31.05.17 Music / Arts / Lifestyle / Culture
Issue
191
Melbourne / Free / Incorporating
WHY LIVING IN LA MEANS NO POINT HANGING AROUND IN AUSTRALIA
TOUR: BODY COUNT
TV: FEAR THE WALKING DEAD
TOUR: COOLIO
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Music / Music / Arts / Lifestyle / Culture
Handle The Heat
theMusic.com.au: breaking news, up-to-the-minute reviews and streaming new releases
Hot on the heels of the release of their album Lab Experiments Vol 1: Mixin’, Aussie funk trio Cookin’ On 3 Burners have announced a four-date east coast tour in June and July.
Cookin’ On 3 Burners
Cameron Avery
Get Mended Sydney singersongwriter Vera Blue has announced a national tour, bringing her entrancing folk melodies to audiences across the country from July to September, off the back of new single Mended.
Right Dreams Multi-talented muso Cameron Avery has announced a run of headline shows during June and July in support of new album Ripe Dreams, Pipe Dreams, unveiling new single Watch Me Take It Away for good measure.
Deep Breath The AIR Awards are back for their 11th year and the nominations are in, with AB Original, DD Dumbo, Alex Lahey and Flume getting multiple nods. The big event itself is in Adelaide on 27 Jul.
6 • THE MUSIC • 31ST MAY 2017
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Sydney outfit Thy Art Is Murder are set to head out on the road this July and August for a huge tour where they’ll be joined by some of Australia’s best heavy metal talent.
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R&R&J In support of their third LP, Relaxer, alt-J have announced they will return to Australia this December for a huge headline tour.
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Soaring Melodies
Another round of events for the 2017 Leaps And Bounds Music Festival has been announced, featuring live panel Why Punk? at Bakehouse Studios, the Tram Sessions, music trivia nights, all ages in-store performances and a heap of gigs too.
Why Punk? featuring Bronwyn Bonney
Tami Neilson
Fearless Canadian-born, Auckland-based soul singer Tami Neilson will finally return to Australia this August, bringing her most recent album Don’t Be Afraid.
This Is Sia She hasn’t done an Australian tour in six years, but Sia’s going big for her return, announcing stadium shows in Sydney and Melbourne twoards the end of the year, with a killer support line-up of Charli XCX, Mo and Amy Shark.
18 The number of stadium shows locked in for Ed Sheeran on his upcoming Australian tour, breaking the previous record held by AC/DC. 8 • THE MUSIC • 31ST MAY 2017
Georgia Fields & Phia
Sky, Sea & Fields Two Melbourne singersongwriters, Georgia Fields and Phia, will be travelling across the country in July and August for their joint Sky And Sea tour.
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The unmistakable actor who brought Khal Drogo to screens, Jason Momoa, is the latest addition to Melbourne’s already bursting Comic-Con lineup this July. Momoa will also be starring in Aquaman, slated for a 2018 release.
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Music
ALL DAY EVERY DAY It’s been a whirlwind few years for Allday, with countless doors continuing to open up. He tells Cyclone of the positives and perils of going through those doors. Cover and feature pics by Kane Hibberd.
10 0 • THE THE MUS M MUSIC USIIC US C • 31S 31ST 1ST MA M MAY AY 20 2 201 2017 017 17
llday (aka Tom Gaynor) ushered in progressive Australian hip hop with 2014’s hit album Startup Cult. He’s now resurfaced with a deeper and more personal follow-up in Speeding. And the maverick is taking on a fresh challenge - cracking the US. Just days after wrapping Groovin The Moo in Bunbury, Western Australia, Gaynor is back in his new Los Angeles base. It’s not all sunny glamour - the indie rapper/singer/ songwriter delays this interview to top up his mobile credit. Soon, he’ll return Down Under for a national headline tour and Splendour In The Grass. Alas, Gaynor had nowhere in Oz to crash - aside from his Mum’s place in Adelaide. But, really, he’s relishing California, where downtime is spent in the studio. “I sort of have to be here to keep working,” Gaynor maintains. “I feel so happy with my life happening here. So it just seems like there’s no point hanging around in Australia if I’m gonna move somewhere and I’m gonna get busy.” Gaynor’s decision to relocate to LA on completing Speeding was strategic. “I just felt like my music hasn’t been a thing where blogs pick it up and then it naturally gets big everywhere. So I thought, ‘All right, how did it happen in Australia?’ In Australia, it wasn’t blogs. It was radio, to a degree. [But] it wasn’t a marketing thing - it really was just me being in Australia doing shows. So I figure, alright, if I’m gonna get big in America and other places, I had to come here.” Gaynor’s charming, laid-back demeanour masks his ambition - and sincerity. This anti-hero’s origin story is now familiar. As a kid in suburban Adelaide, Gaynor discovered hip hop, rapping for fun. He (unsuccessfully) joined rock bands. Gaynor transplanted to Melbourne to attend art school, but dropped out. Less widely known is that he briefly pursued stand-up comedy - being runnerup in 2011’s RAW Comedy National Final. “I never found comedy used to be easy,” Gaynor divulges. “I felt like I was pushing so, so hard just to be okay at it. Then music seemed to come easier to me.” Gaynor would export his comic skills into hip hop - positioning himself as a sardonic rapper. In fact, he was inspired by both Kanye West’s individualism and Drake’s fluid singing/rapping. Gaynor latched onto a modish electronic hip hop - a style far removed from traditional Aussie boom-bap. Even Gaynor’s “weirdo” image was unique - with his long hair and septum piercing, he looked more emo than homeboy. Disseminating his music online, Gaynor broke out with 2012’s So Good - a triple j anthem. He consolidated his countercultural brand with an alternately witty and selfdeprecating Twitter feed. Eventually signing
to Illy’s fledgling ONETWO, Gaynor’s debut Startup Cult, led by the poppy Right Now, reached #3 on the ARIA Charts. Between albums, he toured solidly. Gaynor circulated the stopgap mixtape Soft Grunge Love Rap. And he cut features - most notably for Troye Sivan’s internationally acclaimed album Blue Neighbourhood. Surprisingly, for Speeding, Gaynor liaised, not with US producers, but with buzz Aussies - like Melbourne chillwaver Japanese Wallpaper (the single In Motion). His guests, too, are local up-and-comers. Gaynor’s Brisbane protege Mallrat the self-appointed “Hannah Montana of the rap game” - blazes on two tracks. “She’s a real cool person.” Overall, the paradoxicallyentitled Speeding is more subliminal than Startup Cult - Gaynor coming across as introspective rather than flippant. “It maybe wasn’t something I was completely aware of ‘til it was finished,” he concurs. “It’s so hard to understand what you’re making until you put it out there - even though I sat there and played it next to my other music.” Gaynor admits that, with Startup Cult, he was emulating major American acts. “It was definitely beginner music.” But Speeding introduces his own aesthetic. He sings more than raps. Still, Gaynor has picked up on the latent anxiety pervading contemporary US urban music. “Drake basically invented this singy/rappy sad guy genre - in this generation, anyway. So that is the window to be able to talk about your experiences honestly.” Gaynor has previously alluded to personal struggles - with partying, drugs, and adjusting to fame. Today he downplays these, however. “I was going through a weird time through a lot of the last couple of years - not entirely bad stuff but, if you listen to Speeding, it’ll make it sound like it was entirely bad.” If Speeding is “so dark”, Gaynor posits, it’s partly because of his producers’ sonic inclinations. Oddly, Startup Cult represented the flashpoint in a generational shift in Australian hip hop - old school heads outraged at Gaynor’s cultural transgressions. “When, before, people had to accept that Allday was ‘a thing’, nobody wanted to accept that Allday was ‘a thing,’” he vents. “I still remember dealing with the negativity from older people. Everyone wanted Allday to disappear because it was a perceived
threat to their way of doing things - or that’s at least how I felt from them. But, as time went on, everyone probably realised they can still do what they do and I can do what I do and everyone can have their own spot.” Ironically, Sydney vets Bliss N Eso recently ventured into trapwave on Off The Grid - teaming with Gaynor’s cohort Cam Bluff. “I’ve met them,” Gaynor enthuses. “I’ve had nothing but very positive exchanges with them.” Meanwhile, he’s opened the way for Mallrat, Gill Bates and Ryland Rose. “I definitely think I’m part of Australian hip hop changing, but I also don’t care. I just wanna make good songs.” Nevertheless, Gaynor’s biggest nemesis is a fellow upstart - Kerser. In 2015 the hardcore Campbelltown rapper controversially dissed Gaynor, and his followers, on his track Takin’ Over The Scene, deploying homophobic epithets. Gaynor offered “a cheeky response” - albeit a cerebral one. On Facebook Gaynor shared a snap of himself absorbed in William S Burroughs’ Beat Gen novel Junky, joking that he was reading about Kerser. Gaynor (perhaps naively) approached the feud as a publicity stunt. “I had an option at the time to respond or not - and I decided I’m gonna respond in a funny way. I’ve got music to promote and, after all, this is entertainment, people. Also my fans deserve to have me say something. If you’re gonna try to drag Allday’s fans through the mud, then I have to say what I stand for.” Yet Gaynor wasn’t prepared for the intense reaction. “I don’t wanna have to deal with Kerser - and Kerser’s fans - face-to-face, realistically,” he laughs nervously. Gaynor genuinely admires his adversary. “I think Kerser’s awesome! The fact that he has essentially popularised gangsta rap from Australia - that’s the coolest thing of all time.” For what should be another run of sell-out shows come July, Gaynor will perform his classics and, savvily, those Speeding bangers most popular on Spotify. But, the eternal nerd, he’s amped, too, about his new stage production - with video screen. “I remember the Kanye Yeezus tour had a gigantic screen, which cost more than I could ever afford, but that was probably one of my favourite shows - it was just simple, but effective.” Like Allday.
I definitely think I’m part of Australian hip hop changing, but I also don’t care. I just wanna make good songs.
What: Speeding (ONETWO) When & Where: 7 Jul, Festival Hall
FRIENDS IN HIGH PLACES Since Startup Cult, Tom “Allday” Gaynor has cameoed on tracks by everyone from Tasmanian divette Asta (the neo-disco hit Dynamite) to Jackie Onassis (Bad, on their ‘stealthed’ Pristine Alley album) to Gill Bates (She Knows). But the rapper/singer’s most significant guest spot was on electro-popster Troye Sivan’s 2015 debut Blue Neighbourhood - the personal song For Him. Sivan’s album entered the US Top 10, affording Gaynor invaluable international attention. Back home, Blue Neighbourhood received several ARIA nominations, including for ‘Album Of The Year’. “I think we just knew each other from Twitter and we’d spoken a bit,” Gaynor recalls of his collab with Sivan. “When he sent the song through, I liked it straight away. I was going into the studio, anyway, so, when I got in there, I started recording it within, like, two hours. I knew the album would be big because For Him was so dope - I could just tell. It definitely exposed me to a lot more people overseas, so I have a lot to thank Troye for.” This year Gaynor inadvertently reached US listeners through yet another unexpected avenue. His 2013 single Claude Monet was synced for the critically-divisive Netflix series, Marvel’s Iron Fist, starring Finn Jones. The song plays in the final episode. In LA, Gaynor has been busying himself with other guest vocals. Lately, he’s cut a track with the Diplo-endorsed New Zealand future bass combo SACHI. THE MUSIC • 31ST MAY 2017 • 11
Theatre
Blockbusting Bard Director Simon Philips is embracing Aussie A-lister Jai Courtney’s action-hero credentials for his upcoming production of Shakespeare’s Macbeth. Maxim Boon learns more.
