Beat 1709

YEAH YEAH YEAHS

PAMBULA BEACH, NSW 29 SEP - 1 OCT 2023

OCEAN ALLEY

DJANGO DJANGO (UK) • THE JUNGLE GIANTS

THELMA PLUM • SPIDERBAIT

KEVIN MORBY (USA) • SON LITTLE (USA)

ART VS SCIENCE • BABE RAINBOW

BEN OTTEWELL & IAN BALL (GOMEZ / UK) • C.W. STONEKING

KIM CHURCHILL • LISA MITCHELL

MELBOURNE SKA ORCHESTRA • MONTAIGNE

STEPH STRINGS • URTHBOY & MORE + CIRCUS, COMEDY, THEATRE & DANCE

TICKETS ON SALE

wanderer.com.au

EDITOR

Lucas Radbourne

ASSISTANT EDITORS

Sidonie Bird de la Coeur

Talia Rinaldo

STAFF WRITER

Kaya Martin

DESIGN

Riley McDonald

GIG GUIDE

Jacob Colliver

CONTRIBUTORS

Bryget Chrisfield, Ben Lamb, Amelia Szabo, David James Young, Tahney Fosdike, Luke Carlino, Cody Brougham, Tammy Walters, Jacob McCormack, Noah Redfern, Maaike Schipper

FOR ADVERTISING OR SPONSORED CONTENT ENQUIRIES advertise@furstmedia.com.au

ACCOUNTS

accounts@furstmedia.com.au

DISTRIBUTION distribution@furstmedia.com.au

PUBLISHER

Furst Media Pty Ltd

FOUNDER

Rob Furst

SOCIALS BeatMag BeatMagazine beatmagazine BeatTV

Æ They lead our festival-worthy mag lineup that also features Slowdive, The Teskey Brothers, Cable Ties, The Groundswell, Worker & Parasite, Mumph, WITCH and Kee’ahn, whose emotional tribute to Uncle Archie Roach (with the Melbourne Symphony Orchestra) is our NAIDOC Week highlight.

We venture north and south to explore the latest production of Animal Farm and the new St Kilda Live Music Precinct respectively. We delve into Wanderer Festival and the Sound Burger, review the latest releases from Empress, Jack Ladder, Kerser, Lastlings and The Slingers, and take a trip to four more of our favourite locals: The Curtin, Kewpie, Onesixone and new kid on the block, The Mersh.

Plus, our monthly guides to the best art exhibitions, stage productions, festivals and gigs. Enjoy.

ACKNOWLEDGEMENT OF TRADITIONAL OWNERS

Our magazine is published on the lands of the Bunurong Boon Wurrung and Wurundjeri Woi Wurrung peoples of the Eastern Kulin Nation, and we wish to acknowledge them as Traditional Owners. We pay our respects to their elders, past, present and emerging.

DISTRIBUTION

Beat Mag will be distributed free every month to hundreds of locations around metro Melbourne, to enquire about having it at your venue email distribution@furstmedia.com.au

COVER

Our July cover stars are Yeah Yeah Yeahs, photographed by David Black.

We’re celebrating Splendour in the Grass this month with New York’s iconic rockers Yeah Yeah Yeahs.

Ç NOW OR NEVER ANNOUNCES FULL FESTIVAL PROGRAM

Melbourne’s massive new Now or Never festival will feature a non-stop weekend of gigs featuring the likes of Kelela and Axel Boman, a 360-degree pop-up dome cinema, a 1.2 kilometre art trail, and a one-of-a-kind conference titled Never Permanent, just to name a few. The festival runs from August 17 to September 2.

AUSTRALIAN MUSIC VAULT LAUNCHES MUSHROOM 50 EXPERIENCE

Working in collaboration with Arts Centre Melbourne, the free display titled Mushroom: 50 Years of Making Noise, harnesses The Amplifier’s unique 360-degree experiential room to explore the evolution of Australia’s music scene and the pivotal role Mushroom played.

Ç REPLAY FESTIVAL BRINGS BACK 30 COMEDY FESTIVAL SHOWS

Comedy Republic's Replay Festival returns with 30+ of the most talked about shows of the Melbourne International Comedy Festival, running until July 23.

Ç GRAPEVINE GATHERING REVEALS 2023 LINEUP

Indie rock sensations Spacey Jane, UK festival favourites The Wombats, Hayden James, electrifying band from Arnhem Land King Stingray, Absolutely Everybody singer Vanessa Amorosi, Cannons, The Rions, up-and-coming duo Teenage Joans and Bella Amor will play Rochford Estate on October 7.

Ç QUEENSCLIFF MUSIC FESTIVAL ANNOUNCES STACKED LINEUP

Aloe Blacc, Something For Kate, and Boy & Bear lead the lineup for the festival's return to the Bellarine this November. The festival takes place November 23-26 and tickets are on sale now.

LIVE NATION TAKES OVER FESTIVAL HALL

Hillsong Church have handed the keys of Festival Hall to Live Nation, who have since transformed the iconic Melbourne venue back into exclusively a performance space.

Ç MELBOURNE INTERNATIONAL FILM FESTIVAL RELEASES FIRST LINEUP

The 2023 festival event is set to dazzle audiences again with a jam-packed 18 day in-cinema program running 3-20 August and an abundance of films available to stream nationally via MIFF Play from 18-27 August.

Ç NEW ACMI EXHIBITION FEATURES 'BEAUTIFUL TENTACULAR CREATURES'

ACMI is set to showcase the work of trailblazing, multi-disciplinary artist, researcher and computer scientist, Memo Akten, with the Australian premiere of AI exhibition Distributed Consciousness from 16 June 2023 – 16 June 2024.

JAMES REYNE, ELLA HOOPER RESCHEDULE WAY OUT WEST

The tour will now come to Bendigo on July 15 and Melbourne’s Palais Theatre on September 16.

Ç THE EIGHTY-SIX FESTIVAL ANNOUNCES THEO PARRISH

Legendary Detroit house DJ Theo Parrish will play Northcote Theatre on October 29 as part of The Eighty-Six. The festival will also bring the likes of Otoboke Beaver, Makaya McCraven, Los Bitchos and Connie Constance to High Street venues between Northcote and Preston, from October 23 - 31

MELBOURNE RECITAL CENTRE ANNOUNCES SEASON THREE PROGRAM

Season Three is a showcase of visionary and exploratory artists from classical music virtuosos and chamber music stars to spellbinding choirs, new music legends and so much more.

Ç MESS AND THE SUBSTATION COMBINE FOR SONOROUS VII

You’ve been invited to pull up a bean bag and get lost in the limitless world of electronic sound – venturing to places only the instruments of MESS can take you – when two acclaimed artists perform at Newport’s monolithic The Substation on Saturday July 29.

THE BOTANIC GARDENS HAVE REIMAGINED LIGHTSCAPE

Lightscape, Melbourne’s sold out 2022 winter event, returns to Royal Botanic Gardens Melbourne in an all new and reimagined format for 2023. It runs until August 7.

Ç SKA NATION MUSIC FESTIVAL REVEALS 2023 LINEUP

Mad Caddies, Area 7 lead the Ska Nation Music Festival, coming to Warrion on Saturday December 16 and Sunday December 17 this year.

JET ANNOUNCE TOUR FOR GET BORN'S 20TH ANNIVERSARY

LEAPS AND BOUNDS IS HEATING UP THE STREETS AGAIN

A celebration of local music, the diverse line-up of live shows will hit venues across Fitzroy, Fitzroy North, Collingwood, Abbotsford and Richmond from Thursday July 13.

Ç RHONDA BURCHMORE LEADS CLOCKTOWER CENTRE'S NEW PROGRAM

Rhonda Burchmore, Jonathan Welch, Wendy Stapleton and more lead The Clocktower Centre’s latest live music program. Series 2 kicks off on Tuesday, 22 August with Hit Parade featuring singer Glenn Starr.

EARL SWEATSHIRT ANNOUNCES AUSTRALIAN HEADLINE TOUR

What can we say, except SICK! Earl Sweatshirt, the Californian rapper, singer-songwriter, and producer, is heading to Melbourne for a show at the Northcote Theatre on October 17.

FOO FIGHTERS, BLINK-182 AND 50 CENT ANNOUNCE NEW SHOWS

Foo Fighters have announced a second show at AAMI Park, blink-182 have announced a fifth and final gig at Rod Laver Arena, while 50 Cent has dropped another date at Rod Laver in December.

They’re celebrating two decades of Get Born, an absolute sensation in Australia back in 2003. Catch them when they head to Melbourne’s own Forum for a show on September 22.

Ç REX ORANGE COUNTY ANNOUNCES SEPTEMBER TOUR

Kicking off Tuesday 19 September and running through Sunday 1 October, the run of Australian dates sees Rex performing across the country.

Ç VIC MARKET’S FAMOUS WINTER NIGHT MARKET RETURNS

Ç MAISIE PETERS ANNOUNCES HEADLINE TOUR

Maisie Peters is one of the UK’s hottest rising talents and she’s heading to Melbourne in March next year. Catch the “honorary Australian” when she heads to Margaret Court Arena for a show on March 23.

The Queen Victoria Market in Melbourne is ready to embrace the winter season with the highly anticipated return of the Winter Night Market. This beloved staple of the season is back to cure those winter blues, with markets every Wednesday evening until August 30.

TINA ARENA ANNOUNCES TOUR

The tour will showcase material from her upcoming album, Love Saves, which marks her first studio release in eight years and is scheduled to hit the shelves in July. Catch her when she heads to Melbourne for a performance at the Melbourne Town Hall on October 20.

Ç MAGIC DIRT ANNOUNCE 25TH ANNIVERSARY TOUR

Ç MATT RIFE IS HEADING TO AUSTRALIA

Matt Rife’s infectious humour and unique comedic style have propelled him to stardom, and now fans Down Under will have the opportunity to experience his hilarious performances live when he heads to Melbourne’s own Hamer Hall for a show on January 20, 2024.

STRAWBERRY FIELDS LOCKS IN 2023 DATES

Strawbs has locked in its 2023 dates – the beloved Tocumwal festival will be staged from November 17-19 – after a floodsforced intermission last year.

Ç TEMS ANNOUNCES HEADLINE TOUR

The Lagos, Nigeria-based singer-songwriter will play a hotly anticipated show at Melbourne’s Forum on Tuesday 3 October.

ED KUEPPER ANNOUNCES THE EXPLODING UNIVERSE TOUR

The Exploding Universe of Ed Kuepper is the first live band experience of Ed Kuepper’s solo material since 2009. He’ll be playing the National Theatre in St Kilda on September 6.

Magic Dirt will hit up 18 stages across the country, performing Young And Full Of The Devil in full, plus a selection of their most loved hits. They’ll play the Corner Hotel on August 25.

DEF LEPPARD, MÖTLEY CRÜE TEAM UP FOR TOUR

The iconic rock legends have teamed up for The World Tour, and Australian fans are in for a treat with three exclusive dates in Brisbane, Sydney, and Melbourne. Catch them when they head to Melbourne for a show at Marvel Stadium on November 14.

Ç DZ DEATHRAYS ANNOUNCE NATIONAL ALBUM TOUR

Locally you’ll be able to catch one of the country’s most essential live acts at the Corner Hotel on September 1, supported by Press Club and dust.

Ç TEENAGE DADS ANNOUNCE 30-DATE TOUR

Melbourne’s Teenage Dads are back with a mammoth 30-stop national headline tour, including shows at 170 Russell on September 1 and 2.

Ç THE SUPERJESUS ANNOUNCE LIGHTS OUT TOUR

The Superjesus will hit up Thornbury - with a show at The Croxton on September 15as well as Geelong, Ballarat and Bendigo in September and November.

Ç THE SLINGERS ANNOUNCE DEBUT ALBUM TOUR

The announcement comes alongside a new single, Down To The Bone with the tour seeing them take to stages in Castlemaine, Sydney, Wollongong, Melbourne, and Beechworth from August through to October. They’ll play Northcote Social Club on September 14.

Ç POLARIS ANNOUNCE FATALISM AUSTRALIAN TOUR

They’ll be joined on the seven-date Australian tour by very special guests August Burns Red, Kublai Khan TX & Currents – catch them when they head to Melbourne for a show at Margaret Court Arena on September 9.

Ç GIVEON IS HEADING ON AN AUSTRALIAN TOUR

Giveon is coming to the Palais on October 3. His debut EP, Take Time, showcased his evocative songwriting skills and earned him a nomination for Best R&B Album at the 2021 Grammys.

Ç SWAG ON THE BEAT LAUNCH NATIONAL TOUR

Melbourne comedy trio and social media sensations Swag On The Beat are kicking off a major stage tour in July with dates across Australia and New Zealand. They’ll be playing four dates at The Capitol from July 7 - 10.

WINTERWILD RETURNS FOR ONE WEEKEND THIS AUGUST

WinterWild, Victoria’s answer to Dark Mofo, returns on the last weekend of August, showcasing the untamed beauty of Apollo Bay with music, art, food and fire.

Ç TAYLOR SWIFT ANNOUNCES AUSTRALIAN DATES

It’s confirmed, Taylor Swift is heading to Australia as part of her Eras Tour. She’ll be heading our way on February 16 and 17 for shows at the MCG, before jetting off to Sydney for shows on February 23, 24 and 25.

Ç MOULIN ROUGE! THE MUSICAL RETURNS

A celebration of Baz Luhrmann’s famed film, Moulin Rouge! The Musical will arrive in Melbourne from August 20.

THE BEST FILMS YOU'VE NEVER SEEN AT THE CAPITOL

The Best Films You've Never Seen Series returns to RMIT’s The Capitol with a night of surrealist cinema. The double screening on July 18 will include Meshes of the Afternoon and David Lynch’s surrealist neonoir Mulholland Drive.

