Items filtered by date: February 2013
Wednesday, 27 February 2013 12:57

Clancestry 2013: Cultural In Preview

Clancestry is a festival at QPAC which celebrates the arts and cultural practices of the world's First Nation's Peoples.

In its first year, the major focus will be on Aboriginal and Torres Strait Islanders. In following years, Clancestry will invite participation from around the globe.The festival will draw on spiritual culture and aims to provide a space to connect with other clan groups across the country and the globe. There will be performances, workshops, free events and it aims to entertain, educate and connect people. Rhoda Roberts, one of the organisers, explains more.

Describe this event in 5 words?
Clancestry: a celebration of country.

What role do you play?
QPAC Guest Curator for the exciting new festival Clancestry.

What is the driving aim of this festival and how did it all come about?
QPAC wants to encourage all communities to come and gather at their site and experience the unique and the moving. It's also a great opportunity for our artists to highlight the work and new projects they are undertaking and creating.
What makes it different to other festivals? It’s simply fun, engaging and  celebrates the oldest living culture. From ancient weaving practices to contemporary voices, it really is a weekend to kick back and just gather, hear some great music, witness and participate in dance and conversations.

Who is involved and what can audiences expect?
We have an amazing line-up with festival treats such as Troy Cassar-Daly and Archie Roach but joining them on the Clancestry stage one of Australia’s favourite, adopted son Jimmy Barnes and the Black Arm Band. If you would rather bring a picnic and sit with the kids then there is weaving, stories, dance and perhaps you might want to dig your feet into the sand and learn few steps. Or simply grab a drink and listen to a variety of music from the Torres Straits in the north or the latest country rockabilly with QMUSIC awardwinner Sue Ray to at the Cascade Court.

Why should people come and check it out when MasterChef is on TV?
Because you can watch the repeats the following day and or simply record the series. Cooking will always be there but it's not everyday you see the YouTube phenomena from Arnhem Land — the Chooky dancers up close and personal.
What are your picks and highlights? What is unmissable? The opening Ceremony is a special time for me as it’s about experiencing or witnessing a modern day corroboree. The continuance of age-old protocols and the knowledge is what keeps the Opening ceremony going and it will include participants from local schools and colleges. The Brisbane community joins our artist and crafts people, with representations from the Torres Straits to Arnhem land. Plus the Aboriginal Centre for Performing Arts teachers and students are truly continuing intergenerational exchange which for me is an incredible legacy. In years to come I think most students will want to be part of the unity of our communities through song, dance and chant. You really get to see how large Australia is and the diverse languages, movement and dance that is our celebration of country.

Any challenges or struggles making this festival happen?
Selecting specific artists was the only challenge as seriously there is so much new talent across Australia. Although while selecting the artists, we wanted to make sure we had some national highlights that would attract everyone as we begin to create an annual destination for gathering with the local artist and community.

Anything else readers should know?
QPAC celebrates 25 years and what a great birthday present for them to have a new destination event that will only get better. So come and visit us, give us your critique so we can capture what you would like as you come back to gather at Clancestry in 2014. We are all family in one way or another and everyone has clans after all.

Clancesty 2013 Is On For One Day Only Saturday March 2 At The Qpac Cultural Centre.

Published in Events Arts
Wednesday, 27 February 2013 12:54

Housos Vs Authority: Film In Preview

“It's like ‘Titanic’ but with bogans in it.” It's a big call, right? However, after having the pleasure of receiving an advanced copy of director Paul Fenech's latest flick to make the transition from the big screen to DVD, I must agree the similarities are uncanny.

Both tell tales of adventures bound for the most unlikely of disasters; both gently tug on the heart-stings in stories of enduring love; and the two also share tear-jerking tragedies.
Okay, so maybe I stretched the truth a little. But Paul pinpoints perhaps a more accurate explanation for the popularity of 'Housos Vs Authority'.

“The thing is with 'Housos' is that everyone knows at least one bogan in their area,” he laughs. “They've seen them, heard them or whatever. It's about that growing population of bogans in Australia. They're gonna take over so there's no use building a bogan-proof fence or anything because eventually the whole country will be bogans.

“Your children will be covered in tattoos, know nothing about anything and be pissed or stoned most of the time. Don't shoot the messenger, that's just how it is. It's the neo-bogan apocalypse that's coming. Don't worry about zombies. Forget zombies. Bogans are much more dangerous.”