I
t’s not an uncommon gambit - casting an A-list star as an irresistible box-office draw is a tried and tested tactic of major theatre companies, both here and overseas. Australia is blessed with a bountiful roll call of internationally revered acting talents, with the likes of Cate Blanchett, Geoffrey Rush, Hugo Weaving, Richard Roxburgh and Rose Byrne amongst the starriest turns to have graced Australian stages in recent years. However, not all Hollywood hype is equally favoured by theatregoers, and no doubt some eyebrows were raised when Aussie heart-throb Jai Courtney was
Jai, quite aside from anything else, is a powerful physical presence.
announced as the title role in Melbourne Theatre Company’s flagship production of the 2017 season, Shakespeare’s dark tragedy Macbeth. That’s not to say Courtney’s screen credentials aren’t impressive. The Sydney-born actor cut his teeth in TV hit Packed To The Rafters before landing his first big cinematic break in 2012, starring opposite Tom Cruise in action-thriller Jack Reacher. In the five years since then, he has forged a solid reputation as a mainstream action hero, dodging bullets, fighting killer robots and setting off explosions in big budget blockbusters such as A Good Day To Die Hard, Terminator Genisys and Suicide Squad. But roles such as these are not known for their acting rigours, so casting Courtney as one of the most 12 • THE MUSIC • 31ST MAY 2017
challenging characters in the Shakespearian canon may have appeared, at first glance, nothing but a cynical ploy to flog tickets. However, director Simon Phillips is quick to point out that the character of Macbeth is a battlehardened general, so who better to play the ill-fated Scot than an actor who boasts years of experience channelling the warrior psyche on the silver screen. “I think it gives you a great head start, insofar as the central character is hugely dominant. When you bring someone in with a Hollywood reputation to play that character, the fit is effortless,” Phillips insists. “Macbeth, first and foremost, is a soldier. He walks into the play with this massive military reputation. He’s not much good at anything else, but he has a great talent for war. Jai, quite aside from anything else, is a powerful physical presence, so this imposing characterisation is so authentic. He’s very credible in that respect - it’s no accident that a lot of what he’s done in movies is action based, because he’s naturally so persuasive in that mould.” Repositioning an audience’s perception of this character, casting off the dusty, thespian stereotype to make way for a sexier, action-centric persona, is not the act of sacrilege some purists might fear. In fact, with much of this Macbeth, first impressions are deceiving. Phillips’ vision for this production - a contemporary retelling with a cinematic aesthetic - is shot through with subtle acts of subversion that play with historical precedents as much as they disarm those more intimidating aspects of Shakespeare. In doing so, the veteran director has created a production aimed at engaging multiple audience types, offering an easy entry point for the uninitiated while simultaneously putting a spring in the synapses of hard core traditionalists. Take, for example, the production’s modern-abstract setting. Phillips’ double-hinged approach is as much about theatrical clarity as it is about creative chutzpah, he says. “I think there are still a handful of people whose knee-jerk reaction is to say, ‘I shall not darken the doorstep of that theatre if Shakespeare is not treated traditionally.’ But using a contemporary setting was a precedent set by Shakespeare himself. Whatever part of history his plays were set, he would stage them with contemporary dress - in Julius Cesar his actors weren’t wearing togas, they were wearing doublets. So, using a contemporary setting is authentically Shakespearian,” he explains. “But even without that justification, my feeling has always been that if the piece will sit comfortably inside a contemporary setting, then for the majority of the audience, the fact that the visual language is very acceptable helps make the dialogue that bit more accessible. You’re seeing people behave in the way that you behave yourself, so even if the text is challenging, there’s some degree of familiarity for the audience.”
What: Macbeth When & Where: 5 Jun - 15 Jul, Southbank Theatre
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Music
Down With The Count As metallers Body Count make their first visit to Australia in more than 20 years, frontman Ice-T talks to Brendan Crabb about Trump, collaborator bucket lists and swimming pools.
A
regular on NBC’s Law & Order: Special Victims Unit, Ice-T, born Tracy Lauren Marrow, is understandably in positive spirits regarding the program’s recent renewal for a staggering 19th season. “I’m not mad at that at all,” he enthuses. “I’m happy to be able to be firing on all cylinders.” What would the 19-year-old Marrow say of the 59-year-old incarnation appearing on a long-running television show? “He would just be happy. The Ice-T of 19 was trying to get out of the hood, so he’s like, ‘Oh, we found a way out, we good’. The Ice-T of 19 wanted a
It’s a special chemistry that makes good records.
swimming pool; the Ice-T of 50, he got a swimming pool. So that’s all that matters.” Not that the hip hop titan and actor is content to merely engage in rest and relaxation. The vocalist reconvened long-time heavy metal outfit Body Count for 2014’s Manslaughter after several years’ absence. That album sometimes focused on cartoonish violence as much as it did social commentary. The new record Bloodlust, however, features an incensed Marrow condemning racism, poverty, police brutality and gang conflict. It’s also perhaps the most accomplished album of Body Count’s career. “I just think the band is finally... locked back in. We had a lot of hardships in our band, we lost three members. It’s a special chemistry that 14 • THE MUSIC • 31ST MAY 2017
makes good records, and I think after Manslaughter we realised we could make a good record again, so we just wanted to do it better. We went in with the intent to make the best record we could. I concentrated on my lyrics, everybody concentrated, and good records come from focus. You have to be focused, and you’ve got to want to do it. So we set out with something to prove.” Marrow delved into his contact list from the metal world to enhance Bloodlust’s already considerable vitality, with Megadeth’s Dave Mustaine, Soulfly’s Max Cavalera and Lamb Of God growler Randy Blythe all afforded guest spots. “When we’re getting ready to make a record, we always get those, everyone knows us and they say, ‘Yo, when you get ready to go in the studio, let us know’. Randy Blythe became friends with Ernie [C, Body Count guitarist]. And Max, we’ve been knowing them [Soulfly] since Sepultura days. Dave Mustaine, I’ve been knowing him my whole career. So those numbers were always there, and they always said ‘call us’ but we never did. This time, [we said] ‘Let’s call motherfuckers’. Let’s say, ‘what’s happening?’ Rockers are like, ‘I’ve gotta a riff, I got a vocal’... So we weren’t afraid to collaborate and the record came out that much better.” Marrow also has a few names remaining on his collaborative bucket list for Body Count, too. “Next record, we’ll probably get Tony Iommi. Ernie produced the [Black Sabbath] Forbidden album, I was on The Illusion of Power [from] that album. So we’ve got a connection with him. I would love to get Henry Rollins on a record, but he says he don’t do music anymore. But I think I could call him up. Maybe get Jello Biafra. People that we really respect, and people that are known for being legendary.” Bloodlust was created during the US election campaign, but prior to the Trump administration. “We never mentioned Trump’s name on the record because this was written pre the election,” Marrow explains. “And I just didn’t believe he was gonna be president. So I said I don’t want to be talking about somebody who will be a citizen at the time this record comes out. Well, I was proved wrong. But I think the tension that the world is feeling right now, it’s kinda hard to make party music and pop music, and just act like nothing’s going on. I think that’s irresponsible. You have to address some of the shit that’s going on in the world right now. I’m a transmitter of their [fans’] voices. They don’t have that voice, so people tell me and I translate that through my music. So hopefully I’m angry at the same shit they’re angry at.” Pundits have suggested that much like the divisive Reagan era fuelled some truly vitriolic punk, hardcore and hip-hop, the current administration could also motivate a new generation of disaffected youths to pick up a guitar or microphone and rail against injustice and inequality. “I hope so. I would love to see like a 19-yearold Public Enemy, or a young Ice-T come out. Because you’ve gotta remember, when we started talking shit we were in our 20s... So it’s sad that when you know you have some injustice you’ve gotta refer back to us. We need new voices.”
When & Where: 2 Jun, Margaret Court Arena
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Music
All Aboard Lil Yachty chats with Cyclone about his recent rise to fame and why he is considered to be a ‘polarising’ figure.
A
tlantan teen Lil Yachty (aka Miles McCollum) is supposedly wrecking hip hop. He’s riled purists with his ‘mumble rap’ - and his irreverence towards hip hop’s hallowed history. However, with a cult following clamouring for his official debut, Teenage Emotions, McCollum isn’t going anywhere but up. Indeed, this subversive millennial has become emblematic of hip hop’s generational divide - like Kanye West and Drake before him. Why does McCollum feel he’s so polarising? “That’s a great question,” he responds succinctly. “I don’t have the answer.” The AutoTune-lovin’ post-rapper/singer, 19, exudes insouciance - all but mumbling through his interview.
The Teenage Emotions artwork has already been praised for its celebration of diversity - McCollum seated in a movie theatre alongside other exuberant adolescent outsiders: a woman with vitiligo, an albino guy, a gay couple kissing... “I’m always trying to do things that are innovative,” he states. Yet, musically, McCollum’s approach was “not too much different” to his previous projects. “I just made it nice.” McCollum has largely avoided commissioning ‘name’ producers, with only Diplo credited. Arguably the album’s biggest guest is Grace Sewell, on Running With A Ghost. “Grace is real nice,” McCollum enthuses. “She’s extremely talented.” In fact, the incongruous collab was engineered. “My manager and her manager are really, really good friends.” Still, McCollum expands his sound. Bring It Back is his flip of yacht rock, complete with sax. “I just kinda went with how I feel. I was really just creating.” His favourite song is the avant slo’ jam Lady In Yellow. “I just like the vibe of that song.”
I’m always trying to do things that are innovative.
McCollum remains contradictory. Though he promotes “positivity”, the Migos-featuring party single Peek A Boo portrays a casual - and immature - sexism. But, McCollum counters, listeners shouldn’t overanalyse the lyrics. “It was never that serious.” McCollum is building his brand. The maverick’s merch line entails a pink cassette edition of Teenage Emotions - his own concept. And McCollum is in demand live. He was even billed for the infamous Fyre Festival. McCollum didn’t travel to the Bahamas - and, despite being a social media kid, the saga (and memes) apparently passed him by. He adds, “I got paid still, so...” This July, McCollum will descend on Australia for Splendour In The Grass. “I’ll come with the energy - and hopefully they give it back.”
Named after jazzman Miles Davis, McCollum grew up around hip hop - his father a music photographer. He formulated his own “bubblegum trap”, distinguished by simple hooks, novelty samples and cheeky fun. Later, McCollum adopted that eccentric nautical handle - and imagery. “My first manager just kinda came up with the idea,” he says. McCollum blew up with 2015’s track One Night. His ‘next big thing’ status was assured with successive EPs and mixtapes, leading to fortuitous collabs. McCollum cameoed on DRAM’s mega-hit Broccoli. More validating again, he guested on Chance The Rapper’s Coloring Book mixtape. Katy Perry recently recruited him for a Chained To The Rhythm remix. Meanwhile, with his colourful, beaded braids, McCollum emerged as a street fashion influencer. 16 • THE MUSIC • 31ST MAY 2017
What: Teenage Emotions (EMI) When 22 Jul, The Prince
WED 31 MAY
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THE MUSIC • 31ST MAY 2017 • 17
Music
Members Only
Frontlash Country As Fuck Spike Fuck has dropped a new track and it’s a country weepie that cements the singer as this city’s most exciting talent to watch. Greatest Hits is on Bandcamp now.
Bright Light Tasmanians were treated to a cosmic light show courtesy of the Aurora Australis, flooding social media with bloody amazing pics.
Lashes
Cops And Slobbers Two Tassie police officers have become a social media sensation after posting a selfie of them with a grogged-up fella after dropping him home. Tassie Cops
Backlash
“HASHTAGOILONCANVAS” Somebody needs to bring the nations favourite drug mule, Corby Schapelle, up to date on social media… not sure she’s got the hang of hashtagging yet.
Wake Up Rebel
Rebel Wilson’s bizarre legal battle with Women’s Day continues to be a whirlwind of cray. Latest revelation: her Gran told her she was related to Walt Disney. Spoiler: she’s not.
Dump Trump It goes without saying that Donald Trump is the fucking worst, but the fact that his team claim his overseas jaunt was a huge success is just plain wrong.
18 • THE MUSIC • 31ST MAY 2017
Polish Club frontman David Novak tells Steve Bell that the duo’s tuneful garage racket evolved more by destiny than design.
S
ydney duo Polish Club have caused a large wave in a short period of time with their infectious brand of high octane garage-soul, best experienced to date in the guise of their jackhammer live show. Now that’s all about to change with the release of debut longplayer Alright Already, a propulsive slab of energetic rock’n’roll which manages to showcase some new sonic sides to the partnership without compromising any of their scuzzy appeal. “The thing we were always really conscious about doing was making sure that it wasn’t all one and a half minute short, fast and loud songs, we wanted it to kinda reflect the different kind of songs that we like to do,” explains guitarist/vocalist David Novak. “So there’s some slower jams on there that break the three-minute mark, and there’s the standard short original party songs that people are probably more accustomed to, and then we bridged that gap with a few midtempo ones as well. “We wanted to really find that balance and have the album flow a lot, but we didn’t really have too much of a concept besides that — we just wanted to pick the best songs because we had so many to choose from. It was an easy process to do because there were some that really stood out, and I
think we made the right choice.” Novak and drummer JohnHenry Pajak started Polish Club two years ago, stumbling upon their distinctive sound almost by accident. “We knew we wanted to keep it pretty simple and fun,” the singer reflects. “The only reason we ever started it was to enjoy ourselves and have an outlet that we hadn’t previously thought of. We’d never really played that much together before — John played in my high school band, which wasn’t a real band; we didn’t release anything or play too many gigs — but in that short period of time we played together right before we formed Polish Club we just kind of gelled. We said, ‘Why don’t we try doing some music with just us two?’ and we booked a room for three hours and before we knew it we had [tracks from their self-titled 2015 EP] Able and Beeping in our first practice session. “It was never a conscious thing where we said, ‘We’re going to do some garage rock/ soul sound,’ or whatever people are calling it, we just tried a bit of everything in that first session and then realised that doing this kind of music in this way is the best way we can sell the energy and the music that we’re trying to make. From my perspective I just rolled with it and found something that was easy to do and just felt right, and just kept doing it. It’s really satisfying because it felt really organic to me — I never thought too much about it.”
