As the season’s chill sets in, it’s the perfect time to listen to “Autumn,” the latest single from local singer-songwriter and producer Dingo. His voice is so captivating. This song’s definitely snuck up on me, and now I can’t stop listening.
“The song was inspired by the changing of seasons and how that can relate to how we grow and change within a relationship,” Dingo shared. “It’s a love song that ultimately speaks to the way we can fall in love again and again like autumn leaves fall each year.”
“Autumn” comes from Dingo’s forthcoming album Nightwire, which he’ll release on October 9. He’ll barely have time to celebrate its launch, because he’s got shows scheduled with Adam Harvey and Ian Moss and Troy Cassar-Daley’s right through til mid-November. Make sure you arrive early enough for his set if you’re heading to any of these gigs.
A force on the Australian music scene for nearly 20 years, Kingswood are ushering in a new era with the release of their seventh studio album Midnight Mavericks today. Their first album with ABC Music, it pays homage to their love of vintage rock, country soul, and storytelling. The band is currently on the road to support its release, but I found time to catch up with frontman Fergus Linacre to chat about Midnight Mavericks, life on tour, and what comes next for Kingswood.
You’re currently out on the road playing shows in regional centres and capital cities. What can music lovers expect when they come out to see you?
Well I sure hope they experience a tremendously enthralling and life-changing evening of high-octane, yet soulfully romantic country rock’n’roll. I’m told we spend more time on the road than any other, so I expect we are in pretty good shape to perform our pants off for y’all.
So many bands fly around the country, but you do it old school and drive around in your tour bus, Peggy. Even now with petrol prices sky high! Why do you prefer the road trips?
We absolutely prefer to tour on Peggy. She is our second home and we miss her whenever we return to our first home. On the bus, we can get to people and places that it’s difficult to on plane, hiring a van etc. Peggy’s gone up through Alice, across to Broome, down the west coast, and the Nullarbor. She’s a beast.
You’ll be headlining those shows, but I saw you in March supporting the Counting Crows. What was it like to tour with those guys?
We had a ball. They’re a great band who’s been at it for a long time, so they provided many words of wisdom. It’s great to see a band that still loves touring, loves their fans, and is addicted to the feeling of being on stage. It feels familiar. I think we gained a few more fans along the way too.
How do you approach gigs like that, where people are there to see another band and may not be familiar with your music?
With no disrespect to whoever we are supporting, our approach is always to try and blow them off the stage and steal their fans. It sounds mad, but it’s a good mindset to have when you walk out onto someone else’s stage. And it hurts no one; there is plenty of love to go around and the better you hype up the crowd, the better the headline show will be.
You’re promoting your new album, Midnight Mavericks,on these shows. What can you tell me about it?
I’ve never been more excited to play new songs. When we were recording, I just knew they would translate to the stage in a way that would enhance each song. The album is packed full of romance, longing, heartbreak, and resolution. It’s an album that celebrates different emotional states. I think people will connect differently with each song and some will resonate with their own experiences. That’s when music can become really powerful.
The songs I’ve heard from Midnight Mavericks remind me so much of music from the greats my dad raised me on, like Crosby, Stills, Nash and Young and Tom Petty and the Heartbreakers. What is it that you love about that Americana sound?
I think it’s timeless. It’s music we grew up on, from Dolly to Cash and many more, it’s never been a phase, it’s music we’ve always listened to. And, in a state of total freedom of musical expression, it felt right to embrace the warm hug that is this pocket of Country Rock’n’roll.
So if we were to jump in the Kingswood tour bus, would we be hearing those classics or more modern music? What are you all listening to right now?
One of the benefits of time on the bus is being able to listen to so much music together, whether diving into a deep dive appreciation of Vince Gill, or debating the worthiness of hype listening to the new Geese record. And sometimes we listen to Disney classics. If you stepped onto the bus, you could find yourself listening to any genre from any time.
After this tour wraps up, what’s next for Kingswood?
We have a pretty busy year ahead with the album being released. Lots of festivals, a trip to the States for CMA festival, and we’ve actually already recorded a few tunes for the next record.
You’ve been making music together for nearly 20 years. What are some of the biggest lessons you’ve learned along the way?