If Paul's prediction of the forthcoming “bogan apocalypse” doesn’t have chills shooting down your spine, I also had the opportunity to chat with Franky — the character played by Paul in the movie. Needless to say, a typical day in Sunnyvale surely makes my life seem dull.

And over the course of our conversation, Franky also reveals how Australia might become known more for its footy shorts, thongs and wifebeaters instead of its weather and friendly people. There might just be a surprise candidate for the upcoming election. 

“Where we come from in public housing it's all squashed in. Why aren't they using that land? We could have mansions mate. There's that much land there could be heaps of mansions for all us housos in the centre of Australia.
“I'd [also] raise the speed limit because it's too slow at the moment,” he continues, telling of what kind of policies to expect if he makes Parliament. “Freeing all the people with warrants [for] crimes would be the second one. And probably for Sunnyvale I'd have to lower the age of consent to make half the rooting that's going on there legal. Then with the baby bonus I'd like to triple it.”

It goes without saying that Franky's promises are purely fictional; however, Paul's improvisation of his character is undoubtedly the work of a comedic genius. And from what he tells me, it's the kind of thing that comes with experiencing the subject first-hand.

“I like to do a lot of research,” Paul explains. “A lot of writers I think write in a vacuum, but when I write, I try to do something that's close to reality. There's plenty of silly things like the premise and behaviour and the attitudes that match up with some of the stooges you might meet in housing commissions for sure … I mean, we get police telling us how accurate the show is so that's a great compliment.”

‘Housos Vs. Authority’ is released on DVD and Blu-Ray Wednesday February 27.

Published in Film
Wednesday, 27 February 2013 12:49

Tom Ballard: brisbane Comedy Festival

His ego is bigger, and better, than your ego. Tom Ballard’s latest show is about his desperate need for people to like him.

When asked if this referred to the hate he copped from the holocaust joke last year, he seemed pleased that I’d joined the dots. “What a great question/ sentence! Yes, that was the inspiration for the show. I had this moment in the middle of that shitstorm going, 'how did it come to this?' All I wanted was to be hailed as a comic genius and now quite a lot of people hate me passionately and want me fired. This was unexpected."

In the show, he’s kicked out of home and labelled a rape apologist but he firmly insists this has nothing to do with the holocaust joke. “My ex-housemate just really didn't like living with me and booted me out (in a very rude way), and when I naively chipped in my perspective on the whole Daniel Tosh 'rape joke' controversy, twitter exploded in my face with self-righteousness and angry hashtags.”

Speaking of Twitter, Ballard’s feed has been clogged with references to the Pope’s resignation lately. “I'm fascinated by religion and the Catholic Church just constantly blows my mind. I just think it's a comedy goldmine and anyone with any respect for themselves or their fellow man should resign and run a million miles from it. The only way I could be happy about a new Pope being elected is if it were a black, pro-choice, HIV-positive lesbian atheist.”

Nothing’s off the table for Ballard. “If something's really dark or could really hurt someone's feelings, you just need to be 100% sure that it's funny enough to be included and that it's coming from the right place. Some people get offended if you just mention a certain word, and in my opinion you just can't afford to worry about those people because it'll make your work boring. I've done jokes that include the words rape, abortion, cot death, pedophile, c**t and more, and I'm comfortable with all of them.”

See Tom Ballard March 5-10 as part of The Brisbane Comedy Festival 2013.
Published in Comedy
Wednesday, 27 February 2013 12:43

Dialekt: Breaking Bad

Australian-born wordsmith Dialekt has released his free street album, ‘The Art Of Drive’, with new material he declares will address the stigma some local rappers receive because of their accent.

“If you don't sound a certain way, you're put into a different box,” Dialekt says. “So I address that on a track with Loc from Sydney called ‘The Perspective’; we've dealt with that our whole careers and we just address it from the way we see it from an intelligent point-of-view as opposed to coming out in an angry way.”

The 27-year-old was born in Darwin, but raised on the American island of Guam and it’s there where his love for hip hop grew.

“Well I started when I was about 11. What I started doing was I'd get a tape cassette and I used to write out lyrics from other artists and I'd just listen to the tape and write the lyrics out five or six times until I got each word right.
“The first record I ever did that with was a Coolio record, 'Gangsta’s Paradise', and [I] pretty much wrote that out six or seven times until I learned every part of it. Then I would just perform it in my lounge room. From then it's been like I've had this undying passion for it and it's been going strong since then.”

‘The Art Of Drive’ was the result of countless hours in the studio working at full throttle.

