Los Angeles-based Aussie act Jack Gray may have penned the poppiest ditty about fake relationships I’ve ever heard. His new track “Friends Like These” is a real banger, with an upbeat vibe that beautifully contrasts with the subject matter.
This track is our first taste of new music from Jack following the release of his debut EP Nights Like This. It wasn’t that long ago that he was on Aussie soil promoting that EP, but “Friends Like These” has me hoping a return visit won’t be too far away!
Image used with permission from Warner Music Australia
Aussie expat Lucas Laufen casts a spell with his new single, “I Know Where Silence Lives.” It’s a beautiful folky number inspired by Lucas’s experience watching the ocean from a bird-watching tower on the border of the Netherlands and Germany.
“It was the first time I’d seen the sea in months and I remember thinking, ‘this is where silence lives’,” he recalled. “The wind was super strong so it wasn’t actually silent but I felt at home with the salt spray and no one around. So it’s silence relating to peace as opposed to real acoustic silence.”
Much like the song itself, the songwriting process was a bit of a slow-burn.
“When I was growing up, my father would always wake up at 5:30 am to find a quiet place before the rest of the world woke up. I’d see him wandering down the beach by himself and I never really understood what he was doing. While writing this song I finally understood the reason for this and feel that I’ve grown to seek these moments out like my father did,” he added. “The song spans a one-year writing process, which is strange for me. I usually find it hard to hold onto an emotion for this long and a song will lose its meaning if it’s drawn out for this amount of time. It was my way of looking through his life and trying to understand him. I found that we are very similar people and hold this thought as an anchor when I’m trying to figure out when I’m going with my life.”
The film clip expands on Lucas’ original idea, telling the story of a woman who leaves city life to find her own quiet place in the Norwegian countryside.
“We purposefully begin the video with a greyish look and feel, the actress, Leona Grundig, is obviously sick of traffic and noise, the colours of her clothes are nondescript and she looks like she’s in the wrong place,” explained the director, Dennis Schischke. “Her mood lifts the closer she gets to her destination, the colours of her clothing changes and the colour grading is more saturated. Within the video there are three portraits of her, the last one shows the end of her journey and her reaction to finally finding her own silence.”
“I Know Where Silence Lives” is the title track from Lucas Laufen’s new album, which drops on December 6. He’ll play a string of shows around Europe in the coming months to support its release.
14 December 2019 – Privatclub, Berlin
30 January 2020 – L’Atelier, Basel
1 February 2020 – Chur Unplugged, Chur
3 February 2020 – Sofar Sounds, Paris
5 February 2020 – Cafe De Loge, Ghent
6 February 2020 – Cafe Litteraire Le Bovary, Luxembourg
9 February 2020 – Cafe de Witte, Assen
17 February 2020 – Viertal Bar, Wuppertal
18 February 2020 – Schlosskeller, Darmstadt
19 February 2020 – Lolita Bar, Kassel
20 February 2020 – Altes Wettburo, Dresden
21 February 2020 – Moritzhof, Magdeburg
22 February 2020 – Wohnzimmermucke, Bayreuth
24 February 2020 – Inspire, Chemnitz
25 February 2020 – Horns Erben, Leipzig
27 February 2020 – Stubenkonzerte, Aarau
28 February 2020 – La Cyma, Winterthur
2 March 2020 – Rififi, Innsbruck
3 March 2020 – Das Wohnzimmer, Klagenfurt
4 March 2020 – Guest Room, Graz
5 March 2020 – Rhiz, Wien
7 March 2020 – Foxis/Fuxbau, Freistadt
9 March 2020 – FOX, Munchen
10 March 2020 – Cafe Manheim, Nuremberg
11 March 2020 – Viertelkultur, Wurzburg
12 March 2020 – Kulturcafe Lichtung, Koln
16 March 2020 – Tonfink, Lubeck
17 March 2020 – Pony Bar, Hamburg
Image used with permission from Guerilla Music Promotion; credit: Jordan Kirk
For a while there it looked like Ellie Drennan was destined to go the way of so many young reality TV winners, enjoying a brief moment in the spotlight before disappearing into obscurity. However, the Central Coast talent has played it smart, stepping away from the cameras to develop her craft before re-emerging with a sound that’s much truer to her passions.
