#western australian punk rock

[memorableconcerts]

Nick Cave The Bad Seeds - "From Her To Eternity" - Live 1989

Live 1988

Nicholas Edward Cave AO FRSL (born 22 September 1957) is an Australian singer, songwriter, poet, lyricist, author, screenwriter, composer and occasional actor. Known for his baritone voice and for fronting the rock band Nick Cave and the Bad Seeds, Cave's music is characterised by emotional intensity, a wide variety of influences and lyrical obsessions with death, religion, love and violence.

Born and raised in rural Victoria, Cave studied art in Melbourne before fronting the Birthday Party, one of the city's leading post-punk bands, in the late 1970s. In 1980 they evolved towards a darker and more challenging sound that helped inspire gothic rock, and acquired a reputation as "the most violent live band in the world". Cave became recognised for his confrontational performances, his shock of black hair and pale, emaciated look. The band broke up soon after moving to Berlin in 1982, and Cave formed Nick Cave and the Bad Seeds the year after, later described as one of rock's "most redoubtable, enduring" bands. Much of their early material is set in a mythic American Deep South, drawing on spirituals and Delta blues, while Cave's preoccupation with Old Testament notions of good versus evil culminated in what has been called his signature song, "The Mercy Seat" (1988), and in his debut novel, And the Ass Saw the Angel (1989). In 1988, he appeared in Ghosts... of the Civil Dead, an Australian prison film which he both co-wrote and scored.

The 1990s saw Cave move between São Paulo and England, and find inspiration in the New Testament. He went on to achieve mainstream success with quieter, piano-driven ballads, notably the Kylie Minogue duet "Where the Wild Roses Grow" (1996), and "Into My Arms" (1997). Turning increasingly to film in the 2000s, Cave wrote the Australian Western The Proposition (2005), also composing its soundtrack with frequent collaborator Warren Ellis. The pair's film score credits include The Assassination of Jesse James by the Coward Robert Ford (2007), The Road (2009) and Lawless (2012). Their garage rock side project Grinderman has released two albums since 2006. In 2009, he released his second novel, The Death of Bunny Munro, and starred in the semi-fictional "day in the life" film 20,000 Days on Earth (2014). His more recent musical work features ambient and electronic elements, as well as increasingly abstract lyrics, informed in part by grief over his son Arthur's 2015 death, which is explored in the documentary One More Time with Feeling (2016) and the Bad Seeds' 17th and latest album, Ghosteen (2019).

Cave maintains The Red Hand Files, a newsletter he uses to respond to questions from fans. He has collaborated with the likes of Shane MacGowan and ex-partner PJ Harvey, and his songs have been covered by a wide range of artists, including Johnny Cash ("The Mercy Seat"), Metallica ("Loverman") and Snoop Dogg ("Red Right Hand"). He was inducted into the ARIA Hall of Fame in 2007, and named an Officer of the Order of Australia in 2017.

Live 1988

Nick Cave and the Bad Seeds (1984–present)

The band with Cave as their leader and frontman has released seventeen studio albums. Pitchfork Media calls the group one of rock's "most enduring, redoubtable" bands, with an accomplished discography. Though their sound tends to change considerably from one album to another, the one constant of the band is an unpolished blending of disparate genres, and song structures which provide a vehicle for Cave's virtuosic, frequently histrionic theatrics. Critics Stephen Thomas Erlewine and Steve Huey wrote: "With the Bad Seeds, Cave continued to explore his obsessions with religion, death, love, America, and violence with a bizarre, sometimes self-consciously eclectic hybrid of blues, gospel, rock, and arty post-punk."

Reviewing 2008's Dig, Lazarus, Dig!!! album, NME used the phrase "gothic psycho-sexual apocalypse" to describe the "menace" present in the lyrics of the title track.[23] Their most recent work, Ghosteen, was released in October 2019.

In mid-August 2013, Cave was a 'First Longlist' finalist for the 9th Coopers AMP, alongside artists such as Kevin Mitchell and the Drones. The Australian music prize is worth A$30,000. The prize ultimately went to Big Scary. In a September 2013 interview, Cave explained that he returned to using a typewriter for songwriting after his experience with the Nocturama album, as he "could walk in on a bad day and hit 'delete' and that was the end of it". Cave believes that he lost valuable work due to a "bad day".

Live 1986

[sarockradio]

“A BREATH OF FRESH AIR”

with Sandy Kaye

MONDAYS 2:00PM‬ & FRIDAYS 10:30PM

This week:

Dave Warner is an iconic Australian musician, songwriter, and author.

He gained popularity in the late 1970s with his band, “Dave Warner’s From The Suburbs” and became known for his unique blend of punk and pub rock.

Hailing from Perth in Western Australia, the band was a major Australian pub band playing with the likes of Men At Work, Midnight Oil, INXS, Dragon and Skyhooks.

His albums were highly original and successful, tapping into the psyche of the ordinary Aussie boy and girl.

Dave formed “Dave Warner’s From The Suburbs” in 1977. The group developed a huge underground following, which led to Dave signing with Australia’s Mushroom Records in 1978. His first album, Mugs Game, went gold within a month of release. Dave’s second album, Free Kicks, was released in 1979.

Once nominated by Bob Dylan as his favourite Australian artist, Dave Warner continues to inspire.

Join us!

If you'd like to get in touch with me to suggest a guest or to provide feedback or comments on any of my episodes, please jump onto my website https://abreathoffreshair.com.au and send me a message.

You may also like to join me on facebook https://www.facebook.com/SandyKayePresents

“A BREATH OF FRESH AIR”

with Sandy Kaye

MONDAYS 2:00PM‬ & FRIDAYS 10:30PM

Listen Live @ https://www.sarock.com.au

SA ROCK RADIO

#internetradio #freeradio #onlineradio

#sarockradio #australianradio #adelaideradio #radioshow #sandykay #radiostation #sandykayepresents #abreathoffreshair #DaveWarner #DaveWarnersFromTheSuburbs

[deadbabiesinvomit-wahc]

My mum is fucking awesome! She made me a totally Darty birthday cake! Aswell as the killer dinner she made. At the @perthpunkpicnic2012@hydepark park in Highgate WesternAustralian×HardCore. My mom came with a totally sick cake to the punx picnic. It was such a good day. Dead Babies in Vomit played that day with Simo on bass Zane de Stain on drums n me on guitar and sex with a dead cat vocals

[sourcesos]

5 Second Of Summers Debut Album is ranked 17 in the Top 200 Aussie Albums of All Time

congratulations @5sos!!

5 Seconds of Summer, '5 Seconds of Summer'

Capitol Records/Hi Or Hey Records 2014

Storming the top of global charts inside a tornado of quotable lyrics, ripped jeans, and versatile musicality, 5 Seconds of Summer were anointed Australia’s most successful pop-punk export with this album. With it, the band became the first Australian act to achieve a US number one with a debut album, a record that topped the chart in another 13 countries.

Western Sydney born and bred, Michael Clifford, Luke Hemmings, Calum Hood, and Ashton Irwin were mere twinkles in their parents’ eyes when the first wave of pop-punk broke through in the early Nineties. Hemmings, Hood, and Clifford met at small private school Norwest Christian College and bonded over their shared music diet of bands like New Found Glory and blink-182. Famously building their fierce following on YouTube—at first with a cover of Mike Posner’s sentimental “Please Don’t Go” in 2011—Clifford reached out to Irwin via Facebook that same year and they played their first show in December at the Annandale Hotel. Twelve people showed up. 

Just before 5 Seconds of Summer was released three years later, the band wereon tour with boy band behemoth One Direction. The global impact was palpable. 5SOS were too pop for Green Day and Sum 41 comparisons, too punk to be tagged with the “boy band” epithet (and they played their own instruments), and too ubiquitous to ignore. The wave of online support through social networks like Snapchat and Twitter meant that when the record’s first single was released, industry figures were already making bets on a number one album. With airtight riffs, Irwin’s crisp percussion—and just enough American lyric bait to appease US fans—“She Looks So Perfect” was infectious and unstoppable. Working closely with John Feldmann, the former leader of Warped Tour-era ska-punk band Goldfinger, 5SOS tapped a leader board of pop-punk songwriting royalty for the album. Jake Sinclair (Fall Out Boy, Panic! At The Disco), Alex Gaskarth from All Time Low, and Benji and Joel Madden of Good Charlotte all helped the band hone their own brand of awkward flirtatiousness and romantic regret—throwing in plenty of scene-trait “whoa-oh-oh”s and “hey-ey-ey-ey”s along the way. Looking back, the collaborations and co-writes with some of their biggest musical influences would have been early bucket list completions for the four rearing adolescents. Hood had been a fan of All Time Low since he was 15 and Good Charlotte were Hemmings’ first ever rock show. “They’re the reason I wanted to be in a band,” Hemmings once told Rolling Stone. “I could relate to a band from a small town, talking about wanting to get out.”

Second single “Don’t Stop”, a clear highlight, marks the band’s biggest collaboration on the album with eight co-writers in the mix. The blend managed to spin teen crush magic with a side of angst. Surprise and delight elements are made all the more syrupy thanks to group harmonies and lyrics that straddle the line between fan demographics: “It gets harder for me / And you know it.” The visualiser for the single played out like a comic book strip. The band traded in their ripped T’s and skinny jeans for lycra as fans were introduced to superhero alter-egos Cal-Pal, SmAsh!, Mike-Ro-Wave, and Dr Fluke. At this point in their career, 5SOS were Australian heartthrobs who could back it up with their sonic makeover of pop-punk. 

The record is full of versatility; from power pop ballads like “Everything I Didn’t Say”, “Beside You”, “Long Way Home”, and hit single “Amnesia”, to the emo paranoia of “Lost Boy”, and the gun-the-engine guitars in “End Up Here”, featuring handclaps instead of drums for the final chorus.