“We've been working really hard towards it, so it's actually been about two months in the studio straight just recording it, doing four records at a time. We've definitely put a lot of effort into it.”
Dialekt attributes the Bryan Cranston film ‘Drive’ as an inspiration for the title track of the album, even sampling the ‘Breaking Bad’ actor.

“I didn't really have a name for the album that really summed up the time bracket, so I saw it and I heard this sample from the movie about how this guy found 'The Driver' and he's unlike anybody else.
“It's actually a metaphor when I say 'The Art Of Drive' to how hard we've worked and the whole grind behind things, so basically I just wanted the whole album to be a walking, talking metaphor.”

‘The Art Of Drive’ Is Available Digitally Now.
Published in Urban
Wednesday, 27 February 2013 12:36

Fraksha: Sneaker Freaker

Fraksha is a UK expat who’s played with some of his country’s best, including Klashnekoff and Skinnyman.

Oh, and he has no problem dropping names like Obese owner Pegz and Aria-winning producer M-Phazes, as if they’ve been mates from way back.

“I’ve been in Australia for seven years and this is my home... Music for me is not something I ever wanted as a career. As soon as you’re involved in music and want money, it becomes something different, and I don’t want to do that.”
Hailing from the traditional homeland of grime, Fraksha’s new album, ‘My Way’, is a hard hitting, bass driven affair released via Obese. Sonically, it’s an uncompromising listen, the majority of the tracks packed with basslines so dirty you’re probably going to need a bath to wash them off.

“What I do is grime with a hip hop influence... Soundwise I don’t think it sounds like anything else released recently [in Australia]. Lyrically it’s a similar place to a lot of Australian artists. We’re all coming from the same place; we can take the piss, a laugh and a joke. It’s been quite easy to fit in.”

The latest single from the album, ‘Creepin’, places sneaker pimping and polo tees back on the agenda, and he isn’t afraid to declare that old school street culture plays a huge part in his musical inclinations.

“I feel like if you are going to step on stage and entertain people, you gotta make an effort with yourself. Whether you or the next person think I dress like a dickhead, that’s your opinion. Lots of people that follow what we do are coming from areas where they haven’t got the access to some of these clothes necessarily, so they are going out and robbing them all over.”

This take-all mentality is evident when perusing the producer talent on ‘My Way’, including Australian stalwarts M-Phazes, Torntz and Megatroid, while Fraksha revels in the freedom of the studio process.
“Some MCs are like, ‘I don’t want to record the verse unless it’s all 16 bars in one take’. It’s cool... but you have things around you to utilise. We can all spit bars on stage, but you’re in the studio man... You can do whatever the hell you want.”

‘My Way’ is available now.

Published in Urban
Wednesday, 27 February 2013 12:31

The Herbaliser DJs: On A Rant

Over the past two decades, The Herbaliser have established themselves as one of Britain’s most beloved electronic acts, their records drawing on a deeply-ingrained affection for both jazz and hip hop.

Producer Ollie Teeba, who forms one half of the group alongside Jake Wherry, has been a hip hop lover almost all his life. Do not, however, get him started on current trends in the mainstream. “Americans created house music, but it’s only over the past five years that they’ve embraced it full-on. They’ve even renamed it!” he says with a cackle. “They’ve called it EDM, like it’s something new!”

The house music sound has bled across into hip hop, though Teeba despairs for the state of the genre.

“We grew up on the hip hop of the ‘80s and ‘90s, which was rich and diverse in terms of the palette of sounds,” he continues. “Today’s hip hop, at least the mainstream, is dull as dishwater. It’s all got the same drum sound – there’s a Roland 808 sound on every single track, and it’s boring as hell.”

Now he’s on a roll, it’s hard to slow him down.

“It seems to be the industry idea that if you just put a rap on anything, no matter what, that makes it a hip hop record. You can’t put a rapper on a Justin Bieber track and make it hip hop – it’s not the case. That’s just a crossover that someone in a suit dreamed up. If you pick up a rap album, you’ll always see tracks featuring other rappers, collaborations and cross-pollinations, but now pop albums are like that too – every song has a feature credit. I think there was a rap song featuring John Mayer. I mean, he’s fine and everything, but what does he have to do with hip hop music, and why would you want him anywhere near a hip hop record? It’s just the industry going, if we put him on this, we can sell this song to his fans, and maybe get some hip hop fans into John Mayer. It’s a really transparently calculated effort to cross acts over and sell more records. It doesn’t make for good music at all.”

While he despairs for the mainstream – Nicki Minaj is another target of some choice words – Teeba is not yet ready to concede his beloved hip hop to the pop charts.

