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Friday, 20 September 2013 00:00

Michael Jackson Immortal World Tour Tickets

Michael Jackson The Immortal World Tour by Cirque du Soleil is a spectacular music and dance event that merges the music and moves of Michael Jackson with the magic of Cirque du Soleil to create a once-in-a-lifetime experience.

A riveting fusion of visuals, dance, music and fantasy, Michael Jackson The Immortal World Tour will immerse audiences in Michael’s creative world at Brisbane Entertainment Centre from October 2-6.

For your chance to win one of two double passes (valued at $149 per ticket) to the opening night, Wednesday October 2 This competition has closed.
This email address is being protected from spambots. You need JavaScript enabled to view it.

Terms and Conditions:

1. Winners will be drawn at random at 12:01pm Monday 30th September at Level 2, 192-210 Brunswick Street, Fortitude Valley. [Winners drawn]
2. Winners will be notified by e-mail. [Winners notified]
3. Winners must arrange to collect the prize from Scene Magazine's offices at Level 2, 192-210 Brunswick Street, Fortitude Valley, during business hours.
4. Entrants' email address will not be used for any other purpose except the conduct of this competition.

1. Anything can happen, oh the drama.
Comedy is simple, tell a joke and people laugh. Yes, simple. No, it’s freaking complicated. Physics, gravitational pull, burning superhot gasses, magma and an airless vacuum is what happens when comedy goes wrong, which is hilarious! When it goes right and you laugh, that’s good too.

2. You’ll meet cool people and hook up.
The internet is full of desperate people looking for less desperate people but in reality, misery loves company. Break the cycle. Watch live stand-up, laugh and watch other people laugh. Watching somebody laugh is like getting to see their face when they orgasm. Come faces, hilarious!

3. Have an epiphany.
If you have a brain, a hearty laugh will dip the things that vex you in a bucket of clarity. If you don’t have a brain, stop reading, never come to one of my shows. Look there’s a shiny object, did you just fart, pffft!

4. Learn something.
A good comedian makes a good a point. A great comedian makes a great point. A bad comedian gets you asking yourself, what’s the point? You’ll learn things about yourself, the people around you and about the world. People learn things they never knew like poo is funny.

5. What’s ‘Exploring Uranus’ about?
It’s a bit of fun and a chance to be silly about serious things. I’ve enjoyed performing it and people have laughed. It seems pretty simple.

Desh, the Aussiest South African Comedian in the world, is finishing his Brisbane season of his new stand up show, 'Exploring Uranus' at the Sit Down Comedy Club Paddington Tavern on Sept 15 and 22.

1. Boys in tangerine speedos and girls in 'the bottle-opening bikini' (a real thing that exists).

2. Enough alcohol to make everyone want to skinny-dip, but not enough to make me ACTUALLY do it.

3. A seven-hour loop of Fleetwood Mac's 'Go Your Own Way'. Trust me.

4. A Hovercraft. Make an entrance and show people who owns this beach.

5. Sunscreen. Forget all the cancer scaremongering, the real danger with the sun is AGEING. No one wants to see anything super-wrinkly at the beach — why do you think men only cover one thing?

'Psycho Beach Party' is on until September 28 at The Loft, QUT as part of Brisbane Festival.

Wednesday, 18 September 2013 14:23

Northlane: Top Five Coffees

Little known to most, prior to Northlane I was working in a women's jail teaching inmates barista skills so that they could get jobs in cafes and the like when they'd completed their sentence. Prior to this I was working in cafes and as a result I'm a huge coffee fiend. Provided the person behind the machine knows what they're doing, this is my top 5 in preference.

1. Ristretto. The best part of an espresso extraction; it's a little sweeter and lighter on the tongue — my pick if I really want to taste the coffee.

2. Espresso. I love espresso shots because of how intense they taste, only when made well though. Nine times out of ten it's like drinking diesel.

3. Cappucino. The usual classic favorite, can't beat that silky froth. Usually my go-to when on the road.

4. Affogato. Essentially an espresso shot poured over a scoop of vanilla ice cream. This is a real treat and the ice cream melts into a thick vanilla/ coffee pool of deliciousness. If you've never tried one of these you owe it to yourself.

