Melbourne-via-Wellington four-piece Bakers Eddy have gifted us with ‘A Verry Merry Christmas’ – the season’s most pop-punk Christmas carol bound to bring the hectic vibes to the festivities ahead!
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“spill tab – aka Claire Chicha – is a multi-talented wonder” – DORK
“She is incredible” – Zane Lowe
The bilingual alt pop artist teamed up with principal collaborator marinelli on the gorgeous, enchanting piece of textured electronic pop ‘Santé‘, just as they did on acclaimed earlier singles; her break out single ‘Calvaire‘ is a dreamy pop song with R&B and electronic sensibilities and her second track is the mellow ‘Cotton Candy‘.
“This EP encompasses my entire year of 2020, it’s every spill tab song that has come out in the past 12 months, plus a new one that I co-produced with the homie marinelli, my main collaborator. I decided to name it Oatmilk ‘cause I am so goddamn lactose intolerant, so my lifeblood during quarantine has been Oatly and Chobani oat milk. I live on that shit, I‘ve probably been going through like 3 gallons a week.”
spill tab has recently featured as the cover artist on Spotify’s incredibly influential and respected alt/experimental pop playlist, LOREM, which has seen her songs streamed over 3 million times. She’s also been championed by the likes of mega tastemakers including Apple Music’s Zane Lowe and BBC Radio 1’s Jack Saunders.
Spill Tab’s Oatmilk EP is Available Now Via Dew Process
Follow spill tab
Instagram | Facebook | Twitter | dew process
Melbourne Music Week (MMW) has today revealed the hotly anticipated line-up for its extended summer program.
Returning for its 11th year, MMW’s program of free and ticketed events spans three months and, for the first time, features a 100 per cent local line-up of physical and digital events.
More than 330 artists will feature at more than 35 city locations and venues, across more than 200 events and sessions, with more artists and gigs to be announced in January 2021.
Melbourne Music Week–Extended is the first music festival to return to Melbourne, pioneering COVID-safe live music gigs for Victoria.
Supporting the recovery of the local live music industry is at the core of MMW–Extended, and this year’s event is the ticket to re-discovering the best of Melbourne’s live music scene as it returns.
Wominjeka (MMW Welcome) on Opening Night (Wednesday 9 December) will feature a Welcome to Country and City Wide Smoking Ceremony curated by Kee’ahn, including a performance by Aboriginal dance group Dijirri Dijirri and live programming across four city locations, with a show at Section 8 to follow.
The Music Victoria Awards will also take place on the Opening Night at Melbourne Recital Centre (and will be live-streamed) featuring a killer local line-up including Alice Skye, Elizabeth, Rolling Blackouts Coastal Fever and Simona Castricum.
Headline shows include ascending hip hop star, Baker Boy, at the Melbourne Recital Centre, iconic rock musician Adalita for a commissioned performance on the Grand Organ at Melbourne Town Hall, plus an audio visual exploration with Melbourne producers Ara Koufax and iconic DJ and academic Simona Castricum at the Capitol Theatre.
Fierce, tense post-punk trio, Cable Ties will lead The Forum’s Melbourne Music Week debut, while High Tension, stalwarts of the Melbourne metal scene, bring their blistering power to Max Watts in other headline events.
Melbourne Music Week–Extended is teaming up with some of the city’s favourite live music venues including Colour, Cherry Bar, Curtin, Section 8, Max Watts and more, to deliver Venue Presents featuring an ongoing line-up of gigs with local artists like Blake Scott, Banoffee, Mick Harvey, Private Function and Allysha Joy across the three-month festival.
A line-up of Outdoor Events will also form part of Melbourne Music Week–Extended, kicking off at The Third Day on Saturday 12 December with The Operatives Presents WE ARE 16, featuring Jordan Dennis, FOURA and more for an all-day party.
MMW–Extended Feature events include Techno Bingo (part seated party, part bingo) with a guest appearance from The Huxleys, a Vogue dance workshop with Kiki Dévine, and a new Wellbeing series featuring a Dog Day Afternoon with Henry Wagons (yes, you can bring your dog!) and Tai Chi classes.
The MMW Hub takes a back seat this year to instead focus on supporting Melbourne’s iconic music and cultural venues after months of lockdown, this year’s larger, longer and dispersed program across the summer months, offers greater flexibility for local artists, venues and businesses to be involved.
