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2 • THE MUSIC • 12TH APRIL 2017
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4 • THE MUSIC • 12TH APRIL 2017
THE MUSIC • 12TH APRIL 2017 • 5
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THE MUSIC • 12TH APRIL 2017 • 7
Lifestyle Music / Arts / Lifestyle / Culture
Living With A Grin
In support of the 20th anniversary deluxe edition of their debut album, Guide To Better Living, rockers Grinspoon have announced an epic 27-date tour that will see them play across the country from June to September.
Where and when? For more gig details go to theMusic.com.au
Grinspoon
Ros Return Icelandic post-rock legends Sigur Ros will perform two headline shows as part of their upcoming Australian sojourn for Splendour In The Grass this July. Don’t miss their career spanning set.
32 The number of minutes between Splendour In The Grass tickets going on sale and a Facebook post from the organisers saying that the event had sold out.
Moonlight Cinema Stalwart Irish pop-rockers Two Door Cinema Club have joined the Splendour In The Grass sideshow fray. The trio are giving us three headline dates across both coasts this July.
8 • THE MUSIC • 12TH APRIL 2017
Two Door Cinema Club
Dustin Tebbutt & Lisa Mitchell
e / Cultu Music / Arts / Lifestyle / Culture
Credits
Publisher Street Press Australia Pty Ltd
Rageaholic
Group Managing Editor Andrew Mast
Turning 30 on 17 Apr, rage are putting on a multi-platform celebration through April. Keep an eye out for Rage 30 Magazine: Collector’s Edition, Rage30: Stories From The Red Couch hosted by Kate Ceberano for TV, and Rage ‘Til You Puke on ABC radio.
Kate Ceberano on the rage couch
National Editor – Magazines Mark Neilsen Editor Bryget Chrisfield
Arts & Culture Editor Maxim Boon
Gig Guide Justine Lynch gigs@themusic.com.au Editorial Assistants Brynn Davies, Sam Wall
Sigur Ros
Hip Hop To It
Senior Contributor Jeff Jenkins
Sampa The Great & REMI
Contributors Bradley Armstrong, Annelise Ball, Emma Breheny, Sean Capel, Luke Carter, Anthony Carew, Uppy Chatterjee, Daniel Cribb, Cyclone, Guy Davis, Dave Drayton, Guido Farnell, Tim Finney, Bob Baker Fish, Cameron Grace, Neil Griffiths, Kate Kingsmill, Tim Kroenert, Pete Laurie, Chris Maric, Fred Negro, Obliveus, Paz, Rod Whitfield, Sarah Petchell, Michael Preberg, Paul Ransom, Dylan Stewart
Melbourne’s REMI and Sydney’s Sampa The Great are co-headlining the Fire Sign tour. The artists and frequent collaborators will keep you on your feet when they tour in June and July.
Senior Photographer Kane Hibberd Photographers Andrew Briscoe, Cole Bennetts, Jay Hynes, Lucinda Goodwin Advertising Dept Leigh Treweek, Antony Attridge, Braden Draper, Brad Summers sales@themusic.com.au Art Dept Ben Nicol, Felicity Case-Mejia, Alex Foreman vic.art@themusic.com.au Admin & Accounts Loretta Zoppos, Ajaz Durrani, Meg Burnham, Emma Clarke accounts@themusic.com.au Distro distro@themusic.com.au Subscriptions store@themusic.com.au Contact Us Tel 03 9421 4499 Fax 03 9421 1011 info@themusic.com.au www.themusic.com.au 459-461 Victoria Street Brunswick West Vic 3055 Locked Bag 2001 Clifton Hill VIC 3068
Lemon Grass
Calling Near And Far Aussie talents Lisa Mitchell and Dustin Tebbutt are bringing something totally new as they team up for the Distant Call tour. The duo are excited to perform music from both of their new albums for audiences through June and July.
The Lemon Twigs
— Melbourne
Ascendant Long Island duo The Lemon Twigs are riding their current momentum all the way Down Under for this year’s Splendour In The Grass festival, and the band have just announced a pair of headline dates to complement that journey this July. THE MUSIC • 12TH APRIL 2017 • 9
Music / Music / Arts / Lifestyle / Culture
The Beth’d
Fine & Dando-y
Beth Orton
Already announced as part of this year’s Vivid Sydney line-up, Brit Award-winning singer Beth Orton has confirmed she’ll be appearing at four other headline shows as part of a June national tour.
Enigmatic Lemonheads frontman Evan Dando has announced a return to Antipodean shores in just a couple of months to mark the reissue of his debut solo effort, 2003’s Baby I’m Bored.
Winston Surfshirt
Surfshirt Riding The Wave Headlining their first national tour, frontman Winston Surfshirt and his band are continuing to ride the wave of success from their first single Be About You. Catch their funk, soul, dream-pop mixture as they tour in June.
A True Man Apart
What’s Paul McCartney’s favourite fruit? Banana-na na-na na-naa
Former singer and guitarist of English indie rock band Gomez, Ben Ottewell is returning for his third solo tour of Australia in June and July. Check him out as he performs tracks from his latest album A Man Apart.
na-na na-naa, hey Jude @thepunningman
10 • THE MUSIC • 12TH APRIL 2017
Ben Ottewell
Arts / Li Music / Arts / Lifestyle / Culture
Evan Dando
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Guitar Prodigy
James Norbert Ivanyi and his band of astonishing players are celebrating the release of their latest EP Denalavis with a national tour in August. They’ll be joined by progressive-metal group Dyssidia.
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THE MUSIC â&#x20AC;˘ 12TH APRIL 2017 â&#x20AC;˘ 11
Bluesfest
From Patti Smith’s final Australian shows to the shock cancellations of Neil Young and Barry Gibb, Bluesfest 2017 has been an exciting and bumpy ride. Speaking to Neil Griffiths, director Peter Noble isn’t afraid to admit this year is one of its best yet.
W
hile the likes of Santana, Buddy Guy, Neil Finn and The Doobie Brothers are names to be boasted on the Bluesfest line-up, it is the female talent heading to Tyagarah Tea Tree Farm that have truly won over music fans. Names such as Patti Smith (performing her debut 1975 LP, Horses), Mary J Blige, Courtney Barnett, Kasey Chambers and Rickie Lee Jones are just a few confirmed. “I personally think it’s the greatest line-up we’ve ever had of women talent,” Bluesfest Director Peter Noble says. “I don’t think there’s ever been a festival in Australia that’s ever done anything near it. “I’m just loving the fact that we’ve got great artists like Gallant selling out shows... I managed to see Billy Bragg and Joe Henry recently in Glasgow at Celtic Connections, sold out concert there and went, like, ‘Wow, the audience is going to love this.’” As far as locking in Patti Smith for Bluesfest 2017 goes, Noble says it’s simply a triumph for the festival. “It’s great for us to be able to book the most desirable artists in the world, to still be an independent company, to not be owned by any multinational or even to be desiring that, currently, and to be booking the type of acts that any company would like to have. “These are [Smith’s] final shows in Australia, according to her. And she personally wanted Courtney Barnett to be on and Courtney wasn’t due to do any shows in Australia this year.” Noble claims that from what he was told, Barnett granted Smith’s request to appear at Bluesfest as the US godmother of punk has long been an idol of hers.
Courtney Barnett
12 • THE MUSIC • 12TH APRIL 2017
“It’s one of those things that happens every now and again where you get a match made in heaven.” While Bluesfest has been an immense success on the Australian festival circuit for many years now, it is also an event that is recognised globally. The festival, established in 1990, has been nominated seven times at the prestigious Pollstar Awards, while the last five years running has seen it feature in the International Music Festival Of The Year category. Though they are yet to pull out a win, again missing out this year to Glastonbury Festival, Noble says just to be included is an honour. “We got beaten by Glastonbury again, but the point is that Glastonbury sells out in a minute and has 170,000-person capacity,” he explains. “The other events we were up against have 70, 80, 90-000person capacities. We’re a 25,000. We’re still getting nominated every year as well as for Best Music Event. For me... it’s a pretty special feeling.” One of the reasons Bluesfest has continued to evolve and attract fans is no doubt the diverse acts it continues to take on. While this year’s line-up also includes revered rapper Nas, many people were curious to see fellow hip hop heavyweight Kendrick Lamar on the 2016 bill, given its expected focus of blues, jazz and rock. The move was a brilliant one though, as Lamar performed to a packed-out crowd on the first night of the four-day festival. “I’m not afraid to go out and do that,” Noble said of recruiting Lamar last year. “We are a creative music festival. If you want to be on Bluesfest, be that. It doesn’t matter how old you are, how young you are, we’ll take people from different areas of music. If you want to hear great music and discover artists, as well as incredible artists in their field, that’s who we are. “We don’t rely on a presents from a major radio station with large listenerships. It’s almost like we are the real definition of an independent music festival. And we like that.” The 2017 Bluesfest hasn’t come without hiccups, though. Two juggernaut headliner acts in Neil Young and Barry Gibb both abruptly cancelled within weeks of each other late last year. While Gibb cited a change in “international commitments” as the reason behind his cancellation, Young is still yet to publicly comment on why he pulled out — and Noble says he is yet to be given a reason either. “Everybody knows Neil Young cancelled. Nobody knows why he cancelled,
FIRST TIME’S THE BEST Patti Smith
NAS
Peter Noble
I want them at Bluesfest, I really do. I’ve been talking to them for years about it... because he didn’t go out and talk to his fans and tell them why he made that decision,” he says. Though the 2017 Bluesfest is just around the corner, work is already underway for the 2018 spectacle, and Noble says he has already put in offers to a bunch of acts. One band fans could perhaps keep an eye on for 2018 is the returning Midnight Oil. Noble teases that frontman Peter Garrett promised the band would play Bluesfest as their first gig back. “You never can trust a politician,” Noble laughs. Touching on the iconic Aussie band’s return Noble says, “Good on them. Australia needs artists who represent what great music is about. Using the arts for what it is — a vehicle for change. “A lot of people want to use the arts as some sort of ego gratification or things that are not about being creative. When you see something like Midnight Oil coming back, I think it’s just a great shot in the arm for the Australian music industry that one of our great bands is happening again. “I want them at Bluesfest, I really do. I’ve been talking to them for years about it... I’m sure we’ll talk about next year, we don’t have much room left [for this year].”
While Bluesfest Director Peter Noble nails it when he says the festival books “the most desirable acts in the world”, the line-up is a mixture of familiar faces and those playing the first time. You can see the energy of some past performers pictured left, but here are some who are performing at the festival for the first time and why you should check them out:
PATTI SMITH
Vintage Trouble @ Bluesfest. Pic: Peter Sharp
St Paul & The Broken Bones @ Bluesfest. Pic: Peter Sharp
Of course Smith’s performing her seminal album Horses with her band, but she will back it up with an acoustic set the following day. And according to Smith, this is her last Australian tour, so you’d better see her while you can.
NAS Kendrick Lamar owned Bluesfest last year and the festival has pulled another hip hop royalty stunner by nabbing Nas. Not only that, his is an exclusive one-off performance with New Orelans brass band The Soul Rebels.
GREGORY PORTER When & Where: 13 — 17 Apr, Bluesfest, Tyagarah Tea Tree Farm
Cover Pics: Vintage Trouble pic by Peter Sharp; Bluesfest crowd pics by Tao Jones and Natalie Grono
He’s the hipster’s jazz vocalist, but he’s bound to appeal to a wider section of the Bluesfest audience, returning to Australia after a praised short run of shows at packed smaller venues at the end of last year. Plus he has two Grammys behind him for Best Jazz Vocal Album, so you know he’s got the track record behind him.
