Category: Interviews

Posted on by Lauren Katulka

Q&A With Kingswood’s Fergus Linacre

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.

22 May 2026 – The Corner Hotel, Naarm/Melbourne
23 May 2026 – Savannah Sounds Festival @ Rex Smeal Park, Manjal Jalunbuy/Port Douglas
28 May 2026 – Lefty’s Music Hall, Meeajin/Brisbane
29 May 2026 – The Factory Theatre, Eora/Sydney
30 May 2026 – Full Throttle Ranch, Wonnarua/Hunter Valley
19 June 2026 – Tanks Art Centre, Gimuy/Cairns
20 June 2026 – Cooktown Discovery Festival @ Endeavour River, Gangaar/Cooktown

Image used with permission from Lime Tree Music

Posted on by Lauren Katulka

Q&A With Paul Louis Villani

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.

Posted on by Lauren Katulka

Q&A With Saint Ergo

Genre-bending Naarm/Melbourne-based musical force of nature Saint Ergo recently released their long-awaited debut album Lived Experience. I caught up with this exciting artist to chat about this new release, their creative influences, and why they’re shunning streaming.

You released your debut album Lived Experience this month. What can you tell me about this collection of songs?

Out of a whole bunch of songs I have written over my life, these are the ones that rose to the top as needing to be nurtured into life. I didn’t really understand at the time, but each song narrates a story where some experience needed acknowledgement, whether that be painful or joyous and explored to a place of contentment or at least purpose. These are deeply personal songs and if I was only ever going to do one album, this was going to be it.

You’ve been releasing music as Saint Ergo since 2020. Why did this feel like the right time for an album?

    Albums hold a special place for me, where a genuine narrative complexity can evolve and be expressed. At a time when singles seem to be more common, these songs needed to be brought together as a collective. I have listened to “experts” in the music industry, but I think that in the last few years I have decided to pay more attention to what my own heart wanted. I dreamed of having my own album since I was a child and I think the state of the music industry is so bleak, where there is zero interest in nurturing talent, was a kind of morbid encouragement to just do what the hell I wanted rather than trying to meet some kind of market.

    In a world where streaming has become so ubiquitous, you decided to only release your album in physical formats and for digital download. Why was that important to you?

      A huge part of the decision to make a full album, in part was an expression of a tactile need to pick it up and experience it physically. Really there are three main reasons I have chosen to do this.

      One: The Career Choice. Streaming no longer makes sense for an independent artist unless you are trying to build a large following. I’ve never wanted to make music for a broad audience; I want to make music for an audience of one. Collecting likes and clicks doesn’t necessarily translate to a valid career. I only have 1100 followers on Instagram, but I know all these people follow me because they are invested in what I do. I don’t think what I make is designed to have millions of streams and a massive marketing budget. I think what I make is a decidedly personal, niche and it is impossible to sustain financially using the streaming platform’s architecture. It is a volume business, not a boutique business. Much like the difference between your favourite local café and a large restaurant chain. Both can make a decent product, but it is for a different market. Selling 100 records will return me more than all the streams that I can possibly garner, and it took me years to make this. I’m not letting it go easily.

      Two: The Experience. I want my fans to experience music the way I experienced it growing up. It became something of a safe harbour. A physical companion where it has smell, weight and texture. These things are difficult to impart through a playlist. I am serious about community, and I want to get behind the small independent record store rather than making it available everywhere. I want people to have to make a little bit of effort, to work for this experience. These songs were not emotionally cheap to make and so to release it into the void of streaming felt wrong somehow.

      Three: The Value. I strongly believe that while streaming is just a technology, the behaviour that it induces has really devaluated the role of music in society. I’m not talking about just financially, but there is no work required, no effort needed to find and play music. If you spend $65 on a record, there is an investment of money, time, discovery, equipment and the emotional rewards are commensurate to the investment. People really understand this when it comes to physical fitness. You gotta work out to build muscle. It is too easy just to skip something if you don’t immediately like it. Musical knowledge may be required to get the most out of it. I think accessibility has become the same as AI. Making easy the things that should be hard and make hard the things that should be easy.

      As part of the release of Lived Experience, you participated in Record Store Day 2026. What can you tell me about your involvement with that initiative?

        In some ways it was a happy coincidence. I was initially going to release the album a bit earlier but Record Store Day approached me about supporting my release and I thought it made perfect sense to change the release date to Record Store Day. Sarah, from RSD reached out and has been a great supporter of what I am doing for a long time, and this was a way she could support me.

        One of my favourite songs from this album is your most recent single “Bodies in Motion,” which saw you collaborating with Maddy Herbert. How did that come about?

          This song had been a solo song for a long time but about two years ago it hit me that it really should be a duet at least. I offered it to a few different artists, but nothing ever eventuated. After much frustration, I happened to hear Maddy singing in some of the demo of the last Velvet Bloom album. I was giving some feedback on the mixes, and I suddenly thought that Maddy would be perfect. I almost didn’t ask but I was so pleased when she agreed! The song only felt like it really worked once she laid down her vocals. It became the benchmark for the rest of the album.

          If you had the opportunity to collaborate with anyone, who would it be?

            I would absolutely love to collaborate with my favourite songwriter and artist Sam Phillips. I don’t think it would ever happen, I would melt into a puddle if that ever did.

            Saint Ergo is such a strong artistic name. Where did it come from?

              It’s a funny story but one with some poignancy. When I was originally married, my partner at the time decided to be married under a chosen name. We chose the name Stergo as our surname from our mutual appreciation for church history, especially Greek words and one of the four Greek words for love is Storgos. Stergo is etymologically drawn from that word, and it translates roughly as “To cherish with great affection” So StErgo you can see comes from that. A long-time musical friend, Phil Lester, kept calling me Saint Ergo as a play on the surname and I thought it was funny. I decided that would be my artist’s name. When I got divorced, I thought about changing it but I decided to keep it both as a bit of homage to that life but also it had built up a fair amount of brand recognition and being an AuADHD girl it felt too difficult to reinvent myself. It also has a quite strong implied meaning of religious questioning, which I quite like.

              Your music is so unique, with a sound that borrows from so many different genres. Who are some artists that have influenced your music?