What: Alright Already (Double Double/Island) When & Where: 2 Jun, Workers Club Geelong; 3 & 4 Jun, Corner Hotel
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THE MUSIC • 31ST MAY 2017 • 19
Music
IN RUBBISH’S WAKE
As part of their We Are Waterbourne clean ups just gone, In Hearts Wake and their fans picked up over 4200 pieces of rubbish in 30 minutes at St Kilda and over 5000 pieces in Bondi. The band’s vocalist Jake Taylor said after the St Kilda clean up: “Today was amazing, perfect weather. The fact we made a difference in the area – we got to clean the area and then we got to play in the area, was pretty amazing. I learned there’s a lot more rubbish and marine debris under your feet than you would know. There was over 4000 pieces collected in 30 minutes. In a square metre, I would find at least ten cigarette butts just moving my hands through the sand. I’d love to do this around the world; I’d love to continue this with my band. “How marine debris harms our planet and harms our wildlife is insane. Putting the planet first really does make a difference. Huge thing is it’s not just about picking the marine debris up, it’s about learning its source. We sorted into groups where it came from – whether it’s consumer, cigarette butts, straw and interestingly enough there was pieces that the council had discarded and trashed for instance zip ties and council fencing that Ben’s group found. So if we find the source, we can stop it at the source.” To hear from more band members and view a gallery of pics, head to theMusic. com.au 20 • THE MUSIC • 31ST MAY 2017
Fantastic Voyage
‘90s rap giant Coolio’s coming to town with Salt N Pepa, Vanilla Ice and Color Me Badd. He talks to Cyclone about why he doesn’t do trends.
T
he Compton, California rapper Coolio (aka Artis Ivey, Jr) was one of hip hop’s first major crossover stars. His Gangsta’s Paradise - featuring R&B singer LV - was 1995’s top-selling single and won a Grammy. “Weird Al” Yankovic even parodied it. Over 20 years later, and Ivey is an in-demand nostalgia act. He’ll return to Australia as part of June’s I Love The 90’s Tour with Salt N Pepa, Vanilla Ice and Color Me Badd. The international franchise has been so successful as to expand into cruises Stateside, with the inaugural Ship-Hop happening in 2018. But Ivey maintains that he “transcends” old school rap. “I’ve always felt like I’ve made timeless music,” Ivey says from his Las Vegas base. “I never write trendy songs and use a lot of trendy words - I don’t do that so that, when the song gets a little older, people will be like, ‘Oh, that was a long time ago, nobody don’t talk about that no more.’ The kind of things that I talk about, people will be talking about for the rest of their lives.” Rapping in the late ‘80s, Ivey joined the notable WC And The Maad Circle. He then inked a solo contract with Tommy Boy Records. The West Coaster broke through with the G-funk Fantastic Voyage from 1994’s It Takes A Thief. But today Ivey is synonymous with Gangsta’s Paradise recorded for the Dangerous Minds movie,
but also the title track of his second album. Borrowing from Stevie Wonder’s Pastime Paradise, the song universalised gangsta rap. Ivey subsequently hit the studio with Aussie popster Peter Andre - guesting on his ‘urban’ single All Night, All Right alongside Warren G. “It came out pretty good,” Ivey says, pausing. “To tell you the truth, I can not remember not one second of that! It’s gone from my memory, for some reason.” Yet Ivey’s urban-pop manoeuvres prompted a backlash. Despite charting highly with the classical-sampling C U When U Get There from 1997’s My Soul, he lost his deal. Still, Ivey landed acting roles - cameoing in Batman & Robin. He participated in reality TV shows. And he’s branded himself as a credible celebrity chef, his speciality “ghetto gourmet”. Ivey hasn’t necessarily put music on the back-burner. This showman tours consistently. He performed at 2012’s Falls Festival. (“It was real cool.”) In January Ivey aired Kill Again, a #BlackLivesMatter anthem exposing the reverberations of gang culture and police brutality. “It was just something that I wanted to bring some attention to, that’s all,” he says. Though Ivey has touted an EP, he’s non-committal about future album projects. “I’ma kind of play it by ear for right now. The market is overcrowded with bombs. There’s a lot of wack music out there - and there’s some good music out there... A lotta people don’t make albums. I think that the time of the concept album is probably over. But I may or may not do another album. I can’t really say at this point. I’m just doing what I feel.”
When & Where: 7 Jun, Hisense Arena
In Focus Shrimpwitch
Bust out of your shell Saturday at Grace Darling Hotel when crustacean sensations Shrimpwitch work Melbourne into an oceanic panic. That’s where garage punk duo Georgi Goonsack and Kim Prawn are launching their debut EP Eggs Eggs Eggs, an unrelenting 15 minutes of sound and fury that’ll knock you on your arse like a black magic tsunami and the first ever release from Hysterical Records. Pillow Pro, Plaster Of Paris and Rhysics are all on deck to support so make sure you get down there early. THE MUSIC • 31ST MAY 2017 • 21
TV
Dead Set Come the zombie apocalypse, you’re going to want Alycia Debnam-Carey on your side. The Fear The Walking Dead star talks surviving the survivalists with Guy Davis.
O
n the pay-TV series Fear the Walking Dead, the end of the world occurs a lot like falling asleep or falling in love: it happens very gradually, then it happens all at once. And while the mothership series, The Walking Dead, shows what takes place after civilisation has succombed to the zombie apocalypse, Fear the Walking Dead takes a more immersive - and one might say more interesting approach by following one family as they come to realise the end is well and truly nigh. The third season of the show, which premieres on Foxtel channel FX, reunites the family - Travis Manawa
The zombies are a side story; it’s the people you’re interested in.
(Cliff Curtis), Madison Clark (Kim Dickens) and their teenage kids Nick (Frank Dillane) and Alicia (Alycia Debnam-Carey) - after events separated them in the second season. But the reunion may be a little fraught, given that they find themselves sheltered by a community of survivalists whose preparations for doomsday never took into account the neccessaries needed to fend off ravenous, roaming corpses. “It’s where this season unfolds, with this community of people who have been preparing for an apocalypse of some kind,” says Australian actress Debnam-Carey. “It’s a different spin on what we’ve gone through so far - we’ve been running from the apocalypse and encountering
22 • THE MUSIC • 31ST MAY 2017
people who are doing the same but this time we’re the people who have experienced what life is like on the outside and come into a sanctuary where people haven’t experienced what is happening but are nevertheless prepared for the worst. It’s a very interesting mix of the two groups.” If post-apocalyptic pop culture has taught us anything, it’s that survivalist enclaves tend to have their own built-in dangers and psychological tensions. As Debnam-Carey points out, however, this particular scenario is wrought with some entirely unpredictable dangers. “I don’t want to spoil anything but something that I’ve found is that where our family goes, chaos tends to ensue,” she says with a laugh. “And when you’re lumped together with a group of people who are very protective of what they’ve built and who are prepared for the worst but at the same time unprepared for this kind of worst, it’s definitely the case. “It’s also very, very relevant to the political situation in America - racial issues, territorial issues, issues involving those who have and those who don’t.” Debnam-Carey is a believer in the idea that genre fiction can provide a stealthy insight into the way society operates and the way people behave under the darkest, direst circumstances. She says Fear the Walking Dead is a surprisingly incisive illustration of this. “I was really drawn to that aspect of the show - the fall of society and how it might occur,” she says. “The zombies are a side story; it’s the people you’re interested in. What they’re willing to sacrifice, what they’re willing to do to one another.” That’s especially the case for Debnam-Carey’s Alicia, a straight-A student and high achiever who has had “some pretty dark moments” since Fear The Walking Dead’s story began. “Well, she’s killed a man, which is a massive thing for her to have to process,” she says. “And she has to regularly re-evaluate what matters to her, who she can rely on - that includes herself. She’s someone who had a plan, a very solid idea of what her future would be, and that is completely obliterated. She is having to reformulate who she is in this changing world.”
What: Fear The Walking Dead When & Where: 5 Jun, FX
Theatre
Somewhere Over The Rainbow Self-made star Todrick Hall boasts an impressive resume, but his journey to the top hasn’t been an easy one. Maxim Boon follows the yellow brick road with the YouTube icon.
I
n the biz they call show, the most talented performers are described as “triple threats”, so named for their mastery of the three principal stage skills: dancing, singing, and acting. By comparison, Todrick Hall seems just plain greedy. The American Idol alum and YouTube icon not only has the standard trio of talents down pat, he also boasts a plethora of other artistic skills, as a rapper, director, choreographer, composer, drag queen, producer and judge.
You can’t take anything for granted in this life.
“It wasn’t really a conscious choice to have so much diversity in my career, there’s just so many things I love doing as a performer. It’s just like somebody who is a lover of all different types of food - I wouldn’t want to just eat pizza when I also love Mexican and sushi and a whole bunch of other things, you know,” Hall laughs. “I always liked singing, because I loved Lauren Hill growing up, and the pop greats like Beyonce, Destiny’s Child, Mariah Carey, Whitney Houston. I loved trying to sing like them. I love writing songs because I grew up where Country Music was all the rage, in Plainview, Texas, and I loved how those Country hits could tell a story with these beautiful melodies. I loved dancing because I was obsessed with The Nutcracker when I was a kid, so I think all these things separately fascinated me growing up and all ended
up becoming big parts of how I express myself. It all happened very organically.” But despite this impressive number of abilities, not to mention the more than 2.5 million subscribers who follow his YouTube channel, Hall’s career path has often been fraught with ‘close, but no cigar’ moments. After being knocked out at the semi-final stages of season 9 of Idol, Hall went on to miss out on a potential role in the hit show Glee. His MTV docuseries Todrick was cancelled after just eight episodes, and in 2015, a bid to play the Scarecrow in NBC’s epic live broadcast of Motown marvel The Wiz - a role immortalised by Michael Jackson in the 1978 film original - would prove fruitless. But if the 32-year-old performer has proven anything during his years chasing the limelight, it’s that he’s not afraid to put in the hard yards. Turning to YouTube as a key platform for showcasing his extraordinary creativity, Hall’s music videos, boasting production values usually reserved for major labels, have earned him a cult following. He’s also forged impressive stage credentials on Broadway, most notably as the drag queen cabaret star Lola in the hit musical Kinky Boots. On screen, Hall reached a new level of notoriety in 2016, appearing as a guest judge on Season 8 of the international TV phenomenon RuPaul’s Drag Race, before becoming a regular face on the show’s judging panel in subsequent seasons. Hall credits his success to a tenacious work ethic developed early in his training as a fledgling performer. “I grew up in a ballet school and there was a very strict way of doing things. You not only have to turn up on time, you’ve got to be ready to work, in your uniform, warmed up. You couldn’t miss rehearsals or turn up unprepared, so I’ve always approached everything I do with that level of commitment,” he explains. “You can’t take anything for granted in this life. So I just look at every single opportunity I have as another chance to be able to let my story be told. You have to know that any measure of success you achieve could so easily be taken away, so you’ve got to make the most out of every chance you get.” This self-made star has no intentions of resting on his laurels as his Wizard of Oz inspired album, Straight Outta Oz, begins a world tour. Originally conceived as a YouTube spectacle, using L. Frank Baum’s bitter-sweet tale to tell the ups and downs of Hall’s own life story, the glitz and sparkle of the album’s online incarnation has been painstakingly translated into a live stage version. “You can expect a lot of razzle-dazzle,” Hall beams. “We spent a lot of time coming up with concepts that we felt not only looked really impressive, but also told a story. It’s a concert version, so not fully staged, but I’ve been talking with several Broadway producers about developing the show, so I think this will give audiences a glimpse of what it might look like in a fully realised production. And it’s just a lot of fun - you might cry, you might laugh, but you will definitely be up and dancing.”
What: Straight Outta Oz When & Where: 5 Jun, Athenaeum Theatre THE MUSIC • 31ST MAY 2017 • 23
Indie Indie
Glamp Cocktail Bar
Hachiku
Soft Power
Winter Focus
Gettin’ Comfy
Album Focus
Answered by: Dean M - Bar Manager
Answered by: Anika Ostendorf
Answered by: Matthew Roche
Address: 2/267 Little Collins St, Melbourne
What is it about the venue that makes you want to a run of shows there? How could you not want a whiff of The Tote’s carpet aroma up your nostrils every weekend? It refuels everyone’s life energy and replenishes us with good thoughts and positivity. The Tote for President!
Album title? A Breath Is Like a Swinging Door
Same set every week or mixing it up? I guess you’ll have to come each week and see! Turtleneck-themed every week though. Please come dressed accordingly.
How long did it take to write/record? The album was only recorded in one day but took around 1-2 years to conceive.
