The Top 100 Songs of 2015, Part Two: 80 — 61

Here we are for part two. Response was unreal last week, thanks for checking it out and sharing it around. Here we go again! Part one here.

80. The Sidekicks – Everything in Twos

“Everything in Twos” turned up less than a month into 2015; dropped its bags and set up shop. It wasn’t going anywhere – nor should it have. Ducking and weaving through shimmering guitars and bouncing drums, it’s the type of power-pop that packs lyrical density to complement the bright, bursting tone; straight from the John K. Samson and John Roderick school of songwriting. Once you’ve surrendered to its wide-eyed charm and heartfelt, harmony-laden chorus, there’s no going back. It clocks in at 2:47, but you’ll be under its spell within the first 30 seconds – or your money back, guarantee.

79. FIDLAR – 40oz. On Repeat

The cheap beer has run dry, there’s no cocaine left and FIDLAR are not as stoked on the whole ‘stoked and broke’ thing that they were a couple of summers back. They’re still making belligerent, snotty garage pop-punk at its core, but the opening number on August’s Too saw them get a little more up-close and personal with their feelings – anger, depression, confusion et al. A dash of wurtilizer and toy piano is just enough to note growth and maturation on their part. Not a complete reinvention – because, duh, FIDLAR – but it keeps you guessing. Listening, too.

78. Bad//Dreems – Bogan Pride

Sure, these Adelaide natives enjoy a torn flanny and a smashed tinnie as much as the next bloke. Even with this in mind, Bad//Dreems are acutely aware of their native land’s major issue with hyper-masculinity. As the guitar scratches urgently against a pounding punk beat, “Bogan Pride” tears down beer-swilling muscle junkies with bitter, unrepentant fury. The irony of more of these types attending Bad//Dreems shows as their profile continues to (deservedly) rise probably won’t be lost on the band. At least they’ll always have this. Bonus points: The only song in the list to feature an exasperated “FUCK’S SAKE!”

77. Brendan Maclean – Tectonic

With synth arpeggios that orbit the planet and gated snare that could knock out Phil Collins in a single hit, “Tectonic” is the furthest that Mr. Maclean has ever ventured from the piano. Much like when Tim Freedman whipped out a keytar in the second verse of “Thank You,” the crowd was confused. But then, they cheered! And oh, how they danced! “Tectonic” is a pulsing, twirling piece of interplanetary pop – a shot in the dark that resonates in high definition. You could say the song was how Brendan got his groove back if only he’d never lost it.

76. Philadelphia Grand Jury – Crashing and Burning, Pt. II

Five years ago, the Philly Jays premiered a new song on tour entitled “A New Package for You,” another archetypal rush of knockabout indie-pop with a wild side and a spring in its step. For the band’s comeback album, the song was resurrected – a new hook, a slightly-slower tempo, a new hair-metal guitar break into the bridge and a bit of sprucing up here and there; hence the “Pt. II” suffix. Its origin story alone is indicative of how the track encapsulates their past, present and the future – it’s “A New Package” in a new package. Get excited.

75. EL VY – Return to the Moon (Political Song for Didi Bloome to Sing, with Crescendo)

The National’s Matt Berninger hasn’t always written zingers (lest we forget “Sometimes, you get up/And bake a cake or something” or “Standing at the punch table/Swallowing punch”), but initial listens to his side project’s first single will have you scratching your noggin over whatever mumbo-jumbo he’s spouting off. ‘Triple Jesus’? ‘A saltwater fish from a colourblind witch’? Who knows? Moreover, who cares? The thing about “Return to the Moon” is that it makes perfect sense in clear spite of itself. It’s a pop oddity; a guitar swagger, an off-beat handclap.If Berninger’s enigmatic charisma can’t win you over, perhaps nothing can.

74. Best Coast – Feeing OK

Five years ago was the summer that Best Coast’s debut, Crazy for You, was the ultimate girl guide – an album full of lyrics to quote endlessly on Tumblr while others would reblog and add the phrase “figuratively me!” Not to discredit that album whatsoever, but the best parts of the band’s third, California Nights, are when they’re tackling some of the bigger issues than boy problems and weed. On the album’s opener, Bethany Cosentino laments being there for everyone except herself; learning slowly but surely how to start putting her well-being first once again. It’s figuratively a great start.

73. Sweater Season – Charley

For a band quite figuratively less than a year old to be delivering a song as confident in nature as “Charley” is the equivalent of your infant child skipping the ‘goo-goo’s and ‘ga-ga’s entirely and skipping ahead to reciting a Shakespearian sonnet. In one swiftly-paced and smartly-written piece of proto-grunge indie, the band establishes a dual guitar tone to kill for – all sunshine and radiation – while simultaneously tossing killer one-liners like “I forget what I regret” – later transmogrifying into “what I have left,” for full effect – on top, almost as an afterthought. Damn baby geniuses.

72. The Sidekicks – The Kid Who Broke His Wrist

Steve Ciolak has never shied away from deeply-personal writing – it’s where he embraces it the most that his songs shine. That being said, there’s something about the way he reminisces on childhood spent and a youth now lost to a man on the verge of his thirties that, for whatever reason, feels somehow – importantly – different. It resonates in a way one might not initially expect – perhaps to do with how he still sees so much of himself in the boy that he once was; still finding himself unable to make a proverbial fist. Heartbreaking – and bone-breaking.

71. Citizen – Heaviside

For a band that used to recall acts like Sunny Day Real Estate and Jimmy Eat World, it’s strange that Mogwai and post-Deja Brand New are immediate comparison points when discussing the quietest moment from Citizen’s fascinating second LP. Yes, it’s a departure – and a major one at that – but the faded, distant shimmer of the guitar and the immediate, raw-nerve vocals that feel as though we have cut to the core of what this band is – and, more importantly, what it can be. For a song about purgatory, Citizen sure know where they’re headed on “Heaviside.”

70. Rihanna feat. Kanye West and Paul McCartney – FourFiveSeconds

A Barbadian, a black skinhead and a Beatle walk into a bar… yes, the year’s most unlikely combo were also behind the year’s most unlikely pop smash. Not that these three haven’t seen a hit or two in their lifetime – least of all Macca – but it was the manner in which “FourFiveSeconds” presented itself that made for such an intriguing prospect: Quiet. Unassuming. Raw. Soulful. No braggadocios raps, no “na-na-na”s, no nostalgia. Just an unplugged, intimate moment with true music royalty. A true career highlight for each – and given their combined history, that says a remarkable deal.

69. The Smith Street Band – Wipe That Shit-Eating Grin Off Your Punchable Face

The night Tony Abbott was elected, The Smith Street Band played a sold-out Corner Hotel, telling their captive audience that this was not a man to be trusted or one that spoke for them. In the year of Abbott’s demise in the public eye, it began with this furious, damning five-minute suite detailing his evil, hateful ways in explicit detail. It’s the angriest song the band has ever recorded – and, as it stands now, their most important. “A change is gonna come,” Wil Wagner warned, echoing sentiments of the late Sam Cooke. Less than a year later, it did.

68. Seth Sentry – Violin

No-one likes to see the clown crying. When Seth Marton isn’t goofing off, flirting with waitresses or talking about hoverboards, he’s capable of eloquent and passionate introspect. An open letter to an absent, arrogant father, “Violin” is Seth’s most private and painfully-personal song. As Marton’s cathartic furor rains down, so too does his discontent and malaise over how things have panned out. The song’s lynchpin comes in the form of its first and last line – which are one and the same. It brings the song full circle, leading one to hope against hope the bastard hears every last word.

67. White Dog – No Good

From the warehouses, garages and four-track recorders of Sydney, White Dog emerge with fists swinging and teeth sharpened. “No Good” seethes. It radiates from the back of cracked, split-open radio speakers. It prowls the streets of the inner-west wielding a switchblade. It’s the loudest, rawest and most primal sound to erupt from the DIY punk scene this year – and most other years, too, if complete honesty is allowed. If you’re not getting the message already – or maybe you just weren’t paying attention – remember this: “No Good” is the antithesis of its own name. That’s punk as fuck.

66. Major Lazer feat. DJ Snake and MØ – Lean On

Diplo is King Midas – everything he touches becomes gold. DJ Snake is King Henry VIII – he’s a wild motherfucker that’ll chop people’s heads off for the thrill of it. MØ is the lady of the lake – she holds the sword with all the power. By some bizarre head-on collision, the three have been pitted against one another in a three-way dance – and everybody wins. “Lean On” was, for many, the highly sought-after ‘song of the summer.’ More importantly, it was an assertion of pure dominance for both the charts and the dancefloor. Just go with it.

65. The Story So Far – Nerve

The best pop-punk right now is made by kids raised on Through Being Cool that are through being cool. Beyond empty slogans and Tumblr drama lies music that can be artistic, cathartic and genuinely engaging. The Story So Far have evolved into such an act, having grown up before their audience’s eyes and winding up on the wrong side of their 20s with a bad attitude and some killer riffs. Subsequently, “Nerve” stands as one of the most righteously-angry songs of both TSSF’s canon and the calendar year. Any self-respecting rock fan needs to hear them out on this one.

64. Endless Heights – Haunt Me

When Joel Martorana gave up screaming and turned his attention to singing two years ago, it was a confusing and suspicious move to some genre stiffs. As his voice rings out on “Haunt Me,” however, one struggles to recall Endless Heights without it being there. It suits the hypnotic drone of the guitars and the brisk drumming to absolute perfection, and presents itself as further evidence that the change in direction for the band was undoubtedly the right decision to make. Succinctly, “Haunt Me” gets a lot of work done in a considerably-short time. The power of Heights compels you.

63. Justin Bieber – Sorry

It takes a lot for a man to own up to his mistakes – especially if that man was, up until quite recently, a boy despised on a global scale. With an A-team of producers spreading the good word on his behalf – in this particular instance, Sonny “Skrillex” Moore – Bieber’s path to redemption is a gruelling, arduous one for us to undertake. As long as songs like “Sorry” keep turning up, however, the path shall be paved with gold. Anyone not left dancing in the spirit of the song’s phenomenal video just isn’t Beliebing hard enough in themselves.

62. Josh Pyke – Be Your Boy

Sure, he’s a bit more Smooth FM than Triple J these days, but there’s a lot to be said for the fact Josh Pyke has never changed his stripes for anyone. He’s always been a hopeless romantic, a dreamer and an old soul – and all of this entwines beautifully on what is unquestionably his best song in years. Layered percussion and cooed backing vocals prove to be a warm bed for Pyke’s rekindled-youth flame to rest upon; and its sweetly-sincere chorus will do the rest of the job in worming its way into your heart. Ahh, Pykey. You’re alright.