                I think I have been influenced more by producers than artists themselves but there are many elements that borrow from people I admire. Quincy Jones, Charlie Peacock, T-Bone Burnett, Imogen Heap, Prince, Hugh Pagdham, Peter Gabriel, Sting, Sohn are all a few examples. Some very specific people like Stewart Copeland have really influenced my drum programming with hi hats. Sam Phillips is a massive influence on my songwriting and so is Paul Simon. As a singer, I am greatly influenced by people as diverse as Emma Kirkby, Tracey Chapman, Joni Mitchell and so many of the Māori folk I grew up with in NZ. I will listen to an artist like Sohn and be inspired with a bassline. Much of the synth bass on the album became these long textural notes. I love soul music, but I think it has been from little grabs of things that I have heard by Bass players like Vernon White, James Jamison or Pino Paladino. I could probably write an entire book just about these influences.

                Will you be playing any shows to support the release of Lived Experience?

                I am playing some shows as I have the capacity to organise them. It is something that is still evolving but I am happy to take my time and not feel I must meet any timeline. It took 10 years to make it, maybe it will take me that long to tour it. LOL

                Do you have a message for the Australian music lovers out there?

                Work at finding out your local music scene, don’t just accept what the algorithm sends you. Invest in what you love and buy their music, buy that t-shirt and wear it. If you think you can’t afford to buy it, that’s cool but to be a true music lover means prioritising it. You might love music but really, it’s artists that make this stuff. Love the artist too.

                Lived Experience is available on vinyl or CD from selected independent record stores and online from ElasticStage. Saint Ergo will officially launch the album at the Black Bee Craft Beer and Wine Bar in Wurundjeri Country/Belgrave on May 8.

                Image used with permission from Maddy Herbert

                Posted on by Lauren Katulka

                Q&A with Melody Pool

                Today acclaimed Wonnarua Country/Hunter Valley-based singer-songwriter Melody Pool releases her gorgeous third album Our Eternal Garden. Coming nine years after her last, this stunning psychedelic-folk album sees Melody channelling her grief, trust, and curiosity into songs that build on her sound and take it in new directions. I caught up with Melody to chat about this beautiful new album, how she feels making music after an extended hiatus, and her exciting touring news.

                You’re releasing your new album Our Eternal Garden today. What can you tell me about it?

                I guess mainly that I’m extremely proud of it. I wrote a lot of the songs when there were heaps of life changes happening for me, my dad getting sick etc. It was an exercise in surrendering to grief really and trying to redirect my approach to pain and existential dread by working with it rather than pushing up against it.

                This is actually your first album release since Deep Dark Savage Heart in 2016. You were really honest about needing to step back from your music career and prioritise your mental health not long after you released that album. How does it feel to be making music again after that time away?

                That break was exactly what I needed to be able to get back into music. I was really lost beforehand and so disconnected to why I was doing it. Those years helped me realign with the ‘why’, and I fell back in love with creating, and problem solving and challenging myself musically which is what I’d lost. So, rather than it just feeling good, it actually just feels right now. 

                The press release says this album is “a bold expansion of her sonic and lyrical world.” How would you say that your music evolved between this album and Deep Dark Savage Heart?

                I’d say it’s wildly different haha. I don’t know, I hear DDSH now and I just hear a lost little girl who let others listen and decide things for her, who didn’t value her own opinion or taste. I feel like the sound has really been formed into something that reflects me now, and lyrically/musically it’s just far more realised. But that’s just my opinion lol.  

                You recorded Our Eternal Garden entirely to tape, which is such an old-school way of doing things. What influenced that decision?

                There is a record by Linda Perhacs called Paralellograms that I adore, and I’d said to Chris [Dale] (my producer, who’s also my partner), that I was obsessed with that vocal sound and the density and warmth of it and he was like “Maybe we should just go to Golden Retriever and record to tape,” so we did. There wasn’t some huge determined decision really, it kind of just worked out that way and became something we just said “Yeah, let’s try that” to. 

                As a music buff, I was really impressed to read that the album’s photos were shot by Henry Diltz, who has photographed music legends like The Doors and Joni Mitchell. How did you get him on board?

                Through a publicist I was working with at the time. It was such a beautiful experience getting to share some time with Henry, and he gifted me a beautiful print of Joni he had signed at the end of it. He is a really beautiful man with a very special spirit. I feel so lucky to have gotten to chance to spend some time with him and hear his stories.  

                You’ve actually been compared to Joni and Leonard Cohen. What is it like to hear those sorts of comparisons?

                In some ways you just shrug it off because they’re the greats, you know? It feels like, yeah right. I wish. Haha. In others, it kind of makes sense. They’re huge influences for me, I’ve spent years absorbing and pondering on their songs and whatever you expose yourself to, you tend to lean toward when you start creating for yourself. 

                You’ll be playing some international shows to support the release of Our Eternal Garden. Where can fans expect to see you?

                I’m kind of bouncing all over the UK, and then heading to Germany. So I’ll be in Ayr, Scotland, London and surrounds, Bristol, Staffordshire, Yorkshire. I have always wanted to spend a lot more time in the UK as I have heaps of family there so I’m very excited for that. And then we’re doing some shows in Germany around Frankfurt, Bremen, some smaller towns like Eisenach and Lübeck and Dedesdorf, a few that I visited last year and LOVED. So excited to head back there too. 

                I assume Australia will always be part of those plans. Do you know yet when you’ll play locally?

                Yes! Through October and November we’re doing a little city run which will include Sydney, Melbourne, Adelaide, Perth, and then my hometown show in Newcastle, and we have a little gig regionally in Grenfell as well. 

                What can music lovers expect from your upcoming shows?

                A lot of heart, emotion as allllways with me. Also I’m from regional NSW so a fair bit of gasbagging too haha 

                Have you got a message for your fans out there?

                Love ya’s. Come see a show. Always love to hug a fan x

                Our Eternal Garden is out now on all your favourite streaming services. You can also purchase a vinyl copy through Melody’s Bandcamp page. She’s also just announced her world tour dates, so make sure you see her anywhere you can.