What’s happening at your venue this winter? Escape the cold and head on up into our big indoor safari style glamping tent. It brings the outdoors in, complete with our own lifesized rhino. Do you have any food/drink specials for winter? Head in on Thursdays for some Happy Hour action 6pm until close. We’ll be serving up $10 cocktails all night, including a heap of boozy classics which are sure to warm your insides. How are you combating the cold? The tent is quite the communal space and we like all our guests to mingle. So snuggle up to your neighbours, and keep warm. Do you offer live music in your venue? What’s the soundtrack to these winter months? DJs fill the airwaves on Fridays/Saturdays. We reckon some South African house is the perfect remedy and will get you moving and feeling better about winter. Resident DJ Datboy spins it late on Saturday. Website link for more info? glampbar.com.au
Any special guests going to make an appearance during your tenure? Yes! Eight very special guests, in fact. In order of appearance: 1. Hexdebt 2. Jarrow 3. Slimbillgates 4. Gumboot 5. Lehmann B Smith 6. Doona Waves 7. Real Feelings 8. Baby Blue. Favourite position at the venue when you’re not on stage? I quite like the pool table area. It gets nice, warm light. Alternatively, main band room, front bar music area, upstairs music area. Actually, I haven’t been upstairs yet, but I’m sure I’d like it there. When are you in residence? 4, 11, 18 & 25 June at The Tote. 5pm start every Sunday afternoon in June. Come down after Community Cup! Website link for more info? http://www.facebook.com/hachiku
24 • THE MUSIC • 31ST MAY 2017
Where did the title of your new album come from? An adaptation of a saying from Zen master Shunryu Suzuki’s book, Zen Mind, Beginner’s Mind. How many releases do you have now? One.
Was anything in particular inspiring you during the making? The music on the album was inspired by an existential crisis I had after completing a seven day silent Zen meditation retreat near Euroa, Victoria around late 2014. What’s your favourite song on it? Gaslighting. Will you do anything differently next time? Of course. I’m interested in experimenting with a ‘live’ recording vibe instead of a more produced, close-miked one. When and where is your launch/next gigs? 3 Jun, Compass Pizza Bar, with Girlatones. Website link for more info? matthew-roche.com
Music
Safer Haven
Belle Haven’s David De La Hoz chats to Rod Whitfield about why they’ve had to drop the ‘nice guys’ tag ahead of their upcoming tour.
T
here is often an uncomfortable downtime for bands in between the completion of an album and its actual release. For Melbourne posthardcore five-piece Belle Haven, due to circumstances and the actions of other people out of their control, this has been taken to absolute extremes for their soon to be released sophomore album You, Me And Everything In Between, as frontman David De La Hoz explains from his home in M-town. “In our case, we’d finished the record in December 2015,” he reveals, “So it’s been a little while.” So that’s a year and a half? “Yeah,” he confirms, “Our mixing engineer decided to put us on the back-burner and delay the process a heck of a lot, so we had a pretty negative experience there, and unfortunately it’s bled some poison into the relationship we had with the guy. But that’s the way of the music world sometimes.” In fact, this, and some other similar incidents that have occurred in the band’s recent history, has signalled a subtle but definite change in attitude in the band, and in the way they approach their everyday management and activities, and this is reflected in much of the new album’s content. “We’ve always been known as ‘Oh Belle Haven, they’re really nice guys’,” he says,
“And we love that, and we want to continue with that always, but it’s started to work against us over the past 18 months. We were so nice that people would lie to us, use us, trick us, steal from us, and we would just keep it to ourselves. It got to the point where one of our friends, who we employed to shoot a music video for us, legitimately tried to take our money and run. That was a massive turning point for us, it made me very angry, coz I’d known that guy for years. These things have just changed the way the band works.” In what way? “We still strive to be nice people, but with this record, it’s a statement, that says ‘we’re nice, but don’t cross us.’ This whole record was a way for us to change the way we view these situations.” De La Hoz also wants other bands to be able to learn from the negative experiences that Belle Haven has had, that there are some serious charlatans out there in the music industry and in everyday life, and to protect yourself at all times. “Hopefully other bands can read these interviews or listen when I’ve spoken about it, and really take it on board that their craft, their creative babies are special and not to be tampered with,” he says with conviction. The band and their fans very much hope that those times and incidents are behind them, and now they are set to finally release the album and head out on tour. “Yep, we’re ready to go and we are so excited!” He enthuses, “We’ve never really done a headline tour, this is a new world for us and to have Melbourne sell out already, it’s just crazy.”
What: You, Me And Everything In Between (Greyscale) When & Where: 2 Jun, Enigma Bar; 3 Jun, Workers Club
Best Indie The AIR Awards nominations are in and those up for the biggie of Best Independent Artist are:
DD Dumbo
Flume
AB Original
Alex Lahey
Ali Barter THE MUSIC • 31ST MAY 2017 • 25
Eat / Drink Eat/Drink
The Spirit Is Winning
Forget Vodka, Gin and Whiskey, there’s a world of weird and wonderful spirits waiting to be discovered. Here are four alternatives to the familiar staples you need to add to your cocktail cabinet.
Moonshine
Absinthe
Vermouth
Mezcal
Once a drink of ill-repute popular during America’s prohibition era, distilled from everything from corn mash to bits of wooden furniture, this high-proof spirit is a far more respectable drop today. So named as it was often distributed under the cover of night, contemporary varieties have a sweet, warm taste with a strong kick.
The drink of choice of Toulouse Lautrec and the Paris bohemians, Absinthe has an almost mythic reputation for its intoxicating powers. Because of its associations with the decadent excesses of artists and writers in the 19th-century, and a belief that it had powerful — although unfounded — hallucinogenic properties, it was banned in many parts of Europe and US.
Best known for its bit-part role in the classic Martini, vermouth is often overlooked as a drink in its own right. But this fortified wine is a delicious, complex, botanical delight that is more than worthy of a place in any self-respecting drinks cabinet. There’s a world of variety to be sampled, with dry, sweet, white, red, amber and rose vermouths, perfect in cocktails, in a spritz, or served neat.
Less famous than its cousin Tequila, this Mexican spirit is not widely available in Australian bars, but it’s well worth searching for. Distilled from the naturally sweet agave plant, it is believed to be an invention of the Spanish conquistadors, who began to experiment with distilling local plant life.
One to try:Distillery Botanica Absinthe Reverie is an award winning, all natural, Australianmade aperitif style absinthe based on a traditional 1871 French recipe. It is the first and only traditional French style absinthe distilled Down Under.
One to try:MAiDENii Classic is the signature bottle of Australia’s premiere vermouth specialists who use 34 different botanicals to give their spirits incredible depth of flavour. The secret of their process is a melding of flowers, fruits, herbs and spices from the gardens of the both the old and new worlds.
One to try:Melbourne Moonshine Sour Mash Shine is high quality and Aussie-made, using corn mash from Victorian farms. Perfect as an alternative to vodka in cocktails, in punch, or for those who enjoy their spirits neat, over ice.
26 • THE MUSIC • 31ST MAY 2017
One to try:Agave De Cortes is one of three premium brands imported by the Bondi-based specialists Casa Mezcal. Distilled in the Mexican town of Santiago Matalan — the Mezcal capital of the world — this is a truly Authentic taste of Oaxaca made using techniques dating back two centuries.
Music
Set Phases To Stun
Bill Frisell has gone from jazz journeyman to avantgarde architect to old school excavator - but, ahead of his first proper tour of Australia, he tells Matt O’Neill it’s not that linear.
N
o one is ever fully satisfied by Bill Frisell, it seems. A prolific and eclectic artist, Frisell has been active as a player, composer and performer since the ‘80s. But, each new development in his career seems to frustrate as many as it excites. Originally cutting his teeth as an in-house guitarist for respected jazz label ECM, Frisell later became a key player in the New York avant-garde scene as part of John Zorn’s legendary jump-cut outfit Naked City. From there, he’s branched out into country, film music and Americana. Most recently, he’s been accused of burying himself in nostalgia - with tribute albums to mid-20th century guitar music and the songs of John Lennon. His Australian tour is in support of his recent album of classic film and television covers, When You Wish Upon A Star. “I’ve learned so much from doing this film stuff. It’s so seductive, but, I’m actually not trying to look back. I’m trying to go into the future. I’m trying to move myself forward,” Frisell says with a laugh. “The next album I’m going to do is actually going to be all my own material.” But, while it’s easy to reduce the guitarist to such concrete phases, that analysis
doesn’t actually withstand scrutiny. Often, he’s released albums of separate sounds in the same era. For example, releasing Americana classic Have A Little Faith in the middle of Naked City’s sevenalbum run. “It’s frustrating. It doesn’t really matter - but it’s always much more complicated,” Frisell says. “The way the music is working in my imagination, it’s never just one thing at a time. So much of it is happening simultaneously. I guess people need to break it down to these specific parts.” Even an album as pure in conceptual outlook as When You Wish Upon A Star betrays the image of Frisell’s career as a carefully plotted arc of discreet phases. Amid The Godfather and Morricone themes, you’ll find the theme for Gary Larson’s Tales From The Far Side - which Frisell wrote and included on his 1996 album, Quartet. “That came later. You know, I thought, ‘Oh, wow, I actually wrote something, I can stick one of them in there too!’ It was almost like an afterthought,” he laughs. “It just seemed silly not to include it, when it came down to it.” But, through it all, there’s a running theme of enthusiasm and passion. Whatever Frisell is doing - whether pouring noise over string arrangements or plucking out a bluegrass melody - he seems to be both perpetually delighted and astonished by it. “When you’re naive about something and you find it for the first time, it’s the most amazing feeling,” the guitarist says. “But, it’s a doubleedged sword, because the minute you figure out what it is, you lose that spark. I’m constantly trying to rediscover that spark.”
When & Where: 2 Jun, Melbourne International Jazz Festival, Melbourne Recital Centre; 4 Jun, Melbourne International Jazz Festival, The Jazzlab
AWWWWW &
AHHHHHHH! The animal kingdom has been both cute and cray this week, with two incidents at Aussie zoos prompting two very different reactions. Firstly, the Asian elephant breeding program at Taronga Zoo produced the first new calf in seven years. Popping the little cutie out after a brisk 35-minute labour (good work mum), the new arrival weighed in at a whopping 130kg and was up and about in his paddock within five minutes of arriving, far quicker than it takes most human adults to get out of bed in the morning. In a quite different occurrence on the other side of the country, a pair of orangutans made an attempted escape at Perth Zoo, leading to a lockdown. Apparently, a juvenile male, Sungai, stacked it while playing in his enclosure and fell into a nearby garden. His mum, Sekara, rushed to help, carrying the youth over a railing onto a public walk way. Both made it safely back to their enclosure. Phew! THE MUSIC • 31ST MAY 2017 • 27
Album / E Album/EP Reviews
Album OF THE Week
Saint Etienne Home Counties Heavenly/[PIAS]/ Inertia
★★★★½
Miraculously, after 27 years as Saint Etienne, Bob Stanley, Pete Wiggs and Sarah Cracknell have found a way to sound more English than ever by conceptually celebrating, deriding and re-daydreaming the home counties that surround London with typically kitsch and swinging panache. Bob Stanley’s scholarly command of pop-styles provides a luxuriance of lyrical paronomasia and moreish candy choruses, gleefully bouncing around poptastic genres across the decades. Sean Connery’s 007 could knock back a martini to the ‘60s Motown stomp of Underneath The Apple Tree while Daniel Craig’s Bond would dig the more modernist Magpie Eyes. That’s not to say Home Counties gets tethered to ‘noir’ a la Portishead; kaleidoscopic colour comes via Dive’s glitzy disco dressed in denim and button badges. Sweet Arcadia’s epic-scale glumness could be their Ghost Town were Cracknell not enunciating every word like verbal Viagra. On Something New and the harpsichord kissed Take It All In, she could pass for Green ‘Scritti Politti’ Gartside’s doppelganger and Whyteleafe imagines what if David Jones’ star had remained claustrophobic-ised by drab municipality instead of ascending to become the Starman Bowie. What Saint Etienne’s ninth has pulled off is a document that wears their Britishness proudly and with good humour. An unexpected groovy treat. Mac McNaughton
alt-J
Dan Auerbach
Relaxer
Waiting On A Song
Infectious/Liberator
Nonesuch/Warner
★★★½
★★★
The third album from the British trio sees alt-J somewhat branching out from their original traditional nostalgic folk and dipping their collective toe into the world of almostelectronic music. This doesn’t quite work as well to their advantage — particularly on the fifth track Deadcrush, which virtually sounds like Joe Newman singing over what can only be described as trap-ish, electronic beats. Without a doubt the highlight of the album is the slow, creeping, delicate gem House Of The Rising Sun, closely followed by Hit Me Like That Snare (a slight nod to the sound of The Doors’ An American Prayer, perhaps?) — and with an eerie but also kind of gorgeous, wailing high-pitched screech. For the long-term fans and listeners
Regardless of whatever else is going on in the world, Dan Auerbach must be having a pretty good time right now. Having built his own studio in Nashville, Waiting On A Song was conceived by Auerbach and a whole heap of righteous old timers swinging by, including John Prine, Duane “Titan of Twang” Eddy and “some of the greatest musicians who have ever lived,” according to Auerbach. Waiting On A Song is perky, highly polished work that’s a long way from the bang and clatter of his day job with The Black Keys. No doubt lo-fi purists will pine for The Black Keys recorded-anywhere-but-astudio early works. They may have a point. Full of homey, feel-good toe-tappers like Shine On Me, Waiting On A Song is like some quality audio wallpaper. It’s easy on the ear, but there’s
28 • THE MUSIC • 31ST MAY 2017
of alt-J, the catchy, slow burning In Cold Blood, the anthem-like Adeline and opening track 3WW are likely album favourites. Relaxer ends on the convincingly grand yet playful Pleader, a track that uses the flamenco guitar against Newman’s voice, church organ and presumably violin, to create an orchestral sounding summary of the album. All in all, there lies some interesting use of instruments and sounds in alt-J’s follow-up from their 2014 album This Is All Yours — albeit a little inconsistent. Tanya Bonnie Rae
not a lot of substance. There’s a bit of variety with the syrupy string-fest of King Of A One Horse Town and the hangdog miserablism of Never In My Wildest Dreams, but by and large it’s comfortable dad rock with not a lot of fresh inspiration. Now might be the time to stop partying and get back to work. Christopher H James
EP Reviews Album/EP Reviews
Chastity Belt I Used To Spend So Much Time Alone Hardly Art/Inertia
House vs Hurricane
Husky
All Time Low
Punchbuzz
Last Young Renegade
Filth
Liberation
Fueled By Ramen/Warner
UNFD
★★★
★★★½
★★★★
★★★½
Echoey and with a distinct indie twinge, Chastity Belt start charmingly mellow on I Used To Spend So Much Time Alone. Openers Different Now and Caught In a Lie deliver just enough heartbreak, supported by a jangly thin guitar line. Particularly sweet is the change in It’s Obvious, using slightly brighter tones and colours but with a lilting chorus. A distinct feeling of building frustration burns through as the album progresses, with Something Else showing real longing. There’s also something distinctly Smiths-like about 5am — only with a much better injection of local talent rather than borderline crazy Morrissey.