THE MUSIC • 12TH APRIL 2017 • 13
Bluesfest
Paths That Cross She first discovered Patti Smith’s music while house sitting and trawling through ‘a huge music collection’, but Courtney Barnett’s fandom intensified when reading Just Kids brought her to tears during the walk home from Melbourne Uni library, Bryget Chrisfield learns.
S
till pinching herself about scoring the support slot for Patti Smith’s last-ever Australian show, Courtney Barnett admits, “I was pretty chuffed to get that phone call”. Before Smith’s Festival Hall show was announced, Barnett had already purchased tickets for one of Smith’s Hamer Hall dates, she tells. “The day it went online, you know, at 9am, I was ready to go and I booked my tickets, and then I went through this big ordeal to change my tickets, ‘cause Jen [Cloher] got a gig at Boogie festival and it was this big drama. And then I got offered the Festival Hall one and it was all kind of a bit surreal, because obviously I’m a big fan.”
I went and got ‘Just Kids’ out from the Melbourne Uni library... and started reading the opening chapter, and started crying just walking down the street ‘cause I was reading this book.
So when did Barnett first discover Smith? “Um, I think it was just after I’d moved to Melbourne. I was probably 21 or something and was house sitting at a friend’s house and they had a huge music collection, and a really good stereo, and we were just kind of going through it all, like, we didn’t know what any of it was; I’m so musically uncultured and, yeah! I think I discovered it that way. I think maybe I listened to Easter first and then Horses and then did a bit of investigation, ‘cause I liked it. And I went and got Just Kids [one of Smith’s memoirs] out from the Melbourne Uni library, I just lived down the road from the uni. And I was walking home, just kind of started flicking 14 • THE MUSIC • 12TH APRIL 2017
through it and started reading the kind of opening chapter, and started crying just walking down the street ‘cause I was reading this book,” she laughs. “So then, you know, it’s been a pretty solid affair since then. “I love the way that Patti writes, like, it is very, um — it does feel maybe kind of a bit over-romanticised sometimes, but I love that ‘cause it sucks you into this other world and, I dunno, her undying passion is — just kind of transports you a bit. I think I tend to have a more, like, boring kind of realism view of the world sometimes and I think, yeah! It’s a good kind of lesson to let a bit more imagination and that kind of thing in.” To mark the 40th anniversary of Horses in 2015, Barnett and Cloher masterminded a tribute concert during which the pair — together with Adalita and Gareth Liddiard — performed two songs each from Smith’s iconic album. “Jen came up with the idea,” Barnett shares of this one-off show’s inception, “and it was — I dunno, it seemed a bit kind of extravagant at the time, but then the more we talked about it the more it kind of made sense and we, you know, put together a list of artists that we thought could do it... and then Jen got in touch with Melbourne Festival and all of that and she made the whole thing happen, which was a huge feat. But it all came together.” Barnett acknowledges the Horses tribute was “a really kind of terrifying thing to do, actually,” before adding, “I think it’s a pretty bold thing to do — like, someone else’s whole album and as a kind of tribute — and especially for someone who is still around. Like, a lot for the time, you know, we do those things for artists who have passed away or whatever.” She performed Redondo Beach and Break It Up on the night and Barnett recalls, “It was out of my comfort zone, you know, which I think is a really good thing. You zon don’t wanna disrespect someone else’s work or anything don like that and then there’s the other part that’s, like... you don’t want the diehards to be like, ‘Oh, they butchered it,’ don or they th whatever,” she laughs. After discussing all of the influential people Smith rolled with in the ‘60s and ‘70s — including Robert rolle Mapplethorpe, Allen Ginsberg, Janis Joplin and members Map Warhol’s inner circle — we can’t help but wonder of Andy A which of the scenes that are unfolding right now might whi be rregarded with similar awe in the future. “I have thought about this before and I’m always like, ‘Oh I wish thou was alive, you know, in the ‘90s,’ or whatever period you I wa get obsessed with,” Barnett muses, “and, like, you see photos of so-and-so sittin’ around strumming the guitar pho and someone’s in the background and, yeah! I think that it’s happening all the time and to focus too much on the past, you know, we overlook the moment that we’re in right now. Like, you go to The Tote or something and, you know, just something as simple as that with an amazing line-up and all of the people that are around; in 30 years that’ll be what people are looking back on and I think that’s really powerful, ‘cause we — especially Melbourne, there really is, like, a powerful scene, I reckon.”
When & Where: 13 Apr, Bluesfest, Tyagarah Tea Tree Farm; 20 Apr, Festival Hall
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PLUS HE A PS MORE AT W W W.NORTHCOTESOCIA LCLUB.COM THE MUSIC • 12TH APRIL 2017 • 15
Bluesfest
Keeping In Shape Gallant has been leaving himself little messages, and learning to exist outside of classification, he tells Rip Nicholson.
C
hristopher Gallant’s penchant for using music as therapy has been well-documented since his rise to prominence, not least on his debut album Ology. “If you have an issue you’re trying to work through or you’re trying to understand why you react a certain way to certain things it helps to leave yourself a message,” advises Gallant. “This whole album is me leaving myself a message... It’s cathartic because it just helps me. Like, some people go do yoga, some people go to the gym, that’s what I do.”
whatever they call themselves,” Gallant reflects. “They weren’t really focused on the why or the process and it carried over into a lot of professors, too. Outside of the class when I was trying to be in the industry, so to speak, I was messing around with different business people left and right and it all just had that vibe, that kind of feeling of nothing really real. Just very hollow.” After moving to Sherman Oaks, tucked into LA’s San Fernando Valley, Gallant soon fell into a more like-minded crowd within the music industry. “It took me back to a place not contrived, because at that point whatever I did didn’t matter because I still thought you had to fit into some kind of box to make it work and I wasn’t interested in making it work,” he explains. “To get back to where I was when I first started making music in that diary-type way, that move solidified my decision to stick to that instead of slowly trying to morph into something that was of everyone else’s kind of expectation of me.” Thankfully, Gallant found an inspiration for not being chiselled down to shape early on in British-born singer Seal, with whom he shared a session on the second episode of his collaborative video series, In The Room.
It’s cathartic because it just helps me. Like, some people go do yoga, some people go to the gym, that’s what I do.
An apparent mutual respect between the two was galvanised when the Seal showed up for an electrifying walk-on performance his 1991 classic Crazy at Gallant’s set at this year’s Coachella. Gallant has spoken highly of Seal’s influence several times, expressing admiration in equal measure for both the Brit’s music and his refusal to kowtow to any one label. “I got to see him completely disregard any kind of category. He just didn’t exist in that world, and he defined himself as an individual person with some of the most poetic lyrics that I’d ever heard at that point. Obviously him being a black male, I just didn’t know you could do that - which is really sad. So at a very early age, thankfully, it made me feel that you can exist outside of a set of categories or genres. That really solidified my love for making music because I knew how real I can be.”
It’s been part of how he has approached music since before his 2014 debut EP Zebra, and the Los Angelesbased artist “hasn’t yet strayed from that initial spark”. Gallant’s search for comprehension isn’t something turned solely within, however, the young singersongwriter understanding that self-awareness requires a deep wealth of outer context. “[While studying music at New York University] I was constantly surrounded by the energy of peers who were really focused on the aesthetic of being an artist or
16 • THE MUSIC • 12TH APRIL 2017
When & Where: 13 & 14 Apr, Bluesfest, Tyagarah Tea Tree Farm; 17 Apr, Corner Hotel
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THE MUSIC • 12TH APRIL 2017 • 17
Music
Centre Stage Keening vocals, a crispy hook and lashings of slide steel guitar — Middle Kids have fine-tuned their formula for overnight lasting success. Hannah Joy shows Brynn Davies that there’s no middle child syndrome to see here.
R
ecently, Sydney darlings Middle Kids walked out onto the set of Conan after arriving in the US the night before, smashing out their sun-drenched hit single Edge Of Town for a global audience. Watching Hannah Joy wail and wiggle alongside husband Tim Fitz (playing that titillatingly subtle slide guitar) and drummer Harry Day, it’s hard to believe that a trio performing with such dexterity hadn’t played a single gig when the track dropped in May last year. Yup, not one. Twenty-nine-year-old Joy laughs heartily when we’re (very) formally introduced over the phone. “There should
be trumpets — ba ba ba ba-de-baaa,” she chortles. Their debut EP and a string of headline and festival shows now tucked snugly under their belt, Joy feels more comfortable talking to media than she did nine months ago. “When we first started doing press stuff we hadn’t actually done that much,” she exclaims. “I mean, there’s more content now so there’s more to talk about, but I remember just feeling like every time we had interviews we didn’t have much to say. We’d only released one song, we’d only played one show, you know? It felt premature... It’s like, I probably shouldn’t do interviews, like, ‘Who are you to do an interview?’” Self-deprecating humour aside, the trio have well and truly earned their place in the spotlight. Not many groups can lay claim to national airplay and sold out 18 • THE MUSIC • 12TH APRIL 2017
shows off the back of their first single. But it had to start somewhere. After Edge Of Town grew legs and hit the ground running the track has accumulated over 3.8 million Spotify streams at the time of writing), Joy, Fitz and Day realised that they were going to have to figure out a live set, fast. “That was definitely like, ‘Okaaay, so, we gotta pull something together!’” she grimaces. “Tim and I had been playing for a while together on my solo project and Harry had played a little bit on that too, so we were quite familiar with each other’s musicality, but we were definitely scrambling to get a full set together!” Their first Middle Kids gig sold out The Oxford Circus in Darlinghurst in early July. “It was such a special, fun gig. We were like ‘wow’, so surprised it was sold out, the energy in the room was so good. I must say though, the capacity wasn’t huge, like 150 or something,” she shrugs. Fast forward a few months and they found themselves running amok on the stages of Fairgrounds, Volumes, Festival Of The Sun and more. “I feel like our
We’d only released one song, we’d only played one show, you know? It felt premature.
music is good on a big stage like that. Historically we played in these small venues where the stages were tiny, so we were really squished. It was so awesome to be able to dance and move around because there was so much space. I could leap and lunge and crash into cymbals! Follow-up single Your Love dropped in August, proving Edge Of Town was no flash in the pan ahead of their uniformly exceptional six-track EP Middle Kids. It’s a testament to Fitz’s inventive production and Joy’s dynamic lyricism. Engaging storytelling (and that damn fine slide guitar) lies at the heart of their musicality, with Joy stressing the importance of communicating a full narrative within the allocated time frame. “I feel like something that’s powerful about songs, about singing, is the chance to tell a story. And so I think lyrics in that way are really exciting because you have three-and-ahalf minutes to tell a story that helps shape a point of view,” she muses. “I don’t use my life story; I use a story that’s maybe a little more broad — important or relatable to people.” Keeping things personal would “feel too vulnerable, and also I don’t want to get too navel-gazey: ‘This is me, this is me.’ It’s not about me, it’s about bigger things, bigger stories. I am quite vulnerable in terms of my emotions as a performer, but I think that to be vulnerable is a really important part of being a musician in a way that makes sense to you.”
What: Middle Kids (EMI) When & Where: 14 & 19 Apr, Northcote Social Club; 22 Jul, Splendour In The Grass, North Byron Parklands
WED 12 APR
HIGH SOCIETY CACARTU PAT COYLE
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MON 17 APR
SCREEN SECT FILM CLUB TUE 18 APR
MAKE IT UP CLUB
THE MUSIC • 12TH APRIL 2017 • 19
Bluesfest
Frontlash C’est Chic
Extra Mileage
Mark Ronson posted Kevin Parker riffing Thinking Of You on his Insta (are they working together?) to mark Nile Rodgers’ Award for Musical Excellence at the 2017 Rock And Roll Hall Of Fame ceremony.
