Tag Archives: australia

Feature Interview: Rou Reynolds of Enter Shikari

Enter Shikari Australia 2019

Sixteen years and five albums into its career, Enter Shikari is a band comfortable with expressing itself in unique and refreshing ways.

Nowhere is this more clear than on latest single, the upbeat ‘Stop the Clocks’ – a song that took the band to a new creative space, says frontman Rou Reynolds.

“’Stop the Clocks’ was one of the longest and strangest writing periods,” Reynolds says. “With a lot of our albums, we’ve released standalone singles. [Fifth album] The Spark, for some reason, seemed to take on a bigger and longer lifespan and we wanted to give it its own space and era. Even the recording process changed its guise and atmosphere a few times. It was a difficult song to make sure we nailed. It felt like it was quite a ‘summer’ track as well, so it was nice to release in summer. With negative emotion, you can get to the core of it easier, but with positive emotion it can seem trite or bubblegum-y. You can fail to encapsulate the positive passion that you’re trying to get across. So, in those moments you have to really think about it so it doesn’t come across too contrived, cheesy or obvious.”

After a long period of heavy touring on the back of The Spark, released in 2017, the UK quartet will arrive on Australian shores to play Good Things Festival in December.

“Australia is always one of the best places to perform,” Reynolds says. “First of all, we go there when it’s winter up in the northern hemisphere, so that’s nice. It’s a kind of nice mixture between the UK and America – it has a lot of the good points of both. The shows are always amazing as well. There’s a passion and energy we always look forward to. We haven’t played there in quite a while, or at least it feels like a while and we’re very much looking forward to getting back. I’m not bad with the heat, but Rory, our guitarist, definitely struggles with things.”

Since that widely-acclaimed release, the band has been honing its already considerable live skills with tours in some not-so-obvious places.

“It’s been an amazing year,” Reynolds says. “We got to go and do eight shows in Russia, which took us out of the normal cities we play – Moscow, St Petersburg, and all the way really far east to Lake Baikal [in Siberia] to bits of nature I never thought I’d see. It was incredible. I think they just appreciate bands that actually go there. Every country has its bad aspects, politically, but there’s an energy there that we probably don’t find anywhere else. The shows can get to such an ecstatic level, ever since we first played there. We just got back from America, where we did a stint across Texas, the east coast and Canada. Then we were back at Reading and Leeds in the UK for the first time in five years, which felt almost like a homecoming.”

Australian fans can be guaranteed an eye- and ear-blistering live experience when the band lands for the December run of shows, and possibly with some unique surprises thrown in.

“We’re so naturally fidgety that we have to keep the show moving forward,” Reynolds says. “We’ll throw in remixes of songs or mash up different songs together or re-imaginations of songs. It’s one of the most important things about the band, because people want to see an honestly passionate show. Nobody wants to see a band that’s been on tour for three months playing the same set, because it’s just boring. I think we’re just relentlessly progressive in everything we do, so the show keeps progressing as well. We hopefully can make people feel all sorts of things.”

The band are working feverishly on album number six, Reynolds says.

“We’ve started the next album,” he says. “We’re still in the early stages but there’s a good wealth of new music now. With every album, the first stage is just sheer panic as you’re coming to terms with the fact there is this beast that has to be reared and that can be disorientating and imposing. But once you get started and get bearings and direction, it becomes and fun and you get over the sheer anxiety of the project. That’s where we are now. The plan is to have it out next year.”

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Feature Interview: Winston McCall of Parkway Drive

Parkway Drive

Sixteen years and six albums into his glittering career, Parkway Drive frontman Winston McCall isn’t about to start taking anything for granted.

“From day one, we’ve always had to prove ourselves,” he says. “We’ve always said in interviews that we just go out there and do what we do, but, now having sat back and looked at it, the place we’re at now is literally the last place anyone would have expected for this band, including ourselves.”

Sixth album ‘Reverence’, released in May last year, pushed the band’s creative ambition further than ever before and has brought not only exciting new avenues and achievements, but additional pressure to the Byron Bay metallers.

“The past 12 months has been crazy; like a complete time-warp,” McCall says. “We’ve done a hell of a lot of touring and the band has grown so much in that time that I forget the fact it’s only been a year since [‘Reverence’ came out]. It’s been the biggest release of the band’s career and we’ve reached several milestones in the past 12 months. These are things we never even thought we would see and they just rolled over, one after the other. It’s been busy and hectic; so hectic. We’ve had three major injuries within the band in the past 12 months, we’ve played the biggest headline shows we’ve ever played in every continent we’ve played in, then we’ve played the biggest festival appearances and biggest shows of our lives.”

Written and conceived around a dark period for the band, ‘Reverence’ was informed by personal tragedy and loss, and took the five-piece’s music into sometimes difficult yet often ground-breaking territory.

“All of that writing and stuff happened, we brought the record out during that whole ongoing thing, and I guess it’s just a part of life.” McCall says. “It’s something that never leaves you, that loss. It gets easier the amount of time you put between when it happens and now, I guess. You carry it with you all the time and you see it through different lenses and shades as you go. In that respect, dealing with it is going well, but you always have a relationship with it. That’s probably the best way to describe it.”

After a heavy few months spent touring Europe and the States, where McCall says he was offered crack in a diner before food was even mentioned, the band will play its only Australian shows of 2019 at Good Things Festival; a trio of dates which stand out for several reasons.

“It’s our first time being able to headline a major Australian festival,” he says. “And it’s really cool to see heavy and alternative music making a resurgence in festivals in Australia because it’s such a massive thing and it’s such a massive community. It’s been underplayed in the past as a lot of people think it’s a small amount of people in this country who enjoy this music, which is so far from the truth it’s insane. So it’s really nice. So many people in the past have seen the local Australian scene of lesser or less of a commodity than an overseas name, and for us to be able to make a statement by being in that slot is a massive, massive deal. It’s going to be fucking awesome and we’re pumped.”

Australian fans can be guaranteed an eye- and ear-blistering live show when the band lands for the December run of shows. Inspiration for the visual spectacular that is a Parkway Drive gig can come from almost anywhere, McCall says.