Although it’s unclear as to whether this band is back as a full-time concern, it’s great to have some new music from them. Especially when that new music sounds like Filth. The aptly titled LP is an incredibly nasty, destructive take on posthardcore. The riffs are jagged as all hell and the vocals are mostly dirty, with only a few clean melodic moments thrown in to provide some welcome dynamics to the mix. That said, the production is still clean, crisp and punchier than Mike Tyson in his prime. Filth is a steel-plated fist to the face that is very easy to listen to.
Husky pack a punch with their magical, hypnotic folk indie-rock melodies and Punchbuzz is filled with catchy but dark lyrics. Sung by Husky Gawenda, the dreamy vocals in opener Ghost get the groove going. Walking In Your Sleep gives off major Fleetwood Mac feels with opening guitars and folk rhythms that blow your mind. Late Night Store is a hidden gem; Gawenda’s vocals charm while the catchy indie beat gets you buzzing before Cut The Air, a mesmerising ballad with soul-searching rhymes and deep lyrics. Spaces Between Heartbeats is breathtaking with its soft synths that drift off into space and moody lyrics that finish off the amazing album.
Sure, music snobs and punk aficionados will turn their nose up at Baltimore pop punk group All Time Low, but Last Young Renegade shows that over the past 14 years the band have so tightly crafted a sound that they’re not pretending to be anything they’re not. This is FM radio-friendly music made for 20-somethings bred on a teenage diet of Simple Plan, Yellowcard and Fall Out Boy. Expert use of dynamics and harmonies, paired with the occasional rhythmic flourish, sees Last Young Renegade as good as anything All Time Low have delivered in the past decade, and a record that’s sure to translate well on stage.
Rod Whitfield
Liz Giuffre
Dylan Stewart
Aneta Grulichova
More Reviews Online Roger Waters Is This The Life We Really Want?
theMusic.com.au
Pete Murray Camacho
Listen to our This Week’s Releases playlist on
THE MUSIC • 31ST MAY 2017 • 29
Live Re Live Reviews
Cash Savage @ The Curtin. Pic: Giulia McGauran
Cash Savage & The Last Drinks, Spike Fuck, Kate Alexander The Curtin 27 May
Spike Fuck @ The Curtin. Pic: Giulia McGauran
Cash Savage @ The Curtin. Pic: Giulia McGauran
Spike Fuck @ The Curtin. Pic: Giulia McGaura
Ryan Adams @ Margaret Court Arena. Pic: Giulia McGauran
30 • THE MUSIC • 31ST MAY 2017
Ryan Adams @ Margaret Court Arena. Pic: Giulia McGauran
As the final notes of Venus In Furs fade from the speakers, Kate Alexander arrives on stage amid a clamshell of spotlit smoke. Immediately we are rapt with her big-throated, soulful altissimo, her vocals providing the top notes to some bottom-heavy guitar chords. She displays a dramatic mastery of dynamics during one song where her voice weaves in and around a fluctuating, repeated four-note guitar lick. Spike Fuck’s MacBook sits stage left, looking nondescript as it churns out some atmospheric beats. Spike Fuck herself is anything but nondescript, stalking around the stage, busting out corny interpretive dance moves and hamming up her faux New Romantic vocal. The selfdubbed “smackwave” songster assimilates her myriad of influences so efficiently that one moment we’re thinking of Salt-NPepa, then Spandau Ballet. “Live and let live, and all that,” she declares. As Cash Savage & The Last Drinks hit the stage, Kat Mears’ rock’n’roll fiddle instantly sets the room ablaze to the beat of blistering new single Run With The Dogs. They cool things down with the wintry, countrified dirge Let Go, before letting loose again with the hard rock of Rat-A-TatTat. The band appear silhouetted against green light as the opening chords of Falling, Landing wash across the room. The progression builds to a frenzy in the chorus, as the room explodes with strobing white light. “I’m gonna bare my soul,” promises the opening line of I’m In Love, and Savage obliges, her voice forlorn, her face lit
a ghostly yellow. Empty Page follows and it is devastating, Savage’s anguished howls are battered by drums and draped with elegiac filaments of guitar. “Sunday morning and I’m coming down” launch the soulful Sunday
Savage’s anguished howls are battered by drums and draped with elegiac filaments of guitar. Morning, while Savage’s voice is huge on the epic Hypnotiser as the set careens toward the finish line. Tim Kroenert
Ryan Adams, Middle Kids Margaret Court Arena 26 May Middle Kids is a great name for such a well-adjusted, sensitive seeming bunch. Their atmospheric, gently propulsive indie-pop offers an agreeable opening to tonight’s proceedings. Recent single Edge Of Town is a clear highlight, as are the songs when singer Hannah Joy is relieved of her guitar and able to more fully embrace frontwomanhood. Noted cat enthusiast Ryan Adams and his four young, bespectacled bandmates enter the stage adorned with three large stuffed tigers. We are immediately treated to the jagged, majestic Do You Still Love Me?, a concert opener if ever there was one. Then it’s a tour through highlights from his recent past, including the
eviews Live Reviews
gorgeous Dirty Rain, Two and the urgently pleading Gimme Something Good. As in his songwriting, Adams’ stage show includes tried and true techniques which remain effective, despite their familiarity. The disco ball which bathes the arena in blue, swirling light during When The Stars Go Blue is transfixing. The stage is engulfed by a shroud of smoke during an extended jam on Cold Roses, and suddenly it feels like a Phish show. After a solo, acoustic rendition of My Winding Wheel, during which the audience is silently enthralled, Adams beams, “You guys were quieter than a bar in Byron Bay with 300 people - you fuckin’ rule!” He also graces us with his lovely and somehow not redundant cover of Wonderwall. As we enter the second half, the set grows looser and jammier. Adams is a complex, multi-layered character who is comfortable in numerous musical modes, so it’s easy to
Tonight’s laconic, workman like performance feels slightly perfunctory at times. wish he’d play with the songs’ arrangements in ways besides indulging his inner Deadhead. Some of these extended guitar workouts fall a bit flat but that can partly be attributed to the imperfect acoustics of tennis arenas. Adams is a seasoned pro who has spent half his life onstage, which may explain why tonight’s laconic, workmanlike performance feels slightly perfunctory at times. Yet Prisoner is rearranged to
brilliant effect as Adams sings the entire song accompanied by his 12-string acoustic guitar, before the rest of the band creeps in for an electric coda. It’s a gripping moment which exemplifies exactly what was missing at other times tonight.
The Police and Sweet Dreams by Eurythmics. By the end of their set, the crowd is absolutely peaking. Everyone’s hanging to see Sneaky Sound System as Black Angus hits the decks to tease
Joel Lohman
John Course, Sneaky Sound System, Bang Gang DJs, Riot In Belgium Forum Theatre 26 May The newly renovated Forum Theatre opens its doors to a beautiful mosaic floor that’s been restored to its original glory in the foyer. All of the rear seating has been removed, so there’s plenty of space for punters to dance with a clear view of the stage. Thankfully there’s a bar stage right on the dance floor, so we can still watch Riot In Belgium play an epic set as we queue for a drink. They drop all of the great house tunes we remember partying to circa 2005-2008, including their hit La Musique. In an instant, we’re transported back to our peak clubbing days. The duo throw out some free Shutter Shades, the perfect accessory to make us feel like we’re dancing in a video clip for Kanye West’s 2007 hit Stronger. Bang Gang DJs continue with all the essential electrohouse floor-fillers to get the crowd buzzing. The crew including Gus Da Hoodrat and Jamie Doom reunite wearing ‘I’m With Ajax’ t-shirts to pay respect to their long lost member. They play all the top tracks from their golden days that celebrate the quintessential soundtrack of clubbing in the mid-noughties with bangers such as Mylo’s Drop The Pressure and timeless party hits including Roxanne by
He gives the audience exactly what they want with hit after hit. us with a few remixes before Miss Connie Mitchell graces us with her star presence. “It’s been a long time coming/my heart is aching,” sings Mitchell as she begins with their first track, I Love It. “Well, good evening ladies and gentlemen!” she shouts as she floats across the stage in a flowing caftan and signature afro hair. The duo plays a club-heavy set carried by Mitchell’s powerhouse vocals on some of their biggest hits including Pictures and Kansas City. They throw in a surprise cover of Daft Punk’s Around The World to build us up to their supercharged anthem UFO for a big finish. John Course keeps the party going right until the very end. “Just when you think there’s no more good music left, there’s a lot more to come!” He assures everyone to stay on their feet. David Guetta’s Love Don’t Let Me Go and The Preset’s My People are just a few highlights of his set. “We’re supposed to go home but I thought I’d squeeze one more in,” he tells us before dropping Midas Touch and in a moment everything turns to gold. The lights come on and as we head out into the early hours of the morning. For many, the night has only just begun.