One of the things I hate most about shows like The Voice is that the mentors often sculpt singers into entertainers that seem a world away from the artists they were when they first arrived. Ellie went from auditioning with an Adele album track that really spoke to her to singing the hits of Katy Perry and Beyonce. I get that it’s a TV show for the masses, but that always felt a little off to me. I’m much happier to hear her singing with a more authentic voice in her new, independently-released single “Taxi.” The track was co-written with fellow Coasties Winterbourne.
Ellie encourages people to take their own meaning from the single, but says the heart of the song for her is about “when you’re going through a difficult time in a relationship with someone you really love, and you begin questioning whether they really want to be with you, but no matter what you do, you can’t hide from the truth.”
Are you excited to see Ellie back on the music scene?
As bushfires blaze and politicians squabble, it’s easy to get frustrated with the state of the world. However, Anna Smyrk offers some optimism in the dark times with her latest single “Alight.”
Anna wrote the song a couple of years ago while living in the Solomon Islands, but listening to her reminisce it seems not a lot has changed in the world.
“There was so much going on in world politics making me miserable, and in the Solomon Islands I was seeing first-hand what it looks like as the world starts to go underwater,” she explained. During that time she found solace in the book “Hope in the Dark,” by American activist Rebecca Solnit.
“I wanted to write a song that conveyed the feeling this book gave me,” Anna said. “It talks about how hope can be an axe we can use to break down doors. Hopeful actions can seem meaningless against all the darkness and uncertainty, but the book shows how, historically, those small acts have added up to huge changes.”
Anna recorded the track in a Central Victorian farmhouse on a hot summer’s day. The track features some of her oldest friends on violin, banjo, dobro, double bass and drums and her sister on backing vocals. They play supporting roles, but you can hear the influence of loved ones in the warmth of this song.
Making the song a truly global affair, Anna shot the video in an abandoned mansion in Tagaytay, Philippines, with award-winning Phillipino film-makers Sheron Dayoc and Sonny Calvento.
“Alight” comes from Anna’s second EP, Swim, which is available through all good digital platforms. She’s taking a break from her advocacy work abroad to play shows all around the country in the New Year.
16-19 January 2020 – Illawarra Folk Festival, Illawarra Jan 16-19, 2019
26 & 27 January 2020 – Newstead Live Music Festival, Newstead
6 February 2020 – Terang Live 2 Terang Commercial Hotel, Terang
7 February 2020 – Wheatsheaf Hotel, Adelaide
8 February 2020 – Stone Pony, Adelaide
Pub trivia took precedence over the ARIA Awards last night so I’m only just catching up on all the goings on (thanks 9Now!). Honestly, I think it was one of the better award ceremonies. It was so exciting to see such a diverse range of talent honoured with the sharp pointy things. Guy Sebastian was such a superb host with the right mix of warmth and humour. I was thrilled to see him take out the Song of the Year title for “Choir.” What a top track that is.
I found myself getting unexpectedly emotional at Human Nature’s Hall of Fame induction. They were my boy band of choice in my teenage years, although I swore black and blue that they were a “vocal group” instead. I went to countless RSL gigs, shopping centre appearances, and the like. I lost track of them somewhere along the way, but watching them bust out those old hits before their induction took me right back. 30 years together is a massive achievement. Congratulations to them.
While Human Nature stirred my nostalgia, The Teskey Brothers delivered the performance of the night for me with “Rain.” I’ve long championed these guys and I can only hope the ARIA Awards puts them on the radar of people who might have been unaware of their talents. I was stoked to see them take home awards for best group and best blues and roots album for Run Home Slow.
I’m not going to run through every performance and accolade, because it’s so late on a Thursday that all that information has already been widely publicised. But it’d be remiss of me not to mention Tones and I. She’s smashed chart records and earned global fame this year, but four ARIA awards is such a fitting cherry on top. Hats off to her.
What did you think of the 2019 ARIAs? Who were you excited to see honoured and was there anyone you were disappointed to see missing out? I’d love to hear your thoughts!
Aussie expat JIM ALXNDR has teamed up with Angie McMahon for a breathtaking new single “Slave.” I know you’re probably looking for an excuse to disconnect from work for a little while this Tuesday afternoon and this is it. It doesn’t deserve to be background to you tapping away at your keyboard. Stop, take a listen, and fall in love.