Sky Diver Steph Hughes’ moving animation for Audible Australia’s They Cannot Take The Sky, a collection of testimonies from people inside detention centres or within the Australian community after their release. Beautifully done.
Lashes
Lords Of The Dance Matthew Bourne’s Lord Of The Flies teamed a handful of professional dancers up with over 20 locally sourced boys and young men (many of whom had never set foot on a stage before) and the results were beyond spectacular.
Matthew Bourne's Lord Of The Flies Ruled
Backlash
#PrayForStockholm Our hearts go out to the victims, and their families, of the truck attack that took four lives in Stockholm.
Call To Arms
Dabbing (as in the dance move) on a crowded dancefloor – that shit’s dangerous!
Just For Laughs If you’re headed to a comedy gig on Friday or Saturday night and smash a few beers beforehand, don’t be a fuckhead during the show. Pull your head in, show some respect or piss off somewhere else. Capisce? 20 • THE MUSIC • 12TH APRIL 2017
Describing Miles Electric Band as “a gumbo” of jamming, drummer Vince Wilburn Jr (Mile Davis’ nephew) promises Rip Nicholson this is not a tribute band.
“I
mma break it down like James Brown,” quips Vince Wilburn Jr, nephew of jazz great Miles Davis. As a tribute to the late, great Davis and the music he referred to as social music, Miles Electric Band played an anniversary celebration of Davis’ best-selling album (Bitches Brew) at Sunset Junction, Los Angeles, in August, 2010, which they called Bitches Brew Revisited. “It’s just guys who play with Miles, have an affinity for the music and want to play an art interpretation of the music,” he tells. Although a nephew of the jazz great, Wilburn Jr followed in the footsteps of Davis’ drummer, Al Foster. “I was always mesmerised by the motion of the drummer — the limbs, like an octopus — and growing up when I would see Uncle Miles or anyone in concert I was always fixated by the drummer,” Wilburn Jr admits. “Al was so gracious and such a sweetheart, he used to always say, ‘You’re next, you’re next’.” And it was during the recording sessions for Davis’ You’re Under Arrest that the moment finally came for Wilburn Jr (“Al passed the torch to me”). As drummer and producer, Wilburn Jr was raised under the tutelage of his uncle, recording with him from 1984 to 1987 (on albums such as the Grammy-
awarded Aura, Decoy and You’re Under Arrest) and also touring. Miles Electric Band continues the bloodline of jazz originals, with connections running directly back to Davis himself. “It consists of musicians that have worked with Miles,” Wilburn Jr confirms. Alumni such as Robert Irving III (pianist and Davis’ longest serving collaborator) and former Miles Electric Band trumpeter Wallace Roney (the only trumpeter Davis ever personally mentored). Wilburn Jr points out Wallace featured on Miles & Quincy: Live At Montreux, but these days Grammy winner Christian Scott is on trumpet duty with Miles Electric Band. Scott brings a new wave of jazz, having previously jammed with Prince, Yasiin Bey (Mos Def), Thom Yorke and Solange Knowles. Obviously being the trumpeter in Miles Electric Band is a huge responsibility, but Wilburn Jr suggests, “You don’t have to play like Miles, but bring your spirit into this music. We’ve just been fortunate to have the top trumpeters in music. Wallace Roney, Sean Jones, Etienne Charles, now Christian Scott.” Further additions for the band’s trek Down Under include Jeremy Ellis (renowned programmer), saxophonist Antoine Roney (brother of Wallace) and Debasish Chaudhauri on the tabla. “And we have DJ Logic on the turntables, man,” Wilburn Jr adds, “we’re excited! We’re all just playing interpretive music of Miles from our perspective. We’re not trying to replace these iconic musicians like Herbie [Hancock] or Tony [Williams] or Ron [Carter] from the original music. We just get together and jam. It’s a gumbo! But, I want people to know it’s not a tribute band.”
When & Where: 13 & 17 Apr, Bluesfest, Tyagarah Tea Tree Farm; 15 Apr, Hamer Hall
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THE MUSIC â&#x20AC;¢ 12TH APRIL 2017 â&#x20AC;¢ 21
Bluesfest
Bobby & Joan Joan Osborne has been welcomed into some eclectic musical worlds in her time. She tells Martin Jones about singing Dylan, singing with Dylan and the need to musically keep on keeping on.
“I
have actually had the chance to sing with Dylan a couple of times,” Joan Osborne reveals when we begin talking about her current project Joan Osborne Sings The Songs Of Bob Dylan. “Once we were in the studio singing together and we were actually on the same microphone... and because, I guess he just has this restless intelligence, we did the song four different times and each time was a completely different way - different phrasing. And I was right there on the mic with him trying to follow his phrasing. It was very challenging.... I think that restlessness is part of why he’s so great. He must be easily bored and always searching for something different.” As much could be said for Osborne, who has refused to adhere to one musical style over her 25-year career. From her unexpected breakthrough debut, Relish, and its monster hit One Of Us, Osborne’s performances and recordings have embraced pop, blues, soul and more, leading her to join forces with the likes of Dylan, Patti Smith, Taj Mahal, Mavis Staples and members of The Grateful Dead. “Yeah, I’ve been really fortune to have been welcomed into so many different musical worlds,” says Osborne. “I don’t know if it’s been a commercially smart
22 • THE MUSIC • 12TH APRIL 2017
thing to do to not stick with one area, but for me I just love so many different kinds of music. I couldn’t be just doing one thing. There are people who do that who I respect enormously... people like Alison Krauss, who stick to one lane and do it incredibly well. But I’ve never felt like I had the temperament for that.” It’s easy to see why Osborne would be so attracted to a musical chameleon like Dylan. “It’s been fun, it’s been intense,” Osborne says of recording and touring Dylan’s songs. “I’ve been telling people, and it’s true, it’s like what an actor would feel like when they’re doing Shakespeare. The stuff is so rich, there’s so much there and the well is so deep. Songs that were written 50 years ago feel like they’re talking about what we’re all going through right this minute.” For her upcoming Bluesfest debut, Osborne’s focus will be a little bit broader. Performing as a trio with Kevin Bents and co-writer/co-producer Jack Petruzzelli, Osborne will not, as some misleading publicity has suggested, be presenting a classic soul revue. “We will do some of the Dylan material,” she reveals. “We’re going to bring some of it because we’re just so in it right now that this is part of what we’re doing. But we also want to do some of the stuff from the records of my songs and things that people will want to hear because we’ve not had a chance to come down there and perform my own songs at all. When Relish was such a big hit and One Of Us was such a big hit, we tried to make it down there but I can’t even remember why, something happened and it fell apart.”
When & Where: 13 & 17 Apr, Bluesfest, Tyagarah Tea Tree Farm; 15 Apr, Hamer Hall
Father Of The Ride Slightly Stoopid have matured from punk rock surfers into domesticated markers of culture, lead singer Miles Doughty tells Rip Nicholson.
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one are the days when the So-Cal boys of Slightly Stoopid toiled in the sand and skated their days away. Off-tour, the guys tend to go their separate ways these days, home to family. Co-founded by instrumentalists Kyle McDonald and Miles Doughty in 1994, the folk-rock and reggae-tinged funk seven-piece have amassed a catalogue of eight studio and four live albums and played the world over. The journey has matured the band, and Doughty, somewhat, “From being a 25-yearold maniac running around the bars and having that F-the-world attitude. You gain more perspective of life, which comes out in the music,” admits Doughty, phoning from home and awaiting his kids’ arrival from school. “I’m domesticated when I’m off the road, man. I’m house-broken. “That’s not to say we don’t still get crazy, don’t get me wrong,” he laughs, revealing plans for the sunny Californians during downtime while touring Australia. “If we have days off we’re gonna try to surf and chill and probably hit up a couple of clubs.” Representing a lifestyle of boards and breaks, Slightly Stoopid have always had a broad cultural significance, showing up in just as many surf and skate mags as they have music interviews. Doughty, however, places Sublime at the head of the surf rock trend. “We have that allure of Southern California surf rock culture — growing up on the beach surfing and we all shared that element of skating,” considers Doughty. “Sublime really launched that kind of culture, changing the sound from grunge to that Southern California vibe. God, it’s been over 20 years really and I think that says a
Bluesfest
Bear Hug Portland collective Nahko & Medicine For The People seek to incite change through their feel-good music, and bandleader Nahko Bear tells Steve Bell that they’re just getting started.
lot of how that culture has reached across the world... and it all started from Sublime bridging that gap.” On their last studio album Meanwhile... Back At The Lab (2015) they bridged another gap with the heavy alt-rock standout Fuck You. Though features on the LP were minimal, Mickey Avalon’s running mate Beardo (aka Jeramy Gritter) strapped up for the track. “We wanted to put something heavy on the record and we knew that he would be perfect on it,” says Doughty. “It was great to have that moment of punk rock and have Beardo on there. He’s a phenomenal guitar player. He’s a cool artist, he has some crazy lyrics.” With a long history playing huge sets, Doughty divulges the touring band’s love for reviving their recordings at live gigs before taking over Bluesfest 2017. “Everything in the studio is so perfect, where live sound you can leave open to breathe and do different things, from solos to different parts,” he explains. “That’s what I love about the live show is that it’s always open for a different interpretation,” he says. “A lot of times you can take an old song and just rework it a little bit and give it new life in the real world.”
F
or nearly ten years now, Portlandbased world music collective Nahko & Medicine For The People have been conducting an ambitious quest to change the world for the better using the dual weapons of music and community. Their 2016 release Hoka took this journey to the next level, with its intensely personal lyrics coalescing into a strong message about forgiveness and responding to adversity. “I keep thinking about how music obviously lasts beyond your time, and it’s definitely a great chapter of a time for us that was sort of the marking of us coming together as a band,” reflects frontman Nahko Bear. “We were able to refocus our time, because we hadn’t really been able to work together on that level before, so it really shaped us in a good way, and set us up for a really powerful year of composing and next level activism and bringing some really important messages and inquiries and challenges to our community through the music.” As anyone who has experienced Nahko and the gang in the flesh will attest, they find the best place to build such community is at their live show. “It’s a place where you can create a safe environment to have discussions and dialogue through music and through just speaking to people and having this inclusive response happen, whether
it’s through them singing back with you or just getting an overall energy playing with them,” Bear enthuses. “It’s an inclusive effort and I love going to shows like that, and I love being able to create a show that’s so eccentric and focussed on the listener and their willingness to transform with you and to go to those places and take a look at that through music and through moving their bodies with each other and just having this experience — an experience where they can walk away having learned something.” Bear is a firm believer in music’s redemptive and healing properties, and seeks actual change rather than mere lip service. “When evolving the message it always has to pertain to yourself first — as a writer and even in your special connection the work of the self is so critical to the work that you put out in the world,” he proffers. “There’s no question or not whether I’ve made a difference, it continues to be a revolving experience — it’s social work at the end of the day. “I need to see real results on a social level, and as I’m getting results from nature and nature responds to me in very unique and trippy ways, I fully recognise the power that music has to transform lives and to speak a language that is universal but not commonly used anymore for social and political change, too. It’s fun — I’m having a blast, bro.”
When & Where: 12 Apr, 170 Russell; 15 & 17 Apr, Bluesfest, Tyagarah Tea Tree Farm
When & Where: 14 Apr, The Prince, 15 & 16 Apr, Bluesfest, Tyagarah Tea Tree Farm
THE MUSIC • 12TH APRIL 2017 • 23
Comedy
Hart & Soul Thrust into the limelight late in life after being discovered by Adult Swim stars Tim Heidecker and Eric Wareheim of Tim And Eric Awesome Show, Great Job! fame, the truth is comedian, actor, musician, artist and puppeteer David Liebe Hart was always destined for a life less ordinary. By Stephen A Russell.