                9 August 2025 – Fresh Ayr Folk Fest @ Ayr Town Hall, Ayr
                12 August 2025 – Paper Dress Vintage, London
                13 August 2025 – To the Moon, Bristol
                14 August 2025 – The Wren, Stone
                17 August 2025 – Platform Tavern, Southampton (Tickets on door)
                19 August 2025 – Breaking Sound @ The Star of Shoreditch, Shoreditch
                20 August 2025 – The Sun Inn, Beverley (supporting Lachlan Bryan and the Wildes)
                21 August 2025 – The Bluebird, York (supporting Lachlan Bryan and the Wildes)
                23 August 2025 – Cafe Lebermann, Eisenach (contact venue for tickets)
                24 August 2025 – Schalander, Hochstadt
                31 August 2025 – Litfass, Bremen (FREE)
                1 September 2025 – Tonfink, Lubeck
                2 September 2025 – Weserperle, Dedestorf (FREE)
                4 October 2025 – Dashville Skyline Festivalle, Wonnarua Country/Dashville
                18 October 2025 – The Cordial Factory, Wiradjuri Country/Grenfell
                20 October 2025 – The Vanguard, Eora/Sydney
                24 October 2025 – Trinity Sessions, Tarntanya/Adelaide
                26 October 2025 – Brunswick Ballroom, Naarm/Melbourne
                5 November 2025 – Songwriters Cafe, Walyalup/Fremantle
                6 November 2025 – Mojo’s Walyalup/Fremantle (supporting Jeff Lang)
                8 November 2025 – Bridgetown Blues Festival, Geegelup/Bridgetown
                12 November 2025 – Lyrics Underground, Boorloo/Perth
                14 November 2025 – Hamilton Station, Mulbinba/Newcastle

                Photo credit: Henry Diltz

                Posted on by Lauren Katulka

                Q & A With Josh Orange’s Gordon Burke

                A force on the Eora/Sydney live music scene for more than 20 years, Josh Orange have just released their fantastic new single “Believers and Dreamers (What Have We Become).” A reworked version of a track from their 2024 album Birds For the Bayou, it showcases the talents of this veteran folk-rock act. I caught up with founding member Gordon Burke to chat about the single, the creative team that brought it to life, and what comes next for Josh Orange.

                You’ve just released your new single “Believers and Dreamers (What Have We Become)” today. At its heart, it’s a classic protest song. What inspired you to write it?

                I once heard someone say if you can’t say it, then sing it. I loved that. The song is a protest song. It’s hard not to get angry about the state of things around us at the moment, and the feeling of helplessness at the behaviour of some very powerful entities. It’s also a very personal look inside ourselves and how much we can ignore before we stand up and do something. The world needs Believers and Dreamers more than ever right now.

                What issues are getting you fired up lately?

                Have you tried to book a flight recently? Living in Australia and having a lot of family and friends in Europe, I fly most years. It’s gone crazy, literally. And then when you get to Europe you have to change the Aussie Battler into Euros … heart breaking stuff LOL.

                While I might joke about a first-world problem, there are a lot of things currently that are hard to watch, hard to swallow and even harder to understand. Our world is changing, but I am not quite sure if it is headed in an entirly good direction. Believers & Dreamers asks some hard questions, both of ourselves and others.

                The single is actually a new studio version of “What Have We Become,” which features on your fifth album Birds for the Bayou. What made you want to re-record it?

                Great question. We had thought of it as an album track at four and a half minutes long. In saying that though, we don’t write songs to fit in a particular bag. We try and get out of the way of the song as much as possible. This song opened a few live shows in support of the album and we kept getting asked about it after the shows. We decided to go back into the studio and take another look at it, and be very pointed about it. We went into Everland Studios in Sydney in April 2025 to record a single. We then had a great bit of luck getting Tim Palmer to mix the record and do some co-production. He loved it and spent a week working on the song. That was such a great experience.

                What really struck me when comparing the single to the album version is the addition of the harp, which isn’t an instrument we normally associate with rock music. How did that come about?

                It was one of those cases of just trying something new. A friend of ours Kaela Phillips plays harp in a Sydney orchestra, and we met at a show we were both playing. We simply asked her if she would be interested in playing some harp on a pop-rock song and she said why not. We had no idea what would come out in the studio, but Kaela is amazing, and she has such a beautiful energy, it was a pleasure to have her involved.

                I noticed the single was mixed by Tim Palmer, who’s worked with industry heavyweights like Pearl Jam and U2. How did you connect with him?

                Back in my youth, I was in an Australian band called Oblivia. We were signed to BMG/RCA. Tim Palmer was in Sydney and came to an Oblivia show. I met him after the show and he quite liked a song we had on the album called ‘Stupid’. To cut a long story short, Tim ended up mixing ‘Stupid”. Funny enough, the song ended up on a compilation CD released by BMG alongside U2’s “Beautiful Day.” I thought he was a talented legend when I was with Oblivia and always wanted a Tim Palmer’s creative touch on a Josh Orange song. “Believers & Dreamers” just felt like the song to get him involved in. We simply reached out with a dump of everything we had recorded and he just loved it. In fact, he said it sounded like a hit song to him, whatever that means these days.

                You also reunited with Ben Worsey at Everland Studios for this one. He’s been your engineer for the last few albums. What is it about Ben that makes you want to keep working with him?

                Another great question. When you have a band as experienced as Josh Orange at recording, things can happen very quickly. The red light so to speak is not always on, but Ben never misses a beat. He is sharp, fast and he hears the music, he catches things we don’t. He also has a great rapport with the band, which is so important when recording. And he is an amazing mixer. We have been in studios where there is all sorts of fancy coffee machines and fridges full of all sorts of beverages, but we didn’t go back. With Ben you are lucky if there is milk in the fridge, his head is in the music, the placements of mics, the dynamic in the room, the speed of the song … he is literally an extra member of the band when we head into Everland. And that’s the way it should be.

                Obviously, everyone should be listening to Josh Orange right now. But who are you listening to at the moment?

                Haha, yes of course they should. There is a playlist on our Spotify channel called JO Preshow, and we are always updating it with what we are listening to. I think it’s about 12 hours long now. There is also the vinyl in the home studio which I love to sit back and listen to. Currently that would be Steely Dan, Paolo Nutini, Thin Lizzy, and always some Thom Yorke.