Melbourne Music Week is delivered by City of Melbourne, and thanks its valued partners for their support, including the Victorian Government, Ticketek, oOh!media, Beat, 3RRR and PBS.
Visit www.melbourne.vic.gov.au/mmw for tickets and to view the #MMW program.
Quotes attributable to City of Melbourne Lord Mayor Sally Capp:
“Live music is a critical part of Melbourne’s nighttime economy and it usually generates $1.7 billion each year for Victoria and supports over 42,000 jobs,” the Lord Mayor said.
Melbourne is the Live Music Capital of the World and the sector was hit hard by COVID-19 so we’re excited to bring music back to the city with a 100 per cent local lineup.
We’re proud to be bringing live music back to your favourite bars, clubs and pubs.
“We’re working closely with venues to make sure we can welcome music fans back safely and keep musicians, promoters, and hospitality workers in jobs.”
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Welfare Jazz out Jan 8 via YEAR0001, pre-order it here.
TRACKLIST
Ain’t Nice
Cold Play
Toad
The Old Dog
Into The Sun
Creatures
6 Shooter
Best In Show II
Secret Canine Agent
I Feel Alive
Girls & Boys
To The Country
In Spite Of Ourselves
Stay connected with V**gra Boys:
Official Website | Facebook | Twitter |
Legendary activist and Afrobeat originator, Fela Kuti, used his music to lament social injustices and political corruption in his native Nigeria. Fela’s legacy spans decades and genres, touching on jazz, pop, funk, hip-hop, rock, and beyond. While this impact can be felt in Nigeria and the entire world, it also greatly affected Fela’s son Femi and his son Made, both of whom carry his legacy as torchbearers for change. On February 5th, Partisan Records/Liberator Music will release two albums from Femi and Made, packaged together and appropriately titled Legacy +.
Femi and Made have each shared a new song from their respective albums. ‘Your Enemy’ taken from Made’s album For(e)ward turns a swirling and modern Afrobeat sound into an impassioned call for justice. On ‘Pà Pá Pà,’ taken from Femi’s album Stop The Hate Femi implores Nigerians to rail against the dishonesty of local politicians (“When government waste our time, government waste our life” he declares). ‘Pà Pá Pà’ is also accompanied by a music video filmed in Lagos and directed by Adasa Cookey. Listen/watch below:
Both albums that make up Legacy + are steeped in the tradition of Afrobeat invented by Fela, but each also offers their own unique vision. Femi’s Stop The Hate honours Fela in a traditionally fun, sharply political, and affirming way. Meanwhile Made’s For(e)ward is a modern and progressive freedom manifesto, pushing boundaries of the subgenre even further. Made also performs every instrument on his album!
Femi says, “I am very excited and happy because as a father I get to perform with my son on my album again, and I get to see him compose, arrange, and play all instruments on his own album. Most importantly, we get to release this project together. It is spiritually soothing and comforting to witness this chapter in my life.” Made adds, “I truly believe that once in a while we are fortunate enough to write stories for ourselves that we can look back on much later in our lives. This has been one of the greatest positive highlights of my life so far, both musically and transcendently. I’ve learnt so much from my father politically, socially, philosophically and musically that I know this lovely project is only the beginning of more beautiful things to come.”
The cover art for For(e)ward and Stop The Hate features portraits of Femi and Made done by Brooklyn-based artist Delphine Desane, whose work was recently featured on the cover of Vogue Italia.
Read more about the story behind Legacy + HERE in a new bio written by author + journalist Marcus J. Moore (NY Times, NPR, The Nation).
Femi got his start playing saxophone in his father’s band in 1979, eventually creating his own band, Positive Force. Over the next 30 years, Femi would amass worldwide acclaim as an ambassador of Afrobeat and many humanitarian organizations. Positive Force remains at the forefront of the Afrobeat movement, expanding the music’s vocabulary. Femi has earned multiple Grammy nominations, performed on some of the world’s most prestigious stages and festivals, and collaborated with iconic musicians across a wide array of genres, most recently Coldplay on their latest album Everyday Life.