61. Silversun Pickups – Circadian Rhythm (Last Dance)

When photos of Silversun Pickups first surfaced, many thought that the voice they were hearing belonged to bassist Nikki Moninger. Naturally, they were in for a world of shock when they inevitably saw Brian Aubert step up to the mic, but “Circadian Rhythm” is a Sliding Doors moment of sorts that shows what life would be like if it was actually Moninger that took the lead. As luck would have it, it’s a total delight – a more subdued and intimate moment from a band that normally go to 11. This, indeed, is a dance well worth immersing yourself in.

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Part three up next Monday! 

Don’t forget you can download the podcast version of Part Two here.

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FBi Radio’s “Out of the Box” – October 22, 2015

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In October of 2015, I was asked to be a guest on Out of the Box, a one-hour lunchtime program every Thursday on Sydney community station FBi Radio. The premise of the show, which was hosted at the time by the absolutely delightful Ash Berdebes, is to look at a person’s life through the music that they love; with the guest programming eight songs that mean something to them. I was honoured to be asked on the show – which has also featured really cool guests like Paul MacThe Umbilical BrothersÓlafur Arnalds and Evelyn Morris aka Pikelet – but I was fretting quite a bit over what to choose. I think I put together a fairly solid and diverse list; all songs that meant something huge to me at different parts of my life.

Here are the songs I chose. You can also listen to the entire hour, which features a pretty honest chat with yours truly, by streaming it through FBi’s Radio On Demand by clicking here.

A huge thank you to Ash for asking me on and for her producer, Rachel, for doing a great job. I worship this station, and couldn’t believe my luck that I got to be involved with a show.

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Sesame Street – Imagine That

I picked this song for two reasons. The first is that it is the first song I remember truly loving and knowing all of the words to. I would have been three, maybe four when I first heard it. I was fascinated by all of the music on Sesame Street – Jim Henson would go on to become one of the biggest parts of my upbringing, through both Sesame Street and the Muppets. I think the reason that this song stuck out to me was that it was about using your imagination but also remembering that being you is the best because no-one else can be exactly like you. Ernie sings it, and I’ve always loved Ernie almost entirely because of this song. There’s also “I Don’t Want to Live on the Moon,” which also clocked me square in the feels. I forgot about this song for a few years and then rediscovered it. The day that I did I cried and cried and cried. It all came flooding back to me. I also picked this song because I knew for a fact that it would have never been played on FBi before.

The Cruel Sea – Takin’ All Day

The Cruel Sea were the first band I ever saw live. I bought Over Easy when I was eight years old because I liked the cover. I later saw this video on rage and felt very grown-up for liking an “adult” band playing bluesy rock music. I wanted to play drums, so I wrote to Jim Elliott, the band’s drummer, via their PO box. He wrote back and we stayed in touch for many years. In 2002, they announced a show in St. George’s Basin. My dad took me – even though it was an over-18s gig – and I got to meet Jim and had a poster signed by the entire band which is still on my wall to this day. James Cruickshank recently passed away, and I know a lot of people are rediscovering The Cruel Sea – I hope this helps.

The Forest – The Bear

Flash forward to 2008. I’m in my final year of high school and a lot is going on – I’ve discovered that I have Asperger’s, having been diagnosed as a child but never told; I’ve ostensibly come out as bisexual at a Catholic high school and I’m angry, confused, lonely and trying to find sense in what’s happening in my life. Around this time, I see a band play at a local community hall called The Forest. They’re a “skramz” (emo/post-hardcore/indie) band from rural Queensland. Although they identify as Christian and I was quite outspoken against Christianity (high school rebel!), their music was so intense and passionate that it got through to me. As long as I treated the imagery as just that, we had an understanding.

I bought their self-titled, homemade EP that night. Every day before my final HSC exams, I would play it as loudly as I possibly could – somedays I’d even scream along if I was walking by myself. Javed, the band’s lead singer, works in video games now and lives in Sydney with his wife and his beautiful daughter. He may be done with this band, but I’ll forever be grateful to him for that EP and getting me through that time in my life.

Parades – Hunters

I loved Parades. More than I’ve loved a lot of bands. To this day, I have no idea why they put up with me – I was probably so annoying and so clingy. Still, they became friends – really good friends. People I trusted and cared about and wanted to hang out with. foreign tapes was another album that got me through a lot – a major break-up, more struggles with anxiety, the utter loneliness of my uni degree. The hours of travel I undertook to see these guys play – eight times in total before they split – was always made worth it.

I picked this song from the album because I once screamed the “SO IT GOES ON ENDLESSLY” part so loud I started crying. In the front row. These two other guys thought I was crazy. I lost myself in the moment. Parades allowed me to do that. I wish they were still around.

Lemuria – Mechanical

2012 features the worst thing that has ever happened to me – the untimely and accidental death of my mother to a one-person car crash in April – as well as the best week of my entire life – going to one major international gig a day from Monday November 12 to Sunday November 18; seeing Radiohead, Refused, Beck, Silversun Pickups in Adelaide, Ben Folds Five in Adelaide, Harvest in Sydney and Coldplay. The soundtrack to both of these parts of my life was the album Get Better by Lemuria. I discovered the band through a random blog some years before but had never properly given them a listen until one of their songs came on shuffle not long after my mother’s passing. It helped me through and was there for me whenever I needed it – there were weeks where it was all that I listened to. It made me feel like there were others out there that were just as lost and confused as I was.

Getting to meet Lemuria when the came to Australia in 2014 was such a huge thing for me. Nearly broke down telling them what their music meant to me. One of the highlights of my life was getting to sing “Lipstick” from Get Better with the band at Black Wire Records. I chose the last song from the album because of all the times I have screamed along the “SHUT UP” refrain until I literally couldn’t anymore; as well as it being a highlight of their show at Hermann’s Bar – surrounded by friends singing along so loudly that Sheena, the band’s singer, gave up singing into the mic and just let us carry it.

mowgli – Slowburn

Cameron Smith, Curtis Smith, Dave Muratore, Eleanor Shepherd and Jay Borchard have all been friends of mine for quite awhile. Eleanor, the bass player, I’ve known since we were in primary school. I met Cameron in 2008, watching his old band Epitomes play every other weekend. Dave was brought in as the lead guitarist for a band I was playing with at the end of 2009; a few months after meeting Jay for the first time at a La Dispute show – which is, ironically enough, the same situation in which I met Curtis, Cameron’s brother, in 2011 to complete the set.

I bring up the fact that I am friends with all of them – even though Curtis is no longer in the band – purely because I want to state that the fact I think mowgli are one of the best bands this country has produced in the 21st century is not because they are my mates. It’s because their music speaks to me on the same way that The Forest did all those years ago – they capture my rage and my passion and my disconnect from the world around me. I have seen mowgli play live over twenty times, and each time I am utterly blown away by their talents. This was my favourite song of 2013 by a considerable margin – I still rank it as one of my all-time favourite songs. I think everything about it is perfect.

The Smith Street Band – Belly of Your Bedroom

This was included as a shout-out to Poison City Records, the Poison City Weekender and the remarkable friends that I have made through both. I was almost intimidated by the scale of the Weekender at first – I arrived at my first at the age of 21, incredibly anxious, nervous, excited, overjoyed and overwhelmed. I’ve since felt immediately at home there – I almost feel like part of the furniture. The Weekender is a time when I am connected with friends from all over – some that I see every week, some that I only get to see for that weekend. Once all the shows and the side-tours surrounding it are done, it feels like the end of camp to me.

I have made so many great mates through the community that Poison City has created – the fact they have made the queer, anxious yeti (as I sometimes call myself) feel so welcome and so loved speaks volumes about the environment of it. At the centre of the Poison City universe is The Smith Street Band – I chose my favourite song of theirs, which ostensibly deals with being the weaker part of a relationship (been there, done that, bought the t-shirt) and features the vocals of another dear friend, Lucy Wilson.

Georgia Maq – Footscray Station

Since 2009, I have played solo under the name Nothing Rhymes with David. I’ve been lucky enough to share a stage with some remarkable songwriters. None have challenged me in the same way that Georgia Maq has. I find her music endlessly fascinating, remarkably engaging and uniformly brilliant. I see so much in her that she is often too self-deprecating and unaware to see in herself. I fear that she will never, ever know how good she is. Each time I watch her perform, I more or less sit in stunned silence – when I’m not compelled beyond my will to sing along, of course.

I find the storytelling in this song so incredible – it took me a good half a dozen listens to fully comprehend it. Everytime I’m in Melbourne and I find myself out at Footscray station, I think of this song and I can’t help but smile. The first time I saw her live, she couldn’t believe that I knew every word to this song and that I was in the front row singing along. I couldn’t believe I was the only one.

The Top 50 Gigs of 2014, Part One: 50 – 26

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And so this is list season – and what have you done? At the start of 2014,  I vowed to see more shows than I did in 2013. How’d I go? Well, 2013’s final count was 193. This year? 206! Suck shit, 2013!

A huge thanks to everyone who I rocked a show with, everyone who provided a couch or a floor when needed, all the great bands and artists, all the awesome venues, staff, crew… everyone that makes my escapades possible. I really fucking appreciate it. Let’s see how we go in 2015! Here are the best things I saw in 2014. Were you there? 

– DJY, January 2015

HONOURABLE MENTIONS: The Living End, Anberlin, Fat Guy Wears Mystic Wolf Shirt, Jimmy Eat World, High Tension, Full of Hell, Cakes Da Killa, Bob Log III, Inner Fest, John Mayer, The Julie Ruin, Frightened Rabbit, Basement, Soundwave, Ty Segall, Savages, Fishing.

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50. King Gizzard and the Lizard Wizard @ Oxford Art Factory, 11/12

Two albums, endless touring, more jams kicked out than an army of MC5s… 2014 was yet another wonderful time in the wild, weird world of Australia’s most psyched-out septet. It ended not with a whimper, but with a bong – sorry, bang – and we were better people for it.

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49. Miley Cyrus @ Allphones Arena, 17/10

You know that scene in Shrek where they’re at the information booth and they see the weird puppet show and Donkey says, after a confused beat, “Wow… let’s do that again!”? That was this show. The year’s most bizarre pop gig, as well as its guiltiest pleasure.

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48. Donny Benet @ Brighton Up Bar, 10/10

Suits, synthesizers and the sharpest pop this side of Sydney – that’s Donny Benet. He and his all-star band lead a packed, sweaty room through a guided tour of his latest, Weekend at Donny’s. Besides all that, it was worth the ticket price just to watch Jack Ladder play cowbell.

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47. Hard-Ons @ Manning Bar, 7/6

30 years ago, some brats from Western Sydney made their punk-rock dreams come true. 30 years later, they’re keeping the dream alive – and we, the crusty, screaming masses, are still along for the ride. Bonus points for a scorching set from Cosmic Psychos as a Sydney treat. Fuck yeah.

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46. Wil Wagner @ Newtown Social Club, 29/8

Months before Throw Me in the River was out in the world, the Smithies’ fearless leader lead a sold-out room through some of its highlights; as well as enough old favourites to sing the night away to. A relatively-quiet moment from an artist who made lots of noise in 2014.

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45. Violent Femmes @ Sydney Opera House, 29/12

Do you like American music? We like American music – especially when it’s from a legendary cult folk-rock band making their debut at one of the most iconic venues in the world. A self-titled LP run-through, a two-hour setlist, a bitchin’ drum solo… we like American music best, baby.

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44. Bruno Mars @ Qantas Credit Union Arena, 8/3

Make what you will of his various recorded endeavours. Live, this motherfucker is untouchable. A spotless live band and blistering choreography guaranteed a venue full of arses out of their seats; wiggling until they could wiggle no more. Remember: This is Bruno’s world – y’all are just living in it.

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43. Neko Case @ Sydney Opera House, 3/3

Before she returned to the world of The New Pornographers, Case wrapped touring on the back of her excellent The Worse Things Get LP with a run of dates down under. We laughed (Case and Kelly Hogan’s banter), we cried (a pin-drop “Nearly Midnight”) and we sang (“Man”). Joyous.

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42. La Dispute @ Metro Theatre, 18/6

As long as La Dispute keep coming back to Australia, they’ll continue to serve as a highlight of the year in touring. Not only do they continue to bring exceptional supports – in this instance, Balance and Composure – but they’ve completely justified their progression from basement shows to theatres.

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41. James Vincent McMorrow @ Sydney Opera House, 29/5

He began the year with the release of an out-of-nowhere LP and sold-out Australian shows to back it. His return some months later felt like a victory lap; and despite some clear nerves, the charming Irishman was quick to make the lush surrounds of the concert hall his very own.

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40. Future of the Left @ Factory Theatre, 3/1

The demise of the Annandale could have ruined their return plans, but Falco and his Futuristic friends pressed on in new surrounds and carried on business as usual. For those that don’t know, hilarious banter and wild breakneck post-punk is business – and business is good. Fuck the Annandale, man.

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39. Laneway Festival @ RNA Showgrounds, 31/1

Turns out Brisbane does more than just bitch about the tours they don’t get – they do a pretty decent festival when they put their mind to it. Highlights included the intense Savages and a hip-hop triple-threat to see the night out: Danny Brown, Run the Jewels and Earl Sweatshirt.

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38. Courtney Barnett @ Goodgod Small Club, 18/1

Before Fallon, Glastonbury and whatever other fortunes came her way in 2014, everyone’s mate Courtney Barnett turned the club surrounds of Goodgod into a boot-scooting indie-kid haven. Expect her to play rooms ten times the size in the year to come. Don’t say you weren’t warned, now. She’s earned it.

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37. The Smith Street Band @ Factory Theatre, 24/11

As great, extremely loud and incredibly close those early Smith Street shows were, we’re on a bigger – and, arguably, better – scale. As they edge ever closer to being our best live act, the voices singing back are getting louder. Shows like this prove why that’s a good thing.

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36. Kimbra @ Metro Theatre, 20/11

The Golden Echo wasn’t for everyone, and that’s totally fine. It was never going to be. Her live show, however, remains as flashy and exciting as it did when you first saw it. Not all that glitters is gold – but some of it is. That’s why Kimbra still rules.

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35. Yes I’m Leaving @ Beatdisc Records, 8/11

Broken strings, dodgy amps, awkward pauses – potentially a recipe for disaster. Instead, we got the little rock show that could – shit got loud and shit got wild. It ended with the band piling both their instruments and themselves on top of the drum-kit. Because of course it did.

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34. Outright @ Jura Books, 11/10

The most important band in Australian hardcore right now assembled an A-team of supports – Palmar Grasp, Canine, Family Values – and raised nearly $1500 for victims of rape and domestic violence. To every other band on the scene: THAT’S how you make a difference. Outright, again, lead by example.

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33. Kevin Devine @ Newtown Social Club, 16/11

In the haze of the early Sunday evening, a waif-thin and unassuming figure was singing and playing guitar in Sydney’s inner-west. The only difference was the figure in question was a folk hero of sorts, surrounded by adoring admirers that knew every word to every song. Please be back soon.

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32. Bluejuice @ Metro Theatre, 26/10

It’s so hard to say goodbye sometimes – especially when you’re dancing, screaming, shouting and getting a cheeky crowdsurf in edgeways. Less a funeral and more a celebratory memorial service, Bluejuice ended in style. Special mention to Jake Stone for the ballsiest dive the Metro may have ever seen. God-damn.

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31. Bob Dylan @ State Theatre, 4/9

It ain’t the 60s anymore, kids. As soon as you comprehend that, then and only then will you be able to properly enjoy a modern-day Dylan show. It’s still grand in scale and as entertaining as before, just in a different context. So, how does it feel? Pretty good, actually.

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30. tUnE-yArDs @ Oxford Art Factory, 28/7

The dust had barely settled from Splendour in the Grass when Merrill Garbus and her amazing technicolour band rolled into town for some sideshow action. Nikki Nack was pristinely brought to life, while old favourites still had all the stomp from their original runs. You are doing God’s work, Merrill.

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29. RVIVR @ Monster Mouse Studios, 7/4

There used to be graffiti in the toilets at Black Wire that read “Queer punx rule this town.” Shows like this prove why – in an awesome space, Erica Freas and co. had fists and voices raised as high as the collective spirit in the room. DIY or GTFO.

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28. QOTSA/NIN @ Qantas Credit Union Arena, 6/3

A tour that was quite literally the envy of the rest of the world – two of the biggest names in the last twenty years of rock head-to-head in a co-headlining battle for arena-rock glory. There was blood, sweat, tears and hits for days. Who won? We all fucking did.

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27. The Weekender @ Various Venues, 21-24/8

It’s never not going to be a highlight of the calendar. You come for impeccable company, you stay for the dozens of exceptional bands and then life goes on as normal; while everyone not-so-secretly counts down until we get to do it all over again. Poison City for life, baby!

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26. Something for Kate @ Enmore Theatre, 12/7

Whether you were down from day one or day one thousand, Something for Kate have made an impact on countless music fans in 20 years. This blockbuster set – the biggest show the band have ever headlined in Sydney – was presented as a thank-you. The pleasure was all ours.

***

Check back soon for part two!

PHOTO CREDITS:
50. Provided by the band via Facebook.
49. Mark Metcalfe, Getty Images AsiaPac.
48. Munya Chaora, TheMusic
47. Kristy Wandle, TheMusic
46. Angela Padovan, TheMusic
45. Diabolique Photography, TheMusic
44. Glenn Pokorny, PK Productions/the AU review
43. Wayne Massingham via Flickr
42. Fletcher Crebert, All Ages Concerts
41. Megan Carew, FBi Radio
40. Dan Turner, the AU review
39. Rickford, FasterLouder
38. Sabina Rysnik, the AU review
37. Hayden Nixon, wickeddchildd
36. Ashley Mar, The BRAG
35. ZK Photo
34. Provided by the band via Facebook.
33. Annette Geneva via Flickr
32. Maria de Vera, Life Music Media
31. Erin Rooney, Vinyl Garden
30. Angela Padovan, TheMusic
29. “le maroufle” via YouTube (photo not from show)
28. Jakob de Zwart, Take 40
27. Ian Laidlaw, Beat Magazine
26. Clare Hawley, TheMusic

Top 50 Albums of 2014, Part Three: 30 – 21

Crossing over the halfway point! Livin’ on some sort of prayer. Parts one and two are to be read/caught up on here and here.

***

30. sleepmakeswaves – Love of Cartography
Spotify || Rdio || Bandcamp

The sooner that Australia wakes up and smells the vibrancy of its extensive post-rock community at hand, the bloody better. Sydney’s sleepmakeswaves have become the vanguard act of it in short time, less pushing the envelope and more reading the letter it contained from atop a mountain. With the airtight production guidance of rock expert Nick DiDia, Cartography became a full realisation of everything that the band could be; exploring new depths as well as searing highs – often within the same song. This is the sound of actions speaking far, far louder than words ever could. Consider the game changed.

THREE TOP TRACKS: Great Northern, Something Like Avalanches, Perfect Detonator.

LISTEN:

29. Fucked Up – Glass Boys
Spotify || Rdio

They may be the least hardcore and the least punk band in hardcore punk, but by some bizarre law of double negatives it’s made Toronto sextet Fucked Up far more hardcore and far more punk than a significant amount of their peers. Each of their albums feels momentous, grand in both scope and execution. Glass Boys proves to be no exception, in spite of a leaner runtime – in fact, it allows you to focus further in on the remarkable crafting that goes into each track. An alternate version of the LP with half-speed drums proves to be strangely-alluring additional listening.

THREE TOP TRACKS: Led by Hand, Glass Boys, Sun Glass.

WATCH:

28. Manchester Orchestra – Cope
Spotify || Rdio || YouTube

Manchester Orchestra have the heart of a lion and their collective eyes on a grander universal bigger picture. It’s now taken them through four albums of life, death, acceptance, honesty, sin and confession; and though one’s take on which is the superior of them may vary from listener to listener, it’s nigh-on impossible to leave a Manchester Orchestra record empty-handed. Although often shrouded in deep-cut metaphor and surrealist lyrical imagery, Cope has its own means of cutting directly to an emotional core at its most crucial points. It’s yet another excellent release from a band that works in mysterious ways.

THREE TOP TRACKS: Girl Harbor, Top Notch, Cope.

WATCH:

27. Run the Jewels – Run the Jewels 2
Spotify || Rdio || Download

We’re not in side-project territory anymore, Toto. The once-unlikely pairing of Killer Mike and El-P, now onto their third release together, has begun to make more sense in the greater spectrum of hip-hop perhaps more than practically anything else this decade. Such a bold statement can be backed by noting the remarkable impact of their second album. Swarming, visceral beats, simultaneous lyrical assaults and a completely-unexpected cameo from a fiery Zach de la Rocha all assisted in allowing Run the Jewels to forcefully smash through the underground and lead riots through the city streets. All hell can’t stop them now.


THREE TOP TRACKS: Early, Oh My Darling Don’t Cry, Close Your Eyes (And Count to Fuck).

WATCH:

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26. Future Islands – Singles
Spotify || Rdio

Some longer-term fans of dramatically-flaired electro-pop explorers Future Islands may feel somewhat disgruntled that it’s taken until their fourth studio album for a wider audience to be paying them the attention that they so rightly deserve. Think of it, instead, as a blessing in disguise: With the world now watching, we see the trio at the very best of their collective abilities; presenting a refined and distinctive take on their genre that revels in its kitsch and unfashionability so much that it comes full circle, leading to the arguably being the coolest damn record of the year. Who’d have thought?

THREE TOP TRACKS: Doves, Seasons (Waiting on You), Sun in the Morning.

WATCH:

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25. James Vincent McMorrow – Post Tropical
Spotify || Rdio || YouTube

For a timid Irish lad, James Vincent McMorrow certainly proved to have balls of steel when he made his launch forth into the great unknown at the start of the year. His second album was described by many as a 180 of sorts, doing away entirely with the folksy instrumentation of its predecessor. Perhaps a more fitting angle, however, would have been a 270. Post Tropical incorporated hindsight in regards to McMorrow’s raw-nerve emotional songwriting and his delicately-placed falsetto, but it also gave view to a brave new world. Who knows who he may yet become? It’s all blissfully uncertain.

THREE TOP TRACKS: All Points, Outside, Digging, Cavalier.

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24. Luca Brasi – By a Thread
Spotify || Rdio || Bandcamp

Two-fifths of Luca Brasi left the fold not a year before the release of their second studio album, a blow which may well have spelled the end for a lesser band. The Tasmanian natives were quick to mend, however – it wasn’t long before their triple-guitar interplay was woven into a tighter twin assault; while replacing the towering Saxon Hall on drums with the impeccably-bicepped Danny Flood was like switching out an unstoppable force for an immovable object. The craftsmanship of the songs, too, proved to be their greatest collective achievement to date. They – and we – live to fight another day.

THREE TOP TRACKS: Western Junction, Borders and Statelines, Here’s Looking at You, Kid Rock.

LISTEN:

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23. Kishi Bashi – Lighght
Spotify || Rdio || Bandcamp

Kaoru Ishibashi finds himself in the realm of indie-pop with the violin as his weapon of choice over keyboards or guitar. This left-of-centre take on the genre allows for KB’s amazing technicolour dream-music to roam as freely as it pleases. On Ishibashi’s second LP under the moniker, he layers both his instrument and his voice to the point of assembling a chamber orchestra and a choir respectively. By means of beautifully striking contrast, there are also moments of quiet that reel in focus to the man behind it all. Much like its cover, Lighght is a stunning work of art.

THREE TOP TRACKS: Q & A, Philosophize in It! Chemicalize with It!, Carry On Phenomenon.

LISTEN:

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22. Ted Danson with Wolves – WWTDWWD?
Bandcamp

From their culture-jamming band name to their sax-wielding take on DIY math rock, there’s nary a band runnin’ ‘round these parts that’s quite like Sydney’s Ted Danson with Wolves. It may well not have been their intentions when they initially formed out in humble old Tamworth several moons ago, but it’s where they’ve ended up on their outstanding debut effort. Its hyper-literate lyrics delve into the seriously strange and the strangely serious on a tandem basis, shrieked above a mesmerising cacophony of bass rumble, drum splatter and guitar squiggle. The outsiders found a way in, at long last. WWTDWWD? This.

THREE TOP TRACKS: Tim Has a Really Good Idea (Again!), Bohemian (I Don’t) Like You, In the Throes of Golf Woes: “It Was a Coarse Course, of Course.”

LISTEN:

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21. The Smith Street Band – Throw Me in the River
Spotify || Rdio || Bandcamp

Wil Wagner has said several times that there have been moments where he’s considered quitting music entirely. Throw Me in the River makes one ever so grateful he made the right call and kept his band alive. Were it to be summed up in three words? Let’s try “location, location, location.” Its songs take place all over the globe, from late nights in Calgary to a boiling day at Meredith Music Festival; not to mention its recording taking place in the small town of Forrest. No matter where you’re from, River shows that it’s where you’re at that’s most important.

THREE TOP TRACKS: Calgary Girls, Surrender, Throw Me in the River.

LISTEN:

The Top 100 Songs of 2014, Part Five: 20 – 1

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This, friends, is my first post for 2015 and it’s also where I leave you with yet another list – the ninth overall that I’ve made documenting my top 100 songs of the year. Before I send you off, make sure you’ve caught up on parts one through four:

100 – 81
80 – 61
60 – 41
40 – 21

You all sorted there? Awesome. Hey, thank you so much for reading through and checking this all out. Thanks to my friends, fellow writers and all the bands and artists that feature here. Quite figuratively couldn’t have done it without you all. Same time next year, yeah?

***

20. Bleachers – I Wanna Get Better

Jack Antonoff is the kind of guy that could easily be seen as cool by association – he’s one-third of indie darlings cum chart-crushers fun., as well as longtime partner of Gen Y superstar Lena Dunham. Don’t let this context misconstrue him at all, however: He has absolutely no issue with holding his own. Look at this breakout smash, which sees Antonoff take the reins of a stuttered piano sample, arena-rock guitar and a chock-a-block chorus that almost threatens to cave in on itself before reinforcing its foundations. An anthem for overcoming odds and being the damn best you can be.

19. Ted Danson with Wolves – Bohemian (I Don’t) Like You

Maybe vocalist/saxophonist Nick Levy paid way too much attention in his high-school science classes. Maybe it was the result of a parental sex talk gone wrong. Hell, the guy could just well have a remarkable imagination matched with a witty sense of humour. It really is anyone’s guess when it comes to uncovering exactly how “Bohemian” came to be created. Whatever the case, the world is certainly a better place for its existence; as is a particular season that also serves as the song’s triumphantly-screamed opening word. Sex, nature and The Dandy Warhols. What more could you ask for, really?

18. The Smith Street Band – Surrender

For someone like Wil Wagner, singing a line like “I’m not from around here” is a shockingly confessional change from a guy who has centred entire songs – nay, entire releases – around singular and familiar surroundings. “Surrender” comes somewhere between Show A and Show B, off the proverbial beaten track and directly into the fire. It brims with the brightness of the band’s sun-kissed guitars and the energy of Chris Cowburn’s impeccably-syncopated drum fills; and feels like home even though it’s approximately 1062 kilometres away. That’s the magic of The Smith Street Band for you, of course. Long may they run.

17. Slipknot – The Devil in I

“Where is your will, my friend?” As the words escape Corey Taylor’s mouth, atop shimmering guitar noise and gentle cymbal rushes, the line has conviction in its execution that very explicitly points toward its questioning being directed inward more than anything else. Indeed, introspect and open-wound pain are what guide “Devil,” which sports all the definitive traits of a classic within the band’s extensive repertoire. It marches along dutifully, playing to both the band’s knack for creating space and their knack for tearing it apart. Much like those bogan car stickers, “The Devil in I” justifies Slipknot’s existence. Step inside.

16. Pianos Become the Teeth – Repine

There is a true weariness in “Repine,” which ostensibly serves as the centrepiece of the script-flipping Keep You record. It’s the clearest in the pained, aching vocals, but it weaves its way through the bristling guitar patterns and the emphatic thud of the verses’ half-speed drum flams. A beacon of light peers through in the song’s refrain, in a manner befitting a crack in the roofing allowing for a ray of sunlight to emerge from the darkness. “Your wick won’t burn away,” it chants. It’s a hope against hope, and one prays that it resonates with the truth. Somehow. Someway. 

15. Ben Howard – I Forget Where We Were

Love is patient. Love is kind. Love is confusing, distracting, disorienting. Love is winter, spring, summer and fall. Love is an artist’s entire body of work; and it’s a single word from a single line in a single song, poem or story. Love is everywhere and nowhere. Love is in every tear shed – out of happiness, out of sadness, out of anger. Love never runs on time. Love leads through the quietest places on earth through to the most crowded streets. Love is what you make it. With this in mind, “I Forget Where We Were” is a love song.

14. Babaganouj – Bluff

For a song with roughly a dozen lines of lyrics in it, as well as falling just shy of the three-minute mark, “Bluff” manages to achieve a remarkable amount. It’s practically equivalent to that biblical miracle of feeding five thousand people with merely a loaf of bread and some fish. So what gets it over the line? It appears to stem from bassist Hariette Pilbeam, venting over a once-hopeful relationship transmogrified into cyclical torture. The ultimate release that comes with her final vocal delivery indicates the song is just as much for her as it is the rest of us.

13. Georgia Maq – Footscray Station

There’s no filter to Georgia Macdonald. You simply cannot take what she does and switch it on and off. It’s a major discredit to one of this country’s most promising songwriters to suggest otherwise. This song is what one should point towards to validate the aforementioned claim of excellence: A ragged, honest waltz through lower-middle class life that also detours through mental health woes and fearless political shaming. Just know that some people will spend their entire lives waiting to write a song that amounts to even half the quality of “Footscray Station.” They will try and they will fail.

12. Young Fathers – Get Up

A lot has gone into the genetic makeup of this song. Its titular phrase has been reconceptualised by everyone from Bob Marley to R.E.M., while it also incorporates a very specific handclap pattern best known for its use in The Routers’ single “Let’s Go.” Lyrically, it drops into heaven and earth, Orwellian dystopia, revolution and debaucherous lifestyles. When it collectively shifts into its final form, however, “Get Up” belongs to Young Fathers and Young Fathers only. When the line of “You lose/I win” drops from out of nowhere, it may as well be a message – a warning – to their peers.

11. The Kite String Tangle – Arcadia

Björk once famously sang that “If you complain once more, you’ll meet an army of me.” On “Arcadia,” Danny Harley actualises it, although his admittedly feels somewhat less threatening than that of the Icelandic nymph’s. The song comes at a breaking point, where both parties have found no way out and past the point of return. It is guided by Harley’s private strikeforce of close harmony, wordless refrain and warm, lushly-painted arrangements. Rarely has the light at the end of the tunnel shone so brightly than within the confines of “Arcadia.” Here begins the true ascension to complete pop magnificence. 

10. Ben Howard – End of the Affair

Perhaps subtle is an odd term to transfix upon a song that quite figuratively lays out its explicit subject matter within its title. Yet, the grace of Ben Howard as both an understated vocalist and a truly prodigious guitar player allows for a quiet, focused stare into the demise. At least, it remains so for the song’s first half. When jazz brushes slip their way into the arrangement, the hunt is on.

Howard himself goes from keeping his cool to throwing it out the window with sharp, pained howls that emerge from the darkest corners of his being. “Affair” is an exhausting, treacherous journey. One must come prepared, certainly, but one must come along for it. There’s not an option otherwise.

9. Yoke – Burden

My yoke is easy and my burden is light.

– Matthew 11:28

Opening an uplifting, higher-plane post-pop number with the line “I’m miserable” is a beguiling paradox to begin with. Let’s push that out further from a contextual standpoint by pointing out that some of the smartest, most textured and accomplished pop music to emerge from Australia within the calendar year came from a former marketed teen star in Kyle Linahan; some ten years and change removed from his only charting single.

If that wasn’t enough, perhaps the most hated band of the year in U2 serves as a template-setter for the steely guitar work, reappropriating their influential stature. “Burden” may feel baffling in a way, but it’s an indelibly-marked foray into bright contrasts and big-city dreaming. Against all odds, it works. Take a look at it now.

8. The New Pornographers – Brill Bruisers

There was no gentle breaking of the news that The New Pornographers were to return after a four-year absence, nor was there any mistaking exactly who it was busting down 2014’s doors with its major-chord slams, sprightly drums and wholly-triumphant “baa-baa-baa”s. They may be fifteen years into the game and trudging through their collective mid-forties, but there is no rust in the wheels for the Pornos.

It’s worth noting that “Brill Bruisers” served as their sixth album’s lead single, opening number and title track. It’s a pretty big deal to throw a triple-threat like that out into the world, something that needs to have a steady amount of confidence in its DNA in order to survive. Not only did “Bruisers” do just that, it flourished. Life’s only certainties are death, taxes and The New Pornographers making everything okay again.

7. Oslow – Blue on Blue

Oslow are the sound of Sydney. Not the Sydney that you may be accustomed to, of course, but theirs is the in sound from way out. Theirs are the friendly faces that both sift through the racks and plug in their amps at Black Wire and Beatdisc Records. They soundtrack carelessly-wasted days and long nights in both the inner and outer western suburbia.

They reflect a dissonance and greater dissatisfaction, but approach it with honesty and resolve rather than melodrama or superfluous subversion. “Blue on Blue,” much like “Desert Dog Rd.” before it, is a proud product of its environment. Oslow are the sound. Raise up your hands and sing along.

6. Cloud Nothings – I’m Not Part of Me

It’s easy to forget how young Dylan Baldi is. In spite of the very markedly clear leaps and bounds his project has taken in the last few years, the project’s origins stem from when he was barely out of high school. In turn, lyrics such as “I’m learning how to be here and nowhere else/How to focus on what I can do myself” begin to paint a clearer picture when one is reminded of the immediate fact. We’re still witnessing a work in progress when it comes to the young man behind the music.

It’s also easy to forget that Cloud Nothings officially became a trio in 2014, losing their lead guitarist and not seeking a replacement. There is enough activity within “I’m Not Part of Me”’s musical structure that there is easily enough work cut out for two guitars. The fact it’s all achieved by Baldi in the one go simply adds to the seemingly-endless fascination that he inspires as a creative force in the indie rock realm. The enigma develops and work continues.

5. TV on the Radio – Happy Idiot

As lyricists, TV on the Radio have been known to draw from the abstract to convey their point. Perhaps their best-known song contains a metaphor for sex using the story of Little Red Riding Hood. Earlier in their career, they spoke a loving relationship using the shocking imagery that came with the unforgettable line “I will be your ambulance/If you will be my accident.” Fast forward to present day, however, and they’re done beating around the bush.

“Since you left me, babe/It’s been a long way down” is a line seemingly straight out of the earliest development of blues; “I’m gonna bang my head through the wall/’Til I feel like nothing at all” is about as bluntly forthright as a lyric can possibly be. These, as well as a wall’s worth of quotable phrases and lyrics, are painted over churning bass, warped vocal samples and an incessant hi-hat and snare pattern. It’s more or less a new perspective to take the band’s ideas and symbolism from. It’s a different kind of different. It’s waving at cars. It’s numbed pain and new beginnings.

4. tUnE-yArDs – Water Fountain

You can argue all you wish, but as far as 2011 was concerned, its defining musical moment came from a wide-eyed, floor-tom-wielding woman covered in bizarre make-up and neon flare, screaming the big rhetorical question of “WHAT’S THE BIZNESS, YEAHHHHHHHH?” It was here that the project of Merrill Garbus properly shed its lo-fi, relatively-quiet skin and rebirthed into a widescreen procession of avant-garde indie-pop.

We pick up more or less where that single left off with “Water Fountain,” where we’ve been lead through a pathway of school-girl handclapping games, tinkling percussion and the wandering basslines of Nate Brenner, the project’s secret weapon.

Garbus finds the most obtuse angles in her surroundings and seeks them out for both her melodic and lyrical approach, exploring to depths that a lesser performer would outright fear. Every song feels like an adventure when you’re with tUnE-yArDs, and it’s always worth your while to let it get you off the damn couch and dancing with reckless abandon. “Water Fountain” has got you all in check. Woo-hah!

3. Hockey Dad – I Need a Woman

Make all the jokes you please about the collective ages of Hockey Dad contrasted with singing about women instead of girls. Let us not forget the teachings of our saviour Prince: “Women, not girls, they rule my world.”

Besides, who has time to deal with semantics when we’re dealing with the single most delectable slice of indie rock to emerge from Australia in the entire year? Guided by the production finesse of Big Scary’s Tom Iansek, “Woman” was the first time most were properly acquainted with the Windang natives (make your own Computer Town Australia references in your own time, locals).

It left a thoroughly lasting impression, spreading far beyond the initial reaches of the so-called leisure coast – and why not? You’ve seen, you’ve heard and you know by now, surely. It’s all bright blues and hazy greens, with an Instagram filter for a millennial twist and that extra tang. It’s a joy to listen to, every single time.

2. Sleaford Mods – Tied Up in Nottz

It’s more than that.

It’s more than the single best opening line on any song to be released at all in 2014 – and perhaps this entire decade. It’s more than the z (“zed, you cunt”) in the song title.

It’s more than the vitriolic poetry tagged all over its pulsing post-punk rhythm section, equal parts “Chickentown” and Original Pirate Material. It’s more than underclass war, seedy city underbellies and breakfast-cereal analogies for the collective unconscious (“Fucking shredded-wheat Kellogg’s cunts!”).

It’s more than a repulsive, kneejerk response to a tepid, predictable popscene. It’s not even the debate over whether miscrediting “The Final Countdown” to fucking Journey instead of fucking Europe was an intentional move or not.

This? This is what you need to hear.

It’s not what you want to hear, oh no.

If Sleaford Mods have anything in greater doubt about you, it’s your truth-handling abilities. They’ll make Jack Nicholson look like Mother fucking Teresa once they’re done with you. This is simply the home truths that have to be hit.

There could be endless fuck-about picking out more of the laureate lyricism of “Nottz,” but the only one that has to stick is this: “We are REAL.”

1. Future Islands – Seasons (Waiting on You)

By now, you have arrived to this part of the list, seen the above song title and video and immediately had this reaction.

It’s understandable and forgivable. But a copout? Absolutely no way.

There was never any question as to where this song would end up – not just here, but on countless similar lists looking back at both individual and collective preferences. “Seasons” transcended that. Our lists may as well have been referred to as “The Best 99 Songs of The Year That Weren’t Seasons.”

Those that heard it knew immediately. Those that saw it on that performance during what was to be David Letterman’s last full year on air knew immediately. Christ, Letterman himself knew immediately. It was more than just a shaken hand and a throw to Craig Ferguson when it ended – he grabbed Samuel T. Herring, still an unruly mess of sweat and passion, and offered up one of the year’s best quotes: “I’ll take all of that you got!”

He wasn’t just speaking on behalf of himself that night. He saw something greater in what was offered up that night. A band four albums into their career became the best newcomers of the year. A star was born. A song already full of life was somehow reaffirmed.Perhaps most importantly however, the broken heart that dangles on the song’s lyrical precipice was sewn back together.

The love grew bigger and bigger until it encapsulated radio, the blogosphere, endless parties and every last essential playlist. This was a song to centre one’s entire universe around.

This song wasn’t just the finest to be released in this year – this song was this year.

This was dancing in the face of fear.

Dancing to the end.

Dancing like no-one was watching.

Except everybody was – for they were doing just the same.

***

Tracks by female artists (artist/featured artist/vocalist is female): 26.

Tracks by Australian artists: 38.

Oldest person on the list: “Weird Al” Yankovic, 54 at the time of recording.

Youngest person on the list: Hockey Dad’s Billy Fleming, 17 at the time of recording.

Multiple entries:

Angus & Julia Stone (94, 90), Hockey Dad (87, 56, 3), The New Pornographers (77, 8), Death From Above 1979 (71, 60, 30), Future Islands (70, 1), Slipknot (68, 18), Oslow (63, 7), TV on the Radio (62, 5), Coldplay (59, 27), Georgia Maq (57, 13), DZ Deathrays (50, 24), The Kite String Tangle (38, 11), Babaganouj (35, 14), Ben Howard (33, 15, 10), Yoke (25, 9).

And, once again, feel free to download the podcast version of this final part. You can do that by clicking here. It’s free, y’know!

Thanks so much.

You’re Not Punk, And I’m Telling Everyone: On Joyce Manor And Thinking Before You Jump

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Photo credit: Kayla Surico.

Being a relatively minor issue that the particularly-petty greater online punk/hardcore community were collectively up in arms about, I figured that people would have led their torches and pitchforks away from Californian pop-punk/rock band Joyce Manor by the end of the week. Unfortunately, however, it does not appear to be an issue that’s going to go away anytime soon – and that says far more about Joyce Manor’s attackers than the band itself.

To provide context to those new to the issue, the band recently played a show at the 1904 Music Hall in Jacksonville, Florida. During the band’s first song, “Heart Tattoo,” a fan got onto stage and dove back into the crowd. It’s been noted from footage from a different camera angle that he was stage-diving onto a group of young teenage fans. At this point, the band’s vocalist/guitarist Barry Johnson cut the song short and pulled the guy back onto stage. The following description of what followed comes from TheMusic.com.au’s news department:

“Hey man, how tall are you?” Johnson asked the stage-diver. “How much do you weigh, if you don’t mind me asking?” Upon being told he weighs about 190 pounds (86 kilograms), Johnson turns to a girl in the audience: “How much do you weigh? Sorry, that’s really rude. You’re much smaller than him, right? It’s completely unacceptable for him to impose himself on top of you. Completely unacceptable, right? Under no circumstances is that acceptable? OK.” In fairness, he ended rather politely, turning to the stage diver and saying, “Please don’t do that again,” before shaking his hand and letting him off the stage.

You can clearly see the guy in question apologise to Johnson, as well as to the people that he dove on top of. That should have, in all honesty, been that. If no-one had filmed it, no-one would have cared. Then, of course, the internet did what the internet does best – get routinely offended and outraged at obscenely disproportionate levels regarding things that do not affect them. The band’s masculinity was brought into question in tweet after tweet, as well as accusations of the band being sexist (yeah, some kind of reverse sexism? Or something? I honestly couldn’t tell you). In one post on the band’s Facebook wall, I read a comment that read, from start to finish: “You guys should kill yourselves.” All of this from a simple act of looking out for the band’s fans? That ended with a ‘please’ and a handshake? How very internet.

Stage-diving has been a part of the heavier spectrum of music for decades, and it remains a prominent aspect within it. But that’s just the thing – its context is weighted towards music far more aggressive and abrasive than that of Joyce Manor’s. When Scott Vogel, the lead singer of hardcore punk band Terror, calls upon his audience to “climb on somebody’s head,” you best believe he and his band have the balls-to-the-wall heaviness to match doing something like that. The same goes for bands like Cannibal Corpse and DevilDriver, who I’ve seen call upon their audiences to go suitably mental through mediums such as circle pits and walls of death.

Before we take anything else into consideration, can we note the fact that the guy was attempting to stage dive to the song “Heart Tattoo,” which is ostensibly a four-chord pop song with a slightly quicker beat? Nothing against the song, of course, but it’s hardly the kind of song to inspire such an aggressive response. It reminds me of seeing melodic punk band Title Fight in March of 2013 and seeing people crowd-surfing and stage-diving to their song “Head in the Ceiling Fan.” For those not familiar, it’s a slow and drawn-out track that takes influence from bands like Low and Dinosaur Jr. I couldn’t believe my eyes.

What I’m trying to say here is that there is a time and a place for this kind of behaviour. There are also the right bands and the right songs for this kind of behaviour. Joyce Manor, even at their heaviest, really aren’t one of them – and, at the very least, it’s been made exceptionally clear that they no longer want to be one. The band’s detractors pulling up footage of people stage-diving at their shows from years ago have gone considerably out of their way to miss the point. What happened in Jacksonville was purely contextual – one might even argue, after reading Johnson’s tweets in the wake of the backlash, that it was the straw that broke the camel’s back.

“So far on this tour I’ve seen a girl with a black eye, a girl with a concussion, and a girl with a dislocated knee,” he tweeted, before following it up with a powerfully resonant statement: “Great way to make young women feel safe at a show when the rest of the fucking world is hostile towards them already.”

This provides further context to the events of the Jacksonville show, and even adds in a feminist subtext to Johnson’s actions. Despite Joyce Manor’s corner of the rock music spectrum often being male-dominated – both on and off stage – women and girls are still a noted and important part of the demographic. Under no circumstances should they be told where to stand or how to respond to aggressive behaviour at a show. The fact that I still go to so many hardcore and punk shows where women and girls are treated as cloakrooms is deeply upsetting.

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At this juncture, you may be wondering what my role in the whole affair is. The truth is that I’ve been in the exact same position as the Joyce Manor stage-diver.

In 2013, I was at a show headlined by The Smith Street Band, a fantastic band from Melbourne who you should definitely be familiar with if you’re not already. I went to stage-dive during the song “I Want Friends,” and was stopped by the band’s lead guitarist, Lee. I leapt off stage, the band finished the song and then Lee spoke into the mic to call out my actions.

“Don’t do that, dude,” he said to me. “I know that you’re a good guy and you always come to our shows, but please don’t do anything dangerous.” I had not thought about it this way at all, and was originally quite hurt and embarrased by this. I spent the rest of the night in an incredibly unhappy state, and cried myself to sleep that night. You might think that’s an expression – it’s not. To rub it in even further, I was linked to a tweet from someone else that was at the show that read “Fuck David James Young” – I won’t link it, but that person knows who they are.

‘What had I done wrong?’ I thought. ‘What did I do to upset this band I love so much?’

After awhile, I recontextualised the situation. Much like the Joyce Manor stage-diver, I am quite a big guy – I’m roughly six-foot and around 300 pounds. I also thought I was diving back onto my friends in attendance, yet I later realised that there were also some much smaller people near where they were and they could well have been hurt in the situation, as well. When I later spoke to Lee himself several months later and apologised profusely for my actions, he was incredibly understanding and the hatchet was buried. I still go to as many Smith Street shows as I can, and I count the four members of the band as friends. I could have wrecked all of that, however, with my reckless and fleeting actions.

Photo credit: showburner Photography.

That’s why I want people to think before they jump – figuratively. In no way am I saying that shows shouldn’t get crazy and that everyone should simply stand around and politely golf-clap at the end of each song. If that’s honestly what you get out of this blog post, and what you got out of Joyce Manor’s actions, then I simply cannot help you. This isn’t a matter of what’s going to get the band more credibility or scene points from people they would have never wanted as fans to begin with. This is a matter of readjusting one’s view to see the bigger picture.

What I’m saying is that the situation should be completely and properly assessed. Respect your surroundings and take note of the time and place. Moreover, have some respect for what the artist asks of you. When Neutral Milk Hotel began their reunion tour last year, they requested a strict ban on photography and filming of the shows. A couple of years back, Rufus Wainwright asked his audiences to refrain from applauding until the first part of the show had sequentially passed. Their audiences thankfully chose to keep their recording devices in their pockets and their hands apart, respectively.

Why can’t the same be observed for a band like Joyce Manor? Because it’s not ‘punk’ to follow a request? A comparison to a Neutral Milk Hotel audience may well be apples and oranges, but it’s still the idea of not bruising your fruit. Any audience member that clearly wants to defy the completely-reasonable requests of the acts they go to see are, to be blunt, petulant children that cannot handle being told no; as Johnson put it during a similar incident following the Jacksonville show.

Above everything else, the core lesson to take away from this is to simply make sure you’re taking care of the people that are there for the exact same reason as you – to watch and enjoy the music. If that’s not why you’re there, take a look for that big green sign with the most important four-letter word you may ever read: EXIT.

I will leave you with some words from Barry himself, recently posted on the band’s Facebook page. His sentiment is hard to disagree with.

I wasn’t able to watch people being hurt so I asked people not to act in the way that was hurting people. If that means you don’t support the band, I respect that. If you don’t want to attend the shows, we respect that. If you’ve bought a ticket to the show and want your money back because you want that to be your experience, we will refund you. I don’t have an issue with anyone’s lifestyle. I apologize to [sic] losing my cool in Houston. I saw someone whose full intention was to harm people and was upset. I look forward to playing music in a safe environment for everyone from here on out.

I put it to you that if you’re not a Joyce Manor fan now, you never were.

NB: I have pre-emptively disabled comments because a) Fuck comments; and b) I can’t handle another witch-hunt after my Justin Bieber editorial. If you would like to contact me regarding this piece, please drop me a line at davidjamesyoungwrites@gmail.com – I’ll see you there. – DJY

2012: A Year in the Front Row. Part Three: July/August/September

Jan // Feb // Mar
Apr // May // Jun

JULY

With the first half of the year behind me, the remaining six months had a lot to live up to. For what it’s worth, I’d like to think it did; even though nothing quite compared to Janelle. We began proceedings with a two-night stand at Yours and Owls. The two nights couldn’t have had a greater contrast. On the first night, it was a tiny mixed bill of heavy acts, featuring a crowd of just around 30 people – Hira Hira, Rev Jesse, Machina Genova (still one of the loudest bands I’ve seen this year) and Brisbane stalwarts Idylls. The next night, I had to arrive at Owls over an hour before hand just in order to secure my place. The headlining set from U.K. alt-rock lads Basement was still, to date, the most packed I have ever seen Owls. The show was memorable for this alone, but all of the acts of the night – also featuring Harbourer, Cold Youth and Endless Heights – put on solid, enjoyable sets. I’ll admit I wasn’t the biggest Basement fan – I was more going to the show for the experience, as well as to support the venue. That said, they really put a respectable effort into their set, and I enjoyed it quite a bit.

Later that week, I had an incredible four day run that started off with light-hearted whimsy and ended with a punishing crush. It begins with an act I had waited for eight years to see live – and, not to sound like a hipster, but before they even had their own TV series. That’s right: New Zealand’s fourth most-popular guitar-based digi-bongo acapella-rap-funk comedy folk duo, Flight of the Conchords! They packed the Sydney Entertainment Centre out within an inch of its life, and even though it was a massive show they still managed to make it feel intimate and warm. Not to mention hilarious. Holy shit, it was hilarious. Even when you knew the punchline was coming, it was still a total gut-buster. What a wonderful thing to tick off the list.

The first weekend of the month began with a mostly-forgettable matinee show, starring Heroes for Hire and their slightly-dwindling base of tween psychopaths. I was only really in attendance to check out The Sweet Apes, who mightily impressed; and the boys from Luca Brasi. As great as they were, their set was spoilt by a group of girls who sat in the front row with their backs turned to the band, chatting away and playing with their phones. I actually had to go and apologise to the Luca boys for their horrendous actions. This would later turn into a 180-comment-long thread on Heroes’ Facebook page some months later. So I guess some good came of it. Sort of.

Moving on to the main course of the weekend: Hardcore 2012! Featuring a slab of local and international punk, metal, grind, hardcore, metalcore etc. to work through, I ventured in as a casual observer, cherry-picking the best of the bunch and appreciating the ferocity and energy of the crowd, who lunged at the stage at any given opportunity. Amazingly, there were no major fights and the weekend was surprisingly dickhead-free. The Hi-Fi staff were attentive, the sound was solid, the security knew when to step in and when to let things play out; and there were easily some of the best “heavy” sets I’ve seen all year on display. Top of the lot was Ceremony, the Californian punks who gave less than zero fucks about how much they “fitted in” with the rest of the bill. Ferchrissake, the guitarist was walking around wearing a leather Prince vest. They just got up there and tore the venue apart. Rather than alienating them, the crowd totally went for it, from their intense early songs like “Pressure’s On” and “Kersed” to newer stompers like “Hysteria” and “Repeating the Circle.” What a ripper – love this band something chronic.