                Josh Orange formed way back in 2004. How do you think you’ve evolved as a band in that time?

                The great thing about being in this band is that we are not here for fame or money; that ship sailed a long time ago. We simply love each other’s company. We love to write and spend many hours pulling stuff apart, throwing it in the bin, then taking it back out. Andrew Wass and myself founded the band and we are still as in love as ever with what it gives us. There is a purpose in being able to create something from thin air that has such a wonderful reward. Alex Miller joined very shortly after, and the three of us have been together for 21 years now. We are excited to be releasing a new song. We are like a bunch of brothers really, and we rarely argue at all anymore (wink, wink) LOL.

                You’re launching the single at Lazybones on August 28. What can people expect from that show?

                This will be an awesome show. We are so excited for this one. There has to be at least two songs from each album in the set, so it will span all five albums and 21 years of writing. We also have the amazing Primitive who is doing so well in Sydney with his hip hop sound. He is an amazing performer and I am personally hanging to see his set. We also having Kadi Paton opening for us on the night. Kadi has a voice that just floored me the first time I heard it, so we are very lucky to have her. We also love playing Lazybones as it is one of the coolest venues in Sydney, with an amazing stage and sound system. We sold it out in February this year, so we are hoping it will be a big night.

                After the launch, what’s next for Josh Orange?

                We dropped an album in 2024 and we are enjoying playing live at the moment. We don’t tend to make any grand plans; we are a bit laid back in that way. There is some writing happening in the background but nothing heavy at this stage. We will just roll with the punches, I think. That being said, if the musical God’s answered my prayers, I would be performing on the road.

                “Believers and Dreamers (What Have We Become)” by Josh Orange is out today. Tickets are on sale now for Josh Orange’s single launch at Lazybones in Bulanaming/Marrickville on August 28.

                Images used with permission from Josh Orange

                Posted on by Lauren Katulka

                Q & A With Farrelly

                After two decades writing music, Mulubinba/Newcastle-based singer-songwriter Farrelly is sharing his music with the world. His self-titled debut album is packed with powerful tunes that explore the human condition and society’s injustices. I recently caught up with Farrelly to chat about the album, how it came together when the world shut down, and how he plans to bring it to people around the globe.

                You’ve been writing songs for your self-titled album for the last 20 years. Why do you think it’s taken so long to release it?

                Honestly? A mix of things. Imposter syndrome played a role — this feeling like I hadn’t earned the right to take up musical space. Life, work, other obligations filled the gaps. But truthfully, it just never felt like the right time until it did. Lockdown stripped everything back. It gave me a moment of clarity where I realised if I didn’t do this now, I might never. That urgency cut through all the excuses.

                How do you think your writing has evolved over that time?

                When I’m writing now, if something sounds a bit uncomfortable, if it feels a little too naked — that’s where I go. Once upon a time, I would’ve written around something and called it poetic, but really it was a facade. It made the songs sound clever but hollow. These days, if the lyric makes me wince a little or feel exposed, I know I’m onto something real.

                This album really came together over the lockdown periods. What was it like putting together an album during that strange time?

                It was disorienting, cathartic, and quietly liberating. There was this sense of pause, globally. And in that quiet, I felt a loud call to finally give these songs a home. With so much noise in the world, it felt like the only meaningful response was to make something that cut through it — something honest.

                How important was music for you during the pandemic?

                It was the outlet. But more than that, it was the method of reflection. Interestingly, I turned to the piano during lockdown. The weight of the keys and the rawness of the sound just felt like the right medium to express what I couldn’t say any other way. It allowed a slower, more contemplative approach. It grounded me.

                You grew up in Apsley (Jandwadjali), which is a quiet rural area in Victoria, but you now live in Newcastle (Mulubinba). That’s a real change of pace. How has it impacted your music?

                Apsley has this brutal honesty to it. It’s raw. Rural life doesn’t pretend to be anything it’s not. And that honesty sticks with you. Funny enough, Nick Cave was born not far from there, and when I saw The Proposition I remember thinking, “Ah, so it scarred him too.”

                I lived in Melbourne for 20 years — the lights, the buzz, the burnout. But moving to Newcastle changed something. It’s gritty but creative, working-class with a strong artistic undercurrent. It feels like Apsley and Melbourne collided. That’s the backdrop for this album.

                You recently launched your album at the Hamilton Station Hotel. What was it like to play it for people in your adopted hometown?

                It was electric. There’s always that internal fear that maybe no one will come, or worse — that they will and it won’t land. But when we played “Shadows,” something changed in the room. People were holding their breath. I know because I was holding mine. Newcastle crowds don’t fake it. When you get their attention, it’s real. It felt like connection in its purest form.

                “Sign of the Times” and “Indignation” are some of the amazing protest songs from this album. What issues are firing you up at the moment?

                There are too many to name. Sometimes it feels like the entire system is designed to overwhelm us with injustice. Even before we get to anything local, the sheer emotional fatigue of Trump-era politics is exhausting. But here at home, I’m gut-punched every time I see Australians slipping into homelessness — people who did everything asked of them, followed all the rules, and still lost.

                That’s what “Heroes of the Day” is about. It’s for the people who did the heavy lifting while those in power hoarded the rewards. Our youth are inheriting a harsher world: more expensive, more unequal, and far more hostile thanks to human-made climate change. I write because it helps me process. I sing because I feel I have to try.

                There’s a real authentic Australian feel to your album, but the opening track “Somewhere in Uvalde” was actually inspired by an American school shooting. What was it about that event that made you want to write that song?

                I get asked this one a lot. In fact, I’ve had audience members come up after shows and ask if I lost a relative in the Uvalde shooting. I hadn’t. But when I was recording in the studio, the news broke. Normally, I don’t give much attention to US domestic issues — I’ve always believed that’s their business. But then I saw Ted Littleford’s cartoon. A dog sitting joyfully in front of a door, waiting for children who would never return.

                It broke me.

                I sobbed uncontrollably. And I couldn’t stop. That one image said more than any speech, policy, or outrage post ever could. That dog would sit there forever, unable to make sense of the absence. And that’s where the true heartbreak lies — in not being able to understand. Understand what happened, and understand how can it be allowed to keep happening. I wanted to honour that beautiful, tragic brilliance with a song.

