I don’t care what you’ve been listening to today; I can confidently say that “Toxic Moonlight,” the latest track from Eora/Sydney-based klezmer punk collective Chutney will be the most surprising thing today. It might even be the most brilliant. The song combines Britney Spears’ pop anthem “Toxic” with Beethoven’s “Moonlight Sonata,” and it’s actually fantastic. It doesn’t end there though. The band brings together these seemingly disparate elements with their trademark Eastern European and Middle Eastern flair. And then we’ve got vocals from Ilan Kidron of The Potbelleez on top of that. It’s off the wall, but somehow it works!
“It was 2021 and we had a gig lined up with Ilan,” shared Chutney violinist Ben Adler. “We were in a reprieve between COVID lockdowns so we’d developed a certain nihilism that, in retrospect, was highly conducive to unfettered creativity. I was talking with Ilan about songs he’d like to sing with us, and he observed that the string riff in Toxic sounds “really klezmer” – we only discovered years later that it’s actually a Bollywood sample! Anyway, Ilan’s suggestion was all I needed to klezmer-ify Britney’s song. Something about its darkness and (toxic) romance then led me to Beethoven’s Moonlight Sonata, especially after I realised that importing Beethoven’s descending bassline might open up a whole new set of possibilities for the otherwise pretty harmonically static ‘Toxic’ verses. I sketched up a chart and we tweaked it in rehearsal, at a gig and in the studio into its present form”.
“I was always really impressed with Mark Ronson’s version, and although Toxic had been covered plenty of times, I knew Chutney would translate it really daringly and originally,” Ilan added. “They have an unashamed ability to bend the rules; but somehow it works. This version plays between a dark oceanic void and a western bar fight. There is emotional drama and a dance between tension and release that I love here.” Take a listen to this. I know it’s going to blow your mind. Chutney will continue bending the rules when they release their next album Ajar on August 6.
2024 might be the year of The Dreggs. Seven years since releasing their debut single, they dropped their incredible first album Caught in a Reverie. It’s one of my favourites this year. They’ve also just played their first show at the Enmore Theatre, a bucket list venue for the duo from Yarun/Bribie Island. I was so thrilled to be there to share this milestone with the band.
While Friday was The Dreggs’ night, it was really a celebration of local talent. I was unfamiliar with This New Light from Kabi Kabi and Jinibara Country/Sunshine Coast, but he made such a big impression on me. It’s challenging for an emerging artist to fill a theatre with only an acoustic guitar for the majority of the set, but he had me hanging on his every word. His chilled-out folk music was the perfect primer for the evening. He was so sweet too, genuinely humble as he told us how much he’d appreciate us checking out his tunes on Spotify or giving him a follow on Instagram. How could we say no?
I’ve been raving about GRAACE’s music since 2018 (about as long as The Dreggs!), so I was thrilled to finally catch her on stage. Her pop tunes weren’t a natural fit for a night like this, but she owned the stage. I loved watching her dance around as she delivered some of my favourite songs like “Jealous Type” and “Love is Getting Wasted.” Rather than a full band, GRAACE shared the stage with an incredible guitarist. Again, it wasn’t the most natural choice for an alt-pop artist, but I loved seeing her shred. They both got their rock star moment when GRRACE slipped in an unexpected cover of Kings of Leon’s “Use Somebody” that had everyone singing along.
You could feel the energy shift when Then Dreggs’ stepped out. I’m not sure I’ve ever seen such an enthusiastic reception for a local act. Sure, I’ve seen people excited when big names like John Farnham and Jimmy Barnes step out, but those guys are so big that their audience becomes a little diluted by people who’ve simply enjoyed the songs on the radio. When you see an act like The Dreggs, everyone there is incredibly passionate. It’s a beautiful thing to be part of. New songs? Already across them. Old favourites? Everyone was following the band then too so we’re all prepared to sing along to every word.
I knew The Dreggs would sound good, but I don’t think I was quite prepared for exactly how good. The music I loved on their recordings went to the next level on the stage. Paddy Macrae’s banjo was incredible, and the full band brought a new depth to some of those early tracks. These guys are tight. There’s a natural chemistry between Paddy and Zane Harris forged from years of friendship. Their harmonies are second to none. But the whole band gelled together so fabulously. It was a joy to watch the music they created.