5. Macchiato. If I'm not feeling ballsy enough for an espresso I'll go for one of these, the dollop of steamed milk really helps the flavour but it's still very intense.

Northlane play Surfers Paradise Beergarden September 19 and Racecourse Hotel, Ipswich, September 21.

1. Julien Wilson. Julien was inspiring to me when I was in my early 20s and first moved to Melbourne. He was playing with a Hammond outfit called Festa, and what he was doing was so original and powerful that it set me in the direction I decided to go.

2. Sandy Evans. Sandy was my major female role model on saxophone. She is such a creative and imaginative composer and player. She made me see that there is a place in this country for women to play saxophone seriously (and with fun).

3. Tony Buchanan. My guru and mentor. We call Tony ‘The Tone’ and it's easy to tell why. Every note I go to play, I picture Tony's sound. He is totally in my heart as a true saxophone genius.

4. Lisa Parrot. Another strong Australian woman to bend the rules and be respected as a player in her own right. We haven't heard much from her over the years purely because she is living and working professionally in New York. A unique and beautiful sound and style.

5. Paul Williamson. He has kept the R&B style strong in this country. An impeccable sense of time and groove with a huge tenor sound. We call him the ‘Grand daddy of the saxophone’ although he's not so old! And his gigs at The Rainbow Hotel off Brunswick Street in Melbourne are an institution.

Martha Baartz plays the Brisbane Jazz Club Friday September 20.

Friday, 13 September 2013 00:00

Bigsound Live Night Two Review

After the first night of BIGSOUND Live rocked the collective socks off an unsuspecting populace, could the second night possibly live up to its memory? James Pearson, Daniel Wynne and Nash Johnston rate the second leg of Australia's best music conference.

The line to get inside Black Bear Lodge snakes its way down the Valley mall; standing at the entrance, I still can't see the end. A few punters hypothesise that it's because Megan Washington is playing later, but personally I think it's because these people want to hear Thelma Plum drop the F-bomb. How does she get away with that? Watching her sway her way through 'Around Here' it's easy to see why. Plum is perhaps BIGSOUND's most unassuming artist, and it's not through charisma that she holds this crowd's attention. There is some prime talent on display; every note Plum sings is exactly where she wanted it to be. Expect some big contractual movement after this performance.

Megan Washington needs no introduction around these parts. There's a surge to the front as she takes the stage of equal parts blonde schoolgirls with fake IDs and old men that seem to have snuck out of a retirement community. Washington doesn't so much launch into 'How To Tame Lions' as she does ease into it like a bath of warm, soapy bubbles. Unlike so many other acts that have been and gone over the last two days, the songstress is completely at ease. Thirty minutes breezes by, and even Megan's keyboard is smiling by the end. Megan, if you're reading this, let's get brunch sometime.

By the time Jeremy Neale takes the Black Bear Lodge podium, his quasi-bandmates DZ Deathrays have almost polished off a secret show across the road. This hasn't diminished the crowd though; a surging mass of hair, sweat and spilled beer awaits the Jeremy Neale Comedy Extravanganza (Now with Music). As Jeremy wheels out his usual (can I say usual?) catalogue, songs like 'In Stranger Times' and 'A Love Affair To Keep You There' leave you feeling torn. A small part of you is stubborn, and longs for the rest of Velociraptor to join Jeremy on stage. The rest of you, however, thinks that this is actually pretty awesome.

I will never be as cool as, dress as suavely as, or fight as well as Jeremy Neale. Post-BIGSOUND, I think I'm starting to come to terms with that.
James Pearson

The second night of BIGSOUND Live once again offered something for everyone with a dizzying mix of artists and genres. Gossling and her band appeared early at Black Bear Lodge and performed a restrained yet moody set on a stage lit by shining yellow lights. Switching between guitar and keyboard, the singer-songwriter played both crowd favourites like the single 'Wild Love' and new ballads from her upcoming album. It was a solid set with the most exciting aspect being the chance to hear what she has planned for the future.

