Interview: How Kev Carmody created the album of a lifetime (and other timely subjects)

Through songs like ‘From Little Things Grow’, ‘Cannot Buy My Soul’ and ‘River of Tears’, Kev Carmody has earned a legendary status and made a deep and indelible mark on music and the shared historical understanding of this country. Now he is hitting the road to tour an epic collection of 41 previously unrecorded songs, going back to 1967 titled Recollections… Reflections… (A Journey), a four CD Deluxe Box Set. Les Thomas caught up with Kev Carmody for a wide-ranging discussion on the personal, the musical and the political.

Edited Transcript

I’ve been really getting a lot out of your amazing new release, which includes 41 songs going all the way back to 1967, is that right?

Yeah. I suppose it’s a long flaming journey and some of them are written on the spot, but it’s a fair spread, Les, isn’t it?

I’ve been trying to think about how it all sits for me and I spotted an article talking about the Japanese art of Kintsugi, were gold is used to repair broken vases. I don’t know if you’ve ever seen that, but your work on this collection has you kind of highlighting imperfections and history in an amazing way. For me it brings a lot home. 

I tell you what, I think that’s about the best description I’ve heard. You put your finger on it, because one of the really hard parts of the whole thing was trying to get a running order. With 41 songs with different themes and different focusses, trying to get the whole lot so it makes sense, so that it’s not spliced and it’s still connected through, that’s a damn good flaming description. You should be doing the reviews, mate. [Laughs]

I just hope people take the time to really get what’s going on, because you’ve got a lot of things that bind it together. Having an Aboriginal, Irish and other family myself—

What part of the actual country were you raised in down there?

I’ve always lived within the Kulin Nation on either Wurundjeri or Boon Wurrung land.

Holy mackerel! So what was your nearest big town?

In Melbourne. It’s pretty much ground zero down here.

OK, geez, you’ve got the whole of that saltwater mob in your blood! [slight digression ed.]

Well, the other thing with that record, too, was not to have a drum kit, not to have a bass guitar and just do it with stuff that we found around the shed, recording birds and dogs and stuff like that. And the other thing is to record one take,to just walk in and just whack it down like you’re improvising most of the time. I said I wanted it to sound like an empty B-double cattle truck travelling from Bulya to Broome across the Tanami Desert.

Well I think you got it in one. And the way you deliver every word on this album, it sounds like you’re up close and personal and you’re doing it in a way that’s really open. There’s no hesitation in the voice. It’s a direct whispering in the ear kind of thing. How long did it take in all and what was it like working with [producer and engineer] Andy Wilmot?

Yes, Andy’s got a place about 20 minutes away in the bush there. It’s an old, disused fruit packing shed. It’s got that beautiful thick wall of insulation made out of straw. They couldn’t get insulation after the Second World War so they bound all the grass together with wire and stuck it in the walls. Crikey, it’d be at least 20–30 centimetres thick and then put tar over it and it’s just got a great sound.

And we’d only do eight hours of recording max, a week, cos Andy teaches drums and stuff like that and he’s working with the youth around this area. So we just tapped along. We’d start a bit of a song and then go into another one. We just took our flaming time.

And you’re exploring both sides of the family tree in a big way here. I guess there’s strong reasons why there’s a strong Irish and Indigenous link in this country.

That was, again, a spontaneous, unplanned part of the recording. This Irish film crew came over and they were documenting that connection from Ireland to Australia through music and looking at how, once the Irish went up the economic ladder, they, in a sense, became the oppressors. When you look at Ned Kelly, his judge was Irish and his hangman was Irish.

Yes, that’s true. Redmond Barry [presided over the Kelly trial].

The funny part was, when they left, this chap said “Look, I do poetry. Would you mind just putting the didge to it?” And we were filming in Andy’s studio and I just pulled the didge out and said to Andy “Just roll the tape” and this fella did the poetry over it, then he did it in Gaelic and I just thought he was the emcee, but when he left, they left a beautiful coloured brochure on the desk and I read it and found out that he’s Louis de Paor; he’s one of the biggest performance poets in Ireland and, not only that, he’s a doctor and the director of Irish dance and music at the University of Galway. [Laughs] And I put that on the album because the words are fantastic and he’s looking from the outside in. And he lived over here for a fair while too.

Yes. He sounds like he’s speaking with a fair bit of insight, right there. And what strikes me about the sort of people that you list as influences is it seems you’ve always had a very open mind to whatever grabs you. There’s a real depth and range to your list of inspirations.

Oh well, you can’t rush an old rooster or go messing with a fussy hen. [Laughter] A young Murri fella up here was really interested in photography and filming, young Josh, and we got him over and documented how the music was made. So the ABC are going to put on a half-hour doco this year. So it’s just natural to say when the kids are pushing the chooks around, you can’t rush them. Just like consumerism is so full on with acceleration to keep you consuming and they’re rushing us from one chook yard to the other, different brands and stuff like that. And as you get older you sit back and think, ‘Nah, look I’m not falling for the new iPhones.’

What I hear is a bit of defiance, which you need if you’re trying to resist this sound grab culture where a lot of communication of social media uses 64 characters or less. Were you going out of your way to make a statement with this long release or is this the way you like to do your thing?

Well the family was saying “You’ve got all these flaming songs you’ve never recorded and a lot of them are history about your early life. You’d better get em down”. We had to actually stop. There’s heaps of stuff that never made the albums and i just had to say to Andy “Look, four CDs is enough. They’ve gotta get their head around one CD, let alone four”. As Paul Kelly said, he’s been listening to it for four weeks now and he’s still trying to put to together.

It sounds like Paul [Kelly] gave you a bit of a nudge to get things down as well?

Yeah. Paul and Jim Moginie [guitarist] from Midnight Oil. Jim did a couple of tracks with us. He can play flaming anything. And their interest is from basic folk, acoustic music right through to the heavy metal, punk stuff, but I wanted to keep it basically acoustic to show you can still pull it off with an acoustic guitar.

I’d say this album is really built around your voice and approach. It’s spacious. Lots of soundscapes. And I know you don’t describe yourself as a singer, but I think with the storytelling and delivery, there’s no mistaking who this voice belongs to. I’ve often wondered what it would have been like to have been a fly on the wall when you wrote ‘From Little Things Big Things Grow’ with Paul Kelly.

Again, that just plonked out. No planning. Paul came up with his young son Declan and we took them out to this big waterhole and camped and at nighttime around the fire I pulled out the mandolin and had a little chord progression and he seemed interested. Then I swapped the same chord progression to the banjo and then he picked up the guitar and I said “Look, it’s a pretty boring chord progression, but it’d be great to tell a story over”.

He had this concept initially of a love story along the lines of from this little thing this beautiful love grew is what he was talking about. Then I told him the story from our point of view of what that Gurindji strike meant to us. I remember walking in on a droving camp one night and mum’s got the tucker sorted out on the table. And she says “I just heard on the ABC Radio news that Gurindji mob walked off. And as Blackfellas we said “Holy hell, what’s gonna happen here?”

That was ’66, the year before the Referendum. Anyway, Paul got really interested in the story and lyrically it came out in about 40 minutes or an hour, but the basic thing was there. So it came from a concept of a personal love song to a cultural love song. Well, I reckon it did anyway. [Laughs]

It can work on multiple levels, but I suppose in terms of preserving history it’s an example of a song that’s an actual victory and it’s one that’s travelled far and wide because you guys put it into verse.

And again it’s part of that old oral tradition, Les. I never went to school until I was ten  and that oral tradition was really important to us. It was a way of carrying history, events, things that happened, happy things, sad things. Music and song and storytelling … it was so much a part of the Irish culture too. Every culture has it. it’s only over the last 20th Century that they got this concept of copyright and selling music. Everybody own the music before that.

Would you say with the Irish and Indigenous connection, there’s probably less inhibition about addressing political issues as well? What would you say about your experience as someone who’s willing to sing about what you know and have insight into in a world that often tries to look away?

I just sort of do the basics. I’d love people to grab hold of it. Even if you do hip hop or rap or whatever, take the theme and make the song evolve off for the next generation. I’m only throwing the match out in the grass. If you look at the [Cannot Buy My Soul] album Paul Kelly put together with all those great musos, Troy Cassar-Daley, John Butler, Bernard Fanning, Sara Storer and all them. That’s a great way of people possessing the music and making it their own, putting their own words to it while keeping the theme of it. I think it’s great. That way I don’t have to be getting on stage going “jang, jang” and singing karaoke to my own song. [Laughs]

You’ve given permission to a lot of people, I’d say, to start to find out for themselves what’s really going on. I feel like each time the 26th of January rolls around–

Haha! It’s coming up.

There are more people who are more conscious of the contradictions and injustices that still need to be dealt with. 

Well that’s right. We’re still an immature, kindergarten nation, Les. Unless we recognise our history. And we’re still not in the constitution. We’ve got a fair way to go yet. And the young ones, they’re the ones to take it a step further.

Now there’s a lot of young people stepping up and talking about Treaty and things that haven’t been raised seriously since the ’80s.

That’s right. Gurindji come, your Mabo come and bang! There’s still all these brick walls that have been built up around the place. And unless they recognise us in the constitution and then with a treaty, they’re still in kindergarten as a nation.

There’s also a lot of different opinions within the community as to whether constitutional recognition is a genuine move. Especially in light of the Stolen Generations apology given that know you can see child removals are at higher levels than ever. I think a lot of people are fed up with hollow gesture politics. That’s why a lot of people are saying “No, we don’t want Recognise. We want to see a treaty.”

Well that’s right and it’s gotta be a consensus from the community. We’ve had enough of bureaucratic lawyers and stuff wording it their way. it’s gotta be a discussion for a fair few years and it’s gotta come from the baseline. That takes a while as you know. You walk into any Murri or Koori meeting  [laughs] there’s always opposing opinions, so it’s gotta be thrashed out. Then we present that and they accept it. Not that they present it to us and then we accept it.

Through music, how do you feel that you’ve impact the hearts and minds of the wider community that may not have a firsthand experience or understanding of things?

The thing is, I’ve always recognised the fact that you can’t change a person’s mentality. All you can do is make them aware. Music is one way of doing it. If you put out a PHD thesis, there’s only a very small, select elite who’ll actually discuss it, but if you’ve got it coming out of your car radio in language that people can understand or relate to, in that sense, it’s really positive.

And you’re about to get out there on the road to share some big dates.

Oh God! [laughs] With my wheelchair. I’m gonna get the grandkids to get the Woolworths trolly and push me around. [Laughs] The festivals heard about it and we thought we might as well give it a flaming crack and there’s a fair couple of weeks between each one, so it gives me time for this stupid back and arthritis to settle down.

Kev Carmody performs at Sydney Festival on January 17, Brisbane January 29, Perth February 17, Melbourne February 20, WOMADelaide March 11-14 and Cairns, Queensland April 8.

Unpaved’s best-loved releases of 2015

Our 2015 end of year list celebrates another year of mind-blowing and heart-tingling local, Melbourne and nationwide, releases on the country-folk, alt, Americana, twangeriffic side of music Unpaved holds dear. We’ve decided to include albums, EPs and singles, with a sample of sounds wherever possible. I’m reliably informed that music isn’t a competition, so rather than ranting and ranking, we invite you to take the time to listen and let the songs do the talking. We hope they hit you in the heart and move you as they’ve done to us, and please share the love of independent music with all of your family and friends. Wishing everyone a safe, joyous and throughly musical new year and look forward to seeing you at a local gig some time very soon.

Marlon Williams – Marlon Williams

Suzannah Espie – Mother’s Not Feeling Herself Today

Raised By Eagles — Diamonds in the Bloodstream

Jemma & The Clifton Hillbillies

Lost Ragas — Transatlantic Highway

Ben Mastwyk — Mornin’ Evenin’ 

Dan Parsons — Valleywood

Joshua Seymour — Rope Tied Hope

Ruby Boots — Solitude

Kev Carmody — Recollections… Reflections… (A Journey), a four CD Deluxe Box Set

Gallie — The Occoquan River

Saint Jude — III

The Stetson Family — True North

Shane Nicholson — Hell Breaks Loose

Jed Rowe — The Last Day of Winter

Alison Ferrier — Be Here Now

Lachlan Bryan and the Wildes — The Mountain

Michael Waugh — Heyfield Girl

Dan Lethbridge — Inner Western

Anna Cordell — These Walls

Leah Senior — Summer’s On The Ground

Various Artists — Buried Country 1.5

John Flanagan — Whatever Makes You Happy

Chris Pickering — Canyons

Ben Salter — The Stars My Destination

Mustered Courage — White Lies and Melodies

Kate Burke and Ruth Hazelton — Declaration

Áine Tyrrell — Queen of Swords

Brooke Russell — Never’s Gonna Take Too Long

Bill Jackson — The Wayside Ballads Vol 1

Nick Payne — Old Sydney Town

Rob Snarski – Low Fidelity (Songs by Request Volume 1)

Tom Dockray — One Finger Salute

Willow Darling (self-titled)

Anne McCue — Blue Sky Thinkin’

Madeline Leman — Tennessee Diamond

James Thomson — Cold Moon

How comedian Will Anderson woke up the world to Michael Waugh’s ‘Heyfield Girls’

Until a few days ago, Michael Waugh’s name probably wasn’t that well-known outside Melbourne’s tight folk music scene, but Heyfield-born comedian Will Anderson has drawn attention to Waugh’s new song and encouraged his 50,000 strong audience to check out the music video that celebrates the women of the Gippsland timber mill town where they were both born via his TOFOP podcast series. Together with co-host Charlie Clausen, the pair heap praise and — to some extent — take the piss, as you’d expect on a comedy podcast, while doing their bit to boost Youtube views for song.

As the opening track and lead single of his soon-to-be-released, Shane Nicholson produced album What We Might Be, ‘Heyfield Girl’ sets a beautifully poignant tone with Anderson compelled to describe Waugh as ‘M. Night Shyamalan of country music’. We feel the song is best left to speak for itself, but if ever there was a song that celebrates all that is close and important, setting aside the “grass is always greener” mentality, this is the one.

Michael Waugh, delighted at the sudden influx of attention, took a few minutes to respond on his Facebook page this afternoon with the following:

Yesterday, I started receiving unusual messages from YouTube saying that TOFOP had sent them to watch the ‘Heyfield Girl’ video… Some messages were from Canada and the US, posting lovely comments about the song. Confused about who or what TOFOP was, I did a little more research and discovered that TOFOP is Wil Anderson and Charlie Clausens’ podcast, and they had made reference to the ‘Heyfield Girl’ video in their latest release. Not just a fleeting reference, but a running commentary of the video encouraging listeners to go and see the music clip. Pretty lovely for someone relatively unknown like me – especially considering that they have 50,000 subscribers in 70 countries, and that they were putting it out as a challenge for listeners to increase exposure of the song. I have to say, too, that I’m pretty chuffed to be referred to as the ‘M. Night Shyamalan of country music’… and laughed at the reference to me looking like an older version of Shannon Noll in the clip… The podcast plays the song twice – which is gorgeous.

However, I’m less impressed by some of the derogatory references made by the comedians about the women in the video. The point of the clip is to celebrate the strength and beauty of these people. The video may defy some of the codes and conventions of how women have been traditionally represented in some music clips. I wonder if it’s fair to target aspects of how these women look? One of these women is my mum. And, family loyalty aside, all of these women did me a great honour by agreeing to be Heyfield Girls in our tribute to the underrated beauty of women in rural Australia.
I am a big fan of Wil Anderson – he is an intelligent satirist and has provided some politically well-informed social commentary. I am completely honoured that I would be targeted to have the piss taken out of me. I put myself out there because I love playing and writing music, and I love telling stories (this one about my mum is pretty special to me). And, because I put myself out there, it is completely fair that some may like it, some may hate it, and others may laugh at it. However, the generous country women in that film deserve more respect. As for Charlie’s suggestion that I might get a bit of ‘Heyfield p—y on a Saturday night’, I think that the women I met possibly have better taste than going for a guy who looks like an old version of Shannon Noll (no offence intended, Shannon)… And, that the true worth of these women is measured in more than their sexuality.

It is an unexpected pleasure to be promoted by someone with such a great following as Wil and Charlie – and I really don’t want to seem ungrateful to them for having taken the time to look me up and to encourage others to do the same. There is a moment in their podcast when they say that they wanted to ‘take the piss out of it – but it’s actually quite beautiful’. And they are absolutely right – those people are beautiful. Because of Wil and Charlies’ comments, more people are getting to hear my song and the story about my parents. That means a great deal to me. I just really hope that no one is offended…

The plug could be just the kickstart a fabulously talented like Michael Waugh needs and as a shrewd promoter once said, “there’s no such thing as bad publicity”. If Anderson’s shoutout propels this song to a mass audience, we’d be absolutely delighted. So take Wil’s advice and keep sharing this beautiful song.

Jep and Dep are coming to Melbourne town

This month, the always sublime Jep and Dep duo (Darren Cross and Jessica Cassar) are in Melbourne supporting the Black Eyed Susans for their Christmas show 11th and 12th December and then on the 13th December headlining at the Yarra Hotel, Abbotsford with Bell St Delays Supporting.
They also have some big shows coming up in the new year, including a Courtney Barnett support at the Twilight Taronga series on January 28.

11th December Supporting Black Eyed Susans at their Christmas shows at the Spotted Mallard.
12th December Supporting Black Eyed Susans at their Christmas shows at the Caravan Music Club.
13th December Headline show at the Yarra Hotel with Bell St Delays as support
28th January supporting Courtney Barnett at Taronga Zoo for the Twlight at Taronga Series.

Gillian Welch and David Rawlings 2016 Australian tour announced

Unpaved is overjoyed to share the news that Gillian Welch and David Rawlings will make a long awaited return to Australian shores in January and February 2016 for not one but two very special tours, thanks to the team at Love Police.

Playing as the duo, Gillian Welch, in Perth, Adelaide, Melbourne, Sydney and Brisbane before they transform into the quintet of the Dave Rawlings Machine for the drive back down the East Coast. Brisbane, Bangalow, Sydney, Canberra and Melbourne all get ready to experience the first ever visit by the Machine.

“We are very excited, once again, to be bringing our songs and our selves, and a few of our good friends, all the way from Tennessee to the land of Australia way down under. We will be driving the wild back roads from Perth to Melbourne, Sydney to Brisbane… come out and say howdy when we roll in to town!” – Gillian Welch & David RawlingsNashville, Tenn.

The dynamic duo were last here a long 11 years ago in 2004. No one had quite expected the sublime beauty and simplistic complexity of their voices and instruments in their live shows. From the grandeous Forum Theatre in Melbourne to the tiny Meeniyan Town Hall, they slayed ‘em all in shows that continue to be talked about.

Love Police’s Brian Taranto: “It has taken many years and attempts to get Gill and Dave back down here. We are absolutely stoked to be able to present both Gillian and the Machine in separate shows in as many towns as we are. Its going to be a rolling circus of incredible tunes and good times.”

Dave Rawlings Machine play in support of the recently released and critically acclaimed album Nashville Obsolete which features seven original compositions written by Gillian Welch and Dave Rawlings. The Machine live band will feature Dave and Gillian, as well as Willie Watson, Punch Brother Paul Kowert and incredible fiddler Brittany Haas.

Nashville Obsolete marks the 7th studio album on which Welch and Rawlings have collaborated together over a two-decade long creative partnership. In 2015 The Music referred to them as the “Americana dream team” and you’d be hard pressed to find anyone who would disagree because they, at every outing, be it the GRAMMY nominated Gillian Welch release The Harrow and the Harvest (2011), the 2009 Dave Rawlings Machine release A Friend of a Friend or the 2001 Gillian Welch masterpiece Time (The Revelator), constantly moved the musical goal posts with the same brilliant results. As Fasterlouder recently said about Nashville Obsolete “It’s possibly the recording career high point for Rawlings and company.”

The night Gillian and David were awarded the 2015 Americana Music Association Lifetime Achievement Awards for Songwriting, Robyn Hitchcock gave a speech that succinctly and brilliantly summed up this writing tour de force: “Like a jewel they have many facets. They may appear as an old time Appalachian pair, stood by a wooden wagon. Or as ’90s indie rockers, finding the essence of a Radiohead song. Or they may strike you as a jam band.”

Regardless of how you might see them these are the shows of 2016 that are a must see. It has taken eleven years to get them back and it will be at least another ten before we see them here again.


Tickets via: or call 9231 9999


Tickets via: or call 131 246


Tickets via: or call 136 100


Tickets via: or call 13 28 49


Tickets via: or call 136 100




Tickets via:

February 13 – A & I HALL, BANGALOW

Tickets via:


Tickets via: or call 13 28 49 


Tickets via: or call (02) 6275 2700 


Tickets via: or call 136 100



Dan Parsons: In the depths of the Valleywoods

Dan Parsons is a hard guy to really get to know. Although we became fast friends when we first met a few months ago, it has taken due course to work down behind the curtain and dig into the dirt beneath the genuinely charming and friendly surface of a man who seemingly has a first class ticket on the big time express. But not surprisingly, what actually fuels this man’s brilliance has been hard won. With the looming release of his third full length album, I caught up with Parsons for a chat, a coffee and a sneaky tequila.

You are going to release your new record Valleywood in a few days, how excited are you about it?

9/10 excited. I’m really excited to release it for sure, I’m excited to release it for many reasons. Firstly because it’s thirteen or so songs I have recorded over the space of a year, ten of which I have used, so it’s nice to get them out into the world, to have them documented properly. Also excited just to have it done, to have it behind me, then I can work on something else. I think it’s the right time, certainly I’ve waited longer to put albums out in the past, for reasons that were to do with the time of the year or other reasons influenced by the business side of music. Y’know like managers or people saying the ‘hot time’ to release a record is October or June or whatever. That was torture trying to wait. I actually waited a year after I finished my first album ‘Firestarter’ before I released it, that was a really painful time. I had just gotten over it completely, by the time it came out. I remember it just seemed so weird. So comparatively this feels like a short time, having logged my first session in the studio in September 2014 and finishing the last session in this past June, so nine months. It’s a baby, a wee baby. Likewise, the space between finishing the recordings and the release has been right, I feel, to be able to digest what to do, and how to do it, booking a tour, sorting out publicity things.

And you’re doing this all on your own?

It’s the second album I have done the process all on my own for. During the making of the last record (self titled Dan Parsons) managment and I split ways. And I prefer it that way. When I first got out on my own, there were certain things that I realised I would have to get used to not having. For example someone behind the scenes, doing things like connecting me with notable support slots with bigger artists, someone taking care of the general administration and so forth. But what I think what it has given me, or made me do out of necessity is actually be very positive, it’s forced me to directly be in touch with the people who like my music. Before I was a little bit complacent, being that I was the second person to see the public reaction to, or general interest in, my music. So I’m much more in tune with everything, now that I am the main control centre. It’s not natural for me though, but I’m getting better at it. I put a lot of effort into staying on top of my calendar and reminders and alarms because I don’t trust myself sometimes. It’s easy to get caught up in having a good time, and I’ll often forget to go do something important.

Would you ever work with a manager again?

It would have to be the right kind of manager, that’s for sure. More often than not, if I’m talking to someone who expresses even the vaguest interest in the business side of my career, my blood runs cold. I get worried about losing myself, and becoming a passenger on my own ship. Songs like ‘Angry Waltz’ on this latest record kinda sum up all that. There are elements of the biz that are beneficial, it’s a hard job to manage an artist, and there are those out there who do it really well, but at the end of the day it takes someone who knows who they are, as an artist and as a person, to successfully be in that kind of relationship with a manager. You both have to be on the same wavelength.

I feel like these couple of years on my own have definitely given me a stronger sense of self, and of what I should or shouldn’t do. I’m not going to go to a photo shoot and get dressed up in some outfit that whoever has picked out for me; that’s just bullshit. Some people can be marketed with a particular image to achieve whatever they’re aiming for; I can’t do that, I don’t want that. I know what this is for me, any changes I make are going to be incremental and organic. I’m not going to wake up one day and wear a leopard skin suit or something like that. I had a whiff of that and it scared the shit out of me. I forgot who I was in a second, I lost sight of it, and I was trying to get it back, that was a scary thing.

The integrity you feel, that is your number one priority?

The music doesn’t exist without the integrity. A couple of years ago I was so caught up in the fashion of everything, and it took me a long time getting to the bottom of it. I had to go back to the start, stripping away all the expectations I’d been struggling to meet, for myself, and for the people around me. I couldn’t write a damn thing to save myself; I was so confused. There were people trying to control my songs, and make me pander to the pop machine, to the ‘cool’ sounds of whatever fad was being broadcast at the time. I was made to feel that sticking true to my artistic convictions meant that I wasn’t willing to ‘succeed’. I was robbed of a year and half of my musically productive life. I was crippled, and I feel for anyone who has to go through that.

I’ve worked long and hard to get back to an outlet that is just pure expression. I’m so glad I did; I’ve never been happier. It shows in the music too. People who have followed my career since the beginning, a lot of them have said they feel like this is further step, a higher quality of music that I’ve written. It feels like that to me too. I feel very good that I’m being recognised for the thing I’ve spent the most time working on. It’s not about the voice or the guitar playing, it’s about the songs. It makes me swell inside when people tell me “You’re a great songwriter”, that’s an amazing thing to hear. Just to be told that someone likes your song, or they want to cover it, or listen to it even, that is fucking awesome. That is so fucking cool. If I couldn’t sing, or I couldn’t play guitar, I’d still probably try and write songs … with my feet.

So, rehearsing for the release show, you’ve got Alex O’Gorman (bass), Robin Waters (keys), Bree Hartley (drums) and Nick O’mara (guitars) in the band this time around, is there any song that you’re particularly loving playing with these guys?

Yeah, there are a few actually. I think I’m mostly happy with ‘It’s Not Like I Need Somebody’s Help’ because it’s one that I had my doubts about being able to recreate the sound of the record with a live band, but it’s sounding great. Nick and I have the harmony guitars down pat, I’m surprised with how strong I’m managing to make the high vocal parts in the chorus, I think busking lately has helped with that actually. And Bree (Hartley), her drumming is incredible, but she’s coming to these rehearsals with her own vocal harmonies worked out and ready, jumping on board with all these parts that I never had to tell her to do.

It’s all just very easy to arrange the band because they just get it, I don’t have to orchestrate anything. I remember a time when I was trying to jam some of my older songs at a house party and just couldn’t, the songs were too complicated for that. It was a decision I made when writing for Valleywood that I wanted people to be able to fall into the vibe and just play whatever felt right, and we’re doing that with this band, and I love it.

The name of the record Valleywood is the name of the apartment building you live in. Was there a special connection there that made you wanna name the record after it?

When I moved there I was still writing songs for whatever the record was going to be called at the time. The truth of it is, I really just liked the name. I liked how it rolled off the tongue, like that classic supposedly ultimate combination of words “Cellar Door”, it just felt nice, for no real reason. And there’s this great iron sign on the building. It’s imperfect in an interesting way, obviously been hand forged by someone. I used that for the title on the front cover of the record. I always just thought it looked cool.

Speaking of, if we’re going to judge a book by it’s cover, the album has a distinctively 70’s look to it, is that how you feel about the music on the record too, like it has those vintage roots?

Well, it’s modern music, but it’s carrying the tradition of techniques and the kind of flavours that were definitely more popular back in that era. So in that sense I wanted the cover art to show that, and probably through the visual aesthetic of my own collection of vinyl from that time period, I was influenced towards a more understated classic look. I’m not trying to bring a revival of that musical style really, but that sound and that approach to music seems to be so ingrained in me that I really don’t have much of a choice. If I wanted to make some kind of indie rock record, I probably could. Anybody probably could with any kind of music, but this feels like the most intuitive style for me to create. Mainly it’s because at the core it revolves around a guitar and a vocal, and then you kinda build other things up around it. When I’ve tried to make music where the guitar isn’t a main anchor then I start to loose my way a little bit.

You’ve got a solo tour booked for the coming months, is there any town that you’re really looking forward to? Or is playing with the full band in Melbourne the highlight for you?

The release show at the Shadow Electric with the band is going to be really fun, and I kinda know what to expect. That’s really going to be a great show I think. I’m a little bit nervous about it. But as far as the rest of the tour is concerned, I’m excited that there might be more people at those shows than there was last time, maybe not, touring is an uncertain gamble. But I’m stoked for the simple fact that I’m doing it, that I’m able to get out there again. Hopefully I’ll see some evidence that this music thing is working out for me in some way. It can be hard, especially in a busy music city, to feel how people relate to something that is, at the heart, just my obsession with music. I’m trying to move more into just playing a few big shows each year, to make it a big deal, and to create experiences that are really special instead of just every week doing a Monday or Tuesday night at ‘insert local bar here’. Those gigs are great to do when you’re just starting out, but I’m not, and in a way, I owe it to myself to intentionally elevate my shows to a level where the audience and I can really get excited about each event. That’s how I’m approaching this release show.

Lastly. You were 15 years old when you started out writing your own songs. What advice would you give to teenage Dan Parsons if you could talk to him now?

I think the advice would be to listen to a lot more music. Write everything down. And it’s better to fail as yourself, than to succeed as someone else.

Friday 23rd October – Billyroy’s Blues Bar, Bendigo VIC
Saturday 24th October – Shadow Electric, Abbotsford VIC
Sunday 25th October – Old Hepburn Hotel, Hepburn Springs VIC
Wednesday 28th October – The Front Gallery, Canberra ACT
Thursday 29th October – Mudgee Brewery, Mudgee NSW
Friday 30th October – Home Sweet Home (House Concert), Sydney NSW
Saturday 31st October – The Junkyard, Maitland NSW
Sunday 1st November – Heartbreaker Sessions at Freda’s, Chippendale NSW
Wednesday 4th November – Bar on the Hill at Newcastle Uni, Newcastle NSW
Thursday 5th November – Mothers Milk, Sawtell NSW
Friday 6th November – Ex-Services Club, Mullumbimby NSW
Saturday 7th November – The Junk Bar, Brisbane QLD
Saturday 14th November – Wheatsheaf Hotel, Adelaide SA

Emma Donovan is taking a soulful stand for BlakAustralia

Our belated PM Tony Abbott awakened a sleeping giant of First Nations activism with his “lifestyle choices” comment, severe Indigenous budget cuts and plans to close Aboriginal communities. In response, Emma Donovan & The PutBacks have brought together some very special guests to release a new 7” single reviving two deadly classics. Emma is joined by Tim Rogers of You Am I and rapper Joelistics on a version of Warumpi Band’s 1985 anthem ‘Blackfella Whitefella’ and by Archie Roach on a deep soul rendition of his late partner Ruby Hunter’s heartbreaking hit ‘Down City Streets’.

This release supports the massive grassroots movement led by SOSBLAKAUSTRALIA, an organisation dedicated to defending Aboriginal communities currently under threat of closure. Earlier this year SOSBLAKAUSTRALIA issued a worldwide call to action to stop these closures occurring. In response to this, Emma and all the artists involved have come together to declare that they stand with the Indigenous people of Australia in support of their right to self-determination on their traditional lands. The right to live on country is critical for preserving the world’s oldest surviving culture. Many communities have already suffered the trauma of forced removals in the late 60s and early 70s, so moving back to country was the best way of avoiding the dangers of larger towns including drugs, alcohol, dislocation and violence. Remote communities allow traditional culture to continue including ancient land management that have preserved the environment and its biodiversity for many millennia. All involved have donated their time free of charge and all proceeds from the record go to SOSBLAKAUSTRALIA.

‘Blackfella Whitefella’, the country rock epic written by George Rrurrambu and Neil Murray in 1985, feels more relevant than ever 30 years on. 2015 is, in so many ways, becoming a critical year in relations between Aboriginal Australia and the broader community. This song asked long ago for Australians of all colours and backgrounds to “stand up and be counted,” for all of our rights. This year the call is being answered.

Written by Archie’s wife Ruby Hunter, who passed suddenly in 2010, for his debut album, Charcoal Lane, ‘Down City Streets’ tells hard truths of Indigenous urban disadvantage. Emma and The PutBacks have put a deep, sweet soul groove under it and Emma and Archie revisit the song as a duet, sharing verses and singing the choruses together. It’s both a sad and hopeful song, mirroring Archie and Ruby’s personal journeys from struggle to security and success.

It’s also a fitting companion to ‘Blackfella Whitefella’, linking the experiences of bush and city life and a testament to the disconnection experienced when Indigenous people’s remaining links with family and country are severed. Blackfella Whitefella b/w Down City Streets is available on 7” vinyl and digital from HopeStreet Recordings from October 23rd and all proceeds from the release will be donated to SOSBLAKAUSTRALIA.


See below for more information on SOSBLAKAUSTRALIA’s campaign to protect remote communities. Though we may have a different PM, the fate of Aboriginal communities will depend on this movement urging all supporters to follow the simple words set out by the Warumpi Band to stand up and be counted. The next Global Call to Action will be taking place in cities everywhere on November 27, marking the one year anniversary since Colin Barnett announced his intention to close up to 150 Aboriginal communities in Western Australia.
twitter: @sosblakaust
instagram: @sosblakaustralia

Inspired new songs to take us back to Old Northcote

In a unique collaboration, eight renowned songwriters will be working together with Darebin libraries to write eight new songs inspired by historical images from the Darebin Heritage Archive.

The specially commissioned songs will be performed live by each songwriter, all with strong connections to the area, in a one-night show titled I Feel Like Going Back as part of the Darebin Music Feast 2015.

Critically acclaimed songwriter and long-time Northcote resident, Mick Thomas (Weddings Parties Anything), is leading the way with two new songs. Also joining the stage will be ARIA nominee Charles Jenkins (Mad Turks from Istanbul/Ice-cream Hands), who is known for his penchant for writing about Melbourne.

“I was always very jealous of the fact you could sing your way across America, from Georgia to Galvaston. So for the last 15 years I’ve tried to do the same I’ve written records entirely based on place names and peoples names. I’ve written about Mildura, I’ve written about the Nullarbor, I’ve written about Dennis the train station,” Charles said.

“But to have the focus on the neck of woods where I live, that’s very enticing.”

Completing the line-up will be Cat Canteri and Justin Bernasconi (The Stillsons), alt-country songstress Jemma Rowlands (Jemma and The Clifton Hillbillies), local songwriter Sean McMahon (Sean McMahon and the Moonmen), Melbourne Americana favourite Brooke Russell (Brooke Russell and the Mean Reds) and Rich Davies (The Devils Union/King Wolf), with The Clifton Hillbillies as the backing band.

I Feel Like Going Back, supported by funding from the Darebin Community Support Program, will illuminate the intriguing people, places and events of Darebin’s past and exhibit evocative images from what is currently one of Melbourne’s most creative municipalities.

All That’s Past Collective is a group of local musicians and songwriters exploring the synthesis of visual history, storytelling and songwriting, headed by alt-country singer songwriter, Ayleen O’Hanlon alongside Brooke Russell, Nick Reid, Tito Ambyo, David Gillespie and James Arneman.



7.30pm, Friday 23rd October

Studio 1, Northcote Town Hall 

Buy tickets 



Bluegrass pioneer Laurie Lewis to headline MountainGrass 2015

Pioneering performer of bluegrass, Laurie Lewis took time out to discuss her career and her upcoming album with John Hilvert. Lewis and her band, The Right Hands will be headlining the third annual MountainGrass old time and bluegrass festival in Harrietville 20-22 November 2015.

Tell us a bit about your current recording projects. 

We have one now that is “almost in the can”. Hopefully we’ll have it in our hot little hands by the time we fly to Australia. It’s called The Hazel and Alice Sessions. It covers the repertoire of Hazel Dickens and Alice Gerrard . We delved into their repertoire. They were huge influences on me in my early days of playing. They did real breakthrough recordings in the 1960s as women singing and playing bluegrass.

I gather also you embarked on your musical career around about the age of 35.

Up to that point I had a semi-steady day job. I worked in a violin shop, and then ran my own shop for seven years. Then I decided I would make one album of my songs just to get them down. That was the beginning of everything for me. I felt more alive during that creative process than I ever had at work.

But you were on the local folk scene doing fiddle back-up, I understand.

I was always playing on the weekends. I was in bands and we would play in the San Francisco Bay area. But we wouldn’t tour and I never committed to doing it full-time until I made my first solo album. You can get that album from my website. It’s called Restless, Rambling Heart. I think it’s a pretty good album. It has stood the test of time.

You also do a compelling version of Kate Long’s ‘Who Will Watch the Home Place’

That song has been good to me. I heard Kate sing it at the Augusta Heritage Workshop in Elkins, WV. She sang it a cappella, just by herself. I was totally smitten with the song. I went up to her and said I just have to learn it. So I arranged it, the chords and four-part harmony with my band. It’s a song that touches so many people.

You have a diverse portfolio of recordings. Is this a reflection of your roaming interest or simply your broad taste in acoustic Americana? Is this designed to defy any branding of your musical career?

[Laughs] Record companies have had a little trouble with me sometimes. I don’t like to be put into a box. I’m lucky in that I pretty much get to write my own ticket and do what I want musically. I have enough of an audience that supports me. I can follow my passion and heart.

I understand you’re an accomplished record producer. Has this been an expression of freedom or is there a business plan underlying this, as well?

Well there’s business. I get paid. [laughs]. But I only do it with artists that I really connect with, and I think I can help realise their vision. It really takes over my life when I am doing it. I don’t have much left over for myself. I am willing to do that because I like the role, quite a bit. I enjoy it on all sorts of levels – the interaction with people, the different sort of inventiveness that I have to call on. I like to be able to share my expertise. I’ve been making recordings for 30-some years and I may as well share what I know. I’m there through the mastering process.

You also come across as a natural manager and community reach-out person. Where did that come from? You seem to be the main driver of some legendary groups, the Good Ol’ Persons, the Grant Street Band, the Bluebirds, and working with Ralph Stanley and Tim O’Brien for example.

I have certainly been a collaborator with these groups, I’m happy to say. I do have a lot of ideas and I am very lucky in that I get incredibly talented people to go along with me and help me realise them. I am good at listening and encouraging the people that I work with really use their artistic senses. I try not to shut anybody down.

Tell us about how you got to sing with Maria Muldaur and Linda Ronstadt as the Bluebirds back in 2005.

That was incredible. A fellow that puts together a bluegrass festival in Washington State was looking around for something special. He first talked to Maria Muldaur. He had this idea that Maria, Linda Ronstadt and I would make a great trio. I knew Maria. Maria was good friends with Linda. I had never met Linda. So we got it together and it was so much fun. It’s created great friendships between the three of us. We thoroughly enjoyed working together and doing that project.

You pioneered an all female bluegrass group, The Good Ol’ Persons. Can you tell me how that worked for you?

Good Ol’ Persons was definitely one of the first of all women bluegrass-ish bands in the mid-70s. It mostly started because we were all friends. We wanted to support each other and we got together for fun. The bluegrass scene was mostly men and we thought it would be really fun to be able to perform one good set of music at Paul’s Saloon, a bluegrass hangout in San Francisco. That really was the extent of our goal. When we went and played our one set of material on Jam night at Paul’s, the owner of the bar, Paul Lampert, hired us.

He saw it as a commercially attractive to have all these women on stage. It suited his place, because he had an all-woman staff of bartenders and waiters. So we took the job and worked really hard to develop a number of other sets of material. Back then you had to play four sets a night. It happened organically from that. Kathy Kallick was a founding member of the Good Ol’ Persons. Various members of the band left for various reasons such as poor health or moving away. After a while it wasn’t the same band. I decided I’d rather do something else, so I left the band as well. Eventually there was only one original member left and that was Kathy.

Are there any lessons from working in an all-girl bluegrass band compared with a mixed or all male band?

Women tend to want to process things more. It is easier to deal with some personal problems among (most) women than it is with men, because a lot of men just don’t talk about personal things. Women as a whole are more likely to want to get to the bottom of whatever is going on. We want to work it out. That makes a big difference.

Have you applied these insights in your current band?

I think I have been able to apply it. I understand it from the inside, the different dynamic between men and women and communication. I managed to get the men that I work with to communicate with me, maybe more deeply than they might if it was an all- male band. That keeps us together and happy.

Will you be doing any workshops at Harrietville?

We are doing some workshops. There is a harmony singing workshop for sure.

Anything you want to achieve while down under?

I want to see the country side and meet the folks. I want to experience some of the beaches. (laughs)

Organisers preparing for another successful MountainGrass

2015-Artist-Linup-List-V1.4-400x400The third annual MountainGrass Festival promises to deliver a world class music event, building on the success of 2013 and 2014, which will see Harrietville buzzing with all things bluegrass and old time music on November 20-22, 2015.

Organising the MountainGrass Festival is the Australasian Bluegrass and Old Time Music Association Inc. (ABOTMA Inc.), established in April 2013 to continue on from the 25 year history of mountain style music in the town of Harrietville, Victoria. MountainGrass, last year, attracted hundreds of musicians from across the nation, Grammy nominated and award winning International artists, along with a crowd of passionate music fans from far and wide.

ABOTMA Vice-President Lachlan Davidson, also a member of the Golden Guitar winning bluegrass band the Davidson Brothers said “the 2015 event is already looking to follow on from the success of 2014. We have an outstanding line-up including local, national and 3 US acts and we’re seeing a growth in pre-sale tickets and local accommodation in town is filling up nicely”.

The Festival Committee is sincerely thankful for the expanding support of the Harrietville business community, Alpine Shire Council and the community of Harrietville that enabled a very successful event in 2014 which left a lot of attendees pre-booking to come back in 2015.

Headlining the festival in 2015, and visiting Australia for the first time direct from the West Coast of the USA, is Grammy award winning artist Laurie Lewis and The Right Hands featuring Tom Rozum, Patrick Sauber and Todd Phillips. Laurie is a two-time IBMA Female Vocalist of the Year, a fine fiddler, exceptional songwriter and known for a superb blend of folk, country and bluegrass.

Other US acts playing this year include old time band, the Orpheus Supertones, and returning due to popular demand is Chris Henry & The Hardcore Grass. This year Chris is bringing US banjo player Kyle Tuttle and has teamed up with Australian group One Up, Two Down to complete the band.

There is a fantastic host of local acts appearing in 2015 including Pete Denahy, The Kissin’ Cousins, Davidson Brothers, the Strzelecki Stringbusters, Paul Wookey, Bluegrass Parkway, Coolgrass and many more. Returning from New Zealand is The Pipi Pickers and we even have a surprise guest from Japan!

Pre-purchase your season tickets online now and save! 3-Day passes are currently $115, and include an annual ABOTMA membership. Full weekend tickets will be on sale at the door for $130. Day tickets are the same price whether bought online or at the door: $30 Friday night; $60 Saturday, $50 Sunday.

Tickets are now available online through IWannaTicket accessed via the MountainGrass website

Offering everything from concerts to instrument playing workshops, MountainGrass presents opportunity for players of all levels to jam at this friendly and interactive festival and those who don’t play can kick back and listen or indulge in the surrounding area. The program of venues, artist performance times, sessions and workshops will be available online at next week.


Who is Sam Outlaw?

Los Angeles-based country singer-songwriter Sam Outlaw makes his second visit to Australia this month. Les Thomas spoke to him about creating country music in Southern California, working with Ry Cooder on his debut album, and his upcoming Australian shows including Out On The Weekend.


This will be your second visit to Australia in less than a year. Can you fill us in on what you’ve been up to recently?

I kind of feel like I’ve lived three lifetimes since I was out there last. When i was in Australia in April, I’d just quit my job and started doing music full time, so i got back from doing that tour with Justin Townes Earle and officially released the record [Angeleno] in the United States at the beginning of June. and then before that and after that I’ve pretty much been touring full time. I did some shows with Dwight Yoakam and Clint Black and one of my other favourite country bands Asleep At The Wheel. I got to tour with a great band called Dawes. I’ve played some kinda festival things and played some stuff in Nashville. We went through Americanafest in Nashville. I’ve pretty much been playing music full time. I got to open for these Texas guys Wade Bowen and Randy Rogers. So I’ve just been touring my guts out, is the simplest way to put it.