Made grew up in the legendary New Afrika Shrine in Lagos, and spent much of his childhood touring with his father, playing bass or saxophone in Positive Force. Unlike his father, who didn’t formally study music, Made went to the famed Trinity Laban Conservatoire of Music and Dance in London (the same place Fela studied, back when it was known simply as Trinity College), where he shared a musical environment with some of the most talented and disciplined musicians up-and-coming acts from the city’s underground scene.
Both Femi and Made have recently spoken out in strong support of anti-police brutality protests currently happening across Nigeria, which have subsequently led to the government dissolving SARS (Special Anti-Robbery Squad), a notorious part of the country’s police unit. Watch a clip HERE of Femi and Made taking to the streets.
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Bad Religion celebrates their forty years of making music with Decades; a four-episode online streaming event captured live at The Roxy Theatre in Hollywood, California. The band felt it important to commemorate the conclusion of 2020 as a strange moment in history when they reached that 40-year milestone.
The celebratory episodes will include live performance footage, exclusive interviews, and a peek at their rehearsals leading up to the taping of Decades. Singer & co-songwriter Greg Graffin discussed their motivation, “I can speak for the whole band when I say that we were so disappointed to not be able to tour this year. It is our fans and all those concerts we play each year that provide the life-force of Bad Religion. Decades allows new fans as well as those who were there at the beginning to get a rich overview of our entire career and witness the changes in songwriting and performance styles at each stage of our evolution.“
Bad Religion will participate in an accompanying live chat during the premiere of each episode. Show specific merchandise will be available for sale on the Decades NoCap Shows page.
The ’80s – Bad Religion performs songs from How Could Hell Be Any Worse, Suffer, and No Control. They discuss what it was like being young punks in a world of Pacman, Reaganomics, and Televangelism.
The ’90’s – Bad Religion performs songs from Against The Grain, Generator, Recipe For Hate, Stranger Than Fiction, The Gray Race, and No Substance. This decade cemented their position as one of the most influential and prolific bands of our time, but it didn’t come easy or without cost; the band discusses the growing pains and lessons learned.
The ’00s – Bad Religion performs songs from The New America, The Process of Belief, The Empire Strikes First, and New Maps of Hell. Returning home and charging forward into a new millennium, Bad Religion continued to awe with their prowess, releasing some of their most beloved material to date.
The ’10s – Bad Religion performs songs from The Dissent of Man, True North, and Age Of Unreason. The Covid-19 pandemic cut short their plans to tour in support of The Age Of Unreason and are now performing material never seen live before. The band discusses the gratitude they live with every day looking back on 40 years of being Bad Religion and the legacy they are still actively creating.
No Caps Shows will host Decades; a four-episode package will sell for $40 USD, individual episodes may be purchased for $15 USD. Tickets for Decades on sale now. Episodes will remain up for sale and viewing through the conclusion of the series and available until January 5th.
Decades episodes will premiere at 9:00 AEDT
December 13th: Bad Religion, the ’80s
December 20th : Bad Religion, the ’90s
December 27th: Bad Religion, the ’00s
January 3rd: Bad Religion, the ’10s
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Introducing rising star Finn Askew, an 19-year-old singer hailing from Somerset, England, with his latest single ‘Same Old Love’ alongside the announcement of his forthcoming debut EP, Peach. Listen HERE.
Just his third solo release, ‘Same Old Love‘ hones Askew’s brand of dexterous indie-pop, whose unadulterated catchiness disguises a nimble musicality in plain sight. Laying silky guitar lines over a buoyant, midtempo beat and with slight hints of Post Malone-like gravel in his voice, ‘Same Old Love‘ draws a line from the indie rock of his Dad’s record collection to the alt-R&B and hip hop production of Finn’s own influences to the DIY inclinations of fellow genre-averse contemporaries, Rex Orange County and Dijon.
Of ‘Same Old Love‘, Finn shares that: “Same Old Love is super unique I feel [and] experiments with a lot of sounds. I love the fact that the overall sound of the song is happy but the meaning is actually pretty sad, a kinda audio oxymoron.”
Enveloping the teenage angst of love, Finn continues to show his varied style, sound, and range which has impressed the likes of COLORS, Clash, Line of Best Fit, and Have You Heard. With his influences ranging from Nirvana and The Smiths to Frank Ocean and Travis Scott, Finn is a serendipitous amalgamation of creativity and talent. Naturally gifted and constantly absorbing elements from multiple sources, it was being born in a sleepy Somerset town that led him to big musical ambitions grounded by his humble nature.
