22.02.17 Music / Arts / Lifestyle / Culture
Issue
177
Melbourne / Free / Incorporating
tour
warpaint release
methyl ethel tour
porter robinson & madeon
DIRTY PROJEC TORS. “These songs all originated from being sad�
2 • THE MUSIC • 22ND FEBRUARY 2017
THE MUSIC • 22ND FEBRUARY 2017 • 3
W I T H
S P E C I A L
G U E S T S
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F R O N T I E R TO U R I N G . C O M | J U L I A J A C K L I N . C O M | D O N ’ T L E T T H E K I D S W I N O U T N O W V I A L I B E R AT I O N
4 • THE MUSIC • 22ND FEBRUARY 2017
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THE MUSIC • 22ND FEBRUARY 2017 • 5
Lifestyle Music / Arts / Lifestyle / Culture
Alrighty Then
Sydney soul rockers Polish Club have announced that they’ll be releasing their debut album, Alright Already, on 31 Mar. Alongside the album, the rollicking duo have confirmed plans for a headline tour this May/June.
Polish Club
At Lahst
8
Allah-Lahs released their third album Calico Review last year and we still didn’t get a tour. That’s about to change though as the LA rockers have announced their debut east coast run this May.
The number of years it has been since Midnight Oil performed live after it was announced the band will embark on a world tour this year from April.
Northeast Party House
Beach Trip Locked in to play Groovin The Moo this year, Melburnian sextet Northeast Party House have announced a run of shows in support of their new single, Calypso Beach, in May and June. 6 • THE MUSIC • 22ND FEBRUARY 2017
e / Cultu Music / Arts / Lifestyle / Culture
Credits
Publisher Street Press Australia Pty Ltd
Teal Deal
Group Managing Editor Andrew Mast
In support of her brand new single, Private, Vera Blue has announced that she will kick off a national headline run this April with special guests Mammals and Plgrms.
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Midnight Oil. Pic by Cole Bennetts.
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Legendary rockers Midnight Oil have announced their first world tour in 15 years, over 50 gigs around the world as part of The Great Circle World Tour, which will return to Oz in October/November.
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Bras Tracks Tassie punk lads Luca Brasi are fresh off the Party In The Paddock festival and eager to announce a set of headline dates for themselves later on this year in June and July.
Jacked In support of their forthcoming EP, Fracture, Perth duo Slumberjack have announced an Australian headline tour slated for this May. The dance act will kick off in Brisbane, before stopping in Sydney, Melbourne and Perth. THE MUSIC • 22ND FEBRUARY 2017 • 7
Music / Music / Arts / Lifestyle / Culture
Tao The Line
TAO Dance Theatre
Renowned choreographer Tao Ye of China’s premier dance company TAO Dance Theatre is returning to Melbourne with 6 and 8, the opening and closing works of his Straight Line Trilogy, from this Wednesday.
AbZorba Some Culture
Lonsdale Greek Street Festival is turning 30 this Saturday and Sunday! There are three stages packed with free entertainment, more than 60 stalls with food, drinks and crafts and even a Zorba endurance competition.
Lonsdale Greek Street Festival
‘G Day Cinema At The ‘G kicks off at the Melbourne Cricket Ground this week. Take a blanket, chill out on the hallowed turf and take in Lion on Friday night and Sully on Saturday.
Cinema At The ‘G
The Brunny Summer Bazaar
[first day as surgeon] Whoa shit there’s a whole fuckin skeleton in here lol spooky @AndrewChamings
8 • THE MUSIC • 22ND FEBRUARY 2017
Reelin’ & Dealin’ The Brunswick Hotel has bridged the gap between shopping and drinking with The Brunny Summer Bazaar. Head down at noon on Sunday to peruse the goods with a $10 Bloody Mary in hand, the way it should be.
Arts / Li Music / Arts / Lifestyle / Culture
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Go Bananas
King Gizzard & The Lizard Wizard. Pic: Peter Dovgan
King Gizzard & The Lizard Wizard’s ninth studio album in five years, Flying Microtonal Banana, will drop on Friday, with Melbourne fans treated to three Australian exclusive pre-world tour launches at Night Cat in mid-March.
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6/80%(5-$&. 0(/%2851( Lang Time Coming Grammy- and Juno-Award winning singer-songwriter kd lang has announced her return to our shores this year, in celebration of the 25th birthday of her iconic album, Ingenue. The Ingenue Redux tour starts July.
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THE MUSIC â&#x20AC;˘ 22ND FEBRUARY 2017 â&#x20AC;˘ 9
Music
DAVE SINGING SAD SONGS Dave Longstreth of Dirty Projectors deflects questions from Anthony Carew about just how much of his recent breakup is chronicled in their new selftitled record.
10 • THE MUSIC • 22ND FEBRUARY 2017
“Y
ou cannot know someone through the way they represent themselves in art or online,” says Dave Longstreth. “You only know them when you know them.” The 35-year-old leader of Dirty Projectors is talking, in theory, about “the gulf between the presentational self and the actual one”. But, really, Longstreth is addressing - in philosophical terms - the notion that Dirty Projectors, the eighth album he’s released under his adopted handle, is his most clearly autobiographical album yet, a breakup record charting the end of the relationship between Longstreth and his one-time, long-time bandmate, Amber Coffman. The first single for the album, Keep Your Name, announced the changed reality of Dirty Projectors. No longer was it Longstreth and the increasingly permanent band that had grown around him since 2007’s Rise Above, the ‘Black Flag reimagined from memory’ concept album that, five LPs in, served as Dirty Projectors’ breakout, with Longstreth’s erratic, ecstatic vocals to the harmonies of Coffman and Angel Deradoorian. Instead, Dirty Projectors had reverted to Longstreth’s solo project, something it had been for the band’s first four records. “Maybe there is that element,” Longstreth says, “of having gone on a long journey only to find myself where I started, back home, but with new eyes.” The lyrics of Keep Your Name are filled with bitterness and bile, accusations and transmissions from a relationship turned sour. And, musically, it took what was previously the most sincere moment in a career long on conceptual hijinks - the sweet, unaffected, Beatles-esque from Dave to Amber love song Impregnable Question, a highlight from 2012’s Swing Lo Magellan - and perverted it, the comeback single strewn with a distorted, disfigured sample of the band’s own jam. Second single, Little Bubble, followed by sounding a bittersweet lament for a dreamlife lost. And, then, third single Up In Hudson confirmed the belief that a breakup record was looming: its lyrics openly chronicling the relationship between Longstreth and Coffman: from the first time he saw her (on stage at the Bowery Ballroom), to when he wrote her Stillness Is The Move, to seeing “the world, side by side, from the road and the stage”, to the pair “going [their] separate ways”. This is the song to bring up when Longstreth, talking in his newly adopted home of Los Angeles, tries to deflect talk of his new LP’s personal quality. “Yeah, of course I can recognise versions of us in that story,” he says. “But, even if it’s about our history, about Dirty Projectors, I’d caution that it’s still a story... A lot of the music that I really love, the lyrics have a story in them, so I wanted to tell
stories in these songs. It would be a mistake to think these stories are pure confessionals, that [the LP] just describes reality. The album is not a diary, it’s not a journal, it’s not a newspaper. It’s a kaleidoscope.” Longstreth will admit, though, that the starting point for these jams, and for Dirty Projectors, was heartbreak. “These songs all originated from being sad,” he says. “Sometimes I go to music as a way of understanding the world, and the way that I feel. I started making the songs for this album in that kind of headspace, without totally thinking of it as being the next Dirty Projectors album. “I started out just making beats, creating these rhythmic grids and patterns on the computer,” Longstreth continues. “That felt good, because it was just meditative, and not even overtly expressive. It was a way to spend time, making different rhythms. Then, on the other end of it, I was making string quartet music, old-style, writing [scores] out, for this weird, one-off solo show I did at the Metropolitan Museum of Art in New York [in 2013]. When I started to realise the rhythms and the string music were the same, that they overlapped and belonged to each other, then I started to wonder about how it might all fit together.” Befitting Longstreth’s ever-adventurous approach to composition, Dirty Projectors is built on distorted rhythms, with vocal layers (including some from Tyondai Braxton), hand percussion, digital noise and field recordings all in the mix. The album is also notable for the way it treats Longstreth’s voice as a raw tool, the songs both stretching his range, as
singer, and pulling his vocals this way and that through pitch-shifting, “the modulation of the voices” amplifying the contradiction and confusion of the wounded lyrics. “It felt like a form of reflection, and self-reflection, to take your own voice and manipulate or destroy it or tweak it,” says Longstreth. “The overt technological tweaking is one aspect of the vocal character of the record. And the other is just me singing sad songs. I lived with these songs for a long time, sang them a lot before putting them on the record. A melody is like a path, and I took myself down the path a lot. “On early Projectors records,” Longstreth says, his vocals were “some of the last stuff [he’d] throw down”. This time, they were at the centre of many compositions; befitting the lyrical quality, and the reinvention of a constantly reinvented project. Even before the album came to be defined by its sadness its updating of a relationship status - Longstreth had yearned to change things up. “My experience of the last two or three records [Rise Above, 2009’s Bitte Orca, and Swing Lo Magellan] is how much of a bubble you live in, where the music that comes out of your head becomes your reality. You spend all this time making it, spend all your time touring on it, and this goes on in a cycle. For me, it felt really important to get myself out of that, and live for a little bit.” That ‘living’ included a host of collaborations with others, Longstreth working with musicians ranging from Kanye West to Bombino. “I was ready to relate to music in a different way,” he continues, “and to work not just on music with other people, but as a collaborator for other people. I had never really done that before. Working with all the people that I have, all those things were tremendous for me. Learning to hear music through the ears of people that I’m working with, and also just getting a chance to be a team player, it was really important to me, and to my growth. I think you can hear it in this record.” How can you hear it in Dirty Projectors? “It made me be a listener,” Longstreth offers. “As a producer, it made me more practiced, more dexterous. Working with Solange, she has a musical idea that’s pretty well formed, and she’s looking for something for you. And you play her something, and she’s like ‘No, not that, more like this.’ And there’s this ongoing back and forth, where you’re slowly drawing closer to finding this sound that she’s chasing. And it draws you into a place you wouldn’t go to yourself, helps you discover new ideas, and develop a new vocabulary. Each sound has its own shading, and people can interpret that in ways you wouldn’t yourself. Different people can hear the same sound in different ways, because music is just so perceptional, so personal, so emotional.”
The album is not a diary, it’s not a journal, it’s not a newspaper. It’s a kaleidoscope.
What: Dirty Projectors (Domino/EMI)
Working With Yeezy, Solange And His Ex It’s been five years since the last Dirty Projectors album, 2012’s Swing Lo Magellan. But, though he took time away from making his own music, Longstreth was “pretty busy”, spending much of that half decade between drinks working on the records of others. Longstreth wrote “the biggest thing [he’s] ever written”, a 70-piece orchestral arrangement for a song (Time, As A Symptom) from Joanna Newsom’s 2015 LP Divers. He produced the 2016 album, Azel, for Tuareg desert-rocker Bombino, “a guitarist [he’s] loved since the earliest Sublime Frequencies releases”. He “worked with Kanye a bunch”, most famously penning the bridge of 2015 single FourFiveSeconds, a collaboration with Paul McCartney and Rihanna. He collaborated on five tracks on Solange’s 2016 opus A Seat At The Table. And, even with their Dirty Projectors split, Longstreth also produced the forthcoming solo LP for Amber Coffman, who he curiously calls “my bandmate” when he brings the record up. “Working on Amber’s album was an amazing experience. She’d done so much in service of my ideas in Dirty Projectors. This was a way for us to flip roles, and I really enjoyed working towards her vision, her ideas, and her songs.” THE MUSIC • 22ND FEBRUARY 2017 • 11
Music
The Golden Zone Methyl Ethel mastermind Jake Webb talks recording kookaburras with “evil-sounding laughs”, striving for “that personal best” live performance and baffling Bowie lyrics with Bryget Chrisfield.