“’Slave’ was a song I wrote when I felt very out of control of the remnants of an incredibly toxic relationship,” JIM explained. “I’d been with someone on and off for some time and loved them deeply but felt as if my feelings for them enabled me to be taken advantage of; I realised I was more in love with the idea of being in love than the person themself. I wasn’t in a place mentally to say it to them so I put in a song how I felt (what a cliche), what I would say if I could overcome my huge fear of confrontation and my huge fear of them.”
This collaboration is just so special. It came about after the pair met in a music class a few years ago. Angie remembers being impressed by JIM’s musical brain when he delivered a “beautifully nerdy” orchestral arrangement of Beyonce’s “Love on Top.” When he asked her to guest on this song, she didn’t hesitate. And the rest, as they say, is history!
Mondays can be a drudge, but Melbourne indie-pop act Royal East are here to get your energy level up with their ear-pleasing new single “Get With Me.” If you like acts like The Wombats and The Kooks, this catchy tune will be right up your alley.
“’Get With Me’ is a summer romance introspective,” explained lead singer Pat O’Bryan. “The song begins as a sentimental morning serenade: ‘watch us rise, our hungry lungs take in the breath’. The verses are dream-like and bashful, revealing affection and nostalgia: ‘what a time we had, you took me on and swept me off my feet’. That romance, however, is in constant tension with the chorus, which reveals that this song is actually an unrequited love-song. On the one hand, ‘Get With Me’ is all about falling head over heels and getting carried away, but on the other, it’s a cautionary tale about getting burned. Hard.”
Hometown music lovers are in for a real treat, with Royal East supporting Art vs Science at their 10-year anniversary show at Howler on December 14.
I’ve been procrastinating in writing this review. Not because I don’t want to tell you how good The Vanns’ debut album Through the Walls is, but because it’s not the kind of album that should be dissected and reviewed in a traditional sense. Instead it’s the kind of album that should be experienced, turned up loud and felt.
At its core, Through the Walls is an album about romantic love. It takes us through the highs and the lows, the heady moments and the ones where it aches. The fun and the frustration is all encapsulated in this collection of songs. “Red Eye Flight” is the perfect introduction, a rocking take on a traditional love song. The lyrics are so sweet, but those chunky guitars give it a little edge that prevents it feeling saccharine. That song and the ones to come are all about passion. It can be explosive, bubbling over in moments like the chorus of “Deranged” or more subtle in beautiful ballads like “Chelsea” and “Jasmine.” Anthemic tracks like “Call” and “You And I” encourage you to sing along. I can just imagine how they’d come to life in a sweaty bar with a sticky floor.
The Vanns have been recording music for six years, delivering quality release after quality release. Doing that when you’re releasing singles and EPs is one thing. Sustaining it on an LP is something different, but with this release The Vanns show they’re more than up to the challenge. This country has a tradition of churning out quality rock acts, and The Vanns may just be one of the best.
Through the Walls is out now. The Vanns has one final show left on their Aussie tour. Sydneysiders can catch them at The Metro on December 7.
He might have just wrapped up some shows in the United States, but it doesn’t sound like Alexander Biggs is in any rush for the fast pace of that nation to influence his music. His latest single, “Madeleine,” is beautifully subdued, a mellow piece of acoustic folk that will help you keep calm even if the pressures of the working week are getting you down.
It’s got a gentle sound, but tune in to the lyrics and you’ll hear something a little darker than you might expect as they explore toxic relationships and the turmoil that comes with them. It’s a gorgeous single that is a real return to form for this talented Melbourne singer-songwriter. Locals can catch him at Longplay on December 7 and 15.
Live music always makes my heart beat faster. However, there is one artist on the planet that takes my excitement to the next level: Rob Thomas. Whether he’s fronting Matchbox Twenty or playing solo, he is the performer who has the largest piece of my heart. His Chip Tooth Tour was a long time coming, nearly four years since his last Australian dates, so by the time last week rolled around I was more than ready.
One Rob Thomas show isn’t enough for me. I considered writing two reviews, one for Sydney and another for the Hunter Valley, but frankly the week passed in a whirlwind and now here I am, basking in the afterglow. Sydney was the perfect warm-up. First State Super Theatre strikes the right balance; it’s small enough to feel intimate but not so tiny that it can’t attract big acts for their only gigs in the NSW capital. The Hunter Valley show was part of the Day on the Green series. These events always seem so leisurely and relaxed, with so many good vibes. Sorry Sydney, but it also seemed to have the best crowd. Maybe I was just unlucky with seating in Sydney, but it was so nice to travel up the freeway to be amongst fans who seemed to care more about the music than making trips to the bar!