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aised in the Christian Science church, David Liebe Hart’s Sunday School lessons were led by none other than Jim Henson, legendary creator of The Muppet Show. “He’d teach us about the bible stories and how to love our neighbour with the help of Kermit the Frog,” Hart reveals. “He had all these incredible puppets and he was a great, kind man.” Other mentors on the Christian Science circuit included Burr Tillstrom, the brains behind 1940s American TV puppet show Kukla, Fran And Ollie and
They were boring, bland, classical hymns and I brought them alive by adding gospel music, rock and roll, and folk.
collaboration with keyboard whizz kid Th’ Mole, aka Jonah Mociun. Having touched down in Australia this week they’ll be touring the country and neighbouring New Zealand showcasing tracks from their new album Astronaut. In keeping with Hart’s passions, their surreal flights of musical fancy will be accompanied by a bevy of handmade puppets as well as eye-opening video projections and the off-kilter comedy Adult Swim fans have come to expect. It wasn’t just extra-terrestrials who showed an early interest in Hart. Apparently supernatural forces have also visited him, including one very pissed off frog. “I went to summer camp one year and told my sister to feed my tadpoles,” he says. “My dad and I had a 30-gallon tank and we kept them and fish, but she didn’t look after them and they all died. For about six years afterwards a frog kept appearing at the end of my bed and haunted the hell out of me.” His love of music was sparked at church, though Hart has never been one to stick to tradition. “They were boring, bland, classical hymns and I brought them alive by adding gospel music, rock and roll, and folk, but unfortunately the Christian Science Publishing Society has refused all my new arrangements,” Hart says. He’s also faced racism from other church members over the years, Hart claims. “Boy did I face persecution from the Republican, conservative people in the church. They didn’t want a black man representing them.” A hard grafter, Hart often busked at La Brea Tar Pits where he would also sell his vibrant artworks. It was during this time that he says the Korendians got back in touch via a beautiful woman who looked like Betty Page. “She predicted back in 1983 that there was going to be a black president who was going to be very liberal, a Democrat, and that he would have two terms and would do a lot to help people out.” She also revealed that his successor would be a white Republican who would undo much of that good work. Whatever the nature of these otherworldly influences Hart claims to be informed by, one very earthly obsession of his is his love of trains. “It would mean so much to me if I could meet a lovely Australian girl while on tour and we could drive out to a hobby shop together,” he says. “I need a kind young lady in my life that’s a musician and artist like I am.”
When & Where: 12 Apr, The Toff In Town Howdy Doody Time’s Buffalo Bob. The church also put him in the same orbit as musical queen Ginger Rogers, but Hart insists his first dalliance with the stars was when aliens abducted him as a young boy. They were called the Korendians, as detailed in his song Salame from Tim And Eric Awesome Show, Great Job!. “The Korendians are my favourite alien race and they use the word Salame to mean both hello and goodbye, and also to offer protection to each other as they travel in space,” Hart translates. “They’re into meditation and they’re also vegan.” Hart’s new music has taken a turn for electro, in
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In Focus Suss
Cunts
Pic: Maddie Stephenson
We were lucky enough to catch Suss Cunts at Bedroom Suck HQ last month while Treehouse were in town and immediately fell in love with them so know you will too. The Melbourne trio comprises Nina Renee, Tahlia Eastman and Helena Holmes, and they have so much fun with it all that you’ll wanna join their band immediately. Their song titles speak volumes – Anaemic Boyfriend, Get Laid, Shit Friend and I Can’t Believe I Fucked An Anti-Vaxxer – and if you’re heading to Bruzzy’s Farm in Tallarook for Boogie over the Easter weekend you’re in luck, because Suss Cunts are on the bill! Suss Cunts are also supporting The Goon Sax on 22 Apr at The Gasometer Hotel so there’s also that option. You can thank us later.
THE MUSIC • 12TH APRIL 2017 • 25
Album / E Album/EP Reviews
Album OF THE Week
Spit Syndicate One Good Shirt Had Us All Fly Inertia
★★★★
Four albums in, the question we must ask ourselves as Spit Syndicate listeners is: “What does this new record have that we haven’t seen or heard before?” It’s a stern test. Luckily, our hosts nail it with this accomplished, innovative and mature slice of Australian rap. Mum, aptly named, is the album’s biggest gamble: an admirable, sweet, brutally direct love letter to our duo’s mothers. Know Better bangs. It stands alongside Hold On Me as a sign of the growing confidence Nick Lupi and Jimmy Nice have making hypnotic dance records with a couple rap verses thrown on top. Not In My Name is an eloquent war cry in the name of informed resistance. Often, familiarity breeds contempt. The triumph of this record is that Nick Lupi and Jimmy Nice have confronted their legacy and arrived with a product that shines as bright as its predecessors. Here Nice brags, “No one else on my wave, I’m Kelly Slater”, perhaps a spiritual successor to his near ten-year-old claim that he and his partner were winners “like a Pat Cash backhand slice.” This sense of nostalgia (the title itself is a throwback) mixed with an increasingly genre-bending aesthetic makes this genuinely new and exciting. James d’Apice
Bleeding Knees Club
Slumberjack
Chew The Gum
Independent
Fracture
★★
Inertia
★★★½ Bleeding Knees Club sound like the type of band who wear ripped jeans and don’t know what hairdressers look like. The four-piece specialise in songs that involve a few chords, catchy riffs and killer hooks. In other words, their approach is simple and dumb - and a whole lot of fun. The band are at their best when they pair a basic musical idea with a clearly defined emotion. When they do, it’s pop-punk at its best. Songs like the title track and Sick Feeling double down on this method, as the screeching guitars drip with distain. You can hear the sneer in Alex Wall’s voice as he sings, the vowel sounds stretched out into glorious new permutations. Sun House is a similarly focused effort, matching surf-rock
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with sentimental lyrics about starry-eyed dreamers and hot summer nights, complete with a saccharine glockenspiel melody. However, the band run into uneasy waters when they stray too far from simplicity. Cyber Doom struggles beneath the weight of its scattered imagery and, as a result, sounds less like the contrarian statement they might have intended it to be and more like a vague whinge about technology. Nonetheless, judging by this EP there’s no sense that this band will run out of steam, or targets to direct their energy towards, any time soon. Roshan Clerke
For all their talk about writing music that isn’t just built around drops, Perth electronic music producers Morgan Then and Fletcher Ehlers have written another collection of songs that are full of the same tired tropes we’ve grown familiar with. While their music may contain some interesting melodic components, largely thanks to Then’s background in classical music, the nature of the aforementioned drops still seems largely incongruous with regards to what’s happening with the songwriting. As a result, the dynamics of the songs feel overbalanced, as intrusive blasts of synths and bass displace any sense of coherence. The problem with gimmicks like these is that we know they’re coming. This genre found its popularity through its extreme novelty, but the surprise quickly
dwindled. Using abrasive electronic sounds to embellish songs about fading, fracturing, dissolving, or falling apart in any sense has grown stale and predictable. It’s then only the interlude track that starts to feel like some type of coherent emotional statement. Even then, its ending is incomplete, as it runs into the beginning of Fracture. The pair invite a guest vocalists on tracks like this one and Take Me, courting the triple j crowd with indie favourites. It’s a formula that’s proven to work, but it’s certainly not exciting. Roshan Clerke
EP Reviews Album/EP Reviews
Oscar Dowling
Chris Shiflett
Little Hurricane
Little Dragon
Free And Easy
West Coast Town
Season High
Spunk
SideOneDummy/Cooking Vinyl
Same Sun Same Moon
Because/Warner
Mascot Records
★★★★
★★★★
★★★½
★★★
Oscar Dowling kept busy after previous band New Gum Sarn ended in 2015. The dark and brooding Free And Easy is the upshot of his spare time; amazingly, the Kiwi’s debut solo longplayer. There’s echoes of The Drones, Mark Lanegan and Rowland S Howard, though there’s also a draw completely individual. Opener The Life is intoxicatingly evil, and by the time instrumental closer Motorway comes, we’re still under Dowling’s spell. Debut records don’t come much more consistent or assured than this.
Chris Shiflett is a busy man, dividing himself between Foo Fighters duties, hosting his Walking The Floor podcast and working on his solo career. He’s increasingly immersed himself in country music and this, his third solo album, is his finest yet. He pulled together a master team including producer Dave Cobb (Sturgill Simpson, Jason Isbell), recorded it in RCA Studio A, Nashville and the result is a carefree blend of vintage electric country rock’n’roll, a ragged punk edge and contemporary Americana. The guitars are a real highlight, as is Shiflett’s voice which finds a sweet spot between honky tonk and country-rock. This swings, shuffles and rocks in equal and impressive measures, from start to finish.
San Diegan outfit Little Hurricane’s self-described “dirty blues” is here for its third release. The opening title track and Bad Business dish the dirt solidly to begin, as does Isn’t It Great and March Of The Living. However, there’s something particularly appealing about OTL and its kinda sister track later on Slingshot. Both are distant in just the right way, letting the play between singer/performers Anthony “Tone” Catalano and Celeste “CC” Spina draw the listener in. Mt Senorita is also well worth the time — on the sleazier end of the scale, but catchy as.
Swedish electronic outfit Little Dragon approach making music with a sense of playfulness, bouncing between genres without ever landing in one category. Season High is the group’s fifth album, and continues their trend of experimenting with sounds and styles. The record was co-produced with James Ford from Simian Mobile Disco, and in its best moments the band members sound like children in a music shop. The synth medley on The Pop Life, the wild guitar solo on Celebrate, and the wide-eyed lyrics of Strobe Light all attest to this sense of exploration and fun. This might be a scattered collection of songs, but it’s not without its charms.
Evan Young
Liz Giuffre
Roshan Clerke
Chris Familton
More Reviews Online K.Flay Every Where Is Some Where
theMusic.com.au
Julie Byrne Not Even Happiness
Listen to our This Week’s Releases playlist on
THE MUSIC • 12TH APRIL 2017 • 27
Live Re Live Reviews
Cyndi Lauper @ Rochford Wines. Pic: Kerry Kissell
Mallrat, Oh Boy
The Gasometer Hotel 6 Apr
Cyndi Lauper @ Rochford Wines. Pic: Kerry Kissell
Blondie @ Rochford Wines. Pic: Kerry Kissell
Blondie @ Rochford Wines. Pic: Kerry Kissell
Mallrat @ The Gasometer Hotel. Pic: Joshua Braybrook
28 • THE MUSIC • 12TH APRIL 2017
Mallrat @ The Gasometer Hotel. Pic: Joshua Braybrook
Sydney-based rising star Oh Boy takes control of the decks, creating a vibrant atmosphere with a live set of ‘90s-influenced electronic productions. Self-described “Hannah Montana of the rap game”, Mallrat seems to have come from nowhere over the past 12 months after uploading a number of songs to SoundCloud. A stellar 2016 saw the Brisbane teen booked to play festivals across the country before signing a deal with New World Artists. Combining her rap-talk delivery and soothing singing voice with up-tempo electronic beats, Mallrat bridges the gap between hip hop, pop and electronica with a collection of dancefriendly songs. As her DJ spins a remix of Kid Cudi’s classic Day ‘N’ Nite, Mallrat takes the stage from out of the crowd and is all smiles as camera phones fill the air. With just a debut EP (Uninvited) to her name, the setlist is fairly predictable, but there are no complaints as she opens with the piano-laced EP closer, For Real. The slower Sunglasses follows before Mallrat performs the stellar Suicide Blonde, introducing it as the first track she ever wrote at the tender age of 16. An unreleased track recorded with fellow Brissie act The Belligerents gets a live showing before a cover of Drake’s Pop Style receives a surprisingly lukewarm reception. Recognising the average age of those in attendance, Mallrat says, “Thanks to all the students for supporting live music,” before Oh Boy joins her on stage. The two perform the frantic Oh Boy & Donatachi song (featuring Mallrat), Bunny Island, along with a new, tropicalinfluenced collaboration that has ‘hit’ written all over it. Announcing she only has two
songs left, Mallrat strikes with the one-two punch of Tokyo Drift and fan-favourite Uninvited, the latter featuring an audience singalong as a group of exuberant young ladies invade the stage. The crowd chant, “One more song!” much to Mallrat’s amusement.