One of the great lessons I’ve learned is to find appreciation in as much of your life as you can. I remember playing Splendour and we had some technical issues and I was so pissed off I didn’t realize I’d just played to 20,000 people on the Splendour main stage. It was a wake-up call. So now I appreciate everything now, every moment.
Finally, do you have a message for your fans out there?
I’m eternally grateful for the support we have and have had over the years. It’s not lost on me that we still have so many fans along for the ride, coming to shows and supporting us. They keep Kingswood on the road!
Midnight Mavericks is out now. Listen to it on your favourite streaming services or get a CD or vinyl copy from Kingswood’s website. And make sure you catch them live at one of their upcoming shows.
An industry veteran with more than 40 years’ experience, Paul Louis Villani is refusing to mellow out or simply trade on nostalgia. He shows there’s still plenty of fight left in him with his latest single, “Who Do You Belong To Now? (Great Southern Land),” a brooding rock song with insightful lyrics that explore modern-day Australia. I caught up with him to chat about his latest release, his years in the industry, and the music that’s inspired him along the way.
You’ve just released your latest single, “Who Do You Belong To Now? (Great Southern Land),” which explores some really topical themes like economic pressure and social tensions. What inspired you to write it?
Confusion and frustration probably pushed me into writing it. I reached a point where I was looking around at the country, I’ve lived in my whole life and thinking, “Why does everything feel so tense now?” People are financially exhausted, socially divided, permanently angry online, and constantly being told what they should think or should accept as “the norm.” I’m not sitting here pretending I’ve got political solutions or strategies of resolve, because I don’t. The song was more about documenting the feeling of disconnection and uncertainty that’s been rattling around inside my head and heart for quite a while.
It’s so different from the usual songs we hear referencing Australia, which tend to be very patriotic. How has it been received so far?
Yeah, it’s definitely not “wrap yourself in the flag and crack a beer” type material. But interestingly, a few people have connected with it, and I feel it’s because it doesn’t pretend everything’s perfect. The responses I’ve received have mostly been people saying, “Mate… I’ve felt some of that too,” or “I know what you mean.” There are others who probably hate it, and that’s OK. I’d rather create something people react to than something they forget 30 seconds later. I’ve been really lucky to have some constant support from local and independent Aussie radio stations who have already given the song some airtime.
You’ve released a lyric video to coincide with its release. How important was it for you to make sure people listened to the lyrics of this song?
Massively important. These lyrics took time. I’m usually a five-to-10-minute lyric-writing guy, but these I wanted to be expressive but not intrusive. It would be so easy to write about issues that I’m concerned about and get my own political beliefs thrown into view and forced down listeners’ throats. But, that then would not leave room for listeners to consider what they are feeling or interpreting what they see around them and how it is impacting their worlds. Visually, the lyric video was designed to feel chaotic, fragmented, uncomfortable… almost psychologically intrusive at times. At this stage of my life, things already feel like an overload of noise, headlines, outrage, and pressure, so the visuals needed to reflect that tension rather than soften it.
You’ve been very clear that releasing “Who Do You Belong To Now? (Great Southern Land)” isn’t about telling people what to think. What do you want people to take away from hearing this single?
I don’t want blind agreement. That would defeat the point. I just want people to sit with it for a few minutes and think honestly about how they feel about the world around them. Especially here in Australia. If someone listens and goes, “Nah mate, you’re completely wrong,” that’s still engagement. That’s still thought. I’m tired of everything becoming tribal warfare where people instantly sort each other into teams before listening and thinking for themselves.
Your press release says that this single “steps into unfamiliar territory” for you. Why is that?
Because I normally write more emotionally abstract, psychologically charged material rather than songs directly tied to social, political, or cultural unease. This song is just me basically saying, “Something feels off and I can’t pretend otherwise anymore.”
While “Who Do You Belong To Now? (Great Southern Land)” doesn’t present the most favourable perspective on modern Australia, criticism often comes from a deep passion and love. What do you love about Australia today?
First and foremost, for me, the landscape is where I originally “fell in love”! I’ve had the privilege of getting to drive through five of our states and see a lot of this country. Secondly, the people. Genuine, fair dinkum Aussies are incredibly warm, generous, funny, and whole-heartedly welcoming. I think part of why I wrote the song is because I do care about this place. If I didn’t care, I wouldn’t have bothered writing anything at all.