More Reviews Online theMusic.com.au/ music/live-reviews
Devin Townsend Project @ 170 Russell Gawurra @ NGV
Michael Prebeg
THE MUSIC • 31ST MAY 2017 • 31
Arts Reviews Arts Reviews
- find the words. Adam spends more and more time at the family beach house in a small coastal town - which Jack loved to visit, and was returning from when the car accident happened but Mary refuses to go with him because she can’t stand to drive past the shrine marking the location of Jack’s death. It isn’t until local girl June (Tenielle Thompson) visits Adam at the beach house, and engages him in conversation about Jack, and how she witnessed his final day, that Adam can start to work through some of the emotions he’s been trying to suppress with bottle after bottle of wine. Meanwhile, Ben (Keith Brockett) and Will (Nick Clark), who were with Jack in the car when it crashed, play the moment over in their heads, tell themselves what they want to hear, rearrange their memories, sift through their conflicting feelings, and wonder who is to blame for what happened. All actors begin a little stiffly (or is it the script that begins unsteadily?), but as the play wears on, they fall into their characters. Bunworth balances Adam’s barely-restrained seething and pain with some more fatherly, vulnerable, tender moments. Fowler’s performance during Mary’s climactic scene is especially affecting. Taylor is wonderfully natural as the likeable and charismatic Jack; the boy who had his whole life ahead of him. Brockett grapples with adolescent male cockiness, morality and self-doubt in equal measures, while Clark embodies the complexities of the archetypal private school boy well. Thompson capably tackles several tough and triggering subjects in June. There’s a lot to unpack in Shrine - the dynamics between young and old, men and women, city and coast; the power of the privileged and the elite - and there’s a lot to take away. And yet, the ending leaves you feeling a little cold, detached and hopeless. When will we stop seeing those crosses and garlands on roadsides? Shrine
Shrine Theatre Until 18 Jun, Fortyfivedownstairs
★★★ How many times have you driven past a roadside shrine and wondered about the person it’s dedicated to? Tim Winton’s third play Shrine begins by giving us a glimpse of that question, and opens up an ocean more to do with grief and loss, and how we as individuals and as a society deal with these matters. In the wake of their son Jack Mansfield’s (Christian Taylor) death - a car accident, suspicious circumstances Adam and Mary Mansfield (Chris Bunworth and Alexander Fowler) find their previously solid marriage now disintegrating. Mary wants to talk about Jack’s death all the time, while the stoic Adam can’t - or won’t
Stephanie-Bowie Liew
32 • THE MUSIC • 31ST MAY 2017
20th Century Women
20th Century Women Film In cinemas now
★★★★ Writer-Director Mike Mills has impressed with earlier films Thumbsucker and Beginners, which won lead actor Christopher Plummer an Oscar. While Beginners was about Mills’s father, 20th Century Women is a loving dedication to his mother, played prodigiously by Annette Bening. It’s also a wonderful character study for all of its players. The setting is Santa Barbara 1979, where mid-50s single mother, Dorothea (Bening), owns a huge house where she lives with her 15-year-old son, Jamie (Lucas Jade Zumann in a memorable performance). Also sharing the fixer-upper property are paying tenants — 26-year-old photographer Abbie (Greta Gerwig) and William (Billy Crudup). Rounding out the extended family is Jamie’s childhood friend, the depressed and sexually experienced Julie (Elle Fanning). It’s a great cast and they seem to relish Mills’ insightful and refreshing script that takes us through the political, cultural and musical signs of the times — from Abbie, with her dyed red hair dancing her cares away at punk concerts, to everyone watching President Carter give a badly received speech on TV, to Jamie enjoying the exhilaration of skateboarding. The plot ambles along, taking you on its journey, with the one major inciting incident causing Dorothea to think that Jamie needs more than her for adolescent guidance. Rather than asking a male to mentor him, she enlists Abbie and Julie to help him become a ‘good man’, resulting in humour as they introduce him to feminist literature. Jamie takes it to heart and gets punched out by a young thug when he tells him his girlfriend probably isn’t having an orgasm if he isn’t giving her clitoral stimulation. 20th Century Women does indeed look at that era’s impact on the women in it, with Dorothea’s life spanning the 1920s to nearly the turn of the millennium. It uses music, voiceover narrations from the characters, photographs and other archival footage to weave its spell of nostalgia, hope, and love. It’s a winner. Vicki Englund
OPINION Opinion
Howzat!
Local Music By Jeff Jenkins Tighten Up What have been the greatest partnerships in Australian music? A few come to mind: Vanda & Young, Grant McLennan and Robert Forster, John Farnham and Glenn Wheatley, Sean Kelly and James Freud, Mike Rudd and Bill Putt, Chrissy Amphlett and Mark McEntee, Kylie Minogue and Terry Blamey. Then there’s Dave Graney and Clare Moore. Around this time of year, Howzat! speculates on who should enter the ARIA Hall of Fame. How ‘bout Dave and Clare? This has been a unique union, Australian music’s greatest husband-and-wife team. Dave - Mt Gambier’s “Mr Magic” - and Clare - one-time member of Sister Janet Mead’s band in Adelaide - have been making music together since 1978. They’ve lost count of the number of albums. For the past year, they have been releasing a digital single every month, which they’ve now compiled on a CD, Let’s Get Tight (“for people who still have the players in their cars or in their homes, people like us”). “This is roughly the 25th or 26th standalone physical album,” they say. “Not counting compilations (three), film soundtracks (two) and digital-only albums (five).”
Sometimes befuddling, always beguiling, Dave and Clare have taken us on a terrific trip. They make music because they love it. And they’re constantly gigging - up next is a Coral Snakes show at Memo Music Hall on Saturday. Howzat! once asked Dave if he and Clare were competitive. “Yeah,” he laughed, “I’m always trying to get all hot and bothered and jump around like an old goat and Clare likes to play it her way and deliver her payload in her own time. We’re both hired killers, working for the same agency, but she’s methodical and cruel, and I’m a giggling fool.” Their titles have always amused. The new collection includes I’m A Good Hater, This Is The Deadest Place I’ve Ever Died In (“I ain’t no party pooper,” Dave declares. “This place has pooped”), Are You Out Of Your Mind? (Get Back In), I Need To Be Hot and I Ain’t Hi Vis, which Dave explains is
Dave Graney & Clare Moore
about workmen wearing hi vis gear “and how trusted and authentic” they are. “As opposed to musicians and singers who are mostly illegitimate poseurs unless they are wildly, undeniably successful.” Dave and Clare have been successful on their own terms. It’s time they were celebrated by the industry. Hail Mary Don’t miss Electric Mary, one of this city’s finest rock bands, at the Corner on Friday. Hip Hip Next year is going to be a big one for Kylie Minogue, who turned 49 this week (28 May). Hot Line “I’m never off” - Dave Graney , I’m Never Off.
THE MUSIC • 31ST MAY 2017 • 33
OPINION Opinion
The Get Down
Trailer Trash
Get It To g et her Hip Hop With
A
lmost everyone in a position to read this column is white or, to get a bit intellectual: James d’Apice socioeconomically white. This means that our engagement with black culture must always be that of an outsider looking in. The idea that white people can unproblematically engage with black culture is arrogant, and willfully ignorant. All of which is to say that the end of Baz Luhrmann’s The Get Down, a $120 million dollar Netflix love letter to the early days of hip hop, is not necessarily the tragedy some frame it as. If you’ve got a face full of Botox and only got interested in hip hop because you’ve been paid a fortune, it’s difficult to see the cancellation of your new program as especially sad. My response to the demise of Luhrmann’s TV show is reminiscent of the La La Land response I alluded to when I reviewed Bliss N Eso’s new album recently in these pages: white people commenting on black culture (and, in particular, presuming to do black culture “authentically”) sits uneasily. One of the most prominent features of white privilege is the ability to forget how privileged we are. Well, I would like to do my bit to say: no more. No matter how many times a Moulin Rouge director namechecks Rahim (and spells his name wrong) or how sick your mate’s flow is, remember hip hop is an artform we are so desperately fortunate, and so far from entitled, to spend any time with.
Wa ke The Dea d
Punk And Hardcore With Sarah Petchell
T
his week’s column might not be very punk rock related, because it’s about the death of Chris Cornell. But here’s my personal connection — Soundgarden were my favourite of the Seattle music scene of the late ‘80s and early ‘90s even though, unlike their fellows, they were more influenced by Black Sabbath than by punk rock. They were my introduction to heavy music and without Soundgarden, I wouldn’t have
34 • THE MUSIC • 31ST MAY 2017
Baywatch
developed the love and passion for punk and hardcore that I have today. And the vocals of Chris Cornell were the sound of Soundgarden. My love of the band is inextricably linked with my love of his vocals. So finding out that he had passed away was quite distressing for me. I found out when I pulled my car into a car park for an appointment. I sat in my car for 15 minutes trying to figure out whether it was true or a hoax, and then trying to come to an understanding of what had happened. Then the news that he had committed suicide came through the next morning. And what was already quite a shock, became something really sad. So for me, this whole experience of dealing with the grief around the death of a hero has become about being a better friend to friends that experience mental health issues. It’s about checking in occasionally and making sure that they’re ok. It’s about being there for them when they need to talk. I’m not the best at this, but I’m trying, and I think that’s the best that we can all do.
OPINION Opinion
Dives Into Your
A
s of late, I find myself Screens And increasingly disliking Dwayne Idiot Boxes Johnson, the artist formerly known as With Guy Davis The Rock, which is an inconvenient and possibly blasphemous position to take in 2017. Donâ&#x20AC;&#x2122;t get me wrong, Iâ&#x20AC;&#x2122;m not actively wishing harm or ill fortune upon the manmountain star of The Fate Of The Furious and the upcoming Baywatch, although anyone who sees Baywatch would have just cause for hoping something nasty befalls pretty much everyone involved in it. But Johnsonâ&#x20AC;&#x2122;s profile is sky-high at the moment, and as such everything he says and does is extravisible... and Iâ&#x20AC;&#x2122;m not especially enamoured of what Iâ&#x20AC;&#x2122;m seeing. Could it be garden-variety male-pattern jealousy Iâ&#x20AC;&#x2122;m feeling? Somehow, I doubt it. Johnson does have that Herculean physique that is possessed by someone who has actually played Hercules, but Iâ&#x20AC;&#x2122;m becoming ever-aware of the time and effort that goes into maintaining such a physique and, quite frankly, that is time I could spend sleeping or sampling the growing number and variety of artisanal doughnut thatâ&#x20AC;&#x2122;s out there. And itâ&#x20AC;&#x2122;s not that Iâ&#x20AC;&#x2122;m jealous of the dudeâ&#x20AC;&#x2122;s charisma, which I admit is abundant. That strikes me as an innate quality, which it would be foolish for me to covet. But when it comes to Johnsonâ&#x20AC;&#x2122;s presence and likeability, it seems to me that the upkeep of that is also coming across as a full-time job, one where the hours and toil have increased as his profile has risen. This is part of the stardom process, of course â&#x20AC;&#x201D; if you want to reach the top and stay there, you have to do the work. Maybe my increasing antipathy towards Johnson is that heâ&#x20AC;&#x2122;s tirelessly hitting the campaign trail, and doing so in a way that indicates youâ&#x20AC;&#x2122;re gonna Vote 1 Dwayne... or else. Iâ&#x20AC;&#x2122;ve never been a wrestling fan, so I have little interest in how Johnson created and cultivated his Rock persona back in the day. But I did appreciate when he started playing roles in movies how he didnâ&#x20AC;&#x2122;t wholly lean on his reputation or his build. He was quick to demonstrate a self-deprecating sense of humour, a joy in entertaining his audience and, most pleasingly, a willingness to stretch himself. Even when he didnâ&#x20AC;&#x2122;t quite pull off a performance, the effort was welcome. But something happened around the time Johnson joined the Fast & Furious
franchise in its fifth (and, letâ&#x20AC;&#x2122;s be honest, best) chapter. In the Fast... films that followed, the big, bold swagger that initially felt enjoyably outlandish evolved into something a bit conspicuously alpha-male. The vibe that Johnson gave off used to be along the lines of â&#x20AC;&#x153;Yes, I could snap all yâ&#x20AC;&#x2122;all into kindling with my pinky finger... but I never wouldâ&#x20AC;?. Lately, though, it feels more like â&#x20AC;&#x153;Yes, I could snap all yâ&#x20AC;&#x2122;all into kindling with my pinky finger but I probably never would...just donâ&#x20AC;&#x2122;t forget that I couldâ&#x20AC;?. And his sense of humour has gone from being in on the joke to being the big man on campus who actively cracks the joke that youâ&#x20AC;&#x2122;d really better laugh at. It was evident in Fate Of The Furious and itâ&#x20AC;&#x2122;s really evident in Baywatch, which is a pretty terrible example of the tongue-in-cheek TV adaptation the Jump Street comedies pulled off so successfully. No one gets out of Baywatch unscathed, but Johnsonâ&#x20AC;&#x2122;s performance kind of embodies everything thatâ&#x20AC;&#x2122;s wrong with it. I donâ&#x20AC;&#x2122;t like disliking Dwayne Johnson â&#x20AC;&#x201D; he strikes me as a guy with his heart in the right place â&#x20AC;&#x201D; but heâ&#x20AC;&#x2122;s not making it easy to like him right now.