                When Matt from Lodge Productions, a UK based animation artist created the clip, and I watched it for the first time I sobbed all over again. I know every note of that track. But seeing it paired with that imagery made it hit all over again. That’s when I knew we had done it justice.

                As a side note, I was at school and had a teacher whose parents were killed in the Port Arthur massacre. That kind of violence and grief casts long shadows and stays with you. Maybe the cartoon triggered something– I honestly can’t say.

                Your album sees you playing around with rock, folk, punk, and blues sounds. What musicians influenced your sound?

                Nick Cave, for sure — both musically and emotionally. The Pogues gave me permission to be messy and lyrical. Nirvana taught me that vulnerability could roar. Arcade Fire’s theatricality, The Smiths’ melodic melancholy, and The Cure’s dark pop sensibilities all crept in.

                And then there’s Paul Kelly — not just the protest songs, but the voice-as-truth-teller ethos. I’ve had people describe my sound as “Paul Kelly/Dylan being molested by Depeche Mode,” which is disturbing and oddly accurate. What unites all those influences is that none of them were trying to be perfect. They were trying to be honest.

                I also owe a lot to the band I played with. Gareth Hudson (producer and lead guitar), Mick Rippon on bass, and the horn section added new dimensions that lifted my songs into something I never could have created alone. They shaped the sound every bit as much as I did.

                Now that this album is out after such a long gestation period, what’s next for Farrelly?

                I want to show off the album — take it around Australia. It seems to be getting a bit of love in Europe too, and strangely in Brazil. Honestly that would be a dream come true. I’ll be in Ireland this September and I’m planning to perform there. And then? Back to the studio for album #2. The next batch of songs is already forming a line in my head. I don’t intend to wait another 20 years.

                Farrelly’s self-titled debut album is out now on all the major streaming platforms. You can also purchase a digital copy from his Bandcamp page. Make sure you follow him on Instagram or Facebook to learn about Farrelly’s shows as soon as they’re announced.

                Images used with permission from Farrelly

                Posted on by Lauren Katulka

                Q&A with vaultboy

                After making a splash online with his breakthrough single “everything sucks” in 2021, Florida sensation vaultboy is making his way to Australia for the very first time. Ahead of his shows in the East Coast capitals, I caught up with vaultboy to chat about making music in the digital age, that King of Sad Songs tag, and what he expects from his time Down Under.

                You’ll be touring Australia for the first time in June. What do you expect from the shows here?
                I expect to have a great time and hopefully not run into spiders. That is what I expect.

                A valid answer.
                That is my real answer.

                Will you get any downtime while you’re here? And if so, is there anything you are hoping to do?
                Yes, I’ll have a few days off before the show starts in Sydney. And I am just hoping to try some great food. And honestly, I don’t know if it’s possible because I have no idea where they’re located, but I’d love to see a kangaroo in person. That would be great. Maybe at a zoo. I hope they’re not just running around. That’d be a little terrifying. But we’ll see.

                You’re visiting us after touring Europe, and then you’ll be heading to Asia. Your schedule seems very hectic. So how do you keep things fresh when you’re on the road for so long?
                I think on the road, the biggest thing is like, not going crazy after being gone so long and traveling so much. So making sure when you have time, take time for yourself, and do things that have nothing to do with your work. I’m hoping to try and find some time to go rock climbing at some rock climbing gyms in different countries. But yeah, just finding things to do that aren’t related to tour that make you feel like you’re just a human being and not just a performance machine.

                I was actually introduced to your music when Spotify just randomly threw up “everything sucks” one day. How important has streaming been for growing your fan base?
                Really important. I recently did a post where I asked some fans where they had found my music and a lot of people found it on TikTok, which is super fair, but a good amount found me on Discover Weekly or on a playlist on Spotify. I once had a fan say they found my music from one of my playlists on Spotify. They just found one of the playlists I made on Spotify randomly. And that’s how they found out about my music. They didn’t even know that I made the playlist. So yeah, definitely streaming is a huge part of growth, I think. But that said, I think everything just kind of goes hand in hand.

                Rolling Stone dubbed you the “King of Sad Songs”, but recent releases “closer” and “Where tf have you been?” have been pretty happy. What’s behind the change in tone?
                So my upcoming album has a bit of a theme that I haven’t really talked about too much. But the foundational theme that I went with for the album was duality. And so about half the songs are like lighter, let’s say a happier perspective. Or if it’s a sad song, it may be a sarcastic perspective, versus a purely sad perspective, you know, it may be kind of like a laugh at the pain type of perspective.

                And so the first half of the album is that, and then the second half of the album is much darker. And some of the darkest songs – and I use the word dark not just sad – but some of the darkest songs that I’ve ever released.

                I think the biggest reason for that though, is you know, I put out two really sad songs that are on the album last year and then we put out a couple of the happier ones and I think part of the reason I’m excited about these happier songs coming out is because when the album hits they’re getting mostly sad songs. All the unreleased ones are mostly sad so I am not releasing a perfect one-to-one ratio for the singles, but I’m a very multifaceted person. I feel a lot of different emotions, a lot of very positive and negative, and this album I think I did a good job showcasing both.

                Your single ‘closer’ sees you reunite with Salem, who you worked with on “don’t shop when you’re hungry” last year. Why do you love collaborating with her?
                She’s so easy to work with. Like, she’s a great gal and she’s fun to hang out with. She put out an album last year and now she’s looking forward to the music she wants to make now and I think it was just a good time for us to work together, because when we wrote “closer”, it was around the same time as “don’t shop when you’re hungry”. So we were kind of in that creative zone. She’s so talented, like so much more talented than people think she is. She’s an insane songwriter. And yeah, just super fun and easy to work with. I really try to work with people that I like. I’m not like trying to just collaborate with a bunch of random people just to get a feature or trying to get a big song. I really want to work with people that can be my friends and that I know are good people that I feel really good associating with, you know what I mean? And she’s one of them.

                You’ve released a couple of EPs over the years, but you mentioned a full album is in the works. What can you tell us?
                Yes, my debut album is dropping on May 10th. And it is called everything and nothing. And it bangs. It’s going to be so good. And no one is ready for it.