I understand you were born in South Dakota, but have live in Southern California from age 10. How did you fall in love with country music and decide this was for you?

So I was born in the mid-west, but mostly grew up in Southern California. I was really lucky that my dad was a huge fan of one of the bands I just mentioned called Asleep At The Wheel. And they kind of came on the scene in the 70s with the western swing revival. At some point they were based out of Austin, but I think somehow he discovered them when he was going to school out in Seattle, Washington. That was really the only country music we’d listen to. Almost every family trip and holiday was listening to Asleep At The Wheel.

I didn’t really listen to a lot of country stuff. It was more like the usual stuff that makes you fall in love with music like The Beatles and The Everly Brothers and The Beach Boys and whatnot. When I was in my early-20s i just kind of stumbled upon some live performances of George jones and Emmylou Harris. So that was the first time I heard “real country music” and just feel in love with it completely. When I heard George Jones for the first time, I went out and bought his music and never looked back.

It seems that, looking at the path you’ve taken, you’re not the kind of person who’s afraid to lay down your own road. You’re doing it from Los Angeles, not really regarded as the home of country music. I understand that, thanks largely to your work, there are real shows happening in that town. How did that evolve?

I first started playing with a band in 2009. I was different because I wore a cowboy hat. Even back then there were bands that were more like the folk group thing. You saw a lot of bands with banjo and mandolin, but not a lot of bands playing straight ahead country music. Over the last tewo years I’ve seen this growth in bands that are playing country music and people diving into, not just the must, but also the culture. There’s a few more Stetson’s roaming around Los Angeles now. So there’s always been a scene for country music in Los Angeles and i don’t know if it will ever be as big as it was in the 60s and 70s or even 80s. I don’t think any of us are holding our breath to go mainstream, so to speak, but there’s certainly still a lot of country fans in Los Angeles and in the Valley. Even if there’s not a honky tonk bar to play in, whatever show we play we just convert that bar into a honky tonk for the night and make that our fantasy for the night.

And you quit your lucrative and stable career selling advertising to do country, which isn’t really the king of move you’d expect from someone who’s in it for the money.

That’s right. I don’t have a day that goes by that I don’t have fears and self-doubt. Not necessarily thinking, ‘Oh maybe I should have kept my day job’, but it is really gnarly to go from a stable job and I was making more money than anybody else that I was friends. It was a very good, flexible job and in some ways the job kept me playing music enough that it could be a hobby, but also really kept me from diving into it full on. For a lot of people, maybe they go from working as a coffee barista, flipping burgers, working in some shitty job that they don’t really like anyway and then they say “Well, I can be poor doing music, so why not?”. So I think it was a little tough for me to give that up, but once I realised I was just selling advertising for the money and thought about doing something more fulfilling and I guess I also wanted to see if I could do it. I’m not saying I’ve even proven that to myself yet, but God knows every day I wake up and I try and when I play shows I think ‘This is what you’ve chosen to do’. Especially when you’ve been on the road for a while. You get cranky; you get upset. It’s easy to get an attitude or a chip on your shoulder about playing music.I think on those days I have to remind myself and say, “Look, man. You gave up that other life to do this and if it’s not a huge money-making venture right now you’ve gotta be thankful that you’re getting to do this every day.” It can be frustrating and tough and it’s not as easy as getting that sweet pay check every two weeks. [laughs]

It sounds like your mother played a large part in nurturing your artist side. You’ve adopted her maiden name [Outlaw].

Yeah, of course. When I first started playing under the Outlaw name is was more on a superficial level with the catchiness of the name and the country aspect of the outlaw association. But my mom passed away a couple of years ago now at that point it turned into something more significant. In interviews like this it gives me a chance to talk about my mom. It gives me a chance to remember her every night with a song called “Ghost Town” [see below] that gives the metaphor of a town that used to be something but it’s now been deserted and abandoned. It’s a simple metaphor for something that happened in my family and ultimately the death of my mother.

So it’s technically still a stage name. My last name is Morgan, but I think it’s become more than just a stage name at this point. It helps me to keep some kind of separation between my music life and my personal life. And it’s kind of fitting because doing this kind of music can feel a little crazy at times … and a little stupid. [laughs]

Also, back in Old England they had very literal naming conventions, so it would suggest there’s an outlaw heritage.

Yeah, that’s right. And I know my Outlaw family comes from Scotland. The Outlaws used to be the McGregor clan. The king booted them out of Scotland and deemed them Outlaws and, for whatever reason, the name stuck.

That’s a great story. And coming to Australia you’ll be surrounded by the descendants of outlaws as well.

[Laughs] That’s right. Maybe that’s why Australia connects with this music so much, because I was out there last time and it really was a treat to play for audiences that really love country music and they’re passionate and excited about it. So that’s a good place to be.

What was it like having Ry Cooder produce your debut album? What would you say he brought to it?

First of all, it was incredible to make a record with Ry Cooder. I feel like, even though I’ve been doing this for half a year, ‘Oh my God, I can’t believe it. I don’t deserve this.’ But he brought a few really crucial things. First of all, he brought his guitar work. On all those tracks you can hear him playing guitar and you can hear his son Joachim Cooder playing on the drum kit. Ninety per cent of what you hear on those tracks is what we did live as a band in the first three days. His guitar work is completely distinct from anything else you could have got from another guitar player and it’s just about experience as much as anything. I felt confident about my songs and I wasn’t looking to him to help me with arrangements or writing the songs. He simply brought a lot of experience to understand if we had a good take, if the vibe was right, the groove was right. No matter how good you are, you just can’t have experience until you’ve had it, right?

So that was a big deal and for just knowing who to call for the mariarchi band, backing vocals. As a musician he brought some sweet sounds and style to those songs. There’s just no way to achieve that sound without him playing on every song.

All shows with Jonny Fritz and Shelly Colvin except where noted
Friday 16 – Meeniyan Town Hall, Meeniyan, VIC
Tickets: meeniyantownhall
Sunday 18 – Northcote Social Club, Northcote, VIC
Wednesday 21 – Grace Emily Hotel, Adelaide, VIC – with The Slow Ruin
Sunday 25 – Newtown Social Club, Sydney, NSW
Also appearing at
Saturday 17 – Out On the Weekend Festival, Melbourne, VIC
Saturday 24 – Out On the Weekend Festival, Sydney, NSW