Her infectious personality paired with these feel-good tunes bring smiles to dials. “I don’t have anymore songs,” she replies. Despite this show’s short length, it’s only a matter of time before Mallrat tops the charts. Her infectious personality paired with these feel-good tunes bring smiles to dials. Tobias Handke
Cyndi Lauper, Blondie, Montaigne, Alex Lahey Rochford Wines 8 Apr There’s a lot of weather/storm reports being exchanged at Rochford Wines as Cyndi Lauper fans pledge their allegiance through colourful outfit choices and outlandish wigs. Alex Lahey is a vibrant choice for first band of the day and her catchy, familiar songs such as B-Grade University and You Don’t Think You Like People Like Me go down splendidly while we are fed and watered. Next up, Montaigne (Sydney singer-songwriter Jessica Cerro’s chosen moniker) rocks it like a boss dog in a musk-stick pink velour power suit. She dances constantly and it’s all very
eviews Live Reviews
prancersise. Because I Love You is a set highlight and the future promises great things for Cerro and co, but her voice does sound a little samey/screechy after a while and could use some variation in delivery to truly nail the dynamics in her set. But then it’s the storm’s turn and this is an unwelcome addition to today’s schedule. The Clouds persevere as inclement weather conditions take hold, but punters flee to any available shelter. The Garden Bar’s giant umbrellas (and actual bar) give us shelter, but we can only really admire Trish Young’s pink hair from up here and can’t hear anything over the sound of the rain, which is frustrating. Then an announcement recommends that we return to our cars until the rain passes. Just in the nick of time, the rain stops and we race down to find our seats for Blondie. Although Debbie Harry’s outfit could probably be seen from the moon, it definitely needs to be appreciated from up close. Her crown features a couple of furry bees and she sports a black smock that reads “Stop Fucking The Planet” for the first few songs. Blondie’s latest album is called Pollinator and they’re donating some of the band’s merch profits to the Save The Bees organisation, so it all ties in very nicely. Harry observes the Rochford Wines conditions are “wet and wild” and she’s not wrong. Opening track One Way Or Another — with Chris Stein’s rabble-rousing guitar riff — sees us dusting off the sidestepping dance moves. We admire drummer Clem Burke’s OG CBGB T-shirt as well as his rambunctious, cymbal-smashing playing style. In lieu of Melbourne, Harry labels us “Yarra”, which is little odd. A fair few new songs make their way into the setlist and the crowd is noticeably chatty, wishing to substitute some of these for more from their back catalogue. But that’s
mainly because Blondie’s hits from back in the day are just so damn incendiary! Our Call Me singalong is deafening and Harry delivers a, “CALL ME!” at song’s close that’s so insistent it actually gives us a fright. The power of Atomic (“...make it magnificent”) hasn’t waned over the years. Melodic gongs open Rapture, which sends us into a state befitting this song’s title — this has gotta be one of the best songs ever written, right? Amazingly, even though Harry regularly forgets song lyrics throughout the performance (and invents some as she goes along), she raps to perfection during Rapture. We’re then gifted “a little treat from Beastie Boys” thanks to a rockin’ (You Gotta) Fight For Your Right (To Party!) cover, which
Lauper’s closing solo rendition of True Colours is “beautiful, like a rainbow”. transports us back to our HSC common rooms. A punter attempting to light a cigarette in the front section receives a bollocking from a furious older dude who storms up to her and points in her face, “Oi! Piss off with your smokes!” Tom Kessler’s guitar solo, which he finishes by playing axe behind head — causes absolute mayhem while we admire the artistic channels shaved into his hairdo. The sassy, insouciant Heart Of Glass is an absolute joy to writhe to and we all “Oh-woah-oh-woah-oh!” along with the irresistible keys riff. After a short refuelling break, Cyndi Lauper’s She Bop lures us back down the hill and this line-up’s second, iconic New York artist (with trademark
Queens accent we wish we could somehow load into our GPS) looks immaculate, her cotton-candy pink hair flowing from a quilted black leather biker cap with pearl trim and black PVC trench coat. And she sure is sassy! There’s a false-start during her cover of Patsy Cline’s Walking After Midnight and she tells her guitarist off. Lauper’s a perfectionist and clearly loves her band, though, introducing them with charming anecdotes. Alex Nolan is exceptional on guitar — remember her name. Lauper acknowledges, “I love being with Blondie, together” in this line-up. The melodica solo during Money Changes Everything is ever-so punk and smokes collective noodles. And Lauper has a social conscience, using this platform to inform us about the Green Belt Initiative (a global effort for joint, cross border activities in nature conservation and sustainable development). Lauper moves around the stage to find the sweetest spot from which to sing, pointing out, “I’m in the know!” Time After Time breaks our hearts as we focus on Lauper’s extraordinary lyrics: “Lying in my bed I hear the clock tick and think of you...” Girls Just Wanna Have Fun reminds us how striking Lauper’s image was back in the day and how many feathers she proudly ruffled, paving the way for our current crop of gamechangers (Lauper’s look back in the day was as edgy as Yolandi Visser from Die Antwoord’s is now). Lauper’s closing solo rendition of True Colours is “beautiful like a rainbow”. The song’s fearless message, coaxing us to celebrate the difference and embrace individuality is needed more than ever in today’s uncertain political climate. We glide back to our cars with tear-streaked faces pretending the rain’s to blame.
More Reviews Online theMusic.com.au/ music/live-reviews
Alter Bridge @ Festival Hall Fem Belling @ Kew Court House
Bryget Chrisfield
THE MUSIC • 12TH APRIL 2017 • 29
Comedy Reviews Comedy Reviews
Melbourne International Comedy Festival Rhys Nicholson
Rhys Nicholson: I’m Fine Until 23 Apr, ACMI
★★★★½ Rhys Nicholson knows his brand: fabulous and fruity millennial gadfly with a silver tongue and a quick, campy wit. With his characteristically flamboyant dress, delicately coiffured, merlot-hued quiff and pert lisp, this queer comedy showman appears, at first glance, to be all glitz, glamour and perfectly tailored dinner jackets. But like Oscar Wilde, Truman Capote or Quentin Crisp before him, beneath this OTT, urbane exterior is a driven and highly intelligent mind. It would be easy to assume that Nicholson’s comedy is all about appearances, and there’s a grain of truth in this. Would all his jokes land if they weren’t carried on the winds of his wafting, ostentatious stage presence? Arguably, not, but to chalk-up all his significant success as a comedian - already headlining MICF at the tender age of 26 - to superficial theatricality would be grossly unfair. A closer look at the nuts and bolts of this latest hour of stand-up reveals what a skilful technician Nicholson really is. With barely a pause longer than a few seconds, he spins a constantly engaging yarn, artfully charting his transformation from awkward adolescent outcast, to cattish school bully, to dewy-eyed twenty-something moving to the big city. His comic timing is fine-tuned, his flexibility and range of tone is nimble and seemingly effortless (although the opposite is likely the case), and his schtick is entirely his own, giving the potentially tired trope of “gay clown” a new, more polished lease of life. Far from being a standard issue bitch -
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that hackneyed mainstay of the homosexual comic - he is charmingly self-deprecating, mildly anxious and even adorably awkward at times. In many ways, what Nicholson delivers is classic stand-up, accessible, cheeky, occasionally outrageous without being gratuitous, and of course, downright hilarious. It’s the fact that he has been able to embellish such a conventional style in a way that is refreshing and moreish that speaks to what a savvy comic talent he is. Perhaps the greatest slight of hand in Nicholson’s patter is to be found in his delightfully eccentric asides; making a carefully constructed, rigorously written show sound like a stream of consciousness is no mean feat. These fleeting off-piste moments are easily the most endearing parts of Nicholson’s comedy, drawing us close with little salacious frissons of gossipy camp. Nicholson’s performance is much like the patent leather shoes he often dons: unapologetically flashy, beautiful to behold, expertly crafted and buffed to a glorious sheen. If there’s any criticism to offer, it’s that the cadence of the show - a slightly laborious prop gag - is a bit crude and cheesy, but this is a minor foible with what is, almost unanimously, another accomplished turn. Maxim Boon
Cal Wilson: Things I’ve Never Said Until 23 Apr, Swiss Club Of Victoria
★★★★½ After perusing the front row, Cal Wilson announces she’s delighted she can’t see any ten-year-olds present. During last night’s show, Wilson explains, she was distracted by a youngster’s mum turning to her kid, mouth
agape, every time questionable content flew out of the comedian’s mouth (which is a lot since she does enjoy swearing and especially stringing unlikely swear words together). According to the blurb for Things I’ve Never Said, which only about five among us have read in advance according to a show of hands, Wilson’s show will see her discussing feminism, politics and those brown shoes her husband won’t throw out. Wilson says she’s only just now felt qualified to incorporate politics into her stand-up, because Trump was elected. She discusses feminism at length (especially how much she hates the word female and being referred to as a female comedian). The brown shoes, however? Wilson warns these won’t be discussed at all tonight. Wilson’s stand-up is always an absolute joy to experience; even the inner workings of her mind are funny. She takes avoiding conflict to another level entirely, even getting married (previous husband, not this one) and graduating with a different degree than intended as a result of her self-confessed people-pleasing nature. Wilson is an absolute riot and the way she describes what it’s like to have a mammogram is utterly unique. Her objections to Enid Blyton books are priceless. The Famous Five come under fire for their lack of suspense, from one novel to the next, given that the famous five always get into strife but are all accounted for in the sequel’s title (so obviously survive). Stories about Wilson’s husband and son are always welcome, too, particularly her invented worst-ever swear word ‘frompstable’, which she told her son as a substitute for the C-bomb. “No one happy lives in the internet,” she cautions after explaining she once found herself reading an online comments section. According to Wilson, whistling is only fun for the person doing it (hear-hear!) and the saying “it was only in fun” never actually relates to anything fun. And then in comes the disturbing section during which Wilson tries to comes to terms with an unpleasant type of initiation ritual that she endured once - at the hands of rugby players - as a teenager in New Zealand, then narrowly escaped a second time (when she cried uncontrollable) and wound up being ridiculed for not being “a good sport”. It’s awful to hear stories such as this and we hope talking about them helps prevent similar intimidation/bullying tactics while encouraging victims to speak out. But, still, are comedy shows the correct platform for delivering such harrowing material? This one minor complaint aside, we will never miss a show by Wilson who effortlessly unleashes constant guffaws from her audience. Bryget Chrisfield
From your first day at SAE, you’ll start creating in world-class facilities, on the latest software and equipment, all under the guidance of our expert lecturers – discover how you could bring your creative career to life at our Info Night.