The album campaign and roll-out was almost poetic in its strategy. Even with the fact the band’s pre-release campaign trail was the One Direction global tour map (where they played to thousands of screaming fans across more than 100 dates), 5SOS HQ released multiple versions of the album. America received a version with appropriate alternate track “Mrs All American”, Japan received multiple bonus tracks, and the ten B-sides could have made an album on their own. The campaign culminated in one of the most iconic Rolling Stone magazine covers ever published in 2015. It depicted the band fully nude, grabbing their crotches to cover their nether regions, wearing only their song lyrics painted in black and red on their skin. 

“I never in a million years would have said they would be on the cover of Rolling Stone in two years,” John Feldmann told Rolling Stone. “I had so many fucking people say that ‘guitars are over. They are over. It’s all EDM and programming. And that’s what people wanna hear.’ And thank God, they proved them all wrong.”

- Rolling Stone Australia 06/12

[ladyimaginarium]

tbh this should go without saying but just a casual reminder that native people, like any minority, do not all look and think the same, and they are certainly not a monolith.

Natives can have any skin color, whether that’s white passing, light skinned, tan skin, brown skin and dark skin, and that doesn’t make them any less Native.

Natives can have any natural eye color, be it brown, amber, blue, green or otherwise, and that doesn’t make them any less Native.

Natives can have any hair color, be it brown, black, blonde or red, or dyed any other unnatural hair color and hair texture, be it straight, wavy or curly, and any hairstyle, be it long, medium, short, traditional braids, pixie cuts, dyed bobs, blunt bangs, shaved heads, undercuts, fauxhawks, etc. and that doesn’t make them any less Native.

Natives can follow any religion and/or spirituality, there are Native people who follow their tribe’s traditional beliefs and nothing else, there’s also plenty of Native Christians, but Natives can also be Jewish, Muslim, Sikh, Satanist, Shintoist, Kemeticist, Wiccan, Hindu, Buddhist, Jain, Pagan, animist, Atheist, Agnostic, etc. and that doesn’t make them any less Native.

Natives can be any gender, whether that’s male, female, both or neither, or Two Spirit, their tribe’s own specific names for those outside of the “gender binary”, or any other genders in Western terminology like trans, non-binary, genderfluid or agender, among others, if they so wish to use those terms, or mix them up, and that doesn’t make them any less Native.

Natives can be any romantic and sexual orientation, whether that’s straight, gay, lesbian, bi, pan, poly, aro, ace, queer, etc. etc. and that doesn’t make them any less Native.

Natives can be mixed with any race or ethnic group such as white passing Natives / Metis, Black / African Diaspora Natives, Central Asian Natives, East Asian Natives, East African Natives, Central African Natives, West African Natives, Southern African Natives, North African Natives, Mestizo Natives, Latinx Natives, Central American Natives, South American Natives, Caribbean Natives, Alaskan Natives, Greenlander Natives, Australian Natives, Southeast Asian Natives, South Asian Natives, Middle Eastern Natives, or indigenous in other ways too such as more than one Native ethnicity, Polynesian Natives, Inupiaq Natives, Inuit Natives, Micronesian Natives, Melanesian Natives, Eurasian Natives and Natives who have multiple ethnicities, who’re the children of interracial couples with mixed race parents ... and that doesn’t make them any less Native.

Natives can be in any social class, whether that’s lower class, middle class or upper class and that doesn’t make them any less Native.

Natives can be in any subculture, whether that’s anime, goth, punk, scene, lolita, grunge, or otherwise, and that doesn’t make them any less Native.

Natives can listen to any music genre, whether that’s their own tribe’s traditional music, country, rock, punk, hip hop, rap, etc. and that doesn’t make them any less Native.

Natives can be born on a reservation, in a small town, in a suburb or in a big city, or even outside of their home country, and that doesn’t make them any less Native.

Natives can be knowledgeable in their tribe’s culture/heritage, still reconnecting to it, or disconnected from it for many reasons, and that doesn’t make them any less Native.

Natives can be neurodivergent and/or disabled and that doesn’t make them any less Native.

There’s no one “Native look” and that Natives can dress however they want, wear their hair however they want, etc. etc. - one’s clothes aren’t what makes someone Native, one’s hair isn’t what makes someone Native, one’s coloration isn’t what makes someone Native and don’t let anyone tell you otherwise, it’s the connection and willingness to learn that matters.

There’s literally no reason why y’all can’t write modern Natives.

[dustedmagazine]

Alien Nose Job — Once Again the Present Becomes the Past (Iron Lung Records)

Once Again The Present Becomes The Past LP (LUNGS-155) by ALIEN NOSEJOB

Perspective can be important. In dominant Western narratives of World War II, the Pacific Theater of combat has long been synonymous with Pearl Harbor and the Bataan Death March; with images of Kamikaze attacks on aircraft carriers and of the mushroom clouds over Hiroshima and Nagasaki. Shift your gaze, and perhaps you see the utter horror of Nanjing or the massive complexities of the Burma campaign. Shift it again. The Battle of Darwin? The Japanese bombed Australia? For sure, and more than once. But not too many accounts of the war bother to note the event, or the hundreds of lives lost.

Aussie Jake Robertson has intervened in that historical occlusion in a fairly novel way: with an idiosyncratic, mind-bogglingly fast punk rock LP, Once Again the Present Becomes the Past, recorded under his solo Alien Nose Job moniker. Over the past decade, Robertson has been a prolific and energetic presence in Australian punk, an integral talent in numerous bands: atavistic weirdos Ausmuteants, synth-punkers Hierophants and a bunch of others. Alien Nose Job is a bedroom project, in which Robertson’s fixations and oddball aesthetics are given free rein. Comparisons to Jay Reatard’s music are inevitable: impossibly quick riffing, compulsively barked vocals, a bug-eyed vibrancy that has a vaguely psychotic aura. But while Reatard’s records provided an uncomfortably intimate vantage on the dissolution of a creative intelligence, Alien Nose Job projects its attentions and its nutty vitality outward, to the world. 

As the title of “The Airborne Toxic Event” indicates (it’s the first song on Once Again the Present Becomes the Past, after a brief and quiet “Piano Prelude”), Robertson has more than the 1942 Darwin bombing raid on his mind. “The Airborne Toxic Event” is also the title of a long section of Don DeLillo’s satiric novel White Noise (1985), in which an ominous cloud of industrial poison looms over a college town in the American Midwest; DeLillo unleashes a comic torrent of postmodern paranoia, consumer culture undone by its own fascination with image, surface and information shorn of referents in the lifeworld. That seems like the wrong airborne antagonist, and the wrong continent. But soon enough, Robertson gets us situated: “Air Raid on NT” (Northern Territory, the province in which Darwin is located) buzzes and crunches with antically careering, jet-fueled violence.  

Still, references to the 1980s accumulate on the record: “The Day After,” “1984 Once More,” the music’s frequent nods to Devo’s spastic, spiky and speedy song-forms. A lot happened in the decades between 1945 and 1984. Bretton Woods, Cold War brinksmanship, the rise of the Pacific Rim as crucial site of commodity production. Late capital entered its multinational mode, with dire consequences for working people and the earthball alike. Robertson seems to have a similarly long and capacious vision in mind. The record closes with a suite of songs that strikes some dire ecological notes: “Path to Extinction,” “Mutilated Turtles,” “Dead Pelican.” Bombs, plastic packaging, massive carbon footprints: all kinds of human technologies are doing damage — toxic events, indeed. The stylistic focus of Alien Nose Job wants to integrate all of that stuff into a strange, snarling set of tunes. It’s dense and weird and really good.  

Jonathan Shaw

[onestowatch]

30 Artists to Watch on Tour This Summer 2019

Break out your sunblock! The spring rains have gone, school is out, baseball season is in full swing, and the beach is calling your name. That’s right, it’s finally summertime. However, with all the barbecues and camping trips come some important decisions to make. Hundreds of killer up and coming artists are hitting the road to show their performance chops on the festival circuit or at your local rock club, and you only have about 90 days to squeeze in as much live music as you can before it’s time to buy your next set of textbooks. Lucky for you, we’ve got you covered. 

Your friends over at Ones to Watch have compiled a list of 30 must-see acts on the road this season, so just pour yourself a glass of lemonade and decide which of these shows is going to be the highlight to your summer.

+ Follow & press play on our custom playlist before your next show!

PUP

Genre: Anthemic alt-rock that’ll have you throwing your middle fingers up

These Toronto rockers embody defiance in every facet of their being – in fact, their name is an acronym for “Pathetic Use of Potential.” How punk rock is that? Your mom might not understand you, but the crowd at these shows in the wake of their 2019 release Morbid Stuff sure will.

Grab tickets!

Jade Bird

Genre: Immaculately written folk-pop with entrancing vocals

The release of Jade Bird’s self-titled debut album in April 2019 had the indie music scene stunned by the unassuming Brit’s poignant lyrics and old soul vocals. The successful release saw the spunky 21-year-old landing a spot supporting Father John Misty and Jason Isbell and The 400 Unit on their co-headlining tour along with a slew of festival dates.

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Moneybagg Yo

Genre: Hardcore rap over relentless trap beats

Memphis, Tennessee native Moneybagg Yo released his raucous sophomore 43VA HEARTLESS album in May 2019. Praised for his dedication to grinding out content (Moneybagg has released ten mixtapes with 12+ tracks each since 2016, in addition to his two LPs), the rapper landed a support slot on Wiz Khalifa’s 2019 ‘The Decent Exposure Tour’ alongside Playboi Carti and French Montana.

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Denzel Curry

Genre: Fervent rap characterized by political lyrics and booming hooks

Denzel Curry has been bubbling under the surface of the rap scene since his first mixtapes dropped in 2012. Known to be outspoken on political issues like police brutality, the Floridian gained further notoriety with a viral cover of anti-establishment rock group Rage Against the Machine’s “Bulls on Parade.” Curry has a jam-packed summer planned, with dates supporting Billie Eilish, festival appearances, and a series of shows with $uicideboy$.