Ç ALL TIME LOW ARE HEADING TO AUSTRALIA

Kicking’ off in the MySpace heyday, All Time Low, have been loved as one of the world’s biggest pop punk bands. Catch them when they head to Melbourne for a show at the Magaret Court Arena on November 4.

Ç OUT ON THE WEEKEND ADDS MORE ACTS

Melissa Carper, Willie Watson and The Pink Stones join this year’s festival. Head down to Williamstown’s historic Seaworks on October 14 for a rootin’ tootin’ good time.

NEW RESTAURANT OPENS IN PENTRIDGE PRISON

Located in the former mess hall of Pentridge Prison, adjacent to its iconic Clocktower gate, North & Common is a far cry from prison food.

Ç RIALTO AGLOW IS A NEW 10-DAY WINTER LIGHTS FESTIVAL

Running from 19 to 29 July, the free festival will be headlined by a new large-scale projection artwork leading into the Rialto Piazza, with interactive works of light, music, sound and colour immersing the Piazza from Collins St to Flinders Lane and King Street.

YEAH YEAH YEAHS

Æ In the 20 years since the Yeah Yeah Yeahs released their debut album Fever to Tell, the alternative/indie-rock trio have gathered guitar strings and microphone chords, successfully tying together the past, present and future. Their radical live performances from day dot in the early 2000s highlighted a bold and progressive approach to their artistry.

Two decades later and their latest studio album, Cool It Down, features the synths of my (fever) dreams and draws attention to an epochal antithesis referencing psychedelic rock of the 70s and 80s.

With their fifth studio album released in September of last year, Yeah Yeah Yeahs have been touring the US for the past six weeks. Guitarist Nick Zinner cautiously, yet confidently, recognises it as their “best tour ever”. Zinner notes that the “response, energy, feeling and experience” of the tour is something he doesn’t remember being “so powerful” in previous years.

The recent exploration of the tracks off Cool It Down in a live setting has also left a mark on Zinner, holding a certain significance for him. A juxtaposition is noted between playing older and newer songs with the more recent tracks triggering recent memories of “being in my house and Karen and I just fuckin around”, while their older songs are simply “part of [their] DNA.”

Regardless of the song, however, Zinner notes that he doesn’t take it for granted when he sees audience members singing along at a show - an occurrence one may think would have lost its novelty to such an accomplished performer.

Similarly to the band’s definitive songs including Maps and Heads Will Roll, photographs have a similar effect on Zinner. Being an accomplished photographer - or “semi-accomplished” as he corrects - Zinner once again leans into the passing of time and cherishes his images of the band as a mode for “time travel” back to major moments throughout his career and life.

Looking to the future, this July marks the first time the Yeah Yeah Yeahs will have played the festival since 2006, despite being on the bill in both 2020 and 2022. It’s been a long time coming and it seems that the band is just as eager as we are for their performance.

WORDS BY AMELIA SZABO

“We’re so happy that we can finally get back because it’s been so long and Australia’s always been one of our favourite places to play and be in,” Zinner divulges.

With Covid having interfered with the band’s 2020 appearance at the festival, Zinner has observed the world letting its shoulders down with a loud exhale when it comes to the pandemic. He notes that while there is certainly a sense of ‘everything is great’ “it still doesn’t really feel that way.” This observation is followed up by Zinner highlighting his gratitude for playing the festival and recognising it as “another thing we don’t take for granted.”

Nick Zinner of the Yeah Yeah Yeahs, fueled by anecdotes, flips through the band’s sonic photo album while anticipating their long-awaited comeback at Splendour in the Grass and a Melbourne side-show.

Credit: David Black

While looking forward to their set at Splendour, Zinner marries the future and the past once more by joyfully reflecting on the last time the band played the festival. He recollects jumping into the front row after their 2006 set and “fanning out” to Sonic Youth.

Alongside the Yeah Yeah Yeahs’ set at Splendour in the Grass, they will also be headlining side-shows in both Sydney and Melbourne, accompanied by rock band Automatic. Zinner proudly hypes up Automatic as “one of [his] favourite bands from LA” and vocalises that he is “really psyched” the trio will be joining the Yeah Yeah Yeahs for these shows.

Zinner is forthright about his fondness for Melbourne, and more specifically his adoration for the bands who have emerged from our city. Despite having to cancel the band’s appearance at last year’s Splendour in the Grass, Zinner still took the opportunity to come to Melbourne and flick his way through the record stores with his father.

“So many of my favourite older bands, more classic bands and also newer bands are from or based in Melbourne,” Zinner notes.

Even more surprising is Zinner’s championing of Melbourne rock, despite his general lack of enthusiasm towards the broader genre. He doesn’t shy away from revealing his indifference, putting it simply, “I don’t really listen to that much rock music, because I find most of it not too exciting, but it’s not true for Melbourne…there’s so much exciting rock music that’s been consistently coming from there over the last decade or so.” Zinner names Constant Mongrel and Amyl and the Sniffers among those bands who have piqued his interest over the years.

When discussing what Zinner hopes the audience take away from a Yeah Yeah Yeahs show, he dives back into the archives - this time to only a few weeks ago.

Zinner recounts going to see The Cure recently, with the show having such a positive impact on him he “felt great for like five days after.”

Talking with a friend who had a similar experience at the same show, Zinner emphasises that he wants that feeling for their audience. “I hope it’s an experience that stays with you as much as it stays with us and just makes you feel good about yourself and the world for a little bit of time until…well, I’ll just stop there,” Zinner concludes chuckling.

YEAH YEAH YEAHS

–SPLENDOUR IN THE GRASS

WHERE: NORTH BYRON PARKLANDS

WHEN: 21–23 JUL

– SITG MELBOURNE SIDESHOW

WHERE: MCA

WHEN: 20 JUL

“We’re so happy that we can finally get back because it’s been so long and Australia’s always been one of our favourite places to play and be in.”

NICK ZINNER, YEAH YEAH YEAHS GUITARIST

Credit: David Black

WANDERER FESTIVAL

Simon Daly’s sustainable music and arts experience returns with Ocean Alley, Django Django, Thelma Plum and more.

WORDS BY LUKE CARLINO

Æ Last year, Wanderer Festival was a welcome beacon for those tired of the overbearing joy the pandemic gave us all (jks, obvs). It was a festival for all, conveniently located halfway between Sydney and Melbourne while also being a three-hour road trip from Canberra. Set in the scenic coastal town of Pambula Beach, the three-day festival was a huge success, so much so that it was able to grow and return.

Yet another festival-brainchild from Simon Daly, who has given us Falls and The Lost Lands, Wanderer, offered a diverse program, wrapped up in an event that aimed to be as green as possible. This year, these same ideas are taken even further, and we caught up with Daly to learn more about what to expect.

“I think last year, for a first festival, it landed as good as one possibly could; it was just really well-embraced on the ground by the community, patrons and artists. It’s rare, I’ve had a long background with festivals, and every now and then, you do an event and just know that the following year will be really great, and Wanderer was one of these. Probably the last time I had that feeling was the first year of Falls in Tassie; you knew everyone that was coming had a friend coming the next year.”

Daly explains that a conscious effort was made to ensure the programming, and more importantly, feel, of last year’s event would be continued into this year. “Whether it be musically or in the arts, genre-wise, this year is similarly mirrored and designed in a way that is really inclusive for both artists and audiences. It’s broad but has a feel; there is nothing worse than something that is really broad but is a master of nothing.” Daly explains that the goal was for everyone, regardless of age or stage of life, to feel as if Wanderer was their festival. “The feedback post-last year says we achieved that, and the ticket sales for this year suggest a broad crowd once again.”

Despite the festival’s first-year success, funding was still required to ensure it would be back for round two. “I think it’s impossible to run a start-up festival in a regional area in this era without some support from Government, especially in this area which had never had a major festival before. When I say major, we want to keep our numbers to ten thousand, which is small compared to bigger offerings.” Wanderer is certainly a remote festival, but its location has certain advantages. Roughly seven hours from Melbourne, six hours from Sydney and three hours from Canberra, it is both nowhere and everywhere at once. “Last year, 55 per cent of our attendees came from out of the region, so people had travelled to be there, which is great when no one had heard the word Wanderer until sixteen weeks before the event.”

This year, Wanderer presents its generational festival experience with a big program, all on a friendly-priced ticket when compared with similar events. Headliners Ocean Alley are joined by the likes of Django Django, Thelma Plum, Son Little, Ben Ottewell and Ian Ball from Gomez, The Jungle Giants, Spiderbait, Kevin Morby, Lisa Mitchell and the world-famous Flying Fruit Fly Circus, with more to be announced to fill the over 70 artist lineup. “Building on the feel of last year but a little bit more international, whether that be with Gomez, Kevin Morby or Son Little, if anybody saw Curtis Harding last year, Son Little fits that feel for us. We’ve got 12 more acts to announce in August, which will feature one more international artist.”

AFL fans may be side-eyeing Wanderer’s dates, noticing they clash with a certain Grand Final, but fear not, the game will be splashed on a dedicated LED screen and PA (along with the NRL final the next day) in its own cosy space with meat pies and chips on offer.

If you like your festivals green, Wanderer has you covered there as well, building on last year’s efforts with a range of sustainable initiatives. “Last year, we didn’t have a single general waste bin on the grounds, everything is specialised, and this year we will be reusing plates and crockery to cut down waste even further. We always want to improve on these things; we think festivals are an important part of change in this area, and we’ll continue you build from an environmental standpoint.”

WANDERER FESTIVAL

WHERE: PAMBULA BEACH, NSW

WHEN: 29 SEP–01 OCT

TICKETS: AVAILABLE NOW, PRICED ACCORDING TO AGE –RANGING FROM $50 TO $320

This article was made in partnership with Wanderer Festival

“I think last year, for a first festival, it landed as good as one possibly could; it was just really well-embraced on the ground by the community, patrons and artists.”

ST KILDA LIVE MUSIC PRECINCT

Additionally, investigations are underway to potentially introduce a planning scheme amendment that safeguards existing and future live music venues. This amendment would incorporate the 'Agent of Change' principle throughout the Live Music Precinct, ensuring that new residential developments consider the presence of established music venues and implement measures such as adequate soundproofing.

WORDS BY SIDONIE BIRD DE LA COEUR

Æ The stomping ground of The Birthday Party, a regular haunt of Hunters & Collectors and the birthplace of Men at Work: with its rich live music history, the annual St Kilda Festival, and a multitude of music venues, St Kilda was a natural choice for the Live Music Precinct.

Ahead of its official launch, Port Phillip Council Mayor Heather Cunsolo aims to create a harmonious environment rather than simply increasing noise levels."St Kilda's status as Victoria's first LMP reflects our famous suburb's past as a much-loved live music hub, its present as a renowned live music destination and its future as a groundbreaking example of how to keep live music alive close to homes and businesses," Cr Cunsolo said.

This groundbreaking initiative involves establishing a dedicated area where live music thrives across iconic streets such as Fitzroy, Acland, and Barkly. By declaring a Live Music Precinct, St Kilda sets the stage for further progress, providing a comprehensive framework that aims to strike a balance between the needs of venues, performers, and residents across the neighbourhood.

While live music precincts have been successfully implemented in Queensland and New South Wales, St Kilda's role as Victoria's first designated precinct is befitting for a suburb renowned nationally and internationally for its vibrant live music scene.

St Kilda is embarking on several key actions to solidify its position as a thriving Live Music Precinct. "By working with the Victorian Government to celebrate, protect and promote live music, we can also help support performers, venues and hospitality businesses to rebuild after being hard hit by the COVID-19 pandemic," Cunsolo continues.

Currently, multiple regulatory bodies, including the council, can be involved in handling noise complaints. By reducing the burden of regulations, St Kilda can provide an environment that nurtures live music without stifling its growth.

In the meantime, the council remains committed to supporting live music in various ways. The programming of its events contributes to the vibrant atmosphere, while efforts to improve permitting and noise complaint processes aim to further enhance the experience for all involved.

An interactive music history map will take visitors through St Kilda's iconic venues, featuring images and links to bands that have graced their stages. Exploring this map is a fantastic way to immerse oneself in the rich tapestry of musical history while also indulging in a meal or catching a gig along the way.

For a limited time, take a trip down memory lane with an outdoor exhibition along Acland Street that will showcase captivating photographs from St Kilda's famed post-punk period in the '70s and '80s. Furthermore, a rock poster exhibition will grace central St Kilda, featuring bill posters from that same transformative era.

The Carlisle Street Arts Space at St Kilda Town Hall will also proudly exhibit works by artists affiliated with the St Kilda live music scene of the '70s and '80s. This collection, part of the City of Port Phillip contemporary art collection, provides an opportunity to immerse oneself in the creativity and passion that continues to characterise the streets of St Kilda.

As St Kilda takes its first steps towards becoming a buzzing hub of musical creativity, the harmony between venues, performers, and residents is at the forefront. By striking this delicate balance, this Live Music Precinct promises to nurture St Kilda's vibrant music scene, inviting locals and visitors alike to revel in the suburb's musical offerings.

St Kilda is poised to take centre stage as “a live music one-stop shop” with the state’s inaugural Live Music Precinct (LMP).

This article was made in partnership with the City of Port Phillip

KEE’AHN ON ARCHIE ROACH

WORDS BY TAHNEY FOSDIKE

Æ As Uncle Archie Roach listened to Kee’ahn perform their soulful Better Things, he closed his eyes and cried.

It was the fourth episode of his Youtube series Kitchen Table Yarns, a program initiated to support emerging Aboriginal and Torres Strait Islander singer-songwriters, released in late 2021.

“I’ve got to gather myself for a moment,” he said after Kee’ahn finished singing, wiping his eyes. “Special songs like that have a way of reaching out.”

Kee’ahn gently responded, “I’ve got a lot of love for you, uncle.”

Indeed, Roach, who passed away in mid-2022, has anchored the emerging artist’s growth and vision.

Kee’ahn started their music career busking and performing at open mics in their hometown of Townsville. Then, during a camping trip about five years ago, the Kuku Yalanji, Jirrbal, Zenadth Kes singer arrived in Naarm. They decided to stay. As they continued to pursue music in the city, the artist connected with local Aboriginal and Torres Strait Islander musicians and joined DRMNGNOW. In Victoria’s first bouts of lockdown, Kee’ahn longed for their home community in far North Queensland. They drew from Roach’s music to write Better Things. Released in May 2020, the vulnerable song muses on mental health challenges in social isolation.

Kee’ahn first learned about Roach in childhood after their parents introduced the iconic artist with his well-known Took the Children Away. As Kee’ahn grew in age and as a musician, they began to listen to more of Roach, with a particular affinity with the healing message of Let Love Rule.

Kee’ahn won the Archie Roach Foundation Award at the 2020 National Indigenous Music Awards, with Better Things also nominated for Song of the Year. The Kitchen Table Yarns performance – where Kee’ahn was able to personally dedicate Better Things to Roach on the live stream – further deepened the artists’ bond. And it continues to deepen. Over a year on, Kee’ahn will celebrate Roach and his legacy at One Song: The Music of Archie Roach this July. Hosted by the Melbourne Symphony Orchestra’s NAIDOC Week program at Arts Centre Melbourne’s Hamer Hall, the tribute honours the memory and cultural significance of the Gunditjmara (Kirrae Whurrong/Djab Wurrung), Bundjalung Senior Elder, song man and storyteller.

“I’m imagining singing to him for this performance,” says Kee’ahn on the event that will feature stories and renditions of Roach’s songs. “I can imagine everyone else is thinking the same. Uncle Archie is a leader that we all look up to and are inspired by and have love for.”

A year since Uncle Archie Roach’s passing, Kee’ahn joins other First Nations artists with a deep connection to the singer for a tribute with Melbourne Symphony Orchestra at Hamer Hall this July.

“I’m imagining singing to him for this performance. I can imagine everyone else is thinking the same. Uncle Archie is a leader that we all look up to and are inspired by and have love for.”

Kee’ahn is excited to join a multi-generational lineup of artists they’ve “admired since I was a kid” for a tribute that holds importance in “building community, strengthening community.”

“We’re [always] loud and proud. Sometimes, it’s the [lack of] accessibility and people in the wider community not listening,” Kee’ahn shares. “This opportunity to connect with the Melbourne Symphony Orchestra and perform at a huge venue with talented collaborators is just one way of making space, amplifying voices in my community, sharing our messages and values and showing love for one another and our elders.

“It feels really healing and special to come together with other Blackfella artists and Melbourne Symphony Orchestra to just sing his music to him, and carry his story and his legacy. It’s been great to be a part of this and to honour him.”

For Kee’ahn, it’s one meaningful event amongst others this year. The artist just returned from Bluesfest, “a big dream” with a “teary moment.” Their father, coming on stage during their performance, recalled memories of their collaborations from early gigs and childhood “family jams” (and even attending Bluesfest as a family when Kee’ahn was little).

For 2023, the artist has performances lined up with St Kilda Festival, WOMADelaide, Blues on Broadbeach and Blak Day Out. They also have plans to refocus on creating music ahead of their debut EP in 2024.

“I’m creatively trying to find space to be a bit slower and to take lessons from all these experiences,” Kee’ahn reflects.

“I admire Uncle Archie’s ability to write and his creative flow.

I’m trying to take some inspiration from him.”

With Music Director Paul Grabowsky AO, Stage Director Rachael Maza AM and Conductor Jaime Martín, the lineup includes Dan Sultan, Emma Donovan, William Barton, Deborah Cheetham Fraillon AO, Jess Hitchcock, Radical Son, Sally Dastey, Kee’ahn, Tamala Shelton and the Dhungala Children’s Choir.

ONE SONG: THE MUSIC OF ARCHIE ROACH

WHERE: HAMER HALL

WHEN: 5 & 6 JULY

This article was made in partnership with Melbourne Symphony Orchestra.

“I’m imagining singing to him for this performance. I can imagine everyone else is thinking the same. Uncle Archie is a leader that we all look up to and are inspired by and have love for.”

“I'm known as the person who only listens to The Cure and New Order. But, looking back at some of the live recordings of New Order trying to perform their early songs [...] they were trying to do everything live with all the electronics and it was chaotic -”

“It sounded like shit” I agree, interjecting.

“- Right, but it was kind of cool, you know they're actually playing these machines, they're breaking down, they're not working properly but they’re pushing through.

SLOWDIVE

WORDS BY CODY BROUGHAM

Æ This time, however, they come with the announcement of their new album Everything is Alive due September 1 on Dead Oceans.

Slowdive were heralded as being at the forefront of the UK shoegaze scene in the early 1990s before rising pressure from critics and the impending collapse of Creation Records saw the band destined to fade into reverb-drenched obscurity.

The members continued in other projects such as Mojave 3 and respective solo endeavours, before a resurgence in popularity and a newfound reverence for their 1993 LP Souvlaki urged on a string of reunion shows in 2014 and their self-titled 2017 album.

“I think it was so different in 2017 compared to what we were used to in the 90s. I suppose the difference this time is we probably feel a bit more pressure because, for the last record, no one ever expected to hear from Slowdive ever again.”

As well as having a legion of die-hard original Slowdive supporters, the band have been part of the wave of 20th-century artists who have been pushed back into the collective forefront due to the rise of the internet and greater access to a wider variety of music.

My first introduction to the band was on a sleepless night in my school years when I stumbled across a Pitchfork documentary on Souvlaki during the band’s hiatus, bringing on a lifetime of debt spent on endless guitar pedals.

In their last output of the 1990s, 1995’s Pygmalion saw the band wade further into experimental waters and while it seemed at the time to signal the death of Slowdive, the band have never been afraid to step outside the mainstream or what the public expects of them.

“I would say there’s slightly more sort of … synthy electronics on this record than on the previous one. I think Neil said in interviews himself that when he started the process, he envisaged it to be more electronic. But then as he brought the tracks to the rest of the band, we all kind of pulled him back to the guitar-based songs.

“I don't know how happy he was with that generally but I think it's worked out pretty well. There are more electronics but it's still very much a Slowdive record, for sure.”

As a (recovering) music gear addict I had to ask Nick about how the band pulls together their enormous studio sound into a live performance and get his opinions on the ongoing turmoil that faces many musicians today: the choice between live tracks or pure rock and roll.

“Personally, I don't have a problem with having something on track, but we've never been in a position to do that because we don't use click tracks. Only Rachel uses the in-ear monitors so we're all using the old-fashioned wedges on the stage.

“It can be a bit chaotic on stage with us, but I think in a way that's sort of part of the appeal you know; we're not very regimented and we're not very programmed.”

As we glide on further through the 21st century, it goes without saying that the way musicians make money has completely changed. “It is becoming more and more difficult to make money in this industry,” Nick continues.

“I mean we're very fortunate in that we are already at a level where we can earn a living doing this. None of us are wealthy or have that lifestyle, but we can all pay the bills and look after our kids and we get to do this as a full-time job, which is a great privilege.

“I don't know what the Australian government is like at the moment - our government has no interest in the arts in this country so there's no incentive financially or otherwise for young people unless they have a passion for it.

“With the cost of living crisis, climate change and everything else, people need something to be passionate about, and that's what the arts can do. Sometimes we all need a little bit of help, and sometimes all the younger bands need a bit of help to get going.”

SLOWDIVE

WHERE: THE FORUM

WHEN: 22 JUL

After a string of rescheduled shows across Australia due to an injury to drummer Simon Scott, England shoegaze icons Slowdive are gearing up again to grace our shores in July.

Credit: Mehdi Benkler

THE TESKEY BROTHERS

“It pays to say no sometimes,” says one half of Melbourne blues rock act The Teskey Brothers, Sam Teskey.

WORDS BY TAMMY WALTERS

Æ He is referring to the brothers rejecting multiple offers from juggernaut Glastonbury Festival across the past couple of years. You would think when Glasto comes a-knocking, the word ‘no’ wouldn’t exist in one’s vocabulary. But for the Teskey Brothers, against label advice, Glastonbury copped a left swipe.

Then 2023 called and as Barry White once bellowed, the time is right. The Teskey Brothers joined this year's edition, stomping their feet on the same stage as Josh Homme’s Queens of The Stone Age and American rockers, The War On Drugs.

“It’s a very big milestone. For us to be able to play and to have such a good spot, to be able to have it on the second biggest stage and relatively late in the afternoon; it kind of feels like that was the spot that we really need and really want to have.”

So why now? In 2017, The Teskey Brothers were standing on the ledge of success with Half Mile Harvest leading the introduction to their unique blend of blues, rock and gospel - Sam Teskey’s pipes and Sam Teskey's soaring guitar breaking through the commercial noise. Two years later, they tandem-jumped over the ledge thanks to Run Home Slow. The album won Engineer of the Year at the ARIA Music Awards of 2019, whilst also earning them the title of Best Group, and Best Blues and Roots album. Single Carry You was coated gold last year, as certified by ARIA.

“We were asked a couple of times by Glastonbury to play and we turned them down a couple of times, which was really hard to do.”

Sam Teskey explains, “We were asked a couple of times by Glastonbury to play and we turned them down a couple of times, which was really hard to do. It was really hard, especially for me. I was like “I don't wanna turn this down”. The labels are really pushing us to say yes to it and we're like, “no, it doesn't feel right”. We're just thinking, “We'll come back next year if they offer again next year when once the album is released, then we’ll do it. They came back with a bigger and much better offer. It was just right for us this time around.”

The timing perfectly aligned with the release of their third album, The Winding Way, in airwave transit. Released the week prior on Friday 16 June, The Winding Way held space for Sam and Josh to build the album organically, pivoting to work alongside acclaimed producer, and long term Teskey fan, Eric J Dubowsky (Flume, Chet Faker, Chemical Brothers).

“I think everything kind of aligned for us on this one and we got to spend a lot of time on it and really do it in the way that we wanted to record it. It felt really natural. It felt like we could really put everything into it. After the last few years we had a bit more time to prepare or just actually take a breath, and gather everything together, then finally put it down onto a record,” recalls Teskey.

The result is a full-bodied, adventurous album that captures what the siblings are all about - heart and soul, as evident on tracks Oceans of Emotions, Take My Heart and Blind Without You. This alignment was in part due to the two writing together, taking into account their family commitments and new values.

“Over time we drifted in a certain way where Josh had become a family man with two kids and then I grew my family to two kids; I already had an 8-year-old. We both were immediately very much on the same page with where we were at in our lives and how we wanted things to go. I think that's why it took us so long to get to doing another album because we just didn't have the right environment to do that,” he explains.

“It’s something we’ve also taken into consideration for touring, keeping a model of touring on weekends to have quality family time and not lead to burnout; to actually enjoy what we’re doing!”

On album D-Day, the duo also announced their homecoming for an Australian and New Zealand tour. The extensive tour will provide weekend entertainment across 13 cities and 14 dates. The Teskey Brothers are set to stop by Sidney Myer Music Bowl on Saturday 2 December. Tickets to see them performing new tracks from The Winding Way are on sale now via Frontier Touring.

THE TESKEY BROTHERS

WHERE: SIDNEY MYER MUSIC BOWL

WHEN: 02 DEC

“We were asked a couple of times by Glastonbury to play and we turned them down a couple of times, which was really hard to do.”

Credit: Ian Laidlaw

ANIMAL FARM

Æ This reimagined adaptation of Animal Farm, collaboratively devised by the Bloomshed ensemble without a director, breathes new life into the classic tale by setting it in rural Australia.

Life on the farm is far from idyllic for the hardworking animals who are all fed up with the neglect they face on a daily basis. So, they decide to take matters into their own hooves and revolt against the oppressive Farmer Jones in an attempt to create a new idyllic paradise for all animals to live equally in.

As the animals strive for freedom, the complexities of the Australian political system are hilariously exposed in this raucous tale of revolution and resilience, giving audiences a fresh perspective on Orwell’s classic allegory of the Russian Revolution. Succession, eat your heart out.

This adaptation stands out with its ability to infuse a traditionally dark narrative with a light-hearted quality. Bloomshed's inventive approach blends dance breaks, physical comedy and confetti to create an energetic and entertaining theatre experience.

Bloomshed has garnered acclaim for their thought-provoking productions, exploring pressing political issues of our time, including climate change, class inequality and corporate greed. Through their eleven original and adapted works, the company has become known for its commitment to engaging audiences and empowering communities to drive positive change.

Animal Farm is an unmissable theatrical event that promises to entertain, provoke and leave audiences with a renewed understanding of the Australian political landscape. By masterfully blending humour and satire, Animal Farm invites viewers to engage with important societal issues in a dynamic and accessible way.

THE GROUNDSWELL

WHERE: NORTHCOTE TOWN HALL ARTS CENTRE

WHEN: 12–23 JUL, 7.30PM WED–SAT, 5PM SUN

This article was made in partnership with Darebin Arts

WORDS BY LUKE CARLINO

Æ Let's be honest; there are a lot of bands. Like, a lot. How could you possibly keep up with it all, let alone find your new favourites? Well, you could look at what they have been up to lately to see if they are kicking goals? That could be a sign that they may be worth a few listening minutes. For example, let's say a band sold out their very first show at the Worker's Club, then sold out The Evelyn, the Gershwin and basement rooms at The Espy, supported Jessica Mauboy and toured with The Rions; that might indicate they are worth a look.

Funnily enough, a band did do exactly all of that, and they’re called The Groundswell. An indie rock four-piece from Melbourne/ Naarm, their new single Stuck is out now and a great starting point to get acquainted with these young rockers.

"We try not to lock ourselves into a definitive genre, but at this stage we seem to have a broad appeal which is working for us,” says Ben, the group's bass player. “The songs we are working on now have a stark difference to the things we've already released." The Groundswell's older material was self-recorded and produced; however, with Stuck and the forthcoming EP, a producer, Fraser Montgomery (Allen Stone, Bumpy, Ash Grunwald), has been added into the mix. "Our producer has definitely helped refine our sound; we're not insane gearheads, but when we went into the studio, it really opened our eyes about how you can take songs to the next level by focussing on guitar tones and things like that. Our guitarist loves the Eagles and 60s rock n' roll, but we all listen to different music from War on Drugs to Silverchair and stuff like that; we love it all."

Stuck is an evocative heartbreak song inspired by the passionate throes of young love and its troubles. Inspired by travelling and falling in love, the song has a sound from a time much older than the average band member's age. Recorded at Aviary Recording Studio in Abbotsford, the nostalgic guitar tones are pulled from the 70s, and there is space in the song that bands usually take years to perfect. "We've found our sound a bit more, especially in the last two songs we've released; we think we've found a new, individual sound."

The Groundswell's new single, Stuck is out everywhere now. Keep an eye out for new shows and a forthcoming EP from the group.

This article was made in partnership with The Groundswell.

The Groundswell’s latest single Stuck is heartbreak in a beautiful bottle. The Melbourne four-piece follows up some big shows with a new single that will definitely make your playlist.

Bloomshed, the Green Room award-winning theatre company, presents a uniquely Australian adaptation of George Orwell's iconic fable Animal Farm.

WORDS BY SIDONIE BIRD DE LA COEUR

“All animals are equal, but some animals are more equal than others.”

Not much is yet known of Melbourne-based producer Mumph.

WORDS BY KAYA MARTIN

Æ Shrouded in a black bucket hat and a bandana, he’s not ready to show the world his face just yet. But he is finally ready to show us his music.

He has recently dropped his debut album TRAINING DAYS, a hard-to-define work that seamlessly blends influences of hip-hop, electronic and alternative.

Crafted in his home studio, the ten-song release covers the artist’s legacy up to this point, documenting his experimentation with different patterns and tropes and his journey to find his style as an artist.

Ambient and textural, the album is a keen example of Mumph’s careful production. Skittering beats, dark synth melodies, industrial samples and wavering pads are combined into tracks that bounce along at a chill tempo, but can’t help but capture the listener’s attention.

It’s a brave debut from the young artist – he’s planting his flag in the sand.

“Most of the drafts and demos where honestly made and accumulated from the first year and half of myself getting into producing,” Mumph says. “A lot of playing around and experimenting, basically learning how to produce and what I could do with it. I wanted to get a project out at the end of 2022 to kind of, finish off the year by tying a lot of loose ends creatively.

“These demos got fleshed out and developed into tracks and then into a tracklist, putting a hatch down on the beginning stages and moving onto the next creative process, hence the title; TRAINING DAYS.”

One highlight is the track SUSPEKT. On it, shuttering high hats build upon an eerie riff peppered with glitchy vocal samples – moans, the barking of dogs. It’s an energetic and meticulously-constructed piece that, through its design alone, captures the unsettling feeling of being on the run.

“I honestly don’t think there is much of a message behind TRAINING DAYS, just stuff I think sounds cool,” he continues. “It’s like an audible diary/journal of sorts, showing the amateur/beginning stages of my music path.

“Next on the agenda is to release a couple more projects, hone the craft and learn how the music business side of things works. Maybe I’ll stay independent, maybe I’ll join a label, maybe I’ll start my own. I just wanna make music and get to the point I can truly be proud of; these TRAINING DAYS are crucial to that goal.”

WITCH

WORDS BY NOAH REDFERN

Æ Since the ’70s, WITCH has been bringing together the sounds of garage, blues and psych rock with African rhythms and grooves. After disappearing from the public eye for four decades, the iconic band has been revitalised. Their new album, Zango, is WITCH’s first record since 1984 and has all the energy of their classic releases with a fresh sound.

Having moved through different lineups, iterations and sound changes, WITCH had all but faded away until their 2011 revival. Their entire discography was reissued and made available for the first time outside of Zambia and Southern Africa, inspiring a growing interest in the classic band and its definitive sound.

Their latest record Zango tells a story of rebirth and change. Recorded in Lusaka - the same location as their 1975 release Lazy Bones - the sound of the album is somehow both vintage and brand new.

From the first bars of the opening track By The Time You Realize listeners are drawn into the band’s signature sound. A groovy bassline, linear drumming, fuzzy funk guitar and teasing lyrics dive into distorted breakdowns, heading back into the sun for the beautiful chorus. The tone of the record is set.

Lead single Unimvwesha Shuga takes us deep into afro funk territory with clavinet grooves, synth licks and a beautiful set of guest vocals from Theresa Ng’ambi and Hanna Tembo. The lyrics preach connection, love and intimacy.

The standout album feature is Zambia native, Australiabased rapper Sampa The Great who lends her talents to the track Avalanche Of Love. With a fun music video to boot, the song invites all to groove and feel the beat.

Standout tracks include Stop The Rot and Waile, but the final track Message From WITCH hits home the importance and power of the music – it “erases homophobia, shatters antisemitism, is blind to colour and is sweeter than honey. The message is love”.

This article was made in partnership with Mumph.

Zambia’s greatest rock band WITCH is inseparably linked to the history of Zamrock itself.

CABLE TIES

The title of the album, for instance, takes its name from a lyric in the song Mum’s Caravan – with the singer telling of how her mother put “all her plans”, that would have inevitably involved travelling around the country with the titular caravan in tow, on hold when “shit hit the fan”. For a woman who once shrieked sociopolitical diatribes with phrases like “I am not a production unit” and “steal your brother’s guitar”, a gentle strum and piano accompanying her lilting voice is quite the contrast.

“I’m still sort of going through the process of how to talk about this stuff,” she confesses. “Previously, everything that I’ve written is really an open book. I’d go into every interview and be like, ‘Here’s exactly what I’m talking about’. This time? I’m not entirely sure about what I have to have clear boundaries about – which is interesting for me, as a person who likes to spill my guts. When we started making the album, all of this stuff just started coming out. It was what I needed to process – my thought process was to write what I’m thinking, and try not to think too much about the other end of it.”

Don’t get it twisted, either: Cable Ties didn’t become apolitical overnight. Album highlight Silos is classic Cable Ties, both musically and lyrically. Over rumbling toms and a snarling bass-line, McKechnie is heard railing against the country’s failing social services in tandem with its shameful incarceration system. “The so-called justice system, as it is right now, is not a way to deal with problems of mental health, poverty and racism,” she says.

“Everything gets dragged through it, and through the cops, when it’s not appropriate. We need to defund the police and start funding social services that are connected with one another and can actually provide help. I’m sick of being in a situation where an ambulance is needed, or some other crisis support, and it’s the cops again.”

WORDS BY DAVID JAMES YOUNG

Æ Here’s one for you: Far Enough, the second studio album by Melbourne post-punk stalwarts Cable Ties. Release date: March 27, 2020.

It’s bizarre to have such an outspoken and acerbic rock record forever associated with Tiger King and banana bread, but such was the nature of things at the time. “We were two days from getting on a plane to SXSW before it was cancelled – and then things got even worse,” recalls Jenny McKechnie – the band’s lead vocalist and guitarist.

“When the album came out, we were doing all this press – but instead of talking about the album, all anyone wanted to talk about was COVID. A whole year of our lives was set up around playing this album to people, and none of it happened. I’d be lying if I said it wasn’t devastating. If there was anything I took away from it, though, it’s that the themes of that album were strangely pertinent to what was going on – people definitely sent us a lot of messages saying they were connecting with it in that way. So there was that, at least. Fingers crossed for no global calamities this time around.”

With lockdowns in the rear-view and the possibilities of touring open again, Cable Ties have returned with their third album All Her Plans. Though in some aspects it continues on the band’s foundation of driving bass riffs, angular guitar work and charging drums, there are also some curveballs within the tracklist that are guaranteed to raise intrigue within both long-time fans and curious new ears alike. In describing the album herself, McKechnie notes that the album “takes a pretty different turn” and that its themes draw from elements that are “a lot more personal” than previous Cable Ties albums.

Continuing to elaborate on the album’s differences from its predecessors, McKechnie then expounds on its sonics. “Musically, there are some songs that almost go back to my roots as a folk musician,” she says. “It made the album a very different creative experience than what we were used to – it wasn’t really like anything we’d done before. I think we started making in-roads to that on Far Enough. There’s songs on that album like Hope where things pulled back a little – we were getting a bit more honest and personal. I really like albums that have those varying degrees of light and shade in them, and I really wanted to bring that element to this album.”

The frontwoman also notes the comparative efficiency with which All Her Plans was made. While much of the material on both Far Enough and the band’s self-titled 2017 debut were forged over the course of roughly two years, this album was largely completed within a six-month window. “There had to be a different approach,” McKechnie reasons. “It was kind of a product of...” She goes to say the C-word, but gives a wry grin and quips: “Redacted.”

WHERE:

WHEN:

There’s a niche of the internet that specialises in very specific snapshots of very specific moments, known colloquially as “photos taken moments before disaster”.

WORKER AND PARASITE

Melbourne’s Worker and Parasite

Ubiquitous within their manifesto lies the intention to strive towards a greater value being placed on art.

but remains catchy. What’s more is their intentional engagement with “visual media and content designed for consumption on the world-wide-web”. Namely the music video that was released for Silent Majority on November 4.

Four minutes of choreographed dance and movement leans into the refrain of “THE UNDECIDED WILL DECIDE IT”, as the Party undoubtedly intend for consumers to remember the video and lyrics.

“Given the communicative powers of AUDIOVISUAL MEDIA,” says the Party.

“It is of the UTMOST IMPORTANCE that this AUDIOVISUAL RESOURCE is proliferated AGGRESSIVELY across a MULTITUDE OF MEDIA in order to aid the PROLETARIAT in its REVOLUTIONARY ACTIONS.”

WORDS BY JACOB MCCORMACK

Æ Confining themselves to press releases that resemble a political document, often with signs of harbouring top-secret or confidential information, Worker and Parasite are a self-proclaimed party fighting for the proletariat.

“THE PARTY IS ETERNAL,” states an anonymous band/party member. “And the struggle against neoliberal capitalism shall continue until final victory.” Although music remains the vehicle for the delivery, this approach is undeniably original and provocative. Yet it is not solely directed at the music industry, which in their own words has fallen victim to capitalism, but to the myriad facets of society that are subject to the oppressive forces of the current default ideology.

“PARTY scholars recognise that the decoupling of artists from the Australian* music industry is a natural consequence of its intensively exploitative structure. As in all capitalist production, the status quo favours the rich, and successes for any artist of modest means are either fleeting or, in actuality, further successes for the forces of capital.”

“Financial sustainability is not a feature of capitalism,” says the Party. “This most often expresses itself as a continuous struggle within the working classes against their oppressors. Artists are no exception. As an intermediary measure, the PARTY advocates for a universal basic income for all, so that those who might otherwise be unable to pursue artistic activities, may.”

Through this endeavour of achieving a universal base income, the Party is hoping to dismantle the current notion of success that is a detriment to the music industry.

“Within the capitalist framework of our society,” says the Party, “success within the community or industry occurs at the expense of others: you are competing for a good night at a venue, you are competing for tickets to the best shows. This in turn creates an undercurrent of cliques, competition, and distrust which ultimately undermines the project of solidarity within the artistic community.”

Despite their cynical attitude, the Party recognises they are beginning to see dissent and radical unconformity by artists, falling in line with the alternative they are proposing. “Artists are waking up to the lie and to those who make careers of slipping their hands into artists’ pockets,” says the Party. “The PARTY endorses the behaviour of any artist seeking to withhold profits from entrenched capitalist actors within the music industry. Any act of resistance is a worthy one.” Subject to total disillusionment the Party are creating music that adheres to its values

Although the Party is dispersing their intention in a multitude of ways with force, the identity of this revolution remains faceless, a deliberate technique employed by the Party.

“There is no theoretical reason why a similar level of anonymity would not benefit other artists,” says the Party.

“It is theorised by PARTY scholars that in the spiritual desolation of neoliberal capitalism, humanity strives for intimacy and connection. This drive led to a proliferation of technologies that purportedly allowed for the realisation of this desire, but in reality has trapped many of us in a spiral of longing, interpersonal competition and an insatiable need for validation.”

Their distrust and hatred for the powers responsible for driving capitalism rings true, but at the very least, it’s a captivating gambit.

WORKER AND PARASITE

WHERE: THE OLD BAR

WHEN: 06 JUL

are using the formality of political rhetoric and propaganda to deliver their anti-capitalist and neoliberalist sentiments.

“Artists are waking up to the lie and to those who make careers of slipping their hands into artists’ pockets. The PARTY endorses the behaviour of any artist seeking to withhold profits from entrenched capitalist actors within the music industry. Any act of resistance is a worthy one.”

ART GUIDE

Exhibitions to see this July

WORDS BY BEN LAMB

BETWEEN WAVES

This exhibition puts the work of First Peoples front and centre, diving into the crossover between art, culture, materiality and technology. There’ll be a plethora of artwork on display - everything from video to poetryand even soundwork. Some of the involved artists include Hayley Millar Baker, Dean Cross, Jazz Money and Cassie Sullivan.

ACCA THROUGHOUT JULY

PIERRE BONNARD: DESIGNED BY INDIA

MAHDAVI

The new exhibition making its way to the NGV this month follows the work of one of the most celebrated impressionists, Pierre Bonnard. His work was inspired by his native Paris and is full of life and colour. The interesting collection will be curated by India Mahdavi, a well-known Iranian-French architect.

NGV THROUGHOUT JULY

HELEN PROCTOR

If you’re after art with more of a modern vibe, look no further than this exhibition making its way to the Outré Gallery this month. Helen is a local artist, whose work dives into the world of abstract landscapes, which will light up a feature wall. This exhibition is set to feature a new collection of her work, opening later this month.

OUTRÉ GALLERY FROM 28 JUL

JACQUI STOCKDALE –THE YELLOW ROOM

Jacqui Stockdale’s next exhibition will take place at Backwoods Gallery. Opening on July 20, The Yellow Room explores elements of body and identity.

BACKWOODS GALLERY 20 JUL

NITEL – AN EXHIBITION OF FIRST NATIONS ARTISTS

The VAS Gallery will feature work from five talented First Nations women from the Bendigo area; Georgina Riseley, Annie Brigdale, Janet Bromley, Lorraine Brigdale and Trina Dalton-Oogjes.

VICTORIAN ARTISTS SOCIETY THROUGHOUT JULY

CLOSER TOGETHER

Closer Together combines works from the Hong Kong Art School and the RMIT School of Art. The exhibition features works that bridge a connection between the two areas. Involved artists include Kay Mei Ling Beadman, Movana Chen, Ryan Christopher Cheng, Kris Coad, Sally Mannall, Drew Pettifer, Kate Siu Man Kit and many more.

RMIT GALLERY THROUGHOUT JULY

SHADOW SPIRIT

Currently happening thanks to RISING Festival, Shadow Spirit is a brand new exhibition happening in Melbourne this month. Found on the top floor of Flinders Street Station, the pieces featured are one of a kind, involving artists including Paola Balla, Brian Robinson and Judy Watson.

FLINDERS STREET STATION THROUGHOUT JULY

KNOW ONE PLACE

Happening at the Arc One Gallery this July, Know One Place features five artists: Pat Brassington, Peter Daverington, Murray Fredericks, Marina Rolfe and John Young.

ARC ONE GALLERY FROM 5 JUL

MIA BOE –SUSPICION IS PROOF ENOUGH

Mia Boe hails from Brisbane and is of Burmese heritage, which inspires her stunning art pieces. Sutton Gallery houses her new exhibition Suspicion is proof enough, representing the trauma of First Peoples in Burma and Australia.

SUTTON GALLERY THROUGHOUT JULY

FESTIVAL GUIDE

Festivals to experience this July

LEAPS AND BOUNDS FESTIVAL

SPLENDOUR IN THE GRASS

The Splendour in the Grass 2023 lineup features Lizzo joined by Australian exclusive shows from Flume and Mumford & Sons, plus Lewis Capaldi, Yeah Yeah Yeahs, J Balvin and more.

NORTH BYRON PARKLANDS 19–23 JUL

REPLAY FESTIVAL

Missed out on the Melbourne International Comedy Festival? Don’t fret, the Replay Festival is bringing the best of the fest for one last run. Happening at Comedy Republic, you’ll have the chance to see Hannah Camilleri, Greg Larsen, Guy Montgomery, Guy Williams, Michelle Brasier, Lizzy Hoo, and others.

COMEDY REPUBLIC THROUGHOUT JULY

METRO COMIC-CON

Yet another Comic-Con is making its way to Melbourne shores this month. Metro ComicCon is a new event, featuring all the usual Comic-Con fun, like cosplay, signings, and more comic books than you can shake a lightsaber at. On top of all that, there’s set to be appearances from actors like Kim Coates (Sons of Anarchy), Dee Wallace (ET), and Jamie Campbell Bower (Stranger Things).

MELBOURNE SHOWGROUNDS 8 & 9 JUL

MELBOURNE MAGIC FESTIVAL

A celebration of the mystic arts is on its way to Melbourne this July, with the Melbourne Magic Festival. It’s taking place across Melbourne until July 8, and features a bevy of talented sleight of hand masters and illusionists, such as Mario Lopez, Tim Credible, and Nicholas Johnson. There’s also set to be lectures, so you can learn the craft and have your own show for next year’s Melbourne Magic Festival.

MELBOURNE UNTIL 8 JUL

MELBOURNE TARTAN FESTIVAL

Brought to Melbourne by the Victorian Scottish Heritage Cultural Foundation and Scots of Victoria Co-ordinating Group, the Melbourne Tartan Festival celebrates the best of Scottish culture. There’s a variety of events on offer, including a Pipe Band Parade, Gala Dinner and concert, as well as a Ceilidh Dance.

MELBOURNE THROUGHOUT JULY

AFRICAN FESTIVAL MELBOURNE

Melbourne’s a wonderful melting pot of different cultures, there’s never a week without a festival inspired by another country. A new one’s happening this July, with the African Festival, a two day journey of African food, music, and shopping. Best of all, in this time of rising costs, you can enjoy most of the festival for free.

MELBOURNE 15–16 JUL

Just because its winter, doesn’t mean there aren’t plenty of music festivals happening. Leaps and Bounds festival returns this year with a bang, with Melbourne lighting up with a variety of interesting events. There’s an industry day, a showing of the hit Gurrumul documentary, performances from Emma Donovan, The Maggie Pills, and Tony Allen, as well as Record Store Fairs.

MELBOURNE 13–16 JUL

MELBOURNE ELVIS FESTIVAL

It seems like we can get enough of The King lately, you’d be hard pressed to find a month without a celebration of Elvis. A new one is heading to the Thornbury Theatre late this July, a bevy of events inspired by each of The King’s eras, everything from the ‘73 sessions to his Vegas residency. Four internationals will be performing; Bill Cherry, Jay Dupus, Dwight Icenhower and Emilio Santora.

THORNBURY THEATRE 28–30 JUL

BLOBFISH BEER FESTIVAL

It can’t be a Melbourne festival list without a beer celebration. Happening at the Meat Market, the Blobfish Festival features the best sour, weird, and wonderful beers. Your all-inclusive ticket gets you tasters of all beers on offer, free glass, and a beer guide. There’s also set to be DJs soundtracking the day, and a bunch of food trucks perfect for pairing.

THE MEAT MARKET 22 JUL

WORDS BY BEN LAMB

STAGE GUIDE

Stage shows happening this July.

WORDS BY BEN LAMB

PARRWANG LIFTS THE SKY

It’s not too often you get an opera that the entire family can enjoy. Parrwang Lifts

The Sky is a new show hitting Arts Centre Melbourne this July, the narrative based on a story that has been passed down in First Nations culture for a number of years. The opera has been brought to life from Deborah Cheetham Fraillon AO and the Short Black Opera.

JOSH STALEY: QUICKER THAN THE EYE

FORTUNE FEIMSTER

She’s quickly become a household name over in the US, after appearances on Last Comic Standing, The Mindy Project, The Simpsons, and Glee, as well as countless stand up shows. Now she’s on her way to Australia, set to grace our stages with her Live, Laugh, Love! Tour.

FORUM THEATRE 3 JUL

CHAMELEON

Perhaps best known as the leading star of the show Rebel, a brand-new show is coming to us from popular stage star Stewart Reeve. Chameleon is a one man show that traverses a plethora of interesting impersonations. There’s bound to be something up your alley, this show will feature performances of songs from Simply Red, Tones and I, and even Macy Gray.

GASWORKS THEATRE FROM 27 JUL

CARL BARRON

He didn’t hit the stage for the Melbourne International Comedy Festival this year, but don’t fret, arguably Australia’s most wellknown comedian is hitting the stage this July, for two performances of his hit show Skating Rink for Flies. The two dates will be filmed as well, so you know it’s set to be high quality.

PALAIS THEATRE 14 & 15 JUL

GARAGE GIRLS

Taking place in 1920s Melbourne, this show gives us a local flair that is often missing from our many marvellous stages. Based on real events, this story details Alice as she drives, along with her baby, to Alice Springs and meets many interesting people along the way.

LA MAMA THEATRE 19–30 JUL

PARADE

It’s arguably one of the most complex musicals out there, but Parade will be hitting Chapel off Chapel for a short run later this month. With a book from Alfred Uhry and a score by the iconic Jason Robert Brown, the show is set in 1913 and is focused on a murder case.

CHAPEL OFF CHAPEL FROM 27 JUL

THIS IS LIVING

This new play is hitting the Malthouse Theatre this month, and it follows a group of interesting characters during a weekend away, where they all hope to escape the real world. The play is penned by Ash Flanders, and stars Wil King, Michelle Perera, and many others.

MALTHOUSE THEATRE 7–30 JUL

Hitting the stage thanks to the upcoming Melbourne Magic Festival, Josh Staley is an up and comer in the world of the mystic arts. After playing to jam packed crowds across the country, this show is set to showcase phenomenal sleight of hand magic, and many other jaw dropping tricks.

ARROW ON SWANSTON 4–8 JUL

FAR AWAY

Caryl Churchill is widely known as one of the best playwrights of the current era, her plays diving into a vast range of interesting areas. Far Away is known as her best work, displaying a world that is breaking apart.

FORTYFIVEDOWNSTAIRS 12–30 JUL

BLOOM

If you’re a fan of movies and shows like The Castle, The Dish, Have You Been Paying Attention and Utopia, Bloom is a brandnew Tom Gleisner-penned musical hitting the Melbourne Theatre Company stage this month. It features music from Katie Weston and will showcase the talents of Anne Edmonds and Frankie J Holden in leading roles.

ARTS CENTRE FROM 18 JUL

THE SLINGERS Sentimentalism

Æ Sentimentalism, The Slingers’ debut record, was written during summer in a farmhouse outside Colac where the band was greeted by a huntsman spider “the size of a fucking croissant”. They soldiered on regardless, wisely sleeping in shifts.

An evocative collection of songs about characters living on the fringes of society, Sentimentalism reminds us that even broken humans deserve love. “Drunk and high on Independence Day/ Look like Nixon, feel like JFK/ In my hotel room with the TV on/ And for a second I forget you’re gone…” – not a single word is wasted throughout this album’s entirety, but Raising The Dead’s imagery lingers the longest in my mind.

Robert J. Mahon’s vocals, yearning and nasally, have a familiar quality – a trace Lloyd Cole, perhaps? – which gives The Slingers instant-classic, nostalgic appeal.

Instrumentally – with its gradually building arrangement, ascending guitar parts, frequent cymbal crashes and wailing guitar solo – opener Living In The Age Of Loneliness reminds us that incredible songs can actually reduce feelings of isolation. No Harm Done (feat. Juice Webster), which follows, features fluttering keys played entirely on an authentic ‘60s Wurlitzer and immediately brings The Whitlams to mind. Webster’s guest vocals elevate the latter half of this song – haunting, like the ghost of a girlfriend past (“This love is out of time”) – and güiro is also used to great effect throughout. “When you left, you left a hole in me/ Down to the bone” – The Slingers’ latest single, Down To The Bone, navigates heartache.

As their piano ballad Someday Sister (“Don’t go breaking down on me just yet”) commences, you could be forgiven for thinking you’d somehow accidentally hit shuffle and landed on John Hiatt’s Have A Little Faith In Me. Then as if to further demonstrate The Slingers’ chameleonic tendencies, standout track It’s Something bursts with clanging, industrial percussion – shades of Visage’s Fade To Grey. Streets Of Tokyo is resplendent with shiny synth-pop sensibilities, East Asia-inspired melodies and tongue-in-cheek lyricism (“I never seen you look so calm/ As with a needle in your arm”).

The action throughout closer Needle And The Nine To Five (we detect a theme here), which clocks in at almost seven minutes, unfolds like a suspenseful short story: “I only came out tonight/ ‘Cause I thought I saw your light/ In your window on the second floor and for a second I suppose I forgot you’re not here anymore…”

The Slingers really are impossible to pigeonhole, which makes their debut full-length a thrill a minute. This band already easily sells out shows in their hometown of Melbourne. We can’t wait to see what their future holds in the wake of Sentimentalism.

JACK LADDER

Tall Pop Syndrome

Æ His latest and seventh album – Tall Pop Syndrome (bow down to that polysemous album title!) – came about after Jack Ladder (real name: Tim Rogers) was invited to support The Killers last year and re-examined the logistics of his live show (“Maybe I could write a whole new album, tailor made to open a stadium show, solo with no backline”).

Throughout, Rogers' deliciously rich baritone is embellished by minimal electronic accompaniment and 808 beats. The pulsing Heavy Weight Champion is a contemplation on baritone singers being “the heavy weights of the music world”, with Rogers himself a reluctant member of this exclusive club: “I didn't ask to be born into this class division…”

“I don’t go to clubs/ I’d rather stay at home/ Where the drinks are cheap/ No one stepping on my toes/ And I dance alone” –opening lead single Home Alone celebrates making your own fun, in-house, while supplying a soundtrack for this purpose and also name-checking inspirational lost legends (Prince, David Bowie, Leonard Cohen, Little Richard, Aretha Franklin etc.).

With its menacing bass undercurrent and galloping arpeggiated synths, I’m Melting will delight Depeche Mode fans. “I’m melting like a flower in a Fukushima bed” – here Rogers references the malformed daisies that grew following 2011’s nuclear power plant explosion; beautiful freaks kinda like Rogers himself, who has previously been aptly described as “the perfect culmination of Bryan Ferry and Oscar The Grouch”.

KERSER A Gift & A Kers

Æ “Why I got ‘em all so bitter?/ Swear they gonna hate if you a winner/ Yeah, I’m medicatin’ off a pinga…” – Winner, the unflinching lead single from Kerser’s tenth and final record, A Gift & A Kers – which references the poison chalice of fame – lands like a victory lap. Recognise the sample in Like I’m Trapped? That’ll be because Kerser’s follow-up single breathes new life into These Kids by Joel Turner & The Modern Day Poets (2004).

This self-made Campbelltown-bred rapper’s original plan to release ten albums in as many years was temporarily thwarted due to Covid the fun sponge. Kerser’s previous nine albums were created within four-month windows, between annual national tours, but the luxury of time – three whole years! – undoubtedly upgraded his closing sonic statement: “I honestly feel like I reached my full potential on this album,” he admits.

Within this 23-track set, every Kers style is reprazented: gangsta-hard breakthrough mixtapes (Seen It All), debut album

The Nebulizer’s electro/hard EDM beats (Take You Back), the Sinima era (Never Be The Same) and beyond: “It’s 2023/ They thought they seen me peak, they hadn’t.”