REGISTER TO ATTEND - sae.edu.au/events 1800 723 338
INFO NIGHT. MELBOURNE CAMPUS. TUES 2 MAY 6PM – 8PM. THE MUSIC • 12TH APRIL 2017 • 31
OPINION Opinion
Stas
Business Music When Your Club
Dance Moves
W
hen your club needs a boss Hungary’s Babylon Records is the Needs A Boss movement at the changing front of the global bass sound. At the tip of the iceberg is Babylon’s head With Paz of everything, Stanislav Bendarjevsky (better known as the artist STAS). He is prolific, with two albums in two years, exploring variables in BPMs and global borders. STAS and Babylon recently released Bluebird Of Freedom. The quality of his east-meets-west fusions keep this product away from the ‘music for SBS broadcasting sting pile’, and into the ‘Great Ocean Road trip USB’. Riddims are evolved from folk styles of equal influence from the Middle East, Africa, India and the Balkans. At times it’s made for big stages, but is easily mindful and futuristic. Listening to tracks like Cendrawasih could force you to whip out the tagine at dinner time, whereas Neon Blue (feat MRBL) could spark an occasion at Dosa Hut in West Footscray. Don’t be lame and shy away from this release because you are afraid you can’t pronounce the names of all the featured artists - 4/5 shisha pipes for this release.
O G F l ava s
Nelly Furtado
Urban And R&B News With Cyclone
M
uch of the excitement surrounding the 2017 Glastonbury announcement centred on a throwback act far down the bill - Shaggy. The reggae superstar will be joined by a resurgent late ‘90s fave in Craig David - who, post-Kaytranada hook-up, dropped 2016’s Following My Intuition. And, re-rewind, there’s growing 2000s nostalgia in popdom. Trey Songz, long inexplicably overlooked for Chris Brown, has just
32 • THE MUSIC • 12TH APRIL 2017
Jonny Nash
returned with Tremaine The Album - as varied as his classic Chapter V. The party 1x1 samples Crystal Waters’ ‘90s house Gypsy Woman (She’s Homeless). This month, Tinie Tempah’s Youth will finally materialise - its first single Not Letting Go now two years old. Among the Brit MC’s guests is Aussie Guy Sebastian (So Close with the grime Bugzy Malone). Yet the most intriguing comeback is that of Nelly Furtado - who went from boho to urban-pop star. She unleashed the Timbaland-produced blockbuster Loose in 2006 - months before Justin Timberlake’s FutureSex/LoveSounds. Furtado blew up with the single Promiscuous. The poetic All Good Things (Must Come To An End) was a co-write with Coldplay’s Chris Martin - his coolest achievement. Until Drake, Furtado was Canada’s biggest urban-pop act. Alas, she lost momentum. The Spirit Indestructible - with Rodney Jerkins’ input floundered in 2012. But, then, last year Furtado cameoed on Dev Hynes’ Freetown Sound - very hipster. Now indie, Furtado has aired The Ride - recalling Goldfrapp, Santigold and Solange. This time she worked with indietype John Congleton (recent credits include Goldfrapp and Future Islands). Cold Hard Truth is synth-pop with hip hop beats. Pipe Dreams, the lead single, is organladen avant-soul. And Sticks And Stones is the potential crossover hit.
OPINION Opinion
New Currents
G
aussian Curve’s With Tim Finney Clouds was maybe the sleeper hit of 2015 for me: a superficially unassuming and ambient album which I returned to again and again like a salve. Its gentle, warm, tonal shifts and gradient changes seeming to perfect the notion of ambient as literal “background” music - air freshener, even. Most coverage of Gaussian Curve focuses on one member, the middleaged Italian producer Gigi Masin - as much due to his intriguing backstory as the sonic similarity between Clouds and his 2014 solo effort Talk To The Sea. However, co-members Young Marco and Scottish musician Jonny Nash comprise Gaussian Curve’s more modern wings. Young Marco is best known for his fluttery, ethnodelic Balearic house, while Nash, on his debut album Eden, splits the difference between his band members’ solo styles. In doing so, he offers a set of mood pieces that subtly blends and twists background ambience with scintillating sound design; the familiar with the exotic. At times, Eden feels like a kind of grand overview of a whole range of different impulses that have waxed and waned in prominence over some 40 years of “ambient” music as we know it. One key strand is, of course, the post-Jon Hassell realm of “fourth world” voodoo ambience - which manifests here in intermittent bursts of soft tribal percussion (see opener Agape and the gorgeously pirouetting Ding Repair) and tinkling assemblages of chimes and woodwinds (most notably on the becalmed Police Bribe). But this is only part of the dialogue in play: where a lot of current post-Hassell electronic music emphasises a sense of otherness (in the process perhaps dubiously buying into assumptions that the other is always eastern or southern hemispheric), Nash retains from Gaussian Curve’s output an easy sense of internalised intimacy - ambience as supremely non-challenging, comfort music. That thread can perhaps be traced from Eno via new age to early ‘90s “chill out” ambient of The KLF and Global Communications, skipping the mid-to-late ‘90s (when feel-good bromides of soft ambience were largely rejected by electronic producers, in favour of IDM’s more stentorian pursuits) and resurging with the “pop ambience” expounded by artists throughout the 2000s. But, if Nash taps into this lineage, he also bends it back away from the
techno and house sensibilities with which it has become intertwined over the last few decades. Rather, Nash’s devotion to a kind of post-genre, electroacoustic openness seeks to place these more specific threads within a broader context: on Down In Babakan, the unfurling ripples of piano and shimmering bass murmurs recall the ambient-jazz mastered by The Necks on Aether. Simultaneously gesturing towards gamelan, Conversations With Mike sets whispery, glistening lines of guitar against hushed, mysterious chimes and murmured background voices in a manner reminiscent of ‘90s post-rock. For the album’s closer Lime, Nash offers isolated, exploratory clusters of piano, which emphasise the negative space between notes: it’s the album’s sparest moment, but perhaps also its most scintillating, suggesting that, for Nash, the interaction of the various aesthetic impulses detailed above is less about combination than distillation - a drilling down to the purest essence of the feeling of plenitude at the heart of ambient.
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THE MUSIC • 12TH APRIL 2017 • 33
OPINION Opinion
Howzat!
Local Music By Jeff Jenkins Return Of The King Kings Of The Sun are one of the great Australian rock bands. They toured with KISS, shared management with Madonna and were kicked off a Guns N’ Roses tour. When Richard Wilkins asked Aerosmith on MTV in 1990, “Who do you see as the next breed coming up?”, bass player Tom Hamilton replied, “How about Kings Of The Sun?” Steve Tyler later revealed he played the Kings’ Full Frontal Attack album in his dressing room to get ready to rock. Kings Of The Sun were a cock-rock band - with balls. Having grown up on classic pub rock like AC/DC and Rose Tattoo, they made American hair rock bands sound like pussies. Songs such as Serpentine, Drop The Gun and Black Leather are as thrilling as rock can be. Put simply, the Kings should have conquered the world. But grunge hit, and the Kings’ brand of flash and crash was no longer “cool”. After they called it quits, the Hoad brothers - singer Jeffrey and drummer Clifford released three under-appreciated albums as The Rich . Cliff has since resurrected the Kings Of The Sun name, to release two acclaimed albums, and now Jeff is back
34 • THE MUSIC • 12TH APRIL 2017
making music under The Rich & Famous name, with bass player Dean Turner and drummer Dean Reeson. After taking ten years off, Jeff wasn’t sure if he could write another song. Then he came up with Blast Off, and he was “rockin’ and rollin’ like thunder”. Jeff says he felt “elated and invigorated” when he wrote Blast Off, which is exactly how Howzat! felt when we heard it. As he declares, “You can’t keep a good man down.” Rock will never die while the Hoad brothers are making music. “It ain’t hard to tell,” Jeff sings in another new song, Dirty Music, “we’re going to hell.” That’s probably true. But it’s gonna be a fun ride.
Brothers, Angels Speaking of great rock bands, Rick and John Brewster have done an Angels book with Bob Yates, to be published by Penguin on 31 July.
The Rich and Famous
Simply The Best Happy Birthday to Aussie producer and songwriter Mike Chapman. He’s 70 on April 13. Why isn’t this guy in the ARIA Hall of Fame?
Stayin’ Alive The Bee Gees released their first international single, New York Mining Disaster 1941, 50 years ago this week. The ad campaign called them “The Most Significant Talent Since The Beatles”.
Hot Line “The future looks so exciting” - The Rich And Famous, Blast Off.
Indie Indie
MDRN LOVE
Cool Explosions
Single Focus:
B
rynn Davies chats to Cool Explosions’ Elle Young about their first single Cold Fire. Elle Young has her description of Cool Explosions’ sound down pat: “Like Little Richard driving an old ice cream van relentlessly around Melbourne’s northern suburbs blasting out Alan Vega and Rihanna mash-ups.” The collection started as a studio project of keys master Matty Vehl, who had “produced a number of instrumental beats, and asked me to collaborate,” explains Young. “A really natural and intuitive songwriting relationship developed quickly, and when Alex joined us on drums soon after, a special kinda chemistry clicked.” For Young, “Music has always been an escape, and seems the most natural way for me to creatively express my feelings. Sonic beauty never fails to capture my attention time and time again.” When putting together their new single Cold Fire, Young says that their “process has followed more or less the same pattern for most of our songs. We’ll have story idea figured, and some lyric lines maybe. Then I’ll improvise phrases over a beat. Matty then sets about decoding my improvisations into syllables and tailors lyric phrases that seem to work best.” Produced and recorded at home, “We’d bounce ideas around singing at the piano, and then when we felt we had something, run straight down the back to the studio to put it down. We also worked on collecting imagery from anywhere we could find to piece together a story about our project, and our sound.” While they only had their first gig last month, they’re already looking at releasing a follow-up single or two within the coming months. Stay tuned!
When & Where: 20 Apr, Boney
Answered by: Jack Harman Single title? Bring Me Down What’s the song about? Being around someone or in situations that you shouldn’t be involved in, but trying to put a stop to it. How long did it take to write/record? The song was written on and off over around a month and produced and recorded over a two-month span.
What was inspiring you during the song’s writing and recording? I was going through a stage where I was over a few things in my life, and wanted to clear the slate and start again. That situation lyrically inspired the direction of the song. We’ll like this song if we like... Rock music. We are also influenced by bands like Kings Of Leon and Catfish & The Bottlemen. Do you play it differently live? Generally all of our songs we try to record in a way that we can replicate them live, meaning less overdubs, etc. When and where is your launch/ next gigs? 19 Apr, The Workers Club; 22 Apr, Barwon Club Hotel. Website link for more info? mdrnlovemusic.com
Is this track from a forthcoming release/ existing release? It’s the lead single for our debut EP due for release later this year.
Empire Park
Wandering in that it’s so experimental sound-wise for us, it’s really very different. Suburban is fun to play! We’ll like this EP if we like... Young bands making sounds for big rooms. Our ambitions are large-scale and we don’t shy away from that in performance or recording.