W
hen asked whether he had a clear vision of where he wanted his music to take him in the early stages of Methyl Ethel, the band’s mastermind Webb admits, “There’s still no clear vision; I just wanna serve the song, it’s no greater than that. They live in their own world, and I love making them, and that’s the golden zone.” His relationship with live performance “has its ups and downs”. “It can be great and it can be painful.” Initially, one of Webb’s “bucket list” items was “to play overseas”. Tick. “I basically review what I’ve been doing on a yearly basis and think, ‘Should I just bother
I think of that lyric from, I think it’s called Sweet Thing, on Diamond Dogs; he just randomly says ‘hamburgers’!”
anymore or not?’ So, yeah! That would’ve been one of the goals, so it’s nice to have achieved that.” His band was booked to play Primavera Sound in Barcelona last year “which was pretty fun”, Webb allows. “I dunno, I’m not really a festival lover... Now, I guess, I just want to play good shows; just build a good live show and, you know, we’re working on it. And, yeah! The technical side of live performance is, I guess, what I’m into at the moment. “We’ve come off a few years doing it as a threepiece and I think we really got to a point where we hit our stride, and we were a little bit - you sort of get to the freedom point when you can just feel it up there. And now we’ve come back and we thought, ‘Okay, that’s good. We sort of maxed-out as that and now we’ve 12 • THE MUSIC • 22ND FEBRUARY 2017
sort of added another person, and rebuilt some of the songs, and it’s just back to the grindstone and work on it until it hits that point again... I guess, just like a sport or something: you just wanna be getting to that personal best,” he laughs. “I just think there’s so many great artists out there and, you know, people who probably don’t get the opportunity that we do, so why not make the most of it while we’ve got it.” On whether he’s conscious of how songs will translate live while he’s in the composing and recording stages, Webb informs, “I’d rather use the studio as as much of an instrument as anything else and just, like, build the song into what it kind of needs to be. And then reverse-engineer it when it comes to trying to play it live, which is fun in and of itself - and a good challenge, too.” The discussion turns to how songs can keep growing, almost becoming their own individual entities through live performance, and Webb concurs, “Exactly. And I’m interested in, like, the creating of sounds themselves. So that means that you have to kind of figure out and maverick a way to produce it live then, I dunno, I guess that’s just part of the fun of it.” Webb often incorporates field recordings into his creation process. “It’s always good if I’m sort of feeling stuck for ideas to build some little ambient tracks,” he divulges. So what does he use to record found sounds? “I just use my iPhone, mostly... It’s pretty good having a little field recorder in your pocket 24/7,” Webb acknowledges. When asked what we can listen out for on Everything Is Forgotten, the frontman enlightens, “There’s some kookaburras in there somewhere. I was recording down at my parents’ house and I came home from the beach, and the kookaburras just had the most evilsounding laughs! Like, it sounded really quite evil. I had to put that in there. And I was alone, as well.” Wow, that must’ve been freaky! “It was a good freaky,” he chuckles. Listen out for these demonic-sounding terrestrial tree kingfishers on new album track Summer Moon. A lot of the lyrics on Everything Is Forgotten were “deciphered from stream of conscious vocal takes”, Webb enlightens. “A lot of the time I would just launch into things to kind of put a bit of a foundation, and a bed bedrock, into the song and then almost translate it,” c he continues. “Sometimes at least kind of the vowel sou sounds - obviously they sort of seem to be coming from som somewhere; they seem to fit best, yeah.” We discuss son by other artists where it seems jibberish has been songs left in, not replaced by actual lyrics and Webb laughingly offers, “I always think of that lyric from, I think it’s called Sweet Thing, track two [actually three] on Diamond Dogs; he just randomly says “hamburgers” at one point!”
What: Everything Is Forgotten (Dot Dash/ Remote Control) When & Where: 23 Feb, Howler; 6 May, Groovin The Moo, Bendigo
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Music
Gimme Shelter Genuine EDM wunderkinds Porter Robinson and Madeon have been circling each other for years, but Cyclone discovers that when the Shelter live tour wraps they’ll be heading their separate ways.
P
orter Robinson and Hugo “Madeon” Leclercq have formed a post-EDM supergroup. They’re touring a spectacular audiovisual live show behind their viral glitch-pop hit, Shelter. But fans should catch them in Australia this February - the Shelter experience is a one-off. Robinson, from Chapel Hill, North Carolina, and Leclercq, from Nantes, France, each began as kid bedroom producers - their career trajectories “shockingly similar”, Robinson recaps during our three-way phone call. “Hugo and I met online about 11 or ten years ago -
We are not making an album and we do not have more music together.
so that was way before either of us had any whisper of a music career. We were both on music production forums. We were the young guns doing it. So Hugo was 11 or 12, I was 14 or 15. In a way, we had a kind of rivalry.” Being underage, the pair independently created electronic music inspired by, not club culture, but video games and crossover acts like Daft Punk. As such, they’d bring fresh perspectives to the scene, culminating in high concept albums. In 2014, Robinson - Skrillex his patron early on - presented the dazzling Worlds. The next year, Leclercq aired Adventure. Both have collaborated with others - Robinson teaming with Zedd and Mat Zo, and Leclercq lending his production prowess to Lady Gaga and Coldplay. Though associated with the electro-house 14 • THE MUSIC • 22ND FEBRUARY 2017
sub-genre “complextro” (coined by Robinson), they’re now more interested in “songs”. “I’ve seen so many micro-genres come and go that the emergence of a new one doesn’t get me as excited as it once did,” Robinson remarks. “But songs are timeless.” Throughout, Robinson and Leclercq exchanged music and feedback. Their friendship has transcended music. “Hugo and I can talk endlessly and alienate everyone else in the room,” Robinson notes. In August they launched their first collab, Shelter - Robinson supervising its sublime animated film clip. Still, assembling a back-to-back show behind one single is daring. Says Leclercq, “When Porter and I started talking about collaborating, we really were focused on making a song. We didn’t think about a tour right away. [But] the more we talked, the more we revisited our discography, the idea for the show came to us.” “Right,” Robinson affirms. “It’s the two of us really revisiting our own discography - reinterpreting ourselves and reinterpreting one another. It’s brand-new. It consists of both [of] us on stage at the same time: playing live, singing, playing keys, triggering samples, [playing] drum pads - the whole works.” Since the initial leg of the Shelter Live Tour - encompassing 30-plus North American dates - the combo have tweaked the set. “It’s mostly nerdy stuff,” Leclercq says. They need to keep it stimulating for themselves. However, the duo are adamant that there won’t be an album. “What was attractive to us about this collaboration was that it was gonna be fleeting,” Leclercq explains. “It was gonna be one song, one tour - and then nothing more. So we are not making an album and we do not have more music together.” They’ll part following Coachella. Indeed, Robinson and Leclercq are inherently restive. They also value their own autonomy. “If we kept Shelter going for too long, then the ways that our tastes don’t fully overlap would become frustrating,” Leclercq says. Despite its ephemerality, Shelter is proving “beneficial” to the pals’ solo work, both already plotting new projects. They’re cagey about details. Yet Leclercq has progressed the most. Robinson recently revealed on Twit Twitter that his output slowed in 2015 due to “self-doubt and depression”. Today he’s positive. “I think most of my and Hugo’s most raw artistic ambitions are, to be honest, kind kinda being expressed outside of Shelter right now in the new music that we’re writing. I think that we’re both really rest restless and anxious and have these new ideas that we’re really, really amped up about - whereas Shelter we see as being more of, like, a homage to our pasts. Hugo and I have known each other for ten years - and we do see this tour as a way of looking back. But, in a way, we’ve almost saved some of the things that we really wanna express in the future - we’ve kept that out of this show so that they’ll arrive fully formed in a really solidified vision in the future. So we’re censoring ourselves a little bit with this show.”
When & Where: 26 Feb, Hisense Arena
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THE MUSIC • 22ND FEBRUARY 2017 • 15
Frontlash
Music
Fight For Your Right To Sleep Rough So White Night happened and it’s pretty much agreed all ‘round that the homeless protest was the highlight.
Dream Job
Marvel-Verse TV What do you get when the creator of TV’s Fargo gets his hands on a Marvel title? You get the head-imploding Legion – and it’s even got Aubrey Plaza... Awesome Sauce!
Our Three Favourite Letters
Lashes
RVG have already proved themselves as one of the best live bands in town. Now they have the A Quality Of Mercy album out (go to Bandcamp) and it’s an instant classic of pre-punk NY influences.
Legion
Backlash
I’m A TV Viewer,
Get Me Out Of Here Anyone watch that jungle show on Ten? Is there an inordinate amount of bullies accusing other people of being bullies this year? Yeah, we know... just switch it off... but we caaaaaan’t.
A Donald Slump
Speaking of bad habits, it’s not a great idea to start your morning checking what idiocies Trump has committed overnight. It really makes it hard to face the day.
Saturday Night Trump ...and yet how we missed having no Saturday Night Live this week, given what they could have done with Trump’s extra cray presser and rally. Or maybe that’s exactly why he scheduled them on a nonSNL weekend. 16 • THE MUSIC • 22ND FEBRUARY 2017
Making music is lifeintensive, but Warpaint’s Stella Mozgawa is still living the dream. Annelise Ball interrupts the drummer’s downtime (surfing and beach hangs) to find out more.
E
njoying decent flat whites, Sydney’s northern beaches and chilling with Mum and Dad, Warpaint’s LAbased drummer and sole Aussie Stella Mozgawa is loving being back home. With Warpaint’s acclaimed third album Heads Up released last year, Mozgawa and co will kick off their 2017 tour schedule with four Australian shows. “This was very much the record we wanted to make and we wanted to hear,” says Mozgawa on Heads Up. “We purposefully weren’t too concerned about how we’d recreate the songs live, which was a new approach for us.” Australian punters buying tickets to Warpaint’s forthcoming gigs shouldn’t panic. If this devil-may-care approach is good enough for Coachella, who’ve given Warpaint a 2017 slot alongside Beyonce and Kendrick Lamar, then it’s damn well good enough for Australia. Widely described as ‘more electronic’ than their previous offerings, Mozgawa explains the simple reasons why. “We were all making music individually that was more directed at that sound,” she says, touching on the band’s time apart focusing on solo and session work. “It felt a little more faithful to the music we were interested in
making and listening to. Plus, we’ve always had a lot of electronic elements in our music, but it’s been overwashed by the live sound.” Despite the worrying internet rumours, plus the easily misconstrued time apart, Mozgawa is happy to confirm there was no actual Warpaint breakup. “There was a bit of exhaustion at the end of touring our last record,” she shares, happy to set the record straight. “It’s just like a relationship, one person might want to break up, and the one who doesn’t still has to honour the way they feel.” Mozgawa confirms that “options were explored”. “Music is a labour-intensive and life-intensive line of work” she shares. “Even though we’re living the dream creatively, it’s still a job. I can’t do anything else but tour this whole year. We had to make sure we were all still doing it for the right reasons.” Having spent her alone time as a session drummer for acts like Kurt Vile, Jamie xx and even the legendary Tom Jones, Mozgawa loved the opportunity to learn new skills. “I rarely take a break, because I’m usually so excited about the projects I’m offered when I’m having time off from Warpaint,” she says. “It all helps me build my range of skills as a drummer, because that’s who I am and how I learn how to do my job.” Mozgawa’s job skills will be on full display during Warpaint’s Australian tour. With a simple KPI of ‘play drums live’, Mozgawa should do so perfectly well at the Perth Festival, Melbourne Zoo Twilights, Brisbane’s The Triffid and the Sydney Opera House. “The day we play the Opera House just happens to be my birthday,” says Mozgawa, sounding stoked. “It doesn’t get any better than that.”
When & Where: 24 Feb, Melbourne Zoo
WED 22 FEB “MONTH OF METAL” FEAT.
LOGIC DEFIES LOGIC
THE NUREMBURG CODE RARE OLIVES
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THE MUSIC • 22ND FEBRUARY 2017 • 17
Music
Music As Medicine
MAGIC Adrianne Lenker of Big Thief lets Anthony Carew in on the secret to her deeply personal music: that she’s playing that music to survive.
WAT E R Staying hydrated is very important, we all know that. But why does water have to be soooooo boring? Kickstarter comes to the rescue again, with the Flavour Bottle, a receptacle tricks your brain into thinking bog standard water from the tap is actually a flavourful fiesta in your mouth. And how does it work this voodoo magic? It’s all in the nose, apparently. A scented piece of silicone around the nozzle delivers a hit of delicious whiffs with every gulp. Well, we reckon that smells pretty good.