                Finally, do you have a message for your Australian fans before you get here?
                Yeah. We live on the opposite side of this globe that is floating in space. And so I’m excited to finally venture out there and get to hang out with all of you. So bring all your friends to the shows. And let’s have a good time!

                Vaultboy plays the following shows along the East Coast in June. Tickets are on sale now, but with venues this intimate, you’d better get them while you can.

                6 June 2024 – Oxford Art Factory, Eora/Sydney
                8 June 2024 – Northcote Social Club, Naarm/Melbourne
                9 June 2024 – The Brightside, Meeanjin/Brisbane

                Image used with permission from Bigmouth PR

                Posted on by Lauren Katulka

                Q & A with Reckless Coast

                The dying art of Rock ‘n’ Roll according to some is a lost cause … something that is unsalvageable. However, this is not the stance that Brisbane’s resident coastal misfits Reckless Coast take, as they release their latest east coast highway tune ‘Bad Habits’. Tired of the clichés donned by modern rock revivalists, Reckless Coast’s salted pub rock vibe finally forms a bond between Indie and Retro-Rock listeners. A sonic lovechild of Foo Fighters adrenaline and The Rolling Stones swagger. Sitting down with India, Jaeden and Jono, we discuss why their ’70s spiced single ‘Bad Habits’ stands out in the crowd with its surf-esque energy and pub-mosh potential.

                ‘Bad Habits’ immediately makes people think of alcohol or drug abuse, gambling, or social dysfunctions. However, that is not the case with this song. Can you elaborate on the song’s story?
                Jaeden: Whilst there are micro-narratives within the song, the main ‘Bad Habits’ storyline is based on toxic relationships. It’s telling the story of someone comfortable in a relationship diminishing their wellbeing; but being so numb to the situation they don’t do anything to change it … almost touching on a sense of Stockholm Syndrome but in the context of romantic relationships.

                There’s a retro-70s persona in this track, but yet it’s refreshingly modern. Can you talk about influences on this track?
                Jono: Listening back to it I’d probably say it has old school surf influences in the guitars and the drums are ’90s – 2000s alt rock sort of vibes. Production-wise when I was doing the mix I wanted it to sound modern but still have an old school vibe to it. Making the drums big and room heavy combined with making the guitars and vocals bright and saturated was the approach I thought would achieve that.

                Jaeden: The song came together when I fused three separately created ideas … the main riff I wrote by imagining what a “psychedelic surf song” would sound like. The verse riff is a reworking of a classic blues rock shuffle, and the chorus was a riff inspired by retro pub rock. Combining all three, it becomes a refreshingly modern indie-rock tune with retro charm.

                What’s the highlight of this song? It can be a lyric or riff. What part of this song makes people hook in?
                India: The 70’s rock-inspired breakdown hooks people into the song after the initial hook, and it’s a cool contrast from the rest of the track. Lyrically, a highlight for me is “I don’t want to see you go, but I think it’s best for me to find my own way home”. You come to a realisation when you have to remove yourself from a toxic person or situation, that it’s either step away, or hurt yourself even more. Jaeden hit the nail on the head with that lyric.

                What would you like people to take away from the moral/story of this song?
                Jaeden: You’re in control of your happiness and don’t be afraid to make changes to improve your well-being.

                You’re supporting Delta Riggs and Press Club at Crusher Fest for the release of this new single. How are you feeling about that? Is this your first festival?
                India: We’re so keen! This is the band’s first festival, and it’s cool to share it alongside heaps of great local acts and two killer headliners.

                No tour this time? I know there’s a story behind that one regarding broken bones.
                Jaeden: Yeah honestly not my best work. I was being silly with some mates of mine … Long story short I tried to pick two of them up, and adding 150kg to my body weight pretty much broke my entire left foot. I had to have surgery, and with Crusher Fest coming up, the overall safety risks of doing a tour without any sort of team or entourage were too high, and I didn’t want to further injure myself. It’s the first time we had to cancel anything like this … We didn’t want to, but the surgeon’s words were “it was like jelly in there”, and we weren’t risking further injury before the festival.

                Is this just a single? Or something more on the way?
                Jaeden: So this is the first single off a 5 track EP. It’s our first major EP release as Reckless Coast, and we’re keen to put out a release that’s reflective of our current live catalogue. It’ll be released mid 2024.

                What’s your thoughts on bands only releasing singles rather than EPs/LPs? Is there anything worthwhile in them, or are singles the only interest from fans now?
                Jono: I mean, I personally love bigger bodies of work like albums and EPS. I can see why PR agencies and marketing teams push artists to stick to singles. It’s much easier to build a fanbase by marketing different songs to a fanbase every couple months as opposed to marketing the same album to fans for a year. The general trend I have noticed with artists is they stagger release a bunch of singles to try and build a fanbase and when they feel like they have a solid amount of listeners they release an album. But who knows, rules are meant to be broken. Maybe in like four years there will be a new formula.

                First release versus this release … How do you feel when you look back at the older catalogue?
                India: Each release we get more and more confident in ourselves. I love playing our (only four years) “old” tracks – same amount of enthusiasm and passion, now with a stronger sound and a big step in progress. I’m really proud of the natural growth we’ve had from our first release. Our genre has become more refined and we now really know who we are and what we sound like.

                If you could choose one song to re-record, which would it be and why?
                Jaeden: “Got That Feelin’” … would love to improve guitar layers and shorten some sections … but that said, I like seeing an artist’s progression from release to release … going back to see where they’ve come from compared to where they’ve ended up both in songwriting and production terms is really interesting. It’s an organic part of an artist’s career.

                Reckless Coast are appearing at ‘Crusher Fest’ at The Brightside in Meeanjin/Brisbane on December 2 alongside The Delta Riggs and Press Club. Their latest single ‘Bad Habits’ is now available on all platforms.

                You can stream ‘Bad Habits’ here.
                Tickets for Crusher Fest can be found here.

                Image used with permission from Reckless Coast

                Posted on by Lauren Katulka

                Q & A With Barefoot Spacemen’s Scott Renton

                Barefoot Spacemen are an exciting Melbourne act combining elements of funk, neo-soul, disco … all the good stuff that makes you want to dance. It’s something we really need after the last two years I think! I recently chatted to the band’s guitarist, Scott Renton, about how the pandemic impacted Barefoot Spacemen and the band’s latest music.