They may have a few more rungs on the board than their first support act The New Light, but The Dreggs have a similar humility. They remarked several times that playing the Enmore was something they’ve strived for throughout their career. You could see they didn’t take that moment for granted. They thanked the crowd for their support earnestly and even gifted a fan singing every lyric a merch pack. That pack could have gone to so many people, because every song was a singalong. So many numbers had fans up on their feet, dancing enthusiastically, whether they were on the floor or up in the dress circle. That’s right, even among the seats where people normally want to chill, the show was often a party.
Those party vibes were balanced with sombre moments when Paddy spoke about the duo’s commitment to discussing mental health issues. They’ve explored these issues throughout their time as a band, but perhaps never as eloquently as on the album Caught in a Reverie, a record anchored in grief and what it takes to work through it. It was so powerful seeing these guys using this platform to speak about a topic few men willingly discuss. Hats off to them. Those dark moments were balanced so beautifully with lighter tracks like “She Picks Flowers,” “Keepsake,” and the triumphant final number “Hold Me Closer,” which had us all singing along with its “da da” refrain.
The Dreggs will soon take their show to Aotearoa/New Zealand before closing out the year with a few local dates. Catch them anywhere you can. I promise you’ll have a ball.
After wowing me with singles like “All Hard Feelings” and “If I Want In,”Imogen Clark raised my expectations for her latest album The Art of Getting Through. Those singles were so well-written, with insightful lyrics and impeccable melodies. Happily, the release of the album shows they were no fluke.
This album sounds so polished, but we’d expect nothing else of a collection of songs recorded in the legendary Abbey Road studios in London, Peter Frampton’s Studio Phenix in Nashville, and EastWest Studios in Los Angeles, where the Beach Boys recorded Pet Sounds and Michael Jackson recorded Thriller. But it doesn’t matter how acclaimed the studios are if you don’t have the goods. Imogen does. Her songs unfold like diary entries, revealing her distrust of men in “Natural Predator,” her battles with an eating disorder in “Silhouette,” and her struggles and strength in “The Last of Me.” They’re big topics. Imogen is an artist with plenty to say, and listening to her catchy melodies and rich voice, you want to hear it.
“These songs are about the messiness of life, the layers of injury and hurt that build resilience and how you never really get a clean slate or a fresh start,” Imogen explained. “There is no starting over, there is only getting through.”
Most of the tracks on The Art of Getting Through sit in the pop-rock space. It’s a place where Imogen excels. These songs feel classic on the first listen. Not just the singles, but every track feels radio-ready. She could have sat in that space for the whole album and I don’t think anyone would complain, but she shows us we shouldn’t pigeonhole her music with the devastating closer, “If Your Heart Never Breaks.” It feels like a standard, beautiful,and cinematic, with hints of jazz. Can Imogen do it all? Quite possibly.
With the release of The Art of Getting Through, Imogen shows she’s blossoming into one of our best artists. Now she’s living in Nashville opportunities to see her live in our part of the world are becoming rarer, so make sure you don’t miss her when she visits in November after some UK shows.
I’m a sucker for beautiful harmonies. And that’s exactly what Meeanjin/Brisbane band Layer Cake are serving up with their tasty new indie-pop single “Help.”
“‘Help’ speaks for itself,” the band said in a press statement. “It’s a cry of relief, a musical sigh of acknowledging that it’s okay not to be okay. Sometimes, when you’re feeling trapped, the easiest way to cope is to pour your heart out in a song.”
I love all the twists and turns this one takes. It reminds me of those classic songs of the 70s that switch things up before they take you to their ultimately satisfying conclusion.
Press play and enjoy this one. It’s a little trippy, but what a ride!
If you’ve ever struggled to switch off and move on like I have, you’re going to connect with Baeden Faint’s new single “Overthinking.” I love those honest rapid-fire lyrics and how they sit against the rhythm of the banjo and electric guitar.
“It reflects on how it seemed all my relationships were going at the time, and I was adamant that this time was going to be different,” Baeden explained. “In the early days the song had more of a tone of desperation, but a little while down the track, Brad [Ashton, guitarist] sat out the front of my grandparent’s house and strummed a few chords, which led to a rethinking in a slightly more positive light.”
Baeden will support Fanny Lumsden as she makes her way to the Big Red Bash with a show at Cobar Bowling & Golf Club on July 6.