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Dead Horses

Genre: Down-home folk lush with vocal harmonies and springy mandolin

Dead Horses’ most recent album, My Mother the Moon, navigates a wealth of difficult topics like mental health, familial displacement, and opioid addiction via raw vocals and filigree strings. Having released two singles in 2019 to positive reviews, the folk duo is hitting the road for series of dates this summer, including one show supporting The Who on their ‘Moving On! Tour.’

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Cuco

Genre: Bilingual dream pop perfect to ease your hangover

Los Angeles-based heartthrob Cuco is rising quickly to the top. After the release of his genre-bending Chiquito EP last year, the 19-year-old secured a high profile record deal with Interscope. Cuco has a busy summer planned, with 17 US headlining dates and one festival date, so be sure to catch his unique blend of hip-hop and dream pop while the sun is still shining.

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Chase Atlantic

Genre: Titanic alt-pop imbued with hip-hop influence

Ones to Watch is beyond thrilled to present Australian powerhouse Chase Atlantic’s summer tour. The 3-piece band defies categorization, drawing influences from acts ranging from Tame Impala to The Weeknd. With three singles already released this year, you can be sure that Chase Atlantic is brewing up something exciting – see for yourself what they’ve got in the works when they stop by your city.

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Kim Petras

Genre: High-energy pop that’s the soundtrack to Pride Month

German songstress Kim Petras has been on an absolute tear this year, releasing a whopping nine singles in the lead up to the release of her hotly-anticipated project, Clarity, hitting shelves on June 28. The ethereal seductress will be finishing up the US leg of her ‘Broken Tour’ at the beginning of this summer before returning home to Europe for a series of festival dates.

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Sigrid

Genre: Inventive electro-pop drawing influence from disco and R&B

Sigrid KO’d the pop world this year with her banger-packed debut album Sucker Punch, which garnered critical acclaim from sources like Pitchfork and Rolling Stone. The rising star will be hopping across the Atlantic all summer, playing stints in the UK, the US, and her native Norway.

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Slayyyter

Genre: Unapologetically promiscuous pop made to shake the club

St. Louis native Slayyyter built herself a devoted following via SoundCloud and Twitter before gaining widespread acclaim for her earth-shaking style of dance pop. The femme fatale has already had momentous 2019, highlighted by her provocative singles “Mine” and “Daddy AF,” and an upcoming collaboration with Azealia Banks, on top of a nearly sold-out debut headline tour.

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Snail Mail

Genre: Indie rock sporting dynamic vocals and shades of punk

Lindsey Jordan began her Snail Mail project while in high school, eventually leveraging her deft songwriting and entrancing voice to score a record deal at the tender age of 18. Having supported artists like Girlpool on tour, Snail Mail hits the road this summer as a headliner in order to steal hearts with her carefully curated brand of melodrama.

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Matt Maeson

Genre: Soul-baring indie-folk that revels in grey areas

Nobody can tell a story quite like Matt Maeson. The singer-songwriter has had a tumultuous life, struggling with drug addiction and spending time in prison, but has emerged on the other side with a unique perspective on life that he expertly elucidates through his work. Ones to Watch is delighted to present his ‘The Day You Departed Tour’ this summer.

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LANY

Genre: Hooky, synth-driven alternative pop

LANY has perfected the art of weaving together synths, vocals, and infectious beats to articulate emotions that words can’t describe. If their latest album, Malibu Nights, is anything to go by, experiencing their expansive wall of sound live should top your list of summer to-dos.

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Clairo

Genre: Minimalist indie-pop with enchanting vocals

Clairo’s misty vocals and raw anecdotal lyrics have seen her quickly rise through the ranks of up-and-coming indie prospects. The Boston native released her most recent single “Bags” in May, laying the groundwork for her long-awaited full-length debut IMMUNITY, set to release this August. If you’re lucky enough, you might just get a peek at what’s to come during one of her live sets this summer.

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Mansionair

Genre: Incorporeal indie-electronica that will have you floating

Mansionair gained notoriety for their live performances before the group was even officially formed, with frontman Jack Froggatt’s dreamy vocals drawing crowds to various Brooklyn and Paris clubs. With the addition Alex Nicholls and Lachlan Bostock, the group coalesced and built a resume that includes tours supporting Chvrches and London Grammar – so you can be certain that their live show is not something you want to miss.

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Scarypoolparty

Genre: Emotive singer-songwriter backed by virtuosic guitar

Alejandro Aranda writes music under the moniker Scarypoolparty, piecing together immaculate vocals with a mosaic of expertly fingerpicked guitar. Gaining notoriety after a stint on the TV series American Idol, the young talent is setting out this July to play rooms across the United States. PLUS, he just announced a massive tour in the fall.

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Chloe Moriondo

Genre: Subdued indie sounds with shimmery vocals

Chloe Moriondo garnered the attention of indie fans everywhere via her YouTube channel, where she began by performing covers from the comfort of her bedroom. Having amassed a following on that platform totaling nearly two million users, the teen singer-songwriter is embarking on a US tour this summer in addition to playing two dates in London.

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HOMESHAKE

Genre: Atmospheric indie with lo-fi synths and R&B flavors

Montreal-based singer-songwriter Peter Sagar began his solo project, HOMESHAKE, in 2014 after performing as a touring member of Mac DeMarco’s band. The artist has since released four full-length albums packed with turgid but meticulous arrangements and complex, R&B-inspired instrumentation. You can catch HOMESHAKE across the western United States this August, touting tracks from his 2019 release Helium.

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Jakob Ogawa

Genre: Smoldering bedroom pop that oozes blissful sensuality

Norwegian crooner Jakob Ogawa specializes in making slow-burning, soulful music that will keep you warm even during a Scandinavian blizzard. Hear him perform his most recent single, “All I Wanna Do,” and other smooth bedroom jams when he plays 11 cities across the US this August.

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PENTAGON

Genre: Earth-shaking K-Pop that’s bringing back the boy band

We all know bands like BTS and BLΛƆKPIИK have shattered international barriers and brought Korean pop music to America. Rocketing up through the ranks of this newly popular genre is PENTAGON, a 9-piece boy band that delivers powerhouse vocals over massive dance beats. K-pop is known for its extravagant live production, so catching the band’s ‘PRISM’ concert tour this summer is a must.

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ViVii

Genre: Glistening indie-pop that builds impenetrable walls of sound

Consisting of husband and wife Emil and Caroline Jonsson, ViVii’s clever approach to songwriting is notable due to its use of instruments not usually heard in pop, including a zither the pair inherited from a deceased babysitter. If you want to see something totally different, catch ViVii on tour in the US or Norway.

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slowthai

Genre: Spitfire rap with no fear of confrontation

English rapper slowthai released his Nothing Great About Britain album this May, a powerful debut that relentlessly critiques an era of British politics marked by the country’s departure from the European Union. If you want a little history lesson on Brexit along with your hip-hop fix, make sure to snag some tickets for one of slowthai’s headline dates or festival appearances while he’s all over the world this summer.

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Ivy Sole and PARISALEXA

Genre: Sultry R&B to set the mood

We’d be remiss to miss either of these R&B queens this summer, so we were thrilled when we found out we could hear both of their silky vocal riffs at the same show. If you’re anywhere near the West Coast during the last week of June, cancel all your plans and bow down.

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Aries

Genre: West Coast hip-hop’s chilled-out cousin

Aries is the epitome of DIY success, growing a cult-like fanbase via his self-directed music videos on YouTube. Boasting earworm hooks and mellow beats, catch Aries live to see why Spotify decided to make him the poster boy of their popular Anti-Pop playlist.

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Jamila Woods

Genre: A verifiable emblem of modern soul

Jamila Woods made a splash before even releasing her debut album when she showcased her irresistibly smoky vocals on the hit track “Blessings” from Chance the Rapper’s GRAMMY-winning Coloring Book. Three years and two albums later, Woods is gearing up to drop some jaws with her lyrical flow on her West Coast summer tour.

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Koffee

Genre: A potent cocktail of Caribbean dancehall and American hip-hop

Koffee is Jamaica’s hottest export, breaking out with her rapturous debut EP in March of this year. Though the five-foot-nothing teen is endearingly bashful offstage, when you experience her authoritative flow this summer you’re going to learn firsthand that nobody knows how to party like a Caribbean.

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Ambar Lucid

Genre: Psychedelic indie with Latin influence

Ambar Lucid is a one-woman bastion of musical prowess, self-taught on a handful of instruments and credited as the sole producer and writer on each of her projects to date. Of New Jersey birth and Mexican/Dominican descent, Lucid often draws on her heritage as inspiration for her work. Catch her buttery vocals in both English and Spanish this summer while she’s on tour with Mon Laferte.

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half·alive

Genre: Alt-funk? Groovecore? You decide

Legend has it that if you cut open each of the members of Long Beach-based trio half·alive, funky jams leak out instead of blood. half·alive makes music that might defy genre, but it will definitely get anyone dancing. They’re playing dates across the US and Australia this summer, and if you happen to be at Lollapalooza, make sure to check out their Ones to Watch-presented aftershow.

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Hippo Campus

Genre: Hooky indie rock perfect for a scenic road trip

Minnesota four-piece group Hippo Campus has developed a recipe consisting of shimmery guitars, eclectic drum beats, and deliciously catchy vocals that will give you the tastiest indie-rock treat every time you switch them on. Go to their show and try not to sing along – we’ll bet the farm that you can’t.

Grab tickets!

Alt Nation’s Advanced Placement Tour

Genre: The best in up-and-coming alternative acts

Live Nation and SiriusXM have partnered together to present a 15-city tour featuring our picks for alt-rock bands that are shaking things up in 2019. Starring Bloxx, Warbly Jets, and Hembree, this show will have you clearing out the garage to make space for your band.

Grab tickets!

[tvguidancecounselor]

TV Guidance Counselor Episode 526: Jono Zalay

May 15-21, 1982

This week Ken welcomes old friend, and man behind the new comedy album "Midnight Oil", Jono Zalay.