The single has a dark, brooding rock sound, but you’re an artist who refuses to be pigeonholed. A deep dive through your discography reveals you’ve dabbled in country, folk, funk, and more. I imagine you must listen to an eclectic mix of music. What artists have been enjoying lately?
My taste is all over the shop! Let me be a little self-indulgent here… Andre Segovia, Guns N’ Roses (Appetite for Destruction) Mr. Bungle (Mr. Bungle 1991) Placebo, Mauro Giuliani, Slayer (Reign in Blood) KISS & Ace Frehley (Destroyer & Ace Frehley’s Solo LP 1978) Yngwie Malmsteen (Rising Force), David Bowie, Led Zeppelin, The Beatles, Jeff Buckley, The Cult, Pearl Jam (Yield), Metallica (Justice for All), Prince, Steve Vai, The Smashing Pumpkins (Machine / The Machine of God) Living Colour, Adam and The Ants, Rage Against The Machine, Russell Morris, Tim Buckley, Sepultura (Chaos AD), Faith No More, Powderfinger (Internationalist), Ren, Jimi Hendrix, Angie de Poitrine & The Velveteers.
You’ve been recording music since the ’80s. What’s it like making music now compared to those early days?
Completely different universe! Back in the ’80s, recording felt expensive, inaccessible. You needed studios, equipment, people, permission. Yes, I did have a 4-track Tascam Cassette Home Recording Unit, but it had limitations! Now, someone can sit alone in a room with a laptop and create an entire world. That freedom is incredible, but it’s also overwhelming because there’s almost a tsunami of new music now. Ironically, technology has made creating music more accessible while simultaneously making it harder to genuinely connect with people through it.
What are some of the key things you’ve learned through your decades in the business?
Firstly, the industry owes you nothing. Absolutely nothing. If you create purely for external validation, you’ll eventually become bitter or broken. Secondly, trends are temporary, but authenticity tends to last longer. Creativity needs protecting. The older I get, the more I realise not everyone deserves access to your inner world. Sometimes working quietly and creating honestly is healthier than constantly chasing approval.
Finally, do you have a message for your fans out there?
Yeah! To those who do, thank you for taking the time to have a listen. There’s so much music, chaos and distraction in the world now that anyone giving their time to any independent music, means a lot to me. Whether people agree with every song, lyric, or opinion doesn’t really matter. Art is supposed to make you feel something. If my work has connected with anyone, challenged, unsettled, comforted you, or even just kept you company for a few minutes somewhere along the line, then I’m so grateful for that.
“Who Do You Belong To Now? (Great Southern Land)” is out now on all your favourite streaming services. To learn more about Paul Louis Villani and his music, follow him on Facebook or Instagram.
Meeanjin/Brisbane emo rockers Bad Neighbour have blown me away with “Mean Faces,” the opening track from their forthcoming sophomore album Burns From the X-rays. It starts at barely a whisper, drawing you in until those electric guitars kick in and the emotional intensity lifts.
“I wanted this song to be like a letter to myself … I love the line ‘it’s not gonna do what you need it to’, because sometimes we place unrealistic expectations on things, wanting them to happen the way we so badly want them to,” said Bad Neighbour’s vocalist Cooper Riley. “But more often than not you get what you need instead of what you want.”
We’ll hear more from Bad Neighbour when Burns From the X-rays drops on June 5. You can preorder a copy and associated merch, including some fabulous bundles, from Imprint Merch now.
After choice collabs with Urthboy, A.B. Original, Hilltop Hoods, and heaps more, MARLON has finally unveiled his debut solo single “Blood in the Water.” It’s an R&B-infused pop banger in the vein of The Weeknd and Jason Derulo. But beyond that infectious sound, there are some serious lyrics worth listening to.
“’Blood in the Water’ speaks to the age-old analogy of ‘out of sight, out of mind’ making reference to the human habits of not acknowledging and speaking to things that do not affect us,” MARLON explained. “As humans, many of us walk, play, live in multimillion-dollar cities, and walk past homelessness, drug and alcohol abuse, and disadvantage. More often than not, it is the disadvantage of my people, Aboriginal and Torres Strait Islander people that we remain to be silent on, in a system designed to break them.”