“We’ve retained creative control over every single aspect of this band, which means there’s a hell of a lot of work that goes into it. If you have the drive to create something more, we have a very large canvas, but that means you have to have the imagination to fill it. Ideas come from everything: other bands, theatre, music, film, videos, from literally just walking around spaces, architecture and anything from the past. We’re taking an interest in what our lighting guy is doing and work with him to create something so we know what the physical and emotional impact of the stage show are. It takes a hell of a lot, but being able to couple your music with something you know will heighten the experience is a very powerful experience. At the end of the day, when you rock up to a gig, you know it’s very different to just watching your favourite band play your favourite song. We want it to do things that create moments that are worthy of your time.”

While they’ve come a long way from that Byron Bay backstreet to being a major player in Australian and world metal, McCall and Parkway Drive will likely continue aiming to prove themselves for some time to come.

“Years ago, nobody was saying Parkway was going to be able to get as big as we are, play the songs we play, create the music we do, put on the shows we put on and have the actual imagination to do that,” McCall says. “We’ve had 16 years’ worth of pressure and this has been the year we’ve realised we can do this and we have the space to create something using our imaginations, rather than just be in survival mode. So there’s more pressure, but we’re also aware of what the pressure is, and how to deal with it better. There’s been a hell of a lot of people who say we’re one thing and we’ll never be anything else, or we’ve been left out of many equations, which is fine. But it helps us realise the fact we were aware of that status the entire time, and it’s something we’ve been trying to smash. It’s nice to know we’ve been able to do that. It’s been a very interesting experience.”

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Live review: Regurgitator – The Tivoli, Brisbane – 27/10/19

regurgitator brisbane the tivoli 2019

They may be 25 years into their distinguished and acclaimed career, but you can bet your shoes on the fact Regurgitator aren’t about to start taking themselves too seriously.

In fact, the Brisbane trio brought out all the weird and wondrous silliness they are known and loved for as an appreciative audience, many of whom were likely not born when the band formed, brought the party to the Tivoli on a balmy Sunday evening.

The second of two nights celebrating the homegrown legends, this was a veritable mini-festival of fun stretched over six hours, with supports Koko Uzi, The Stress of Leisure, The Fauves, Screamfeeder and Shonen Knife providing the build-up to the main event.

Much like Regurgitator’s musical output over the last quarter-century, it was a wild and eclectic affair that played out in several parts; each celebrating a different element of their history and interjected with humourous and ludicrous introductory videos featuring Dylan Lewis and Tim Rogers, among others, as well as retina-searing and, at times, hilariously lewd graphics.

regurgitator brisbane 2019

Early tracks ‘I Sucked a Lot of Cock to Get Where I Am’ and ‘F.S.O.’ (about domestic violence – “Let’s fuck that right off”, requests frontman Quan Yeomans), went down a storm amid a maelstrom of noise and enthusiasm as the band bounced around in costumes adorned with multi-coloured pom-poms.

Next came the rap-rock section, and a switch to the “life-sucking” (bassist Ben Ely’s words) tracksuits, with ‘Light Me on Fire’ proving to be a high point.

Another switch to a somewhat gold-sequinned costume affair and the arrival of Seja Vogel on keys brought the band to their ‘Unit’ phase, which was always going to be a major highlight of the evening, including the graphic cartoon rimming on the big screen during ‘I Will Lick Your Arsehole’.

The lingering feeling is that if Regurgitator was to somehow still exist 25 years from now, it would continue to be the irreverent, self-deprecating, outsider beast that it has always been. And that’s exactly how it should be.

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Live review: BIGSOUND Live – Brisbane – Night three (5/9/19)

With livers running at 200% capacity and the memories of a normal routine feeling distant and fuzzy, it’s time to dust ourselves off and give it another crack at Bigsound’s third official night of live music.

First up at Crowbar Black is Towns, playing their twelfth show since Saturday. The Adelaide duo immediately set the scene for a tip-top evening with a charismatic, funny and skilful set of punk/pop/rock numbers. “I’m so fucking happy!” says frontman Aston Valadares, grinning ear to ear, before throwing a bunch of t-shirts into the audience, Oprah-style. A medley of television themes, including ‘Home and Away’, ‘Round the Twist, ‘Fresh Prince of Bel-Air’ and ‘Friends’ provide a fun counterpoint to their admittedly “little sad” track, ‘Bleach’.

towns bigsound live brisbane 2019
Towns

Over at Black Bear Lodge, Sunbeam Sound Machine’s Nick Sowersby and his band are making a gentler, more blissed-out sound, including tracks from new record, ‘Goodness Gracious’. ‘Talking Distance’ goes over particularly well in a venue that is perfect for the intimate feel of the group’s music.

At the Elephant, Reliqa vocalist Monique Pym is more into demanding intimacy from her enthusiastic audience. “Tell someone you love them – the person right next to you!” she suggests, to awkward glances from strangers taking in the Gosford collective. Pym is a powerhouse of energy with a towering voice that must place Reliqa as one of the most exciting young metal bands in the country.

Reliqa Bigsound Live Brisbane 2019
Reliqa

Mermaidens are certainly not the demanding types at the Ivory Tusk, saying they “don’t want to get in trouble” if they play over their timeslot, although they do mention their new album being out tomorrow (6th September) several times. They do exactly as their bio describes, and do it extremely well – all dreamy vocals, hypnotic guitars and more charm than you can poke your hangover at.

Mermaidens Bigsound Live Brisbane 2019
Mermaidens

At the Outpost, Teen Jesus and the Jean Teasers are simultaneously expressing their gratitude for the presence of a sizeable crowd, generating considerable industry buzz, displaying their Canberra home-town pride and playing a collection of rock and alternative numbers like its some of the best parts of the ’90s all over again. ‘I Like That You Like That’ is their best song and marks them as serious contenders.

Teen Jesus and the Jean Teasers bigsound live brisbane 2019
Teen Jesus and the Jean Teasers

Following a solid first-night show, the draw towards Laura Imbruglia at Black Bear Lodge is almost irresistible, and going against some imagined principle/protocol/ethic/whatever of Bigsound and seeing the same artist twice suddenly doesn’t seem in any way criminal. The Melburnian and her band, the Bin Chickens, are, quite simply, a class act. ‘Tricks’ and ‘Carry You Around’ allow lead guitarist Alex MacRae to flex his considerable chops as the quartet settle into a potent groove for another evening-winning set.