Image used with permission from Wildheart Publicity
UK-born, Eora/Sydney based producer/multi-instrumentalist/singer-songwriter/all-round talent harper has put a spring in my step with his latest single “37.” This is one of those alt-pop-rock that just feels so good. That super-catchy melody is wrapped around some insightful lyrics about the indecision that can leave you paralysed when you need to keep moving forward.
“37’ is me realising that putting myself first isn’t such a bad idea,” harper revealed. “It’s as close and vulnerable as it is big-picture and pondering. I ask a lot of questions in the lyrics, which is a mirror of my headspace both at the time and in my life in general. I love to embrace the hypothetical and the ‘what-if?’, because that’s just the way I think things through and figure out what I truly want.”
With four singles already under his belt, harper says releasing “37” marks a new chapter in his musical journey.
“I feel that I’m finally coming into my own as an artist, and am realising what the purest and most-distilled form of my art is. Everything I’m putting out from now on is going to be transparent and unapologetically me, because I believe the only way to truly connect with anyone listening to my music is for them to feel they know me. How can I allow them to do that without knowing myself in the first place?”
If this track is a sign of what’s to come from harper, I can’t wait to hear what’s next.
After a successful run of shows with Texas’ own Charlie Crockett and appearances at Riverboats Music Festival and Bluesfest, Naarm/Melbourne six-piece Sweet Talk headed back to the studio. The result is their delicious new single “Real Good Cookin’”. It might be brand new to us, but it’s actually the first song created for this project.
“I remember writing the riff when Dave and I lived together in Fitzroy many moons ago,” explained guitarist Soren Walker. “I was listening to a lot of Skynard at the time the idea of a band was only beginning to germinate, but when Dave and I started fleshing this track out, we knew we were onto something hot.”
“We were actually calling it ‘Southern Fried Chicken’ for the first little while, and it was the first riff we started working on as a song before Sweet Talk was a fully formed idea,” added fellow guitarist Dave Turner.
Sweet Talk are building a reputation as one of the best acts on the live circuit. Whitlams’ frontman Tim Freedman said they were an “absolute stand out” at Tamworth and Bluesfest, noting their set was “pure musical lift off with charisma and earthy grunt.” So make sure you see them at one of their upcoming shows, including dates with Tim’s Black Stump Duo, if you possibly can.
I discover some amazing artists through this blog. I hear about their shows and think they’d be great live, but I often don’t actually make it to the gigs. Then there are the rare artists like Donovan Woods, who capture my heart so quickly that I know I need to be there. That’s how I found myself at new inner-city venue Darling Nikki’s on Friday night, just a couple of months after hearing his music for the first time. As I looked around at the blokes dressed in flannel and trucker hats, emulating Donovan’s signature look, I knew most people had followed his career for a lot longer. But I always say, it doesn’t matter when you find an artist; just that you do.
Darling Nikki’s was a last-minute venue option after The Great Club’s (hopefully temporary) shutdown. It’s wonderful that Darling Nikki’s stepped up, but I couldn’t help but think of what might have been. While I hadn’t yet been to the Great Club, a friend praised its relaxed vibe, with plenty of seating to chill. That was the kind of atmosphere that an artist like Donovan really needed. Darling Nikki’s small standing-room venue would be ideal for an up-and-coming rock act, but it didn’t feel right for gentle folk music.
You could have been forgiven for thinking Hayley Warner was the main event, rather than the support act. She got a rapturous response when she took to the stage, although she was quick to tell us that many of those cheering loudest were her family members and friends. Personally I was pretty excited to see how this artist, who I remember fondly from Australian Idol in 2009, had blossomed. She was an angsty teenager then, delivering some of the best rock music the competition’s ever seen. The years have mellowed her music, and helped her become one of the best songwriters I’ve heard in some time. I loved her originals, some of which you might have heard. A little Katy Perry hit called “Never Really Over” by any chance? Hayley’s been living in Los Angeles for the last 12, writing tracks for other artists like Ms. Perry, and being “miserable,” as she joked, perhaps not entirely tongue-in-cheek. Clearly she relished the opportunity to be here at home, playing for loved ones, making jokes that might not have been as well received Stateside, covering songs that the Americans simply don’t know. She encouraged us to sing along to John Farnham’s “Burn For You” and Tina Arena’s “Sorrento Moon,” soaking up that Aussie enthusiasm. When she announced her final song I had to check my watch. Surely she wasn’t done yet! We were having so much fun.