Ken and Jono discuss when Jono lives in Boston, his PhD, surfboards, how Jono is a California guy, Marco Polo, hair, An American Family, TV the week Jono was born, Divorced Dad technology circa 1982, how much video recorders were, projection TVs, the fourth branch of government, how politics becoming entertainment is bad for us all, The Diceman, Gerri Jewell, our first stand up shows as an audience member, self deprecating roast jokes, Jono's heavy drinking, Marsha Warfield, Starship Trooper, Rollerball, Harold and Maude, Love Boat, mini-series, television events, Alice, Spaghetti Westerns, TV budgets, getting hooked on soaps, Puff the Magic Dragon, Australian Rules Football, the horror of submarines, depressing TV movies,  Country Emotions, immediate gratification, Nick Nolte, the plague of hypnosis, the Red Chinese, Hawaii, getting Japanese history wrong, Aliens, Ken recommending Fringe again, Barney Miller, sitcom books, James Garner, Lilly Tomlin specials, punk rock scare media, Jodie Foster, teen pimps, Captain Kirk the other one, the world's most incredible Maxipad ad, and the magic that is David Horowitz's FIGHT BACK!

[fionahorne11]

In the paper today! Thank you The West Australian Access All Areas! Join us for our Halloween Shows and share in the healing energy of heavy music as I pick up my guitar for the first time with nine fingers after the horrific events of 13 October 🖤⚡️ Saturday 30th October Western Wastelands Scarborough - ultimate stoner rock psych punk street party hosted by Livid Skate Cafe and Fuzz Factory Touring and GIANT DWARF 3pm-11pm Sunday 31st October Helloween at Milk Bar 5pm-10pm - dress in your wicked best for a night of metal, stoner madness. Tix at Oztix or get em on the night! 🧡👻🎃💀 @lividskatecafe @milkbarperth @giantdwarf.australia @fuzzfactorytouring @spiff._ @hamilonline @soda.lee.146.beltanefire #seawitch #seawitchery #witchlife #witchesofinstagram #perthmusic @thewestaustralian #riffs #wamusic #wamusicians (at Western Australia) https://www.instagram.com/p/CVjVIvUhqit/?utm_medium=tumblr

[1962dude420-blog]

Today we remember the passing of  Pete Farndon who Died: April 14, 1983 in London, England

Peter Granville Farndon (12 June 1952 – 14 April 1983) was an English bassist and founding member of the rock band the Pretenders. Farndon attended Hereford Cathedral School in his home city of Hereford, before embarking on his musical career with the Pretenders. In addition to playing bass with the group, Farndon sang backup vocals and co-wrote two of the group's songs ("The Wait" and "Space Invader"), before a drug problem resulted in his being dismissed from the group on 14 June 1982.

Farndon's musical influences included Stanley Clarke and Jeff Beck. Farndon played with Cold River Lady until the middle of 1976, and then toured with Australian folk-rock band The Bushwackers in 1978.

Farndon joined the Pretenders in early 1978 and was the first member of the 1978–82 lineup to be recruited by Chrissie Hynde. Farndon recalled their first rehearsal: "I'll never forget it, we go in, we do a soul number, we do a country and western number, and then we did 'The Phone Call' which is like the heaviest fuckin' punk rocker you could do in 5/4 time. Impressed? I was very impressed." A guitarist was still needed, and Farndon recruited lead guitarist James Honeyman-Scott into the group that summer. Farndon, Honeyman-Scott, and bandmate Martin Chambers all hailed from Hereford.

Chambers worked with Farndon to adjust to Hynde's timing: "Pete and I did a fair amount of work on our own, in terms of the rhythm section being able to play Chrissie's odd timing things. So Pete and I would come in a couple of hours ahead of the others and baby talk our way through the songs. You know, 'da dad da, boom boom.' She didn't count in the traditional way so we had to reinterpret the counts. Once we made the adjustment and learned to go with her flow, so to speak, it became second nature. It's the bedrock of Pretenders music."

Farndon played a large role in shaping the Pretenders' tough image, often wearing his biker clothing, or later, samurai gear onstage. Hynde later acknowledged that two Pretenders' songs, "Biker" and "Samurai" had "references to a Pete Farndon type of character". As a performer, Hynde recalled that "Pete was fantastic. Pete was blagging it a lot because technically he wasn't any kind of great musician. But he had real heart, like in boxing terms, he could win the fight on heart alone. And he had a great energy, borne of a kind of desperation."

By early 1982, Farndon's drug use was causing strained relations with his bandmates. He became increasingly belligerent and according to Hynde, "was in bad shape. He was really not someone you could work with." The situation came to a head when guitarist James Honeyman-Scott threatened to quit the band if Farndon wasn't fired. On 14 June 1982, band manager Dave Hill, on the orders of Hynde, fired Farndon. Two days after Farndon's dismissal, Honeyman-Scott was found dead of heart failure caused by a cocaine overdose. Four years into the career of the Pretenders, Hynde and drummer Martin Chambers were the only original members left, and less than a year later, the only two living members.

After his dismissal from the Pretenders, Farndon worked with former Clash drummer Topper Headon, guitarist Henry Padovani, organist Mick Gallagher, and vocalist Steve Allen (formerly of Deaf School) in a short-lived band they called Samurai.

On 14 April 1983, at the age of 30, Farndon was found by his wife drowned in the bathtub at his home in London, having lost consciousness after overdosing on heroin. He is buried at St. Peter's Church, Withington, Herefordshire, England.

[deadbabiesinvomit-wahc]

You lucky guys on Tumbr get to hear Dead BABIES in Vomit first. reguard at all. No god at all. It's Dead Babies in Vomit. Scuzz bucket muva fukkrrz

[societyofaustralianpunk]

Punk Exhibitions from Around the World!

There have been a number of major retrospective exhibitions in the USA, the UK, Australia and some European countries over the past few years that have featured a selection of punk artefacts from private archives, including photographs, video footage, posters, flyers and clothing. These exhibitions, often held at high profile galleries and museums, confirm that ‘historical punk’ maintains its place of relevance in the contemporary world, 

Below are some of these exhibitions:

USA:

A Punk Rock Primer: L.A. 1982-1992 - Incredibly intuitive snapshots of Minor Threat, Henry Rollins & Black Flag, T.S.O.L., The Damned, Christian Death, GBH, Kommunity FK, Social Distortion, Alice Bag, and some of the first ever shows by the Red Hot Chili Peppers.

Alternative Voices - 1980s Punk San Francisco: Photographs by Jeanne Hansen.

From Bop Apocalypse to Blitzkrieg Bop 

Punkfest Cornell: Anarchy in the Archives -  A week-long celebration of punk music and history in Ithaca, N.Y.!

Punk Lust: Raw Provocation 1971 - 1985 -  The Museum of Sex presents this exhibition as a survey, looking at the way Punk culture used the language of sexuality–both visually and lyrically–to transgress and defy.  

The Punk Photography of Linda Aronow - Still photos taken by Linda Aronow that managed to capture the most iconic bands of the day over multiple gigs spanning over a decade.

Too Fast to Live, Too Young to Die: Punk Graphics, 1976-1986 (New York) and Too Fast to Live, Too Young to Die: Punk Graphics, 1976-1986 (Michigan) -  An exhibition that explores the unique visual language of the punk movement from the mid-1970s to the mid-1980s through hundreds of its most memorable graphics–flyers, posters, albums, promotions, and zines.

Welcome to 1984//2020: Punk on the Western Front - An exhibition that  keeps the spirit of rebellion alive by “presenting the timeless generational phenomenon of punk culture through its visual art style, moments in its musical history, disorderly fashion and anti-conformist ideologies.  

X: 40 Years of Punk in Los Angeles -  An exhibition to celebrate the 40th anniversary of Los Angeles punk rock band X. 

Visual Vitriol - Eugene, Houston, New Mexico

Visual Vitriol; The Art Of Punk

UK:

Doing metal, being punk, doing punk, being metal - A collaboration between the Punk Scholars Network and the International Society for Metal Music Studies to explore  the hybridity, crossover and difference in punk and metal subcultures - as part of the Punk Scholars Network 5th Annual Conference and Postgraduate Symposium and first Metal Punk Conference.

Punk - An exhibition of vintage press prints that document the rise of punk culture in 1970s Britain.

Punk.London - An exhibition by the Museum of London celebrating 40 years of punk in London, including oral stories from 19 individuals who had all been there to witness the birth of punk. The exhibition also included: Collecting Punks -  current and former punks offer a 'Show and Tell' of objects, photographs and stories from their punk days and  Filming Punks -  two new documentary films, Punks parts one and two, which feature interviews with former punks.

Punk Rock!! So What? - An exhibition featuring a range of punk graphic and visual material spanning the past forty years, demonstrating connections, stylistic conventions, patterns of engagement and the evolution of punk’s visual language and identity across diverse regions and cultures. 

Europe:

Punk Graphics - An exhibition at the ADAM Design Museum of Brussels.

PUNK. Its Traces in Contemporary Art -  An exhibition that traces a journey through the influence of punk in contemporary art and echoes the importance of its presence as an attitude and as a referent for many creators.  

Australia:

High Risk Dressing / Critical Fashion -  High Risk Dressing / Critical Fashion looked at the ideas and community coalescing within contemporary fashion practice today through the lens of the Fashion Design Council (FDC).

Know your Product -  An exhibition, which focused on the complicated overlaps between music, art and other cultural practices, was an early attempt to make sense of what had been going on in Brisbane ‘youth culture’ in the late 70s and early 80s.

Melbourne><Brisbane: punk, art and after -  An explosive interaction between art and punk music in the mid-1970s, which drove a charged decade of creative activity between Melbourne and Brisbane.

Nick Cave The Exhibition -  In 2007, iconic Australian musician, songwriter and author Nick Cave became the subject of his own exhibition: Nick Cave: The Exhibition, created by Nick and The Arts Centre Melbourne.

On Air - 40 Years of 3RRR -  Celebrating 40 years of Melbourne independent radio in the first-ever exhibition showcasing Triple R, Australia’s largest and most successful community station.

Paper Tigers -  An exhibition of the 1970s celebrating Sydney’s dynamic poster art and public protest movements, from the late 1960s through the ’70s to the early ’80s.