One of the best and most exciting acts of the night was definitely North Coast band Mt. Warning. Combining heavy yet melodic rock with ambient electronic elements, their set was made all the more hypnotic by frontman Mikey B’s personal, evocative lyrics and filmmaker Taylor Steele’s arresting stage visuals. The climactic end featured an epic, soaring performance of ‘Youth Bird’ and Mikey B jumping into the crowd and starting a moshpit. To call them a band worth paying attention to doesn’t do them justice. Once they get started it’s almost impossible to tear yourself away.

Sydney’s Bed Wettin’ Bad Boys, who are worth it for the name alone, kept a packed house at Rics thoroughly entertained with their particular brand of fuzzed-out power-pop. They were a lot of fun and it’s easy to see why Triple J loves them.

On the local front, the very soulful Nat Dunn and her band thrilled the crowd at Coniston Lane with their retro-pop stylings. Dunn has a powerful diva-ish voice that lends itself well to big love ballads and the collection of tracks she showcased kept everyone in high spirits. One highlight was her “song about mates”, the highly enjoyable ‘Mango Tree’.
Daniel Wynne

For some, the second night of BIGSOUND guaranteed to be a slightly subdued affair following the sheer magnitude of the previous evening, and Rainbow Chan at Electric Playground seemed the perfect choice to bring it in. The Sydney songstress looped and sampled her way through dream-pop rhythms and calypso melodies, and at times channelled a kind of fluid, free-spirited Natasha Khan-esque flair that was enormously captivating to watch. She produced a saxophone at one point (which she kept handy for Jeremy Neale later on) and welcomed an MC in fluro for a surprising touch of variety near the end. Rainbow comes highly recommended.  

On a whim, Saidah Baba Talibah at The Zoo followed. The Canadian group opened with some audacious funk, unabashed and flashy, and had they continued with it they would've brought the place to its knees. Instead, political banter and slow numbers soliciting revolution marred the set. Still, it's hard to entirely disapprove of a group that includes a spontaneous drum solo, plus, one of the members looked like she'd walked onstage after hanging with Santana, circa 1970; afro, tassels, beads and bands — it was wild.  

The winding line into Bakery Lane for John Steel Singers — who've generated considerable hype following a solid new single and 'comeback' of sorts — was a minor blow, and after 15 minutes of idle queuing it was time to move on.  

An elated and slightly intoxicated Dom Alessio welcomed Bored Nothing onto the Triple J Unearthed Stage at Oh Hello. The group played to a moderately sized, slightly unenthusiastic crowd, and Fergus Miller's detached demeanour didn't seem to help the general sense of disinterest in the room. The material is good but performance lacks spark, unfortunately.  

Finally, it was over to Black Bear Lodge for Brisbane's favourite, Jeremy Neale. The man has had an outstanding year; QMA award, Laneway Festival, an exhausting national tour schedule; and tonight he's looking sharper than ever. Liam Campbell broke the whammy bar off his guitar a couple of songs in – no easy feat – and this unexpected incident helped distinguish the set as something extraordinary.

Jeremy welcomed various Brisbane notables onto the stage for 'In Stranger Times'; and his self-proclaimed hit-parade, including the all-time classic 'Darlin', sounded better than ever. The performance was just further demonstration that this guy... Could go... All... The.. Way...
Nash Johnston

Thursday, 12 September 2013 00:00

Bigsound Live Night One Review

Fortitude Valley scrubbed itself up for BIGSOUND once again this week, playing host to the music industry's most respected power players and most entertaining degenerates. Nash Johnston and James Pearson weigh in on the first night's highlights.

One of the more exciting BIGSOUND buzz bands this year was Sydney's Bloods, with set closer 'Into my Arms' no doubt partially accountable for the recent barrage of hype. It's a cracker of a song; catchy, immediately accessible and concise — Australian garage at its finest. The group are stoked to be onstage tonight and word is they've been running around the Judith Wright Centre all day with smiles on their dials that don't threaten to fade anytime soon. Keep an eye on these guys, they're a riot.