The fun ramped up when Donovan Woods took the stage. That might seem a strange word to use for an artist who makes fairly mellow folk music, but this was one of the most fun gigs I’ve attended in some time. I knew the music would be amazing. Donovan’s recordings are pretty stripped back, so I knew just hearing him sing his songs with an acoustic guitar was my idea of a good time. What I didn’t prepare myself for was just how funny it is.
After wrapping up the first song “It’ll Work Itself Out,” he told us that would be the show. Just some gentle guitar music, some whispery singing, maybe he’d grab the other guitar but that was as dynamic as things would get. So if we wanted to get out now, he’d understand. Of course, no one headed for the door. I hung onto his every word as he played his music. But I enjoyed his hilarious repartee between tracks every bit as much. If this music thing didn’t work out, he could have easily had a career on the stand-up circuit. At one point he asked us whether he was talking too much, but my favourite gigs are always those ones where the artist shares themselves, not just the music. I found myself gaining an even deeper appreciation of songs like “Man Made Lake” and “Leave When Go” after hearing the stories behind them.
I grasped my husband’s hands just a little bit tighter as Donovan played favourite songs like “Seeing Other People,” “Last Time I Saw You”, and recent single “Back for the Funeral.” I know I’m fairly new to Donovan’s music, but I thought it was an incredible set that really celebrated his discography, including the soon-to-be-released album Things Were Never Good If They’re Not Good Now, (not Get Loose as it might have been! If you know, you know). Given that Donovan was touring solo, I expected we’d miss his gorgeous duets, so I was thrilled when he called for a volunteer to sing “I Ain’t Ever Loved No One” with him. I was even more chuffed to discover that volunteer, Talia (so sorry if I’ve spelled your name wrong!) was incredible. The best one yet, according to Donovan. What a special moment in an evening that was already so special.
Normally once an artist has several albums under their belt, you’ve missed the opportunity to see them play an intimate show. But Donovan hasn’t quite broken through here, so I got to be in a crowd of no more than 80 dedicated fans who soaked up every moment. Up close and personal with one of the best songwriters on the planet. I can’t think of a better way to spend a Friday night.
She captivated the nation on last year’s series of Australian Idol, but those of us from Mulubinba/Newcastle knew that local talent Piper Butcher wasn’t going to fade from view once the cameras stopped rolling. The impressive singer-songwriter has just released a brand new single “Turn the Key,” and it’s really something special.
“The tale pulls from the suspenseful feelings of wanting to know a person more than a friend and finding a way to break the ice and be together,” she explained.
Piper will play the following shows in her home state in the coming months:
Tom Harrison takes us on a road trip through North America with his gorgeous debut EP, Old Growth. Tom burst onto the scene in 2018 with his band Hugo Stranger and the Rattlers, but he’s showing us a quieter, more introverted side with this release.
Old Growth sees Tom trading in his usual gritty blues for a sweeter, folkier sound. He penned the songs in 2017, when he travelled across Canada and America’s West Coast with his wife in a Chevy van. Each song brings a moment of that epic journey to life for listeners.
“I got the title Old Growth from the forests we were visiting in Oregon and on Vancouver Island,” Tom explained. “It felt like a summary for where I mentally was at. I was accepting a new chapter of my lifeand learning so much about myself and growing as an adult.”
If you’re a long-term reader you’re already familiar with the singles, “Start Again” and “How Long.” The other tracks help us fill in the missing pieces of their adventures. The opening song “Miles Away” may be my favourite. Its jaunty little melody and cruisy vibe perfectly set the scene for a trip with endless possibilities. It’s not all about chilling out though. “Skraeling” sees Tom at his most political, firing up at the “little men” like Donald Trump and Scott Morrison he saw failing their people from their positions of power. “Buffalo” is a haunting song inspired by the old missing people posters he saw at a New York bus terminal. Closing song “Ontario” has a cool Western feel that I’m really digging. Its bluesy sound is closest to the Hugo Stranger material that put Tom on my radar. Tom said “I think it nicely closes this chapter and gives a wink towards the next direction of my music.”
I’m not sure where his next musical moves will take him, but I’m excited to keep listening. Old Growth is out now. You can catch Tom playing at one of the following shows:
