BSide Magazine #31

ISSUE 0031 / May 14th - May 20th 2015

IT’S FREE - www.bsidemagazine.com.au

DIESEL ALSO INSIDE: Dragon, Carus Thompson, Broads The Fyoogs, Ben Salter, Brad Butcher Plus BOB’s BITS, TOUR GUIDE & LOCAL MUSIC NEWS

Opening night for The Rock Vault, which is set to feature Chris Finnen, Rockin’ Rob Riley, Mac Johnson (Macca), Ron Kosmider, Rino Cufone Jorge Jorquera, Tony Val, Chris Tucker, ‘Gonzo’ Kolke Buchek, Trapper Draper, Ross Brennan, Paul Curtis, Laurie Height and Kevy Metall, is Friday 29 May at Caos Café, 188 Hindley St. VIP tickets that offer a preshow, two free drinks and food before the doors open are now on sale through GSM Promotions at <facebook.com/ gsmpromo>.

To celebrate Clarity Records’ fifth birthday, A Day Of Clarity is to be held in Adelaide’s East End on Saturday 16 May at which some 24 acts will be playing in four venues including Clarity Records itself. West Thebarton Brothel Party will be taking advantage of the event to launch their Misphonia single alongside Sincerely, Grizzly and Slick Arnold in the beer garden of the Exeter Hotel, 246 Rundle St, from 5pm. From 9pm, The Exeter will play host to St Morris Sinners, Juliette Seizure & The Tremor Dolls and Stabbitha & The Knifey Wifeys. The Weight, Ghost Orchestra, Reactions, World View and Melchior will play Producers Bar, 235 Grenfell St, from 8pm, while Crown & Anchor, 296 Grenfell St, will serve up Heath Anthony, Nina & Rueben (from Hightime), Bec Stevens and Todd Fogerty in its front bar from 8pm. Crown & Anchor’s main room will have visiting Melbourne-based band Clowns playing alongside God God Dammit Dammit, Beaver, Summer Blood and Pro Tools from 7.30pm. Clarity Records, 60 Pulteney St, will also serve as a venue and will play host to intimate sets from Sparkspitter, Glass and Canidae, who will be undertaking their final show, from 8.30pm.

Adelaide’s Kaurna Cronin has announced a national tour to promote a bluesy new single, Inside Your Town Is Inside Your Head, which will have him heading to Sydney and Melbourne before heading back home to play Nexus Arts, North Tce, on Saturday 16 May. The Barossa Valley’s Sam Brittain will say farewell to his Australian audiences for a while by staging a show at The Wheatsheaf Hotel, 39 George St, Thebarton, from 9pm on Friday 19 June with special guests being Melbourne friends Amistat. Tickets via Moshtix or at the door for $15.

Satan’s Cheerleaders, The Villenettes (playing one of their last shows for a while) and Misfits Of Sythia will be having a big hit out at the Grace Emily Hotel, 232 Waymouth St, from around 9pm on Saturday 16 May. Free entry too and it marks the very first time all three bands have been together in the same room.

Adelaide’s The Clangers, who recently topped Three D Radio’s Top 20 + I Chart with their handcrafted, Matt Hills-produced debut EP, have a run of shows coming up including The Bridgeway Hotel, Bridge Rd, Pooraka, on Thursday 14 May as part of allages event Northern Exposure alongside Spacetrash, Carpedenim, Strange New Folk and A Loose Trust, The Bluebee Room, Pirie St, on Saturday 23 May and then Crown & Anchor, 196 Grenfell St, on Friday 6 June. And The Clangers will be handing out free copies of their debut CD at each show.

of course, the medieval-inspired group will once again celebrate the Winter Solstice on Saturday 13 June with full details to come in due course.

With a couple of key members having just returned from a overseas sojourn, Lady Voodoo & The Rituals are getting straight back into it and will be playing a free entry show every Thursday evening during the merry month of May at The Publisher’s Hotel, 110 Franklin St, from 8pm. The rootsy R&B-flavoured outfit will also be hitting Casablabla, 12 Leigh St, from midnight on Saturday 16 May with free entry prior to 10pm.

Adelaide R&B legends Gumbo Ya Ya will be premiering some new songs when they play The Magill Club, 6 Uren St, Magill, on Saturday 23 May at which they will be joined by swingin’ local swing band Lucky Seven. Take your dancin’ shoes! Tickets will be available at the door and there will also be food as well.

Busy boy Louis Donnarumma will be playing with his new live band when he does a show with Sasha March & The Dawnhorse and Tim Moore at Vinyl, 20 Gilbert Plc, on Friday 15 May from 9pm with an easy entry fee of $5.

Seasoned cover band Radio Hits will have their live CD available when they play The Monkey House (Lord Exmouth Hotel), 37 Exmouth Rd, Exeter, from 4-8pm on Sunday 17 May with Platinum Plus hitting the pub on Sunday 24 May. Free entry too.

Kitchen Witch and Love Cream will undertake a free entry affair from 9pm at Jetty Bar, Jetty Rd, Glenelg, on Saturday 23 May. The next AMC Session will be a jazzy affair as it is to be hosted by Keith Conlon and will feature performances from The Mike Stewart Big Band (featuring Bob Jeffrey), Marmalade Trio, Bill Polain and The New Cabal with a host of jazz luminaries to be inducted into the SA Music Hall Of Fame.

It will take place from 7.30pm on Friday 29 May at The Goodwood Institute, 166A Goodood Rd, Goodwood, with tickets already selling fast via <trybooking. com/129864>.

Fergus Maximus will be in solo mode when he launches his new CD (recorded live at The Austral and which comes in two editions of an EP and an LP) with help from special guest Kelly Menhennett at The Jade Monkey, 160 Flinders St, from 8pm on Saturday 29 May. Tickets will be at the door for $15 or $10 concession.

The Sons Of MOD are set to play Jive, 181 Hindley St, from 9pm on Saturday 6 June to coincide with DJ Craig’s Dig! at which he spins tunes from the ’60s from 11.30pm.

Shambolic Adelaide band The Shambolics have kicked off a month-long Friday evening residency from 5.30pm at Producers Bar, 235 Grenfell St. Free entry too. Pop along after you think you may have finished your week’s work.

Tickets will be limited to 500 when The Mark Of Cain, The Iron Sheiks (featuring some special guests), The Plauge (who will reform for this one show only) and Crackling Static Fuzz play Fowler’s Live, 58-70 North Tce, from 7pm on Sunday 7 June. Tickets will be at the door for $25 with all proceeds going to Rod Archer who is undergoing chemotherapy.

Bad//Dreems have announced a show at Jive, 181 Hindley St, on Friday 12 June, to launch new single, Cuffed & Collard, with tickets available from Moshtix. Be quick, though, as tickets are already selling fast.

Local songstress Kelly Brueher is hosting an already successful open mic evening every fortnight at Café Komodo, 118 Prospect Rd, Prospect, with the next one being held on Thursday 14 May. Registration is from 6pm and the festivities conclude at 9pm. Pop along.

The British Hotel, 13 North Pde, Port Adelaide, is now hosting a monthly Sunset Sessions. Held on the last Saturday of the month from 5-8pm, it will feature Koral Chandler on Saturday 30 May, Matt Ward and Max Savage on Saturday 27 June and Brenton Manser on Saturday 27 July. Free entry and the hotel is also a great dining experience with wine of the month being the 2013 Wirra Wirra shiraz cabernet. The pub also hosts live music every Friday evenings with Harrison Auger on Friday 15 May. Boutique bar Nook Nosh, 111 Unley Rd, Unley, will feature the acoustic sounds of Andrew ‘Wash’ Washington from 5pm on Sunday 17 May. The bar now also has a rotating set of DJs spinning vinyl from 7pm on Saturday evenings as part of Off The Record. Pop in for sips ‘n’ nibbles.

The Franklin Hotel, 110 Franklin St, has live acoustic music and great vibes from 3pm every Sunday. Catch the return of Vincent’s Chair on Sunday 17 May and Jaye Holly on Sunday May 31. And did you know you can now purchase a jar of Frank’s rather delicious jalapeño relish at the bar?

OUR PHILOSOPHY Created by veteran Adelaide music guru Rob Dunstan, BSide Magazine is a weekly magazine totally focussed on what’s going on in the Adelaide Music Community.

Every week we will be bringing you the latest news and up-to-date information.

Our goal with BSide Magazine is to help rebuild the Adelaide Music Community, to refocus the emphasis on local music and uniting the different tribes encouraging and further enhancing a prosperous live music industry for all.

We want BSide Magazine to be like Gaffa Tape. The thing that will hold everything together.

IN THIS ISSUE Page 2 Around The Traps Our Philosophy Page 4 Heading To Town Page 5 BSide Tour Guide Page 6 Feature Article: Diesel Page 7 Carus Thompson Page 8 The Clothesline Page 9 Broads Brad Butcher Page 10 Music SA CD Reviews Page 11 Bob’s Bits Dragon Page 12 Ben Salter Page 13 ThreeD 20+1 Chart The Fyoogs Page 14 BSide Gig Guide Page 15 The Bizzo

Advertising Enquiries Ph: (08) 8346 9899 sales@bsidemagazine.com.au

The mighty Roo Shooter are set to play a rare live gig at Hotel Metro, 46 Grote St, on Friday 15 May at which they will be joined

by Stink Lines and Dan Heath from 9pm in the band room.

Gaslight Tavern, 36 Chief St, Brompton, will be playing host to a night of punk rock with The Violet Crams, A Loose Trust and Electric Badger on the evening of Saturday 23 May. John Swan (AKA Swanee) is set to play Published Arthouse, 11 Cannon St, Adelaide, from 7pm on Saturday 20 June at which Fleetwood Mac tribute band Rumours will also be on the bill. Online tickets via the venue’s website are just $22 (plus booking fee) or will be $27 at the door on the night.

Spiral Dance has a performance as part of The Druids Of Oz Gathering at Mylor Hall up in Mylor on Saturday 16 May. And,

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ISSUE #0031 May 14th May 20th, 2015

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Perth metal band Make Them Suffer are heading over to play Fowler’s Live, 68-70 North Tce, on Friday 12 June to launch new album, Old Souls, with help from Black Tongue and Valance. Tickets via Moshtix for this licensed all-ages event.

As well as being announced on the Splendour In The Grass bill, Brisbane’s Last Dinosaurs have also scheduled a national tour that will have the indie pop quartet hit Jive, 181 Hindley St, on Friday 3 July with tickets on sale via Moshtix.

The mighty King Parrot have just announced a huge national tour to promote the release of new album, Dead Set, and will hit Fowler’s Live, 68-70 North Tce, on Friday 15 May with special guests High Tension and Coloosvs.

The third edition of Blues On The Parade will feature Sydney-based guitarist Ray Beadle alongside Black Aspirin, Stefan Hauk Band, Sweet Baby James and The Blooze Bus and it all takes place at Norwood Live, The Parade, Norwood, on Saturday 18 July. Book tickets via Moshtix.

Following the announcement of a forthcoming album, Strange New Past, and a new single release Hell Boy, popular hip hop artist Seth Sentry has announced a massive 45-date Australian tour that will have him play HQ Complex on Friday 31 July. Tickets via Seth’s website.

Melbourne’s King Gizzard & The Lizard Wizard will be launching their new album at Fowler’s Live, 68-70 North Tce, from 7.30pm on Friday 22 May with help from Dr Piffle & The Burlap Band, West Thebarton Brothel Party and Glass Skies. Tickets via Moshtix.

Melbourne’s The Broads (Kelly Day and Jane Hendry of vocal gals The Nymphs) will be coming to town to play The Wheatsheaf Hotel, 39 George St, Thebarton, from 9pm on Friday 22 May where they will be joined by special guests Koral and Melbourne’s Ben Mason.