â&#x201C;?â&#x201C;?â&#x201C;?â&#x201C;&#x2039;â&#x201C;&#x161;â&#x201C;?â&#x2019;Şâ&#x2019;Şâ&#x201C;&#x17E;â&#x201C;&#x2019;â&#x201C;?â&#x2019;Şâ&#x2019;Şâ&#x201C;?â&#x201C;&#x2122;â&#x201C;&#x2013;â&#x201C;&#x17D;â&#x2019;¸ â&#x2019;¸ â&#x2019;¸ â&#x201C;&#x2013;â&#x201C;Żâ&#x201D;&#x20AC;â&#x201C;Żâ&#x201C;śâ&#x2019;Şâ&#x2019;Şâ&#x2019;źâ&#x2019;śâ&#x2019;Şâ&#x2019;źâ&#x201C;&#x20AC;â&#x201C; â&#x2019;Şâ&#x201C;&#x2013;â&#x201C;łâ&#x201C;žâ&#x201C;žâ&#x201C;śâ&#x201C;Żâ&#x2019;Şâ&#x201C;?â&#x201C;šâ&#x201C;śâ&#x201C;śâ&#x201C;łâ&#x201C;¸â&#x201C;˝â&#x2019;Şâ&#x201C;?â&#x201C;ž
30/70 30/ 0//70 70 Collective Collec Collec Co Col le tiv tiive & Presents Pr Prese e nts es
ALLYSHA JOY Saturday 10th of June Kew Court House 188 High Street Kew Tickets
THE MUSIC â&#x20AC;˘ 31ST MAY 2017 â&#x20AC;˘ 35
Comedy / G The Guide
Orsome Wells
Wed 31
Cloud Control
DJ Shadow: 170 Russell, Melbourne Omelette + Fabric: 303, Northcote
The Ians + Puffer + Bloody Aztec + The Miyagis: Bar Open, Fitzroy
The Round Up with Sara Tindley + John Flanagan: Bella Union, Carlton South Bill Evans Band + Dean Brown: Bird’s Basement, Melbourne
The Music Presents 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 Mick Thomas & Roving Commisission: 17 Jun Caravan Music Club 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 Vera Blue: 8 Aug Tap House Bendigo, 11 Aug 170 Russell, 12 Aug Wool Exchange Geelong At The Drive In: 28 Sep Festival Hall Alt-J: 7 Dec Sidney Myer Music Bowl
Muddy’s Blues Roulette with Jimi Hocking: Catfish, Fitzroy Steve Hughes: Comic’s Lounge, North Melbourne Alysha Joy + Bastard Amber + Danika & Elle: Evelyn Hotel, Fitzroy Geryson + Kandere + Sexistential Waterfall: Grace Darling Hotel, Collingwood Bill Callahan + David Quirk: Howler, Brunswick 2nd Show feat. Bill Callahan + David Quirk: Howler, Brunswick Lomond Acoustica feat. Leslie Avril + Sam Lemann + Stefanie Duzel + Kimberley Wheeler: Lomond Hotel, Brunswick East Blunderbuss + Ungus Ungus Ungus: Open Studio, Northcote
Proud Control Still reeling from the release of their latest single Rainbow City, Cloud Control will be hitting up Howler on Friday to celebrate. Joining the festivities are Brightness and OKBadlands. Customer + Department + Latreenagers: The Tote (Front Bar), Collingwood
Evan Dando + Alexander Biggs: Howler, Brunswick
Two Steps on the Water + Totally Mild + Lalic: The Tote (Band Room), Collingwood
Rory Ellis: Lomond Hotel, Brunswick East
Residual: Railway Hotel, Brunswick
Changelings + Eddy Dillon + Polykite: The Workers Club, Fitzroy
The Flaming Mongrels: Retreat Hotel, Brunswick
Trivia: Wesley Anne, Northcote
The Dorks + The Scraggers: The Bendigo, Collingwood
Baby Giant + The Tom Pretty’s + Odd Souls + Sam Mcleod: Yarra Hotel, Abbotsford
Thu 01 Daniel Champagne: Unwined Cellar Bar, Geelong Kickin The B at 303 feat. Buttered Loaf: 303, Northcote
Sun Kil Moon: Melbourne Recital Centre, Southbank Winston Surfshirt + Wallace + Esese: Northcote Social Club, Northcote Yohai Cohen: Open Studio, Northcote Joyce Manor + Oslow + Carb on Carb: Reverence Hotel, Footscray Taasha Coates (The Audreys) : Spotted Mallard, Brunswick Monkey Butler + Jason Lives + Fortnight Jumbo + Jimmy Roberts: The Bendigo, Collingwood
Bob Evans + Alana Wilkinson: Baha Tacos, Rye Refraction
Chemical Refraction Jazz it up this Thursday night when Refraction hit up Charles Weston Hotel to play some of the old and the new as they play a string of album launch gigs around Melbourne this month.
Wine, Whiskey, Women feat. Emily Daye + Freya Hanly: The Drunken Poet, West Melbourne Mortgage + Hexdebt + Flood Plains + Protection: The Gasometer Hotel (Upstairs), Collingwood Darling James + Near Myth + Sandy Hsu: The Old Bar, Fitzroy
36 • THE MUSIC • 31ST MAY 2017
Otira Rouge + Ben Matlby Quartet + Baggage: Bar Open, Fitzroy
Polish Club
Bill Evans Band + Dean Brown: Bird’s Basement, Melbourne Death Disco feat. Resident Kiti + Dolly: Boney, Melbourne JVG’s In Oakleigh Tonight with Jon Von Goes + Angie Hart + Paulie Stewart: Caravan Music Club, Oakleigh Refraction: Charles Weston Hotel, Brunswick
Alright, Alright, Alright
Sweethearts + DJ Vince Peach + DJ Pierre Baroni: Cherry Bar, Melbourne
Another Corner Hotel show has been added for Sydney soul rockers Polish Club this Sunday following the majority of shows selling out on their Alright Already album tour. This is their final show so be quick or live with crippling regret.
Steve Hughes: Comic’s Lounge, North Melbourne Hits At The Ev with DJ Frankie Hollywood + DJ Disco Lemonade + DJ Rudy Mah: Evelyn Hotel, Fitzroy Crystal Castles + Crooked Colours: Forum Theatre, Melbourne
Gigs / Live The Guide
Airling
Bill Evans Band + Dean Brown: Bird’s Basement, Melbourne
Taasha Coates (The Audreys) : Kingston Arts Centre & Kingston City Hall, Moorabbin
Rory Ellis: Tanswells Commercial Hotel, Beechworth
Stars: Caravan Music Club, Oakleigh
Melbourne International Jazz Festival feat. Bob Sedergreen: Lido Cinemas, Hawthorn
My Friend The Chocolate Cake: Terang Civic Centre, Terang
Melbourne International Jazz Festival feat. James Sherlock Quartet + Carl Mackey: Lido Cinemas, Hawthorn
Winter Warriors 2 with Headless + Turret + Wartooth + Armata + Winter Valley: The Bendigo, Collingwood
Ezekiel Ox + Figures + Notice of Eviction: Cherry Bar, Melbourne
Christina Green + Accidental Bedfellows + Max Teakle & his Honky-Tonky Friends: Lomond Hotel, Brunswick East
Justin Bernasconi: The Bridge Hotel, Castlemaine
Steve Hughes: Comic’s Lounge, North Melbourne
Josh Deeble: Long Play, Fitzroy North
The Attention Seekers + The Shakes + Dal Santo: Catfish (Upstairs), Fitzroy Knock Off Drinks with Chris Wilson: Cherry Bar (5.15pm), Melbourne
Head In The Clouds With a sold out Saturday show, angelic singersongwriter Airling kindly added a Sunday gig at Northcote Social Club for us. Celebrating latest album Hard To Sleep, Easy To Dream, you’ll be the one losing sleep if you miss it. Meruka + Longboys + Amiko + Anti Violet: The Brunswick Hotel, Brunswick Ladies to the Front: Celebrating Women in Electronic Music with Lacuna + Ok Sure! + Tetrahedra + KT Spit + Francesca Gonzales + Aeora + Droplet: The Gasometer Hotel, Collingwood
Davies West: Compass Pizza Bar, Brunswick East Electric Mary + Dead City Ruins + Dirt River Radio + Tequila Mockingbyrd: Corner Hotel, Richmond
White Lightning + Jimmy Maddon + Frank Bell: Mr Boogie Man Bar, Abbotsford
Bob Evans + Alana Wilkinson: The Croxton (Front Bar), Thornbury Barbarion: The Curtin, Carlton
Melbourne International Jazz Festival feat. Brenton Foster 6tet + The Steve McQueens: Darebin Arts & Entertainment Centre, Preston
Changelings
Melbourne International Jazz Festival feat. Roger Clarke Quintet + Sarah Maclaine: Dizzy’s Jazz Club, Burnley Wattle & Wood: Edinburgh Castle Hotel (Front Bar), Brunswick Droplet + Oolluu + Youthfire: Evelyn Hotel, Fitzroy The Smith Street Band: Forum Theatre, Melbourne
Splendidid + Hills Hoist + Picket Palace + Yollks: The Gasometer Hotel, Collingwood
White Walls + Possible Humans + No Sister: Grace Darling Hotel, Collingwood
Slim Jeffries + Tony Dork + Old El Paso: The Old Bar, Fitzroy
Melbourne International Jazz Festival presents A Celebration of Ella & Louis feat. Patti Austin + James Morrison + Melbourne Symphony Orchestra (MSO): Hamer Hall, Melbourne
Egypt Lies + Tarquin Manek + Ying-Li Hooi: The Post Office Hotel, Coburg
Body Count + A.B. Original + Void Of Vision: Margaret Court Arena, Melbourne
Turk Tresize + As The Crow Flies + Black Pink + The Life of Riley: The Brunswick Hotel, Brunswick
Solidarity Rocks with Bamtastic Chamber + Doona Waves + Bastard Amber + Abe Nouk: The Toff In Town, Melbourne
A Change Is Comin Dream pop act Changelings are finally stepping into the spotlight with their first live show under their new name. After a busy year recording debut album Poppyfields, the indie-rockers are hitting up The Workers Club this Wednesday night.
The Moth Body + Green Mules + Alpha Hall: The Tote (Upstairs), Collingwood Hearing + Treehouse + Dianas + Jaala: The Tote (Band Room), Collingwood
NGV Friday Nights feat. Two Steps on the Water: National Gallery of Victoria (NGV), Southbank
Dalli + Matt Crowley: The Workers Club, Fitzroy Virgil Donati + Thomas Lang: University of Melbourne, Parkville Long Stand Duo: Wesley Anne (Front Bar), Northcote Great Places + Borneo + Public High + Sophisticated Dingo: Woody’s Bar, Collingwood GOD$ + Diamonds Of Neptune + Coloured Clocks: Yarra Hotel, Abbotsford
Fri 02 Rhythm of Rights feat. Squid Nebula + Rat Child + Lunatones: 303, Northcote
James Ellis & The Jealous Guys
Jealous Whisper Forget the looming Mondayitis and take some time out to gently sway to the crooning tunes of Americana country group James Ellis And The Jealous Guys down at Wesley Anne Sunday night.
Winston Surfshirt + Wallace + Nasty Mars: Northcote Social Club, Northcote Deep Street Soul + Carla Troiano: Open Studio, Northcote Shag Rock: Penny Black, Brunswick La Danse Macabre with Brunswick Massive: Rainbow Hotel, Fitzroy The Balls + Johnny Devilseed: Retreat Hotel, Brunswick Carb on Carb + Prizegiving + Shiny Coin + Flood Plains: Reverence Hotel, Footscray Nathan Barato: Revolver Upstairs, Prahran DC Breaks: Rubix The Venue, Brunswick
Belove + Cyclo + Junor: Bar Open, Fitzroy In Store with The Meltdown: Basement Discs (12.45pm), Melbourne
Cloud Control + OKBadlands + Brightness: Howler, Brunswick
Daniel Champagne: Saints & Sailors, Portarlington
Ogopogo + Sugar Fed Leopards + Stav: Bella Union, Carlton South
Rolling Blackouts Coastal Fever + Loose Tooth: Karova Lounge, Ballarat
Welcome Home Guitar Slam with Geoff Achison + Justin Yap Band + Sammy Owen: Spotted Mallard, Brunswick
Dan Dinnen: The Drunken Poet, West Melbourne Cable Ties + TV Haze + Loobs: The Eastern, Ballarat East Cousin Tony’s Brand New Firebird + Swamp + Hollie Joyce: The Gasometer Hotel, Collingwood Fantis Atlantis + Morning Morning + International Velvet: The Gasometer Hotel (Upstairs), Collingwood Absolutely 80s feat. Brian Mannix + Scott Carne + David Sterry + Dale Ryder: The Grand Hotel, Mornington Melbourne International Jazz Festival feat. Tal Cohen + Greg Osby: The Jazzlab, Brunswick Ben Wright Smith: The Loft, Warrnambool Los Tones + Brad Pot + Private Function + Crocodylus: The Old Bar, Fitzroy Melbourne International Jazz Festival feat. Donny McCaslin Group: The Toff In Town, Melbourne
THE MUSIC • 31ST MAY 2017 • 37
Comedy / G The Guide
TOL + Reaper + Bitumen + Pest: The Tote (Upstairs), Collingwood
Dr Colossus: The B.East, Brunswick East
Toe To Toe + Join The Amish + Scratch & Sniff + The Fckups + Substance Abuse + Tirades: The Bendigo, Collingwood
808s & The Greatest Hits + Moonlover + Hachiku: The Tote, Collingwood Rory Ellis: The Westernport Hotel, Phillip Island
Cable Ties + Rolling Blackouts Coastal Fever + Loose Tooth + TV Haze: The Bridge Hotel, Castlemaine
Polish Club: The Workers Club Geelong, Geelong
Pirra + Jack The Fox + Jackie Got Lemons + Dalli: The Brunswick Hotel, Brunswick
Treehouse + Dag + Parsnip + Hexdebt + Karli White: Thornbury Bowls Club, Thornbury
Shane Diiorio Band: The Brunswick Hotel, Brunswick
Amy Winehouse 10th Anniversary of Back to Black with Atlanta Coogan & The Little Big Band: Thornbury Theatre, Thornbury Melbourne International Jazz Festival feat. Stephen Magnusson: Uptown Jazz Cafe, Fitzroy The Boys: Wesley Anne (Front Bar), Northcote Jhana Allan + Cathy Burke: Wesley Anne, Northcote Smoking Martha: Whole Lotta Love, Brunswick East
Northeast Party House + Mosquito Coast + Smoke Rings: The Croxton, Thornbury DJ Seinfeld + Steve Be Calm + DJ Heure: The Gasometer Hotel, Collingwood
Evan Dando
Melbourne International Jazz Festival feat. Yotam Silberstein Quartet: The Jazzlab, Brunswick
Evan Almighty Returning to Australian shores for the reissue of Baby I’m Bored (2003) is none other than Lemonheads frontman Evan Dando. Don’t miss out, his final Aussie headline show takes place at the intimate Howler this Thursday night.