MARLON has had an incredible journey to this point. Hailing from the tropics of the Larrakia in Garramilla/Darwin, he had a professional AFL career playing for Port Adelaide before he started cowriting and performing with some of the country’s biggest names in hip hop.
With his debut album on the way later this year, it sounds like we’ll be hearing a lot more from MARLON.
I can never resist some quality angry girl pop. So you can bet I’m blasting “TINY TSHIRTS,” the latest single from queer Western Australian artist Rosalie Chilvers. It’s angsty, energetic, and oh so good!
“’TINY TSHIRTS’ is a song about moving on from a toxic relationship dynamic, not only with your ex but with their family,” Rosalie explained. “The song was directly inspired by the night two years after our breakup, my ex’s mum accidentally liked an Insta photo of mine and it brought me right back into those feelings of judgement…Sometimes the ultimate answer to your problems is to put on a tiny t-shirt and go out with your friends.”
Rosalie is halfway through their TINY TSHIRTS tour. Here are the remaining dates, music lovers!
If you’re not already across Laura Adeline’s music, her latest single “Acquainted” is the perfect introduction. A sublime mix of R&B and pop sounds, this track shows off Laura Adeline’s heavenly voice and knack for relatable storytelling.
“Acquainted is about looking back on something and thinking that I wish this person the best… but I’m actually still mad,” she admitted. “But then they probably have the right to be mad at me, too… but I’ve changed. Have they changed? I don’t want to ever see them again, but if I do… I hope I can find out. And then this process repeats itself.”
“Acquainted” has such a chill feel, I think it’s perfect for a cruisy weekend. I hope it’s providing the perfect soundtrack for your Saturday.
Western Sydney artist FRIDAY* flips the classic love song formula on its head with the release of his latest single “just you.” Its sweet lyrics don’t reinvent the wheel, but sonically this track really steps up. FRIDAY* has created a layered sound which blends elements of shoegaze, pop, and New Jack Swing. They’re not natural bedfellows, but somehow the combination works!
“’just you’ is a song about searching for your own value in someone else,” FRIDAY* admitted. “Inspired by shoegaze and the movie Bones and All, I wanted to channel all the melodrama I could muster into one song, perhaps as a way to never get that emo again. It wouldn’t be me if I wasn’t trying to play with contrast, so I added some classic New Jack Swing drums in the vein of Jimmy Jam and Terry Lewis. The result to me sounds like when the fireworks go off at the end of the Easter Show, and you can’t help but feel sad that it’s over.”
“just you” comes from FRIDAY*’s forthcoming EP rituals, which drops on June 5.
Chilean-Australian artist ELAURA has blown me away with her latest single “LDDWYD.” Short for Love Don’t Do What You Did, this is a vulnerable neo-soul track that breaks all the rules. It’s one of those songs that keeps you guessing instead of relying on obvious hooks and runs to engage listeners. It’s so original, so bold, and an exciting taste of ELAURA’s forthcoming EP.
“LDDWYD” has evolved from a poem in the Notes app to a dynamic meditation on love, heartache, and the clarity that comes when you realise someone can’t love you back the way you deserve because they don’t yet love themselves. Patrick Manson directed the gorgeous video which features ELAURA at Flinders Blowhole in Bunurong Country/Mornington Peninsula.
“From the moment I first listened to the song, in the discussions that followed, and through to building its visual architecture- the entire process was guided deeply by the spirit of the song, and I feel the end result we achieved stands as evidence of that,” Patrick said.
“LDDWYD” comes from ELAURA’s EP, Cry Until We Laugh, which drops on May 21.
Joan & the Giants have really impressed me with their latest single, “Mamma Don’t Cry,” a beautiful alt-pop track about family bonds, resilience, and metamorphosis. Few artists are prepared to be as honest as frontwoman Grace Newton-Wordsworth, who wrote this song about confiding in her mother that she was in an abusive relationship.
“We’d gone for coffee in Fremantle, and that’s when I finally told her what I had been through,” Grace remembered. “She broke down in tears, heartbroken that I hadn’t told her while it was happening. But the truth is, when you’re in it, you don’t really tell anyone. It takes every ounce of strength just to stop excusing it—and even more to finally walk away.”
Joan & The Giants are heading to the United Kingdom to play The Great Escape and record some new music this month, but they’ll be back before too long for some local shows. Catch them anywhere you can!