Punk Journey: St Kilda + Beyond -  An exhibition with a strong focus on St Kilda as the historical epicentre of the vibrant Melbourne Punk scene from 1977-1987.

St Kilda's Alright - The Fred Negro Experience -  A retrospective and contemporary exhibition consisting of a visually rich pastiche of paintings, drawings, memorabilia, photos, history, film and music – celebrating the history and contribution of one of St Kilda’s most iconic artists and residents (Fred Negro).

Related Sites:

Punk exhibition at the Museum of London 

Punk into Post Punk 

Related Articles:

Linda Aronow

Punk never dies: celebrating the revolutionary art of an era

San Francisco’s Punk Pioneers 

Too Fast to Live, Too Young to Die: Punk Graphics 1976-1986

Related PDFs:

'Is There Anyone Out There?' Documenting Birmingham's Alternative Music Scene 1986-1990

Punk in the Provinces

[topfygad]

9 Approaching Songs Festivals in Australia

Australia is one explicit of my favourite areas within the surroundings. It’s the initially state I visited on the backpacking journey that may completely change my existence.

You higher really feel half of that life altering calendar yr bundled some capabilities, and among the biggest events took spot at new music festivals all-around the area. I nonetheless bear in mind Stereosonic 2010 in Melbourne prefer it was yesterday. It could be an individual of the most effective festivals I’ve ever been to!

Australia is regarded for buying not solely among the only music but additionally among the best songs festivals on the earth. If you’re spending any time there, you unquestionably by no means need to miss out on these impending songs festivals in Australia.

1. MONA FOMA

When: January Precisely the place: Hobart, Tasmania Why: MONA FOMA, additionally known as ‘MOFO’ by some, often takes place each calendar yr in Tasmania. Opposite to different approaching audio festivals in Australia, this only one is a tiny further quite a few. It’s a updated pageant, that includes not solely singers and bands, however dancers, performances, visible arts, and extra. The pageant was began out by Brian Ritchie of the Violent Femmes, a person who unquestionably appreciated all types of songs. Regardless of whether or not you like a little bit punk or want some classical orchestra, this competitors has obtained all of it. Maintain: Hobart YHA

2. Southbound

When: January The place by: Busselton, WA Why: If you’re looking for one factor a small way more groovy, the Southbound Music Competitors is looking your title. Located on the Western Australian shoreline, this pageant isn’t simply concerning the tunes. The full weekend attributes markets, meals automobiles, and tons of parents simply tenting out having a wonderful time. The road-up is absolutely candy, so that you may be assured to come back to really feel the superior vibes though chillin’ out with new and previous pals. Keep: Dunsborough YHA

3. Sydney Competitors

When: January The place: Sydney (naturally) Why: For those who materialize to be in Australia by summertime, then make completely certain to go to Sydney for the Sydney Competitors. Akin to MOFO, this pageant doesn’t simply enchantment to only one kind of viewers, however welcomes all pursuits with a whole bunch of occasions like performers from throughout all the world. Virtually every thing from updated tunes to drama demonstrates are completed on this article, and it’s greater than sufficient to retain the 500,000 folks as we speak who happen under each single yr properly-entertained. Stay: Sydney Central YHA | Sydney Harbour YHA | Railway Sq. YHA

4. St Jerome’s Laneway Pageant

When: February The place by: Melbourne, Sydney, Brisbane, Adelaide, Fremantle Why: 10 a few years previously, St. Jerome’s Laneway Competition commenced in a little bit Melbourne laneway, hosting space indie bands. Contemplating the truth that 2005, the music competitors has expanded, and may be present in 5 Australian cities, as properly as different cities round all the world. The brand new music pageant showcases up-and-coming space talents as completely as important intercontinental names, so get your tickets now! Stay: Melbourne Central YHA | Sydney Central YHA | Brisbane Metropolis YHA | Adelaide Central YHA | Fremantle Jail YHA

5. Byron Bay Bluesfest

When: March (In depth Easter Weekend) Wherever: Byron Bay Why: Bluesfest is “Australia’s Main Blues & Roots Pageant,” and it’s been attracting pageant-goers for almost thirty a very long time. Taking spot on the Tyagarah Tea Tree Farm in Byron Bay, there’ll be further than greater than sufficient home for you and your good pals to expertise the conquer. There are over 200 performances corresponding to your favourite artists, like John Mayer, John Legend & BB King, Paul Simon, Bob Dylan, and quite a few others. Camp out and get pleasure from the meals stalls, market place stalls, and beer gardens. There may be even younger kids enjoyment areas so the entire partner and kids can take part on the enjoyable. Maintain: Byron Bay YHA

6. Groovin’ The Moo

When: April and Could maybe The place by: Maitland, Canberra, Oakbank, Bendigo, Townsville, Bunbury (all NSW) Why: If the title of this songs pageant by itself doesn’t intrigue you ample, then happen on by to see what Groovin’ The Moo is all about. Nonetheless this tunes pageant isn’t fairly as big or nicely thought to be the opposite people in Australia, it has taken off across the earlier decade by that includes some pretty main names. The competitors has fantastic vibes and it’s possible you’ll find yourself subsequent it to every particular person metropolis it goes. Keep: Canberra City YHA | Hunter Valley YHA (30 minutes from Maitland) | Bunbury YHA

7. Splendour within the Grass

When: July-August Through which: Byron Bay Why: This Australian new music competitors was began as a means of offering leisure all by the months when new music festivals in Australia aren’t as commonplace it didn’t purchase intensive for the pageant to come back to be standard. At 1st, it was solely a day, however now it lasts for a number of. Splendour within the Grass choices artists from quite a few genres, along with substitute, rap, digital, rock, metallic, and punk. With this kind of selection, it’s no shock that the competitors has obtained awards for its astounding line-ups over the numerous years. Stay: Byron Bay YHA

8. Stereosonic

When: November – December Wherever: Brisbane, Adelaide, Perth, Sydney, Melbourne Why: Stereosonic is the last word digital audio pageant held all through a number of cities in Australia each calendar yr. For those who like home new music vibes like me, you’ll really feel proper at property at Stereosonic. Just because this style is attending to be way more and well-known in Australia and throughout the globe, it’s no shock that Stereosonic attracts extra and extra individuals from all-around the world every particular person 12 months. With an nice line-up that includes neighborhood and international names, it’s positively an encounter you’ll by no means ever ignore. Stay: Brisbane Metropolis YHA | Adelaide Central YHA | Perth Metropolis YHA | Sydney Central YHA | Melbourne Central YHA

9. Falls Competitors

When: December – January The place by: Lorne, VIC, Marion Bay, TAS, Yelgun, NSW Why: The Falls Songs & Arts Competition happens for a lot of days above New 12 months’s nearly yearly. The songs pageant is held in varied metropolitan areas, although at first it was solely held in Lorne after which it solely lasted a day. The pageant has launched its superb line-up for this yr, and it accommodates artists you admire, like Bloc Occasion, “Bizarre Al” Yankovic, Foals, Disclosure, and Gary Clark Jr. You don’t have any conflicting choices for NYE this yr, do you? Of system not! Keep: Apollo Bay YHA | Hobart YHA

This was an editorial collaboration with YHA, Australia’s premier hostelling group. All textual content and views proceed being my have.

Browse Up coming: The 17 Highest Journey Functions

from Cheapr Travels https://ift.tt/2vYDS2w via IFTTT

[fayewonglibrary]

Viva the Divas! (1996)

FROM AMERICA TO ASIA, STYLISH WOMEN SINGERS ARE FORCING THE BAD BOYS OF POP MUSIC TO STEP ASIDE

BY: RICHARD CORLISS

There was something feminine about Elvis. His mouth formed the pout of a sullen schoolgirl; his hair was swathed in more chemicals than a starlet’s; his hips churned like a hooker’s in heat. Presley was manly too, in a street-punk way. For him, the electric guitar was less an instrument than a symbolic weapon–an ax or a machine gun aimed at the complacent pop culture of the ‘50s. Performing his pansexual rite to a heavy bass line, Elvis set the primal image for rock: a man and his guitar, the tortured satyr and his magic lute.

He also established the androgyny of the male star. When a guy could provide his own sexual menace, long hair, coquetry and falsetto singing, who needed women? Oh, they were allowed to scream in the audience, or maybe sing backup, but not to rock on, down and dirty, with the big bad boys. Even today girls are no more encouraged to pick up a Stratocaster than to pilot an F-16. They are expected to play only one instrument: the voice.

And do they! After nearly 40 years as second-class citizens, women singers are staging their own revolution, The upheaval may be demure, even ladylike; Miwa Yoshida does not froth on the concert stage, nor is Faye Wong likely to trash a hotel room. But they have stormed the barricades where it counts: on the charts of best-selling CDs and in the hearts of a billion or so fans around the world. They have reconfigured pop music. This is the era of the pop diva.

Diva means goddess. The dictionary definition is more modern: “an operatic prima donna.” Let’s fiddle a little with those words. “Operatic”: note the strenuous, hyperemotional, aria-like feel to many pop ballads. “Prima donna”: remove its suggestion of imperious temperament and translate it literally as “first lady.” Voila! Celine Dion or Gloria Estefan, Whitney or Mariah, Madonna or Enya, Miwa or Faye, Toni Braxton or Tina Arena, Annie Lennox or Alanis Morissette. They come from the U.S., of course, but also from French and English Canada, from Cuba, Ireland, Scotland, France, Germany, Australia, Japan and China. In every country, in any language: la diva.

Like so many other forms of popular culture, the diva genre exists both locally and globally at the same time. Dion, from French Canada, alternates albums in French and English. Estefan, born in Cuba and raised in Miami, records in Spanish and English. Dion was chosen to open the Olympic Games in Atlanta with a pop hymn, The Power of the Dream, backed by a 300-member gospel choir, and Estefan was there on closing night to sing her anthemic Reach. Both singers embodied success stories as potent as any come-from-behind Olympic fairy tale: Dion, the youngest of 14 children who has become this year’s Diva Deluxe; and Estefan, brave survivor of a 1990 bus crash that broke her back, who is now back on top. “So I’ll go the distance this time,” she intones, “seeing more the higher I climb.”