Highly regarded US indie rock band Death Cab For Cutie have announced some Splendour In The Grass sideshows and have kindly included Adelaide. See them at HQ Complex on Tuesday 4 August with tickets on sale via OzTix. Here’s the story so far. American pop punks The Story So Far are set to return to our shores with special guests Man Overboard and Apart From This and in our fair city will play Adelaide Uni Bar on Saturday 12 September as a licensed all-ages affair.

Tickets via <destroyalllines.com>.

Brooklyn-based hip hop artist Necro, founder and operator of Psycho+LogicalRecords, is on his way to play the Governor Hindmarsh, 59 Port Rd, Hindmarsh, on Friday 15 May with tickets on sale now via the venue or OzTix. Reginald Dwight, better known as Sir Elton John, will be touring mode just before Santa hits town and will be at Adelaide Entertainment Centre, Port Rd, Hindmarsh, on Saturday 19 December to play all his hits alongside his illustrious band.

Archer hails from the Appalachian mountains in North Carolina, but is now based in Australia where he travels the country playing his sparse, weatherworn songs which he will be highlighting when undertaking a free entry show at the Wheatsheaf Hotel, 39 George St, on Saturday 16 May with Kenny Joe Blake as special guest.

It’s been a long time between drinks but Carus Thompson is heading to town to play no less than two sets of his engaging folk rock music from 4pm until 6.30pm at the Grace Emily Hotel, 232 Waymouth St, on Sunday 17 May. Expect new songs alongside many old favourites and see the interview in this issue for an opportunity to score a couple of double passes!

Melbourne’s Palace Of The King will be launching their new album, White Bird/Burn The Sky, at Crown & Anchor, 196 Grenfell St, alongside Surviving Sharks and Emergency Rule on Friday 19 June.

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Steve Lucas, of Melbourne punk legends X, is coming to town with his new band, The Strawberry Teardrop, and will play Hotel Metro, 46 Grote St, from 9pm on Friday 5 June alongside The Pro Tools, Systemaddicts and Ben Gel & The Boneyard Saints. Tickets at the door for $12.

Perth-based progressive rockers Karnivool will celebrate their 10th anniversary by touring their now classic debut album, Themata, and will do so in Adelaide at the Governor Hindmarsh, 59 Port Rd, Hindmarsh, on Tuesday 19 May with Cairo Knife Fight as special guests. That show is now SOLD OUT but another has been added for Monday 18 May so book quickly via OzTix or the venue.

Kiwi bluegrass legends Hamilton County Bluegrass Band will soon be paying us a visit and playing Aldinga’s The Barn, 142 Mt Barker Rd, on Monday 18 May with local ensemble Old South Bluegrass Band. Tickets $25 at the door and BYO refreshments with the evening to be filmed for a video.

Much-loved Melbourne ensemble My Friend The Chocolate Cake are comin’ to town to present their first two albums, their self-titled debut, which was recorded over the course of a day, and their ARIA award winning second album, Brood. Catch them at the Governor Hindmarsh, 59 Port Rd, Hindmarsh, on Friday 17 July with tickets now on sale via OzTix. Described in guitar magazines around the world as one of the new guitar heroes, Khan Manuel has embarked on an Australian tour to showcase songs from a new album, The Message. Catch him in full flight at The Promethean, 116 Grote St, from 7pm on Saturday 16 May with tickets at the door.

Jamie Hutchings’ new band, Infinity Broke, are due to launch their Before Before album at Hotel Metro, 46 Grote St, on Saturday 16 May with guests Matthew Hayward and Blush Response with tickets $15 at the door.

Serbian rock band Riblja Čorba are touring Australia for the first time so make them feel welcome when they play the Governor Hindmarsh, 59 Port Rd, Hindmarsh, on Sunday 17 May. Tickets via OzTix or at the venue.

Salt Lake City’s extreme metal titans Chelsea Grin will be touring with Boris The Blade in August and will be hitting Fowler’s Live, 68-70 North Tce, from 6pm on Sunday 16 August with tickets via Moshtix.

Legendary band Dragon will be presenting their Body & The Beat album of 1984 in its entirety along with crowd favourites when they hit the Governor Hindmarsh, 59 Port Rd, Hindmarsh, on Saturday 16 May. Book via OzTix or at the venue.

Queensland’s Brad Butcher, a singer songwriter who has made guest appearances alongside such acts as Busby Marou, Bill Chambers, Mark Seymour and Pete Murray, is coming to town to play the Grace Emily Hotel, 232 Waymouth St, on Thursday 21 May to highlight songs from his Jamestown album. Brad will also play McLaren Vale’s The Singing Gallery on Friday 22 May. Brian Kennedy, one of Ireland’s finest singers and one who has worked with Van Morrison and Bob Dylan, is bringing his acclaimed Joni Mitchell tribute show to Trinity Sessions, Church Of The Trinity, 318 Goodwood Rd, Clarence Pk, on Wednesday 3 June. Book via <dramatix. com.au>.

Chicago’s Real Friends are set to play Fowler’s Live, 68-70 North Tce, from 5pm on Sunday 21 June. Book tickets quickly via Moshtix to catch the pop punks in action.

When it all rather looked like Fremantle’s San Cisco would be bypassing Adelaide on their current tour apart from groovin’ away at Groovin’ The Moo, we are pleased to announce they will now play a full show at the Governor Hindmarsh, 59 Port, Hindmarsh, on Thursday 28 May. Tickets via the venue or OzTix. Songwriters Andrew Butler, Dylan Clark, Oliver Kirby and Leighton Cauchi are Sydney’s Little Sea and they will be droppin’ their new EP at Fowler’s Live, 68-70 North Tce, at all-ages show from 7pm on Friday 17 July. Tickets via Moshtix.

Fresh from playin’ Coachella in the US and then getting muddy at Groovin’ The Moo, Hot Dub Time Machine are heading back to present Hot Dub Classic at Thebarton Theatre on Friday 12 June and Hot Dub Rave on Saturday 13 June. Grab a ticket quickly via Ticketmaster as they are sure to sell out.

Melbourne’s Ceres and The Pretty Littles have announced a national tour with Adelaide’s Sincerely, Grizzly as special guests. Catch ’em at Crown & Anchor, 196 Grenfell St, on Friday 17 July.

Melbourne’s Citrus Jam are coming back to town to launch a CD and have invited locals Gorilla Jones to join them at the Grace Emily Hotel, 232 Waymouth St, on Saturday 18 July.

American metal band Bane have scheduled their final tour of Australia although the good news is that it will be with fellow US metal act Defeater. See them at Fowler’s Live, 68-70 North Tce, on Saturday 30 May. While you wait, Dead Letter Circus have just released a new single, While You Wait, and have a national tour that see the Brisbane band heading to Adelaide Uni Bar on Saturday 18 July. Tickets are on sale now via OzTix or Ticketek.

Diesel has scheduled a tour with his amplified electric band that will bring them to the Governor Hindmarsh Hotel, 59 Port Rd, Hindmarsh, on Saturday 23 May. Book quickly via OzTix or the venue.

Thrillhouse will boast the talents of Pond’s Nick Allbrook and Spinning Top Music’s Peter Bibby at Edinburgh Castle, 233 Currie St, on Saturday 16 May from 9pm.

Tickets are $12 via Moshtix or will be $15 at the door on the night.

Swedish rockabilly band The Go Getters will be heading back to town to play The Dirty Devil’s Bar, Whiteline Transport, Greenfields, on Friday 7 August alongside The Satellites and The Saucermen.

Absolutely Live: The Doors Show, once endorsed by the late Ray Manzarek and who tour the world to much acclaim, have rescheduled their show and will now be heading to the Governor Hindmarsh, 59 Port Rd, Hindmarsh, on Friday 26 June.

Book at OzTix or via the venue.

Presented by Jazz SA, Melbourne-based vocalist Lauren Henderson is returning to her former hometown to present her jazzy musical wares at The Promethean, 116 Grote St, on from 5pm on Sunday 17 May with tickets available via <stickytickets. com.au>.

Nexus Arts, located at North Tce’s Lion Arts Centre, winds up its Nexus Live series with Beat Spacek (Steve Spacek of Ninja Tune), Julien Dyne and Inkswel on Friday 15 May. Fresh from traipsing around the country with Counting Crows, Brisbane’s Ben Salter

will present songs from new album, The Stars My Destination, at The Wheatsheaf Hotel, 39 George St, Thebarton, from 4pm on Sunday 17 May. All we need to type in is that Nickelback will play Adelaide Entertainment Centre on Monday 18 May and then move on to the next item.

It’s all a bit of a blur, but British rock band The Wombats will play a SOLD OUT show at Thebarton Theatre, Henley Beach Rd, Torrensville, on Thursday 30 July.

Lucie Thorne has announced a run of winter shows which will see her playing in Adelaide with drummer Hamish Stuart at McLaren Vale’s The Singing Gallery (with The Yearlings) on Friday 19 June, Woodlands Run at Finniss from 4.30pm on Saturday 20 June and at Wheatsheaf Hotel, 39 George St, Thebarton, from 4pm on Sunday 21 June.

Perth metal band Voyager are making a voyage around the country with French heavyweights Klone as special guests. Catch ’em at Jive, 181 Hindley St, on Thursday 21 May with tickets via Moshtix.

With over 400,000 subscribers and amassing over 20 million views on YouTube, Irish singer songwriter BriBry will return to Australian shores as part of a world tour to play Fowler’s Live, 68-70 North Tce, from 6pm on Friday 26 June. Tickets via Moshtix.

Fresh from playing around the place with Mariachi El Bronx, Melbourne’s The Peep Tempel are on their Getting On By tour which will have them playing Crown & Anchor, 246 Grenfell St, on Friday 5 June.

Melbourne’s Sal Kimber & The Rollin’ Wheel are set to roll into town to launch a single at the Grace Emily, 232 Waymouth St, on Sunday 21 June with Tara Carragher as special guest.

The Singing Gallery (McLaren Vale) Crooked Colours (Perth) at Pirie & Co Social Club Palace Of The King (Melbourne), Surviving Sharks and Emergency Rule at Crown & Anchor Amistat (Melbourne) and Sam Brittain at Wheastsheaf Hotel SATURDAY 20 JUNE Oscar Key Sung (Sydney) at Rocket Bar Baby Animals (Perth) and Superjesus at Governor Hindmarsh Lucie Thorne (NSW) at Woodlands Run (Finniss)

THURSDAY 14 MAY Paloma Faith (UK) at Adelaide Entertainment Centre Theatre FRIDAY 15 MAY Beat Spacek (UK), Julien Dyne and Inkswel at Nexus Arts King Parrott (Sydney), High Tension and Coloosvs at Fowler’s Live Necro (US) at Governor Hindmarsh SATURDAY 16 MAY Infinity Broke (Sydney), Matthew Hayward and Blush Response at Hotel Metro Archer (US) and Kenny Joe Blake at Wheatsheaf Hotel Dragon (Sydney) at Governor Hindmarsh Thrillhouse: Nick Allbrook (WA) and Peter Bibby at Edinburgh Castle Clowns (Melbourne) at Crown & Anchor Khan Manuel (Sydney) at The Promethean SUNDAY 17 MAY Riblja Čorba (Serbia) at Governor Hindmarsh Carus Thompson (Melbourne) at Grace Emily (from 5pm) Ben Salter (Brisbane) at Wheatsheaf Hotel (from 4pm) MONDAY 18 MAY Nickelback (Canada) at Adelaide Entertainment Centre Karnivool (Perth) and Cairo Knife Fight at Governor Hindmarsh TUESDAY 19 MAY Karnivool (Perth) and Cairo Knife Fight at Governor Hindmarsh (SOLD OUT) WEDNESDAY 20 MAY Enter Shikari (UK) at HQ Complex THURSDAY 21 MAY Mötley Crüe (US), Alice Cooper (US) and Love Cream at Adelaide Entertainment Centre Brad Butcher (Mackay) at Grace Emily Voyager (Perth) and Klone (France) at Jive FRIDAY 22 MAY Shaggy (UK) at HQ Irish DeMent (US) and Pieta Brown (US) at Governor Hindmarsh Brad Butcher (Mackay) at The Singing Gallery (McLaren Vale) As Crows Fly (Melbourne), SoundGasm, Wicked Empire and Hi Speed Life at Producers Bar The Broads (Melbourne), Koral and Ben Mason at Wheatsheaf Hotel King Gizzard & The Lizard Wizard (Melbourne), Dr Piffle & The Burlap Band, West Thebarton Brothel Party and Glass Skies at Fowler’s Live SATURDAY 23 MAY Diesel (Sydney) at Governor Hindmarsh Nick Barker & The Heartache State (Melbourne) at Grace Emily Slow Galo (Melbourne) at Naomi Keyte at Wheatsheaf Hotel SUNDAY 24 MAY Gang Of Youths (Melbourne) at Exeter Hotel (from 5pm) Malachy (WA) and Grace Goodfellow at Grace Emily (from 4pm) THURSDAY 28 MAY San Cisco (Fremantle) at The Governor Hindmarsh FRIDAY 29 MAY The Getaway Plan (Melbourne) at Fowler’s Live sleepmakeswaves (Sydney) and Gay Paris (Sydney) at Adelaide Uni Bar The Stoneage Hearts (Melbourne), Green Circles and Wild Rocket at Gaslight Tavern Allday at HQ Complex Ash Grunwald (Anglesea) at Governor Hindmarsh