Finn Askew encompasses hard work, self-awareness, and drive of the DIY generation, who control TikTok trends, fight for social justice, and a deep longing but easy execution of equality amongst their peers, no matter gender, race, or sexuality. These characteristics blend with a deep soul embedded in his music that feels wiser beyond his years, culminating in his forthcoming EP, Peach, set for release in 2021.
Speaking on his debut project, Finn says that he “wanted to create an EP that showed how creative I really am. I’m a kid from a small countryside town where there is no music scene at all but I’ve had so many musical influences from my mad diverse music taste. It’s been sick having no one to tell me what direction to take, I’ve just been left to my own device and I’m beyond thankful for that, it’s why my sound is so real. I wanted this EP to really capture me as an artist and what I can do. I can’t be put into one genre and that’s beauty of it.”
‘Same Old Love‘ by Finn Askew is out now via Polydor Records,
buy/stream it here.
PEACH EP
22 Jan 2020
Pre-order here.
Stay connected with Finn Askew:
Twitter | Instagram | YouTube
What is your name and role within Seabass?
My name is Annie, I sing, write all the songs and play guitar in SEABASS (as well as managed the band up until recently. We also have some answers peppered in from Ryan (guitar and makes all our records)
Where are you currently based?
Annie: We are TRAPPED in Adelaide. Nah, its pretty cool.
How did Seabass form?
Annie: myself, Kyrie and Flik were asked to play with Pussy Riot as their band in 2019… We thought after wed had a taste of the big stage together blasting through huge Ampeg bass rigs and Fender twins we better keep on going. Myself and Ryan had been playing together in another project so I brought us all together a few months after that! (Are Russian activist session musicians a thing? Apparently yes.
What’s been happening recently and how has your Covid experience been so far?
Annie: We’ve been working pretty hard on the release of our single ‘Burn’ as well as getting all our ducks in a row for our launch of our debut EP.
Ryan: Yeah, COVID has been disappointing but it gave us time to make the EP.
Your new single ‘Burn’ from your forthcoming debut EP ‘Always Kidding’ is out now, what influenced the sound and songwriting for Burn and the EP?
Annie: Burn pretty much just spilled out one morning… I was pretty wired about the mismanagement of last year’s bushfire season as well and one of the most outrageous acts of murder of an indigenous Australian at the hands of police. I was furious and desperate and so from that the song came.
Ryan: Influence wise there’s some 90s rock in there.
What does Burn mean to you?
Annie: Burn is a call to arms, a plea to not become complacent or to turn away. Burn is me desperately asking if others can see what I’m seeing and needing to do something about it.
How did you go about writing the music for Burn and the EP?
Annie: I have been sitting incubating some of these songs for a few years, some are definitely more recent. I just needed to figure out what they would be used for and how we would use them. They all started as fairly low-key kind of country inspired folk tunes but now (thanks to Ryan, Kyrie and Flik) they’re face melting indie-rock bangers.
Where and when did you record and who with?
Annie: We recorded everything at Ryan’s home studio which he has been operating out of semi-professionally for a little while. Ryan is responsible for recording, mixing and production.
Ryan: Along with any production ideas the band had along the way.
What can we expect from Always Kidding EP?
Ryan: We tried to get as much of a picture of the band as we could in an EP format. Each of us has a fairly wide range of skills. Some tracks are concise rocky belters others do their own thing and play by their own rules. We tried to get as much of our usual set down as possible in EP format and polish it through some extra production. It’s a power packed morsel.
Annie: In all honesty we’ve accidentally recorded an almost album… It’s a long EP or a short album. Extended extended play.
What programs/instruments did you use?
Ryan: Annie drafts her ideas up on Logic Pro then I record and mix on Pro Tools. It’s a pretty sanded rock config with two guitars, bass, drums and a bunch of BVs behind Annie’s huge vocals.
How did you approach the recording/production/mastering process?
Annie: We tracked everything at Ryan’s studio. I was pretty depressed at the time so I mostly just tracked when I was asked to and the rest of the time I just played Civilisation V whilst spilling dip and crackers on Ryan’s bed.