18 • THE MUSIC • 22ND FEBRUARY 2017
“I
’ve been recorded and performing my whole life,” says Adrianne Lenker. “But I always wanted to have a band, to just be in a band. And that took a while.” The 25-year-old songwriter started early: picking up a guitar at six (“in a motel room on the way from Minneapolis to Indianapolis, on a road trip with my dad”), writing songs at ten, issuing her first solo record, Stages Of The Sun, at 14. She finally found a band in 2013 after moving to New York, slowly attracting the other members of Big Thief to play around her. Their 2016 LP, Masterpiece, laces Lenker’s folky songs in noisy indie-rock squall, its taut set of 12 tunes a ‘debut’ a lifetime in the making. “We had the intention of making a record that felt like it was a complete work,” Lenker says. “These are the [songs] that fit together the best, [that] are all speaking from a similar place. And a lot of them are call and response to each other, almost different sides of the same song, like 12 pieces of one question. Interstate is a response to Real Love. Humans is a response to Paul.” The songs are united by their candour — “nothing at all in the record is fictional” — and by their use of proper names. There’s cuts called Lorraine, Paul and Randy, and there’s also a “Benny” and a “Liza” in the lyrics. How have these real-life humans
felt about ending up in Big Thief’s songs? “Hmm, I’m not sure,” Lenker considers, with a chuckle. “I don’t even know if they’ve heard. Actually, to be honest with you, I don’t know how any of them have reacted.” Since Masterpiece’s release, and the endless touring that’s come thereafter, Lenker has started to feel as if these songs are no longer just hers. “I’ve felt really warmed by all the people who’ve come up to me, or to the band, and shared their personal experiences of the record, because [those stories] bring more life into the songs. We’ve been playing these songs, over and over, for a year-and-a-half. Some of them have held their identity, but there’s others that’ve changed, and when we play them now, I feel that they’ve been shaped by other people, by the energy that audiences bring to them.” The endless tour that Big Thief are still in the middle of feels disorienting to Lenker. “There’s so many faces, so much decay and beauty and life, all of this stuff happening,” she says. “It’s too much... like this wave that’s washing over you.” But, playing music every night is, for her, equal parts living the dream and functional necessity. “It’s always been the way that I process things,” Lenker offers. “Sitting with my guitar every day is something that I feel like I need to do. It’s a method of survival. It’s not making music because I want to make music, or to make a career. It’s just the way I cope with life. It’s a medicine.”
When & Where: 24 Feb, Melbourne Zoo; 26 Feb, The Curtin; 28 Feb, Northcote Social Club
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THE MUSIC • 22ND FEBRUARY 2017 • 19
Film
One More Hit It’s been 21 years since the release of Trainspotting and the sequel, T2 Trainspotting is finally here. The film’s Oscarwinning director Danny Boyle tells Neil Griffiths how it took over two decades to get to this point.
“O
ne of the problems was there was never a reason to do it,” Boyle said of the two-decade gap between his Trainspotting films, during a promo visit to Sydney last week. “Without it, we’ll never manage to get [main cast, Ewen McGregor, Jonny Lee Miller, Robert Carlyle, Ewen Bremner] back again. As the 20 year anniversary loomed on the horizon a couple of years ago, we got back together. It’s a much more personal film then you might expect and that personal thing is obviously the aging process; as their lives change or not change, really.”
We didn’t really talk to each other in that kind of British way; you never get emotional and talk about things.
It seemed unlikely that a film centred around a group of heroin addicts living in Edinburgh would make a global impact, however Trainspotting did just that. Not only did it generate £48 million ($AU77 million) at the box office on a budget of just £1.5 million ($AU2.4 million), the black comedy drama was also listed in the top ten of the Top 100 British films by the British Film Institute. Needless to say, returning for a sequel was always going to be a daunting task. “It’s kind of weird because it’s a technical process,” the 60-year-old UK director said of bringing the cast and crew back after all this time. “There’s lots of make-up and costumes and everybody’s got photographs — as soon as you’ve done a scene, they take a photograph of you 20 • THE MUSIC • 22ND FEBRUARY 2017
and, of course, they’ve got the photos from the original. So everybody is looking at themselves 20 years ago. But they were brilliant. They really wanted to do it, I think. When you get back together again, you can’t get away with any bullshit because everybody knows where you came from. You have to get on with it and respectfully of the original and what it did for you. It was more pleasurable then it was excruciating.” In order to make T2 Trainspotting, it was no secret that Boyle and McGregor would need to be on the same page, after the pair fell out not long after the original film was released. The story goes that after working on three films together (Shallow Grave, Trainspotting, A Life Less Ordinary), McGregor was promised, as ‘Danny Boyle’s actor’, to be cast as the lead in The Beach released in 2000, a role that would eventually be given to Leonardo DiCaprio. While both admit that the whole fall-out should never have gotten that far, Boyle was candid when asked about it. “It was my fault,” he said. “And we didn’t really talk to each other in that kind of British way; you never get emotional and talk about things.” In the lead-up to his eventual Oscar win for Slumdog Millionaire in 2008, Boyle attended an LA ceremony where he was to receive an award, which coincidentally enough, was to be presented by Ewan McGregor. “He’d given me this award and he made this speech at the beginning of it,” Boyle recalled. “It was so touching and I felt terrible about my own behavior. So we made up then, though not in any particular chummy way, just very British.” It didn’t take too long after that for Boyle to reach out to McGregor about a Trainspotting sequel. “I sent him the script and I said ‘Listen, we should do this.’ And he agreed because it was so good. And the four of them agreed and I knew they would because the film gives the room for them to matrix in their own experiences over that time. It becomes more than just playing a character in a story, it becomes about them as well in their own lives.” With the Academy Awards set for this Sunday (or Monday Australian time) it would be wrong to not ask an Oscar winner what their tip is, but Boyle handles it like a pro. “You’re not meant to say,” he laughs. “There are 6000 votes, because if you win one, you get a vote in the future ones. I’m not allowed to say what I’m voting for but I know what I’m voting for. I normally never vote for one that’s going to win, because I think it’s more interesting to mix it up and give a vote to something that won’t.”
What: T2 Trainspotting
Music
Storytelling & Sacrifice
Carus Thompson sees a lot of young bands come and go, but the Freo troubadour knows what it takes to stay in the business over 20 years. He talks shop with Kate Kingsmill.
C
arus Thompson’s story fits into an ancient folk tradition of the bard, the storyteller. Playing in pubs with his band the True Believers since he was 18, he doesn’t mind the word ‘troubadour’ to explain his existence. “I think it describes what I’ve done with my life, really. I think troubadour is a real throwback, it’s an ancient role, the bard that travelled around from village to village and documented stories and told stories. And that’s what you do as a songwriter, you’re trying to explain the human experience, and I think that’s the same thing bards were doing a thousand years ago.” After over 20 years, Thompson knows that the troubadour lifestyle is one that takes a lot of discipline and sacrifice, but for him there was never any other choice. “There hasn’t really been since I was 20, no, I just wanted to write, and I’ve always liked performing. I see lots of young bands and awesome, it’s great and you’re big, and a lot of those bands, five, six years, how many of them break up, because life gets hard, and music is a hard road and there’s not a lot of money in it, it takes a lot of dedication and it takes a lot of toll on your personal life and your family.”
And it was family that brought this man who over the last 14 years has lived between Melbourne and Europe, back to his home of Fremantle, WA two years ago when his daughter was born. “It was all a bit chaotic for a while so we just moved back to be with family, and also to make this album with Joel Quartermain who is a Freo boy.” Quartermain, guitarist in Eskimo Joe, acted as producer on Thompson’s new album, Thompson’s first in five years. For the record, Thompson found a new kind of inspiration in being at home. “I had toured so much in my career and been so full-on on the road and just last year i just wanted to really focus on this record and really stop. So it was great, I was walking around the house – that’s the thing with kids, there’s a bit of time when you can pick up the guitar – and I suddenly found I was writing heaps. It’s a different headspace I think. The last record Caravan, I wrote that on the road and recorded it on the road, and there’s something cool about being creative and writing on the road, but there’s something really good about stopping and looking around and just being present and just looking around at people around you.” The album, Island, is about how Thompson sees Australia today. He loves the tradition of the Australian narrative songwriter – “Paul Kelly, Tim Rogers, Mick Thomas, Cold Chisel, that’s the music I look up to. I really wanted to make a record that said something about who we are and where we are. And I think by being at home and not being on the road so much, I just really looked around and wrote about what I saw.”
Thor-tful Flatmate
It’s tough being a Thunder God’s puny human flatmate, but that’s life for Darryl, Thor’s long-suffering roomie. Our first encounter with poor ol’ Daz saw Thor Odison explaining why he’s taking some well-earned down time in Australia (and why he was conspicuously absent from the events featured in Captain America: Civil War). In the latest instalment, by Thor: Ragnarok director Taika Waititi, Thor (played by Aussie mega-hunk Chris Hemsworth) tries to pay his rent with Asgardian loot and biceps the size of bloody coconuts. Come for the humour, but stay for the gun show. Pow Pow!
What: Island (Independent) When & Where: 24 Feb, Grampian Music Festival, Halls Gap; 25 Feb, Piping Hot Chicken Shop, Ocean Grove; 4 Mar, The Workers Club THE MUSIC • 22ND FEBRUARY 2017 • 21
Musical
Ladies First While creating the score for his debut musical, Ladies In Black, Tim Finn tells Bryget Chrisfield that it “must’ve sounded quite bizarre” hearing him sing as the characters.
“I
fell in love with the characters, I think,” Tim Finn ponders when asked what initially attracted him to take on the Ladies In Black project. “I also fell in love with Madeleine St John’s prose, because it’s not a ‘50s kind of piss-take or satire... there’s humour, a lot of humour. It’s very tender as well, which I loved.” Finn composed and wrote the music for this musical, which is based on St John’s 1993 novel The Women In Black. Set in the late 1950s, Ladies In Black follows central character Lisa, a school-leaver contemplating her own aspirations within society’s expectations. When Lisa accepts a
Ladies In BLack
this character is thinking — or feeling — at any given moment. So for months and months I’d be sitting in my room, my little studio at home, and I’d be inhabiting the world of the book and singing as the characters. So it was a huge amount of fun and all these different voices were issuing forth and, you know, the door’s usually open so the family — our two kids and my wife, I mean — were all sort of aware that there was this world growing in the house [laughs]. And sometimes it must’ve sounded quite bizarre.” The world of theatre has always appealed to Finn, who recalls, “As a kid I used to write plays and make people be in them.” So did he cast himself in them as well? “Often not,” he laughs, before recalling a show he was putting on for school when he was “about 12 years old”. After Finn’s lead actor got the mumps, he had to “step in and give a slightly hammy performance”. “And that wasn’t the idea at all, because I’m no actor!” he chuckles. When internationally renowned choreographer Andrew Hallsworth starting working with the Ladies In Black cast, Finn observes “everything just connected up”. And Finn’s particularly impressed with Hallsworth ‘s chorey during this musical’s title song. “All the women in the store sort of walk towards you — on stage, in their black dresses — and the dance moves that he created are so subtle and beautiful, and it’s just, like, a powerful moment, you know? I remember our 18-year-old son came to the Melbourne premier and he just couldn’t believe that moment — it blew him away, which was really lovely because it’s not as if he’s well into musicals or anything... But it knocked him for dead; the kind of woman-power moment that wasn’t overstated.”
What: Ladies In Black When & Where: 25 Feb – 18 Mar, Regent Theatre
I’d be sitting in... my little studio at home, and I’d be inhabiting the world of the book and singing as the characters.
summer temp position at Goode’s Department store in Sydney, her colleagues — particularly Lisa’s mentor, a Hungarian fashionista called Magda — help shape her. On this pivotal relationship, Finn reveals, “Magda encourages her to be who she really wants to be.” He composed the music for Dein Perry’s Steel City (Sydney Dance Company), but Ladies In Black, which was awarded Best New Australian Work at the 2016 Helpmann Awards, is Finn’s debut musical. When asked how writing songs specifically for a show differs from conventional songwriting, Finn points out, “Well you’re writing for character and you’re writing for story... it is a different kind of craft to write a song where you’ve gotta sort of pull the story along or you’ve gotta tell us what 22 • THE MUSIC • 22ND FEBRUARY 2017
In Focus XO S t at e
The State Theatre at the Arts Centre Melbourne is set to be transformed into a weird and wonderful performance club, where the audience will be immersed in a world of physical virtuosity and visual audacity. Performers from across the AsiaPacific region, including the transgressive and arresting Filipino performance artist Macho Dancer aka Eisa Jocson (pictured) will do their thing at the five-day mini festival, curated by Chunky Move founding director Gideo Obarzanek. Catch XO State at Arts Centre Melbourne 22 – 26 Feb
THE MUSIC • 22ND FEBRUARY 2017 • 23
Music
One Good Turn
Dune Drinks
In celebration of releasing their new album New Spirit, PVT’s Laurence Pike speaks to Matt O’Neill about stumbling through five albums in the modern music industry. The brew-masters at Young Henrys are men (and women) of their word. They promised those brilliant Brissy boys, Dune Rats, that if their album went to #1 on the ARIA charts they’d let them loose in the brewery to cook up their very own special edition beer – and gosh darn it, that’s exactly what they did. And lo, it came to pass that Young Henrys created the Dunies Lager, a limited edition beer in honour of Dune Rats. Described as a “slightly hazy, summer smasher”, with a “full blown dank hop nose and flavour”, it’s been cooked up with a blend of Mosaic, Citra, El Dorado and Azacca hops. Get one down your neck ASAP people.