SATURDAY 30 MAY The Stoneage Hearts (Melbourne), Molting Vultures and Systemaddicts at Grace Emily We All Want To (Brisbane) at Hotel Metro Defeater (US) and Bane (US) at Fowler’s Live Decimatus (Melbourne) and Envenomed (Melbourne) at Enigma Bar Kit Convict & Thee Terrible Two (Melbourne), The Villenettes, Wild Rocket and Kasavette at Crown & Anchor The Jungle Giants (Brisbane) at Adelaide Uni Bar SUNDAY 31 MAY Boris (Japan) at Fowler’s Live Neil Murray (Lake Bolac) and The Yearlings at Wheatsheaf Hotel MONDAY 1 JUNE Bad Manners (UK) at Governor Hindmarsh WEDNESDAY 3 JUNE Brian Kennedy (Ireland) at Trinity Sessions THURSDAY 4 JUNE In Hearts Wake (Byron Bay), We Came As Romans (US) Beartooth (US) and We Storm The Sky at HQ Complex Birds Of Tokyo (Perth) and Ecca Vandal at Governor Hindmarsh FRIDAY 5 JUNE Steve Lucas & The Strawberry Teardrop (Melbourne), The Pro Tolls, Systemaddicts and Ben Gel & The Boneyard Saints at Hotel Metro Against Me! (US) and Joyce Manor (US) at Adelaide Uni Bar The Peep Tempel (Melbourne) at Crown & Anchor Dallas Frasca (Melbourne) and Filthy Lucre at Pirie & Co Social Club Harts (Melbourne) at Rocket Bar SATURDAY 6 JUNE Ry Kemp, Shelby Clements (NSW), Heath Anthony and Bec Stevens at Exeter Hotel SUNDAY 7 JUNE Karise Eden (Sydney) at Governor Hindmarsh MONDAY 8 JUNE R.A. The Rugged Man (US) at Governor Hindmarsh This Will Destroy You (US) at Jive

SUNDAY 21 JUNE Cheech & Chong (US) at Thebarton Theatre Sal Kimber & The Rolling Wheel (Melbourne) at Tara Carragher at Grace Emily Lucie Thorne (NSW) at Wheatsheaf Hotel Real Friends (Chicago) at Fowler’s Live (doors open at 5pm) WENESDAY 24 JUNE Alpine (Melbourne), Pearls, Darts and Olympia at Governor Hindmarsh THURSDAY 25 JUNE Jebediah (WA) and Red Jezebel at HQ FRIDAY 26 JUNE Absolutely Live: The Doors Show (Sydney) at Governor Hindmarsh BriBry (Ireland) at Fowler’s Live SATURDAY 27 JUNE 5 Seconds Of Summer (Sydney) at Adelaide Entertainment Centre SUNDAY 28 JUNE Machine Head (US) at Governor Hindmarsh TUESDAY 30 JUNE Title Fight (US) at Adelaide Uni Bar WEDNESDAY 1 JULY Seether (South Africa) at Governor Hindmarsh THURSDAY 2 JULY Marlon Williams & The Yarra Benders (Melbourne) and Norma Jean (Melbourne) at Jive FRIDAY 3 JULY Tim Rogers & The Bamboos (Melbourne) at Governor Hindmarsh AC/DC & Rose Tattoo Tribute (featuring Angry Anderson and more) at Bridgeway Hotel Last Dinosaurs (Brisbane) at Jive MONDAY 6 JULY Yellowcard (US), Mayday Parade and Born Lion at Thebarton Theatre SATURDAY 11 JULY The Church (Sydney) at Governor Hindmarsh Jimmy Barnes at Adelaide Entertainment Centre Theatre

THURSDAY 11 JUNE Deez Nuts (Melbourne/New York), Antagonist AD (New Zealand), Relentless and Earth Caller at Fowler’s Live Mike Waters (Melbourne) at Wheatsheaf Hotel

FRIDAY 17 JULY Ceres (Melbourne), The Pretty Littles (Melbourne) and Sincerely, Grizzly at Crown & Anchor My Friend The Chocolate Cake (Melbourne) at Governor Hindmarsh Little Sea (Sydney) at Fowler’s Live

FRIDAY 12 JUNE Yngwie Malmsteem (Sweden) at HQ The Funkoars, DJ Total Eclipse (US), Mathas (Perth) and Eloji (Melbourne) at Governor Hindmarsh Hot Dub Time Machine (Melbourne) at Thebarton Theatre The Cherry Dolls (Melbourne) at Crown & Anchor Make Them Suffer (Perth), Black Tongue and Valance at Fowler’s Live

SATURDAY 18 JULY Harry Howard & The NDE (Melbourne) at Wheatsheaf Hotel Dead Letter Circus (Brisbane) at Adelaide Uni Bar Citrus Jam (Melbourne) and Gorilla Jones at Grace Emily Blues On The Parade: Ray Beadle (Sydney), Black Aspirin, Stefan Hauk Band, Sweet Baby James and The Blooze Bus at Norwod Live

SATURDAY 13 JUNE Art Of Sleeping (Brisbane), Jesse Davidson and Sunbeam Sound Machine at Jive Hot Dub Time Machine (Melbourne) at Thebarton Theatre

SUNDAY 19 JULY Black Cobra (US) and Jucifer (US) at Crown & Anchor

THURSDAY 18 JUNE Hermitude (Blue Mountains), Basenji (Sydney) and Jayteehazard (Newcastle) at HQ Complex FRIDAY 19 JUNE Baby Animals (Perth) and Superjesus at Governor Hindmarsh (SOLD OUT) The Black Dahlia Murder (US), Pyscroptic, Colossvs and Truth Corroded at Fowler’s Live Lucie Thorne (NSW) and The Yearlings at

TUESDAY 21 JULY Johnny Marr (UK) and Flyying Colours (Melbourne) at Governor Hindmarsh SATURDAY 25 JULY The Sin & Tonics (Hobart), Yesterday’s Gentlemen (Hobart) and Lucky Seven SUNDAY 26 JULY Rob Snarski & Shane O’Mara (Melbourne) at Wheatsheaf Hotel

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DIESEL

By Robert Dunstan

“I’ve put out my last three or four albums on vinyl,” he says. “I just think they have a much warmer sound than a CD.

Diesel has spent much of the last few years constantly touring the country in acoustic mode, but is now heading out with his band in electric, amplified fashion.

“And I still remember when I was over in Memphis recording Hepfidelity with [American producer] Terry Manning and I’d taken along a CD copy of an album by The Staple Singers as some kind of reference point,” Diesel recalls. “So we put the CD on and then Terry, who had actually worked on the original Staple Singers album, dragged it out on vinyl, wheeled his turntable into the studio and put it on.

The American-born singer and guitarist (AKA Mark Lizotte), who shot to fame in the late ’80s with the popular rock band Johnny Diesel & The Injectors before embarking on a highly successful solo career, is looking forward to hitting the road armed with electric guitars and his band – bass player Richie Vez and drummer Lee Moloney.

“But it was funny the other night when we were doing a show in Melbourne because Lee looked at me and said, ‘Gee, this is hard work’,” Diesel laughs. “But I just said, ‘Hey, don’t worry, you’ll be fine’. We’ve done the hard yards together before.

“But I guess it does make us all work that little bit harder,” he muses. “And I imagine by the time we get to Adelaide to play The Gov we’ll be pretty oiled up.”

I caught the band, in acoustic mode, last time they hit The Gov and it was still an intense show.

“Yeah, and these shows will take it up another notch,” Diesel suggests. “And it’s also an opportunity to go back and recap what I’ve done so far. And there are some songs I really wanted to revisit again because I don’t feel I got enough of them the first time around.

“I’m talking about those big electric guitar songs from the last three or four albums,” he explains. “And, of course, there will be songs from Under The Influence, the album I did of cover songs. So it’s been pretty much a case of saying, ‘Okay, if I’m not going to be playing acoustic guitars, let’s make up a set that’s fairly intense.

“By the same token, there will be moments of relief in there because it’s not going to be about coming out and smashing everyone over the head with huge guitar sounds all night,” Diesel suggests.

“But I have noticed that when I put down the acoustic guitars and pick up the electric, things do tend to become a bit more bombastic,” he then adds with a wry laugh.

I was surprised and delighted to note that Diesel had vinyl for sale when he last hit town.

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“And the difference was just amazing,” he adds. “The vinyl recording sounded way, way better.”

Over the years Diesel has also been able to maintain a loyal fanbase.

“I’ve been pretty lucky in that way,” he decides. “I can repeatedly come over to somewhere like Adelaide and repeatedly get a decent crowd. That’s a good thing and something I certainly don’t take for granted.

“And then there are those who might see a poster or something and go, ‘Diesel! Oh, I remember him’, and they come along to the show being totally unaware that I tour constantly and have never really stopped doing that.

“And that’s fine,” he says. “It’s good to play to those people and update them with what I’ve been doing over the last few years. And those people will often hear a song of mine and go, ‘Oh, I remember this one’. And that can be funny.

“I’m lucky that I’ve got a stack of radio hits that people seem to know,” Diesel then adds with a laugh.

He then says the acoustic shows he’d been doing of late came about more so by accident than design but became very successful.

“The live music scene is always changing,” Diesel, who released Singled Out, an entirely acoustic album of his hits, in 2004, notes.

“And you have to keep changing with it. And doing the acoustic gigs allowed me to play smaller, more intimate venues as well as do some theatre shows.

“I even played solo at Byron Bay’s Bluefest last Easter,” he then laughs. “I just had my rack of acoustic guitars – a couple of 12-strings, a baritone and my signature model, the mini Maton, which became a whole other facet of the acoustic gigs I was doing.

“And that’s funny because if anyone had said to me 20 years ago that I would one day have a Maton signature model, I would have probably have said, ‘Yeah, sure, whatever’, but I would have laughed if they had suggested it would be a little acoustic guitar.

“But that Maton has proven to be a really handy tool for me and I do some pretty unorthodox things with it,” Diesel adds. “And with the baritone acoustic, I use a tuning I’ve concocted myself but helped by using a tuning by [early blues legend] Lead Belly to get that sound.”

Diesel goes on to say he didn’t even own an acoustic guitar until about 10 years ago.

“Certainly in my band career [with The Injectors] I didn’t have an acoustic,” he states. “But when I was young there was a friend living across the road from me who had one but that was when I was still battling away at the cello. But my friend had a nylon-stringed acoustic – the typical acoustic at the time – and I’d borrow that for a while until he’d come over to claim it back.