Ric's Bar hosted Mining Boom, and the match was perfect. The intimate crowd packed in close to try and peer under the mop of hair masking the singer's face. No dice, he barely looked up once, not even while suggesting the crowd email the band for a free album — This email address is being protected from spambots. You need JavaScript enabled to view it. is apparently the address, though that probably isn't right. The drummer had a MIDI drum pad alongside his kit that he used to trigger some wild '80s tom sounds along the way, a highlight among many the Perth group had to offer.

Regurgitator took to the Electric Playground stage as a three-piece of matching pink jumpsuits and proceeded into a proverbial thirty-minute hit-parade. Highlights included the driving 'Blood And Spunk' as opener, and a wildly received rendition of 'I will Lick your Asshole' that had the place — dare I say it — jumping. These guys are proven experts and despite the late timeslot allowing for a looser crowd (and they were loose), they could've captivated at any time or place. Don't fret everyone, Regurgitator have still got it.

Following official BIGSOUND proceedings, the party moved across to an over-crowded Alhambra Lounge for the (perhaps) one-off reunion of Philadelphia Grand Jury. The set included their signature cover of Jay Z's '99 Problems'; the brazen Berkfinger barrelled into the crowd to add further intensity to a venue already on the verge of boiling point. It was standing room only, but as the clock moved further into the morning hours the crowd began, fortunately, to thin out. Making way for a criminally short set for Jeremy Neale (we'll get to him tomorrow), then at 3am, King Gizzard And The Lizard Wizard.

King Gizzard are currently one of the best live groups in the country. The Melbourne septet, including two drummers, provided the strongest set of the conference thus far. Unwaveringly confident, steely-eyed and ambitious, the group are a perfect example of solid vision meets dynamite execution. The group maintain an outstanding grasp of soft-loud dynamics, but are by no means limited to it, with a versatile repertoire of songs spanning three full-length albums to draw on. Their opener was lengthy, perhaps 20 minutes, and it's this kind of aspirant daring that elevates the group to the very top echelon of current Australian music.

For those who were there, am I right or what?
Nash Johnston

"I hope we don't die!" jokes Bloods guitarist Sweetie between songs. Sure, she's not being serious, but I can still understand why. Electric Playground is at capacity, yet as Bloods begin thrashing through their latest EP, Golden Fang, the room continues to stand stock-still. You get the feeling that there are some vultures in the audience — Bloods are fresh meat, and the record label bigwigs are swooping in to see if there's anything worth tasting. MC, Dirk and Sweetie seem to be onto this fact as well; no one has ever seen the band this restrained. Each distorted power chord still sounds like garage rock, but the band are clearly on their best behaviour. While I'd like to see them unwind and kick an amplifier (a broken amp, I'm not sure they could afford to kick a working one), Bloods have never sounded this polished. Dirk even manages a drum fill or two. Dirk's tops.

I run into BC Michaels during the (what can seem eternal) twenty minute interlude between bands. The Dune Rats drummer is smelling quite herbal, as are the rest of the DR contingent. As he wanders off backstage I quietly think to myself, will he be able to drum in this condition? 30 seconds into the set and I realise that BC Michaels has probably never drummed this well in his life. It's the BIGSOUND effect, perhaps. Everyone is on show; this isn't a festival, it's a museum exhibit with bands in glass cabinets. 'Red Light Green Light' and 'Fuck It' manage to get the crowd jumping, a colossal feat given the stony, concrete-footed reception Bloods were previously treated to. It helps that the band have managed to recruit Johnny from Children Collide on guitar; as a four-piece, the energy of this band is uncontainable. When the set ends I run outside and start high-fiving strangers furiously.

After another 14-hour delay between bands, King Gizzard and the Lizard Wizard prove that they are, indeed, one of the hairiest bands in the world. I couldn't actually see any faces on stage, just so much thrashing, sweat-clodden dreads of hair that it seemed as if the Kraken was playing guitar and Confucious had taken up bass. I can't remember any names of the songs King Gizzard played. Come to think of it, I couldn't distinguish one song from another. All I heard was one long, loud thread of distortion. It was nice though, like having tea with your gran while the house catches fire.