“The underground, certainly in this country, is starting to regenerate itself. It went through a period of non-development, but I think that it’s back now.”

It’s difficult, in the present climate, for independent artists to make money from their work, but rather than holding people back, Teeba insists that this has led to a new-found sense of creativity. “There’s less expectation,” he says. “When you’re working on that independent level, you don’t have MCs walking in with this idea that they have a dollar value. Because no one’s making money, people will work on a project if they’re into it. That’s when you’re going to get the best results – you’ll get a great collaboration with someone who’s inspired by your music, rather than someone who was paid to be there.”

The chaps from The Herbaliser are all set to return to Australia for a DJ tour, and I ask Teeba what we can expect – where exactly their heads are, and what new tunes have been getting their attention. After his rant against the mainstream, he seems quite keen to reassure me that he and Wherry aren’t old fogeys.

“We hear new sounds all the time!” he says with a laugh. “We hear the dubsteps and the drums and basses and all the new-fangled dance music styles!”
It’s safe to say that you won’t be hearing any Nicki or Justin, although not all contemporary music is out.

“I loved ‘Otis’ by Kanye West and Jay-Z,” Teeba says. “It was so great to hear proper hip hop in the charts. I mean, don’t get me wrong,” he continues, “we take influences from new music, but our primary interests are the same as always. We love soul, funk, jazz and hip hop. That’s very much what you’ll hear in a Herbaliser set.”

The Herbaliser Djs play Rumpus Room, West End, this Friday, March 1.
Published in Electronic
Wednesday, 27 February 2013 12:26

Earth Frequency 2013

Returning to the mist-filled hills of Landcruiser Park is always a pleasure. An hour away from civilization, the eucalypt-filled 4WD and camping park has become home to one of Queensland's largest electronic gatherings, attracting dreadlocks and audiophiles alike to what I could only describe as a giant — and, in this case, wet — outdoor rave party.

The Earth Frequency organisers describe the festival as ‘not just a party, but a gathering of many different tribes and a weekend of connection, intention and inspiration’. It’s an apt description. Outside of the oodles of new age hippies, there’s a wide demographic of party people, from weathered old musicians to the small gangs of children that run amok among the market stalls. Not to mention the burgeoning ‘onesie’ wearers that like to get down in outfits ranging from dinosaurs to unicorns.

This year began with forecasts of a weekend long storm, which didn't bode well for the bass driven antics of our tribes people. Saturday was where the real fun began. After an opening ceremony and fire show, Hermitude kicked off the weekend, stepping out from behind their decks to jam with the audience on a beatpad and keytar. While they definitely got feet moving with their excellent showmanship and pop hooks, the headliners couldn't quite tip the audience into that state of mindless rave. Luckily the technical squelch of electronic mainstay Spoonbill could, followed by Love and Light, who turned the dancefloor into veritable chaos with their obscenely chunky, glitched-up bass.

After partying through the night and day, Sunday saw the quick rising Opiuo delight the crowd with his lowtempo funk and a glistening new track, while SPL shook the ground with some highly dynamic, hip hop infused bass beat splendour.
On Monday, the rain came. Hair got wet, feet got dirty, and those who remained got their squelch on in a smile filled dancefloor — the laidback funk of Jpod and Sunmonx closing up another weekend of incredible music, art and people.

Visit Scenestr to see photos from Earth Frequency
Published in Events Music
Wednesday, 27 February 2013 12:05

Father John Misty: Live Review

The night opened with Oh Mercy frontman Alexander Gow serenading the crowd with a captivating solo number. With just his electric guitar and powerful pipes, Gow geared the audience up for what was an impressive night of music at The Zoo. Oh Mercy played a well-rounded set, with tunes from their recent album ‘Deep Heat’ showing just how versatile and inventive their music has become. Channelling a more summery, bass-driven style, Oh Mercy gave something for the Zoo’s packed audience to chill out to, in anticipation of the night’s headliner. From the moment he stepped onstage with his entourage of musicians, Joshua Tillman, under the moniker of Father John Misty had the crowd completely enthralled.