“So I was vaguely familiar with the acoustic but then my sister gave me an electric guitar for Christmas and my interest in acoustic guitars suddenly disappeared overnight.”

Diesel grew up in a house full of musical instruments but, strangely, there were no guitars.

“Yeah, we were living in Albury when we first came to Australia and my father, who was a horn player, used to bring back all these instruments from music shops whenever he went across to Melbourne,” he reveals. “So the house was full of instruments – Rhodes electric pianos, violins, bass guitars, cellos, saxophones and all kinds of other stuff – but no guitars. Which is kinda funny seeing as it’s the world’s most popular musical instrument. No one in the house ever said, ‘Hey dad, get me a guitar’.

“But I was actually mucking around the something with strings on it, the cello, which I still use on some of my projects,” Diesel continues. “I get to use it a fair bit on my stuff as well as on other people’s records.

“But the only other guitar player I know of who started out playing cello – and we often joke about it whenever we catch up – is Charlie Sexton from Bob Dylan’s band,” he adds.

Diesel, who recorded a highly regarded blues album, Short Cool One, with Chris Wilson in 1996, has been saddened by recent news about blues guitar legend BB

King’s poor state of health and the fact that he’s being taken advantage of.

“It’s just terrible,” Diesel sighs. “People are ripping him off all over the place and his manager has been stealing his watches. As I said, it’s just terrible what’s happening to BB at the moment. And the more I read about it, it just gets worse and worse. To have had a great career and a life like BB has had and then have to deal with all that is just shocking. Just horrible.

“And, from being diabetic and overweight, BB is now really skinny which is no good,” he adds.

In closing, Diesel mentions a new recording but isn’t sure where he’s heading with it.

“I never am,” he admits. “I always have ideas floating around though. And I’m really looking forward to making the next record because I’ve expanded my home studio and can now get a pretty decent drum sound.

“On past records, we always had to do the drums somewhere else,” the guitarist says.

Diesel will play in amplified electric mode with his band at the Governor Hindmarsh Hotel, 59 Port Rd, Hindmarsh, on Saturday 23 May with tickets via the venue or OzTix.

CARUS THOMPSON

By Robert Dunstan Australian singer songwriter Carus Thompson is making a long-awaited return to Adelaide for a solo show after last hitting town as special guest of Things Of Stone & Wood when the muchloved, Melbourne-based folk rockers reformed for a series of shows about this time last year.

Carus is therefore looking forward to making a return to the Grace Emily Hotel, a regular local stomping ground for his musical wares, to undertake a late afternoon Sunday arvo performance that will comprise of two sets.

“I normally like to play solo shows in Adelaide a couple of times a year but it hasn’t worked out that way recently,” Carus says. “So it’ll be good to get back because I’ve got heaps of new songs to play. And I like the idea of doing a matinee show in Adelaide because I did a few when I was living in Melbourne and they always went quite well.

“There seems to be a different kind of energy about playing in the late afternoon,” he considers. “And maybe that’s because people haven’t had too many drinks by that stage of the day. I dunno, Adelaide people might rock on, but they just seem to have a different kind of vibe than doing a show at night.

“And some of my fans have kids now so doing a matinee show enables them to bring their kids along for free and experience a bit of live music that’s not the bloody Wiggles,” he continues with a cheeky laugh. “I just have to remember to try not to swear too much.

“So it’s something a bit different for me in Adelaide so I thought I’d give it a go,” Carus then adds.

Carus began his career playing in various bands in Fremantle before embarking on a solo career some 15 years ago. He has since released a series of solo albums as well as a couple of live recordings and will soon begin recording a new album as the follow-up to 2011’s Caravan.

“And I’m doing the new album with Joel [Quartermain] from Eskimo Joe because he’s doing some great production stuff at the moment,” Carus reveals. “Joel just did Meg Mac’s EP which has gone huge.

“And with the new songs I’m trying to get more and more into the melody while writing songs that are quite upbeat – almost pub rock in a way – but also tell a story.

There’s actually a song on my last record, Caravan, called You Can’t Find Me that’s a really straight-up, melodic, rock’n’roll song, and that’s where I am heading with the new album.

“My approach to songs is that they have to tell a story,” Carus continues. “So they are like Bruce Springsteen or Paul Kelly songs in that way. For example there’s a song about crystal meth in a small town and one about wanting to get out of the suburbs.

“They are just very simple songs really, but they tell stories that most people are able to understand,” he explains further. “And with this bunch of songs I really do feel like they are among some of my best so far.

especially musicians, are hustling for gigs just to keep their heads above water. And I know that John Butler is back living in Freo now and just yesterday I saw Donna [Simpson] from The Waifs at the local park.

“With music, I reckon the longer you stay at it, the better you get,” Carus then reasons.

“So I think I’m a lifer and in it for the long haul.”

“The guys from Eskimo Joe are still around the place as well,” he says. “And because most of the guys I used to play with in bands back in the old days are still here, it’s a bit nostalgic in some ways for me to end up back in Freo.

And how did you hook up with Joel from Eskimo Joe? “Oh, we used to go to school together,” Carus says of attending Hollywood Senior High in the Perth suburb of Shenton Pk which also served as a place of learning for INXS’ Jon Farriss and politician Kim Beazeley as well as Paralympic athlete Louise Savage and Golden Globe nominee Greta Scacchi.

“And then Joel and I were playing in bands in the early days that often used to do gigs together,” Carus continues. “And I remember Joel always having a good head for production and he has really turned his attention to that now.”

The singer songwriter used to regularly tour Europe for months at a time where he has built up a sizable following until he elected to be permanently based in this country due to having a young family.

He is now, however, heading back overseas although it will just be a quick visit.

“Yeah, I’m heading back in July to do shows in Hamelm, Hamburg and London,” Carus says. “It’s been two years since I was over there and because I am now beginning to emerge from all the chaos of having a 10-month-old daughter, I am starting to put some overseas things together again.

“So I reckon moving back here will also bring something different to the new record,” Carus suggests. “It will definitely be a departure from what I have done in the past.”

The singer was recently asked to play a set of Paul Kelly songs.

“I’ve got a mate who runs a place in Quinndanning, which is in the middle of nowhere, who asked me to do it,” Carus reveals. “And at first I sort of thought, ‘Umm, okay’, and then remembered once talking to Nicky Bomba [of Melbourne Ska Orchestra and The John Butler Trio] who said that musicians essentially have a trade and that’s making music. So I thought, ‘Well, as a musician, if I can’t learn 14 or 15 Paul Kelly songs, then something’s wrong’.

“So I did it and although it was a bit of a challenge, it was good fun,” he adds. “And it was also great to again realise that Paul Kelly is a fantastic songwriter. I mean stuff like To Her Door, I don’t think was such a big hit when it first came out, but it’s now a song that has built over time and it’s one everyone knows and loves.”

We conclude the interview with Carus making mention of jobs he’s had other than making music.

“I was a garbo once upon a time,” he laughs.

“That was back when I was 19 and I actually got one of my first half-decent songs out of it. One of the other garbos was an alcoholic who couldn’t wait to get to the pub as soon as we knocked off at lunchtime. So I wrote 12 O’Clock Boy about him.

“And it was interesting working with rubbish because everyone leaves you alone,” he says. “And it was back in the days before the one-armed bandits – those automated rubbish collecting things – so we used to hang off the back of the truck. But it was great because if kept me really fit.

“And then I did a bit of landscape gardening here and there for a while,” Carus adds.

“And that was okay – I actually really enjoyed it because you get to meet lots of people other than musicians – but I’m glad that I can now make a living just from my music and still support my family.”

Carus Thompson will play two sets at the Grace Emily Hotel, 232 Waymouth St, from 4.30pm on Sunday 17 May with tickets at the door and children freely admitted.

Thanks to Carus, BSide Magazine can also offer two double passes to his Sunday show. To enter, simply go to BSide Magazine’s Facebook page and send a personal message. The two winners will be notified by return Facebook message by 5pm on Saturday 16 May.

“So heading back overseas is a little reawakening of all that because I reckon next year will be a big year of touring for me,” he suggests. “And, luckily, with European stuff I’ve got to a stage over there where I can just head over and do three big shows and make it work.

“I can then go home to my family without travelling around playing heaps and heaps of gigs,” Carus continues. “I’ve got to that level now in Europe where people will travel some distance to come and see one of my shows.

“I have what you might call a cult following and sustained achievements over there without having massive success due to all the gigs I’ve done,” he says of once often doing as many as 42 shows across Europe in as many days.

Carus also recently made the move from Melbourne back to his home state of WA. “It’s cheaper to live here [in Fremantle] but it was an interesting move as I’ve found that because living is a bit easier here, it’s also a bit easier to be creative, although it is definitely a different kind of creativity.

And that’s because there is less hustle and bustle.

“Don’t get me wrong, Melbourne is a wonderful city but it’s also a big, big city so everyone is on the go all the time. Everyone,

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STEVE SHEEHAN’S TRISTAN & ISOLDE

By Nikki Fort Adelaide’s own Steve Sheehan is a highly awarded comedian, musician, writer, director and performer. In 2014, he performed Steve Sheehan’s Little Boring Story Event at Adelaide Fringe, but it was his 2011 show, A Little Horseplay, that led him to creating his Adelaide Cabaret Festival show – Steve Sheehan’s Tristan & Isolde.

We ask Steve how he created this show and how closely it relates to the original grand opera and tragic love story classic.

“It’s actually been a long and winding road to get to this show,” he begins. “In some ways I had no intention of doing a version of Tristan & Isolde. What I wanted to do, from the very beginning, is to have a large animal appear on stage, which I haven’t seen happen before. I was also really interested in working with an elderly woman who sings opera. Again I hadn’t seen many elderly women on stage.

“Being a comedian, I often play around with improvised jokes live on stage, just to see what comes out. I’d also come up with this idea of doing jokes while playing the piano, and then there was one other element that came in, and this is where the Wagner arrived,” Steve says. “Years ago, I’d listened to the Leibestod aria from Tristan & Isolde and it made me laugh. It was the final aria of the big grand opera and I just found it so funny for some reason. It was just so over the top, such a romantic exaggeration of love. Bit by bit, all the elements of these things came together, and then I just needed to hang it all on some kind of story.

The obvious choice in the end was the Tristan & Isolde story.”

Would you call this tapestry you have created comedic or musical, or both?

“Both. It’s got a lot of music in it, but we’re always looking for a comic take on each and every moment that we’re on stage.”

The horse isn’t actually a large animal, is he?

Or is that a spoiler?

“No, it’s not a spoiler, as such,” he replies.

“In some ways, it too is a bit comic because the ‘horse’ is a big animal but a miniature horse is almost the comic version. Although Arapahoe, the horse, is only 84cm high, it’s quite big compared to anything I’ve seen on stage… or have I? I can’t remember ever seeing an animal on stage.”

Your character, Tristan, is dressed in a school uniform. What’s that about?

“Well, again it comes back to the bumbling

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hopelessness of Tristan, and even his nemesis, Mark, King Mark, who makes a brief appearance. They both appear a bit schoolboy-ish, I think, because my version of Tristan & Isolde is a little bit nincompoop; they are both a little bit immature.”

Are there any plans to tour the show after the Cabaret Festival?

“We’d love to, although no plans as yet. But if there is anyone who might be interested in taking on the show, we would be happy to see if it works for their venue.”

Is there anything else you would like to tell us?

“In the past I’ve worked solo in improvising ideas on stage and then taking them to a Fringe Festival,” Steve says. “This time I’ve been working with a great crew of talented collaborators over the past two years, but I have really enjoyed that side of the project.

Everyone’s contributed so much to the end result that it feels like a real team effort.

“Director Jo Stone, Set Designer Kerry Reid plus Nic Mollison and Stuart Day on lights and sounds respectively, have been great to work with. I’ve worked with Jaci and Joey McEvoy and the horse for four years, and that’s no small ask. It’s great to find people who are not in the arts, who are willing to get involved and participate really generously. It’s just fantastic.