Of course, the big talking point was the two farewell sets from Perth’s Break Even. While Ceremony was the big one for me, I still had nothing but love and respect for the BE boys – and their spots were fantastic. I don’t think I’ve heard a bigger sing-along this year than when they opened the Sunday night with “October 27.” Truly explosive, almost bone-chillingly good stuff. Other highlights included the madness of Extortion, the unholy riffage of I Exist and the OTT fun of headliners Terror; who I’ve never given much of a chance in regards to their recorded material but have still enjoyed thoroughly across the three times I’ve seen them. Overall, a very solid weekend – “hardcore lives,” as Scott Vogel might say.

As a bookend to all of this, I headed back up to Sydney in the afternoon following to grab a spot at Black Wire for Ceremony‘s only headlining Sydney set. With support from the gnashing Dark Horse and the tuneful Life and Limb, this was a high-energy show that sticks out as easily the best of the three times I saw Ceremony this month. It took all the no-bullshit reckless punk abandon of the Hardcore shows and shoved it directly into your face – I’m genuinely surprised that no major damage was done to the venue given the sure of boisterous shouting, screaming, diving, climbing etc. that was taking place throughout the band’s hour-long set. Great fun and highly memorable in the grand scheme of 2012.

For what was supposed to be their only show of 2012, I headed along to the Annandale that Friday to see The Mess Hall kick out the jams for the first time in seven years. I have no bloody idea why it took so long between drinks, but I’ll make a point for it to never happen again. What a ripper set from these guys, turning the Annandale into a sweaty mess just like only they can do. By means of contrast, the next day I saw an old friend, Annaliese Szota – who literally used to live up the road from me – play a headlining show at a theatre where I spent years in after-school drama classes. Oh, and Monica “Play School” Trapaga was there, too, as both the MC and as a cabaret performer. Needless to say, it was a pretty full-on night of nostalgia for me from a degree of levels. Needless to say, it was also lovely.

Around the middle of the month came somewhat of a bum note thanks to a disappointing set from Ladyhawke. I’m quite the fan, and do enjoy her music. Live, however, she’s quite uncomfortable and it lacks the punch that it needs to work in this element. Ahh, nevermind. Maybe next time. At least I got to catch the legends of Franzal Rhomb a few days later, who packed in a sweaty and fun crowd to the Manning Bar along with the crew from I Exist. Fuck yeah.

Festival season yet again! This time, I packed in three Splendour in the Grass sideshows into three days. Not a bad effort, if I do say so myself. Of course, I would have loved to head along to Splendour – the only shows of the year for Explosions in the Sky and Gossip, major live highlights of years previous; not to mention acts like Azealia Banks and Bloc Party. Not bad, I say! Still, getting to see just a handful of the line-up’s best acts was sufficient enough. First up was fun., a band I had wanted to tour for years – especially considering I never got to see The Format, the first band of fun.’s vocalist Nate Ruess. I took my sister along and we had an absolute blast at their show at the Metro, which was absolutely squashed in like nothing I’d seen at the Metro in yonks.

The very next day saw Mr. Jack White decide that he would play that night’s show with his all-male band, Los Buzzardos. Said show took place at the Hordern Pavilion – and, after roughly a decade of enjoying his various projects, I FINALLY got to see the great man at work in the live environment. What can you say? Absolutely sensational stuff, especially if you’re a big fan from any period of his career. It spanned all of it – when you open with a Stooges-esque reworking of Black Math, from the iconic Stripes LP Elephant, you just know you’re in for a good night. Blister-inducing guitar work, insane drumming, a great spread of sounds and plenty of hits; as well as some lesser-known stuff. Pretty much perfect, really.

Finally, I checked out British blues-rockers Band of Skulls at the Factory. Of the three, this was probably my least favourite – not a discredit to the show, per se; but moreso a credit to both fun. and Jack, which were absolutely mammoth and top-of-the-heap. This was still a solid, entertaining rock show – particularly with a band as great as The Laurels in support. Not life-changing or anything, really; but still a very, very fun set.

For something completely different, the month ended with a return to Yours and Owls for one of the biggest surprise gigs of the year. I went along after hearing some great things about U.S. post-metal acts Rosetta and City of Ships, but had never really given either one much of a listen. Really, I was headed along to their Wollongong date almost exclusively to see my boys in Totally Unicorn; plus the excellent Brisvegan openers in Nuclear Summer. I had no idea what to expect – perhaps why this show blew me away so much. It was an intense experience, never more so than during Rosetta’s performance. Post-metal is quite the thing to pull off live, it takes quite the energy and the precision as a band. That said, I have never seen anyone quite like Rosetta – before or since. Emotionally draining, resoundingly powerful and truly rewarding. I am so, so glad I went to this show.

TOP 5:

  1. Jack White
  2. Rosetta
  3. fun.
  4. Ceremony
  5. Flight of the Conchords

DISHONOURABLE MENTION: Ladyhawke. I really want to support my fellow Aspies in the live environment, but bland shows make it quite difficult.

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AUGUST

Another month, another Milhouse show. Guess where? Always a pleasure to watch these guys do their thing – not the first time in 2012, and sure as shit not the last! Next up was a great exercise in contrast involving Melbourne wunderkinds Snakadaktal. The year prior, I had seen the band at Goodgod Small Club, performing to a sold-out room where the only people under 18 were in the band. Now, I had a chance to see them again in very different circumstances, albeit just up the road at the Metro Theatre. With an adoring all-ages audience looking on, they showed just how far they’ve come in such a remarkably short period of time. Pretty special to be a part of, really.

It never rains with Children Collide – it pours. After doing two nights of their national tour in March, I followed it up with a two-night stand at their Sydney shows. They took place at The Standard, a relatively intimate and interesting venue up the other end of Oxford Street. I quite like the venue, and definitely enjoyed my time at these two shows; which featured irrepressible stoners Dune Rats and Adelaide weirdos Bad Dreems in support. The crowd was energetic and receptive, and I even managed to sneak a stage-dive in during Jellylegs, the closing number of the set. The security, however, left a lot to be desired on the second night, getting quite aggressive with some harmless punters. I informed the Standard about this, and they were thankfully very responsive and determined to make the venue a friendlier environment. I haven’t been back since, but I hope they’ve stuck to it.

It’s weird just how long I had waited for the next gig. Something for Kate had been a part of my life for over a decade, thanks to hits ranging from 1999’s Electricity to 2006’s Cigarettes & Suitcases and everything in-between. My sister Eloise and I grew up with their music, so to find ourselves in the front row of a returning SfK show in the glorious, glorious surrounds of the Annandale was more or less a dream come true. This was the night I fell in love with some of my most beloved songs of 2012, namely Miracle Cure and Eureka; both from the at-the-time unreleased Leave Your Soul to Science. Of course, it also meant I finally got to hear my aforementioned loves, plus Monsters, Deja Vu et al. Easily one of the best Annandale shows of the year.

Later that week, I’d kick off a three-day run celebrating a considerably wide stretch of Australasian music. It began with Kate Miller-Heidke and The Beards joining together in a peculiar bill that somehow managed to work quite well. The grandiose humour of The Beards allowed the audience to relax themselves into Kate’s set, which was equal parts delightful and sweet as it was intense and emotively striking. She truly is a spectacular performer; and it was so great to hear tracks from Nightflight live, which was easily one of my favourite records of the year. The following night, New Zealand post-punks Die! Die! Die! took over Yours & Owls for a ferocious evening of high-octane noise. Although the crowd was relatively small, they were fucking rabid from the get go.

There was diving into drumkits, smashing of foreheads into microphones and dog-piles onto lead singer Andrew Wilson. And yes, I was the catalyst for each. In fact, I’m pretty sure ending up with an imprint of Andrew’s mic that stuck for the entire weekend was my favourite gig injury of the year – apart from maybe the shiner I got at Refused, but that’s another story for another time. Finally, I got to support my dear little friends in Highways as they played their first-ever headlining show at the Annandale Hotel. Apart from their set, I spent the day hanging out with some new friends, teasing the Forever Ends Here boys and selling merchandise for Way with Words while hanging at Highways’ merch table. I love those little matinee shows; they’re always good fun and the vibe is always sweet. Support them!

My last two shows of the month saw me once again celebrating some local talent, as well as making a pretty major tick on the bucket list. First up was Alpine, who I saw for the eighth time in Wollongong. Now that I think about it, I don’t think I’ve ever missed an Alpine show in Wollongong; supporting or otherwise. I’m pretty happy about that, now that I think about it. I adore these guys so much, and to see how much their audience has grown in the time that I’ve known them as both musicians and people really inspires me. Then, a big one: The original line-up – well, what’s left of them – of The Beach Boys. Yep, including Brian Wilson. That was the selling point for me. It ensured that I would have to be in attendance. And I am so very, very glad that I was. Yes, it was a very daggy show. Yes, there were probably too many ballads (“Disney Girls,” guys? Really?). Yes, Mike Love is a businessman first and a musician second these days. But come on. I got to hear I Just Wasn’t Made for These Times. I got to hear Wouldn’t It Be Nice. I got to hear God Only fucking Knows. The band – mostly made up of Brian Wilson’s guys – were incredible. This was a truly delightful and heart-warming show. I enjoyed it worlds more than I expected to, as well as more than I probably should have.

TOP 5:

  1. The Beach Boys
  2. Something for Kate
  3. Kate Miller-Heidke
  4. Die! Die! Die!
  5. Snakdaktal

DISHONOURABLE MENTION: Far Away Stables and We Saved the Party opened for Highways. I awarded them no points. May God have mercy on their souls.

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SEPTEMBER

What a big month I had here! A few choice internationals, some brilliant locals and my second of four interstate trips in the name of live music. It all started with Seekae, the little Sydney electronic adventurers that could. In a smokey and very-sold-out Basement, they put on an intense and engaging show that sees them in the finest form of their career. Hope we hear from them again soon with album number three! The next night was spent with three great Aussie bands in Little Scout, Bearhug and Light Giant; the latter of which were playing their first-ever gig at this show. Speaking of firsts, this was also my first time at FBi Social and I had a blast checking out the friendly, intimate surrounds. I sadly haven’t had the chance to return since, but hoping to in 2013. What a surprisingly pleasant Friday night in the midst of Kings Cross.