Ryan: We tracked some things completely separately and some stuff we tracked together. Vocals were done separately. Backing vocals were a riot because the band would all take turns at their part while taking turns lying down (This is what happens when you’re mixing console is in your bedroom). Annie and I had a feedback session where we boarded up the door of the studio and cranked our amps and grabbed an entire take of obnoxious noise over the whole EP – then I grabbed parts that sounded cool and mixed them in.
Annie: For some reason now Ryan no longer lives with those people…
Who are you listening to at the moment?
Annie: Well… Obviously Phoebe Bridgers and Fiona Apple… Oh and WAP on repeat… Honestly, if I can have a day where I hear WAP five times in a row, that’s a good day.
Ryan: Phoebe Bridgers and The BeeGees.
What do you like to do away from music?
Annie: I like gardening… I dabble in PlayStation, I’ve been playing Red Dead Redemption 2 and I finished the remastered Tony Hawk as well a while back.
Ryan: Nintendo Switch – Zelda and Mario Party with my housemates.
What’s planned for the remainder of 2020 going into 2021?
Annie: Crossing my fingers that we might be able to play a show in real life again soon and dropping the EP early next year.
Ryan: I’m going to finish putting together my new studio space and wait for the apocalypse to blow over.
When will the EP drop?
Annie: I think you’re like the second people we’ve told but February 17, 2021 and HOPEFULLY we get to have a launch show in Adelaide the week after that at Jive but stay tuned.
Favourite food and place to hangout?
Annie: Oh man, theres this spicy nut mix thing at my supermarket that I think I’ve eaten like 20kg of over the past few months. Ummm vegan Magnums. I like hanging out at Ryans house.
Ryan: Party pies and my studio.
Iconic Australian rock band, INXS, celebrate their ‘The Very Best of INXS’ album reaching “Diamond” status on the ARIA charts and being recognised for sales in excess of half a million units, making chart history.
The album has spent an incredible 430 weeks in the ARIA Top 100 albums – more than any album in the current top 50; seven of those weeks have been spent at #1. Back in January this year, INXS’ 2011 greatest hits album, The Very Best, which features the band’s signature hits such as ‘Never Tear Us Apart’, ‘Original Sin’ and ‘Need You Tonight’ was officially crowned the top Australian Album of the Decade by ARIA cementing themselves as proof that great music never dates.
INXS were recognised for the success of ‘The Very Best of INXS’ with the announcement of the album reaching Diamond status made at the ARIA Awards 2020, held on Wednesday November 25th, where Tim Farriss and Kirk Pengilly presented the award for ‘Best Band’. Reaching Diamond status in Australia is an incredible honour to the band especially in an era of digital streaming.
CM Murphy, Founder and Chairman – Petrol Records says, “It’s very hard to express the pride and joy I have at this moment. It is now 10 years since returning to INXS and with their highest selling album having achieved a Diamond Award and now voted by the people as Artist of the Decade, it brings me to tears!”
INXS continue to prove they are still as popular today as they were at the peak of their career and recently achieved the coveted number one spot on Triple M’s G.O.A.T (Greatest Band of all Time) in a fan-voted competition. On December 7, INXS are confirmed to feature in Rolling Stone Australia’s special edition, ’50 Greatest Australian Artists of all Time’.
One of the most talked about advertising collaborations with Virgin Australia has recently featured the band’s track What You Need in their You Can’t Keep A Good Thing Down campaign. The upbeat clip features 12-year-old Annie Jones, 2020 America’s Got Talent finalist, dancing in excitement at finally being able to return to the airport to travel. The use of the song portrays INXS’ unique ability to provide timeless music that appeals to a variety of ages and demographics.
CM Murphy recently signed a development deal with Sydney super producer Michael Cassel (Hamilton) to develop a major live musical production for Broadway and the West End. Drawing from a catalogue of more than 200 songs recorded by INXS since the band’s inception in 1977, this rounds out an incredible year for the band despite the challenges of a global pandemic.
Website: www.inxs.com
Instagram: https://www.instagram.com/officialinxs/
Facebook: https://www.facebook.com/inxs/
Twitter: https://twitter.com/INXS
What is your name and role within The Bonnie Doons?
Kane Kennedy. I produce the music and manage the band. Torian Brewer and I write and record the tracks.
Where are you currently based?