“It was my producer, Belinda Hillyer, who said to me, ‘Well, what are you going to do next?’ She’s been on board supporting the show all the way along,” he says. “It just amazes me how anyone can do anything by themselves because when you have a team around you, it is that much better. Theatre is that much of a team.”

Steve Sheehan’s Tristan & Isolde performs at Festival Theatre Rehearsal Room, Adelaide Festival Centre, at various times on Tuesday 16 June until Wednesday 17 June. Book at BASS. Image taken by Sam Oster

TREVOR ASHLEY: I’M EVERY WOMAN

By Bobby Goudie

“You also need to have the attitude as well.

A diva has got to have her own way! This is what makes these women very memorable and why I like them all so much.”

Trevor Ashley last appeared at the Adelaide Cabaret Festival was to perform Liza (on an E), a show which has taken him around Australia and the world, culminating with a season in London’s West End.

You have created numerous cabaret shows, together with performing in musicals with large casts like Les Misérables. You obviously have a love for both?

Ashley is currently starring in Sydney as Thenardier in Les Miserables and previously has played Edna Turnblad in Hairspray, Franz Liebkind in Mel Brooks’ The Producers and created the role of Miss Understanding in Priscilla Queen Of The Desert. Ashley is both the King, and Queen, of iconic musical comedy roles.

For the first time in Adelaide, Trevor Ashley will perform I’m Every Woman, which received the Sydney Theatre Award for Best Cabaret. Transforming into the world’s legendary divas, he breathes life into Judy Garland, Dusty Springfield, Shirley Bassey, Whitney Houston, Liza Minnelli, Tina Turner and Cher. Directed and co-written by Dean Bryant, the show includes 27 dresses, 14 wigs, one wind machine and a live band led

by Andrew Worboys.

The Clothesline speaks with Trevor in between his Les Misérables performances, and discusses the multiple iconic divas he transitions into on stage.

“Yes there are quite a few,” Trevor begins.

“It’s basically done through wigs and parts of costumes that can be added and taken away in order to make me into all these girls. It’s a lot of fun. I really like playing them all.

“In Liza (on an E) where I played Liza Minnelli from beginning to end, I didn’t really get to speak as myself. In this show I tell the story of how I got into drag and how these women inspire me. It is a lot of fun and has many fabulous songs. I run the gamut of iconic divas!”

Who would you say is your favourite Diva?

“It’s so hard to choose!” he replies. “I’ve always loved doing Shirley Bassey; she’s very special to me. And Bonnie Tyler, because it’s such a fun and an outrageous routine with a wind machine; I get to be a bit mad.”

What makes a good diva?

“When putting together the divas for this show, I felt that they needed to have a very memorable voice, and the mannerisms that make that voice distinctive,” Trevor suggests.

“A lot of pop singers these days just don’t have that quality. For legends like Shirley Bassey, Tina Turner and Cher you can tell immediately who they are when they are singing.

“I do love doing musical theatre as well as doing my own cabaret work. Musical Theatre is so great because I get to be so different, especially currently in Les Miserables because I get to play something dark and dirty, a well as being something else that I don’t usually play in my cabaret shows: A Man!,” Trevor laughs. “I will have a shave again before June. I’ve had this beard for so long! Who knows what is up there at the moment!

“I also do love working with a cast too,” he continues. “In my cabaret shows I often don’t have anyone to play with! It is great to have someone like Lara Mulcahy who plays my wife in Les Misérables. She is such a fabulous partner-in-crime in the show.”

I’m Every Woman was co-written five years ago for the Sydney Opera House by you and Dean Bryant. How will the show change for Adelaide?

“Dean and I will work out if there is anything new or current that we have to add in. I am sure we can both work that out over a bottle of wine, which always helps the creative process,” Trevor says. “It is a late-night performance so you have to have a drink when you come to see it. It’s not a sober show.”

Anything else you would like to add?

“The show is a really great fun night with fantastic music,” Trevor declares. “It’s funny, fabulous, camp and has lots of sequins, wigs and costumes. It is the final weekend too, so it is a perfect one to send you out with a party!”

Trevor Ashley performs I’m Every Woman at Space Theatre, Adelaide Festival Centre, at various times on Thursday 18 June until Saturday 20 June. Book at BASS

BROADS

By Robert Dunstan Broads are the Melbourne-based vocal duo of Jane Hendry and Kelly Day (both of vocal quartet The Nymphs) who play, by their own admission, ‘acoustic criminal folk’.

The duo are now heading over to Adelaide to play a couple of shows with one being a free entry Friday evening affair next week at The Wheatsheaf Hotel alongside Melbourne’s Dan Mason (who also operates Rebound Books alongside a former Aunty Meredith) and local lass Koral.

“And one of the things we like to do at our gigs is collaborate with other people,” Jane Hendry says. “So we’ll organise something to do with Koral and also Ben who is coming over with us from Melbourne.

“And we did a show with Koral up in Sydney a while ago and she’s fantastic,” she then enthuses. “We did a song with her at that so were really keen to do another show with Koral.

“But we haven’t worked with Ben before even though we know what he does, so we are also looking forward to that.

He’ll also be using the trip to Adelaide to launch a new single, Esmerelda [from Ben’s forthcoming album, She’d Need A Heart, which he recorded in Portland, Oregon, in January with musicians from bands such as Death Cab For Cutie, M Ward and The Decemberists].

Jane then says she has performed at The Wheatsheaf several times in the past with The Nymphs as well as with The Tiger & Me in which she sings and plays violin and ukulele and who will soon start work on their next offering.

want to make it as close as we can to what happens when we play live.

“We want to keep the album true to our organic live performances,” Jane adds.

“I guess it’s pretty simple arrangements that really use the strength of our vocal harmonies. And we’ll be doing a lot of the new songs when we come over.”

Broads specialise in dark folk music.

“Yeah, it does have a bit of a dark edge to it,” Jane concurs with a chuckle. “Like I said, Kelly and I both enjoy similar things and we both really love murder mysteries. We are both fascinated by dark intrigue so that comes across in the songs.

Jane then goes on to say that alongside their original songs, Broads often throw some covers into the mix.

“We are both big fans of Hollywood and the country crooner period, so every so often we might throw in an Elvis song or something by The Everly Brothers or even Roy Orbison,” she reveals.

As well as performing at The Wheaty on the evening of Friday 22 May, Broads will also be undertaking a Saturday evening pop-up gig in Adelaide.

“Yeah, we’re doing something for EcoCaddy, those guys that transport people around the place on their tricycles,” Jane reveals.

“It’s going to be in their workshop in their warehouse and I think it’s only the second one they’ve put on.

“And I believe they are really keen on putting on more shows,” she then hints.

Pop-Up shows seem to be popping up all over the place in Adelaide.

“It’s just such a great venue,” Jane says of The Wheatsheaf Hotel. “It’s so well run and everyone gets looked after properly.” .

Did you and Kelly set up Broads as an offshoot of The Nymphs?

“It’s much the same in Melbourne,” Jane notes. “People are putting on gigs in their backyards and warehouse spaces all the time. And there’s a real sense of community growing around them because, rather than the standard pub gig formula, it’s much more about creating an atmosphere.

“Well, sort of,” Jane responds. “The Nymphs, who are on indefinite hiatus right now, were together for about nine or 10 years singing around the place but during that time Kelly and I had been doing a few things on the side which was more acoustic folk.

“And that makes it special for the punter and the musicians,” she concludes. “And that’s a really good thing for live music because it brings people along, but engages them in a different way. That’s a really positive thing.”

“And that was just when we found the time to squeeze it in between The Nymphs’ performances, rehearsals, plans and all that sort of stuff,” she continues. “So when The Nymphs kinda wrapped things up, it gave Kelly and I more time to focus on Broads.

Broads play The Wheatsheaf Hotel, 39 George St, Thebarton, on Friday 22 May with Koral and Melbourne’s Ben Mason as special guests. Broads will also undertake a Pop-Up warehouse show for EcoCaddy on Saturday 23 May.

“And that was in April of last year and we both thought it was the perfect time to really make a go of something we’d quietly been cooking up in the background,” Jane says.

“And Kelly and I have been friends for a really long time and share common interests,” she then adds. “We have similar interests in music and other art forms such as literature and film.”

Broads have already released an EP. “We did that last year and launched it in Melbourne late last year and it’s essentially a collection of the songs we first wrote together,” Jane states. “So we are now in the process of doing our first full-length album which will be out later this year because we are trying to keep things kicking over.

“And we are looking at some different options for the album as we want to keep it as simple as we can in a way,” she continues.

“We don’t want to get too carried away and

BRAD BUTCHER

By Robert Dunstan Brad Butcher, a finalist in the 2014 APRA New Songwriter award, was born and raised in Mackay, Queensland, and the singer songwriter is currently touring his second album, Jamestown.

And, when he hits Adelaide next week, it will mark the very first time he’s ever set foot in town.

“Ha, no, I’ve never been there before,” he laughs. “So I’m actually looking forward to checking the place out.

“And I’d just said to my booking agent, ‘Book me as many shows as you can because I just wanna see as much of the country as possible’,” Brad says. “So he found me a couple of spots [the city’s Grace Emily Hotel and McLaren Vale’s The Singing Gallery] in Adelaide.”

Brad then says he’s very pleased with how his second album, Jamestown, has turned out.

“I really feel, in terms of the songwriting and production, that it’s a real step up from my first album,” he says with a hint of pride. “I spent a couple of years putting it together and really focused on my songwriting. So, while there’s still a lot to learn, I do think it’s better than my first album.”

Jamestown was quickly recorded in New York over the course of seven days with the first takes usually being the ones used, thus giving it a vintage, ’70s singer songwriter feel.

Helming the album at his Shorefire Recording Studios and also playing bass was American Marc Swerksy who has worked with the likes of Joe Cocker.

“I’d met Marc through my former manager,” Brad reveals. “He comes to Australia from time to time to work at Studios 301 down in Byron Bay and, when it came to my first album, we were wondering about adding some bits and pieces.

me stay at his place and organised all the accommodation for the other players.”

Brad goes on to say that he was originally concerned about getting the right players to work on the album.

“That was one thing I really stressed to Marc,” he says. “I told him I wanted musicians who would really enjoy the type of music we were making and not just be session players.

“And one of the guys, Richard Causon, had played with Ryan Adams, so he worked out really well,” Brad adds. “But they all fitted in really, really well. It was just amazing having all those guys on the album.”

Brad has a day job as a crane driver and it was while working that he heard his new single, Two Women, on the radio.

“It’s not the first time I’ve heard one of my songs on the radio while I’m at work,” he laughs, ‘but it was the first time I’d heard a song from the new album.

“And it’s getting played on a few radio stations at the moment,” Brad continues.

“It’s mainly country radio stations but at least the momentum is building.”

Is Two Women about one woman with two distinct personalities?

“It’s actually about my day job and my other job of making music,” Brad reveals. “And the last line is a thank you to my wife. So, the devilish woman is the music industry and the level-headed one is my day job that pays the bills.

“That’s what the song means to me and at the end I’m just letting my wife know that she is the most important.

“But that’s also the beauty about songwriting because it’s all open to interpretation,” Brad then suggests. “Songs can mean different things to different people.”

Was the album’s final song, Lay Your Head, always going to be a duet?

“So Anthony, my manager at the time, reached out to Marc and he gave us some ideas and we also started on a co-writing adventure together. That was three years ago and continues to this day.

“Lay Your Head was a three-way co-write and the song I had the least to do with as far as input,” Brad says. “But, yeah, it was going to be a duet because that’s the way the song was written and we also wanted to have a duet on the album somewhere.

“So, when it came time to record Jamestown, it just made sense for me to head over to New York and do it,” Brad says. “As a cowriter, Marc had a vested interest in some of the songs and, like me, had spent the last couple of years thinking about it.