The show was unpredictable, energetic, and at times a little kooky, but that’s what made it so incredible to watch. The ex-Fleet Foxes drummer not only has an enviable songwriting ability, he draws you in with his quirky stage presence. Throughout the set he dances unashamedly ‘like an eight-year-old’, cracks sarcastic jokes, and expresses his gratitude for the audience, at one point declaring, “I just want to gather you up in a picnic basket, take you to the transit centre, and leave you there for a week; just to see your face when I come back and rescue you.” Playing a selection of tunes from his recent album, ‘Fear Fun’, Father John Misty provided a varied palate of emotions, philosophical stories and a reason to dance our night away.

check out the rest of the Live photos at Scenestr
Published in Rock
Wednesday, 27 February 2013 12:00

The Temper Trap: Sweet Disposition

You can take the band out of Australia, but you can’t take Australia out of the band.

The Temper Trap’s drummer and founding member, Toby Dundas, could not have been more at ease during our chat. It's as if his band never won any of those ARIA awards, never toured with Coldplay, and never sold so many copies of 'Conditions' that chances are Pope Benedict XVI probably owns one. For all anyone knew we could have been having a beer in St Kilda chatting about Chris Gayle's batting average. It's the charming modesty of a man so embalmed in the ointment of success that he could only be Australian — even on the other side of the world, tall poppy syndrome still manages to keep that ego in check.

"When we started out it was just four of us playing in a room. Living in Melbourne we played those first few gigs and it was just our mates watching... to think that eight months later we were living in England and touring the world... you're left pinching yourself."

It's been many years since The Temper Trap left our shores for the cold, damp pebble beaches of England. Yet it's nice to know that The Temper Trap can still point to where Melbourne is on a map, and that Toby still remembers what it was like to squeeze into a van with his drums.

"I remember at the very beginning when I met Dougy [Mandagi] he asked if I'd come play drums with him, I was already playing in a band and wasn't that keen to do it. But the first time I went out and jammed with him, I remember the first song he played was a really early version of 'Peter Parker's Alter Ego', and just hearing him sing I knew his voice was really special.

“In those early days you really had to have a feeling of camaraderie to be able to sit in the back of a van driving back and forth to Sydney. But the way the four of us got along it definitely felt like a little gang to be a part of, and like something cool could happen. Certainly having the chance to tour the world adds an extra layer of excitement, but we used to love touring Australia. We played a lot of shows, and it still used to be really exciting driving to somewhere in Victoria every second weekend."

Flip over your own copy of either 'Conditions' or The Temper Trap's latest self-titled LP — you won't find any association with major labels or any shout-outs to Donald Trump hiding in the liner notes. It's a welcome surprise to find that a band the magnitude of The Temper Trap still remains true to its independent label roots; though to be fair, it's not all a matter of loyalty. It seems the band has enough business acumen to float Europe out of the financial crisis.
"When we were first signing we'd whittled it down to two labels, one a big major and the other being Liberation. But we've always gotten the vibe from Liberation that it's a smaller, boutique label but certainly one with a lot of history and a lot of great people working there trying to push it forward.

“I guess the other main factor was that they were an Australian-based label and we definitely had ideas of wanting to move overseas and make a career over here as well. If you sign to a major from a place like Australia it doesn't mean that the people in the same label in America or the UK will pay you any attention. Whereas if we signed with Liberation we could take ourselves overseas and find other small labels that had the same passion that we had. It worked out really well."

The Temper Trap play Future Music Festival at Doomben Racecourse Saturday March 2.

Published in Rock
Wednesday, 27 February 2013 11:54

Urthboy: Ideas Man

Five years ago Urthboy was beginning to worry about the future of the music business.

At Elefant Traks, the Sydney-based independent hip hop record label he helped co-found, the internet was beginning to bite and sales of physical product were losing traction. Life on the indie frontline looked bleak.
But cut to early 2013 and everything’s changed. Elefant Traks are coming off one of the most successful years in the label’s history. 2012 delivered a breakthrough for Hermitude, the DJ project of Luke ‘Dubs’ Dubber and Angus ‘El Gusto’ Stuart — their fourth album ‘HyperParadise’ crossing over into the mainstream media – as well as the release of Urthboy’s own LP, ‘Smokey’s Haunt’, which itself went on to rack up the critical plaudits. By December, Elefant Traks seemed to be everywhere.

“2012 was a combination of lots of hard work and a few things going our way,” explains Urthboy, who in label guise is better known as Tim Levinson. “You’re working alongside artists like Hermitude for ten years before they really start to shake up a more mainstream audience, [and] when it finally does happen and you’re working behind the scenes alongside them, it’s really invigorating and just gives you that reassurance that, first of all, what we’re doing is worthwhile, and secondly, nice guys do finish first sometimes.”

Particularly satisfying was the AIR award for best label. Essentially, it meant other labels had been voting for Elefant Traks, acknowledging their achievements.