Based in Brisbane, Australia.
How did the Bonnie Doons form?
We officially formed the band in mid-2017. Benny Blacket (former lead singer) and I started the project. We met at college in 2014 and began jamming, writing the skeleton for our first song ‘Swing’ back in 2015 which features on our first EP. Torian was on guitar when the band first formed, Benny then moved down to Sydney and T-dawg stepped up on the mic.
What’s been happening recently and how has your Covid experience been?
Recently we haven’t been doing any live things, just been focussing on promoting this EP and gearing up for some future shows.
Your sophomore EP ‘The Betweeners’ is out now, what influenced the sound and songwriting?
This EP was heavily influenced by the 90’s. That was both Torian and I’s favourite era for entertainment as a whole and so I think naturally it came together in that style.
The EP speaks about making better decisions through talk of relationships mostly. A compilation of our own personal experiences was what influenced the songwriting.
How did the EP come about?
Well I mean we were always going to make more music; it came naturally. The musical approach was slightly different though, given we changed the vibe up for Torian’s vocals.
Where and when did you record/produce/master and who did you work with?
We recorded this through late 2019, all over the place really. I did the drums and rhythm guitars at Alchemix Studios in Brisbane, then did the lead guitars, bass, and vocals at home. We even used some takes from our demo sessions, out in a cabin in the woods style. It was a bit of a Frankenstein project. I produced it and sent it all over to Aria-Award winning Govinda Doyle (Angus and Julia Stone) for the mixing and mastering process.
What did you find most challenging and rewarding during the creation of the EP?
Most challenging for me was the general learning curve of producing music, especially in a genre I’d never really done before. I’m no professional, it’s still early days. It was a fun challenge. The next chunk of music will be quite a different direction again. We’re just trying a few things out for now.
The most rewarding thing is when the people that you respect express to you how much they love it. And I mean, most friends are going to tell you they love it – whether they do or not. But we got some genuine responses, and it was delightful.
What programs/instruments did you use to record?
Half of it was recorded in Ableton and half was done in Pro Tools. Probably the two most common DAWs. Instruments; drums, guitars, bass, keyboard, triangle, rainstick, shakers.
Who are you listening to at the moment?
In the last week I’ve been listening to some early King’s of Leon, Che Burns’ new EP, Kurilpa Reach’s new EP and some Sublime.
What do you like to do away from music?
The normal things; friends and family, make food, glass of red, exercise, soccer. I recently have taken time away from my engineering job, following up a few personal, musical, and entrepreneurial pursuits. Hoping I can break free from the 9-5.
Any shows coming up?
Yeah we’ll be launching this EP in January 2021 – 16th of Jan at Solbar Sunshine Coast, and 23rd of Jan at The Zoo in Brisbane.
What’s planned for the remainder of 2020 going into 2021?
Relax, jam, enjoy the shows we have coming. Then see what happens.
Favourite food and place to hangout?
Torian started working at Mongrel Bar in Milton a couple months ago and it has become the new spot I think. It’s gotten me into Peruvian style food – the chef there is a serious pro (he owns the venue). It’s also a great location and atmosphere.
QUOTE FROM KELLY
“Dreamy nostalgia wafts over a mid-tempo groove, and I’m reflecting on the free, silly, frolickings of a trip long ago. Channeling the celebration of good memories and good friends is very soothing right now, so I chose to lead with this single.”
MORE ABOUT KELLY
The incredibly gifted Kelly McMichael (also known as RENDERS) has released her new single “Montreal.” It’s an instantly beguiling tune that straddles the genres of alt, pop and rock – and yet also captures the intimacy of the rural world.
Originally from Peterborough Ontario, and now based in St. John’s Newfoundland – Kelly is known for her commanding stage presence, captivating voice, and classic-sounding songwriting. She has a unique ability, via her creative process, to conduct powerful musical energy through a wide range of sounds. And now, after a number of setbacks, the planets have finally aligned to allow Kelly to record and release her dream debut full length album.
Eight months since the curtain came down on our last live music event, Penny Drop is proud to be among a group of key Melbourne arts and cultural organisations enlisted to launch the Malthouse Outdoor Stage (MOS), a new COVID-safe venue bringing performance to the courtyard of The Malthouse this summer.
