath has pizzazz in bulk supply. It is the final performance for current lead guitarist Sam De Calmer and I am finding it difficult not to get caught up in the feeling of loss being expressed by remaining band members. These experiences continually remind me that being a band is akin to being family and the loss of a member is felt deeply.

Lulu and the Cutthroats/ SWITCHBLADE SUSIE/ THE HALLS AT the Zoo picS: GREG ELKENHANS

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Brisbane is showcasing some of her best female artists tonight. Every band tonight is being fronted by powerful female leads. The Halls are up next with Bec out front of an otherwise all male band. Bec also plays Bass which along with her vocals, that sound a bit like Dolores O’Riordan of the Cranberries to my ears, drives the band into a powerfully, rhythmic, hypnotic state. I catch myself emerging from a place I had drifted away to as a result of the transcendent quality of The Halls. The sound is not only mesmerising it is also gritty and heavy which is perfectly fine for me. The merch for The Halls is popular too. I have seen a few of their shirts being worn around town recently and had the merch store had my size in black I would be rocking one too. The design is eye catching to say the least. Lulu and the Cutthroats are proudly launching their EP Skeletons tonight.

EVIEW The Halls

The five friends decided some time ago that they would like to make music together and what a great decision that was. Skeletons is the first EP for the group who are still establishing their sound. The lyrics trend toward the morbid and melancholy but the darker emotions cleverly disguised by distractingly brilliant melodies. Lulu commands attention with raunchy stage presence that belongs to much more seasoned performer. The future is looking sharp for these Cutthroats. The plan after this release is to head straight back to the studio to record the next EP or album. I highly recommend your attendance at the next launch for what will surely be an unforgettable evening.

Lulu and the Cutthroats

Switchblade Susie

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Phil Emmanuel Pic: Brett Linsley

HE 2014 Blues on Broadbeach, the festival’s 13th year, saw an incredible host of artists from across the country come together for a Blues music extravaganza for 4 days and nights! I present below my top 10 favourite Blues on Broadbeach performances. RUSSELL MORRIS (Surf Parade Main Stage) - Fri pm ARIA Hall of Fame inductee, Russell Morris, is much revered for his huge hits during the late 1960s and early 1970s including “The Real Thing”, “Sweet Sweet Love” and “Wings of an Eagle”. On Friday evening, Russell delighted the crowd with tracks from his latest top ten charted Blues albums, “Sharkmouth” and “Van Diemen’s Land”, as well as a few older numbers. This was my first taste of Blues on Broadbeach and it was a good one! THE LACHY DOLEY GROUP (Envy Hotel) - Fri pm Lachy Doley is one of the few remaining Blues performers who plays a Hammond organ. With a strong crowd upstairs, the group delivered their repertoire which consisted of a mixture of ballads

Russel Morris Pic: Brett Linsley

and rockier numbers, with plenty of gusto and passion. DEVIL’S KIOSK (Broadbeach Tavern) - Fri pm A revamped line-up of Devil’s Kiosk (formerly known as Blind Lemon) with lead vocalist/harpist Jamie Symons at the helm, played their incredible brand of soulful blues to a very enthusiastic crowd. This was certainly a high point of the festival for me, and I strongly recommend that you get hold of their latest CD entitled “For Love”. DREAMBOOGIE (102.9 Spotlight Stage) - Sat am / also (Broadbeach Mall Stage) - Sat pm The vivacious Rebecca Davey leads this modern Blues combo from Melbourne, who competed at the International Blues Challenge in 2012. Their mixture of delta and contemporary blues classics is an aural delight. Rebecca adorned in interesting head attire (peacock feathers) compelled the crowd to participate during some of their numbers and the revellers responded with unabashed joy. PHIL EMMANUEL (Surf Parade Main Stage) - Sat pm The guitar wiz brother of Tommy Emmanuel entertained the crowd with a selection of heavy blues rock and contemporary rock. I noticed a strong emphasis on Dire Straits covers, which is not necessarily a bad thing! The overall emphasis on sound was more rock-oriented than blues, but the party-goers didn’t seem to mind. ASA BROOMHALL (Alto Bar) Saturday pm I have long been a fan of Brisbane performer Asa Broomhall and I must admit that his debut CD “Outside”, released a decade ago still gets played regularly. His brand of singer-songwriter ‘roots’ rock had a strong appeal to the mainly sit-down crowd at the Alto Bar. Most of Asa’s material was performed in a laid-back mode, but looks can be deceiving as he can rock it out like very few can.

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KEVIN BORICH (Surf Parade Main Stage) - Sat pm

It’s almost impossible for me to unbiased review of KB, consideri everything he released on vinyl i De Da’s, Kevin Borich Express et no other - KB delivered a dynami which had the crowd eating out o Main Stage is his oyster and ther performers that can impress the Borich can!

COLLARD GREENS AND GRAVY (E pm Melbourne trio consisting of Ian Bridges and Anthony Shortte imp packed audience upstairs with th style blues material. Collard Gre sound is of the guttural down-ho elicits an infectious raw vibe. I w nate enough to see Ian Collard p Turner (as a duo) earlier in the d albeit in a more laid-back mode.

DOC SPAN BAND (Broadbeach M New Jersey-born vocalist/harpis played with some of the biggest

Reviewed by MATT GLEESON

o provide an ring I own almost including the La t al. He rocks like mite performance of his hands. The ere are very few e revellers like Mr.

(Envy Hotel) - Sat

n Collard, James pressed the heir Mississippieens and Gravy’s ome variety that was also fortuperform with Dom day at the Sofitel, .

Mall Stage) - Sat pm st, Doc Span, has names in the

Devil’s Kiosk Pic: Hi NRG Studios

Kevin Borich Pic: Brett Linsley

Blues scene both overseas and in Australia. On Saturday evening, the Doc Span Band played a great selection of Chicago Blues material to an enthusiastic crowd. Tim Gaze was in outstanding form with his skilful lead guitar licks. Everyone had a ball! TUESDAY’S GOOD (Broadbeach Tavern) - Sun pm An honourable mention goes out to a band I knew nothing about prior to this festival. Tuesday’s Good, led by female vocalist Sarah Frank, performed an eclectic selection of mainly original material. The sound was of the hippie variety with a similarity to some of the more experimental late 1960s West Coast (American) blues rock acts. I am not sure whether this was intentional, but it certainly made an impression on me! This is one of the few FREE festivals that incorporates large outdoor stages, along with smaller street ‘platform’ stages and local venues, to create a relaxed and inviting experience. The Broadbeach Alliance has organised and produced an exceptional event and should be applauded for their efforts. I can’t wait for the next one!

Lachy Doley Pic: Hi NRG Studios

Dreamboogie Pic: Brett Linsley

SPOTLIGHT ON

350 Upper Roma St, Brisbane

The Beetle Bar https://www.facebook.com/beetlebar

(Answered by Haley Elliott-Maclure) WHY SHOULD WE BE GOING TO THE BEETLE BAR? The Beetle Bar offers a unique live music experience, with a relatively small capacity (330) offering an incredibly diverse selection: rock, pop, Acoustic, Country, Hip-Hop, Funk, metal, electronica; if you play it, we’ll host it! We’re situated on Upper Roma St, out of the sometimes overwhelming hubbub of the Valley or the City, in an old Heritage Cobb & Co building nestled in between backpackers. We do local showcases, hosting everything from underground shows to international acts. Our staff are friendly, our beer is cold and cheap, and our sound guy knows his bananas. WHAT IS THE VIBE? Funky psychedelic grunge, complete with garden mural on floor, furry walls and custom VW Beetle art installation

mounted out front! We aim to create an inclusive, relaxed environment where people can come and relax, play some pool, hear some music, or indiscriminately rock the fuck out; whatever you fancy! Above all, we want people to feel welcome. We’re currently in collaboration with local artist studio LoveLove to design a mural for our outer wall, and are aiming to begin local artist showcases as well. WHAT SHOULD I DRINK? Our themed nights always have a special; try Purple Haze on our monthly Psych-High-Way evenings! If you’re out on the cheap, we’ve got tap beer for five bucks. Our wicked, multi-talented bar staff will make you whatever you want, and are always up for a challenge. ACTS TO WATCH OUT FOR ARE… In the past we’ve hosted X, Mike

Noga (Drones) & Ben Salter, Spencer P Jones, Def FX, Peter Murphy (Bauhaus), Mick Thomas (Weddings Parties Anything), Ball Park Music, Deniz Tek (Radio Birdman) among many others. Coming up are Ladybugs (our monthly showcase of female Brisbane musicians), Mad Nanna, Twin Beasts and Teeth & Tongue. If you play, we want to hear from you. TELL US ABOUT YOUR FAVOURITE MEMORY FROM THE BAR. Probably dancing my face off to local surf-psych outfit Los Huevos, or watching local degenerates HITS rock out on NYE. BRISBANE’S MUSIC SCENE IS...… Tough, fun, collaborative, inclusive, expansive, talented, drunken and sticky. Words and pic by BEN KNIGHT

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The WhatZon

The WhatZon gig guide is TOTALLY FREE! – list your shows for nothing! Just head to www.mouthzoff.com/whatzon for details

June 2014 DATE ARTIST

VENUE suburb

THU 5TH Andrew Kucks Fibber McGee’s Toowoomba Brizbane Jazz SIngers Showcase Brisbane Jazz Club Kangaroo Pt Ellie Goulding, Broods Brisbane Convention Centre City Hailmary The Rails Byron Bay Joel French, Myles Larsen, Emma Ballard, Whitney Veitch, Robin Kimberly The Loft Chevron Island Jukka Perko - Avara Trio Queensland Multicultural Centre Kangaroo Pt Le Suits / Magenta Voyer New Globe Theatre Fortitude Valley Mick Nock Trio JMI Live Bowen Hills Movement Black Bear Lodge Fortitude Valley Non-cents Thursdays Elsewhere Surfer’s Paradise Our Man In Berline Alhambra Lounge Fortitude Valley Out of Abington QMC Foyer Kangaroo Pt Out Of Phase, Rabbit, Go Go Fish Beetle Bar: City Pierce Bros Solbar Maroochydore Student Night: Suburban Wolves + Howling Seas Ric’s Bar Fortitude Valley Sun Heights, Dire Wolf, She Cries Wolf, Vitals, Time Crisis, Siberian Hell Sounds Crowbar Fortitude Valley The Bear Hunt, Mallory vanetti, The Buzzrays The Zoo Fortitude Valley TSUN The Bearded Lady West End Young Pups Open Mic Night The Underdog Fortitude Valley FRI 6TH Adam & Tash Southern Hotel Toowoomba Drawn From Bees The Soundlounge Currumbin Hailmary, DTHWBBA, Elston Gunn, Tesia Coil, Walken New Globe Theatre: Fortitude Valley John Wilkinson Great Northern: Bootleg Rascal Fibber Magee’s: Toowoomba Julien Wilson Quartet + Barney McAll Solo Piano Queensland Multicultural Centre: Kangaroo Pt Slim Jim Phantom Racecourse Hotel: Booval Betraying The Martyrs Crowbar Fortitude Valley Between Kings, The Kinetics, Houses, Youthfire Beetle Bar: City Cosmic Dolphin Party f/ Waxhead Elsewhere Surfer’s Paradise cRUE The Loft Chevron Island David Spicer trio Brisbane Jazz Club Kangaroo Pt Eagle And The Worm, Fox & Fowl, Love Signs Black Bear Lodge Fortitude Valley Ejaca Bowler Bar Fortitude Valley Ewan McKensie and Warwick Hargreaves Duo The Point Fishlane QMC Foyer Kangaroo Pt Getaway Plan The Bright SIde Fortitude Valley Hot Chip DJs, Matthew Dear Oh Hello Fortitude Valley Innes Padre Woolloongabba Junior Danger, Youth Allowance, Mazer The Zoo Fortitude Valley Live, Loud and Local Redlands Rugby League CLub: Birkdale Mission X Bramble Bay Bowls Club: Bramble Bay Movement The Beach Hotel Byron Bay Publicans Pick A Box, Diamond Dave The Underdog Fortitude Valley Ron Pope Princess Theatre Woolloongabba Shandy After Midnight The Underdog Fortitude Valley fRI 6TH Story Bridge Hotel (Corner Bar): Bernie Maguire Story Bridge Hotel Kangaroo Pt Story Bridge Hotel (Shelter Bar): DJ Ritchie Story Bridge Hotel Kangaroo Pt The Chainsmokers Club LIV Surfer’s Paradise