Divas can’t climb much higher. They nestle at or near the top of their country’s music charts. Some, like Dion, Houston and Mariah Carey–not to mention, for the moment, Canada’s crack-voiced outlaw diva Alanis Morissette–have been on the Top 10 lists in Europe, the Americas and the Pacific Rim simultaneously. More important, most are damn fine singers. They are a link between the great voices of the past (think of Ella Fitzgerald, Ethel Merman, Edith Piaf) and the ears of people who can’t get attuned to the howling self-pity of much contemporary rock but aren’t ready to give up on pop music.

Like the Olympic spirit, the divas’ internationalist impulse reflects both a curiosity about other cultures and a nose for smart marketing. To spur Japanese sales of her Colour of My Love album, Dion added a new song, To Love You More, from the Japanese TV mini-series Lover, backed instrumentally by the Japanese ensemble Kryzler & Kompany. Dion sang it in English, but the locals didn’t mind: they bought 1.5 million copies.

A diva needn’t be Western to have the international flair. Nothing forces Yoshida, the soul-jazz sensation who fronts the band Dreams Come True, to go west to increase her Japanese fan base. She still writes and performs songs in her native language. Yet she usually records in Britain, and she cut her first solo set, Beauty and Harmony, in New York City with some top American sidemen. The collaboration produced vocals that were more precise, more regimented, than her past work. But it showed the need for even top regional artists to prove their chops in the U.S., which is still revered as the big leagues for singers.

Some stars of the Pacific, like Tina Arena, have long set their sights on America. An Australian who has sung publicly since she was five, Arena has an easy authority as vocalist and songwriter; her cool-teen voice matches her rock-easy compositions, which are so infectious that six-year-olds would learn them instantly and so familiar that you might think they were big hits a decade ago (they’re all new, all hers). When Arena gets precision and voltage into the songs–Heaven Help My Heart, Greatest Gift, Standing Up–she sounds like a kid sister to Elaine Paige, superb star of London musicals, who introduced such instant standards as Don’t Cry for Me Argentina (from Evita), Memory (from Cats) and a quite different Heaven Help My Heart (from Chess). But England is not Arena’s destination. She’s moved to Los Angeles because, like a lot of divas, she may believe she can’t be a star until she’s an American star.

Wong is too cool to entertain those ambitions. Indeed, she prefers to record in her native Beijing, where she can concentrate on her music, rather than in Hong Kong, where for years she was a formulaic Canto-pop singer known as Shirley Wong. Her striking, angular looks–think of an elongated pixie who moonlights as a sorceress–made her a natural for movies, but her debut made few notice; in Beyond’s Diary she played the girlfriend of a pop musician.

Gradually she found her own style, on records and on film. Her second picture, Wong Kar-wai’s Chungking Express, made her a hip pinup to sophisticated moviegoers on both sides of the Pacific. The film also internationalized her choice of music. She plays a dizzy waitress in a fast-food restaurant who is obsessed with going to California and playing, over and over and over, the 1966 California Dreamin’ by the Mamas and the Papas. Over the end credits she sings a Cantonese cover of the Cranberries hit Dreams. And now, on her Restless CD, she meets the international market on her own terms: five of the songs have no intelligible lyrics at all, and two irresistibly obscurantist cuts were written and produced by Scotland’s Cocteau Twins. Wong remains the spooky gamin of Chinese music, and Restless is a wondrous blend of Canto-pop and lollipop.

Wong’s approach alternates between a blissed-out whisper and bright piping in a register so high only Pekingese pups can hear it. That puts her squarely in one tradition of divadom: the vocal virtuoso. For decades, two Americans defined this style. Patti LaBelle, a gospel-trained ranter, has enthralled the faithful with her mad-woman riffs. Bette Midler, known internationally as the blowsy star of movie comedies, built her career as a throwback singer who could evoke Sophie Tucker’s bawdiness and Bessie Smith’s soul-in-hell emotional exhaustion with equal power and facility. The virtuoso mode can also be heard in the florid, world-weary style of France’s Catherine Ribeiro and, with glances back to the glamour of Piaf and Dietrich, in the bitter brilliance of Germany’s Ute Lemper. Though their styles were unique, all these women kept bright the flame of the traditional torch singer.

But none of them became international superstars or encouraged others to do the same. For that you can thank Houston (and her mentor at Arista Records, Clive Davis). It was an old recipe–great chops, exotic looks and a clever choice of material–that served Lena Horne, Abbey Lincoln, Eartha Kitt, and Houston’s cousin Dionne Warwick. But in the harsh prevailing winds of mid-'80s rap and heavy metal, Houston was a welcome spring breeze. Her delicacy of phrasing made songs like Saving All My Love for You and The Greatest Love of All easy listening in the best sense. Her prom-queen glamour made her an ideal star for the early video era, an antidote to Cyndi Lauper’s goofy-girl atavism and Madonna’s bad-girl sass. Her first album, Whitney Houston, sold 10 million copies.

Houston has retained her eminence, if not pre-eminence, while curtailing her output: she has released less than a single regular album’s worth of songs, only 10, since 1990. But her example and her relative quiescence have spurred a dozen divas-in-waiting. Many noted the structure of Houston’s big hits–a slow-tempo devotional tune that escalates from the foreplay of whispers to the explosive orgasm of wails and whoops–and made the mistake of imitating it. (Houston made that error too.) Dion’s early English-language albums are almost touching in their fidelity to the Whitney formula. It took her a while to realize she could relax on record.

Today’s top Whitneyesque star is Mariah Carey. Like Houston, she’ll mix ballads with synthesized dance music; she’s a handsome woman with a video flair; she has a patron in Tommy Mottola, boss of her record company, who is also her husband. Carey has even outsold Houston in the '90s, because she releases albums at a busier pace.

One big difference: Houston sings straight soprano with some church inflection; Carey is a coloratura. She could even be called a cubist, for she appraises nearly every note in every song from a dozen or more angles. In When I Saw You from her current Daydream CD, Carey breaks the word knew into an amazing 26 separate notes (this is only an estimate: we played these four seconds over and over, and got up to 26 just before we went mad). Her jazzy riffs suggest demon virtuosity, but it could also be musical browsing. Maybe Carey can’t decide which interpretation is the right one, so she tries them all.

Like Carey, many female singers co-write their music. Many others don’t, and are thus handicapped by pop’s 30-year tyranny of singer-songwriters. Hey, if you don’t write, you’re not an artist. “Vocal interpreter” used to be an honorable job description–good enough for Ella, Bing Crosby, Frank Sinatra and Nat King Cole. Now the epithet is often an insult. It conjures up images of a Las Vegas lounge singer crooning Feelings.

All right, maybe the top pop songwriters of the day–Babyface and David Foster (who collaborated on Dion’s The Power of the Dream) and Diane Warren (who helped Estefan write Reach) aren’t Gershwin and Stephen Foster and Harry Warren. But they can write good songs for good singers. These three composers all had a hand in Toni Braxton’s fine Secrets CD–dusky, mellow, infectiously commercial, like a grownup Tina Arena.

And there’s plenty of other good music to record. Alison Krauss, a child fiddle prodigy from Illinois and later a world-class bluegrass singer with her band Union Station, became a star with her 1995 compilation Now That I’ve Found You. The set puts Krauss’s mountain-stream soprano on pretty display. She caresses standards from R. and B. (the title song), gospel (the soul-lifting When God Dips His Pen of Love in My Heart) and the Paul McCartney catalog (an elfin I Will). Think of it: a singer with no gimmick but a passionate talent and a great, rangy taste in music.

If there’s a knock on the modern divas–whether pop, like Carey, Houston and Dion, or pure, like Krauss–it’s that their material is just too amiable. Much of their music is not just middle of the road; it tiptoes on the white line in the middle of the middle of the road. Dammit, they sing like girls! And in social norms, the pop diva adheres to the proper side of the gender split in music. She is expected to be a sister before a lover; the operative slur word is “nice.” Pop is the boarding school where the good girls live. Rock is the shooting gallery where the naughty boys hang out.

Somewhere between these extremes there should be an outlaw diva. She can do cool-guy things: write songs about malaise and disorientation, play a harmonica, take herself very seriously, sell 16 million copies of her first big CD. Why, she could be Alanis Morissette–the anti-Whitney, the pariah Mariah, the outre Faye, the mean Celine.

Anyway, that’s how the 22-year-old comes across on a first listen of the Jagged Little Pill album. Morissette’s songs sound aggressive, grudging, desperate. Her alto lurches among the octaves, from growl to shriek. A typical phrase will end in a gasp, as if one of the emotional inferiors in her songs had suddenly retaliated by pressing thumb and forefinger on her windpipe. The voice of Sinead O'Connor, you imagine, in the mind of Patti Smith.

But Morissette is not that simple. A former teen star in her native Canada, she’s smart enough to give her choruses sing-along melodies–the likely contribution of co-writer Glen Ballard, who formerly produced Wilson Phillips, the trio of cool-harmonizing, second-generation pop stars. In the perkier tunes (You Learn, Head over Feet), the singer overdubs tight harmonies that might have come from Wilson Phillips. And that is Morissette’s dirty little secret: inside her edgy plaints are craft and a yen to please. She’s a mainstream diva in spite of herself.

Morissette may soon discover that the rock machismo she approximates is often just an acid flavor of the month: a hit, a burnout, a trivia question. But being a diva is a life’s work. The Scottish Annie Lennox has been at it for 20 years, developing a husky voice and a gift for weaving a dramatic spell that is almost visual. Her 1995 Medusa album has 10 old and new songs written by others. The opening cut, No More “I Love You’s,” relies on Lennox’s evocation of love’s demons–“Desire, despair, desire, so many monsters”–and her conjuring up, in a mid-song monologue, of a little girl for whom these monsters come to life. A woman’s bed of sad passion has telescoped into a child’s bedroom fears at midnight.

The final number on Medusa is Paul Simon’s 1973 Something So Right. In Lennox’s gorgeous reworking, she answers the pessimism of No More “I Love You’s” and completes the album’s circle. “Some people never say the words I love you, / But like a child I’m longing to be told.” Again a girl in a woman’s supple voice, Lennox finds salvation foraging in a child’s garden of cries from the heart. Lennox might be Piaf here–there’s that eerie understanding of a lyric–but with the fever adjusted to room temperature.

Piaf is still an icon, both for her poignant life story and for her ability to hurdle emotion over the language barrier. But in the world market of the '90s, when virtually every album with gigantic global sales is in some form of English, what’s a diva to do? Cultivate her own garden, for the worldwide boom in CD sales means there are more people searching for something different. Morissette’s album is bubble-gum music next to Tori Amos’ Boys for Pele, with its forbiddingly opaque lyrics, a voice that runs amuck over the octaves and the famous inside photo of Amos with a suckling piglet at her breast. Yet the album has sold millions. Moral: You can’t be too weird. You must be you.

That is the message attended to by Wong in her recent take-me-or-leave-me mode, and by Yoshida in her American experiment. It surely applies to singers who harbor nations within themselves. Enya, the Celtic lass whose ethereal soundscapes might have emanated from a very gentle UFO, sings in Gaelic, English and Latin–the languages of family, school and church. Her melodies are so mellow as to seem downright shy, yet they’re so popular that an entire genre of new music is known simply as Enya.

By that standard, the pop brand of Cuban-American music should probably be called Gloria. With time, the Estefan sound has grown full and wise, Latin rhythms accompanying rather than defining the melody. Estefan has also learned to write for her voice and disposition; on her latest album, Destiny, she has taken her own advice. Reach–higher.

And Celine Dion has reached inside. The Falling into You CD, a supercharged superproduction, will yield perhaps half a dozen smasheroo singles, and it’s a treat to hear her belt a song to bits. But a bigger piece of her heart can be found on The French Album. There the girl from Quebec sings in her mother’s language and in a voice so ardent and discreet it reminds you of Elvis in the intimate ballads he recorded in his time off from creating the bad-boy iconography of rock. Murmuring like the heart just before sleeping, Dion’s voice summons the power and the glory of the diva.

–With reporting by Charles P. Alexander/Montreal

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SOURCE: TIME MAGAZINE

[catherineparrish]

FALLS FESTIVAL FREMANTLE DAY ONE @ Fremantle Oval 4/1/2020

Photo by Karen Lowe.

Falls Festival has wrapped for another season, with the final leg of the tour taking place at Fremantle Oval over the weekend.

Huge international acts such as Halsey, Disclosure and Vampire Weekend joined an array of Australian artists over two days in what has become one of the most popular annual music festivals in Western Australia. From power pop to psychedelic rock, Sampa The Great to John Farnham, Falls Festival Fremantle brings something to the table for everybody to enjoy.

Clear skies and a cool ocean breeze make Day 1 the perfect Saturday for a festival. Glitter and sparkles speckle the crowd like confetti, with high fashion in full swing for today’s mixed bag of performances. Bubbles float across the gathering crowd around Stage 1 and 2 and the air is thick with the aroma of market food and cigarette smoke. Early punters are able to catch Triple J’s Unearthed competition winners Death by Denim and ex-Unearthed artist Sly Withers, but it’s not until Adelaide rockers Bad//Dreems take the stage when things really start to heat up. A small circle pit breaks out during popular single “Dumb Ideas”, proving that Aussie fans aren’t really phased about breaking a sweat at the hottest time of day if you’re willing to play some good ole fashioned pub rock and roll.

Baker Boy at Falls Festival Fremantle. Photo by Karen Lowe.

Shortly after comes Young Australian of the Year Danzal Baker and his troupe of dancers and percussionist for Baker Boy. Full of smiles and gratitude, Baker’s set is high energy and well-choreographed, with loud whistles and cheering every time somebody drops to break-dance on stage. Tracks such as “Cool As Hell”, “Cloud 9” and “Marryuna” (a Yolŋu Matha word meaning to dance for fun) have heads bopping left right and centre. Following Baker Boy, Vera Blue takes the stage, her long ginger hair flowing in the wind as she sweeps backwards and forwards in a gorgeous orange mesh two piece. Her angelic voice ripples across Fremantle Oval, overpowering any other noise around her. She pauses during “All the Pretty Girls”, allowing the audience to echo the chorus back to her clear as day, and again during “Lady Powers”, which she dedicates to all the women in attendance today.

Vera Blue dances at Falls Festival Fremantle. Photo by Karen Lowe.

Meanwhile on Stages 3 and 4, Adrian Eagle opens his set with a rendition of Ocean Alley’s “Confidence” that is incredibly, even more relaxing and chill than the original. Jessica Cerro also known as Montaigne follows, a tiny but mighty powerhouse who can easily throw her voice out to the wind. She experiences a bit of audio feedback but doesn’t let it throw her off her game, belting out song after song to a smaller crowd than she deserves. Cerro wraps up her underrated set with a staggering performance of her new single “READY”.

Back to the main stage and John Farnham has drawn the older crowd out to dance. Even before setting a foot on stage, a backdrop of the Whispering Jack cover art already has people buzzing with excitement. Farnham begins with a hype anthem “We Will Rock You” by Queen and ends with AC/DC, appeasing his audience with all the favourites including “That’s Freedom”, “Age of Reason” and “The Voice”, complete with bagpipes and deafening “woah-ohs”. Farnham even indulged a little with a rare rendition of “Sadie the Cleaning Lady”, asking fans to “sing along or I’ll come around to your house.” He has recently received a bit of negative feedback for swearing like a sailor at previous shows, but the crowd seem to lap it up here in Freo, even when he tells everyone they can “piss off, you bastards!”

John Farnham at Falls Festival Fremantle. Photo by Karen Lowe.

All the way from Iceland, indie folk band Of Monsters and Men take things down a notch for their sunset time slot. In spite of Nanna Hilmarsdóttir and Raggi Þórhallsson’s perfectly harmonised vocals, much of the crowd seems to make their way to the side stages where rock duo Holy Holy were captivating festival goers. Montaigne joins them for a surprise Like a Version performance of Lorde’s “Green Light” before homegrown Crooked Colours bounce out in matching white jumpsuits, ready to party. A timely set with bright, multicoloured visuals as their backdrop was the perfect burst of energy that was needed just in time for the best performance of the night from brothers Nick and Sam Littlemore of PNAU.

Bursting onto the stage with “Are you ready Perth?” so loud it makes people jump, live performance vocalists Marques Toliver and Kira Divine ooze confidence as they take the main stage by the reins with “Solid Gold”, draped in reflective gold jackets and fluorescent pink tassels. While Toliver and Divine take centre stage, the Littlemores refrain from speaking and hang towards the back, showcasing a unique stage presence that is unlike most artists. Kicking off with the strongest start of all the performances today, the vibe remained consistent throughout the entire set, with punters with tired feet at the back of the venue standing up for hits such as “Go Bang”, “Changa” and “Chameleon”.

Kira Divine and Marques Toliver perform with PNAU at Falls Festival Fremantle. Photo by Karen Lowe.

A hard act to follow, Peking Duk don’t quite reach the mark in the same way that their predecessors did. Taking to the stage first with “Stranger”, Canberra producers Adam Hyde and Reuben Styles are highly acclaimed with a huge audience and welcomed with open arms. While the excess use of smoke cannons, laser beams and streamers gets the crowd going, a much more grounded performance is happening on the other side of the venue with electropop Aussies based in Europe, Parcels. This gives weary fans the choice to opt out for a groovier, less intense vibe. Closing the side stages for the day to a small but appreciative audience is Sydney trio Wave Racer, bubbling in their own unique style of electro-synth house music.

Vampire Weekend at Falls Festival Fremantle. Photo by Karen Lowe.

Last but not least, New York Indie rockers Vampire Weekend take the main stage and serenade Fremantle with a mix of new and old tracks spanning more than a decade. Opening with “Sympathy” from their 2019 album Father of the Bride, lead vocalist Ezra Koenig, dressed in light blue denim cotton threads and a matching jacket seems cheerful and relaxed despite the mass exodus from the crowd following Peking Duk. Crowd favourites like “Cape Cod Kwassa Kwassa”, “Horchata”, “Diane Young”, “Cousins”, “A-Punk” and “Oxford Comma” have fans clapping and slow dancing on the side lines. An unexpected cover of SBTRKT’s “New Dorp. New York” is a treat for all.

Ultimately the band’s set favours new music over their older, more recognisable hits. Noticeably missing were from 2010’s album Contra is “White Sky”, “Holiday” and “Giving Up the Gun”, however new popular tracks such as “This Life”, “Harmony Hall” and ending the night with a catchy rendition of “Sunflower” feels like the first breath of fresh air since the band’s last visit down under. As a part of the finale, two giant inflatable globes are tossed into the crowd, bouncing across the top of the crowd as Day 1 at Falls Festival Fremantle comes to an end just before midnight. A wonderful day for all, and a huge hype for those returning tomorrow. 5/5 Stars.

Fans hold up their mobile phones during Peking Duk at Falls Festival Fremantle. Photo by Karen Lowe.

Originally published at amnplify.com.au

[vacationsoup]

New Post has been published on https://vacationsoup.com/bristol-harbour-festival-19th-21st-july-2019/

Bristol Harbour Festival 19th - 21st July 2019

The Bristol Harbour Festival is back this weekend - Friday 19th July to Sunday 21st July.   Celebrating its 47th year, this free festival brings over 250,000 people together and is held annually to celebrate the city’s maritime heritage and the importance of Bristol’s docks and harbour.

Most of the activities are free, including live music, street performances, dance acts, interactive theatre, international circus acts, daredevil stunts and a variety of other live entertainments which are held on or near the waterfront of Bristol Harbour.

The outside venues include Queen Square, Lloyds Amphitheatre, Narrow Quay, Merchants, Quay, Hannover Quay, Millennium Square and Cathedral Walk, with seagoing vessels moored nearby. The liveliest part of the festival is quayside and the main attractions are entertainment designed to engage all the communities of Bristol, as well as entertain the thousands of visitors to the city.

Find your way around the Bristol Harbour Festival’s Performance Areas - Downloadable Map  See the program of events further down the page.

Market Locations

Narrow Quay,  Merchants Quay,  Queens Square and Hannover Quay

The City has hosted the festival since 1971, when it was started as part of an, ultimately successful, attempt to save the docks from being filled in.  In 2012, the festival attracted over 200,000 visitors, its highest ever attendance at that time, with the Irene and the Matthew being two of the tall ships in attendance that year.

The festival is held every year in July over a weekend and many of the bar and restaurants put on extra entertainment to keep visitors happy during the late evenings. In 2018 visitors were be able to watch for the first time, the Power8 rowing sprints battle it out on the water, as teams from eight cities compete to be the best.

The highlight of this year’s festival will be the arrival of three very special tall ships - The Etoile Molence, Irene and Iris.  Also Power8 Sprints will also be headlining with their 350 metre, high octane rowing action on the water.

More than 250 boats of varying shapes and sizes will be tied up at every available mooring along a four-mile stretch of the Harbourside, with familiar sights such as the SS Great Britain and the Matthew all set to appear.

There’s so much entertainment to keep you engaged, including music at the huge outdoor concert area “the Lloyds Amphitheatre”, top quality circus and street theatre acts from Circus Bijou.  Western Boat Show, showcasing all kinds of sailing boats and power boats, rowing competitions, general fun and games in the water, dedicated family areas, plus the Continental Food Market at Queens Square, a fantastic line-up from across France, Italy, Spain and Germany providing olives, cheese, crepes and more, an experience for the taste buds together with traditional gifts and crafts and lots of Harbourside fun for everyone.

Travel – Head for the City Centre, follow signs for Harbour Festival.  Further travel info Here.

Parking

There is plenty of parking and it is advised to arrive early to get as close as possible to the available Harbourside Parking.  You will also find parking within a short walking distance of the Harbour at the following places -

St Mary Redcliffe Car Park, NCP – Redcliffe Parade, NCP – Queens Charlotte Street, Trenchard Street Car Park, The Gallery Car Park, Nelson Street Car Park, College Street Car Park, Mardyke Wharf Car Park, Oldfield Place Car Park

  Program of Events

Saturday 20th July

Music - Amphitheatre – Music Stage

12.45 pm             Bristol Community Big Band

2.00 pm               The Hucklebuck – Blues Music

3.15 pm               Camo Clave – Cumbia Music

4.30 pm               Phantom Ensemble

5.45 pm               Matuki  - Afrobeat, reggae fusion

7.15 pm               Doreen Doreen – Marsh up Band

8.45 pm               Rod Smith RSD

Music - Brunel Stage at SS Great Britain

11.00 am             Framptoon Shantymen - All Male Choir

12.00 pm             Samba - Reggae drumming band

1.00 pm               Ceili - Traditional Irish/Celtic acoustic music

2.00 pm               Gentle Hooligans - Rock 'n ' roll fusion

3.00 pm               JI & The Rainbirds - Up beat feel-good folk

4.00 pm               Eden Root’s Reggae Band - Red hot Reggae

5.00 pm               The Bare Souls - Rock, blues, soul and funk fusion band

Music - Centre Stage at Cascade Steps

12.00 pm            The Great Sea Choir

12.50 pm            Rosina Keri - passionate dreamy pop

1.40 pm               The Harrisons - Blues, country and americana band

2.30 pm               Barnacle Buoys - Acapella sea shanty singers

3.25 pm               Julu Irvine & Heg Brignall - Folk duo

4.20 pm               Mireille Mathlener - Vocalist

5.15 pm               Laimu - Sultry vocals

Music - Dockside Stage at the Grove

2.00 pm               Punk Rock Aerobics

3.00 pm               Richard the Fourth - Neo soul and slow funk

3.30 pm               Hush Mozey - Miz of spa, punk and garage

4.30 pm               The Rupees - Hi energy rock band

5.30 pm               Sam Brockington - Fantastic vocal talented singer

6.30 pm               Farebrother - Indie rock quartet

7.30 pm               Joe Probert - Super cool soul

8.30 pm               Katy J Pearson - Catchy melodies

Dance and Entertainment at Millenium Square

11.45 am             Bollyred Dance Company

12.15 pm            Urban Cookie: Dance Zumba Gold

1.20 pm               Performance from Gerry’s Attic Dance Company

1.55 pm               Making Tracks Youth Music

2.55 pm               2 O’clock Beauty Queens

3.15 pm               Dance Extreme BS13/Storm

3.25 pm               Bristol Salsa Ladies Styling Team

3.30 pm               Subline Dance Troupe

3.40 pm               Rise Youth Dance

5.00 pm               Hype Dance

5.20 pm               Swing Dance Bristol and Swing Riot

Entertainment, Family Fun Activities, Music and Food at The Circus Playground - Queens Square

Continental Market Food - a selection of everything you will expect will be on offer

Bubbline – Fun with bubbles

A.P.E Project CIC – Mobile Adventure Playground

Sounds Right Phonics Bristol – Music, games, movement, bubbles and poms poms for little ones

Marky Jay – Compere & Street Theatre – Jokes, Juggling and puppets

Avon Valley Wildlife Park – Interact and discover more about small animals

Bristol Taiko – Traditional Japanese Drumming

Bocadcalupa Arts – Bee Garden

Avon Valley Wildlife Trust

Baby Racing

Cirocomedia – Youth Circus Showcase and Workshops

Giddy Kipper – Sloth Time

Tiny Little Clouds Theatre – How to Build a rainbow

Don’t Drop The Beat – Live Drumming and Juggling

Above & Beyond – Mini Flying Trapeze Rig

Dragonbird Theatre – Pyjama Island

Angie Mack – The Super Hooper Jula Hooping Street Show

Korri Aulakh – World Class Aerialist performances

Rob Lewis – Cello

Kat Lyons Storytelling and Spoken Word

King Edmunds Acrobatic Club

Angie Mack – Have a go Hula Hoop Workshops

Cathedral Walk – Spoken Word, Music and Performances

11.30 am             Poetry Machine – Performance

12.00 pm            South West Showcase - Performance

1.00 pm               Yoniverse Takeover - Performance

2.00 pm               Guest Artist – Joelle Taylor - Performance

2.30 pm               Poetry Machine – Performance, Family

2.50 pm               South West Showcash – Performance, Family

4.30 pm               Guest Artists – Rebecca Tantony and Dominie Hooper – Performance & Music

Bristol Harbour Festival - Sunday 20th July

Music - Amphitheatre – Music Stage

12.00 pm             Tan Teddy - Sharing Jamaican culture through song

1.10 pm               Nuala Honan - Folk music from Bristol based Australian singer-songwriter

2:20 pm               Amdodu Diagne & Yakar - Modern blues and funk

3:30 pm               Dizaeli - Jazz-tinged band

5:00 pm               Sheelanaig - Balkan swing, celtic music

Brunels Stage at SS Great Britain

11.00 am             South Wales Clarinet Choir

12.00 pm            North Somerset Samba - Reggae drumming band

1.00 pm               Bee Bakare - Soulful pop

2.00 pm               Zyla - Soul-infused funk

3.00 pm               Sol Feo - Rock, funk, grunge, metal and folk bended band

4.00 pm               Baraka - Afro beat dance band

Centre Stage at Cascade Steps

12.00 pm            Storm Force 10 - Shanty band

12.50 pm            Jodie Mellor - Singer

1.40 pm               Bristol Sea Slugs - Shanty, folk band

2.30 pm               Charlie Limm - Vocalist

3.25 pm               Jazz the Two of us - Jazz classics with a twist

4.20 pm               Maaike Siegerist - Swinging jazz and dark folk

5.15 pm               Sounds of Harlowe - Grunge soul collective

Dockside Stage at the Grove

1.00 pm               Gabriel Templar - Indie pop

2.00 pm               Luke Marshall Black - Vocalist

4.00 pm               RVBY - Quirky pop

5.00 pm               Agata - Vocalist

6.00 pm               Imprints - Gypsy, pirate, folk-rock band

Millennium Square – Bristol Dances

11.00 am             Diddi Dance

11.45 am             Dancin Tots

12.20 pm             Afon Sistema – Brazilian Dance in Bristol

1.10 pm               Mumtaz Dance Company – Bollywood Dance

1.25 pm               Original Spinners - Dance, Performance

1.40 pm               Untold Dance Theatre - Dance

2.00 pm               Cabaret and Drag Dance Show

3.10 pm               Funk Supreme

3.20 pm               Piloexcersize - Dance

4.20 pm               The Hills School of Irish Dance Performance and Workshop

5.00 pm               Celidh Dance with Mr Medler - Dance

Cathedral Walk – Spoken Word, Music and Performances

11.30 am             Poetry Machine - Performance

12.00 pm             South West Showcase – Performance & Music

1.00 pm               Guest Artist – Dizraeli – Performance & Music

1.30 pm               Poetry Machine – Family Performance

2.00 pm               The Urban Word Collective Takeover – Performance

3.00 pm               Guest Artist – Deanna Rodger - Performance

3.30 pm               Bath Spa University Poetry Showcase - Performance

3.45pm                South West Showcase - Performance

4.30 pm               Guest Artist – Toby Thomson – Family Performance

The Circus Playground – Queens Square

Entertainment, fun for the family, food and Music all day from – 11.00 am – 4.00 pm.

Avon Wildlife Trust, Avon Valley Adventure and Wildlife Park, Bubblina – Family entertainment with bubbles, Sound right phonics Bristol, Circomedia – Circus Workshops – Great Family Fun, Traditional Japanese Drumming, A.P.E Project CIC – Mobile Adventure Playground, Marky Jay – Street Theatre, Bocadalupa Arts – Bee Garden and much more.

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