Penny Drop will present two performances a night across 10 nights, from some of our favourite local artists – many of whom will be sharing new music from recently (or soon-to-be) released projects – with eager audiences taking in shows in the courtyard’s new purpose-built amphitheatre.
MOS will open 21 January 2021 with performances from ARIA-winning jazz and soul prodigy Kaiit. From there, the Penny Drop presents Malthouse Outdoor Stage program will showcase the always enthusiastic and high-energy Gordon Koang, euphoric funk craftsmen Mildlife in back-to-back performances, the hypnotic sounds of HTRK, Sweet Whirl‘s tender triumphs, a preview of Sarah Mary Chadwick‘s upcoming record, a stripped-back set from Good Morning, the singular style of Emma Donovan & The Putbacks, an album launch for loveable DIY groovers Surprise Chef, and the bruising punk stylings of RVG.
Later on the MOS program you’ll discover stand-up sets courtesy of Token, discussions lead by The Wheeler Centre and The Saturday Paper, and workshops from Chunky Move and Australian Centre for Contemporary Art (ACCA). Additional programming partners include Melbourne International Comedy Festival, Midsumma, YIRRAMBOI and RISING.
It was a long winter in a tough year, and we couldn’t be more excited to kick off 2021 with a bang and celebrate summer with opportunities not just for the artists on stage, but for the behind the scenes music industry, whose unseen work truly makes Melbourne the live music capital of Australia.
Let’s get back to a gig. But first, you need to jump into your group-chat and jot down a shortlist, because each show is ticketed in groups of six.
Join us as we welcome live music back to Melbourne safely, finally.
TICKETS ON SALE 10AM, MONDAY 7 DECEMBER 2020 (AEDT)
Penny Drop presents Malthouse Outdoor Stage (MOS) // January 2021
Thursday 21 January with Kaiit
Early show 5:30pm | Tickets / RSVP
Late show 8:15pm | Tickets / RSVP
Friday 22 January with Gordon Koang
Early show 5:30pm | Tickets / RSVP
Early show 8:15pm | Tickets / RSVP
Saturday 23 January with Mildlife
Early show 5:00pm | Tickets / RSVP
Late show 8:30pm | Tickets / RSVP
Sunday 24 January with Mildlife
Early show 4:30pm | Tickets / RSVP
Late show 7:30pm | Tickets / RSVP
Monday 25 January with HTRK
Early show 5:30pm | Tickets / RSVP
Late show 8:15pm | Tickets / RSVP
Wednesday 27 January with Sweet Whirl
5:30pm | Tickets / RSVP
Wednesday 27 January with Sarah Mary Chadwick
8:15pm | Tickets / RSVP
Thursday 28 January with Good Morning
Early show 5:30pm | Tickets / RSVP
Late show 8:15pm | Tickets / RSVP
Friday 29 January with Emma Donovan & The Putbacks
Early show 5:30pm | Tickets / RSVP
Late show 8:15pm | Tickets / RSVP
Saturday 30 January with Surprise Chef
Early show 5:00pm | Tickets / RSVP
Late show 8:30pm | Tickets / RSVP
Sunday 31 January with RVG
Early show 5:30pm | Tickets / RSVP
Late show 8:15pm | Tickets / RSVP
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WATCH: Brand YOU Episode 6 Featuring Amy Dowdle (Lastlings)
and Siobhan Kranz
Brand YOU is a new online content series developed by Mushroom Group and supported by Victorian Government. Across the 6 episode series, prominent female Artists to the likes of Isabella ‘izzi’ Manfredi, Alice Ivy, Thando, Gordi, D’Arcy Spiller and Amy Dowdle, speak candidly with music industry women on issues facing girls and young women today.
In the final episode of Series One, Lastings’ voice and frontwoman Amy Dowdle chats with Frontier Touring’s Siobhan Kranz, as they delve into the pressure put on young women and girls to achieve an impossible beauty standard that is factitious, however instilled into girls through ever-present social media that we are increasingly surrounded and influenced by.