DATE ARTIST

VENUE suburb

FRI 6TH The Ninjas + Gonzo Villain Ric’s Bar Fortitude Valley The Tiger & Me, Luna Junction The Bearded Lady West End Tink, DJ Dzyr, Jane Doe, Frankie Trouble Ellement Lounge: Fortitude Valley Unison Sound System + Mike Nock BigSmallBand Queen Street Mall City White Lung, Upset, Waax Alhambra Lounge Fortitude Valley sAT 7TH Cooly Rocks On Festival Coolangatta Gold Coast: Dave Ritter Band Fibber Magee’s: Toowoomba DJ Ritchie Story Bridge Hotel Kangaroo Pt Kevin Mark Trail, Shukura Chapman, Julie Hayes The Loft Chevron Island Michelle Nicolle Quartet Brisbane Jazz Club: Kangaroo Pt Sinjin Hawke, Tink, Silo DJs Alhambra Lounge: Fortitude Valley TLC Eatons Hills Hotel: Eatons Hill 4ZZZ Benefit Showcase The Underdog Fortitude Valley Bad/Dreems Rocking Horse: City Bec Laughton Sol Bar: Maroochydore Bootleg Rascal The Joynt: West End Drunk Mums Trainspotters City Ella Hooper Racecourse Hotel: Booval Eurogliders City Golf Club: Toowoomba Groove Doctor Easts Leagues Club: Coorparoo Halfway, Harley Young & The Casuarinas The Zoo Fortitude Valley Hell City Glamours Crowbar: Fortitude Valley Julian Arguelles + Trichotomy + Paula Girvan Quartet + Leigh Carriage Quartet + Joshua Redman Quartet Queen Street Mall City MVP Ravers w/ Dj Atomic, Ms Devastated, Apollis Deluxe Nightclub: Fortitude Valley Nat and Stu Story Bridge Hotel Kangaroo Pt New Empire The Old Museum: Fortitude Valley Phil Smith The Bearded Lady: West End Psych-High-Way! w/ Waxhead, Mega Ogre, Hobo Magic, Windrest Beetle Bar: City Schoolboy Q, Isaiah Rashad The Hi-Fi: West End The Chainsmokers Family: Fortitude Valley Tim Steward Padre Woolloongabba Transvaal Diamond Syndicate + Grindhouse Wrestling Beach party Madness New Globe Theatre Fortitude Valley Victoria Q Duo Southern Hotel: Toowoomba Wolfpack + Crooked Face Ric’s Bar Fortitude Valley SUN 8TH Chaika w/ Mzaza Vision Gallery: West End Brianna Carpenter The Old Museum: Fortitude Valley Caxton Street Seafood & Wine Festival Caxton Street: Caxton St Barracks Chris Ramsay Southern Hotel: Toowoomba Eurogliders Buderim Tavern: Buderim Owie, Chris Ramsay Fibber Magee’s: Toowoomba Shipwrecked w/ Cutloose, Gavin Boyd, Komplex HALO on Caxton Caxton St Barracks Steve Newcomb and Jeremy Rose Jazz Upstairs: West End Sunday Jazz brunch with Jo’s Boyz + Enthusiastic Musicians Orchestra w/ Julian Arguelles + Brisbane Big band Brisbane Jazz Club: Kangaroo Pt Sunday Jazz lunch river cruise - Paradise City Jazz Trio Kookaburra River Queen: City Wallapalooza Festival w/ Helm, Wolfpack, Azreal, These Four Walls, Soking Martha, Hailmary Wallaby Hotel: Mudgeeraba Motez Nautic Giants - Fisherman’s Wharf Gold Coast: 5 Ways Festival w/ Tigerlily, Mr Hill & Rahjconka, Rave Radio, Antiheros, Keesh. The Normanby Hotel: Normanby sun 8th Beauty Kerbside Fortitude Valley Bertie Page Clinic / Angela Toohey Trio Brisbane Powerhouse New Farm Bok Bok, L-Vis 1990, Kush Club DJs Alhambra Lounge: Fortitude Valley Don and the Mobsters + Switchblade Suzie Ric’s Bar Fortitude Valley Gemma Turvey Solo Piano + Joshua Hatcher Quartet + Jeremy Rose and Jackson Harrison Queen Street Mall City JUNEtunes Music Festival w/ Ganggajang The Straddie Hotel Stradbroke Island