Laura Imbruglia Bigsound Live Brisbane 2019
Laura Imbruglia and the Bin Chickens

What a bloody great three nights of live music.

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Live review: BIGSOUND Live – Brisbane – Night two (4/9/19)

Dusting off hangovers, minor/major exhaustion and the shadow of day jobs brings the second night of BIGSOUND back into focus, and with another outstanding line-up of bands to get the teeth into, the appetite is big for night two of the showcase.

First up at Crowbar is Sydney quartet The Buoys, who blast through a high-octane, “emotional rollercoaster” of a set, with frontwoman Zoe Catterall getting among the audience and getting into the mood by snagging a bite from a punter’s Bloody Mary celery stick between bouts of highly impressive shredding.

The Buoys Brisbane Bigsound 2019
The Buoys

Over at Ric’s, Egyptian-Australian Mariam Sawires is impressing in a somewhat more serene fashion; her voice on songs like ‘Together’ – inspired by missing her sister when living in Japan – soars high and marks the nomad vocalist as not only one to watch, but probably deserving of a classier setting than the milk-crate-adorned surrounds of the beloved Valley venue.

Mariam Sawires Bigsound Brisbane 2019
Mariam Sawires

Meanwhile, at The Wickham, Sydney rap queen Lauren. riles up an enthusiastic audience by getting in their face before claiming, “I only smoked one bong today!” to a huge roar of appreciation.

Lauren Bigsound Brisbane 2019
Lauren

At the Brightside, Brisbane’s First Beige have packed out the room and melt into an instantly engaging jam, including a guest trumpeter, while at the Elephant’s crammed back bar, English quartet The Amazons run through a set of polished pop tunes on their first ever Australian gig, and Ainsley Farrell is winning hearts and minds with a classy, lilting and uplifting set at Black Bear Lodge, including new track ‘Dark Spell’.

First Beige Bigsound Brisbane 2019
First Beige

Downstairs at Crowbar, Melbourne metallers Outright are loudly-and-proudly anything but polished, with powerhouse singer Jelena Goluza taking the classic foot-on-monitor stance between explosions of noise, before Sydney post-punk outfit 100 put in a solid and loose shift in front of an appreciative audience.

100 Bigsound Live Brisbane 2019
100

Seeing Mambali – from Numbulwar in the Northern Territory – is the perfect way to finish the evening; the Indigenous collective play an exciting, captivating show to a wildly engaged crowd as the evening draws to a close.

Mambali Brisbane Bigsound 2019
Mambali

Is anyone ready to pass out yet?

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Live review: BIGSOUND Live – Brisbane – Night one (3/9/19)

Like Christmas, your birthday, or the dread of filling out another tax return, BIGSOUND rolls around again in no time; although it’s significantly more welcome milestone than many.

First up at Crowbar, singer-guitarist Siobhan Poynton introduces Scabz as “the shittest band at BIGSOUND” before opener ‘What You Stand For’ – a song about Anthony Albanese and false promises. “Told you we were shit,” she follows – a patently untrue statement. ‘Brett Lee’s Got no ID (And He Can’t Get Into World Bar)’ tells the story of Poynton’s encounter with the cricketer at a former place of work; a close call as he “likes Tony Abbott”, as it turns out.

Scabz Bigsound Brisbane 2019
Scabz

Over at Woolly Mammoth, Concrete Surfers are conducting a more polite, but equally impressive and somewhat ramshackle, affair. “We’re here to hopefully rock your socks off,” claims frontman Jovi Brook, softly, while bassist Trent Courtenay – looking like the throttled young caddie from ‘Happy Gilmore’ – slaps his instrument like a master.

Concrete Surfers Bigsound Brisbane 2019
Concrete Surfers

Only a lucky handful of people are present to witness Black Rock Band at the Woolly Mammoth, and what a delight they are treated to by the West Arnhem collective. They aren’t the only band giving an acknowledgement of country tonight, which is encouraging to see and hear, but are likely the only singing in Kunwinjku – addressing both a depth of cultural and social issues and making a rapidly growing audience dance their asses off, too.

Black Rock Band Bigsound Brisbane 2019
Black Rock Band

Reija Lee, playing outside at The Wickham, promises to “amp it up a little” at the beginning of her set. The musical chameleon delivers a varied collection of pop and electro numbers, switching between bass and vocals and winning over a seated audience in no time at all. Her voice and performance deserves a bigger stage.

Reija Lee Brisbane Bigsound 2019
Reija Lee

Over at The Foundry, Dianas are shaking the walls with the tightest performance so far this evening – the Melbourne-via-Perth group make a hell of a sound for a trio, despite complaints of an incredibly sticky stage. Powerhouse drummer Anetta Nevin steals the show with a skin-thumping masterclass, leaving her kit beaten and defeated as the cymbals ring out on the final tune.

Dianas Brisbane Bigsound 2019
Dianas

At The Zoo, Laura Imbruglia and her band the Bin Chickens immediately prove to be the best act of the evening so far as they run through songs from new album, ‘Scared of You’. Opener ‘Tricks’ and follow-up ‘Carry You Around’ set the tone for a classy, skilful set that looks like it will be hard to top this year.

Laura Imbruglia Bigsound 2019 Brisbane
Laura Imbruglia and the Bin Chickens

BIGSOUND veterans Bad//Dreems go about their business with the loose, vaguely off-kilter aesthetic they are known and loved for, playing songs from their upcoming third album, including new tune ‘Piss Christ’. Older tracks ‘My Only Friend’ and ‘Mob Rule’ still sit well among the new songs, while “oldie but a garibaldi” (frontman Ben Marwe’s words) ‘Hoping For’ remains some of their finest work.

Bad/Dreems Bigsound Brisbane 2019
Bad//Dreems

Approachable Members of Your Local Community are the perfect end to the evening at the Ivory Tusk. The “deep south” Melbourne quartet, dressed in ludicrous, matching red Adidas shirts and shorts, are fun, upbeat and silly in all the best ways. New track ‘The Internet’ sounds like a winner while ‘Semiotic Vision’ is perhaps their best song, but it’s the performance that makes it a killer show.

Approachable Members of Your Local Community Bigsound Brisbane 2019
Approachable Members of Your Local Community

Bring on nights two, three and four.

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Fowler’s Live Closes: The End of an Era

Fowlers Live Adelaide South Australia music

When a social media post announced the impending closure of Fowler’s Live on October 3rd, the outpouring of love for the beloved music venue left operator Peter Darwin staggered.

“The support we’ve received has been unbelievable,” he said. “We had thousands of comments and messages on there. The overwhelming reaction was that people felt safe here, they enjoyed the community, and they felt that it had a genuine family feel. For a couple of days there I was really quite gobsmacked and found it difficult reading a lot of the heartfelt comments and feeling the love for the place.”

After 15 years spent fighting government red tape and upheaval to keep the 500-capacity venue afloat, Peter finally had to admit defeat when Arts SA announced they would be seeking to expand the use of the space at a significantly increased rent.

“Essentially, for that entire period we’ve only had two-year leases or occasionally a little bit longer,” Peter said. “There have been probably two other occasions when government policy was looking to revert the space into theatre or general art space, and on both those occasions that changed again. They then advised on September 30th that there was another operator coming in and we wouldn’t be able to continue. Clearly I’m unhappy about the situation, but I also am a realist in that I’ve known that, ever since I’ve took the place on with two-year leases, it was clear that it was going to end. To get to 15 years of operation and not be bankrupt is a reasonable achievement.”

The venue is well known as a national touring spot and as a place for local bands to cut their teeth, and leaves behind countless memories for those who have passed through its doors. While Peter could probably tell stories about the venue for days, two in particular stand out.

“We had the Mark of Cain, obviously a great Adelaide heavy-rock band, playing here one night some years ago on a stinking hot Adelaide summer night. It was about 42 degrees outside and must have been 60 inside by the time we had 500 people under the hot lights. It was just one of those nights when 500 people were operating as one person, rocking out to the band. Everyone was dripping in sweat, the place stank, and we were handing out water everywhere – it is still so clear in my mind.”

“Another time, [Californian punk band] Unwritten Law had played a gig here that night and some of Keith Urban’s crew and band came back to the venue, and the Unwritten Law guys were hanging out having a beer. For the next two hours, there was this bunch of punk guys drooling over the experiences, the stories and the knowledge of the crew and musicians of the Keith Urban band. The monitor engineer had been around for about 30 years and was reeling off stories. These guys were just beside themselves with the experiences and stories. You would not think those two groups of people would any recognition of each other at all.”

While the Fowler’s Live community is left with only memories, Arts SA has announced that Five Four Entertainment bid successfully for the lease, and aim to operate it as a live music and arts venue from January.

Peter, who will keep busy with the upcoming Keith Urban tour and looking after live music for the Adelaide 500, among other things, reluctantly admitted he can look back with pride.

“I’m extremely thankful for the opportunity and proud of what we’ve achieved,” he said. “Somehow I managed to make things go from A to B without fucking up. I just hope the new tenants keep a strong, original live music content here.”

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Cher: Here We Go Again

It’s time to dig out your dancing shoes, dust off your shiniest frock, and get ready to believe in life after love once again with the news that the Goddess of Pop, Cher, is coming Down Under.

Cher Here We Go Again 2018 Australian tour Cher Facebook singer actress

The ‘Here We Go Again Tour’ shows will mark the first time in 13 years the 72-year-old will tour Australia, with stops in Sydney, Melbourne, Brisbane, Newcastle, Adelaide, Wollongong and Perth.

If she could turn back time to 2005, the singer and actress might not have toured under the ‘Farewell Tour’ banner when she played her last headline shows here, but if anyone has earned the right to do just about whatever she wants in show business, it’s the cultural phenomenon born Cherilyn Sarkisian.

Fifty-three years after her debut single – a cover of Bob Dylan’s ‘All I Really Want to Do’ – reached number 15 on the Billboard chart and the world was introduced to her via the international smash ‘I Got You Babe’ with first husband Sonny Bono, Cher is ready to delight Australian audiences once more.

And a delight it’s sure to be.

Pop, film, fashion, television, and a whole lot more: there’s not much the native Californian hasn’t packed into her lengthy and hugely varied career. Add to that numerous Vegas residencies, business ventures and even starring roles in a string of infomercials, Cher has never been one to shy away from a challenge.

“All of us invent ourselves: some of us just have more imagination than others,” is a quote often attributed to her, and to say she’s done it all and won it all is an understatement.

She has bagged an Academy Award (for 1988’s Moonstruck), a Grammy, an Emmy, three Golden Globes, and the Best Actress Award at the Cannes Film Festival, among many more, making her one of a select few to have swept the board in such a way.

But don’t think that means she’s planning to slow down. Not content to still be selling out arenas and stadiums globally in 2018, she also stars in box office smash Mamma Mia! Here We Go Again now playing on a big screen near you.

And that’s not all she’s been up to this year. She unwittingly caused a stir in March after appearing at the Sydney Gay and Lesbian Mardi Gras and posing for a selfie tweeted by Malcolm Turnbull.

A gay icon posing with the Prime Minister responsible for a hugely harmful and unnecessary same-sex marriage survey reeked of hypocrisy, and after many on social media questioned the PM’s PR stunt, Cher had the decency and forthrightness to address her fans directly via Twitter.

“Am so sorry,” she wrote.

“Guess that’s why I have few friends who are politicians. He seemed very open and excited about Mardi Gras and LGBT community.”

With that cleared up, and extra shows recently added in Brisbane and Wollongong, the love affair between Cher and her Australian fans is burning as brightly as ever.

“My visit to Sydney’s Mardi Gras reminded me how unique and beautiful Australia is,” she said in a statement.

“It’s been 13 years since I toured there so I thought ‘let’s do it one more time.’”

Known for much more than performance, Cher has been a fashion icon since the 1970s, when she was first celebrated for wearing elaborate and original stage outfits in her various television shows and appearances after navigating a messy divorce from Sonny Bono and emerging as a solo star.

Between 1972 and 1975 alone she appeared on the cover of Vogue five times, and has been described by Time magazine as a “cultural phenomenon who has forever changed the way we see celebrity fashion”. With such impeccable fashion credentials, it’s no wonder she has been honoured by the Council of Fashion Designers of America for her enduring impact on the fashion world.

While she’s been successful in many roles over several decades, she is perhaps most well known by a younger generation for the single ‘Believe’ from the 1998 album of the same name – the 22nd LP of her career. After a relatively unsuccessful couple of pop-rock albums, musical wilderness was beckoning, but the Queen of Reinvention struck gold with her next move.

The switch to a more dance-oriented sound fitted perfectly with the late-1990s clubbing Zeitgeist, the album went on to sell over ten million copies, and Cher was tasting musical highs perhaps even she had never experienced before. The single topped the Billboard chart 25 years after her last number one, setting a record for the longest time between first-place finishes, and it made her the oldest woman to reach number one – a record she still holds. The song was also one of the earliest examples of auto-tune vocal effects on a successful pop record (a time long before it became risible).

The song and album gave her music career a much-needed shot in the arm, introduced her to a new generation of fans, provided her with the eternal encore, was described as recently as 2016 as “the biggest club record ever” by Vice, and perhaps sealed her spot as the Goddess of Pop for all time. Since then, she hasn’t looked back, performing in front of huge audiences globally. Her 2014 ‘Dressed to Kill Tour’ grossed $54.8 million and sold more than 600,000 tickets, despite ending prematurely due to the singer’s health issues.

“I’ve always taken risks and never worried about what the world might think of me,” she’s been quoted as saying.

“Some people’s feathers are just bigger and brighter than others.”

Cher’s 90-minute Australian shows will feature songs from her entire, six-decade career, and now that she rarely tours outside the US and could probably be offered another Vegas residency at the drop of a hat, Australian fans should jump at the chance to see her while they still can.

Cher plays:

Newcastle Entertainment Centre
Wednesday 26th September

Brisbane Entertainment Centre
Friday 28th September
Saturday 29th September

Rod Laver Arena, Melbourne
Wednesday 3rd October
Friday 5th October

Adelaide Entertainment Centre
Tuesday 9th October

Perth Arena
Friday 12th October

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Live review: Fatboy Slim – Electric Gardens Festival, Brisbane – 25/1/18

It’s Australia Day Eve, it’s hot as hell, and thousands of thirsty Brisbanites are looking to cut loose.

Fatboy Slim Brisbane January 2018 Electric Gardens

Sunnyboys are at the Tivoli and Foo Fighters’ brand of bro-rock is across town at Suncorp Stadium, meaning Fatboy Slim, aka Norman Cook, has some big-hittin’ competition for the collective attention of Brisbane’s gig-goers at Electric Gardens Festival at the Showgrounds.

The question of whether Cook is able to top his triumphant performance at Riverstage exactly two years to the day is another uncertainty hanging over the gig – that was a hell of a show.

Needless to say, the night proves to be business as usual for the EDM renegade master – complete with a typical array of hits, mesmerising visuals, tantalising sonic snippets, air horns and high energy.

After sets by Tim Fuchs, Motez, MK and Gorgon City, panic sets in at the drinks line when ‘Eat, Sleep, Rave, Repeat’ kicks off a couple of minutes before the slated 8:30 start time. After ten minutes of high-quality Fatboy, however, the party is well-and-truly underway.

From here, the master is in control of his disciples.

Brief blasts of ‘Eye of the Tiger’, ‘Seven Nation Army’ and ‘Get Up (I Feel Like Being a) Sex Machine’ get huge responses, as do ‘Renegade Master’ and ‘Star 69’. Two years ago it was Bowie featuring in a brief minute-or-so tribute, and this time it’s Prince; the Purple One’s image on the big screen is a nice touch.

Fatboy Slim Brisbane January 2018 Electric Gardens Prince

Much like Foo Fighters were probably doing over at Suncorp, Fatboy drops some Queen into his set with a bit of ‘Radio Ga Ga’, as the audience claps when he demands it. It’s not quite Freddie at Live Aid (nothing is), but it’s a lot of fun.

By 9:50pm another hit is well overdue, and ‘Praise You’ does the job, evoking an atmosphere somewhere in the region of bedlam. It only takes ‘The Rockafeller Skank’ mixed with ‘(I Can’t Get No) Satisfaction’ to put the icing on this sweaty, leg-weary cake.

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Fatboy Slim: Stormin’ Norman Heads Down Under

Longevity in the entertainment business is an elusive concept. Slippery as an eel. Statistically pretty bloody unlikely.

fatboy slim 2018-1

Evidence shows that lengthy success requires an artist to either (a) regularly reinvent their showbiz persona and take a punt (see: Bowie, Madonna, Prince), or (b) find something they do particularly well and just keep hammering away (see: AC/DC, The Rolling Stones).

For every rule there are exceptions, however, and it could be argued that Fatboy Slim is pretty unique in that he has done a bit of both.

On one hand, the Englishman has spent over 20 years honing an instantly-recognisable DJ-ing style and hasn’t put out a studio album since 2004. On the other, he’s the guy with an armful of aliases, a continually-evolving method of effecting euphoria, and a back story as interesting and varied as most.

With appearances locked in at the third Electric Gardens festival in Sydney, Brisbane, Perth and Adelaide through January, the bonafide EDM legend is bringing his unique party-starting style (and trademark Hawaiian shirts) back to Australia just two years after his last shows here.

It’s safe to assume he’ll be bringing his A game, as always.

“Australian crowds, they’re not shy,” he told Red Bull last year.

“And that’s always my favourite kind of crowd. It’s also a beautiful country to visit.”

While music-lovers now have a pretty good idea of what to expect from a Fatboy Slim show, it’s been a long journey for the 54 year-old to get to where he is today.

The man also known as Norman Cook has come a long way, baby, since being a skinny, pale Housemartin singing a cover of Isley-Jasper-Isley’s ‘Caravan of Love’ on Britain’s Top of the Pops in 1986 or reinventing The Clash’s basslines for Beats International’s smash ‘Dub Be Good to Me’ at the turn of the ’90s (and the coming of ecstasy).

In 1996, his world changed. The Fatboy Slim moniker was born (a name plucked from “thin air” he told NPR in 2001), he released the triple-platinum-selling You’ve Come a Long Way, Baby album a couple of years later, and a swag of awards and international recognition in the process.

A superstar DJ was born.

The transition required a new persona, meaning he became “like James Brown without the band,” he told The Guardian recently.

“I started cheerleading the crowd and showing off. Whenever I play, I kick off my shoes, put on my Hawaiian shirt and revert to being a 17-year-old who’s had one too many ciders.”

More hit records and a never-ending whirlwind of parties, festivals, gigs, travelling and even more festivals, gigs and parties lead to him not only becoming one of the biggest names in dance music worldwide, but also alcohol-dependent – a situation he didn’t address until 2009.

Sobriety called for further transition so the Fatboy Slim party didn’t suffer. He says a genuine love of the music and his audience keeps him as keen as ever.

“The people I play the music to … keep me inspired and amused,” he told Time Out this year.

“Last year was fun and I fully intend to deliver more of the same. I just try and makes sure there’s a little bit of everything for everyone.

“If you wanna party, age doesn’t matter!”

“It’s strange, especially when you travel around, [but] I always have a look at the crowd before I go on to see roughly how I’m going to approach it,” he told Noisey.

Naturally the transition to a sober life was a more serious affair than simply adjusting his approach to a show.

“I kind of lived the life of Fatboy Slim 24 hours a day for about a decade, and it nearly killed me,” he said in an interview with Digital DJ Tips.

“It’s untenable to try and live like that all the time, you’re not a responsible citizen, and you shouldn’t be left in control of children.

“So I kind of figured that the only way I’d do it was quit drinking, for starters, just to give me a bit more longevity, and also just to separate the onstage person from the offstage persona.”

Fans old and new are benefiting from the change too.

“[Sobriety has] prolonged my DJing life,” he told Noisey.

“And my actual life. It’s nice to be 54 and able to jump around at 5am. A lot of that is through being fit. But seriously, the whole thing is just vanity; self-preservation.”

Now a veteran of EDM and a stalwart of the music business, he’s in a good position to assess the scene – with the help of a clear head.

“A lot of the old school DJs are properly weird characters, whereas the new school are young, good-looking, but not hugely interesting,” he told Noisey.

“A lot of them are interchangeable.”

With fire still clearly in his belly and a desire for playing shows stronger than ever, Fatboy Slim is not in the mood to hang up his headphones just yet.

Retirement is an impossibility when he’s only just successfully learned how to separate his onstage and offstage personae, he recently told The Guardian.

“For me, Pete Tong, Carl Cox, we are the first wave of big DJs so there’s no precedent [to retirement],” he said.

“As I get older, Norman’s increasingly obsessed with fridge management and being a responsible dad and husband. He only lets Fatboy out of the box on stage now – Fatboy’s still a lunatic hedonist.”

For someone who has been there from the start to still be at the top of his game more than 20 years later is more than unlikely; it’s almost impossible, and Fatboy Slim’s long and eclectic contribution to music has arguably earned him the right to dictate his own future.

“I’ll step down when either the crowds or I stop enjoying it,” he told The Guardian.

“Neither of which has happened thus far.”

Fatboy Slim plays Electic Gardens Festival:

Friday 19th January
Red Hill Auditorium, Perth

Thursday 25th January
The Marquee, Brisbane

Friday 26th January
Centennial Parklands, Sydney

For Scenestr

Record review: Jen Cloher – Jen Cloher (2017, LP)

jen cloher album cover

It’s been four long years since Jen Cloher’s last solo album, and while she’s been far from idle or out of our collective eyeline in that time, it’s bloody good to have her back putting out new material of her own. That’s because 2017, and everybody involved with it, needs a healthy dose of Jen Cloher’s fire, and if you don’t feel like you’ve had a savage, if eloquently-delivered, kick to the pants after a run-through of these excellent 11 songs, then you’re probably not wearing any pants and you should do something about that immediately. When she’s not using Rolling Stones lyrics to weave tales of missing her partner while she’s on tour on lead single ‘Forget Myself’ or meandering in perfectly off-kilter fashion while questioning the Australian dream on ‘Regional Echo’, she’s raining blows on the “feral right” on ‘Analysis Paralysis’, and the over-privileged and (gasp!) music critics on ‘Shoegazers’. It’s all well and truly called-for, and Cloher delivers on every track, while her other half is pretty damn handy on lead gee-tar, too. We should be happy Jen Cloher is on our side. What an outstanding album.

For The Brag

FEATURE: Kurt Vile

KURT VILE

KURT Vile is no mug.

The Philadelphian singer, songwriter, producer, and purveyor of delectably laid-back indie-folk tunes has been a guest in our country a smattering of times, but he’s got his audience pretty well sussed.

“I think Australians, in general, really feel music,” he says. “It’s a record nerd, gut-level or emotional thing; maybe an obsessive thing, which is very similar to the way I am. But there’s also a ball-busting, bullshit artist type of thing they can tap into, and [they] can have a good laugh. I feel they are really serious about music but also they can just bullshit and bust balls; they’re both equal. You know how to fuck with somebody to show that you love them. I feel a lot of Australians have those kinds of humour and emotions, you know?”

The 36 year-old will tour Australia solo for the first time in February and March, leaving his band The Violators at home. Successful previous sojourns and a recent surge in popularity here mean the idea of playing venues and shows the size of Queensland Performing Arts Centre, Taronga Zoo and Golden Plains Festival doesn’t faze him.

“I’ve been to Australia enough – this will be the fourth time coming up – to feel like it won’t make a difference,” he says. “I’ll be zoning out; kind of in my comfort zone. I’m sort of comfortable over there because, I don’t know, I’m just used to it over there. With The Violators we try to mix it up with keyboards and stuff like that, but [this time] I’ll just be by myself and my acoustic. I’m sure I’ll bring a banjo. Maybe one day I’ll have more of band with more instruments than a four-piece. I like to just go out, zone out, and not try to recreate the record.”

After leaving The War on Drugs, which he founded with long-term friend Adam Granduciel, and releasing his debut record in 2008, Vile has released six solo records and a collection of EPs of top-drawer folk, rock and psychedelia, with each record marking a musical and thematic progression from the last.

“I’m usually most proud of my newest album,” he says. “But that wears off once I start working on a new record. I look back and am proud of them all, but I would say maybe most of all ‘Smoke Ring for My Halo’; all those songs have a similar melancholia in the lyrics – there was a good theme going on there. The next few records obviously had themes going on too, but there is an interesting melancholic tone to ‘Smoke Ring for My Halo’; I can go back and listen to that one. There’s something about it. I wouldn’t say I’m most proud of it, but it’s some kind of statement.”

Not keen to rest on his laurels, and despite 2015’s ‘b’lieve I’m goin down’ not having been played in Australia yet, the hard-working Vile has already started on its follow-up.

“I’ve been in and out of the studio throughout this touring cycle because I feel like the last two records, in particular, took so long out of the touring cycle,” he says. “I don’t want to just get lost in this dark, black cocoon world in the studio. So I’ve been going in and out of the studio between touring for that reason. I probably have about half of the songs for the next record in some form. I think [fans] will recognise the sound; it’s not like it’s a drastically different record, but there’s always evolution. I think there’s a steady American roots thing going on in my music, and I don’t mean that it’s going to come out like ‘Sweetheart of the Rodeo’ or something too country, but it’ll be some kind of roots scenario. I’ve always been into country and have been getting more into it lately. I read Jerry Lee Lewis’s biography – ‘Hellfire’ by Nick Tosches and George Jones’ autobiography. Since then I’ve basically been out of control reading about nerdy music things; especially Nick Tosches. I guess I’ve been a bit obsessed since my record came out.”

With talk of music nerdiness and an obvious knowledge of music history and lineage, Vile could be assumed to be a hardcore musicologist and collector. The truth is more interesting, however.

“I prefer to not have too many obscure records,” he says. “I have old country, blues and soul records. The stuff I get into is usually popular at one time or another. These days, if I go to the record store the records I want only cost two dollars or something anyways; ‘Country’s Greatest Hits’ or something. I usually space out and don’t even know what comes out in a particular year, but my buddy Luke Roberts put out a record which was great. Heron Oblivion’s record was great. I’ve had my head in the clouds listening to a lot of old music.”

Despite constant touring and having critically-acclaimed albums on his resume, the amiable Vile keeps his feet on the ground. As recently as 2009 he was working in a brewery while recording his third album.

“The constants are my two little daughters and my wife,” he says. “We just moved to a bigger house. It’s not a mansion, although it feels like it because I’ve never had any room my whole life. We’re also keeping our little house so I can go back to my roots and record there. So my everyday life lately has been carting things between these two houses and driving around. I’m pretty comfortable driving around in general, listening to music and zoning out. I’ve also done some little side projects. I did some songs with Courtney Barnett when I was in Australia last time; I’m not sure when they’ll come out or anything. I recorded in Nashville with a bunch of legendary old dudes. I’ve been in the studio with the Violators and I’ve been getting my home studio together, so I’ve kind of got my hands on a lot of different things and it’s all coming along.”

With 2017 mere days away, February comes quickly for Kurt Vile fans.

“The Violators are playing New Year’s at the Fillmore in Philadelphia, and a couple more shows in New York and Boston,” he says. “We have one more tour around Florida late January, then that lines me up to go solo and see you guys.”

Kurt Vile plays Taronga Zoo on Friday 3rd March and QPAC on Thursday 9th March

For Scenestr

Record review: Stonefield – As Above, So Below (2016, LP)

stonefield as above so below

Okay, before I begin, let me say this: our very existence is on a knife-edge and everyone dies alone. In a world of uncertainty we have to grab hold of whatever takes the edge off the grim reality on the front pages. The country’s going to hell in a Hanson-shaped handcart, so the time for plunging worried fingernails into the small certainties that make life worth living is upon us. One of those certainties is the ability of a good rock band to soothe the soul and free the mind, and the four Findlay sisters of Stonefield have been a good – hell, great – rock band on the national scene for close to six years. This release, their second full-length along with a couple of EPs, is a work of maturity and drive that expands on their instantly-riffy, ’70s-soaked psych-rock sound and pulls in other influences from the wider rock realm to make quite the gut-kicker. The sludgy, Sabbath-esque ‘Sister’ and organ-driven ‘Dream’ let you know they haven’t gone soft since their 2013 debut, while ‘Love’, ‘Eyes’, and ‘Higher’ (what’s with all the one-word titles, guys?) sound like they will be monstrous on stage. There’s a lingering feeling this is much more of a ‘band’ album than previous Stonefield records. Rather than four talented individuals ripping into their instruments, it has a cohesion most likely forged by constant touring at home and abroad, including dates with Fleetwood Mac. Country Victoria can be proud of the Findlays, and the rest of us can take heart from the knowledge that while just about everything is slipping through our fingers, some things remain steadfast.

For The Brag

Interview: Randy Hansen

randy hansen seattle 2016

RANDY HANSEN, guitar virtuoso and one of the few guitarists in the world to be recognised by Jimi Hendrix’s family, is bringing his acclaimed Hendrix Revolution tour to Australia for the first time.

Dedicated to maintaining the memory of the virtuoso guitarist and his ground-breaking music, Hansen has created a show celebrating everything great about the man born James Marshall Hendrix, and openly gushes about his fellow Seattle native who died in his prime aged only 27.

When and how did you decide playing the music of probably the best guitar player who ever lived was for you?

That had a lot to do with it right there, what you just said. That’s what he was to me also. I was already playing the guitar and I really thought I had heard everything: the Stones, Beatles, the Ventures. Then when I heard Hendrix it just changed everything. That’s really when I started learning Hendrix’s [music], but I didn’t get real serious about it until he died. He was my main guy at that point and I panicked. It was really a situation where I thought I was going to follow this guy for years and years, then suddenly I heard he had died; it scared me to think there would be no more music to come from him. I started really getting serious about learning his music right then.

And you saw one of his last shows.

I saw his last show in Seattle, which is where I’m from too. One of the big reasons I was glad I saw it is because I could hear what he sounded like for real, not just on recording, which is what most people know of. They’re great and everything, but it’s way better to be there than just see a recording of it.

This will be your first tour of Australia. Why has it taken so long to get here?