“Social media is a huge issue – especially for young women. There is this ‘beauty standard’ that everyone is trying to achieve and I think it’s important to know that we’re all human and that we are all imperfectly perfect. We are all trying to reach that impossible standard that the media is trying to make us think is the right thing, that this ‘beauty standard’ is what we should all look like.” – Amy Dowdle
Amy Dowdle is one half of Australian-Japanese siblings duo, Lastlings who have just released their debut album First Contact. Renowned for their hypnotic live shows, Lastlings’ have toured Australia and North America with the likes of RÜFÜS DU SOL and Cassian and played shows at Colorado’s Red Rocks and LA State Historic Park, as well as major global festivals Coachella and Splendour in the Grass. In 2020 Lastlings made their TV debut on ABC’s The Sound and sold out a string of album launch shows across Brisbane and Gold Coast.
Watch the Brand YOU series as the incredible women deliver messages of self-empowerment, confidence, respect and community connectivity.
First Contact
Lastlings
Album out now through Liberation Records
Available to buy/stream here
First Contact tracklisting:
1. Deja Vu
2. Take My Hand
3. Out Of Touch
4. False Reactions
5. 9400
6. Last Breath
7. No Time
8. Visions
9. AI
10. Held Under
11. First Light
12. I’ve Got You
LASTLINGS
https://www.instagram.com/lastlings/
Where are you currently based and where were you born?
I’m in Portugal now, in a quiet little village South of Lisbon, not too far from the ocean. Originally I’m from Utrecht, in The Netherlands.
My father taught me how to play the piano at a young age, and as soon as I could I started playing in bands. I never went to music school, but always wanted to travel around in a bus with a group of friends and play shows. And so that’s what we did, for many years. I was in a couple of different bands, always writing, recording, producing. My last group was SKIP&DIE, a collaboration with Cata.Pirata, a singer and visual artist from South Africa.
I remember many days lying on a pillow in front of my dads record collection. I always loved artists that somehow take you traveling. Like Ry Cooder, or David Byrne, Eno. I was going from The Meters to Philip Glass, and a bit later also Damon Albarn, Manu Chao, Beck, Beastie Boys..
COLLIGNON is a solo project, but also a vehicle for me to work with different artists. I will do collaborations, set up my studio in another part of the world and launch projects from there. Having this flexibility is very motivating.
I love electronic music, but there are some challenges for me. Pressing a button is really a different thing from touching a string, or singing for that matter. There needs to be some character and personality. With modern production you can make everything so perfect and shiny that you might lose feeling, or essence. I think in our times that kind of conflict translates well into many other areas.. Anyway, it’s fascinating to me and I’m trying to walk that line.
I really wanted to make an instrumental record first. Nobody telling you nothing, just sounds and music to let your mind float.
When I stopped touring, I built a studio in the garage next to my house and started working from there. This first EP is the result of me being able to develop my own sound in this studio. I used to be working on my laptop in the back of the bus, so to speak, now I have a nice room, some nice microphones and a cool mixingdesk.
I use some drummachines, the Machinedrum and Analog Rytm and also the Octatrack from Elektron to start ideas. I have them all patched to different tracks on the mixer and can send them to different speakers or effects. I have some guitar amps and a leslie, some springverbs, things like that. I found this Revox D36 taperecorder from the 60 that I really like for compression and saturation. I have some old synths, MS20, Jupiter 6, a Voyager, Rhodes, piano and a small modular setup too. On the computer I work mostly in Cubase now.
Traveling and seeing the spectacular diversity in the world made me humble about all these things you think you know and just take for granted. There is so much to explore and to be curious about. It triggered me to start fighting cultural homogenisation. I believe progress lies in diversity and the flirting, dancing and clashing of ideas.
Oh thank you, that’s nice! For a while I’ve been interested in video synthesizers. I have an old school one from Atari (the guys who built the original game Pong were always stoned apparently and dreamed up this machine), but there is a company now called LZX in Portland that builds really cool modules. I found the patterns and rhythms I could make with these machines work really well with the music. And it’s a lot of fun to do too.
Oldies like Caetano Veloso, Holger Czukay, Thelonious Monk, Yusef Lateef, Kasai Alstars or Alain Peters, Nicola Cruz, Mauskovic Dance Band, Mark Ernestus’ Ndagga Rhythm Force.
We have a small campervan and love to drive down the Portuguese coast, but since this virus doesn’t allow us to move much, we’ve spent more time growing veggies and fruits in the garden. Feeding the chickens, reading, meditating, drinking coffee, there’s a lot of that these days.