24 • THE MUSIC • 22ND FEBRUARY 2017
T
o speak with Laurence Pike is to speak with a man who, despite well over a decade of professional exposure to convince him to do likewise, still resolutely prioritises the transformative power and artistry of music over the more cynical philosophies preferred by its accompanying industry models. “I think it’s a real commercial music mentality for a band to only allow themselves to be one thing,” he muses. “I mean, I get it. It’s basically about branding. If your band changes their sound over a number of albums, your branding pretty much goes out the window. And, really, that’s a problem in the music industry - because then they have no idea how to market you. But the thing is, none of us have ever really been interested in marketing. I mean, we want people to be able to access the music. But, the marketing is just not important to us.” It’s an attitude that’s apparent throughout the history of Pike’s best-known project, electronic pop experimentalists PVT. Hardly unsuccessful, the Sydney/London trio have nevertheless often made life harder for themselves by shifting sound from record to record. “The thing is, the shifts that seem dramatic on record don’t seem that dramatic
to us. Because, you know, we’ve had three years of experiences and music and meals. Bottles of wine. Whatever,” Pike laughs. “There’s a journey there that we’ve taken and the music naturally morphs with it. For me, the artists I’ve always admired have been people who believed the music had to move forward. You know, when I was a kid, I was obsessed with Miles Davis - that was his dogma. That was his drive. In PVT, we’ve always felt the same.” With their latest album New Spirit, PVT have once again shifted their identity. After exploring more conventional song structures with 2013’s Homosapien, the band have blasted off into more sprawling and experimental soundscapes with their followup. But, New Spirit also feels like something different from the band’s usual shifts. Thematically concerned with exploring what it means to be an Australian in these times of political conflict and confusion, New Spirit feels like PVT’s most honest, organic and weightiest record to date. “I see it as a reaction and engagement with politics,” Pike says. “We wanted to explore this idea of Australian identity. There were many times, during the process of making the record, where we just felt like, ‘What fucking country are we in?!’ Just feeling, you know, genuinely and utterly confounded by the state of the country. Like, it’s not political. It just felt like something we had to engage with and acknowledge. I hope it’s worked.”
What: New Spirit (Create/Control) When & Where: 24 Feb, National Gallery Of Victoria
Theatre
Funny Fails Director Sean Turner has been perfecting the art of screwing up for the Australian premiere of The Play That Goes Wrong. He tells Maxim Boon about setting his show up for failure.
M
ost theatre directors drill their actors so that they don’t make mistakes, but in the aptly named The Play That Goes Wrong, British director Sean Turner has spent weeks with his cast rehearsing mishaps into the show. This slapstick-driven farce is a play within a play about the Cornley Polytechnic Drama Society’s disastrous staging of 1920s thriller The Murder At Haversham Manor. Premiered at the Old Red Lion Theatre in 2012 before transferring to the West End, it earned a slew of rave reviews as well as picking up a coveted Olivier Award for Best New Comedy to boot. Now it’s about to kick off an Australian tour. Ironically, it takes a lot of skill to pull off being this bad, Turner says. “It really isn’t easy being terrible. You need really talented actors who are very confident and comfortable in themselves,” he explains. “Preparing this show always starts with the basics of clowning. In fact, we spend most of the first week of rehearsals not really looking at the script at all but getting the cast to grips with being clowns. The great thing about that is that the show is never the same twice, even though the dialogue and action stay the same. It’s a new show every time because the actors bring new things to the clowning every night” This play of engineered snafus is carefully constructed for maximum chaos, but the precision timing of these epic fails throws up a second irony: things have to go right in order for them to go wrong. “The actors need to be incredibly intelligent, and good at improvisation at times if they have to solve things that go awry,” Turner notes. “We also do a lot of intense physical preparation, working on core strength to make sure that the cast is in peak physical condition. Some of the more complex scenes towards the end of the play, which are very long and demanding physical sequences, we run every single day to make sure they are point perfect. Again, it’s relying on having actors that are willing to go to those places and
To be honest, you get to week four of rehearsals and most of us have forgotten that it’s funny.
are willing to get bruises and bangs along the way.” The kinds of bumbling fluffs that the cast of The Play That Goes Wrong has worked so hard to perfect are the stuff of nightmares for most stage performers. Interestingly, working on this production has been something of a cathartic experience for Turner and his troupe. “Everyone in the show has been in a scene at some point in their career where the prop they needed wasn’t there or somebody was late for a cue. There was a time I played Romeo when I was about eighteen, and in the scene where Romeo is banished to Mantua and Balthazar is supposed to come and give him the news that Juliet is dead, the chap playing Balthazar was off somewhere else, watching telly or something, and just didn’t show up. So I was left on stage for what felt like hours improvising. It’s every actor’s worst nightmare and it does happen more often than you’d think, but you’d have to be made of stone not to find it funny. As a director, it’s a bit different because when you’re sat in the auditorium watching things unfold, there’s not much you can do if the show starts to come off the rails. But that’s the thrill of live performance - anything can happen.” While much of the comedy is propelled by a runaway series of slip-ups, the humour is amplified by the deadpan incredulity of the performers as they struggle to maintain their show-must-go-on spirit. Desensitising the cast to the guffaw-inducing shenanigans so they can keep a straight face in front of a hysterical audience has been an important part of the rehearsal process, Turner shares. “To be honest, you get to week four of rehearsals and most of us have forgotten that it’s funny in any way, shape or form. It’s like ‘Is this funny? Is this ever going to work?’ But the key thing is that the actors play the absolute truth, and the truth is that these characters want it to go right. Every single thing that goes wrong is painful for them. If it’s ever just played for laughs, that’s when the show dies, that’s when the comedy doesn’t work.”
What: The Play That Goes Wrong When & Where: 22 Feb - 16 Apr, The Comedy Theatre THE MUSIC • 22ND FEBRUARY 2017 • 25
Album / E Album/EP Reviews
Album OF THE Week
Horrorshow Bardo State Elefant Traks
★★★★½
Horrorshow’s latest is a sophisticated, sexy, dance-inflected record. It’s tough to think of a less likely sentence! But with Bardo State, rapper Solo and beatsmith Adit have managed to explore new terrain. And it’s thrilling. The first three minutes of opener My Time give no hint of the surprise. Those minutes are a neatly conceived, tightly executed bunch of brags, not unlike what we’ve heard for a decade. Then, 180 or 190 seconds in the world caves in, the spaceship takes off, the curtain drops, and gritty reality gives way to a dreamscape. It’s a stunning moment that crowns an exceptional song. Astray is spacious, voluptuous, and properly sexy when Solo tells us “She leans in to me and says, ‘Don’t be afraid.’” Sex remains in the air later on Never Say Never. Eat The Cake is a funked-out dance jam. So many new tricks! That’s not to say the our hosts have forgotten anything: Non-Stop and Ceiling Fan show off Solo’s command of lower case “p” politics; he’s always breathed rare air on that score. If You Know What I Mean is a searing mission statement. Cherry Blossom is big and bouncy. Bardo State is saucier and more immediate than anything Horrorshow have shared with us before. This stuff is Old Dogs 2.0. James d’Apice
King Gizzard & The Lizard Wizard
Holy Holy PAINT Wonderlick/Sony
★★★★
Flying Microtonal Banana Flightless/Remote Control
★★★½ 2016 was one long victory lap for King Gizzard & The Lizard Wizard as Nonagon Infinity climbed to #2 in the ARIA charts and they headlined their own mini-fest around the country. But that victory lap meant that, unusually for a band so prolific, they released just one album in 2016. The sweet and simple formula of write a killer hook then repeat, repeat, repeat — which has reaped fine rewards in the past — is coming close to wearing a little thin here. That said, there are still plenty of new directions, such as the nightmarish Open Water and the unconventional lead single Rattlesnake, which pogos along to an electro-robotic pulse for the best part of eight minutes.
26 • THE MUSIC • 22ND FEBRUARY 2017
Technically it’s something of an experimental release as the guitars, basses, keyboards and harmonica have been modified to play “microtones” (ie, notes that are less than a semitone apart) and a blaring Turkish horn called a Zurna intermittently wails across a number of tracks. But despite the innovations, much of the album sounds exactly like the King Gizz we know. There doesn’t appear to be any anthems here that might dominate the Js the way Gamma Knife did, but the reassuring thing about King Gizzard is even when a new release is underwhelming, it’s more than likely there’ll be another one along in six months. Christopher H James
As a songwriter, Timothy Carroll has rarely put a foot wrong in his entire career. Whether focusing on his solo output or Holy Holy, Carroll has always been a meticulous craftsperson, his songs consistently as intelligently constructed as they are emotionally resonant. But this is something else. This is something quite special. Holy Holy’s 2015 debut album When The Storms Would Come felt largely like the vision of Carroll and Holy Holy co-founder Oscar Dawson. It was clean and gently textured songwriting lightly augmented by additional instrumentation. PAINT bears all the fingerprints of the pair’s backers — Graham Ritchie, Matt Redlich and Ryan Strathie — and it is so, so much better for it. (And, to be clear, their debut album was outstanding.)
PAINT is noisy, colourful and exploratory. Breathy melodies are gatecrashed by massive synths. Beautiful songs are built off wonky rhythms. Cumulatively, Holy Holy’s membership have cut their teeth with Dukes Of Windsor, Ball Park Music, Hungry Kids Of Hungary, Skinny Jean, Ainslie Wills and Emma Louise (and more). PAINT sees them unleash all of their creativity and pedigrees with one of the best songwriters in the country. It’s a gorgeous listen. Do not miss it. Matt O’Neill
EP Reviews Album/EP Reviews
Children Of Alice Suicide Silence
Dirty Projectors
Crystal Fairy
Children Of Alice
Suicide Silence
Dirty Projectors
Crystal Fairy
Warp/Inertia
Nuclear Blast
Domino/EMI
★★★½
★★½
★★★★
★★★★
Broadcast were one of those bands whose due credit only came after sudden tragedy. Children Of Alice is the debut release of sole surviving member James Cargill together with long-time Broadcast collaborators Roj Stevens and Julian House. Solely comprised of insular soundscapes awash with extraterrestrial sounds, eerie drones and hard to identify percussion, it could be the soundtrack to some long lost episode of The Twilight Zone as each track journeys indistinguishably into the next. It’s adventurous, but lacks the distinctive character of Broadcast’s timeless songs.
Extreme music devotees can be rather pedantic, but the fan entitlement which accompanied Suicide Silence’s singles was staggering. However, evaluating said tracks within the entire album’s scope further emphasises the jarring shift from deathcore mosh merchants to pursuing the modern hard rock/nu-metal nostalgia crowd. Such radical overhauling — proliferation of Deftones-aping clean vocals (which clearly still require refining) and gloomy ambience included — takes cojones. There are fleeting nods to their past, although diehards may revolt after hearing Conformity’s Slipknot-esque melancholy. Adjusting to Ross Robinson’s raw but underdone production proves demanding too. Overall results are wildly uneven, albeit oddly fascinating.
Fourteen years into their career, Dirty Projectors have released their one and only eponymous release. It is unpredictable, genre-defying, endlessly creative and, yet, brilliantly focused, a breakup album, rooted in personal and artistic rebirth. Accordingly, the opening track’s title, Keep Your Name, summons ideas of regeneration, divorce, marriage and the weight of the past all at once while the song itself loops a warped cover of the band’s own 2012 Impregnable Question. Dirty Projectors is obsessed with emotional and sonic ghosts and its glaring absence: Amber Coffman, David Longstreth’s lost love and the Projectors’ lost guitarist.
Everything about this collaboration between The Melvins’ Buzz Osborne and Dale Crover, Omar Rodriguez-Lopez and Le Butcherettes’ main lady Teri Gender Bender screams “This was meant to be!” Recently, Le Butcherettes toured the US with The Melvins where an encore of Bikini Kill’s Rebel Girl with Teri Gender Bender on vocals was considered the highlight each night. Her over-thetop personality is a perfect complement to some of Buzz Osborne’s most muscular, instantly satisfying riffs in years, particularly on the low slung grooves of the title track and the bruising, howling Bent Teeth. We can only hope this isn’t a one-off.