DATE ARTIST

VENUE suburb

SUN 8TH Kevin Mark Trail Dowse Bar: Fortitude Valley One Day Sundays w/ Joyride, Adit, Raph Elephant Hotel: Fortitude Valley Propagandhi The Hi-Fi: West End Queen’s Birthday Rave IV Elsewhere: Surfer’s Paradise Rafael Karlen w/ Steve Newcomb and Rosenberg Strong Quartet + Joseph O’Connor Solo Piano Queensland Multicultural Centre: Kangaroo Pt Rohan, Dead Wolves The Bearded Lady West End Rufus Beach Hotel _ Slim Jim Phantom w/ Fireballs, The Gastons Bramble Bay Bowls Club: Woody Point The Bennies, Fait Accompli Crowbar: Fortitude Valley mon 9th Propagandhi Miami Tavern Miami Beach tues 10th Sweet K + Not a Lemur Ric’s Bar Fortitude Valley wed 11th Le Parti Soul w/ DJ Redbeard + The $ilver Dollar$ + Jman & the Pigs Ric’s Bar Fortitude Valley Fortitude Valley thur 12th Black as Blue, The Con and The Liar, Buzzbees, Faux Bandit New Globe Theatre Student Night: JunkYard Express + Love Lost + James Becroft Ric’s Bar Fortitude Valley The Love Junkies “Flight Test” Tour Black Bear Lodge Fortitude Valley fri 13th Graveyard Train The Zoo Fortitude Valley UNDERWOOD MAYNE (9:00pm) + Go Van Go (8:00pm) Ric’s Bar Fortitude Valley Voodoo Crypt - Captain Reckless and the Lost Souls, The Zombie Ghost Train,Little Mac and the Monster Men New Globe Theatre Fortitude Valley sat 14th My Friend the Chocolate Cake New Globe Theatre Fortitude Valley Saskwatch The Zoo Fortitude Valley The Paper Kites Hi-Fi West End WAAX (9:00) + Baskervillain (8:20) + Baltimore Gun Club (7:40)+ Youth Allowance (7) + Slacksmiths (6:30) Ric’s Bar Fortitude Valley sun 15th Jackson McLaren & The Triple Threat The Bearded Lady West End Tea Society + Guest Ric’s Bar Fortitude Valley mon 16th Hospo Night: Conspiracy of One + Steve Dorrington Ric’s Bar Fortitude Valley tues 17th Finntroll The Zoo Fortitude Valley William Wyatt (9:30pm) + Guest (8:30pm) Ric’s Bar Fortitude Valley wed 18th Le Parti Soul w/ DJ Redbeard + Devel + Headshow Ric’s Bar Fortitude Valley thu 19th Student Night: Baskervillain + Little Earthquake Ric’s Bar Fortitude Valley Supersuckers The Zoo Fortitude Valley Willow Seed New Globe Theatre Fortitude Valley FRI 20th Dragon Kedron-Wavel Svcs Club Chermside La Dispute Hi-Fi West End Mercians + Angels Ink Ric’s Bar Fortitude Valley Wagons The Zoo Fortitude Valley SAT 21ST Chet Faker Tivoli Fortitude Valley Forever the Optimist New Globe Theatre Fortitude Valley Hello Hokaido, Astrid, My Fiction New Globe Theatre Fortitude Valley Little Earthquake + Kolorsol Ric’s Bar Fortitude Valley The Audreys The Zoo Fortitude Valley SUN 22ND Sean Simmons / Laneway Brisbane Powerhouse New Farm TUES 24TH Joan as Police Woman Hi-Fi West End WED 25TH Le Parti Soul w/ DJ Redbeard + The Badlands + Meskalito Blues Ric’s Bar Fortitude Valley THU 26TH Lucha Libre, Billieondon, thebeforeparty, Baby L, Pack Animals, Gill Bates, LSD Ratkings & Leavves New Globe Theatre Fortitude Valley FRI 27TH Vulvapalooza - Kristy Apps, Switchblade Suzie, Love Like Hate, Nikolaine Martin DJ: Litea Barbara Fuata as DJ SUMA New Globe Theatre Fortitude Valley SAT 28TH Dune Rats The Zoo Fortitude Valley Frente Brisbane Powerhouse New Farm Rock’n’Roll Dungeon New Globe Theatre Fortitude Valley The Evening Cast + Sahara Beck Ric’s Bar Fortitude Valley SUN 29TH Cider House Blues New Globe Theatre Fortitude Valley Electric Zebra + Macros Ric’s Bar Fortitude Valley Switchblade Suzy Kerbside Fortitude Valley