                Your new single “NRG” drops today. Why did you decide to release that particular song?
                We’ve been recording a bunch of tracks from our upcoming album, so we’re partly rolling a few out as they’re ready but also trying to pick songs that are fun, upbeat, and reflective of the sound we’re working towards. “NRG” is fun to play and hopefully fun to listen to, so it made sense to release this one.

                The single features your artwork. Is that a real passion of yours?
                Not particularly, if I’m honest! I enjoy creating things in general but I’m not much of an artist at all. Like most bands, we’re running on a pretty tight budget so the more things we can do in-house the better. We’ll get a proper artist or graphic designer on board for bigger projects, but for a single release during the colder months, we figured it would be best to just do it on our own.

                You’re launching the single at Colour Club on April 21. What can people look forward to when they see you live?
                We try to make our sets fun and filled with stuff people can dance to. Usually it feels like a big party and playing live is the main reason we make music, so we always really enjoy it. We’ve got a great lineup happening with Blue Nude and Jag, along with DJ Uly spinning vinyl afterwards, so there’s an interesting mix of genres and experiences for people to enjoy.

                There’s such an excitement about live music at the moment as we move past a lot of covid restrictions. How are you guys feeling about playing again?
                Playing live is almost the entire reason we make music. It’s dope seeing people enjoying themselves dancing to something you’ve put hundreds of hours into creating – super rewarding. We’re stoked to be back and to be able to get on with performing and recording, and we feel that energy reflected in the audience, too.

                The pandemic was such a tough time for musicians everywhere. How did Barefoot Spacemen cope with the last two years?
                Things got pretty grim but we spent a lot of time on the phone to each other talking about our plans for after lockdowns, writing new songs, working on our craft as musicians, and sending each other demos. When we weren’t talking about the band, we’d be on the phone to each other playing Xbox or something together as well, so I pretty much stayed in touch with the band every day throughout lockdowns. That friendship really helped me personally deal with everything at the time and definitely prevented things from spiralling out of control on a number of occasions. It’s been great to start acting on some of the plans we made during that time now that we’re able to.

                I found listening to music was one of the big things that kept me sane during the pandemic. Were there any new artists you got into or old favourites you relied on during that period?
                It depended a lot on my mood – sometimes I was so bored that I was desperate to find new music, but other times I just wanted the comfort of something familiar. I stumbled upon a few artists that I ended up loving – mostly older funk and disco stuff to try and keep the mood upbeat at home.

                “NRG” is the second single from your upcoming debut album. What can we expect from the album?
                We’re trying to explore sounds we’ve never dabbled in before, but the album is largely funk, Motown, disco, and hip hop inspired in its instrumentation. We want to produce tracks that people can dance to, vibe to, smoke to, whatever they want. There are a lot of grown-up themes and topics with our vocalist Aaron’s lyrics, which is a bit of a contrast to the playful and groove-centric nature of the music, but I like the dichotomy of it – this idea that you can be crying in the club or on the dance floor, but having a great time.

                There’s a real funk influence in all Barefoot Spacemen music I’ve listened to. What do you love about that genre?
                It’s just a lot of fun to listen to and even more fun to play. We’ve always been passionate about continuing to improve as musicians and we’ve found that we’re naturally leaning into that genre the longer we spend together as a band. We have a pretty eclectic mix of musical tastes, but funk and disco seems to be a common ground. There’s a lot of room to experiment with the genre as well, so it’s great that we can all bring influences from our own tastes and kind of blend them into this hybrid funk thing we’re trying to achieve with our sound.

                It’s been a couple of years since you released your last EP Cabin Fever. What are the key lessons you’ve learned as a band since then?
                Tough question! We’ve learned so much. If I had to narrow it down, I’d probably say that we’re learning to accept things that are beyond our control and do things at our own pace. There’s a heap of demand for a constant stream of content with musicians and artists in general these days, and we don’t want to lose sight of the art. So we’ve been focusing on creating for our audience and letting people engage with us at the same pace we’re willing to operate. Taking a kind of quality over quantity approach, despite what everyone has been telling us. That leads to the second lesson, which is learning which external opinions to take on board and which ones aren’t going to help us. I could go on forever about what we’ve learned, but it’s mostly realising the value of improving our craft and how much hard work it takes to make a living in this industry.

                It sounds like it’s a really exciting time for the band with the new single release and the album not too far behind. Is there anything else on the horizon? A national tour perhaps?
                We’ve been looking at touring both here and overseas, but we’re still working through the logistics and feasibility of it all. It’s definitely something we’d love to do but for now, after two years of setbacks, our sole focus is getting this album finished!

                “NRG” is available today on all the major streaming services. Melbourne, make sure you catch Barefoot Spacemen’s single launch show at Colour Club on April 21.

                Image used with permission from Barefoot Spacemen; credit: @aynsleymitchell

                Posted on by Lauren Katulka

                Q&A With Last Quokka and Plaster of Paris

                It’s an exciting time for musicians and their fans. After COVID-19 brought the world to a screeching halt, we’re all starting to reconnect with one another and live music. In that spirit of connection, Western Australia’s Last Quokka and Victoria’s Plaster of Paris have joined forces for a “full-tilt punk rock extravaganza” travelling the country this April and May. Before it kicks off, I caught up with the bands to chat about the tour, how the pandemic hit them, and what comes next.

                Last Quokka, we’re chatting because you’re about to kick off a national tour, which must be so exciting for you as a Western Australian band. How are you feeling about it?
                LQ: Honestly it feels like a bit of dream right now, so until we’re there it’s hard to know how to feel! But we’re incredibly excited. This has been such a long time coming and obviously like every band not having the opportunity to tour these last two years has been a struggle. We’ve also had a bit of a line-up change so it’s going to be rad to get to travel together as a new five-piece. And of course we’re super pumped to be able to hang with Plaster of Paris.

                What have you missed most about touring the country?
                LQ: Last Quokka is really all about the live energy and the community connection we make through playing so we’ve missed that a lot. It’s also just such a rad thing to be able to travel with your mates and play shows.