Samantha Jonscher
Christopher H James
Christopher H James
Ipecac/[PIAS] Australia
Brendan Crabb
More Reviews Online Broads Vacancy
theMusic.com.au
Jeff Lang Alone In Bad Company
Listen to our This Week’s Releases playlist on
THE MUSIC • 22ND FEBRUARY 2017 • 27
Live Re Live Reviews
Guns N’ Roses @ MCG. Pic: Jay Hynes
Guns N’ Roses, Wolfmother
Melbourne Cricket Ground (MCG) 14 Feb
Guns N’ Roses @ MCG. Pic: Jay Hynes
Guns N’ Roses @ MCG. Pic: Jay Hynes
Sofi Tukker @ Howler. Pic: Clinton Hatfield
Sofi Tukker @ Howler. Pic: Clinton Hatfield
28 • THE MUSIC • 22ND FEBRUARY 2017
Sofi Tukker @ Howler. Pic: Clinton Hatfield
Wolfmother are already on stage as we make our way to our seats and the dulcet tones of New Moon Rising and Woman massage our eardrums. The band adroitly warm up the amps and Wolfmother’s backdrop featuring the Victorious album’s artwork - a wolf with laser beams shooting from its eyes - is arresting. Andrew Stockdale’s vocals are a bit scratchy during White Unicorn; he’s not quite roadready. Standout track Apple Tree brings a demented punk edge and Stockdale’s impressive ‘fro would be visible from the moon. Closer Joker & The Thief perfectly demonstrates Stockdale’s guitar wizardry. Visuals come to life on the screens, teasing us that Guns N’ Roses’ set is about to commence. The pistols in the band’s classic logo turn 3D and start firing warning shots. There’s a couple of intro tapes including Merrily We Roll Along (the Merrie Melodies/Looney tunes theme) and then The Equalizer, which makes us froth for the main event. We’re mistakenly referred to as “Sydney!” by GNR’s longtime instrumental tech McBob (something the band have since apologised for via Twitter). We’d almost given up hope of seeing Axl Rose, Slash and Duff McKagan sharing a stage until they reunited for Coachella 2016 (hence this tour’s name: Not In This Lifetime), so clapping eyes on the beloved trio arriving on stage to perform It’s So Easy is a teary moment. There’s pyros from the get-go as well as puffs of weed smoke that get us high by association. Debonair bassist McKagan sports a customised Motorhead T-shirt and pays tribute to Prince via his stylish cream guitar with purple love symbol - the man is aaaaaaall class. We can’t help but wonder whether Rose shares a make-
up artist with Donald Trump, though; why so Oompa-Loompa orange, but white around the eyes? Sunbed goggles, perhaps? By song four, Welcome To The Jungle, they’re absolutely firing. Slash’s playing is like the finest aria; his instrument appears to become a swooning mess in
I mean, if they were touring without Slash? Nah. those hands. Rose probably needs to pay excess baggage for that weighty bling alone. And his mic stand even changes colour, ferchrisakes. As for Rose’s famous snake dance? It’s more of a sideways shuffle these days, with minimal pelvic action. Although amazingly executed, Gunners’ visuals have a retro feel with the Kama Sutra skeletons a particular highlight. Come, on, now! There totally should’ve been pyros to punctuate Live And Let Die. You Could Be Mine is absolute insanity. McKagan gets his moment to shine (during a cover of Attitude by Misfits) and we do admire his perfect posture. Then Rose sings a ballad, This I Love, which contains a lot of screechy notes, while wearing a black leather jacket with white skeleton applique and OTT is an understatement - this bit calls to mind The Hoff on Broadway. Civil War is epic and Rose introduces one member of his band as what sounds like Randy Gringo, before correcting himself and admitting, “I can’t keep up!” It really is all about Slash and his impossibly fast fingering, though. His guitar moans and acquiesces. Having witnessed this treat during his own shows in the past, we can’t believe our luck when Slash plays Speak Softly Love (from The Godfather)
eviews Live Reviews
so effortlessly and with flamenco flourishes. But then in comes that carnivalesque Sweet Child O’ Mine riff and we just about explode with happiness. Slash: How do we love thee? Let us count the ways. Then Angus Young is welcomed to the stage, almost unrecognisable in his non-school uniform civvies, for AC/DC’s Whole Lotta Rosie. We knew all along that Gunners were heavily influenced by AC/DC, but seeing them all up there together it suddenly makes sense and we swell with national pride. Young propels across the stage like a possessed broken toy and we’re truly not worthy. This opportunity to compare and contrast two of the world’s best guitarists, Young trading licks with Slash, thrills. After Young leaves the stage, Slash and Richard Fortus duet on Pink Floyd’s Wish You Were Here. Slash is so buff that he’s actually exploded out of his sleeveless shirt - which is now completely open - like a hot, not-green Incredible Hulk. When Rose sits at the grand piano for the Layla intro into November Rain, it’s the best Valentine’s Day present we could ever wish for. Those oversized rings are surely a tribute to Liberace. And of course sparks rain down during Slash’s solo - as they bloody well should. Knockin’ On Heaven’s Door becomes Nightrain and one measly pop of a firework is a fizzer, productionwise, for this main set closer. Our encore comprises Don’t Cry then Gunners’ belter of an anthem, Paradise City. The vape smoke smell is strong as red, white and blue ticker tape detonates over the crowd and Rose easily hits peak notes: “TAKE!/ME!/HOOOOOOOME!” We could’ve done without Rose’s “Aussie-Aussie-Aussie”/”Oi! Oi! Oi!” call-and-response to conclude. Slash shows off even further with a controlled handstand before leaving the stage. Our rock’n’roll dreams have definitely come true, but a punter overheard in a bar
post-show sums it up perfectly: “I mean, if they were touring without Slash? Nah.” Bryget Chrisfield
Sofi Tukker Howler 19 Feb Tribal percussions introduce Sofi Tukker members Sophie Hawley-Weld and Tucker Halpern as they welcome us to a jungle party with their worldly brand of dance music. The stage looks like a tropical rainforest, with vines of greenery draped over the microphone stands and a tree-like centre-piece topped with drum pads. The duo draws us into their animal-inspired world, starting off with Hey Lion’s addictive jungle-pop vibes and hypnotic rhythms. Most of the audience have doused themselves in glitter and they shimmer under the light as they embrace the wild, animalistic dance. Their unique sound is a kaleidoscopic blend of elements derived from South America and Afro-beat. Multi-linguist HawleyWeld sings in several languages - including French, German, English and Brazilian Portuguese - that loop around swirling electronics and rattling beats. They both swing their guitars back and forth at each other for a flamenco-style instrumental of distorted guitar chords during their latest single, Johny. “We only got to Australia for the first time two days ago and didn’t even know if anyone would show up for these concerts, so we’re really happy you’re all here tonight!” exclaims Halpern. The duo continuously moves around the tree of drums and tap away with relentless energy despite their heavy jet-lag. “We’ve decided to stay in a happy state of delirium all the time,” says Hawley-Weld. They continue with Matadora, inspired by the Charango and filled with horn
blasts, creating a seductive Brazilian house party. They share a brand new song and it’s only the second time they’ve ever played it. Just like the tracks we’ve heard so far it’s ripe with infectious energy and bursting with personality. They teach us a flick-of-the-wrist hand movement during Awoo and we participate in a call-andresponse as Hawley-Weld asks, “What do you call her?” and we howl, “The good time girl!” The moment the crowd is waiting for comes when they unleash their hit Drinkee. The sound of congas explode, the fiery guitar riffs set-off and we all join in on their synchronised head rolls as we soak up the sensual Brazilian Portuguese lyrics. Halpern wraps the microphone chord around his
One punter even runs on stage to steal a sweaty kiss from Halpern, much to his surprise
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Harts @ 170 Russell El Guincho @ NGV george @ Melbourne Zoo Mother’s Cake @ Evelyn Hotel PLTS @ The Workers Club Tiger Army @ The Prince
body and dives into the moshpit for the last chorus. We’re all hot and sweaty, so they cool it down for us with Moon Tattoo and keep the party going with an encore. One punter even runs on stage to steal a sweaty kiss from Halpern, much to his surprise. They end on a song they wrote only a couple of days ago and they’re so excited to play it for us tonight. It’s an absolute show-stopping banger that pretty much serves as an anthem for an “I don’t give a fuck” kinda attitude and leaves us wanting more as the crowd descends into the nightclub haze. Michael Prebeg
THE MUSIC • 22ND FEBRUARY 2017 • 29
Arts Reviews Arts Reviews
is not an only child. Her brother, Kaiwen (Yuchen Wang) has had to be kept in secret for much of his life, sent away to boarding school as a boy. Now a young man, he studies overseas in Melbourne, far away from his family’s Beijing home. The pair’s mother (Xiaojie Lin) embodies the regret and anxiety of a generation of parents forced to abandon, and in some instances even kill, their children to follow the letter of the law. Her emotional state is wrought and urgent as she struggles to accept how badly her children have been damaged by the cultural influences weighing on them, and yet she cannot help but exacerbate the issues. The complex dynamic of this family unit, gnarled by influences too colossal and unfeeling to resist, is bristling with narrative potential. But the plot chosen by Philpott and Chong is by turns trite and corny, and often veers onto tangents that seem entirely oblique to the subject matter. In Melbourne, rather than attaining the academic success his parents expect, Kaiwen is attempting to stage a play about the One Child Policy, also titled Little Emperors - the colloquialism used to describe the entitled arrogance of these coddled only children. Ironically, his directorial efforts are scuttled by his own arrogant sense of entitlement, although since he is neither an only child nor spoilt Little Emperor, this behaviour seems to disprove its own logic. Kaiwen is also gay, a major taboo in China where fathering the next generation and preserving the family bloodline is a vital obligation. But rather than being personally conflicted over this tussle between desire and duty, Kaiwen appears entirely comfortable with his sexuality. There are some brief moments where the potential this play holds is realised, notably in Yuchen Wang’s searing and beautifully delivered soliloquy. Unleashing the outrage of young Chinese men and women unable to reconcile their national identity with their personal anguish, it’s a powerful flash of sincerity but strangely, this minute of well-judged poignancy almost heightens the disappointment; Little Emperors could have made waves, but it’s ended up a damp squib, drowning in poor choices. Little Emperors
Little Emperors Theatre To 26 Feb, Malthouse Theatre
★★ The impetus of Wang Chong and Lachlan Philpott’s Little Emperors’ - a study of the psychological and emotional consequences of China’s controversial One Child Policy - is ripe with possibility. However, the narrative used to reveal this potentially fascinating cultural and personal interplay is maddeningly glib; an exploration of the most audacious social experiment in human history, pitched at the level of a soap opera. At its heart is a broken family attempting to rebuild itself as the Policy that shattered them is finally abandoned. Thirty-one-year-old Huishan (Alice Qin) was an authorised offspring, but she
Maxim Boon
30 • THE MUSIC • 22ND FEBRUARY 2017
T2 Trainspotting
T2 Trainspotting Film In Cinemas 23 Feb
★★★★ Two decades on, Trainspotting remains an era-defining blockbuster, especially for a target audience that is beginning to embrace nostalgia, so a quick fix of ‘90s-era cool is just the ticket for middle-aged saddos like yours truly here. As we all know, there are few things more depressing than trying to relive one’s glory days when you’re past your prime. Getting the gang back together, as T2 does (Boyle and Welsh return, as do screenwriter John Hodge, producer Andrew MacDonald and the core quartet of actors), could easily backfire, maybe even taint any fond regard for the original. A betrayal, you might say. T2 doesn’t fall into the trap of trying to be what it once was, although it has a febrile energy that occasionally echoes that of the first film. And its reminiscence for the past is deliberately frustrating - it wallows in the past, regretting bad decisions, lamenting stagnation and recognising excessive nostalgia as a drug as addictive and stupefying as heroin. I don’t want to make it sound like T2 is a total downer, because it’s not. It’s raucously funny at times, dryly witty at others. It’s terribly touching in its depiction of missed connections and making amends. T2 has Renton (Ewan McGregor) returning to his hometown two decades after he split with most of the money from a drug deal he pulled with Sick Boy (Jonny Lee Miller), Spud (Ewen Bremner) and Begbie (Robert Carlyle). Only sweet-natured Spud, who can’t seem to kick his heroin habit, is happy to see Renton. The conniving Sick Boy, who’s making a dirty living pimping out ‘girlfriend’ Veronika (Anjela Nedyalkova) and blackmailing her johns, is out for slow, subtle payback. Begbie wants it neither slow nor subtle - he breaks out of jail to get his bloody revenge. The greatest conflict T2’s characters face, however, is with themselves, their own inability to overcome their addictions, corral their demons, face their futures, acknowledge their faults. Guy Davis
Indie Indie
Lagerfest
Tom Fisher
Scott Candlish
Have You Been To
Have You Heard
EP Focus
Answered by: Jacob Tannett - Lagerstein Keyboardist
When did you start making music and why? My father is a renowned WA muso and I used to tag along to gigs. By the age of seven he was getting me up to sing rockabilly songs. I was doomed from then.