He’s “never had a fuck to give” and Kerser’s rise from “poppin’ bars in [his] Commodore” to self-appointed “real GOAT” of the Australian hip hop scene is testament to “the power of the hustle”.

LASTLINGS

Perfect World

Æ Perfect World was announced via a highly stylised trailer – cinematically shot in barren, moonlike landscapes – during which atmospheric drone underscores Lastlings singer-songwriter Amy Dowdle reciting lyrics/poetry: “I fell too far in your perfect world/ But I fell up into my own/ And I ask no one to forgive me/ In a perfect world.”

Dowdle has described Lastlings’ second album as being like her twenties diary, which documents how messy love can be. Opening track Holding Me Like Water captures a doomed relationship’s last gasps (“Been looking for you all my life/ But you're letting me slip away…”), with Dowdle’s vulnerable vocal delivery cradled by minimal beats during its verses.

The title track’s pensive keys evoke rippling water as the spacious surrounding sonic terrain echoes and reverberates. Better Off Without You closes out with “Gotta let you go…” – repeated, mantra-like – and kisses the bargaining/denial breakup phases goodbye. Then during the gently pulsing Out My Head, Dowdle finds closure and the strength to move on: “But now I know my worth/ And you couldn’t learn.”

Josh Dowdle, the producer half of this telegenic Japanese-Australian electronic sibling duo, has said that “finding beauty in imperfection” (aka the wabi-sabi philosophy) also informed Perfect World. His production and soundscapes reflect human emotions with great accuracy throughout, mirroring the intense feelings his sister processes through song.

EMPRESS

Daughter

Æ Breezy, transportive “Ooh-Ooh-Ooh”s, sung in captivating three-part harmony –one of Daughter’s many strengths – usher in opening track, Baby. This song about female sexual empowerment escalates from minimal, skittish beats and atmospheric synth into an explosive, mantra-like chorus – “I want this/ I need this/ I know this/ Oh, baby, you know...” – and suddenly it’s a lit dance party up in here!

This Naarm-based sextet all studied jazz together at VCA and all bar one attended Princess Hill High School, which is where Grace Robinson, Stella Dunai and Matilda Pungitore – Empress’ female-identifying lead vocal trio – discovered magic happens when they harmonise.

Standout track Water In My Breath –with its cacophonous, layered percussion and ominous synth undercurrent – lures listeners in with soothing harmonies before solo vocals unleash during the verses, fuck-the-patriarchy style: “Can I pretend that I am not a product made within the patriarchal name?” The lurching, instrumentally dense Skin! later rages, “Another man thinking with his dick with his hand out!”

All three Empress singers struggle with insomnia, which inspired Rock-ABye. Fourteen Years – the penultimate, a cappella track – unfurls like a gradual reckoning: “Fourteen years since we’ve spoken to each other/ I guess I’m just learning not to hate...”

It's difficult not to become mesmerised by the enchanting vocal synergy of Empress, sure. But this group’s combined musical expertise is staggering, with their jazz-inflected grooves and intricate rhythms adding satisfying dynamic complexity.

KEWPIE

LIVE MUSIC takes centre stage at Kewpie’s iconic weekend nights, curated by Melbourne's best party DJs, including KLN, Anyo, Spinn OD and JB Jackson.

FAMOUS FOR slinging $5 pizzas everyday. Ms cozzie livs may have hit the rest of the town, but it’s certainly bypassed good ol’ Kewpie.

INFAMOUS FOR their Boobie Prize - if you come last at Kewpie’s Drag Trivia, you’ll be awarded this. With their urges to “use your imagination for this one,” we’re not quite sure what you’re in for if your trivia knowledge isn’t up to scratch.

Æ This beloved establishment on Brunny Street has everything you need for a fantastic time – from mouthwatering $5 pizzas to a vibrant atmosphere that will keep you coming back for more.

Kewpie truly comes alive when the sun goes down, offering a vibrant nightlife experience that is second to none. Wednesdays are all about Drag Trivia, regularly hosted by the fabulous Queen Aysha Buffet. Test your knowledge in music, pop culture and more, competing for the top prize while being roasted and toasted by some of Melbourne’s best and funniest drag queens.

Weekends at Kewpie are legendary. From 7 pm till the early hours, the d-floor heats up with the finest selection of house, electronic, and disco/funk from the grooviest DJs around town.

The menu is designed to satisfy your cravings without breaking the bank. Whether you're a fan of classic margherita or prefer something more adventurous like the nachos-inspired poncho pizza, Kewpie has got you covered.

But it's not just the food that makes Kewpie a standout. A large selection of cocktails, beers, wines and spirits means there’s always something for everyone. In addition, they have a daily happy hour from 5-7 pm every day that brings all house bevs down to just $6.

There’s a lot to be said about the bar formerly known as Bimbo Deluxe - with its unbeatable deals, fantastic atmosphere, and unforgettable events, it's the go-to spot for cheap eats, dope drinks, and good times in Fitzroy.

ONESIXONE

LIVE MUSIC at onesixone brings a fusion of international house, techno and disco artists alongside local talents, transforming the venue into a mecca for electronic music enthusiasts.

FAMOUS FOR their full-blown, light-up 70s dance floor. Saturday Night Fever, eat your heart out.

INFAMOUS FOR the most lavish bathroom in the southern hemisphere. Seriously - it’s wizard bathroom tier of luxury.

Æ Nestled above the bustling High Street in Prahran, onesixone stands as a testament to Melbourne's vibrant nightlife. This hidden gem offers a unique and memorable experience, combining a cocktail bar, a function centre and a music-focused atmosphere unlike anything else on High Street.

As you step into onesixone, you're immediately greeted by a lavish and intimate setting. The venue's layout is carefully designed, with luxurious booths overlooking a dazzling 70s-style illuminated dance floor. The ambience perfectly balances a chilled-out cocktail hangout and an energetic club environment catering to diverse tastes and moods.

What truly sets onesixone apart is its unwavering commitment to live music. With resident DJs the likes of Jay Ramon, Tom Evans, Jacob Malmo, Minx, Mrs Wallace, Agent 86 and many more, the venue's reputation as a haven for music enthusiasts is well-deserved.

As any night at onesixone progresses, the spotlight shifts to the talented resident DJs, who skillfully blend indie and rock classics, creating an infectious energy that keeps the crowd moving.

It's no wonder that onesixone has received numerous accolades and awards over the past decade. From being crowned Best Night Club by Bartender Magazine to winning the prestigious Best Underground Venue in the Age’s Good Bar Guide not once but twice, onesixone has cemented its status as a go-to destination for discerning revellers.

Prepare to lose yourself in the music and discover why onesixone is Melbourne's hidden gem that keeps drawing crowds night after night.

THE MERSH YARRAVILLE

LIVE MUSIC fills the bandroom at The Mersh, providing the perfect platform for local favourites to showcase their talent. Immerse yourself in the pulsating energy as talented bands and soloists take to the stage.

FAMOUS FOR their audio system, which was sourced from the former Reverence Hotel. The Rev may be gone, but the same top-notch auditory experience lives on at The Mersh.

INFAMOUS FOR their free pool tables: leave your $2 coins in your car and challenge your friends to endless rounds of 8-Ball at The Mersh.

Æ The Mersh proudly proclaims itself as your "old new favourite local” and for good reason.

As you enter, you'll be greeted by a spacious interior adorned with tasteful updates. The venue's centrepiece is the expansive band and dancefloor area, perfect for letting loose and enjoying live music.

Wrap around the bar, offering a nearly 360-degree view and ample space to socialise and enjoy the vibrant atmosphere. Private functions for special occasions are effortlessly accommodated in this versatile venue.

This iconic establishment recently underwent an extensive nine-month renovation, breathing new life into its century-old walls while preserving its rich history. After two years of dormancy, The Mersh has emerged with a fresh new vibe that will captivate both old regulars and newcomers alike.

Thirsty patrons will be delighted by the selection of eight taps, pouring the finest local beers and ciders. The massive beer garden beckons for those craving fresh air, providing an ideal outdoor space to relax and socialise. And when hunger strikes, the impressive kitchen is ready to satiate your appetite with a menu that features both classic favourites and exciting new dishes.

It seamlessly blends the best elements of a traditional pub with a modern twist. Whether you prefer enjoying a well-chosen drink at the main bar, exploring craft beers and local wines, or immersing yourself in the sounds of CrowdDJ or live music performances, The Mersh promises an unforgettable experience.

Make your way to The Mersh, Yarraville's rejuvenated gem, and discover why it continues to be the epitome of pub hospitality in the West.

WHERE:

OPEN:

THE CURTIN

LIVE MUSIC takes place in The Curtin’s spacious upstairs band room. An iconic space that sees performances across all genres, The Curtin remains a crucible of creativity, forging connections within Melbourne's cultural sphere.

FAMOUS FOR being the haunt of Melbourne music royalty. In the immortal words of Alex Lahey: “Every Melbourne musician and music fan loves this spot.”

INFAMOUS FOR hosting Sonny’s Fried Chicken & Burgers, which serves up some of the tastiest fried chicken in this city. Sorry, vegetarians - that’s what I call finger-lickin’ good.

Æ Nestled in the heart of Melbourne, The Curtin stands as an enduring symbol of the city's rich musical heritage. As one of Australia’s oldest pubs, The Curtin has been a fixture of the Melbourne music scene for decades. Wallpapered with gig posters and known for its welcoming and laid-back vibe, it has given countless emerging artists of all genres a place to find their footing and plays host to some iconic international acts.

Its homely decor and no-frills charm create an inviting space where music lovers can revel in the raw energy of live performances.

“They [book bands] from Jazz Party to weird, experimental shows, to just awesome, straight-up rock‘n’roll and punk shows,” Pablo Alvarado, creator of Bone Soup touring group, told us back in 2022.

“The fact that [The Curtin] doesn’t have this big label or brand of being one particular thing is what I love about it.”

The Curtin stands proudly across from Trades Hall, paying homage to a former socialist turned Labor Prime Minister, John Curtin. A haven for diverse souls, this iconic spot has attracted Bob Hawke, students, unionists, music aficionados and bands alike. Craft beers, delectable food, pulsating live music, DJs, a lively dance floor, and hands-on staff complete its vibrant tapestry. Its unassuming facade belies a treasure trove of musical heritageif you haven’t already spent a night there, trust us when we say you’re missing out. WHERE:

238 WHITEHALL ST, YARRAVILLE

11AM–LATE WED–SAT

THE SOUND BURGER

WORDS BY MAAIKE SCHIPPER

Æ Returning for the analogue enjoyers of this generation, the Audio-Technica Sound Burger offers the perfect on-the-go option to ditch the digital and head out into the world armed only with a sleek portable record player, headphones and the phrase “it sounds better on vinyl.”

In order to get the full experience of what the Sound Burger offers, I turned my life on aeroplane mode one sunny winter Sunday and headed off to enjoy my LPs in the park.

No longer confined to playlists curated by algorithms, I spent the day fully embracing an album in its intended order, immersing myself deeply in the artist’s musical journey. Surrounded by chirping birds and lush trees, I felt like a vinyl DJ ready to drop the funkiest beats for Mother Nature herself. As the needle found its groove the passing pedestrians started walking in rhythm, the grass blades swaying along and the trees nodding their leafy heads in the wind.

One huge benefit of analogue music over digital, and of the reasons I appreciate the manual function of listening to records is the inability to skip songs or shuffle them. Surprisingly, the songs I would typically skip on my phone’s playlist often end up becoming my favourites when I dedicate the time and patience to wholeheartedly embrace the record’s experience.

However, this is usually limited to an inside activity and the necessity of a power source, but the Sound Burger has flipped this script on its head, its portability and 12 hours of battery life granting me an endless extension cord to adventure as far as the beach, or even just the convenience of the front porch for my morning coffee.

The Sound Burger is aptly named, resembling a compact hamburger shaped device that flips open and sandwiches the record between two mechanical buns. It has the added thrill of watching the record spin around in the open air, which proved to be a truly mesmerising experience.

It’s easy to set up, and has the option for both Bluetooth connectivity and RCA cords for various speaker types. Its innovative design can be adapted for safe travel, with a pin that secures the record arm in place for transport, accommodating both 33-1/3 and 45 RPM records depending on how you assemble it.

Despite its compact size and lightweight qualities, the Sound Burger offers an impressive sound quality, as well as the turntable being well engineered for a stable and consistent playback experience. It also has the added benefit of simply looking cool; whether displayed on a shelf or carried around like a cherished accessory, the Sound Burger captures the essence of a bygone era in a sleek and portable package; inviting conversations and curiosity from those who appreciate the beauty of analog music.

It was an absolute joy to stash away my smartphone in a forgotten corner of my home, bidding farewell to the constant distractions and notifications. My day with Audio-Technica’s portable record player truly answers the age old question of what three items I would take to a deserted island: headphones, Angel Olsen’s record My Woman and the Sound Burger. Pure bliss.

Dive into the wonderful realm of portable analog music and let the trusty Sound Burger be your faithful sidekick, whisking you away on a nostalgic and melodious adventure, and letting you share your record collection with the world outside your front door.

In an era dominated by streaming services and digital downloads, there is something undeniably captivating and nostalgic about the warm, crackling sound of vinyl records.

The Sound Burger is aptly named, resembling a compact hamburger shaped device that flips open and sandwiches the record between two mechanical buns.

It has the added thrill of watching the record spin around in the open air, which proved to be a truly mesmerising experience.

BUD 6 - 120W

Dual Channel Guitar Amplifier

BUD 10 - 120W

Dual Channel Guitar Amplifier

GIG GUIDE

JULY 2023

THU 06 JULY

THE DREGGS. MITCH SANTIAGO

The Forum, Melbourne. 7pm. $54.60.

SAME TEAM, NO GAMES

FEAT: Old China + Guests

Section 8, Melbourne. 6pm.