EP Focus: Answered by: Harrison Manton EP Title? Give Myself Away
When and where is your launch/ next gig? 17 Apr, The Workers Club. Website link for more info? facebook.com/empireparkband
How many releases do you have now? Three releases including this one (two singles and an EP). Was anything in particular inspiring you during the making? The discovery of new parts of our sound, you can hear us finding our footing sonically with this new EP. Our new line-up is really changing our output for the better. What’s your favourite song on it? I love
THE MUSIC • 12TH APRIL 2017 • 35
Comedy / G The Guide
Wed 12
Kill Dirty Youth
Matt Kilpa: 1000 Pound Bend, Melbourne Nahko & Medicine For The People + Luka Lesson: 170 Russell, Melbourne Bohjass + Slipper: 303, Northcote
Horrorshow
Jimeoin: ACMI (Australian Centre For The Moving Image), Melbourne Underworld: Arts Centre Melbourne, Melbourne
The Music Presents Gallant: 17 Apr Corner Hotel The Lumineers: 19 Apr Arts Centre Melbourne The Record Company: 20 Apr Northcote Social Club At The Dakota: 5 May The Golden Vine; 7 May The Workers Club The Cactus Channel & Sam Cromack: 25 May Howler Horrorshow: 9 Jun Chelsea Heights Hotel Aspendale Gardens; 10 Jun Barwon Club Hotel South Geelong; 11 Jun 170 Russell Orsome Welles: 11 Jun The Loft Warnambool; 8 Jul Evelyn Hotel Luca Brasi: 23 & 25 Jun 170 Russell The Lemon Twigs: 25 Jul The Curtin Two Door Cinema Club: 25 Jul Festival Hall Sigur Ros: 27 Jul Margaret Court Arena
Alex Williamson: Athenaeum Theatre, Melbourne High Society + Cacartu + Pat Coyle: Bar Open, Fitzroy The Round Up with The Grapes + Jethro Pickett: Bella Union, Carlton South Sarah Maclaine: Bird’s Basement, Melbourne Mellow-Dias-Thump with Moses Carr: Boney, Melbourne Matt Sweeney: Cherry Bar, Melbourne The Mountain Goats + Oh Pep!: Corner Hotel, Richmond Crossfire Hurricane + Two Headed Dog + Slim Jeffries: Evelyn Hotel, Fitzroy Mary J Blige + Liz Cambage: Hamer Hall, Melbourne Lomond Acoustica feat. The Taylor Project + Yolanda Ingley II + Eric McGrath: Lomond Hotel, Brunswick East Erica Bramham + L.A.A.: Long Play, Fitzroy North
Young N’ Deadly Sundays at Bar Open in April just got sweeter; Kill dirty Youth have teamed up with The Submarines for a month-long residency. With supports varying each week, check them alongside The Miyagis and Party Vibez this week. Ding Dong Death Hole + Diploma + Jason Lives + Jimmy Roberts: The Bendigo, Collingwood Wine, Whiskey, Women feat. Anita George + Samara Cullen: The Drunken Poet, West Melbourne
Ogopogo + Huzxami + Jalepeno Baby: Bar Open, Fitzroy Casey Bennetto + Xani Kolac: Bella Union, Carlton South The New Savages: Big Mouth, St Kilda
Emily Barker + Brooke Russell & The Mean Reds + Mitch Power: The Gasometer Hotel, Collingwood
Dale Barlow: Bird’s Basement, Melbourne
Moody Beach + Piss Factory + Cakefight: The Gasometer Hotel (Upstairs), Collingwood
Smalltown with +Kolombo: Brown Alley, Melbourne
The Backs + Crocodiles + Lizard Queen: The Old Bar, Fitzroy
Death Disco feat. Kiti: Boney, Melbourne
Winterbourne
David Liebe Hart + Mandek Penha + Lessons With Luis + Curse Ov Dialect: The Toff In Town, Melbourne Ferla + Moon Ritual + Economic Trends: The Tote (Front Bar), Collingwood Boo Seeka
Now Ya Seeka Barely taking a pause from their three-month North American tour, Sydney hip hop duo Boo Seeka are headed to Corner Hotel this Saturday night to vamp up your weekend. Friday night sold out, so get in quick.
Lovers of the Black Bird + Bulls + Tom Lyngcoln: The Tote (Upstairs), Collingwood Face Face + The Belafontes + Yukumbabe + Qwerty: The Tote (Band Room), Collingwood Jackie Got Lemons + The Hot Springs + Peny Bohan: The Workers Club, Fitzroy Trivia: Wesley Anne, Northcote Popolice + Jamie & The Debt + Brain Drain + Raider: Yarra Hotel, Abbotsford
Thu 13 Matt Kilpa: 1000 Pound Bend, Melbourne
Central coast duo Winterbourne have landed a support slot for Bluesfest act The Strumbellas. This Sunday night head on down to Northcote Social Club to sway the night away to their lively and upbeat tunes.
Turin Brakes + Lee Rosser: Northcote Social Club, Northcote
Jimeoin: ACMI (Australian Centre For The Moving Image), Melbourne
Erin Conscious: Open Studio, Northcote
MICF 2017 feat. Alex Williamson: Athenaeum Theatre, Melbourne
Hills Hoist + Boy Parts + Ostraly: Catfish, Fitzroy
The Ruminaters: Baha Tacos, Rye
Thando + DJ Vince Peach + DJ Pierre Baroni: Cherry Bar, Melbourne
Creature Fear: Penny Black, Brunswick Mike Noga + The Woodland Hunters: Retreat Hotel, Brunswick 36 • THE MUSIC • 12TH APRIL 2017
The Winter Blues
Gigs / Live The Guide
Tim Guy
Catfish Voodoo: The Drunken Poet, West Melbourne
KOTA + The Fuze + Bright Light Empire: 303, Northcote
Cutting Shapes + Post Percy: The Gasometer Hotel, Collingwood
Jimeoin: ACMI (Australian Centre For The Moving Image), Melbourne
Nun Of The Tongue + Wet Lips + Shit Sex + Piss Factory + The Summervilles + Habits DJs: The Old Bar, Fitzroy
MICF 2017 feat. Alex Williamson: Athenaeum Theatre, Melbourne
Crepes + Pure Moods: The Post Office Hotel, Coburg Russ: The Prince, St Kilda
Mr Nice Guy
Swim Season + LEO + Soft Corporate: The Toff In Town, Melbourne
Five albums deep, Tim Guy brings his wildly colourful and ambitious sounds to Edinburgh Castle Hotel this Friday night. Catch the songwriting legend up close and for free in the beer garden from 6pm.
Midnight Express with DJ Prequel & Edd Fisher: The Toff In Town (Carriage Room), Melbourne
Teddy Cream: Cloud Nine, Melbourne Dan Baird & Homemade Sin + DoubleBlack + Palace Of The King: Corner Hotel, Richmond Hits At The Ev with Batz: Evelyn Hotel, Fitzroy Madness + Caravana Sun: Festival Hall, West Melbourne Class Acts #16 feat. Fraudband + Nothinge + Old Etiquettes: Grace Darling Hotel, Collingwood Jethro Tull by Ian Anderson: Hamer Hall, Melbourne
Luke Brennan + Angie McMahon: Wesley Anne (Front Bar), Northcote Jacob Diamond + James Teague: Wesley Anne (Band Room), Northcote Dead Planet 1964 + Cosmos + Plaus + The Deadpans: Yarra Hotel, Abbotsford
Fri 14
Mike Noga
Laura Mvula + DJ Chris Gill: Melbourne Recital Centre, Southbank Arj Barker: Melbourne Town Hall, Melbourne Turin Brakes + Lee Rosser: Northcote Social Club, Northcote
Strand of Oaks + Endless Boogie: The Curtin, Carlton
Slightly Sunny pics Amid their current Whale Song tour, Sydney surf rockers Caravana Sun bring their euphoric summer vibes to the support slot for Slightly Stoopid. Witness their epic fusion of reggae and dance at The Prince this Friday.
Boogie Festival feat. Cosmic Psychos + Strand of Oaks + Tyrannamen + Sonny & The Sunsets + Endless Boogie + Jen Cloher + Jonny Fritz + Lost Animal + The Sugarcanes + Tony Joe White + Scott & Charlene’s Wedding + The Ruminaters + Flowertruck + Suss Cunts + Joshua Hedley + Freya Josephine Hollick + Crop Top + RVG + Gregor + A Swayze & The Ghosts + Krakatua + Dan Baird & Homemade Sin + Oh Pep! + Drug Sweat + Jarrow + Baby Blue + DJ Rainbow + DJ Mermaid + Andee Frost + Ginger Light + Manchild + more: Bruzzy’s Farm, Tallarook Dan Baird & Homemade Sin + Mauro Magellan + Warner E Hodges: Cherry Bar, Melbourne
Pressure Drop: Open Studio, Northcote
Palace Of The King + Winter Moon + Creek: The Bendigo, Collingwood
Caravana Sun
Tony Joe White + Leah Flanagan: Thornbury Theatre, Thornbury
Backwood Creatures: Lomond Hotel, Brunswick East
Teddy Cream: The Bay Hotel, Mornington
Good Friday with Hanne & Lore + Jay Ramon + DJ Rowie + more: Onesixone, Prahran
Gymnastics In The Seventies + Barcelos + GOD$: The Workers Club, Fitzroy
Boys Noize: 170 Russell, Melbourne
Ali Barter + IV League: Star Bar, Bendigo
Middle Kids + Fountaineer + Spirit Faces: Northcote Social Club, Northcote
The Gruntled + Roman Tucker (Rocket Science) + MC Filth Wizard: The Tote (Upstairs), Collingwood
Brooklyn: Kay St, Traralgon
Homebass with Safire + Xsetra: Rubix The Venue, Brunswick
Boogie Beats 3rd Birthday with Various DJs: Brown Alley, Melbourne
Arj Barker: Melbourne Town Hall, Melbourne
Sonny & The Sunsets + Terry + Milk Teddy + Palm Springs + Baby Blue: The Tote (Band Room), Collingwood
Matt Kilpa: 1000 Pound Bend, Melbourne
Plastic feat. Ceres + Strickland + The Beautiful Monument + Sleep Talk + Caution: Thieves: Royal Melbourne Hotel, Melbourne
Pest Kontrol with DJ Scotty Pesticide: Boney, Melbourne
Roland Tings + Fishing + Venus II: Howler, Brunswick
Sauce with Hancoq + Sofie Roze + Tranter + Mose: The Toff In Town (Toff Ballroom), Melbourne
Roland Tings + Fishing + Venus II: Howler, Brunswick
Tamo Junto feat. Maxx R + Walla C + more: Loop, Melbourne
Theme Team: Bar Open, Fitzroy
Sweet Gold feat. Flour + Cosmic Kahuna + Sweet Time: Grace Darling Hotel, Collingwood
Club Noga After the success of latest album King, ex-Drones drummer Mike Noga is setting up a monthly residency at Retreat Hotel. Round up your closest mates and catch the critically acclaimed singer on the first night of his April residency this Wednesday.