EP Title? Home Away From Home
Why should punters visit you? Lagerfest is a day dedicated to all things partying, the love of beer, hanging with good people and rocking out all day and night to awesome bands. What’s the history of the event? Starting in Brisbane in 2014, the day was created by Lagerstein as an excuse to party and have a good time! Any advice for first timers who want to visit the event? Feel free to dress up, talk to the bands and be prepared for an uplifting atmosphere of party times! Who’s performing this time around? Lagerstein, Superheist, Keggin, Osaka Punch, The Stiffys, Valhalore and more. Do you have any plans for the event in the future? We want it to be more than just a gig. So far we have sideshow alley games, food specialties, acoustic sets; we want to grow this into more games and unique acts, not just bands. When and where for your next event? 25 Feb, Evelyn Hotel. Website link for more info? lagerstein.com/tour
Sum up your musical sound in four words? Alt-country, blues, rock. If you could only listen to one album forevermore, what would it be and why? Probably the Stones’ Exile On Main St. I love the music and the story behind the album they are my faves. Greatest rock’n’roll moment of your career to date? Sheesh, touring Brazil, USA, UK, France, Czech Republic, Spain, Germany, etc, with various bands was pretty ace. I also got to belt out a few numbers at On The Steps at Sydney Opera House with my cousin Tim Minchin to great response. Why should people come and see you? I give it a fair crack at my solo gigs. Nice and mellow, but I get stuck in when it counts. When and where are your next gigs? a28 Feb, Wesley Anne. Website link for more info? facebook.com/ tomfisherandthelayabouts
How many releases do you have now? Two EPs now, although this seven-track EP/ almost-album is in a much more refined direction that I’m much happier with. Was anything in particular inspiring you during the making? Every time I travel overseas to somewhere new or that I’m already fond of guides me in a comforting and therapeutic way. I always seem to learn new ways of dealing with my issues when travelling. What’s your favourite song on it? Two Feet was my favourite while writing, but it’s Thrown It Your Way now we’ve finished recording. We’ll like this EP if we like... Lots of acoustic guitar, harmonies and a combination of altfolk/country and ‘90s rock. I’d like to think Ryan Adams and Dave Matthews fans would like it. When and where is your launch/next gig? 23 Feb, The Workers Club. With support from The Hunter Express, Wolf & Willow and Citrus Jam. Website link for more info? theworkersclub. oztix.com.au/?eventId=69965
THE MUSIC • 22ND FEBRUARY 2017 • 31
OPINION Opinion
Propagandhi
W
e are living in tumultuous times. We’re at a time when it’s ok for a world leaders to hang up on one another because they’re tired. A world of “fake news” and “alternative facts”. It is scary and it gives me waves of anxiety. I take hope in the small acts of resistance though. Especially when they come from places and people I like, respect and admire, when they come from the broader music scenes of which I am a part. I take faith in the fact that in the wake of Trump’s Muslim ban (that wasn’t a band, but was a ban) the music industry came together through music hosting and vendor site, Bandcamp, to raise money for the American Civil Liberties Union on 3 Feb. For one day, the site donated 100% of its share of sales to the ACLU. And a number of punk and hardcore labels got behind this — which to me represents the ethics and ethos that our scene is built on. Labels like Epitaph; Deathwish, Inc; Fat Wreck; and Sub Pop. Collectively around $US200,000 was raised.
Wa ke The Dea d Punk And Hardcore With Sarah Petchell
The Get Down Funky Shit
Dusty Donuts DD009
S
o a nice little care package With Obliveus arrived in the mail from the Easy Now lads with doubles of their new 45 of summertime dancefloor heat. The A-side, featuring a vibed ska beat mashup by DJ Maars and Tom Showtime of DJ Kool’s Let Me Clear My Throat, will get you skanking into a mess, but it’s the irie tribute to DMX and his Pump Ya Fist chorus that complements Biggie’s Juicy on the B-side that makes this release my pick of the 32 • THE MUSIC • 22ND FEBRUARY 2017
summer. This is a guaranteed party starter, stayer and finisher all rolled up into one, so if you love your Jamaican music mixed with a bit of urban flavour, get this into the dance. Also worthy of a hype is the latest surefire hit from the Dusty Donuts camp on their ninth 45 release. If your idea of a good time — and it should be everyone’s idea of a good time — is Bobby Bland smooth funk and soul just made for that 5pm Saturday arvo BBQ, then look no further. Naughty NMX has done what he does best and beefed up the drums on Bland’s Ain’t No Love and cut it up into a head-nodding monster. Not to be outdone, he’s teamed up with Jim Sharp, who knows a thing or six about cutting up dope edits, to take the Marcus Miller original under Jay Z’s Can’t Knock The Hustle and make this one into a party jam. Yeah, this label wins, and with that, I’m outta here.
But it wasn’t just the site, bands and labels that got behind this. Music fans did too, with the site reporting that they had experienced 550% more sales on that day than another typical Friday. Punk rock icons everywhere are speaking out against Trump and his policies — Henry Rollins, Billy Bragg, Propagandhi, Billie Joe Armstrong. Or the 30 Days, 30 Songs project from last year, which has now become 1000 Days, 1000 Songs. We must continue to resist and fight. It’s what we do best.
Halloween
Trailer Trash Dives Into Your Screens
W
hen it comes to
promiscuous teens running afoul of a And Idiot Boxes psycho with a sharpWith Guy Davis edged blade, you’re usually a Halloween person or a Friday The 13th person. Or you’re a rational and compassionate human being who has no desire to see anyone shrieking in terror before they’re impaled
OPINION Opinion
to death, in which case you probably shouldn’t be reading this. (Please, though, do keep reading). If I was forced at knifepoint to make my decision, I’d go with the relatively elegant stalk-and-slash of Halloween’s Michael Myers over the brute-force trauma of Friday The 13th’s Jason Voorhees, which is why it warmed my heart recently to learn that while the latest effort to reboot ol’ mate Jason for the big screen had stalled out, Michael was gonna be resurrected with the help of two most unusual collaborators. It was reported the other week that longtime collaborators David Gordon Green and Danny McBride — who have worked together on projects as disparate as the lovely, lyrical George Washington, the raucous Pineapple Express and the TV series Eastbound & Down (one of the best comedies of the 21st century) — would be co-writing a new Halloween movie, one that would ignore most of the sequels that, in my opinion at least, tarnished the brand. “You know, it’s not a remake,” said McBride in a press statement. “It’s gonna continue the story of Michael Myers in a really grounded way. And for our mythology, we’re focusing mainly in the first two movies and what that sets up and then where the story can go from there.” Why am I excited about this? Well, when I think about the Halloween movies I really dig, which is definitely John Carpenter’s original and sorta kinda Rick Rosenthal’s sequel Halloween II, it’s the emphasis they place on location and character rather than homicidal mayhem. With the first Halloween in particular, we spend so much time walking or cruising the small town streets of Haddonfield with Jamie Lee Curtis’ Laurie and her friends prior to the sun going down and Michael starting his killing spree in earnest that it’s almost easy at times to forget you’ve signed up for a horror movie. And Green and McBride have shown in their best work (not so much in Your Highness) that they’re very good detail men — they have a knack for giving seemingly mundane, everyday interactions an underlying substance, a becoming weirdness or a quiet beauty, both in the way it’s written on the page and the way it appears on the screen. Put it this way — there’s a scene
in Carpenter’s Halloween in which two characters are driving suburban streets at dusk, sharing small talk and a joint while Blue Oyster Cult plays on the car radio. It couldn’t sound more late ‘70s, I know, but it also looks like a sweet shot from one of Green’s movies. Having said that, McBride also stated that he and Green were “thrilled to step outside of our comedic collaborations and dive into a dark and vicious horror. Nobody will be laughing”. I appreciate the sentiment but at the same time I hope they don’t rev up the viciousness too much — that was Rob Zombie’s take when he rebooted Halloween, and Zombie’s admirable commitment to his grimy aesthetic aside Halloween and vicious are two great tastes that don’t really taste great together. But, hey, Carpenter has given this project his seal of approval! “I think you’re gonna dig it,” he said. “They blew me away. I might even do the music. Maybe. It could be kind of cool.” ‘Could be’ is good enough for me right now.
Nothing to do this weekend? Don’t worry, The Music has you sorted.
Head to events.themusic.com.au to see what’s coming up.
THE MUSIC • 22ND FEBRUARY 2017 • 33
OPINION Opinion
Howzat!
Local Music By Jeff Jenkins Art Rock Carl Gardiner is one of the great people in the music business. A creative genius with an infectious personality, he started Mushroom Marketing with Michael Gudinski, and has been instrumental in the new hall of fame, the Music Vault, which will open in Melbourne later this year. After marketing some of the biggest acts and events in the country, Carl is now marketing his own event, an art exhibition called Beats Working. “It’s an interesting experience,” Carl smiles. “I’m not used to promoting myself. It’s a weird sensation.” Carl’s friends would see the artwork adorning his walls and often remark, “You should do an exhibition.” This year, Carl decided to take the plunge, with Beats Working opening at gallery 4Dverse in Carlisle Street, St Kilda on 24 February, and running until 5 March. Carl says his art has been “a great form of therapy” during the hectic, crazy times in the music industry, even if music is the inspiration for much of his work. “It’s really hard to put into words how good music makes you feel. But I love that I can visually express what it means to me.” Some of Carl’s pieces were inspired
34 • THE MUSIC • 22ND FEBRUARY 2017
by classic Australian songs, including Skyhooks’ Ego Is Not A Dirty Word, and Little River Band’s Cool Change, a song about work/life balance and a love of the water, which Carl shares. Carl - who lists Cold Chisel’s East, Split Enz’s True Colours and Australian Crawl’s Phalanx among his favourite pieces of cover art - says his exhibition “celebrates simple pleasures and special moments experienced through a passion for music, a love of surfing and connection to nature”. He has relished spending most of his working life with Michael Gudinski, “whose passion is everything”. Carl’s love affair with Australian music started when he was 13, seeing AC/DC and Skyhooks at the Beaumaris Community Centre. “How could I not fall in love with Australian music?” After a commerce degree, Carl was
Carl Gardiner
working at a jeans company, Blues Union, who sponsored an end of school concert, Thank God It’s Over, at the Sidney Myer Music Bowl. Impressed by Carl’s work, Glenn Wheatley offered him a job, and 35 years later he’s still working in the music business. Not that Carl calls it a job. That’s why his exhibition is called Beats Working. I See Red Red Symons left Skyhooks 40 years ago this week. Hot Line “Close your eyes and see, the darkness holds a light inside of me” - The Blackeyed Susans, Dream On.
The Workers Club
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Comedy / G The Guide
Wed 22
Hidden Intent
Julien Wilson ‘B For Chicken’ Quartet: 303, Northcote
Logic Defies Logic + The Nuremberg Code + Rare Olive: Bar Open, Fitzroy
The Lumineers
The Music Presents CW Stoneking & Nathaniel Rateliff: 9 Mar Seaworks Williamstown The Waifs: 14 Mar Eastbank Centre Shepparton; 28 Mar Ulumbarra Theatre Bendigo; 29 & 30 Mar Hamer Hall The Jerry Cans: 15 Mar Northcote Social Club; 16 Mar Sooki Lounge Jeff Lang: 17 Mar The Workers Club Geelong; 24 Mar The Golden Vine Bendigo; 25 Mar Suttons House of Music Ballarat
Michelle Nicolle: Bird’s Basement, Melbourne Mellow-Dias-Thump with Stro Elliot + So.crates + Charlie Bucket + more: Boney, Melbourne Muddy’s Blues Roulette with Sammy Owen: Catfish (Front Bar), Fitzroy Nuclear Assault + Hidden Intent + Desecrator: Max Watt’s, Melbourne Sam Buckingham + Benjamin James Caldwell: Open Studio, Northcote Gillies Blues: Retreat Hotel, Brunswick Open Mic Night: The Brunswick Hotel, Brunswick Primitive Calculators + White+: The Curtin, Carlton
Nuclear Intent Adding to the ruckus that will surely be unleashed at Max Watt’s on Wednesday are Adelaide metallers Hidden Intent, who’ll be reviving the sounds of ‘80s thrash during Nuclear Assault’s first and last Australian tour.