Electric Playground is at 5000% capacity by the time Bleeding Knees Club take the stage. The band aren't in a great mood; with more than two-dozen Facebook friends, you get the feeling that they're too cool for any of us. While the set feels more like a rehearsal than a whole-hearted stab at performing, the crowd still manages to lose its collective marbles. BKC's reception eventually drags them to a higher level. I did not know it was possible to crowd surf to the bar, and back again. For the record, it is. Bravo, gentlemen. Bravo.
James Pearson

1.'Kids'. I went through a phase where I would seek out any arthouse film I could find, and so began my penchant for Larry Clark films. Eleven year-old me didn't quite understand the ramifications of underage non-consensual AIDS sex but he was greatly influenced by real people versus actors cast in the film, and the improvisation versus scripted work.

2.'The Little Mermaid'. It foreshadowed the 'theatrical flair' I would have in later life. I wanted to be Ursula.

3.'Aliens'. Something about strong women with guns resonated from a young age. I think I also confused Sinead O'Connor and Sigourney Weaver.

4.'Enter the Dragon'. I didn't really like martial arts films, but if I watched them with my father I could bargain for later bedtimes.

5.'Moonwalker'. I wanted (and still dream of) a singing-dancing-music video reality. I wanted to be in a gang — but only if they had dance battles with guns.

Close runners up: 'Robinhood Prince of Thieves', 'Spaceballs', 'Terminator 2', 'The Labyrinth', 'Grease',  'Friday  the 13th' and 'A Chorus Line'.

Steven Mitchell Wright is directing Brisbane Festival and La Boite’s co-production 'The Wizard of Oz' until Saturday September 28.

Wednesday, 11 September 2013 15:26

Dan Quigley: Top Five Jazz Trumpet Albums

1. Louis Armstrong - ‘Complete Hot Sevens’ (1927). He was called ‘Pops’ because he's known as the father of jazz. These recordings represent Louis Armstrong early in his career when he was at the forefront of innovations within melodic improvisation of jazz.

2. Dizzy Gillespie - ‘The Quintet Live At Massey Hall’ (1953). Called ‘The Quintet’ because the band had Charlie Parker, Bud Powell, Charles Mingus, Max Roach and Dizzy Gillespie. Great recording capturing the energy of bebop.

3. Miles Davis - ‘Sorcerer’ (1967). I personally feel this album was the most innovative of Miles' with his second great quintet, as the sound, compositional style and exploratory improvisation is still being emulated today.

4. Woody Shaw - ‘Stepping Stones’ (1978). Amazing live recording from the Village Vanguard, New York, capturing Woody Shaw in full flight who is considered the last great innovative jazz musician.

5. Wynton Marsalis - ‘Black Codes From The Underground’ (1986). This album conjures everything that has come before and represents the beginning of post-modern jazz. All the rhythmical, melodic and harmonic innovations are there and Wynton found his own way of ‘doing it’ on this recording.

Dan Quigley & His Hot Five play the Jazz On Sunday at the Brisbane Festival’s Spiegeltent Sunday Sep 15 from 2pm.

Wednesday, 11 September 2013 13:19

RIPD Tickets

Jeff Bridges and Ryan Reynolds headline the 3D supernatural action-adventure 'R.I.P.D.'.

Two cops are dispatched by the otherworldly Rest In Peace Department to protect and serve the living from an increasingly destructive array of souls who refuse to move peacefully to the other side.

To win one of five prizepacks that each include an in-season double to the film, plus a DVD copy of Ryan Reynolds films ‘Safe House' and 'The Change Up' This competition has closed.
This email address is being protected from spambots. You need JavaScript enabled to view it.


Terms and Conditions:

1. Winners will be drawn at random at 3pm Tuesday 17th September at Level 2, 192-210 Brunswick Street, Fortitude Valley. [Winners drawn]
2. Winners will be notified by e-mail. [Winners notified]
3. Winners must arrange to collect the prize from Scene Magazine's offices at Level 2, 192-210 Brunswick Street, Fortitude Valley, during business hours.
4. Entrants' email address will not be used for any other purpose except the conduct of this competition.

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