It’s probably mainly because I’ve never really pushed my career at all. I just love playing Hendrix, and the whole time I’ve been doing this I’ve only ever played shows which have been offered to me. I’ve never really pushed myself out there. There are a lot of places I’ve never been and I’ve been doing this since 1975. I play what people come and ask me to play. The whole time I’ve been doing this I’ve been very careful to make sure I’m actually doing a tribute to Jimi Hendrix, because it’s about celebrating his music, style and everything. I’m trying to stay true to it. Not that Jimi needs it, you know? He doesn’t need a cheerleader like me, but it’s so much fun playing his music and I’ve received a lot of encouragement to keep doing it.

Do you play solely Hendrix material?

I have a new album out right now called Funtown. I’ve always been writing but I really haven’t concentrated on that. I try to be a human being and enjoy other things in life, without being too caught up in music. As far as Jimi is concerned though, when I approach it, it’s deadly serious to me. But Jimi was a lot of fun too, you know? So I approach it from every angle. Someone once said to me if I can portray every emotion, then you’ll pretty much get everybody and they will want to listen. That’s pretty easy to do with Jimi’s stuff.

Do you share Hendrix’s love of improvisation?

Oh man, yes. When you hear Robin Trower; he improvises a lot. You can tell his solos are very Hendrix-influenced. For me, it’s kind of like that, although I’m playing a Jimi Hendrix song. I won’t know how long I’ll play the solo and Jimi didn’t either. I pointed this out to someone the other day; they said I had played a part wrong and I said “Hey, wait a minute. I know how to play that part and I’m doing it on purpose”. If you listen to Jimi’s whole discography, and that includes bootlegs and everything else, when he gets to that part he never plays it the same and he never repeated it. So there’s no such thing as ‘wrong’, unless you just hit a really stupid note or something. So, improvisation is everything about his music; it’s all wide open for improvisation. And I don’t shy away from it [laughs].

You’re officially recognised by the Hendrix family. What does that mean exactly?

I guess it means they don’t sue my ass [laughs]. They say they love what I’m doing and they’re close friends of mine. They’re beautiful people and if they told me to stop I would. They’re glad that I do what I do, I guess.

How do you feel about the recently released Hendrix albums? Are they to be celebrated or possibly left alone?

Anything he recorded I want to hear. I try not to look at it with too much of a judgemental ear, because a lot of the things were works-in-progress, and by no means were meant to be released. It’s still interesting to hear where he was coming from or where he might’ve been headed. Would you rather it didn’t exist or that it did exist and you can get a peek at it? I’m glad to be able to have a glimpse at something.

Which of Hendrix’s stage theatrics are a part of your show?

You know, if someone throws a can of lighter fluid on the stage at the right or wrong time… [laughs]. I’ve done my share of smashing guitars and everything, and sometimes it’s pure fun and there’s a lot of frustration you can get out, believe me. A lot of the tricks I try to do are Jimi-influenced. A lot of other tricks I do are things I’ve figured out; it’s all entertainment. I’m probably easier to coax into entertaining you than Jimi was. When I saw him he was really at a point in his career when he just wanted people to listen, so he was toning back the antics. [Whereas] I am kind of a ham and a showoff, and I like to goof off and have fun with it too.

A lot of people know you from Apocalypse Now. Do you still get asked about it a lot?

I get asked about it all the time. It was really fun; I got to work on for about a month. I lived with Francis [Ford Coppola] for about a month. It was really an honour to be a part of it. When I found out I was going to work on this movie called Apocalypse Now, I thought it was going to be some tiny B movie. I had no idea what I was getting involved with in the beginning and it was only later I found out it was huge. I’m still getting paid for it actually. Four times a year I get a cheque and it’s all because of Apocalypse Now.

What can you tell me about your new album?

It’s a bunch of songs I wrote when I came down with this really bad flu. It kept me ill for about three months. In the middle of the flu I noticed I wasn’t getting any better and thought “Damn, this thing might take me out”. After three months I wasn’t getting any better and was convinced it was going to kill me, so the songs got more and more serious as I went along. I thought if I was dying and I wanted to say something, I’d better say it now. So the album is my little messages I have for the planet, the people, how I view life, greed and things like that. There are political statements in there, and human statements, things I love, things that are amazing to me. Everybody is telling me they like the album, but friends aren’t really going to walk up to you and go “That really sucks” [laughs]. It’s one of the first albums I ever recorded that I listen to the fun of it. Funtown to me is the planet Earth and there’s a lot I’m saying that is to do with how we treat the planet. Funtown is supposed to be an amusement park where you get to do whatever you want, and that’s kind of how we treat the planet; we do whatever we want to it. If you list everything that a human being has done on this planet, it would be pretty fucking crazy to listen to. I just kind of wanted to point that out; maybe we should just kick back a little bit and take it easy.

Randy Hansen plays the Hendrix Revolution tour on the following dates:

18th May – Sydney (Enmore Theatre)
21st May – Melbourne (The Palais)
24th May – Perth (Concert Hall)
25th May – Adelaide (Thebarton Theatre)
31st May – Brisbane (Concert Hall)

For The AU Review

Record review: Australia – Portraits of People, Places and Movies (2016, LP)

australia the band album

There’s a reason it took until just recently for someone to have the gonads to call their band Australia: it’s a moniker that will invite all manner of cliché and lame comment. It’s a good job then that the Sydney group, formed by core members Guy Fenech, Oliver Marlan and Nick Franklin, have the musical chops to give anyone who hears them something else to consider; mainly that they are an indie-pop band with imagination and talent coming out of their ears. The lead single from their debut album, ‘Wake in Fright’, provides one of the best examples of this. A foreboding bass line, Fenech’s crooning, and distorted guitars make for a track that ticks boxes on many levels. There’s big production to match all the big synth numbers, while things get softer on the more sentimental ‘In My Dreams’ and ‘Not the Place I Know’, on which Fenech does a decent melancholy Bowie for an impressive five minutes. The jewel in the stereotypically-antipodean synth-pop crown is the danceable ‘Love is Better’, which brings the ’80s kicking and screaming into the present with unstoppable momentum and a shout-along chorus. Overall, it’s a lot of fun and it’s clear the band doesn’t take itself too seriously despite the lofty name (their T-shirts read “Australia – the band. Not the country, not a country band”). Tip: for best results, type ‘Australia – the band’ when Googling.

For The Brag