“And the singer is actually Marc’s wife,” he adds. “And at the time she was heavily pregnant with twins so she had to struggle a bit just to get into the studio, let alone sing on a song. But she did a great job.”

Roped in to play on the album were English drummer Stave Holley, who has also played with Cocker, pedal steel player Rich Hinman from Roseanne Cash’s band, pianist Richard Causon, who has worked in the past with Ryan Adams, and violinist and singer Lorenza Ponce.

“Oh, mate, that was quite an experience,” Brad fondly recalls. “To have top-tier musicians working alongside you on your songs for an album really lifts your game.

Brad’s day job as a crane driver is such that it allows him to work on music and also tour.

“Yeah, I work two weeks on and then two weeks off,” he says, “So it allows me plenty of time to tour.

Brad Butcher will launch Jamestown at the Grace Emily Hotel, 232 Waymouth St, on Thursday 21 May and also at McLaren Vale’s The Singing Gallery on Friday 22 May.

“I mean the drummer, Steve Holley, is in the Blues Hall Of Fame and he used to play in Wings with Paul McCartney,” he continues.

“So to be in the same room as guys like that was just awesome but I must admit that on the first day I was a bit awestruck by it all.

“And it was Marc’s contacts that brought all those players on board,” Brad continues.

“And he was just a genius because he let

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CD REVIEWS

ACROSS THE ATLAS Across The Atlas Reviewer: Phil Catley 5/5

ADRIAN dots.

Reviewer: Tom Gaffney 3/5

Across the Atlas is a new 4-piece punk band who brings a lot of energy and enthusiasm to this 3-track Digital EP.

To say that Adrian Holmes, better known simply as Adrian, is prolific would be undermining his contribution to music. The musician has studied at the conservatorium, is a singing teacher, and is now a fullyfledged recording artist with the release of his recent album ‘dots.’.

Comprising young guns Penny on vocals, Ben on guitar, Will on bass, and Johnny on drums, they thrash out some catchy tunes about ‘TV Killing the Radio Star’, being ‘Jaded’, and please ‘Don’t Hate The Player, Hate The Referee’.

A bonus video of ‘Jaded’ can be found on YouTube, complete with sing along lyrics for those who feel the need.

With Penny pushing to make her name as one of the top female rock vocalists in this town (and she is doing a great job of it) this band has a bright future in front of them.

They have done well to push out this EP so soon after forming, and that’s surely a sign that there is plenty more to come from these young punks.

Across The Atlas is a tight band. They are uptempo, in your face, and demand attention.

This release features more musicians than in your average football team, which has undoubtedly worked in Holmes’ favour in terms of the variation in this release.

Each track is wonderfully varied, from the opening rocking track ‘Bags’, to more danceable ones such as ‘Crazy Maze’.

However, it brings up the age-old debate of whether it’s a better idea to focus on one genre or idea that an artist really shines in, or try to branch out and incorporate as much of a diverse feeling through multiple genres and soundscapes.

Holmes has gone with the latter decision, which is a respectable choice given his multi-instrumentalist status, but there’s this underlying feeling of a full-blown sampler.

When you finish listening to a song and think ‘yeah, I really dig that sort of vibe Adrian has going on’, and then it goes straight into a polar sounding track, it feels somewhat unsatiating.

While the music is essentially derivative (albeit of fantastic artists such as David Bowie), ‘dots.’ showcases the fact that Adrian Holmes is a funky dude with fantastic musicianship whose music seems to seep out as fluidly and bountifully as blood itself.

If you’re into the feeling of a pick’n’mix style album where you grab a couple of tracks you’re into and pay less mind to the rest, this is right up your alley.

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Music SA and BSide Magazine proudly bring you reviews of new releases by South Australian artists.

If you’re a local act and have a new single, EP or LP, visit musicsa.com.au for details on how to submit it.

SKYTHIEF The Whole Half Reviewer: Matt Saunders 5/5 Skythief’s new single is a frequently spectacular headphone odyssey: densely composed, impeccably performed and immaculately produced.

‘The Whole Half’ sounds like if some of the more psychedelically inclined mope-rock bands of fading recent memory had spent less time drinking and more time perfecting their craft, and then just cranked out an irresistible jam.

Vocalist Adam Barnett-Pierce takes centre stage with pipes that most international acts would covet, but everyone contributes star turns as the moody intro gives way to bombastic drum and guitar breaks that set up a chorus that the words soaring and majestic can’t quite do justice. There’s even a trippy chill-out bridge, and nothing feels forced or unconsidered.

‘The Whole Half’ shifts between 3/4 and 6/8 time, but it’s not an obvious waltz or shuffle, with syncopated drum accents, explosive guitar interludes, and even an extra beat snuck in to keep you on your toes.

This song just rocks. Really hard in places, especially the crushing finale, which will wake up even the most jaded rock fan.

WEST THEBARTON BROTHEL PARTY Misophonia Reviewer: Matthew Jolly 5/5 WTBP describe themselves as a “7-Piece Garage Rock Hydra” producing “Jangly Fuzzy Garage Rock” and they are.

What this description doesn’t convey is the glorious raggedness of the voice of Ray Dalfsen or the untamed hookiness of the music – that wild mercury sound.

And it sounds Australian. It’s jangly like The Sunnyboys, fuzzy like The Saints and garage like Radio Birdman, yet it seems timeless rather than old.

This IS a perfectly constructed pop song but we are talking about the pop music that was produced by the Clash (and before that, by Dylan). Only three chords but more dynamics and hooks than many bands would build a career on.

A jangly arpeggio guitar lick, chanting chorus, shouted backing vocals and rollicking rhythm section support a mumbled-spat narrative about hating someone who snores – Misophonia is a disorder in which negative emotions are triggered by specific sounds.

I don’t often give consideration to the way records are engineered but I have to give credit to Alistair Wells at Grinch Records for capturing the sound of this band – making it seem easy, casual, too-cool-to-care but ultimately revealing a band with songwriting smarts and a knack for kicking out a hell of a tune.

DRAGON

By Robert Dunstan

released any new material since 1979 and the album quickly shot to number five on the charts.

Dragon will hit the Governor Hindmarsh Hotel on Saturday evening to play their 1984 album, Body & The Beat, in its entirety followed by a selection of perennial favourites.

The band, inducted into the ARIA Hall Of Fame in 2008 and who released an album of new material, Roses, last year, toured Europe in 1987 but used the name Hunter.

The band will, however, be playing Body & The Beat backwards as they will kick the night off by playing Fool, the last tune on the 10-song album, and then working their way towards the opening song, Rain, a number that remains one of the legendary rock group’s most popular songs.

“Yeah, we couldn’t really start the night off by playing Rain,” bass player Todd Hunter admits with a laugh.

“And it’s always great to play the Gov because we always get a great crowd,” he says. “I sometimes feel like we don’t get over that way often enough. But here we come again on the 30th anniversary tour of Body & The Beat.

“And we’ve done show already and it was fantastic fun revisiting all those songs because they are full of ’80s pomp and ceremony. They sound huge.

“Pete, our drummer, reverse engineered all the songs and remade all the big synthesiser parts which he plays with one hand while he’s drumming with his other hand and singing as well. He’s quite incredible.

“And some of the songs we’d never actually played live before,” Todd continues. “There are songs on the album like Cry, Magic, Body & The Beat and Rain, of course, that we still play, but songs like Cool Down, Fool and Witnessing we never actually played live.

“So, our guitarist, Bruce Reid, who is from Canada, hadn’t even heard those songs before,” Todd adds.

Bruce Reid, who moved from Canada to Sydney back in the early ’90s where he found himself playing in the band Karma County, seems an unlikely choice.

“Yeah, yeah,” Todd says, “but he’s fitted in really well. Bruce learnt all the guitar parts and plays them really well. He’s a fantastic player and when we first restarted the band, I was wondering if we needed a keyboard player like back in the old days, but he can cover that.”

The band, which is now Mark Williams on vocals, Bruce on guitar, Todd on bass and Pete Drummond behind the kit, have gone through many incarnations – some 35 people have been members over the years – since forming in Auckland, New Zealand, on New Year’s Eve in 1972.

They released two albums, Universal Radio and Scented Gardens For The Blind, in their homeland before making the move to Sydney in 1975.

“When we started off, we were very much a psychedlic jam band,” Todd reveals. “We were sort of along the lines of The Grateful Dead because we’d play songs that seemed to go forever.”

The move to Sydney, however, proved fruitful as they found commercial success with albums such as Sunshine, Running Free and Oh Zambezi and hit singles such as April Sun In Cuba, Are You Old Enough?, This Time, Get That Jive and more.

Their 1985 album, Body & The Beat, was seen as a comeback of sorts as they hadn’t

David Day Memorial Service.

Anyway, it was good to get along to the memorial function to pay respects to the Adelaide radio legend that was David ‘Daisy’ Day and catch up with some people I hadn’t seen for many years and others I’d caught up with only a few days ago.

“The German promoter we had thought that Dragon sounded like we were a heavy metal band,” Todd recalls with a laugh. “So we quickly changed the name for that tour.

“And that was a great tour because we were opening for Tina Turner and she was getting huge crowds every night,” he says. “And we were going over really well every night and people were even asking for an encore which is unusual for a support band.”

Kiwi singer Mark Williams, who sang with Sydney band The Rockmelons for a while, has proven to be a great replacement for the late Marc Hunter.

“He certainly has,” Todd agrees. “Every night the just sings his damndest whether we are playing to a 100 people or 10,000. Mark just goes for it every night.

“And I first got to know Mark when he came to my studio in Bondi to do some demo recordings,” he then says. “But I didn’t know him closely then but at Marc’s funeral, he did a version of Are You Old Enough? that was completely heart-wrenching.

“And that was the first time I’d heard Mark sing a Dragon song,” Todd says. “And I don’t know how it all happened – I think I just rang him up out of the blue one day and asked if he wanted to join the band and he said, ‘Yeah’.”

“And I knew if I was ever going to put Dragon back together, I would need to find someone with a completely different energy to what Marc had,” he reasons. “I knew that it couldn’t be a carbon copy of Marc Hunter because that would turn it into a nostalgic thing rather than be trying to move forward.

“And Mark Williams was just the guy to do it,” Todd enthuses. “And it was the same with all the players. Bruce, for example, came on board around the time I was doing [television series] Heartbreak High and asked one of the guys at the studio if he knew any good guitar players.

“And he said, ‘Yeah, sure, a Canadian guy called Bruce Reid’,” he continues. “Bruce had left Karma County by then and was just playing with Wendy Matthews but they weren’t doing too many shows.

“So when I called him up and said, ‘Hey, do you wanna join Dragon?’, Bruce was also really keen,” Todd adds.

Dragon will play the Governor Hindmarsh Hotel, 59 Port Rd, Hindmarsh, on Saturday 16 May. Book via the venue or OzTix.

And to think I got quite dressed up for the occasion and spent much of the afternoon’s filming session drinking cheap rum in order to cheaply get into the cheap kind of 0.3 of a millisecond character I was set to play in order to be seen by casting agents around the world and make my merry way over to some place known as Hollywood.

I must say that the memorial service for the late David ‘Daisy’ Day, held at the Arkaba Top Room on Tuesday 5 May, was a very well-attended affair. I always suspected it would be but was quietly and pleasantly surprised by just how many rock’n’rolled up and equally surprised by how many sent apologies for not being able to be there due to factors such as work commitments, the distance that needed to be covered in order to actually get there and an understood mental aversion to attending such sad occasions.

I arrived mid-afternoon due to having to undertake a phone interview with an interstate artist just after the clock on the wall had mentioned that it was high noon.

Normally I would have attempted to reschedule said interview but it was one that had already been jiggled around several times due to the either the non-availability of the artist or my bad self, so when it was finally totally locked in for Tuesday 5 May just after noon and well prior to the announcement of Daisy’s memorial function, I duly sighed and thought I’d best leave it at that rather than postponing it yet again for fear of being considered ‘unprofessional’.

