jack white rufus wainwright pony face zoobombs john scott justin hawkins laurent “lags” barnard flow visual artist
adalita
snap photographer snap competition winner
corey madden 7” vinyl split
the jim jones revue and
dinosaur jr. ISSN 1838-8094
04
issue
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veri.live Issue 10 Double A: Side Special
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publisher Zo Gay
The Jim Jones Revue
editors Sandra Goldbloom Zurbo, Sean Gleeson
Track I t’s Gotta Be About Me
proofreader S andra Goldbloom Zurbo contributing writers Billy Geary, Dante Gabriele, David Hennesy, Edna Sway, Joshua Kloke, Frannie Hart, Raul Sanchez, Stephen White, Jervis Dean, John Dean, Matt Haycroft, Matt Zurbo house photographer Zo Gay contributing photographers Daniel Marsh, Derek Bremner, Richard Sharman, Stephen Booth interns Angus Evans, Robert Michael Geary, Thomas Lutrov typeset and design Damage Design advertising and enquiries i nfo@verilive.com.au distribution Integrated Publication Solutions, Eight Point Distribution and veri.live
Composed by Jim Jones, Rupert Orton, Gavin Jay, Nick Jones and Henri Herbert ublished by Strictly Confidential P (Mushroom Music Publishing) ℗ © Punk Rock Blues Records. Released under exclusive License by Play It Again Sam [PIAS] (Liberator Music) y kind permission of Liberator Music, B Mushroom Music Publishing and The Jim Jones Revue.
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Dinosaur Jr.
cover Jack White: Festival Hall
Track W atch The Corners
photo Zo Gay
Composed by J Mascis
Misprint Notification veri.live issue 10 | Print Edition | Page 9 Snap Competition Runners Up should read: Cassandra Hannagan, Heidi Takla, Katie Dutton and NIC BEZZINA not Theorn Campbell. veri.ilve apologises to all parties concerned.
ublished by Spam as the Bread Music, P admin by BMG Chrysalis (Mushroom Music Publishing)
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snap veri.live SNAP Photographer Competition winner Corey Madden Congratulations to Corey Madden, winner of the veri.live SNAP Photographer Competition, and this edition’s Snap: Photographer’s Choice feature photographer.
runners up Congratulations to the four runners up: Cassandra Hannagan, Heidi Takla, Katie Dutton and Nic Bezzina.
sponsors Thank you to the SNAP Competition sponsors, Canon Australia, Designwyse, Kayell Australia, Cason Infinity, The PrintShop @ PSC, Photography Studies College and Crumpler.
judges Thank you to judges Jay Collier, Kalle Björklid, Kane Hibberd, Kirsty Umback, Leigh Wilkins, Martin Philbey, Philip Morris, Steve Double and Tony Mott. For more information go to the veri.live and SNAP Competition web sites at www.verilive.com.au
contents letter from the publisher
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live reviews Jack White 14 Metric 36 Anna Salen 38 The English Beat 40 The Bennies 42 Useless Children 44 Zoobombs 48 Die! Die! Die! 50 Pony Face 52 Drunken Moon Festival 54 Rufus Wainwright 56 Howlin’ Steam Train 82 interviews John Scott The Mark Of Cain 16 Laurent “Lags” Barnard Gallows 20 Justin Hawkins The Darkness 24 Kasey Chambers and Shane Nicholson 84 special features Drunk Mums Poison City Weekender A Brilliant Invention Bitter Sweet Kicks and Vice Grip Pussies Big Sound
28 32 46 87
regular features flow — visual art by the artists Adalita 62 snap — photographer’s choice Corey Madden
68
cd reviews
77
food Tiba’s 60
snapcompetition.com
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Dune Rats Photo: Zo Gay
publisher’s letter Photography and live music are inseparable for me. A live music photographer’s objective is to capture energy, emotion, and dare I say, sound, in a single image … a still. These visual artists are in a unique position at any given event, large or small. Their goal is to capture the flow from the three primary elements they find themselves wedged between … performance and crowd, along with the interaction and energy of the two combined. Live music photographers bridge the gap. Zo Gay Publisher – veri.live
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jack white Festival Hall 2 5 July 2012 Dreams cost money. They always have. Jack White has been dreaming since he was doing upholstery in a sweaty garage in Michigan (he can still tell you where and when your sofa was made, and how much it’ll cost to get it recut) and, damn it, he’s worked hard to have a stuffed giraffe head and a recording studio in Nashville. White does what he wants: he’s created Third Man Records, the most innovative record company in the world, and some of the most true to form music played on this planet. So what’s this former suburban middle-class white boy – now raconteur, flâneur and respectful bon vivant – dreaming of now? Somewhere between the grandeur of Welles and the humble finesse of Cash lies a 1930s fantasy – the poor water boy drifts into a sweet slumber beneath a lone tree in the hot Arkansas sun … He dream’s a powder blue dream of a powder blue heaven where he, all grown up, is a ravenhaired provocateur, a maestro engulfed by powder blue angels. The instruments are powder blue. Hell, even the amp “ON” lights are powder blue. Now, just a man, he, like Elvis, already yearns for the caress of his sweet mama, he pines for the redeeming woman who Hank Williams and Robert Plant knew only too well. Not only is he centre stage and crying for his sins, but he is also surrounded by the pure white light of his silhouetted insignia: he is the Third Man. Art Deco ivory lamps cascade the hero in soft baby blue and sinful crimson and he is in control – when he calls for a song, the girls respond. He dances towards them and they shimmy back. And when they play, they play together, tight and supple,
blues and psychedelia, gospel and punk. The Peacocks are the new Wrecking Crew. But who is watching this brilliance, this shimmering, soul-diving performance? I overheard a guy saying he hadn’t been to Festival Hall since he’d seen Dire Straits there. The sea of faces, burnt leather-brown by the Australian sun and withered by too many Bundy and Cokes on a Friday night, abide by the request, for the most part, to keep their phones in their pockets. But when you love something that hard you just have to own it in at least 5 megapixels. Life must get too real to view through organic eyes. Although the crowd did simply love moshing (I had never before heard general admission referred to a mosh pit so many times in one night) to the songs they knew, there was little to unify the group except for the Reichskriegsflagge-red JJJ flag, limply propped to the side of stage. This eyesore to Jack’s carefully planned and wellexecuted vision, is like the alarm that wakes you from your deep sleep, with every moment towards naive originality and colourful expression thwarted and homogenised into a bleating, repetitive and blandly repressive tone. One flag, one vision, one nation under the Kingsmill. But I guess it takes a bunch of cash to move a mountain of vintage equipment and two bands across the globe, and those dresses sure looked well fitted. Away from government-sanctioned, selfperpetuating garbage the real world exists, and dreams can be reality. They’re real if you get off your arse and do something about it. Because, really, Jack White is just a skinny white boy with a head full of ideas. Dante Gabriele
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Jack White Photo: Zo Gay
The Mark Of Cain  Photo: Courtesy The Feel Presents
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john
scott the mark of cain
After 28 years, five albums and 12 drummers, The Mark Of Cain have returned with Songs of the Third and Fifth, their first studio album in 11 years.
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