Mesa Cosa + DJ Lou Lou: Woody’s Bar, Collingwood Bill Evans Band + Dean Brown: Bird’s Basement, Melbourne Jarrow
Bill Chambers + Raechel Whitchurch: Caravan Music Club, Oakleigh The Zilzies + Barefoot Spaceman + mara: Catfish (Upstairs), Fitzroy David Bramble: Charles Weston Hotel, Brunswick
Gesundheit On top of the release of Hachiku’s self-titled debut EP on Friday, she will be starting her residency at The Tote starting this Sunday, supported by Jarrow and Hexdebt.
Neighbourhood Youth: Yah Yah’s, Fitzroy Gonzo + Borneo + Messy Mammals + Smoke Rings: Yarra Hotel, Abbotsford
Sat 03 Wendy Rule: 303, Northcote Afternoon Show with Mal Webb + Kylie Morrigan: 303, Northcote Daniel Champagne: Baha Tacos, Rye The New Mono’s + SK Simeon + Randy Castilla: Bar Open, Fitzroy Soul A-Go-Go feat. DJ Vince Peach + DJ Shio + DJ Richie 1250: Bella Union, Carlton South
38 • THE MUSIC • 31ST MAY 2017
Melbourne International Jazz Festival feat. Peter Baylor’s Ultrafox: Lido Cinemas, Hawthorn Heartwood + Dennis Lui: Lomond Hotel, Brunswick East Fleshgod Apocalyspe + Hybrid Nightmares + Earth Rot + Hollow World: Max Watt’s, Melbourne
Soft Power + The Girlatones: Compass Pizza Bar, Brunswick East
Melbourne International Jazz Festival feat. Kenny Barron Trio: Melbourne Recital Centre, Southbank
Polish Club + Maddy Jane + Going Swimming: Corner Hotel, Richmond
Dave Graney & The Coral Snakes: Memo Music Hall, St Kilda
Melbourne International Jazz Festival - Tribute to Blue Note with Rory Clark + more: Dizzy’s Jazz Club, Burnley
Sunborne + Creature Fear + The Great Emu War: Mr Boogie Man Bar, Abbotsford
Rachel Caddy: Edinburgh Castle Hotel (Front Bar), Brunswick
Benny Walker + Alice Skye + Nathan Seeckts + Rach Brennan + more: Narana Aboriginal Cultural Centre, Grovedale
Massive + Alt Kin + Sonic Circus: Evelyn Hotel, Fitzroy
Airling + Jack Grace + Romeo Moon: Northcote Social Club, Northcote
Melbourne International Jazz Festival - Second Line Street Party: Federation Square, Melbourne
TJ Cushing + Dogood + Sam Reiher: Open Studio, Northcote
Canyon: Flying Saucer Club, Elsternwick
A Rioting Mind + The Arcane Following + How To Stare At Ceilings + Weatherboard House: Retreat Hotel, Brunswick
The Smith Street Band + Joyce Manor + Ceres + Allison Weiss: Forum Theatre, Melbourne
Afternoon Show with Duncan Phillips & The Long Stand: Retreat Hotel, Brunswick
Shrimpwitch + Pillow Pro + Plaster of Paris + Rhysics: Grace Darling Hotel, Collingwood
The Senegambian Jazz Band: Reverence Hotel, Footscray
Melbourne International Jazz Festival presents A Celebration of Ella & Louis feat. Patti Austin + James Morrison + Melbourne Symphony Orchestra (MSO): Hamer Hall, Melbourne
Blunt Shovel + Headless + Strict Vincent + Feast of Crows: Reverence Hotel, Footscray
Miserable Little Bastards: Labour In Vain, Fitzroy
Far Away Stables: Royal Melbourne Hotel, Melbourne
Melbourne International Jazz Festival feat. Emma Gilmartin Quartet: Lido Cinemas, Hawthorn
Angie: Some Velvet Morning, Clifton Hill
Approachable Members of Your Local Community: Revolver Upstairs, Prahran
My Friend The Chocolate Cake: Suttons House of Music, Ballarat
Society of Beggars: The Loft, Warrnambool Yachay + Hobson’s Bay Coast Guard + Lockewave + Trampoline Death Machine + Fool’s Gold: The Old Bar, Fitzroy Deaf Wish + The Blinds: The Post Office Hotel, Coburg Sandy Rivera: The Prince, St Kilda Melbourne International Jazz Festival feat. Donny McCaslin Group: The Toff In Town, Melbourne Zombitches + The Democratic People’s Republic of Surf + Sun & Bleach: The Tote (Band Room), Collingwood Holy Serpent + Seedy Jeezus + LSDoom: The Tote (Upstairs), Collingwood Vicious Circle + Dead Root: The Tote (Front Bar), Collingwood Belle Haven + Ambleside + Deadlights + Aburden: The Workers Club, Fitzroy Matinee Show with Shadowqueen + Chasing Lana + Shiver Canyon + Tell Amarosa: The Workers Club, Fitzroy
Devil Goat Family String Band
Kidding Around A unique name with a unique sound to match, Devil Goat Family String Band play high energy bluegrass like nobody’s business. Chuck on your dancin’ shoes and catch them for free down at Edinburgh Castle Hotel Sunday night.
Gigs / Live The Guide
Bob Evans + Alana Wilkinson + Rachael Brennan: The Workers Club Geelong, Geelong
The Devil Goat Family String Band: Edinburgh Castle Hotel (Front Bar), Brunswick
The Stetson Family + The Dusty Millers: Union Hotel, Brunswick
Castilles + Pilgrim: Evelyn Hotel, Fitzroy
Melbourne International Jazz Festival feat. Soultrane: Uptown Jazz Cafe, Fitzroy Zoe Fox & The Rocket Clocks: Wesley Anne (Front Bar), Northcote
Ultimate Eagles: Hamer Hall, Melbourne Snow Cone with Glovv + slimbillgates + Meme Girls: Howler, Brunswick The Terry McCarthy Special: Labour In Vain, Fitzroy
Songwriter Saturday with David Cosma + Damon Smith + Adrian Whyte + Cookie Baker + Adam Coad: Wesley Anne, Northcote
Marty Kelly & Co. + Greg Champion & The Useful Members Of Society: Lomond Hotel, Brunswick East
Ninetynine + NQR + Hana Maru + Jules Sheldon: Yarra Hotel, Abbotsford
Daniel Champagne: Martians Cafe, Deans Marsh
Tobias Hengeveld + Broads + Cam Butler: The Gasometer Hotel, Collingwood
Will Coyote + Montague + Alex McRae: The Gasometer Hotel (Upstairs), Collingwood Melbourne International Jazz Festival feat. Bill Frisell: The Jazzlab, Brunswick Afternoon Show with Cat Sietkiewicz + Grace Lawry: The Old Bar, Fitzroy Local Coward: The Old Bar, Fitzroy Rory Ellis: The Standard Hotel, Fitzroy Melbourne International Jazz Festival feat. Ari Hoenig Trio: The Toff In Town, Melbourne Hachiku + Hexdebt + Jarrow: The Tote (Front Bar), Collingwood Afternoon Show with The Dragoons + Sophisticated Dingo + Rayza: The Tote (Band Room), Collingwood
Shrimpwitch
The Smith Street Band
Maddison McNamara + Ceeko + Kaiit + Tino Soul + more: The Vic Bar, Melbourne
Surrender To The Smith Powerhouse outfit The Smith Street Band are at Forum Theatre supporting their latest release, More Scared Of You Than You Are Of Me. Taking over two nights, you can catch them on either this Friday or Saturday night.
OO: The Workers Club, Fitzroy Catfish Voodoo + Dan Warner + Marcel Borrack: Union Hotel, Brunswick James Ellis & the Jealous Guys: Wesley Anne (Front Bar), Northcote
Melbourne International Jazz Festival feat. Jim Black Quartet: The Toff In Town, Melbourne
Aburden: Wrangler Studios, West Footscray
Brooklyn’s Finest: The Workers Club, Fitzroy
The Good Minus + The Never Never + Mick Hazelman: Yarra Hotel, Abbotsford
Melbourne International Jazz Festival feat. Kavita Shah: Uptown Jazz Cafe, Fitzroy International Velvet + slimbillgates + Jazz: Yarra Hotel, Abbotsford
Belove
Scrambled Or Fried?
Tue 06 Melbourne International Jazz Festival feat. Cory Henry: Arts Centre Melbourne (The Channel), Melbourne
Shrimpwitch know how to do an EP launch in style. On Saturday their latest offering Eggs Eggs Eggs will be debuting on an orange, 7” vinyl. Catch them with Pillow Pro, Plaster Of Paris and Rhysics at Grace Darling Hotel.
Make It Up Club feat. Jim Denley + Robbie Avenaim + Dale Gorfinkel + Tarquin Manek + more: Bar Open, Fitzroy Shiva & The Hazards : Cherry Bar, Melbourne
Sun 04 Afternoon Show with Darebin Songwriters Guild: 303, Northcote Eureka: 303, Northcote Melbourne International Jazz Festival - Jazz High Tea with Alinta & the Jazz Emperors: Arts Centre Melbourne (The Pavilion), Melbourne Melbourne International Jazz Festival feat. Carla Bley Trio + Paul Grabowsky: Arts Centre Melbourne (The Channel), Melbourne TV Telepath + Laedj + Old Sugar: Bar Open, Fitzroy Bill Evans Band + Dean Brown: Bird’s Basement, Melbourne Matinee Show with Ross Wilson & The Peaceniks: Caravan Music Club, Oakleigh The Johnny Can’t Dance Cajun Band: Catfish (Front Bar), Fitzroy Polish Club + Maddy Jane + Going Swimming: Corner Hotel, Richmond
Hive Park: Memo Music Hall, St Kilda Powerhouse Blues Band + Johnny Krowfoot: Mr Boogie Man Bar, Abbotsford Airling + Jack Grace + Romeo Moon: Northcote Social Club, Northcote Duncan Phillips & The Long Stand: Rainbow Hotel, Fitzroy Sam See + Gly Mason + The Pardoners: Royal Oak Hotel, Fitzroy North
Love It Making their ascent up the triple j unearthed charts with latest single Hey Girl, Belove are kicking down the doors of Bar Open Friday night to celebrate. Catch them and indie R&B act Cylo from 8.30pm.
Toe To Toe: Singing Bird Studios, Frankston Roz Girvan + Gallie: Spotted Mallard, Brunswick Horns Of Leroy + Joe Camilleri + Carmen Smith + Hue Blanes: The B.East, Brunswick East Pigs of the Roman Empire + John Doe & The Shallow Graves + Jess Parker &The Troubled Waters: The Brunswick Hotel, Brunswick Afternoon Show with Lions Den + Sweettime: The Brunswick Hotel, Brunswick
Mon 05 The Moth Story Slam with Various Artists: Howler, Brunswick Slava Grigoryan + Australian String Quartet: Melbourne Recital Centre, Southbank Dan Parsons: Retreat Hotel, Brunswick Melbourne International Jazz Festival feat. Tigran Hamasyan: The Jazzlab, Brunswick
Melbourne International Jazz Festival feat. Craig Schneider Trio: Dizzy’s Jazz Club, Burnley Phlo: Evelyn Hotel, Fitzroy Big Tuesday String-A-Long with Liz Stringer + Dr Lou Bennett: The Gasometer Hotel, Collingwood Melbourne International Jazz Festival feat. Tigran Hamasyan: The Jazzlab, Brunswick Troika + Days Of Our Lives + Shockwaves: The Old Bar, Fitzroy Melbourne International Jazz Festival feat. Berardi, Foran, Karlen + Pascal Schumacher: The Toff In Town, Melbourne Jess Cornelius + Craig Dermody: The Tote (Front Bar), Collingwood The Goon Lagoon + Longboys + Treats: The Workers Club, Fitzroy Melbourne International Jazz Festival feat. Andrea Keller Trio: Uptown Jazz Cafe, Fitzroy The Moulin Beige: Wesley Anne, Northcote
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