                Plaster of Paris, you’re joining Last Quokka on this tour. How did that come about?
                POP: We just kept talking after our Sonic Masala shows together got cancelled in Brisbane last year and we all just seem connected. Both bands are running DIY gigs and self-releasing and working in these scenes that centralise politics and feminism and community so it just feels symbiotic to come together. And so fun!

                After all the lockdowns in Victoria, it must be pretty exciting to simply get back to playing for audiences. How did the pandemic treat you?
                POP: We had an album to mix and release during the pandemic so Melbourne’s crazy long lockdown gave us time, if nothing else, to focus on what we wanted to achieve. We drove Paul Maybury a little mad I’m sure with remixes and redos, but by the end we got something we are incredibly proud of and I’m not sure we would have made the same album pre-pandemic. A silver lining perhaps?

                Last Quokka, as a Western Australian band you’ve probably had a really different experience of the pandemic than a lot of East Coast acts. I saw photos from gigs that looked almost normal while we were in lockdown, yet you were cut off from the rest of the country for so long. What was that experience like for you?
                LQ: It was exactly as you’ve said really. It felt super weird and privileged to be playing shows like RTRFMs In The Pines or Yardstock to thousands of people while our mates over east were in lockdown, but that said the isolation has definitely been pretty intense. While it feels dumb to complain about it, we’re already so very isolated over here and that was just hugely reinforced, especially with East Coast bands not being able to come over. Also, Perth is an odd place. While there is a great DIY and lefty community in general, it’s a very conservative place and can feel very suffocating at times. So it is great to get out.

                Plaster of Paris, during the pandemic you released your album, Lost Familiar. What was it like to put that out in the world at a time when you couldn’t tour the country?
                POP: Hitting ‘Public’ on Bandcamp and collectively opening beers in our lounge rooms. Doing a band Zoom when we were nominated for Best Rock Punk Act in the Music Victoria Awards and clinking virtual champagne flutes. Connecting with online fans and making email buddies across the globe in places like Estonia and Portugal. Doing interviews on Instagram Live with Spanish blogs at 3 am (and getting the day wrong and having to do it all over again). Making the “Danceflaw” filmclip in the exercise hour we had each day (literally Nicola and Zec exercise/dancing in empty streets of Thornbury with a camera). These are the weird things you do for album releases in a pandemic!

                Why did you release the album during the pandemic? Was there ever a time that you considering holding it back?
                POP: We started recording this album in 2015/2016 and had a lot of setbacks. By the time the pandemic hit we just went along and kept pushing and took it as another challenge. A big scary one! But being with our creative family was all we wanted to do. The album is so much about the family you create, particularly as queer-identifying humans. You build this new family that let you be yourself and we wanted to celebrate that because lockdowns often separated us from safe spaces and chosen families. Our lost familia.

                The music you make is so ballsy and bold, I’m sure it takes a lot of people by surprise. The post-punk genre is so dominated by men. What’s it like for Plaster of Paris playing in that space?
                POP: Ha! Ballsy! Imagine if we described music as Breasty! I’m not having a crack … I just wonder if we’ll ever ungender strength and anger and loudness. Even now it scares people when female-identifying people are loud. All you have to do is cross the river in Melbourne and play a crowd that has never seen a punk band and watch them squirm and get confused in 2022! Their idea of loud women is Miley Cyrus covering Metallica. (Hashtag I love Miley FYI). We’re all fans of hard rock, the riot grrrl movement was instrumental to me understanding I was allowed to be in the band not just hang out with them. I used to sit on the floor of my male friends’ rehearsals watching them. All of a sudden I started seeing women playing instruments and I picked up a guitar. We still need representation, especially as instrumentalists. As older women we need to see ourselves too, ageism is real in the music industry. As Zec sings in “State of Emergency” – we “want Social Currency” and “a community to speak to me”.

                I was reminded of a lot of female punk pioneers as I listened to your album. Who are some of your influences?
                POP: My heart will always be with the ’90s ladies like Bikini Kill and Bratmobile and other affiliated acts like Helium and Sleater Kinney and the ’70s UK punks: The Slits, Raincoats, XRay Spex. Zec loves Siouxsie Sioux, Nina Hagan, Wayne County and her love of Kate Bush and Bowie is clear in her phrasing. As a guitarist, I also love bands like Gossip and Yeah Yeah Yeahs because Plaster is a two-piece band mostly: guitar and drums. Three people just locking in. Having said that, we are touring as a five-piece!

                How about you Last Quokka? What artists have made a big impression on you?
                LQ: We did a whip around the band: Kirill – Michael Jackson, Carlota – Tool, Justin – IDLES, Ray – Fugazi, Trent – Phoebe Bridges.

                What can music lovers expect from these shows?
                LQ: Drunken shenanigans, conversations about Geoff Gallop, some booty shaking, and maybe some good music.

                After the tour wraps up, what’s next for you?
                LQ: We’re working on our fifth LP so that’s exciting and trying to eventually get over to the EU! A few of us are also thinking about getting more pets, maybe learning to play tennis. That kind of thing.

                POP: Extend the tour with more dates!! Let’s do Tassie and Darwin and then Europe. Quokkas watch out!

                If you’re ready to rock (and let’s face it, who isn’t?), you can catch Last Quokka and Plaster of Paris at the venues below. Check out the Last Quokka and Plaster of Paris socials for tickets and more details about the shows:

                1 April 2022 – The Outpost, Brisbane (with Tape Off)
                2 April 2022 – Eleven Dive Bar in Maroochydore (with Tape Off)
                3 April 2022 – Sonic Sherpa, Brisbane (instore)
                7 April 2022 – The Servo, Port Kembla (with The Elastic Waste Band)
                8 April 2022 – Graveyard Shift @ The Lansdowne, Chippendale (with Yes I’m Leaving)
                9 April 2022 – The Old Bar, Fitzroy (with Zig Zag)
                10 April 2022 – Arvo show at the Barwon Club, Geelong (with Zig Zag)
                6 May 2022 – The Bird, Northbridge (with Dead Tooth Hottie)
                7 May 2022 – Yardstock! Fremantle
                8 May 2022 – The Shed, Albany (with Pack Hoarse)

                Images used with permission from Last Quokka and Plaster of Paris; photo credit for Plaster of Paris photo: Kalindy Williams