“That other labels think we’re doing a good job – that makes us all have a little bit more of a spring in our step when we’re working. But you reflect on those things and use it as a way of reinforcing your own belief in what you’re doing … I think the fact that we’re all invested in it and believe in what Elefant Traks is trying to do is a far greater incentive than all those things.”

And compared to the gloomy days half a decade ago? A lot of labels slipped under the waters, but Elefant Traks adapted and have since grown their business.

“Our digital ratio of sales is far higher than our physical now,” Urthboy explains. “So it seems that the audiences who embrace Elefant Traks have long since discarded physical product. So we’ve been close to those changes that have affected the industry and sometimes in a negative way. We have more staff rather than less, we have more projects to work on and we feel like there are more things out there that we haven‘t tried out yet. And our overheads – despite the fact that we’ve got more staff – are so low that we can move and adapt.”

As Elefant Traks’ stock has risen, so has Urthboy’s – but not just as an artist or businessman. His label’s thoughtful approach to rap music continues to draw followers, even when the smart money would be on the enlivening, widescreen hip hop of acts such as Hilltop Hoods, Bliss N Eso and 360. Elefant Traks artists aren’t afraid to sign their name to a cause, and as label head, Urthboy is often called upon to do the talking. So you have his appearance on ABC Television’s popular talk show ‘Q&A’ a couple of weeks ago – something he describes in encouraging tones as a learning experience.

“I’m all about getting involved and I feel sad for people who pull themselves out of a dialogue,” he says. “Each to their own: people can do what they like, but I’m just a personality that likes to get involved. I’m an empathetic person; I share the concerns I’ve had with my own career with my artists and the artists that I look after. I always come from that angle and want to get involved. And politics is no different: naturally we’re going to be a little rough around the edges and not be polished media players, but that’s OK. You’ve just got to keep that option open.”

It’s not often you meet an artist with such well resolved arguments on political and social current affairs. ‘Q&A’ obviously realised this, asking the rapper for a post panel performance of his song ‘Empire Tags’ – a plea for Australia to drop the Union Jack from the national flag – as opposed to current single ‘The Big Sleep’. Urthboy takes this public side to his personality seriously, but at the same time is wary of overkill.

“I performed ‘Empire Tags’ and at the end of it, because of the bushfires and floods around the country, I was shouting out to people affected by that stuff. And I was pointed to one of the main lobby groups for the monarchy over here, and a lot of their commentary was, ‘I cannot believe he blamed floods and fires on the Queen,’” he laughs. “I mean, God, what an advertisement for [having your] fucking head in the sand.

“I’m outspoken because I feel like life’s too short to play poker with this shit. But yeah, I do sometimes feel like the world doesn’t need me to put my opinion on everything. And from time-to-time I’ll have an awakening of, ‘Why would people want to hear my opinion on things?’ And I’ve got to be aware of that instinct to assume that what I’ve got to say is worth listening to. I think from time to time I need to reflect on it, so I just don’t assume … Quite often with interviews and issues where you’re called to make a comment, it’s a one-way street where you’re standing up and delivering your grandiose thoughts on the world. I don’t want to hear the same person talk about a whole bunch of different issues, so why would I want to be that person?”

Right now, though, Urthboy is thinking more about the art, and in particular the upcoming ‘Smokey’s Haunt’ national tour. It will be the first where he’s not on the road with El Gusto – Hermitude’s continued success now requiring the DJ’s fulltime attention.

“Replacing El Gusto was something I didn’t even want to explore,” he says, “so that’s how the band came up. If I can’t replace him, how do we actually go about it? We have to make the show better. Because that’s the premise.”
He quickly settled upon an idea he’d originally discussed with El Gusto: touring with a full band. And so beyond regular co-conspirator Jane Tyrrell, Urthboy will be packing an all new live show, including Lisa Purmodh on drums, Alex Dawson on keys and Last Kinection and Briggs’ regular, Jaytee, behind the decks. The excitement buzzes down the phone line.

“I don’t really feel pressure, apart from pulling off the songs in time for the show,” he says. “Maybe that’s pressure, but I don’t think of it in those terms. I definitely feel that you can’t get away with doing the same thing over and over again … Particularly when there are so many acts in the hip hop community – you can’t keep coming back and doing the same thing – it has to be a constant refresh and you have to present people with new ideas, offer them something new.”

Urthboy plays Sol Bar, Coolum, March 22 and The Zoo March 23.

Published in Urban
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