Holly Throsby: 26 Mar Northcote Social Club
Amanda Palmer: The Gasometer Hotel, Collingwood
Guy Sebastian: 29 & 30 Mar Corner Hotel
Wil Wagner + Laura Stevenson + Ian Graham + Iona Cairns: The Melba Spiegeltent, Collingwood
Yarbles + The Accursed + Error Margins + The Faculty: The Tote (Upstairs), Collingwood
The Treehouse Children + Gymnastics In The Seventies + Maverick: The Old Bar, Fitzroy
Residual + Slowcoaching + Backyard: The Workers Club, Fitzroy
Roy Ayers: 9 Apr The Croxton Rhiannon Giddens: 11 Apr Corner Hotel Trombone Shorty & Orleans Avenue: 11 April 170 Russell Gallant: 17 Apr Corner Hotel The Lumineers: 19 Apr Arts Centre Melbourne The Record Company: 20 Apr Northcote Social Club
Ruby Tuesday Birthday Bonanza Part Two with Zockapilli + Jungle Breed + The Grogans + Guffman + Birdhouse: The Toff In Town, Melbourne
Trivia: Wesley Anne, Northcote Moonlight Arch + New Hat + Fred Astaireo + Frank Bell: Yarra Hotel, Abbotsford
Thu 23 Plini
Luca Brasi: 23 Jun 170 Russell
Adios Adani! - A Fundraiser to stop the Adani Coal Mine with The Same Boat + B.O.S.S.: Bar Open, Fitzroy
Kid Ink + Donell Lewis + Kennyon Brown: The Prince, St Kilda David Hosking + Rebecca Barnard: The Toff In Town, Melbourne Midnight Express with DJ Prequel & Edd Fisher: The Toff In Town (Carriage Room), Melbourne Sauce with Hancoq + Stephelles + Jarman + more: The Toff In Town (Toff Ballroom), Melbourne
Gabriella Cohen
The Vinyl Frontier with Percy Miracles + GSM + Colette: Belleville, Melbourne Youngsta CPT + Genesis Owusu + Nyuon + The MuffinMan: Boney, Melbourne Black Bats + Hownowmer + Lizard Queen + Cakefight: Evelyn Hotel, Fitzroy
Veni, Plini, Vici
Methyl Ethel + Totally Mild + The Quivers: Howler, Brunswick
After the success of Plini’s 2016 release Handmade Cities the independent Sydney-based guitarist and composer is supporting instrumental hard-rockers, Animals As Leaders throughout their Australian tour. Next stop is 170 Russell on Tuesday.
Yellowcard + Like Torches: Max Watt’s, Melbourne Sose + Cosmos + Zyklus + Downers: The Brunswick Hotel, Brunswick London Klezmer Quartet: The Capital, Bendigo Performing Arts Centre, Bendigo Birdstriking + White+ + Lowtide: The Curtin, Carlton Sophisticated Dingo + Great Places + Tram Cops: The Gasometer Hotel (Upstairs), Collingwood Lagerstein: The Loft, Warrnambool
Palm Springs + Jaala + Calamari Girls: The Tote (Front Bar), Collingwood Donald Dank & The Naughty Boys + The Jesus Apocalypse + Toothbrush: The Tote (Band Room), Collingwood
36 • THE MUSIC • 22ND FEBRUARY 2017
Wil Wagner + Laura Stevenson + Ian Graham + Iona Cairns: The Melba Spiegeltent, Collingwood Ruby Soho + Julian McKenzie + Leah Philemon + Annalise Replica + Quang Dinh: The Old Bar, Fitzroy
Gabriella Goin’ Gabriella Cohen is heading out into the world but you still have a few chances to catch the talented muso before she goes, one of which is supporting Big Thief at Northcote Social Club this Tuesday.
Dark Femme Night 2017 with Dead Planet 1964 + Katherine Hymer + Howlite + MS. 45: The Tote (Upstairs), Collingwood Hot Sludge Fundae + Sunnyside + Sludge Party + Serein: The Tote (Band Room), Collingwood
Gigs / Live The Guide
Fractures
Brand New, Just For You
Black Heart Breakers + The Lesser Giants + Mancave Clan: Mr Boogie Man Bar, Abbotsford
Joshua Seymour: The Drunken Poet, West Melbourne
Pugsley Buzzard + Adam Duffy: Wesley Anne (Front Bar), Northcote
Gwyn Ashton + Jimmy Cupples: Musicland, Fawkner
True Radical Miracle + Stationary Suns + Sludge Party: The Gasometer Hotel (Upstairs), Collingwood
Greg Steps & The Not For Prophets + Oliver Downes + Anna Cordell: Wesley Anne (Band Room), Northcote
Friday Nights at NGV feat. PVT: National Gallery of Victoria (NGV), Southbank
Rat & Co + Cale Sexton + Hotrod + Millu: The Gasometer Hotel, Collingwood
Daryl Roberts: Winelarder, Brighton
Sodastream + Last Leaves + Ben Mason: Northcote Social Club, Northcote
Kate Ceberano: The Grand on Cathies, Wantirna South
Moreland City Soul Revue: Open Studio, Northcote Shag Rock: Penny Black, Brunswick
With his much anticipated debut album Still Here just having hit shelves around the country, Fractures will be taking to the stage at Howler on Friday night. Joining him is support act Edward R.
La Dance Macabre with Brunswick Massive: Rainbow Hotel, Fitzroy
Scott Candlish + The Hunter Express + Wolf & Willow + Citrus Jam: The Workers Club, Fitzroy
Scribe + N’Fa Jones: Rubix The Venue, Brunswick
Shimmerlands feat. Jessica Says + Truth N Dare: University of Melbourne, Parkville Rat Child: Wesley Anne (Front Bar), Northcote Hexdebt + Hi-Tec Emotions + Crystal Myth: Yarra Hotel, Abbotsford
Fri 24 Late Nights + Spider Spidey + Social Skills + Bear Kick + Dan Raw: 303, Northcote Kalidad + Sofala: Bar Open, Fitzroy
Nocturnal Graves + Belligerent Intent + Hordes Of The Black Cross + Oligarch: Reverence Hotel, Footscray German Brigante: Revolver Upstairs, Prahran
Sarah McLeod: Sooki Lounge, Belgrave Benny & The Fly By Niters: Spotted Mallard, Brunswick Go Americana feat. Dan Parsons + The Stetson Family + Gretta Ziller + The Weeping Willows + Nigel Wearne: Station Place, Werribee The New Savages: Tanswells Commercial Hotel, Beechworth
Palace Of The King
Baby Animals + Dallas Crane + Palace Of The King: Corner Hotel, Richmond
Saskwatch + Felix Riebl + Tigertown + Alex Lahey + Hey Geronimo + CC:Disco! + Clairy Browne + Bearded Gypsy Band + Cheap Fakes + Carus Thompson + The Jensens + 19-Twenty + Grim Fawkner + Garrett Kato + The Settlement + Orange Whip + Jack The Fox + Candice McLeod: Grampian Music Festival, Halls Gap
Kings & Queens Max Watt’s are playing host to a massive rock trinity this Saturday night. Head down to see psychesoaked Palace Of The King, Melbourne’s Dallas Crane and ‘90s legends Baby Animals.
Fractures + Edward R: Howler, Brunswick The Byzantines + The Montreals + Batz + The Second Sex: Karova Lounge, Ballarat Five Mile Sniper: Labour In Vain, Fitzroy Greg Dodd & The Hoodoo Men: Lomond Hotel, Brunswick East Yellowcard + Like Torches: Max Watt’s, Melbourne Melbourne Zoo Twilights feat. Warpaint + Big Thief: Melbourne Zoo, Parkville
Imagined If you haven’t caught one of their February residency shows at The Tote, this week is your last chance. Head down to the venue Sunday to see Jade Imagine with support from The Great Outdoors and Dianas.
Seedy Jeezus: The B.East, Brunswick East
Cheshire Grimm + Skinny Hobos + Logic Defies Logic + Winter Moon: Cherry Bar, Melbourne
Spoonful: Flying Saucer Club, Elsternwick
Jade Imagine
Benny & The Clones + Sean Simmons + DJ Loz Newy: Retreat Hotel, Brunswick
Lagerstein + Osaka Punch + Keggin: Barwon Club Hotel, South Geelong
The Creases + Good Boy: Evelyn Hotel, Fitzroy
All Ages Show with Havoc + Impetus: Wrangler Studios, West Footscray
Run Rabbit Run + Dan Hannaford: The Loft, Warrnambool
Totally Unicorn + Drive Time Commute + No Haven: Yah Yah’s, Fitzroy
Oscar Key Sung + Clark + Planete + Corin + Jennifer Loveless: The Night Cat, Fitzroy
The Strange + The Pope’s Assassins + The Sterlings: Yarra Hotel, Abbotsford
Trout + Gods + Hashshashin + Water Bear: The Old Bar, Fitzroy
Sat 25
Closet Straights + Ladie Dee: The Post Office Hotel, Coburg
Cheshire Grimm + The Scoundrels + Bronze + Skinny Hobos: 303, Northcote
Sleazy Listening with Arks + Richard Kelly + Hysteric + K. Hoop: The Toff In Town (Carriage Room), Melbourne
Sarah McLeod: Baha Tacos, Rye
Poprocks At The Toff with Dr Phil Smith: The Toff In Town (Toff Ballroom), Melbourne Carsick Cars + Birdstriking + White+ + Primo: The Tote (Band Room), Collingwood Human Resource + Kollaps + Meter Men + Overtime: The Tote (Upstairs), Collingwood The Stragglers + Bourgeois Robbery: The Westernport Hotel, Phillip Island
A Tribute to Micky Fitz feat. No Class + Distorted Truth + The Rogues + Power Skids + The Slit Throats: The Bendigo, Collingwood Moon + Greytomb + Dark Horse + Bog + Ash Mouth: The Brunswick Hotel, Brunswick Dag + Qwerty + Hearing + Sweet Whirl: The Curtin, Carlton
Collarts: The Workers Club, Fitzroy Gawurra + Didirri + Yirgjhilya Lawrie Band: Thornbury Theatre, Thornbury Harts: Torquay Hotel, Torquay Shimmerlands feat. Tilman Robinson: University of Melbourne, Parkville
Slow Grind Fever feat. Richie 1250 + DJ Pierre Baroni + DJ Simon Laxton + more: Bar Open, Fitzroy The Willie Wagtails: Bar Open (Front Bar), Fitzroy Blunt Shovel + Earth + Rust Proof + Nemesium + Vulture Culture: Barwon Club Hotel, South Geelong Funkalleros: Bella Union, Carlton South John Morales: Belleville, Melbourne Deborah Conway & Willy Zygier: Bird’s Basement, Melbourne Jeff Vader + The Mansions + Telemachus Brown: Catfish, Fitzroy King Of The North + Aver: Cherry Bar, Melbourne
THE MUSIC • 22ND FEBRUARY 2017 • 37
Comedy / G The Guide
Yellowcard Performing ‘Ocean Alley’ + Like Torches: Corner Hotel, Richmond
Nasty Mars & The Martians + Melo: The Toff In Town, Melbourne
Black Heart Breakers
Powerline Sneakers: Ding Dong Lounge, Melbourne
The House deFrost with Andee Frost: The Toff In Town (Toff Ballroom), Melbourne
Andy Phillips: Double G Saloon, Mornington
Filthfest 2017 feat. Horsehunter + Moon + Dark Horse + Mental Cavity + Kollaps + Christcrusher + Sundr + Religious Observance + Warpigs + Cordell + Doubled Over + Cascades + Grudge + Derailment + Wood of Suicides + Old Love + Wrong + Hellspit + Headlopper + Bumfight: The Tote, Collingwood
Lagerfest feat. Lagerstein + The Stiffys + Osaka Punch + Electrik Dynamite + Espionage + Keggin + Valhalore: Evelyn Hotel, Fitzroy Billy Miller & The Love Brothers: Flying Saucer Club, Elsternwick
Figures + Nobody’s Perfect + Darcee Fox + Enlight: The Workers Club, Fitzroy
Mother’s Ruin feat. Spotting + TOL: Gin Lane, Belgrave
The Byzantines + The Montreals + Batz: The Workers Club Geelong, Geelong
Timberwolf: Grace Darling Hotel, Collingwood
Mitch King: Torquay Hotel, Torquay
Birdstriking: Greville Records, Prahran Anh Do: Hamer Hall, Melbourne Tigertown + Nussy + Lanks + Owen Rabbit + Native Spirit + Jebu: Howler, Brunswick Fruit Cup feat. Good Morning + Doona Waves: Howler, Brunswick Amyl & The Sniffers + Dewey & The Panel Beaters + Jonny No Love + Sabotaj Mahal: Karova Lounge, Ballarat
Black Heart Breakers are back in town. You can catch them at Mr Boogie Man Bar where they are launching their latest EP Wasted with some help from ManCave Clan and The Lesser Giants.