It also caused me to recall the heady days of The Arbaka Top Room when it played host to lots of visiting rock bands back in the ’70s. I remember heading there to see such bands as The Angels, Cold Chisel (including a New Year’s Eve gig), UK pub rockers Dr Feelgood (several times in fact), Midnight Oil, Australian Crawl, Skyhooks, Moother Goose, The Scientists (who, strangely enough, were supporting Mi-Sex, early Mondo Rock and so many others.

I was not at The Arkaba Top Room, however, when UK band The Cure played there, but do very vaguely recall seeing a band called The Tourists play there who, following some kind of huge band debacle in Sydney, suddenly changed their name to Eurythmics.

And, speaking of radio legends, The Arkaba Top Room is now set to play host to the annual John Vincent Memorial Big Quiz which will take place on the afternoon of Sunday 21 June and will be hosted by onelegged comic Adam Hills and two-legged Irish comic Eddie Bannon. It’s for quiz tables of 10 and discount tickets for a table can be bought by visiting Ticketmaster.

Moi, unprofessional? Surely not!

Anyway, I rock’n’rolled up to The Arkaba via an Adelaide Metro bus and was delighted to see many familiar faces there although I was informed that earlier on in the afternoon the venue had been almost twice as full of people paying tribute.

Indeed some said it had been, ‘Packed to the rafters’, which caused to me look up and recall that many years ago when The Arkaba’s top room had been built back in the ’60s, its rafted ceiling had featured in several influential architectural design magazines and was considered, at the time, to be something of roofing wonder.

Anyway, I do digress and now wish to get on with it. Due to arriving late, I missed seeing local legend John Swan (who will be performing at Published Arthouse, 11 Cannon St, Adelaide, from 7pm on Saturday 20 June at which Fleetwood Mac tribute band Rumours will also be on the bill) get on stage with members of The Angels. And while I was still on the Adelaide Metro bus making its merry way to The Arkaba, I noted via the wonders of the Facebook thing that someone had posted that John Schumann was just about set to take to the stage.

I was only 19 minutes late for that, but did manage to catch local guitar legend Chris Finnen, using a borrowed guitar no less, get up and do a scintillating set backed by members of Rhumboogie. I also caught Brillig do a sombre version of their song The Old Captain as the film clip had featured David Day as, yes, you guessed it, an old, sea-faring captain. This also caused me to recall that I had also featured in said video although, I must confess, it’s only for about 0.3 of a millisecond.

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BEN SALTER

By Robert Dunstan

an absolutely amazing [Melbourne jazz] saxophonist, Julien Wilson, played sax on Vile Rat.”

Brisbane-born but now Melbourne-based singer songwriter Ben Salter was in a bit of a quandary when BSide Magazine spoke to him about the release of his second album, The Stars My Destination.

The album, which takes its title from Alfred Bester’s 1956 novel, The Stars My Destination, is to be also issued on vinyl as was Ben’s first solo offering, The Cat.

Ben, who also plays in the bands Giants Of Science, The Gin Club and The Wilson Pickers, had booked a free entry solo show at the Wheatsheaf Hotel this coming Sunday to preview songs from his new offering which was due to be released in mid-June.

He then found out that The Stars My Destination has been rush-released and will already be available when he hits town.

“Yeah, it actually came out today [Friday 8 May],” Ben says, “so I’m not sure whether to turn the show at The Wheaty into a CD launch and put on some kind of door charge or just leave it as it is.

“It’s something I am going to have to think about over the next few days,” he says with a sigh. “But I’m kinda thinking it’ll end up being my CD launch as a ticketed show because I don’t have anything else booked in Adelaide, although I had hoped to do the launch with a band in June.”

Regardless, Ben will still be performing at The Wheatsheaf this Sunday afternoon and playing songs from the new album which was recorded on a farm up in sunny Queensland.

“Yeah, I did on at my sister’s cattle property where I have recorded a couple of records

by The Gin Club,” Ben says. “It’s up near Rockhampton.

“I basically just went there with a bunch of demo recordings so some of the songs actually ended up being a lot different to what they were initially.

“The only exception was the song Vile Rat which didn’t have any lyrics written before I went up there.”

Dan Luscombe, of The Drones and The Blackeyed Susans, produced The Stars My Destination and also added guitar, organ and piano.

“I knew Dan from when The Gin Club and myself have played with The Drones a bunch of times,” Ben says. “And we have a lot of mutual friends in Melbourne and Dan also played on my first album, The Cat.” Also playing on Ben’s album are Adrian Stoyles (of The Gin Club, The Spoils and Something For Kate) who added bass, while former Grace Emily Hotel barman Gus Agars (of Tex Perkins & The Ape) played drums and percussion.

Some of the songs boast a certain Englishness about them and one or two remind me of the work of the eccentric Robert Wyatt.

“Oh, I love Robert Wyatt, so I’m glad you think that,” Ben laughs. “That’s fantastic to hear. Robert Wyatt can be very esoteric.”

Following the initial recording, a string section, arranged by The Gin Club’s Scotty Regan, was then added to some of the songs at Marmalade Studios and a few guests were also roped in.

“So yeah, Liz Stringer came in and did some vocals [on the single, Boat Dreams], John Bedggood added some more piano and

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“I’m not actually sure when the vinyl album will be back from the presses but I do know it is being made as we speak,” Ben reveals.

“Vinyl is definitely a very tactile medium and such a great format to listen to music on.”

Ben recently trekked around the country in solo mode as opening act for American rock band Counting Crows.

“That was great and they were great guys – a really lovely bunch with a very professional crew,” he enthuses. “And most of the shows were sit-down theatre shows – we did the State Theatre in Sydney over two nights, Palais Theatre down at St Kilda in Melbourne, The Tivoli up in Brisabne and the West Australian Concert Hall over in Perth – so everyone in the audience was very receptive. So that was just amazing.”

After playing the Sunday evening show in Adelaide at Her Majesty’s Theatre with Counting Crows, Ben undertook an impromptu appearance at Rundle St’s Exeter Hotel the following evening.

“Y’know, I reckon, over the last two years or so, I would have played in Adelaide about 10 or 12 times I guess,” Ben says. “I’ve been touring pretty much non-stop since the last album came out.

“And I’ve become quite fond of Adelaide,” he then adds. ‘I’ve played at The Exeter a few times now and Hotel Metro and The Wheaty either solo of with The Gin Club or The Wilson Pickers.

“I’ve also done a few little shows at a place up in the hills called The Barn,” he says of what was once the old horse stables for the Wairoa homestead at Aldgate and which now serves as an art gallery and occasional live music venue.

The Gin Club also recently released a new album, Southern Lights.

“Yeah, that came out earlier this year and we just did a big launch up in Brisbane,” Ben says. “We try and record an album every couple of years when we can all get together.

“With a nine-piece band and everyone doing different things, it can sometimes be hard to get everyone together in the same spot,” he concludes with a laugh.

Ben Salter plays The Barn, 142 Mt Barker Rd, Aldgate, on Friday 15 May and The Wheatsheaf Hotel, 39 George St, Thebarton, from 4pm on Sunday 17 May. The Stars My Destination is out now via ABC Music.

THE FYOOGS

By Khiara Elliott Adelaide’s The Fyoogs are a psychedelic groove four piece with an ’80s twist.

However describing this bands eclectic sound is somewhat of a feat, as they challenge musical conventions and push genre boundaries.

BSide Magazine had a chat with vocalist and guitarist Simon Hartley ahead of their launch of new single Wide Open Road and discussed just how they would describe their own sound.

“People sort of ask you what style it is and it’s often very hard to say,” Simon begins.

“Some bands say you know, ‘We’re heavy metal’, or, ‘We’re reggae’, or, ‘We’re blues’, or something like that, but we’re definitely not like that. I find all that a bit boring really. We’ve really tried to draw all different influences. We’re trying to make this new style a bit more fun for our audience to listen to in the sense that it’s got a bit more of those dance style beats. We’ve even been classed as ‘alternative pop’ before.

“We’ve actually got some Latin funk style stuff in there now, and some jazz and even a hip hop beat. I write all the songs but I’d start from the drum beat. Andrew, our drummer, is really good. So I’d start with a drum beat and then create the songs around them.”

Wide Open Road was recorded with Adelaide industry giant Matt Vecchio of the band Pink Noise Generator.

“He’s done a professional engineering course for two and a half years, full time, and he’s been engineering live bands for quite a while now and he’s got his own band. So he’s quite well-known, and quite a talented guy,” Simon says.

“He liked my other band a few years ago when we were quite different and he sort of managed us for a while, just helping us get gigs and stuff. But then that band fell through and I sort of left music for a year or two.”

After a short hiatus, Simon put together the band now known as The Fyoogs and once again got together with Matt.

Working with Matt provided a fresh set of ears and a new perspective on the single, as well as a new found source inspiration for when recording got tough.

“We had to record the vocals later because when we were in the studio I couldn’t sing the track,” Simon admits. “I just could not get it right!

“Then Matt sort of said something to me and on my way home in the car at about two in the morning I thought about his advice and then from then on it was easy.”

The Fyoogs will be holding their single launch at famed Adelaide venue the Metropolitan Hotel.

“It’s pretty hard to get a gig there. They have bands holding album launches and stuff there all the time. We booked the gig months ago and I said, ‘Shit, we better record a single now!’,” Simon laughs.

“We played a show there a while ago and I just really liked it because it’s very small.

I really like the shows where you’re not separated by a big stage and everybody is in really close and the room is packed. It just really suits us because the venue is a bit funky and groovy and it’s just a bit more laid back.

“You know, we’re not the kind of band who jumps around and climbs on top of the speakers and stuff like that so we thought Hotel Metro was pretty cool.”

Fellow Adelaide bands Syndicat and The Hunky Punks will be supporting The Fyoogs at their upcoming launch. The choice seemed only fitting to Simon and the boys as they all play in a similar realm of sound.

“Three of the guys from Syndicat used to be in a band called Revolver and they were pretty successful. But they’ve started this new project and it’s kind of like, electronic groove. Most of it is instrumental. They have a lot of computers on stage and do a lot of sampling and that’s the kind of direction we’re heading in too. More atmospherical stuff.”

Catch Syndicat, Hunky Punks and The Fyoogs at that band’s upcoming launch of new single, Wide Open Road, on Saturday 23 May, at Hotel Metro, 46 Grote St, from 9pm in the band room.

“By that time he had been doing more work in the studio. So he was a perfect fit for us because he knew the music and he knows me really well. We didn’t actually record in his studio, we used somebody else’s but we really wanted to get Matt in to mix and record it because he actually likes the music.”

Working with someone who had a real appreciation for their genre was important to Simon and the rest of the band, as they felt it brought a sense of credibility and knowledge to the creative process.

“You know, I think a lot of guys mix a lot of bands all the time and it actually is quite hard work. It’s quite tedious when you’re going over and over and over it again. When you have someone who actually likes and believes in the music and a song, they sort of get into it and then they help you produce it. Matt gave us some ideas when it came to the sound and the instruments and their arrangement and he also got us to play the song a bit slower.

“We weren’t sure about that at first so we recorded two versions and it turns out he was right because we went with the slower version,” he admits with a laugh.