IAMAI. DRAGONFRUIT, PRIYA, STEVZAR

The Bergy Seltzer, Brunswick. 8pm. $22.95.

ZE WISENHEIMER. WORKER & PARASITE, LAURA MACFARLANE

Old Bar, Fitzroy. 8pm.

ODETTE. WITH PAIGE

Northcote Social Club. 8pm.

SUGAR TONGUE. VIOLET HARLOT, MY GIDDY AUNT

Bar Open, Fitzroy. 8pm. $17.35.

FLASHY DASHBACKS

Bar 303, Northcote. 8pm. $20.

OPEN MIC @ RAGTIME TAVERN

Ragtime Tavern, Preston. 7pm. Free.

CRAIG ATKINS Daylesford Hotel. 6pm.

ONE SONG: THE MUSIC OF ARCHIE ROACH

Hamer Hall (Arts Centre Melbourne).

7.30pm. $75 - 135.

OPEN MIC NIGHT

The Drunken Poet, West Melbourne. 7pm. Free.

POET STREET

Wesley Anne, Northcote. 6pm.

NINA FERRO & THE GOLD STANDARD

Paris Cat Jazz Club, Melbourne. 7pm. $45.

AMY, AMY, AMY Bird’s Basement, Melbourne. 6pm. $30.

LACHLAN MCLEAN

The Jazzlab, Brunswick. 7.30pm. $25 - 30.

CHARLIE NEEDS BRACES

Kew Court House. 11.30am. $20.

MATTHEW HADGRAFT PRESENTS

ELTON JOHN: YOUR SONG

Memo Music Hall, St Kilda. 8pm. $30.

FRI 07 JULY

HOCKEY DAD + RUBY FIELDS. DEAR SEATTLE

The Forum, Melbourne. 6.30pm.

ELYSIUM GOTH NIGHT FOURTH BIRTHDAY

24 Moons, Northcote. 10pm. $15 - 20.

TOOL BOX

FEAT: Top Hun, Kufa, Recluse, c8, Mon Franco Section 8, Melbourne. 6pm.

HEAD OF CLAY. THE MIDNIGHT DEVILS, SOUTHBOUND SNAKE CHARMERS, GEN 2

The Bergy Seltzer, Brunswick. 8pm. $11.75.

OUTLAW. NIGHTRAIN, TORRENTIAL THRILL Leadbeater Hotel, Richmond. 8pm. $23.75.

AMENDS. JACOB

Old Bar, Fitzroy. 8pm. $17.35.

LITHE Northcote Social Club. 8.30pm.

BONES & JONES. COOL SOUNDS, BACKYARD STORIES, MYLEE GRACE, DJ O HONEY

Corner Hotel, Richmond. 8pm. $24.

MINDY MENG WANG: WHEN Melbourne Recital Centre. 7pm. $37.

TRUMPET

Ragtime Tavern, Preston. 8pm.

SURPRISE CHEF Brunswick Ballroom. 8.30pm.

THE WINFIELD ROAD EXPERIMENT

Wesley Anne, Northcote. 6pm.

BEBOP & BEYOND WITH THE IRREVERENCE TRIO

Open Studio, Northcote. 9.30pm. $17.19 - 30.

NIKKI NOUVEAU PRESENTS SWINGTIME IN PARIS

Memo Music Hall, St Kilda. 8pm. $30.

STEELY DAN’S AJA. THE KITES Bird’s Basement, Melbourne. 6pm. $28.

THNDO: CINDERELLA

The Jazzlab. Brunswick. 8pm. $50.

THE MUFARO SHOW

Hotel Esplanade (aka The Espy), St Kilda. 7pm. $22.95.

A$AP ROCKY APPRECIATION

NIGHT

Stay Gold, Brunswick. 11pm. $13.30 - 19.

JAY ZAYAT. R.EM. EDY, NATASHA BIANCA

The Workers Club, Fitzroy. 8pm. $20.50.

BILL BARBER

The Drunken Poet, West Melbourne. 8.30pm.

GYPSY KING JONES + ELLA FENCE

Open Studio, Northcote. 6.30pm. $22.49.

TEAM LOVE

Post Office Hotel, Coburg. 9pm. BATPISS. BITUMEN, EMOTION PICTURE

The Curtin, Carlton. 8.30pm. $27.95.

THRALL. GRAVEIR, REAPER, CULT OF THE NIGHT

Bendigo Hotel, Collingwood. 7pm. $15 - 20.

BEERS FOR BANDS: SUNFRUITS

Stay Gold, Brunswick. 7.30pm. $23.50.

ABSOLUTE BOWIE

Max Watt’s, Melbourne. 8pm. $59.90.

FIRM FILTERS + BIG FARMER

Mamma Chen’s, Footscray. 8pm. Free.

SAT 08 JULY

VICTORIAN OPERA: IDOMENEO

Palais Theatre, St Kilda. 7.30pm. $39.

EAT THE BEAT: ELEVATE

FEAT: Ariadna, Andrea Guadalupi, Gav Whitehouse, Dagu, Danzah, Hooker, Ophelie Mercury, Stamp

New Guernica, Collingwood. 10pm. $20 - 25.

PETE MURRAY. TAYLOR SHERIDAN

The Forum, Melbourne. 7pm.

GRYTT + S:BAHN

Gem Bar, Collingwood. 3.30pm. Free.

THE NAYSAYERS. HONEYBONE

The Catfish, Fitzroy. 7.30pm. $12.

ROT8TE. X8NDER.M + FRIENDS

Section 8, Melbourne. 6pm.

POWERSTRYDE (2X SETS)

The Beast, Brunswick East. 9pm. Free.

MY SIS: A CELEBRATION OF BLAK WOMEN IN MUSIC

FEAT: Miss Kaninna, Dancingwater, Canisha, Kootsie Don

The Bergy Seltzer, Brunswick. 12pm. Free.

LEWIS CIAVARELLA. R.EM.EDY, THE GLAMOUR Leadbeater Hotel, Richmond. 8pm. $23.75.

THE KIDS NEXT DOOR. MY GIDDY AUNT, LIPSTEREO Old Bar, Fitzroy. 8pm. $11.25 - 15.

STEPH STRINGS

Northcote Social Club. 8.30pm.

MAYZIE

Bar Open, Fitzroy. 8.30pm. $17.35.

SUGAR TONGUE. VIOLET HARLOT, SISTINE GUNS

The Tote, Collingwood. 8pm. $11.25.

MIDDLE AGE FANCLUB’S INDIE WINTER Bar 303, Northcote. 7.30pm. $15.

THE RIFF RAFF Cherry Bar, Melbourne. 8pm. $27.70.

HEKKA

Melbourne Recital Centre. 7pm. $25.

RODEO NIGHTS

The Thornbury Local. 8pm.

DAN DINNEN & SHORTY

The Drunken Poet, West Melbourne. 9pm.

CURLY & THE FRINGE. MALIBU SPACEY, ELLEN JAMES

Retreat Hotel, Brunswick. 2.30pm. $15.

DAMON SMITH

Ragtime Tavern, Preston. 8pm.

SURPRISE CHEF

Brunswick Ballroom. 8.30pm. $43.96.

LP3

Wesley Anne, Northcote. 6pm.

FIREFLY HORNS

Open Studio, Northcote. 9pm. $16 - 20.

PIERRE JAQUINOT

Edinburgh Castle Hotel, Brunswick. 6pm.

FEM BELLING WITH THE JOE RUBERTO TRIO

The Jazzlab, Brunswick.

7.30pm. $30 - 35.

ESPIONAGE.

KODE9, 4AM

KRU, RAMSEY

Hotel Esplanade (aka The Espy), St Kilda. 11pm. $49.85.

MILD MINDS (MELBOURNE)

Howler, Brunswick. 7pm. $39.90.

ELECTRIC FIELDS + MELBOURNE SYMPHONY ORCHESTRA

Hamer Hall (Arts Centre Melbourne).

7.30pm. $55 - 97.

SIMPSONS RAVE MELBOURNE

Max Watt’s, Melbourne. 8pm. $11.42 - 32.08.

DONNIE VIE

Prince Bandroom, St Kilda. 7pm. $86.70.

THE DEAD AMIGOS. EL BEBE, CRYSTALLINES, TRIBEHOUNDS

Bendigo Hotel, Collingwood.

8.30pm. $15 - 20.

HYG. SKERZO, ECHO

Social Club Retreat Hotel, Brunswick. 7.30pm. $15.

THE NAYSAYERS. HONEYBEE, MORE

The Catfish, Fitzroy. 7.30pm. $12 - 15.

HEAVENSGATE. OUTSIDER, DIESECT, BODY PRISON

Cactus Room,

Thornbury. 8pm. $20.

DJ LUKE

Daylesford Hotel. 9pm.

THE PIANO MEN

Bird’s Basement, Melbourne. 6pm. $50.

THU 13 JULY

MOOR MUSIC. SLOW BAND (LIVE) Section 8. Melbourne. 6pm.

TELENOVA

Northcote Social Club. 8pm.

EMMA DONOVAN + SINGING OUR FUTURES (FUNDRAISER).

Feat: Kee’ahn, Kiwat Kennell, Madi Colvile-Walker, Ridzyray, Maylene Yinarr

Corner Hotel, Richmond. 7pm. $29.10.

GLASSHOUSE

JAM

Bar 303, Northcote. 8pm. Free.

BLACK CHERRY. FUTURE STATIC, EXCUSE FOR AN EXIT Cherry Bar, Melbourne. 9pm. $10.

OTTOMAN BAROQUE

Melbourne Recital Centre. 7pm. $30 - 185.

OPEN MIC @ RAGTIME TAVERN

Ragtime Tavern, Preston. 7pm. Free.

CRAIG WOODWARD

The Drunken Poet, West Melbourne. 9pm.

ANIA REYNOLDS

Wesley Anne, Northcote. 6pm.

SENES FLAMENCO TRIO

Open Studio, Northcote. 8pm. $18.

B# BIG BAND WITH JOE CAMILLERI

Bird’s Basement, Melbourne. 6pm. $70.

JOEL TRIGG TRIO

The Jazzlab, Brunswick. 7.30pm. $20 - 25.

BOTH. JAYDA JEAN

Sooki Lounge, Belgrave. 8pm. $15.30.

EVAN CARYDAKIS: THE CHERRY POPS TOUR

Paris Cat Jazz Club, Melbourne. 7pm. $35.

THE VALIANTS + HOT GLUE

Hotel Esplanade (aka The Espy), St Kilda. 8pm.

THAT CHANGES

Edinburgh Castle Hotel, Brunswick. 6pm.

FRI 14 JULY

LEWIS CAPALDI

Rod Laver Arena, Melbourne. 7.30pm.

CARL BARRON: SKATING RINK FOR FLIES

Palais Theatre, St Kilda. 8pm. $69.95.

SASHA COLBY + ANETRA

The Forum, Melbourne. 7pm.

FUZZRAYS

The Catfish, Fitzroy. 7.30pm. $10.

SQUIDTHEKID. DREST, MIZUKI

The Bergy Seltzer, Brunswick. 8pm. $16.85.

THE BENNIES. PIZZA DEATH, BIFF Leadbeater Hotel, Richmond. 8pm. $28.85.

CONVENIENCE STORE. SOFIA, SUPERCAB

Old Bar, Fitzroy. 8pm.

THE DOUBLE AGENTS. DAVE LARKIN ELECTRIC, PLASTIC SECTION

Northcote Social Club, Northcote. 8.30pm. $24.

LEO. BABY SHOWER, ERIN WILL BE MAD

Bar Open, Fitzroy. 8.30pm. $17.35.

CADDY CALLAGHAN. CHRISSY, JANE

CAMERON

Bar 303, Northcote. 7pm. $15.

INVENIO

SINGERS: HANDS FOR CLAY

Melbourne Recital Centre. 7pm. $37.

MYSTIC PARK. SHOEBO, LOUI FROIA

Brunswick Artists’ Bar. 5.30pm. Free.

DIVIDE & DISSOLVE

The Curtin, Carlton. 8.30pm. $33.45.

BAGGY

TROUSERS: THE SOUND OF MADNESS

Prince Bandroom, St Kilda. 7pm. $37.75.

BEERS FOR BANDS: RAGING HORMONES

Stay Gold, Brunswick.

7.30pm. $23.50.

KINGS OF THRASH: THE MEGA YEARS

Max Watt’s, Melbourne. 8pm. $54.95.

BRIAN CADD

Bird’s Basement, Melbourne. 6pm. $50.

FURIOSITY

FEAT: DJ Scorpion, CaucasianOpportunities, Frankifettucini, Monfreaq

Hotel Esplanade (aka The Espy), St Kilda. 10pm. $18.25.

THE BACKYARD

BANJO CLUB

The Drunken Poet, West Melbourne. 8.30pm.

JAZZ IN THREE Edinburgh Castle Hotel, Brunswick. 6pm.

NORIA & THE PARISIANS:

BASTILLE DAY Paris Cat Jazz Club, Melbourne. 8.30pm. $45.

FELIVAND.

MONNIE, IVORIS

The Workers Club, Fitzroy. 8pm. $23.20.

RAI THISTLETHWAYTE WITH BEN VANDERWAL

The Jazzlab, Brunswick. 8pm. $35 - 40.

I HOLD THE LIONS PAW

Post Office Hotel, Coburg. 9pm.

SWING TO BOP

Open Studio, Northcote. 7pm. $20.

HENRY BALLARD

Micawber Tavern, Belgrave. 7pm. Free.

SAT 15 JULY

THE PRESETS 20TH ANNIVERSARY DJ TOUR Pier Bandroom, Frankston. 8pm.

LEWIS CAPALDI

Rod Laver Arena, Melbourne. 7.30pm.

CARL BARRON: SKATING RINK FOR FLIES

Palais Theatre, St Kilda. 8pm.

THE EMERSON SATURDAYS

The Emerson, Melbourne. 5pm.