I’m glad that Daryl Braithwaite was the support act we doubled up on. I’ve made mention in the past of his voice fading, but I think he was in the best form I’ve seen in a while. You can still hear the limitations at time, but it’s a minor quibble from an artist who delivers so much. His set was packed with his Sherbet and solo hits, although an unexpected cover of The Kinks’ “All Day and All Of The Night” was a welcome addition in Sydney. What a shame the Hunter Valley security decided to try to make everyone sit down just before “The Horses.” Thank you, Daryl, for insisting it wouldn’t hurt us to rise to our feet for a couple of minutes! Staying seated for this unofficial anthem just wouldn’t have felt right!
The Hunter Valley’s extended line-up saw Russell Morris and Pete Murray joining us. I raved about Russell when I saw him at the same venue a couple of years ago and he was every bit as appealing this time around. His voice shows no sign of fatigue, impressive at the age of 71. He has so many hits to his name and they came thick and fast, rewarding those of us who arrived early enough to catch his set. He really deserved better than so many vacant seats. He was excellent.
I wish I could get as excited about Pete Murray, but for not the first time I just wasn’t feeling it. Ordinarily I can’t get enough of good-looking men who play guitars, but his songs never seem to get out of second gear for me. He performs them well, sounding virtually identical to the way he does in the studio, but I just can’t muster any kind of enthusiasm for them. Putting Pete after Daryl Braithwaite, who had me and so many of the folks around me, so fired up also seemed a bit cruel.
Whether I couldn’t wait for the support act to vacate the stage (sorry Pete) or I embraced their set (love your work Dazza!), I was primed for Rob Thomas. Opening with a new album track like “I Love It” was a risky move, but it was really the perfect introduction to Rob’s set; upbeat, engaging, and sexy as hell. It might have been called the Chip Tooth Tour, but Rob knows how to strike the right balance for serious fans and casual listeners. I would have liked to hear more from the new album, Chip Tooth Smile, but the four or five songs he played from it made space in the set for more songs from the back catalogue. The solo hits and Matchbox cuts came thick and fast, along with a smattering of lesser known songs for the diehards like me. I was thrilled to hear “Sunday Morning New York Blue,” an EP track, and fan favourite “Pieces” make the cut in the Hunter, while “Heaven Help Me” was an unexpected delight in Sydney. “Fire on the Mountain isn’t one of my favourite album tracks, but it really gets a new power on the stage. Adding Indigenous dancers to the mix in Sydney brought some extra gravitas.
Speaking of surprises, they don’t get much bigger than Andrew Farriss from INXS gracing the stage for a cover of “Never Tear Us Apart” in the Hunter. The chemistry between the longtime friends and the quality of this Aussie classic made it a real moment to remember. If you can’t get Santana out here for “Smooth,” then 10-year-old guitar prodigy Taj Farrant makes an impressive substitute.
It seems to me like Rob is aging in reverse. I think it’s the only reasonable explanation for his boundless energy. He put on a rock star performance, without the bells and whistles of so many modern rock shows. Without projections or pyrotechnics, the focus was squarely on the music and the way Rob delivered it. Most of his band has been with him since his first solo tour, and it shows. However, as much as I appreciate the big full-band numbers, it was the quieter, more reflective times in the set that really got me. I don’t mind saying that I found myself wiping away tears in acoustic performances of “Ever the Same” in Sydney and “Bent” in the Hunter. With an acoustic guitar and Rob’s voice, supported by a choir of enthusiastic fans, those songs were as raw as the emotions they stirred in me.
When you anticipate a tour as much as I did this one, it can sometimes be hard for the performer to meet your expectation. But I know Rob never lets me down. Like a fine wine, he only seems to get better with age. The dust may still be settling on my recent shows, but I’m already hanging out for the next tour. Rob Thomas plays Margaret Court Arena in Melbourne tonight before concluding the Chip Tooth Tour at Perth’s Kings Park on November 23.
Image source: Stephen Katulka
I’ve been procrastinating in writing this review. Not because I don’t want to tell you how good 