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Anniversary Wake with The Airbenders Governor Hindmarsh – Main Room: Karnivool (Perth) and Cairo Knife Fight (SOLD OUT) and Front Bar: Adelaide Ukulele Appreciation Society Hotel Metro – Acoustic Club Tuesday from 7.30pm The Lion Hotel – Zyke & Damo (free entry from 8pm)

MAY 14TH - MAY 20TH THURSDAY 14 MAY Adelaide Entertainment Centre Theatre – Paloma Faith (UK) Austral – SCALA (free entry) Brecknock Hotel – Breakaway Singalong Bridgeway Hotel – Northern Exposure (all-ages rock event with The Clangers, Spacetrash, Carpedenim, Strange New Folk and A Loose Trust from 7pm) Café Komodo (Prospect) – Open Mic from 6pm Crown & Sceptre - Bongo International Appreciation Party With SambaOZ & Xanga Gaslight Tavern – The Groove Factory Jam Gilbert St Hotel – live acoustic blues from 7pm with free entry Governor Hindmarsh – Front Bar: Gumbo Room Blues Jam with host Billy Bob Hotel Metro – Free From burden, Quaint Attraction, Weekday Wolves and Raw Chrissy from 9pm La Boheme – Mike Bevan Brazilian Trio Lion Hotel – Bloky’s Boys (free entry from 8pm) THE PUBLISHERS 110 FRANKLIN STREET LADY VOODOO & THE RITUALS (8pm) RETRO R&B Whitmore – Rainbow Jam FRIDAY 15 MAY British Hotel (Pt Adelaide) – Harrison Auger (free entry from 5pm) Crown & Sceptre - Cat Dog Bird, The Wisps, The Tangerines Fowler’s Live – King Parrott (Sydney), High Tension and Coloosvs Gaslight Tavern – Heavy Load Governor Hindmarsh – Necro (US) and Saloon Bar: Irish Sessions and Front Bar: Appalachian Sessions Grace Emily Hotel – Max Savage & The False Idols Hotel Metro – Roo Shooter, Stink Lines Dan Heath and DJ Maggie Boi Marion Hotel – Paul Smith Nexus Arts Centre – Beat Spacek (UK), Julien Dyne and Inkswel Producers Bar – The Shambolics (free entry from 5.30pm) Railway Hotel (Pt Adelaide) – live music from 5pm Semaphore Workers Club – live blues from 8pm Tonsley Hotel – Mojo Duo (Tavern Bar), Josh Morphett (5pm), McKenzie (9.30pm) (Chrysler Bar) Victoria Sq/ Tarntanyangga – Twilight Sessions from 4pm Vinyl – Louis Donnarumma, Sasha March & The Dawnhorse and Tim Moore Wheatsheaf – Golonka! (free entry from 9pm) Woodville Hotel – Jake Heading (free entry from 6pm) Worldsend – The Brothers Grimm, Gun It and Carpedenim ($5 from 9pm) SATURDAY 16 MAY Arkaba Hotel – Fizzy Pop (Variety Fundraising Show) ($30 Top Of The Ark), Kopy Catz (Sportys Bar) Bridgeway Hotel – Bulls On Parade (RATM Tribute) Casablabla – Lady Voodoo & The Rituals (from midnight with free entry before 10pm) Clarity Records (Pulteney St) – A Day Of Clarity: Sparkspitter, Glass and Canidae Crown & Anchor – A Day Of Clarity: Main Room: Clowns (Melbourne), God God Dammit Dammit, Beaver, Summer Blood and Pro Tools and Front Bar: Heath Anthony, Nina & Rueben (from Hightime), Bec Stevens and Todd Fogerty Crown & Sceptre – The Tangled Bank, Funk Latin Union, Anya Anastasia

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Edinburgh Castle – Thrillhouse: Nick Allbrook (WA) and Peter Bibby Exeter Hotel – A Day Of Clarity: West Thebarton Brothel Party (CD launch), Sincerely, Grizzly and Slick Arnold from 5pm and St Morris Sinners, Juliette Seizure & The Tremor Dolls and Stabbitha & The Knifey Wifeys from 9pm Gaslight Tavern – Chesterfield Supper Club (featuring Mr Snooks La Vie) and Self Preservation Society Governor Hindmarsh – Dragon (Sydney) Grace Emily – Satan’s Cheerleaders, The Villenettes and Misfits Of Sythia Hotel Metro – Infinity Broke (Sydney), Matthew Hayward and Blush Response Jive – Gosh! with DJ Craig from 11.30pm Marion Hotel – Franky F (5.30pm), Platinum Plus (8.30pm) (Bart’s Bar) Mylor Hall (Mylor) – The Druids Of Oz Gathering: Spiral Dance Nexus Arts – Kaurna Cronin (single launch) Nook Nosh (Unley) – Off The Record (DJ spinning eclectic vinyl from 7pm) Pretoria Hotel (Mannum) – Mr Buzzy Producers Bar – A Day Of Clarity: The Weight, Ghost Orchestra, Reactions, World View and Melchior The Promethean – Khan Manuel (Sydney) Tonsley Hotel – One Planet Wheatsheaf Hotel – Archer (US) and Kenny Joe Blake (free entry from 9pm) Worldsend Hotel - MacKenzie, Avenue, Sitara ($10 entry) SUNDAY 17 MAY Arkaba Hotel – Vogue Duo Bedford Hotel – Mick Kidd & Dave Blight Brompton Organic Markets – Gypsyjunkies from 9am Crown & Anchor – Sunday Rubdown Crown & Sceptre – DJ Samnation from 3pm Franklin Hotel – Vincent’s Chair from 3pm Gaslight Tavern – The Jazz Hands (free entry jazz jam evening from 6pm) Gilbert St Hotel – live acoustic music from 2pm Governor Hindmarsh – Riblja Čorba (Serbia) Grace Emily – Carus Thompson (Fremantle from 4.30pm) Hotel Metro – DJ Glans (from 4pm) Nook Nosh (Unley) – Andrew ‘Wash’ Washington (acoustic music from 5pm) Pretoria Hotel (Mannum) – Dark Horse (1.30pm) Railway Hotel (Pt Adelaide) – live music from 4pm Semaphore Workers Club – live blues from 4pm The Jade Monkey – California Cousin (from 6.40pm, all-ages and $5 entry) The Monkey House (Glandore) – Radio Hits (free entry from 4-8pm) The Promethean – Lauren Henderson (jazz vocalist from Melbourne) Tonsley Hotel – Natalie Zeleny Wheatsheaf – Ben Salter (Melbourne – CD launch from 4pm) Woodville Hotel – Georgia Carey (free entry from 2pm) MONDAY 18 MAY Adelaide Entertainment Centre – Nickelback (Canada) Crown & Sceptre – Monday Night For The Lonely Soul (free entry variety night) Governor Hindmarsh – Main Room: Karnivool (Perth) and Cairo Knife Fight and Balcony Bar: Lord Stompy Grace Emily Hotel – Billy Bob’s BBQ Jam The Lion Hotel – Brian Ruiz and friends Wheatsheaf – COMA Jazz Sessions TUESDAY 19 MAY Exeter – Bitches Of Zeus DJs Gaslight Tavern – Blues Lounge Blues Jam with special guests Gilbert St Hotel – Mike Stewart First

WEDNESDAY 20 MAY AC Arts (Light Sq) – Karmic Arms Brecknock Hotel – Open Mic Night Crown & Anchor – DJ Tr!p Dan O’Connell Hotel – Open Mic @ The Dan Exeter – DJ Oisima Gaslight Tavern – SCALA’s Midweek Melt Governor Hindmarsh Hotel – Front Bar: Open Mic Night Grace Emily – On The Fly Improv Night HQ – Enter Shikari (UK) Kensington Hotel – Uke & Play @ The Kensi The Lion Hotel – Proton Pill Vinyl – Chris Finnen and Ronny Davidson ($5 entry from 8pm)

FRIDAYS (5pm - 8pm) May 15th DAVID ROBINSON

SUNDAYS (4pm - 7pm) May 17th GREEN CIRCLES

THE BIZZO

THE 10+1 COMMANDMENTS OF OPEN MIC PERFORMANCE

By Corey Stewart In my time running Open Mics, I’ve noticed that things run much more smoothly when some elements of common sense etiquette is adhered to.

With that in mind, here are my ten (plus one) commandments of Open Mic performance.

If you stick by these rules I guarantee you’ll get maximum benefit from your next Open Mic experience.

1. Thou shalt be on time If an Open Mic starts at 8pm then turn up a little earlier to make sure your name is down on the running sheet.

If you’re doing something else beforehand and you need to turn up later that’s fine, just don’t complain if your time to perform is later than you anticipated.

An Open Mic running on time for all concerned is the ultimate goal for the MC of the evening. Being on time will make things a lot easier for everyone else.

2. Thou shalt make yourself known to the MC not the other way around If you want to put your name down on the running sheet, don’t expect the MC to come to you. Go to him/her and make the MC’s job just a little easier.

3. Thou shalt be prepared before your allotted performance Knowing where you are on the running sheet is very, very important. Nothing holds up an Open Mic more than performers who tune up their guitars and prepare their music at the very last minute. A successful Open Mic is determined by how short the changeover time between performers is.

Here are some other ways that performer changeover times can be minimised: - Know where your place on the running sheet is beforehand - Be ready before you go on - Be close by when your turn comes around - Know what songs you’re doing beforehand 4. Thou shalt not get (too) drunk before performing I know it can be very nerve racking waiting to go on stage and having a drink to get the dutch courage going is fair enough but, try not to drink too much before you go on.

Remember, you really don’t sound good drunk, no matter what you think. Trust me on this one :) 5. Thou shalt not overstay ones welcome on stage Open Mics are designed to showcase the talents of multiple performers not just you.

If the requirement is a maximum of three songs, do your three songs but balance that with the fact that there are other performers wanting a get on stage as well.

Keep unnecessary chat to a minimum and don’t do the extended versions of “Stairway To Heaven”, “American Pie” and your favourite folk tune with 24 verses in it all in the same sitting.

Oh, and BTW. When you finished your songs don’t ask the audience whether they want to hear more. That’s the MC’s job (if time is permitting).

6. Thou shalt invite others to play if need be, but only up to a point.

In my own experience I’ve noticed a tactic that some performers use to overtly maximise their time on stage. Invite another musician (e.g. a guitarist) up and give them extended solos to stretch out the songs.

Don’t do it. The MC who know what they are doing will be onto you :) 7. Thou shalt adapt ones performance to the Open Mic. Some Open Mics cater for bands however, (in my experience) most Open Mics operate in venues with limited stage space and audience capacity and because of this, are designed for solos or duo performers only.

If you play in a band and you want to perform at an Open Mic that operates in this way, do your homework and learn your songs either solo or with one extra person.

So what if the only way you’ve done your songs in the past is with a band. Either adapt your repertoire or go to an Open Mic that caters for bands.

8. Thou shalt obey the MC at all times I think this point is self-explanatory. If the MC has to make changes to the night on the fly (e.g. cuts the maximum amount of songs from 3 to 2 halfway through the night) and you haven’t performed as yet, don’t be offended.

This is not a reflection on you. The MC is just trying to do the best they can with what they have on a very busy night. The shoe can always be on the other foot if the night is a little quiet. You might get to play an extra song or two to stretch the time out, and who generally gets those spots?

They would be the performers who don’t complain when times are busy.

9. Thou shalt be encouraging and supportive of other performers.

For some people the possibility of playing in front of an audience at an Open Mic is much scarier than death itself. It might be that It’s their first ever time on a stage. Therefore, it’s so important that the environment created at an Open Mic is a supporting, inclusive, performer-friendly, positive and encouraging one.

The MC, sound engineer and venue staff can only do so much in this department.

The main responsibility rests with the other performers and YOU. There are ways in which this optimum Open Mic environment can be maintained: - Clap when a song is completed (or at least make some acknowledgement) - Give credit where credit is due.

- If you have nothing nice to say, don’t say anything.

- If you really like the performance, say so - Stay for as long as you can after you’ve finished your performance.

10. Thou shalt be courteous to Open Mic/ Venue staff Be nice to the MC and you’ll get some breaks. Be nice to the sound engineer and your sound won’t suck. Be nice to the venue staff and you’ll be served quicker.

End of story!

11. Thou shalt have FUN! Leave your troubles at the door and have the time of your life. An Open Mic is not meant to be a competition so go out and HAVE FUN.

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