JEFF PATTISON

Arcobar, Heatherton. 2pm. Free.

LEAPS & BOUNDS PRESENTS SPUNKFEST

The Catfish, Fitzroy. 6.45pm. $15.

THE CHEVALIERS. EAT THE DAMN ORANGE, THE CIGARILLOS

The Bergy Seltzer, Brunswick. 8pm. $15.

CULTIVATE. MATILDA PEARL, JXN, FLORIAN, MATAHARA

Leadbeater Hotel, Richmond. 8pm. $10.

FOLK BITCH TRIO

Northcote Social Club. 8.30pm. $24.

KINGSWOOD

Corner Hotel, Richmond. 8.30pm. $45.

AFFAIR: A NIGHT CELEBRATING

FEMALE SINGERSONGWRITERS IN NAARM

The Tote, Collingwood. 5pm. Free.

MORGANA

Melbourne Recital Centre. 8pm. $37.

CALLUM WYLIE

The Thornbury Local. 8pm.

DAVID COSMA

Daylesford Hotel. 6pm.

CANDICE ALISHA

Wesley Anne, Northcote. 6pm.

BONNIEMUSE + REFLEJOS

Ragtime Tavern, Preston. 8pm.

SWEETHEARTS

Brunswick Ballroom. 2pm. $17.95.

THE SEBEN BROTHERS

Open Studio, Northcote. 9pm. $17.19.

LET’S SWING:

NADIRA + ADAM

RUDEGEAIR

Open Studio, Northcote.

5.30pm. $17.19 - 30.

ALICE BISSCHOPS TRIO

Edinburgh Castle Hotel, Brunswick. 6pm.

ALCIDES NETO SEXTET

The Jazzlab, Brunswick. 8pm. $30 - 35.

TEX PERKINS + KIM SALMON

Brunswick Ballroom. 8.30pm. $55.18.

KAYCYY

Hotel Esplanade (aka

The Espy), St Kilda. 7.30pm. $49.90.

DJ LUKE

Daylesford Hotel. 9pm.

THE GREATEST

SHOWTUNES: MUSICAL PARTY

Stay Gold, Brunswick.

11.15am. $18.40.

THU 20 JULY

YEAH YEAH YEAHS

Margaret Court

Arena, Melbourne.

7.15pm. $99.90.

‘KID’ JAMES TRIO

Gem Bar, Collingwood. 8.30pm. Free.

SKY IN JULY

FEAT: Polly & The Pockets, The Dolphins, Bathhouse

The Bergy Seltzer, Brunswick. 8pm. $16.85.

THERAPY GECKO

Live Corner Hotel, Richmond. 7.30pm.

BUENA VISTA SOCIAL CLUB TRIBUTE

Brunswick Ballroom. 8pm. $49.06.

HECTOR HARLEY

Wesley Anne, Northcote. 8pm.

TESSIE OVERMYER QUARTET

The Jazzlab, Brunswick.

7.30pm. $20 - 25.

THE SPROUTS

Edinburgh Castle Hotel, Brunswick. 6pm.

BEERS FOR BANDS: LE SHIV

Stay Gold, Brunswick.

7.30pm. $23.50.

THE VIERNE PROJECT

FEAT: Joseph Nolan

Melbourne Town Hall. 1pm. Free.

FRI 21 JULY

LUCID SAFARI

The Catfish, Fitzroy. 7.30pm. $10.

THE OPERATIVES

FEAT: JPS x Nam + Friends

Section 8, Melbourne. 6pm.

MERAKI MINDS WITH FRIENDS

The Beast, Brunswick East. 9pm. Free.

FURIOUS GEORGE. NO DICE!, RISE FROM ASHES, ATRIOX, ALL MONSTERS ARE HUMAN

The Bergy Seltzer, Brunswick. 8pm. $16.85.

TERAMAZE. EYEFEAR, IRONSTONE

Northcote Social Club. 8.30pm. $35.20.

CASH SAVAGE & THE LAST DRINKS. PORPOISE SPIT, DRAGNET

Corner Hotel, Richmond. 8.30pm. $51.10.

THE FOUR SCOOPS

Bar Open, Fitzroy. 6pm.

THE EAGLES

STORY

Yarraville Club. 8.40pm. $30.

SPAWN

Cherry Bar, Melbourne. 8pm. $12.37.

REUBEN LEWIS

Melbourne Recital Centre. 7pm. $30.

BOOF!

Ragtime Tavern, Preston. 8pm.

RETRATOS

Wesley Anne, Northcote. 6pm.

SHELTER: SCHAK

Hotel Esplanade (aka

The Espy), St Kilda. 10pm. $23.35 - 34.56.

HUGH MCGINLAY

Daylesford Hotel. 6pm.

JAY HOWIE

The Drunken Poet, West Melbourne. 8.30pm.

MISTRY + AIDAN

Edinburgh Castle Hotel, Brunswick. 6pm.

SJAELLA: NORDIC NIGHT

Melbourne Recital Centre, Southbank. 7.30pm. $60.

EXHUMED

Bendigo Hotel, Collingwood. 8pm. $57.71.

JEFF DUFF:

BOWIE UNZIPPED

Memo Music Hall, St Kilda. 7pm. $35.

SWEETIE. BAD BANGS, JUNGLE BREED

Retreat Hotel, Brunswick. 7.30pm. $20.

TERAMAZE. EYEFEAR, IRONSTONE

Northcote Social Club. 8.30pm. $32.30.

TAYLOR SWIFT: SPEAK NOW PARTY

Max Watt’s, Melbourne. 8pm. $29.90.

SAT 22 JULY

SLOWDIVE

The Forum, Melbourne. 7.30pm.

THE BNS SHOW WITH UMARIA + RANDHIR

Festival Hall, West Melbourne. 6.30pm. $91.19.

THE EMERSON

SATURDAYS

The Emerson, Melbourne. 5pm.

FIELD, SEE & MASON

Arcobar, Heatherton. 8pm. $27.50.

SKERZO. MONASTERIA, SUNEDEN

The Catfish, Fitzroy. 7.30pm. $10.

DIRTY HOUSE

FEAT: Nay Nay, The Menace, Genre Compound, Dos Santos

Section 8, Melbourne. 6pm.

MUCH LOVE TO THE ASRC FUNDRAISER

FEAT: Dopplerhaus, Dilemmas, Lostii, The Carp Factory, nickname, Shen + Doma, swyr + Tate Baker

The Bergy Seltzer, Brunswick. 7.30pm. $28.05.

ATOMIC ENTOURAGE. GOODWOOD, FLICKER VERTIGO

Bar Open, Fitzroy. 8.30pm. $17.35.

OUR ZEBRA TROY. ASTROVILLAIN, DËRTY BËRD

Bar 303, Northcote. 7.30pm. $10 - 15.

ROSE RIEBL

Melbourne Recital Centre. 7.30pm. $40.

INDU MULLIGAN

The Thornbury Local. 8pm.

GEORGIA BROOKS SWINGTET

Paris Cat Jazz Club, Melbourne. 9pm. $45.

SKYHOOKS

Brunswick Ballroom. 8pm. $49.06.

GRACE LAND PRESENT

HITS OF ELVIS

DANCE PARTY

Open Studio, Northcote. 9pm. $22.49.

WINDWAKER. CASKETS, ALT

Max Watt’s, Melbourne. 7pm. $44.90.

TERAMAZE. EYEFEAR, IRONSTONE

Barwon Club Hotel, South Geelong. 8pm. $30.

070 SHAKE Northcote Theatre. 7.30pm. $69.90.

DJ LUKE

Daylesford Hotel. 9pm. ONE DIRECTION 13 YEAR ANNIVERSARY PARTY

Stay Gold, Brunswick. 11.15pm. $18.40 - 25.

TONY J KING

Daylesford Hotel. 6pm. THE DISTANT SOUTH

Wesley Anne, Northcote. 6pm.

DOGGEREL

The Drunken Poet, West Melbourne. 9pm.

SHANE NICHOLSON

Memo Music Hall, St Kilda. 7pm. $29.

LACHIE GILL

Bird’s Basement, Melbourne. 6pm. $25.

LOYLE CARNER

Palais Theatre, St

Kilda. 7pm.

KING CANYON

Arcobar, Heatherton. 8pm. $20.

ONE DAY KINGS. LATENT SENSE, SWIM STATE

Leadbeater Hotel, Richmond. 7.30pm. $11.25.

COLD REGARDS

Old Bar, Fitzroy. 8pm.

HAMMOND SESSIONS: KICKIN THE B @ 303 Bar 303, Northcote. 8pm. $20.

MSO: REFLECTED LIGHT

Melbourne Recital Centre. 7.30pm. $55.

OPEN MIC @ RAGTIME TAVERN

Ragtime Tavern, Preston. 7pm. Free.

DYLAN COSGRIFF

The Drunken Poet, West Melbourne. 9pm.

TEX PERKINS & MATT WALKER

Bird’s Basement, Melbourne. 6pm. $49.

IN LOVE... WITH BONNIE THORN

Open Studio, Northcote. 9.30pm. $22.49.

JAZZLAB ORCHEZTRA

The Jazzlab, Brunswick. 7.30pm. $20 - 25.

STEWART REEVE: CHAMELEON

Gasworks Arts Park, Albert Park. 7.30pm. $45 - 49.

FRI 28 JULY

PJ HARVEY Corner Hotel, Richmond. 8.30pm. $27.05.

IVY BLACK. HETEROCHROMIA, CARLOTTIA Bar Open, Fitzroy. 8.30pm. $17.35.

LOVE ME NOT. OLYMPIC WHITE, ENVELOPE Bar 303, Northcote.

7pm. $15.

THE SPOOKY

MEN’S CHORALE Melbourne Recital Centre. 7.30pm. $60.

JUMPIN’ JACK JORDAN & FRIENDS

Ragtime Tavern, Preston. 8pm.

SHOEHORN Daylesford Hotel. 6pm.

RETRATOS

Edinburgh Castle Hotel, Brunswick. 6pm.

RALEIGH WILLIAMS

SINGS DUSTY SPRINGFIELD

Paris Cat Jazz Club, Melbourne. 9pm. $45.

STEVIE WONDER FUL

Paris Cat Jazz Club, Melbourne. 6pm. $45.

HARRY JAMES ANGUS + FREYJA HOOPER

The Jazzlab, Brunswick. 7.30pm. $45.

PANDEMIC PARTY Brunswick Ballroom. 8pm. $12.85.

ALI AZIMI

Prince Bandroom, St Kilda. 7pm. $149.

BEERS FOR BANDS: LOSER.

RAMONA

SKY, SNUB

Stay Gold, Brunswick. 7.30pm. $23.50.

TEX PERKINS & MATT WALKER

Bird’s Basement, Melbourne. 6pm. $49.

PHIL JAMIESON

Sooki Lounge, Belgrave. 8pm. $41.85.

NIGHT OF POWER: POWER BALLAD CLUB NIGHT

Brunswick Artists’ Bar. 7pm. Free.

SUNSHINE & DISCO FAITH CHOIR PRESENT GRAND CENTRAL

Hotel Esplanade

(aka The Espy), St Kilda. 8pm. $54.60.

FIDEL MONK

The Drunken Poet, West Melbourne. 8.30pm.

TRADITIONAL IRISH MUSIC SESSION

The Drunken Poet, West Melbourne. 6pm. Free.

HONKY TONK TOWN #4

Gem Bar, Collingwood. 8pm. Free.

THE VIERNE PROJECT FEAT: JOSEPH NOLAN

Melbourne Town Hall. 1pm. Free.

SAT 29 JULY

SCAPHIS. ESCARION, TONGUE BITER

The Beast, Brunswick East. 9pm. Free.

SQUARE DANCE CALLER. THE GLAMOUR, CASCADE BLOOM

The Bergy Seltzer, Brunswick. 8pm. $19.40.

DEAR THIEVES. CAKE, THE NICOTEENAGERS, STONE WITCHES Old Bar, Fitzroy. 8pm.

THE VALIANTS. ELLIE CAN’T SWIM, DOOMSDAY PILOT

Northcote Social Club. 8pm. $18.40.

SLOW GRIND

80’S #11

Bar Open, Fitzroy. 9pm. $15.

A T E T SATURDAYS

A T E T, Docklands. 11am. $22.49.

AFFINITY QUARTET

Melbourne Recital Centre. 7pm. $37.

DJ MOKTAR:

MOKTAR ALL NIGHT LONG

The Night Cat, Fitzroy. 10pm. $34.90.

CANDICE ALISHA

The Thornbury Local. 8pm.

FJ STEELE

Daylesford Hotel. 6pm.

THE PHEASANTRY

The Drunken Poet, West Melbourne. 9pm.

CODA CHROMA

Brunswick Ballroom. 8.30pm. $31.72.

FOREVER 80S: THE BEST OF THE 80S

Memo Music Hall, St Kilda. 7pm. $40.

GOLD FANG + JESSB

The Workers Club, Fitzroy. 8pm. $28.30.

BLOWERS. ROT TV, BILLIAM & THE SPLIT BILLS

The Curtin, Carlton. 8.30pm. $17.75.

INCANTATION. NOCTURNAL GRAVES, REMAINS, GUTLESS

Max Watt’s, Melbourne. 8pm. $67.35.

LOS PALMS + BLACK BATS

Cactus Room, Thornbury. 8pm. $10.

UNFORGETTABLE: A TRIBUTE TO NATALIE COLE WITH MEL SEARLE

Paris Cat Jazz Club, Melbourne. 8.30pm. $45.

GRAND WAZOO

Bird’s Basement, Melbourne. 6pm. $50.

SOUL CENTRAL Cherry Bar, Melbourne. 8pm. Free.

STEWART REEVE: CHAMELEON

Gasworks Arts Park, Albert Park.

7.30pm. $45 - 49.

FORUM MELBOURNE

WITH SPECIAL GUESTS THE DELTA RIGGS & THE SOUTHERN RIVER BAND