The Moonee Valley Drifters + James Black + Alby Pool + Ed Bates + more: Memo Music Hall, St Kilda Kitty Flanagan: Memorial Hall, Healesville Lennon Through A Glass Onion with John Waters: Mildura Arts Centre, Mildura Vacant Image: Mr Boogie Man Bar, Abbotsford
Kallidad
TV Telepath + Kingdom of Sleep + Hotel Wrecking City Traders: Northcote Social Club, Northcote Kontrast with Phil K + Sundelin + Caspian + Alex Cram: Onesixone, Prahran
Dad Bods Kallidad are putting on their Day of the Dead paint and returning to Bar Open Friday for another night of their signature flamenco/rock/mariachi blend. This time the three-piece are joined by Sofala.
Roy - A Tribute To Roy Orbison feat. Damien Leith: Karralyka Centre, Ringwood East Kim Salmon & The Surrealists: Labour In Vain, Fitzroy
Sou’de Fashioned: Penny Black, Brunswick Carus Thompson + Nathan Gaunt: Piping Hot Chicken Shop, Ocean Grove Dean Ray: Rainbow Hotel, Fitzroy Afternoon Show with Dogsday: Retreat Hotel, Brunswick
SpotFest III feat. Trucks + Spencer Vine + Good For Wednesday + Late Nights + The Second Sex + Bottlecaps + Jay Wars & The Howard Youth + The Shorts + The Skategoats + Joe Guiton & The Suicide Tuesdays + Agent 37 + Japan For + Secondhand Squad: The Brunswick Hotel (Inside), Brunswick SpotFest III feat. Lewis Nixon + Vic Meehan + Tim Hampshire + Jo Neugebauer + Kat O & The Collectables + The Big Southern + The Shadow League: The Brunswick Hotel (Outside), Brunswick New Lease feat. Ships Piano + Cabbages & Kings + Pleasure Avalanche: The Curtin (Public Bar), Carlton Funkin’ The Bay 2017 feat. DJ Anya + DJ Lyndelle Wilkinson + Tom Showtime + DJ Peril + more: The Docklands (Victoria Star, Pier 9), Docklands
Daniel Reeves: Retreat Hotel, Brunswick The Knave: Retreat Hotel (Beer Garden), Brunswick
DYLANesque: The Forge Theatre, Bairnsdale
Jess Locke + Shiny Coin: Reverence Hotel, Footscray
Matinee Show with Ouch My Face + Two Steps on the Water + Heads Of Charm + Chelsea Bleach + Slow Job: The Gasometer Hotel, Collingwood
Jose Carreras: Rod Laver Arena, Melbourne Reverend Funk & The Horns Of Salvation: Satellite Lounge, Wheelers Hill
Baby Animals + Dallas Crane + Palace Of The King: Max Watt’s, Melbourne Sophie Koh: Melbourne Recital Centre (Salon), Southbank
griff + Animatronic + Sned: Sooki Lounge, Belgrave
Melbourne Zoo Twilights feat. Killing Heidi + Abbe May: Melbourne Zoo, Parkville
Deer Prudence + Amarina Waters: Spotted Mallard, Brunswick Hanksaw: Surabaya Johnny’s, St Kilda
38 • THE MUSIC • 22ND FEBRUARY 2017
Cumbia Cosmonauts : The B.East, Brunswick East
The F100s: The Drunken Poet, West Melbourne
Flippin The Bird 2017 feat. King Parrot + Clowns + Batpiss + Scratch & Sniff + Don Fernando + Join The Amish + Pagan + Grindhouse + The Maggot Men + Desert Kingdom + Elusive Haze + Stiff Richards: Singing Bird Studios, Frankston
Roy Paynes Cajun Blues Party + Hills Hoist: Lomond Hotel, Brunswick East
Victoriana Gaye: Union Hotel, Brunswick
Wasted Hearts
Jamaica Jump Up: Fundraiser for Alpha Boys School with Melbourne Ska Orchestra + The Ska Vendors + The Moonhops + more: The Gasometer Hotel, Collingwood Amaya Laucirica + Caroline No + Hook Turns: The Gasometer Hotel, Collingwood Horror My Friend + The Sinking Teeth + Siamese + Under The Cut: The Old Bar, Fitzroy Plaster of Paris + Astral Skulls + Overtime: The Post Office Hotel, Coburg Phil Para: The Prince (Public Bar), St Kilda
Shimmerlands feat. Woody McDonald + Chris Gill + Breaking & Entering: University of Melbourne, Parkville Hack Ensemble: Wesley Anne (Front Bar), Northcote Back To Goode Web Series Fundraiser: Wesley Anne (Band Room), Northcote Harts: Whalers Hotel, Warrnambool The Gooch Palms + Dumb Punts + The Nugs: Yah Yah’s, Fitzroy 2AM Show with Wet Lips: Yah Yah’s, Fitzroy Parading + The Citradels + Seagull + Vimm: Yarra Hotel, Abbotsford Outdoor Country Carnival with Lee Kernaghan + The Wolfe Brothers + Christie Lamb: York on Lilydale, Mt Evelyn
Sun 26 The MAMAs + Freak & The Fat Cats + Nitida Atkinson: 303, Northcote Dr Sinha’s Jazz Lobotomy + WVRBVBY: Bar Open, Fitzroy
Pugsley Buzzard
The Buzz Pugsley Buzzard and Adam Duffy make seriously beautiful music together (last year’s Skin & Teeth got the nod for Best Blues Album from The Age Victoria Music Awards) and they will continue to do so at Wesley Anne on Friday.
Gigs / Live The Guide
Sergio Ercole: Bird’s Basement, Melbourne Kitty Flanagan: Burrinja Cafe & Bar, Lysterfield
Jules Boult: Catfish (Front Bar), Fitzroy
A Doors Celebration - The Poet & The Rebel with Joe Ansalvish + Andy Phillips & The Cadillac Walk: Satellite Lounge, Wheelers Hill
Double Marathon + Angry Mules + Swamp Donkey: The Tote (Upstairs), Collingwood The Dead Pharoahs + Desiree Cameron: The Tote (Band Room), Collingwood
Piknic Electronik #9 feat. Boogs + more: Sidney Myer Music Bowl (Southside), Melbourne
Gwyn Ashton: The Westernport Hotel, Phillip Island
Mother’s Cake: Cherry Bar, Melbourne
Lagerstein + Osaka Punch + Keggin: Sooki Lounge, Belgrave
The Byzantines + The Montreals + Batz + Animus: The Workers Club, Fitzroy
Soundwaves feat. Clifford J Moss + DJ Nature Girl: Fitzroy Swimming Pool, Fitzroy
The Nu Now + Zen Robotic + Context: Tago Mago, Thornbury
Sister’s Doll: Tramway Hotel, North Fitzroy
Porter Robinson + Madeon + Lido + Elk Road: Hisense Arena, Melbourne
Afternoon Show with Suburban Prophets + Moonshifter + Lace & Whiskey: The Bendigo, Collingwood
Cherry Blues with Steve Boyd’s Rum Reverie: Cherry Bar, Melbourne
Fruit Cup feat. TELL + N’Fa Jones + Flagrant + Dylan Joel + Netti + Lotus Moonchild + Marrs Attaxx + Louella Deville: Howler, Brunswick
Afternoon Show with Matt Borg Trio + Brad Cavalot: The Brunswick Hotel, Brunswick
Jacob McGuffie’s Dukes of Haggard + Jimmy Stewart: Union Hotel, Brunswick Shimmerlands Closing Party feat. Tim Sweeney + The Egyptian Lover + Awesome Tapes From Africa + Andee Frost: University of Melbourne, Parkville Harmony Byrne: Wesley Anne (Front Bar), Northcote Carsick Cars + Birdstriking + Half/ Cut: Yarra Hotel, Abbotsford
The Byzantines
Bear Rescues Crow
In Rescrow Bear Rescues Crow play acoustic, roots, reggae and rock built on tasty drum grooves, funky bass lines and the eclectic song writing of Ian Maddick. Catch them down at Edinburgh Castle on Saturday.
Mon 27 Melbourne Polytechnic Music: 303, Northcote
Funny at The Brunny Comedy Show: The Brunswick Hotel, Brunswick
Rebetiko: Belleville, Melbourne
Call It In with Instant Peterson + Dylan Michel: The Toff In Town (Carriage Room), Melbourne
The Beatles Part 3 with Joe Chindamo: Bird’s Basement, Melbourne Cherry Jam: Cherry Bar, Melbourne Monday Night Mass feat. Lowtide + Angel Eyes + Hearing: Northcote Social Club, Northcote
Brooklyn’s Finest + Charlie Lane + Anna Spark: The Workers Club, Fitzroy
Tue 28 Animals As Leaders + Plini + Nick Johnston: 170 Russell, Melbourne
The Suicide Tuesdays
Byzan-fiends
Mike Stern: Bird’s Basement, Melbourne
What do The Montreals, Batz and Animus have in common (other than being sick bands). The answer is they’re all joining The Byzantines at The Workers Club for their EP launch on Sunday.
The Gooch Palms + Tropical Snakes + Electric Mud + Robot Fox: Karova Lounge, Ballarat Mitch Dean: Labour In Vain, Fitzroy Marty Kelly + Ian Bland & The Lamington Drive Orchestra: Lomond Hotel, Brunswick East The Ride + Dave Tonks & The Dream Machine: Mr Boogie Man Bar, Abbotsford Summer Series feat. Camp Cope: National Gallery of Victoria (NGV), Southbank Centre & The South: Penny Black, Brunswick The Three Kings: Rainbow Hotel, Fitzroy Dancehall Sundays with The Bakersfield Glee Club + Cold Heart + DJ Denise Hylands: Retreat Hotel, Brunswick The Houndlings: Royal Oak Hotel, Fitzroy North
Little Daniel + Chris Commerford + Aaron Creigh: The Brunswick Hotel, Brunswick Big Thief + Gabriella Cohen + Palm Springs: The Curtin, Carlton Sasha Klave + Boadz + The Hornets: The Drunken Poet, West Melbourne Afternoon Show with Stevie Williams + Hanny J: The Old Bar, Fitzroy Cosmic Kahuna + Don Bosco + Swamp Donkey: The Old Bar, Fitzroy
Jonathan Barwick: Cherry Bar, Melbourne Tom Tom Tuesday feat. True Radical Miracle + TOL + Karl White + No Sister: Howler, Brunswick
Hot Spot Spot Fest is back for round three at The Brunswick Hotel this Saturday. There’s going to be 20 bands over two stages (free of charge) including Secondhand Squad and Joe Guiton & The Suicide Tuesdays.
The Woodland Hunters: The Post Office Hotel, Coburg Burnt Friedman + J David Franzke + Bwise: The Toff In Town, Melbourne
Make It Up Club feat. Hikashu + Sex On Toast + Hikashex no Tust: Bar Open, Fitzroy
London Klezmer Quartet: Melbourne Recital Centre (Elisabeth Murdoch Hall), Southbank Eighth Blackbird: Melbourne Recital Centre, Southbank Big Thief + Gabriella Cohen + Palm Springs: Northcote Social Club, Northcote Don’t Thank Me, Spank Me!: Open Studio, Northcote The Johnny Can’t Dance Cajun Band: Retreat Hotel, Brunswick Mona Bay + Amiko + Foolish Boys: The Brunswick Hotel, Brunswick
Lunatones + Squid Nebula: Open Studio, Northcote
Tackle + Concerntration + Maliblue: The Old Bar, Fitzroy
Paul Williamson’s Hammond Combo: Rainbow Hotel, Fitzroy
Now.Here.This with Bloom + Alfalfa + Sean Labroy: The Toff In Town, Melbourne
Down The Rabbit Hole with Nigel Last: The Toff In Town (Carriage Room), Melbourne
Charles Jenkins: Retreat Hotel, Brunswick
Liam Linley + Darren Cordeux: Tramway Hotel, North Fitzroy
Take Off with Mystery Machine + Mas + Common Nocturne: The Toff In Town, Melbourne
The Daryl McKenzie Jazz Orchestra + Michelle Nicolle: The Apartment, Melbourne
Tom Fisher: Wesley Anne (Band Room), Northcote
Sunday Set with Andy Black + Mr Weir: The Toff In Town (Carriage Room), Melbourne
Jade Imagine + The Great Outdoors + Dianas: The Tote, Collingwood THE MUSIC • 22ND FEBRUARY 2017 • 39
Arts Centre Melbourne Presents
AU S T R A L I A A L L OV E R 2 0 1 7
16 MARCH HAMER HALL 40 • THE MUSIC • 22ND FEBRUARY 2017
BOOK AT ARTS CENTRE MELBOURNE