Knock Off Drinks with Chris Wilson: Cherry Bar (5.15pm), Melbourne 1am Slot feat. Jerkbeast: Cherry Bar (Jenni Bar), Melbourne Boo Seeka + Glades + Dean Lewis: Corner Hotel, Richmond Dash Berlin: Crown Melbourne (Studio 3), Southbank Fatman Scoop + DJ Bluey: Crown Melbourne (Co - Level 3), Southbank Born On The Bayou: Ding Dong Lounge, Melbourne
Akoma Beat: Open Studio, Northcote La Danse Macabre with Brunswick Massive: Rainbow Hotel, Fitzroy Easter Friday with Grouch + Hedflux: Rubix The Venue, Brunswick Unholy Black Friday with Claim the Throne + Darker Half + Hybrid Nightmares + King + Mason + Myridian + Cryptic Abyss + Triple Kill: The Bendigo, Collingwood Live Fast x Die Young feat. Cylo + Junor + Craigie Wave + Ja$e Prime + more: The Gasometer Hotel, Collingwood The Quivers + M.Beach + Rough River + Low Talk: The Gasometer Hotel, Collingwood Tim Solly + Nancie Schipper: The Loft, Warrnambool Dr Colossus + OHM Rune + Smoke Witch + Spawn: The Old Bar, Fitzroy Slightly Stoopid + Caravana Sun: The Prince, St Kilda Barely Standing: The Prince (Public Bar), St Kilda Sleazy Listening with Arks + Richard Kelly + Hysteric: The Toff In Town (Carriage Room), Melbourne
THE MUSIC • 12TH APRIL 2017 • 37
Comedy / G The Guide
Poprocks At The Toff with Dr Phil Smith: The Toff In Town (Toff Ballroom), Melbourne
Root Rat + Stationary Suns + Ninetynine: The Tote (Front Bar), Collingwood
Jackie Got Lemons
Perfect Whip + Floss + Pink Harvest + Dexy Oscillator: The Tote (Upstairs), Collingwood
Thank Blast It’s Friday feat. Intense Hammer Rage + Seminal Embalmment + Odiusembowel + Face Grinder + Putrescent Seepage + Shitwreck + Pissbolt: The Tote (Band Room), Collingwood
Matinee Show with Keegan Joyce + Gena Rose Bruce + Ruby Gill + James Weatherby: The Workers Club, Fitzroy
Zockapilli + Jo Vertigo + Cracker La Touf + Wives: The Tote (Front Bar), Collingwood
Flowertruck + Body Type + Real Love: The Workers Club, Fitzroy
Liana & The Perolas: Wesley Anne (Front Bar), Northcote
Cut Snake + Bags + DK + Jamo + DNA: Torquay Hotel, Torquay
The Ruminaters: Yah Yah’s, Fitzroy
Alison Ferrier Band: Union Hotel, Brunswick
Possible Humans + Life Strike + The Blinds: Yarra Hotel, Abbotsford
Alexis Nicole: Wesley Anne (Front Bar), Northcote Elspeth Tremblay + Paige Allbritton: Wesley Anne (Band Room), Northcote
Sat 15 Matt Kilpa: 1000 Pound Bend, Melbourne Shadows At Bay + Citrus Jam + Gravis Mentas: 303, Northcote Jimeoin: ACMI (Australian Centre For The Moving Image), Melbourne MICF 2017 feat. Alex Williamson: Athenaeum Theatre, Melbourne
When Life Gives You Lemons Alternative rock act Jackie Got Lemons are dishing out their latest single Nothing To Wear. Get a taste of their sweet and sour tunes at The Workers Club this Wednesday night. Her Majesty’s Hangover + Twin Pines + Longboys: Ding Dong Lounge, Melbourne The Vanns + Mild Manic + Neon Queen: Evelyn Hotel, Fitzroy Wurst Nurse + Cascades + Lord Sword + Road Rash: Forester’s Hall (Woody’s Bar), Collingwood KillaManZilla + Aaron Creigh + Big Volcano: Gin Lane, Belgrave Miles Electric Band: Hamer Hall, Melbourne
Jacob Diamond
Diamond In The Rough Recently releasing his highly anticipated EP Um, Jacob Diamond’s huge melodies and piercing lyrical content bring solace to Wesley Anne this Thursday night with support from equally poetic singersongwriter James Teague.
Dan Baird & Homemade Sin: Baha Tacos, Rye Ras Jahknow Band + Sonik Waves + Brazaman + Rus Tuffa: Bar Open, Fitzroy Dr Colossus + OHM Rune: Barwon Club Hotel, South Geelong Albare & the Urbanity Project: Bird’s Basement, Melbourne
The Johnny Can’t Dance Cajun Band + Flying Engine Stringband: Lomond Hotel, Brunswick East
Matinee Show with Brain Drain + Life Strike + Jamie & The Debt: The Old Bar, Fitzroy TV Haze + Mere Women + The Football Club + Under The Cut: The Old Bar, Fitzroy Droplet + Emah Fox + Rosaline Yuen: The Toff In Town, Melbourne Melbourne’s Locals Day Festival feat. Sunnyside + Hurlin’ Up Limbs + Batz + Crossfire Hurricane + Odd Souls + Swamp + Cosmos + Splendidid + Bitter Sweet + Hugh Fuchsen + Easy Browns Truckstop Chicken Jam Band + The Deadpans: The Tote (Band Room), Collingwood
2AM Show with Hex: Yah Yah’s, Fitzroy
Sun 16 Matt Kilpa: 1000 Pound Bend, Melbourne Jimeoin: ACMI (Australian Centre For The Moving Image), Melbourne MICF 2017 feat. Alex Williamson: Athenaeum Theatre, Melbourne Fireballs + Off Chops: Baha Tacos, Rye Kill Dirty Youth + The Submarines + The Miyagis + Party Vibez: Bar Open, Fitzroy Endless Boogie + Strand of Oaks + Batpiss + My Echo: Barwon Club Hotel, South Geelong Matinee Show with Tony Joe White + Leah Flanagan: Caravan Music Club, Oakleigh
La Casa De Daags with +Senor Salty + Invisible Grant + DJ Daags: Loop, Melbourne Tony Joe White + Leah Flanagan: Meeniyan Town Hall, Meeniyan Arj Barker: Melbourne Town Hall, Melbourne Valhalore + Aqullus: Mr Boogie Man Bar, Abbotsford Abramelin + Denouncement Pyre + Belligerent Intent + Sewercide: Northcote Social Club, Northcote Snez: Open Studio, Northcote Thando Soul Improv with +Various Artists: Penny Black, Brunswick The MAMAs: Rainbow Hotel, Fitzroy
High Society
Zoe K: Spotted Mallard, Brunswick All The Colours: The B.East, Brunswick East
Med School with Etherwood + Keeno + Royalston: Brown Alley, Melbourne
Bulldog Spirit + Rust + No Class + The Truth + Bloody Minded: The Bendigo, Collingwood
Spencer Wine + The Beggars’ Way + Social Skills: Cherry Bar, Melbourne
Paulie Bignell + Ciaran Boyle: The Drunken Poet, West Melbourne
Boo Seeka + Glades + Dean Lewis: Corner Hotel, Richmond
Jamaica Jump Up with Shanty Town: The Gasometer Hotel, Collingwood
38 • THE MUSIC • 12TH APRIL 2017
Batpiss: The Loft, Warrnambool
Mike Noga + Demon Parade + Country Women’s Association + Yachay: Yah Yah’s, Fitzroy
High Five New kids on the block High Society bring their five-piece horn and percussion experience to the stage of Bar Open. Groove your way to the weekend this Wednesday night with support from Cacartu and Pat Coyle.
Gigs / Live The Guide
The Ape (feat. Tex Perkins): Caravan Music Club, Oakleigh
Jam On The Groove with DJ Puppet + DJ Peril + J-Red + Chris Gill + Benny Badge + Mike Gurrieri + more: Cherry Bar, Melbourne
Cherry Blues with Steve Lucas + Jerome Smith + Dave Foley + Matt Dwyer + Chris Wilson: Cherry Bar, Melbourne Need a Reason Fest feat. The Sand Dollars + Diamonds Of Neptune + Guerilla Funk + The Rollercanes + Sophisticated Dingo + The Deloraines + Jungle Breed + more: Evelyn Hotel, Fitzroy Patti Smith Performing ‘Horses’: Hamer Hall, Melbourne The Jim Cuomo Trio: Littlefoot Bar, Footscray Marty Kelly & Co. + Brent Parlane: Lomond Hotel, Brunswick East
Cakefight + Davey Lane + Thee Cha Cha Chas: The Gasometer Hotel (Upstairs), Collingwood
Black Jesus + Lord Sword + Sex Grimes + Reaper: The Old Bar, Fitzroy
Music, Mirth & Mayhem #19 feat. Lawrence Mooney + Dave Hughes + Jimeoin + Darren Middleton + Fringe Wives Club + Broads + Zach & Viggo + Gawurra + Luke McGregor + more: Max Watt’s, Melbourne
Matinee Show with Frances Gumm Frontier + Daniel Reeves: The Old Bar, Fitzroy
Breakfast Club with Hanne & Lore: Onesixone, Prahran
Dave Graney & The Mistly + Wam & Daz + Penny Ikinger + Georgio ‘the Dove’ Valentino: The Tote, Collingwood
Charles Jenkins: Retreat Hotel, Brunswick
UBIK + 58008 + Rabid Dogs: The Tote (Front Bar), Collingwood Mechanix + Ok Sure! + Obscotch + Valley Song: The Tote (Upstairs), Collingwood Andy Phillips: The Westernport Hotel, Phillip Island Kingswood + Batz + Maddy Jane: Torquay Hotel, Torquay
Cool For Summer feat. Lindsey Stirling + William Singe + Dan & Phil + Nash Grier & Friends + Tyde Levi + Mashd n Kutcher + In Stereo: Sidney Myer Music Bowl, Melbourne Slow Job + Grouse Jacket + Rhonda: The Old Bar, Fitzroy The Shelf with +Justin Hamilton + Adam Richard: The Toff In Town, Melbourne Empire Park + The Sand Dollars + The Cassandras: The Workers Club, Fitzroy
Tue 18
Roland Tings
Flowertruck
Flower Power In support of latest single Dying To Hear, Sydney band Flowertruck are putting on a party at The Workers Club this Saturday night. So clear your weekend plans and gear up for a slamming night of garage punk.
Tash Sultana + Ocean Alley + Reuben Stone: 170 Russell, Melbourne
David Cosma: Retreat Hotel, Brunswick
Jimeoin: ACMI (Australian Centre For The Moving Image), Melbourne
Fierce Mild + Nothinge + Pete Lubulwa + Wars + more: The Gasometer Hotel, Collingwood
Chris D’Elia: Athenaeum Theatre, Melbourne Vince Sorrenti: Bird’s Basement, Melbourne
Sugar Teeth + Party On My Darling + Soul’de Fashioned + Wilder Genes: The Gasometer Hotel (Upstairs), Collingwood
Uncomfortable Science with Lachlan Mitchell: Boney, Melbourne
The Good Minus + Damon Smith + Joel Checkley: The Old Bar, Fitzroy
Craig Hill: Chapel Off Chapel, Prahran
Now.Here.This with Joy & Sparks + Abbey Howlett + Logo: The Toff In Town, Melbourne
Horris Green + Them High Spirits + Dewy & The Panel Beaters: Cherry Bar, Melbourne
Man City Sirens: The Workers Club, Fitzroy
Michael Kiwanuka + Ainslie Wills: Corner Hotel, Richmond
Roland Around
Irish Session: Lomond Hotel, Brunswick East
Following an awesome run with RUFUS, Melburnian producer Roland Tings is taking his two-piece format around Australia for his own tour. Howler plays host to the electronic mastermind this Thursday and Friday (thought the latter’s already sold out).
Glenn Skuthorpe: Mallacoota Hotel, Mallacoota The Strumbellas + Winterbourne: Northcote Social Club, Northcote Greg Sara + Brad Sassman + Jay Ramon + more: Onesixone, Prahran Dr Hernandez + David Craft: Open Studio, Northcote Jules Boult + Friends: Rainbow Hotel, Fitzroy
Danny Ross: Wesley Anne (Front Bar), Northcote Hana Maru + Tammy Haider + Laura MacFarlane: Yarra Hotel, Abbotsford
Mon 17
Terry
Tash Sultana + Ocean Alley + Reuben Stone: 170 Russell, Melbourne
Terry-fied
Vince Sorrenti: Bird’s Basement, Melbourne
Melbourne indie act Terry have scored a sweet main support for Sonny & The Sunsets. With members from prominent groups such as Dick Diver and UV Race, the supergroup won’t disappoint when they take the stage on Thursday night.
Catholic Guilt + Jo Neugebauer + Joe Guiton: Reverence Hotel (Front Bar), Footscray
Gallant + Ruel: Corner Hotel, Richmond
Tom Dibb + The Luau Cowboys: The Drunken Poet, West Melbourne
Patti Smith Performing ‘Horses’: Hamer Hall, Melbourne
Butterfingers + Junor + Rapaport: The Gasometer Hotel, Collingwood
Andrew Bird: Melbourne Recital Centre (Elisabeth Murdoch Hall), Southbank
Tommy Castles: Evelyn Hotel, Fitzroy
THE MUSIC • 12TH APRIL 2017 • 39