Saturday was spent with a tonne of mates from the FasterLouder forum, who all joined together to celebrate the release of The Smith Street Band‘s excellent second album, Sunshine and Technology. With mates Hoodlum Shouts, Restorations and Milhouse in support, the Smithies took to a heaving Annandale for beer-y sing-alongs, stage-dives and a loud and lively crowd. Took all of Sunday to shake the comedown, I can tell you that much. Well, most of Sunday, at least. On Sunday night, I snuck up to Cronulla to watch my dear-friend-slash-hot-patootie Lanie Lane at the Brass Monkey. It was intimate, charming and a very relaxing way to end what was a very busy week.

What happened next… ahh, what happened next. If only I could fully describe just how incredible, exciting and life-affirming what happened next truly was. This, friends was the Poison City Weekender. Or just The Weekender. Whatever you want to call it, it’s a magical place to find yourself. Whether it was whoah-oh’ing along to the Restorations boys, stage-diving with the Smithies and Luca Brasi, discovering the genius that is Lincoln Le Fevre or falling in love with Lucy Wilson‘s voice, there was so much to do, see and get involved with. I’m not ashamed to say that after TSSB’s set – the last set of the last day – I cried. I cried for about 10 minutes straight. I can’t begin to tell you what being a part of that entire thing meant to me. I made so many great friends, I saw so many great bands, I immersed myself in the beauty of Melbourne and its live music scene. What a time.

Upon returning home, complete with an accursed Melbourne flu, I sneezed my way through a show at Wollongong’s Uni Bar, technically headlined by The Rubens but show-stolen by Bertie Blackman. I got in just as her set started and she was worth every cent. The next night, I got to see the Enter Shikari boys tear it up once again, this time at the UNSW Roundhouse. Interesting time for uni students in NSW, that’s for sure. ES were as entertaining as always, even busting out their own title track for the first time in ages much to my delight. Pity the support act, In Heart’s Wake, were such garbage. We went from letlive. to this?

Some well-deserved time off lead to a solid run of internationals for the last three days of the month. First up was the guitar-god badass, Gary Clark, Jr. I was the very first person to buy a ticket to this show, but I sure as hell wasn’t the last – that was one of the most packed audiences that I’ve ever seen at the Annandale. People were hanging from the rafters to welcome GCJ at his first-ever Sydney show, and he gave them exactly what they came for – lick after lick of the electric blues. Not to mention a voice that’s pure honey. Oh, and a killer live band. Tick, tick, tick.

Roughly 12 hours later, I returned to the Annandale to check out Defeater and Blacklisted from the States. Bit different to Gary, of course, but y’all know about the spice of life and shit. This was a really entertaining show, with both bands showing off different kinds of hardcore that were matched in intensity and conviction in delivery. Always good fun to hang out at the Annandale as often as possible. Also a shout-out to Latham’s Grip, who I hung out with and watched at the Lansdowne that evening. Good times.

At last, Sunday rolled around. The last day of the month. Admittedly, not normally a time to party. But hell, I had two reasons to celebrate: a) It was a public holiday; and b) MC Lars was in town! For those of you unfamiliar, MC Lars is a geek/comedy rapper who got really popular around 2006 on the back of his debut album, The Graduate. Despite it being so many years on since then, I’d never gotten a chance to see him live up until now, so I was pretty damn stoked to catch him. I got to be in the front row, play the part of Marty’s boss in “Signing Emo” (have a listen to the song and you’ll understand) and hug the man after him being somewhat of a mid-teens hero to me. Oh, did I mention fucking Horsell Common played, too? Are you flippin’ kidding me, bro? Sure, they’re essentially the John Farnham of mid-2000s rock, but that was a major trip to see those guys again – especially after seeing Trial Kennedy‘s final show a few months back. The only detraction from the whole thing was that it took place at Spectrum – or, as I like to call it, Satan’s armpit. What a destitute and loathsome place. Don’t expect me back at that venue anytime soon.

TOP FIVE:

  1. The Smith Street Band
  2. Restorations
  3. MC Lars
  4. A Death in the Family
  5. Gary Clark, Jr.

DISHONOURABLE MENTION: In Heart’s Wake. Suck a fuck, you hacks.

2012 – A Year in the Front Row. Part Two: April/May/June

Jan // Feb // Mar
Jul // Aug // Sep

APRIL

It’s somewhat fitting that I saw Hands Like Houses play a show on April Fool’s Day. Despite international acclaim and touring, they proved to be one of the most lifeless and uninspired bands I’ve seen live this year. What a joke. Still, at least I got to see Sound of Seasons tear it up at that show. Great live act, those kids. Onto the gorgeous surrounds of the Enmore, where I was fortunate enough to see ska legends The Specials tear the joint a new one. This was honestly one of the most energetic shows I went to in all of 2012 – I had no idea things would get this wild! For nearly two hours a solid crowd of roughly 1500, the band tore through their classics with all the energy and vitality that came with their release some thirty years ago. What a treat, what an honour. Definitely a major year highlight.

Milhouse launched their debut seven-inch in style, with a show at the venue they’re practically the house band of now: Black Wire Records. A very fun night indeed. The very next day, I had the chance of doubling up on a tour yet again – this time, twice in one day. Brisbane brats Bleeding Knees Club were playing in the afternoon in Sydney before playing that night in Wollongong. While it was fun to watch some kids going completely mental at what was quite possibly their first gig, the Gong show was something else entirely. Shit got decidedly loose, especially when local legend Jack Reilly got on stage with the boys to tear through a blink-182 cover. Oh, what a night!

With the Dig It Up! Festival in town, I had the chance to see the legendary Redd Kross play their cracking debut album, Born Innocent, in its entirety. While the Oxford Art Factory isn’t usually a great rock venue, this was the perfect room for these guys to thrash through the album and bring to life their wild younger years. Getting to press the flesh with the legendary Steve McDonald was also a total honour. A few days later, I was back at the same venue to see Brissie ex-pats An Horse play a rare Sydney show. A great audience and some top-shelf songs – wish these guys came back more often. Finally, I wrapped up the month with a show at Yours & Owls, which you’ll be hearing plenty more of later in the year. Here, I got to check out the frighteningly good Adelaide crew Night Hag grind to their heart’s content, with ample support from The Reverend Jesse Custer and Endeavours. Good times.

TOP 5:

  1. The Specials
  2. Redd Kross
  3. An Horse
  4. Bleeding Knees Club
  5. Night Hag

DISHONOURABLE MENTION: Hands Like Houses. For all the hype, potentially the blandest band in all the land.

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MAY

Holy fuck. What a heavyweight month this was! Aside from maybe November, I can’t think of another period where I saw such incredible music being performed at such a consistent rate. An exhausting, exhilarating and life-affirming time in 2012. I kicked things off by farewelling The Butterfly Effect‘s vocalist, Clint Boge, with their final Sydney show with him at the UNSW Roundhouse. I’ll be the first to admit how daggy this lot can be, but I decided early on that I’d get there early, get the barrier and party like it was 2006. What a fun show this was, a complete nostalgia trip and a great send-off to a band that genuinely meant the world to me back in my mid-teens. Excellent fun, probably more than I should be admitting.

The next night saw me regain some of my “cred” by attending a packed-out show from the wonderful Frank Turner. In support was folk-punk’s first lady Jen Buxton, your new favourite punks The Smith Street Band and the jolly travelling bluesman William Elliott Whitmore. All four acts put on sets that superlatives simply cannot do justice to. It was a night to celebrate the arrival, if you will, of Frank. After selling out Wembley, he came to Australia with high spirits and an arsenal of anthems spanning all four of his albums. This man is honestly one of the reasons why I make music, so it truly was an honour to watch him bring his fervent folk-punk energy to the Manning Bar. You had to be there to get it.

Groovin’ the Moo – bit of a rubbish festival, but they bring the goods every now and then. Case in point: City and Colour & Wavves, who both put on great shows in Sydney. Having never seen C&C as a live band, it was quite fulfilling to hear so many tracks that I’ve loved over the years come to life so classily. Dallas is a great performer, understated and charming. I really appreciated the fact he asked everyone to put away their camera phones – one of my biggest vices at shows, so it was nice to get a break from it, however momentary. Although a totally different style of performer, Nathan Williams (aka Wavves) put on a cracking hour set at the Oxford Art Factory. All the best tracks from his own arsenal, plus a Sonic Youth cover (100%) and some gut-bustingly funny inside jokes made this a super-fun show.

Nearing the end of the month meant shit got increasingly more real. And it doesn’t get more freakin’ real than Prince. Holy shit, this was a spectacle and a half. To walk in and see the Allphones turned into a house of purple – complete with a stage shaped like Prince’s symbol – was breathtaking enough. Then, he decides to make things even more insane by OPENING with a fifteen-minute version of Purple Rain. Read again: OPENING with that. Where do you go from there, exactly? Pretty simple: Hit after hit after hit. This was a joyous, funky thing to be a part of; and I’m so glad I got that chance. Truly memorable stuff right there.

Following on from that, I got to see two long-time live favourites across two consecutive nights at the Patch – Dead Letter Circus and Tonight Alive. The former brought a meaty, volatile crowd with them; which was to be expected, really. Thankfully, I had myself a nice spot on the corner of the front row, tucked away and just enjoying their groovy tunes. Great live act, only getting better. As for Tonight Alive, this was the start of a pretty special run of shows with those guys – one show in Wollongong and two shows in Sydney, as a part of their final Australian tour for the year.

I always love these shows, if anything just for the company that comes with them and the incredible circle of people I’ve met through the band and its fans. It gets better, however: My boys in Totally Unicorn were the opening act, which meant that they got to terrorise a bunch of unsuspecting pop-punk kids and blow their freakin’ minds. All three shows had their good points, but the highlight of the bunch was easily the all-ages show at the Factory Theatre. There’s just something about AA Tonight Alive shows that have such an unshakable energy to them. The crowd is always mental, the kids up the front know the score and we can all go mental in unison. I usually have a pretty low tolerance level of AA crowds, but this was totally fine. In fact, it enhanced the experience.

May ended with not so much a bang as an absolute freak explosion. Two words: Janelle. Monae. Friends from across the country came out for this one, as the petite dynamo turned the Opera House concert hall into a next-level party. I can’t begin to tell you how much I needed this fucking show. After admiring Janelle for over two years, it was a complete thrill to finally get the chance to see her and her electric band do their thing, playing songs that still meant the absolute world to me like they did when they first came out. All roads truly felt like they lead to this very show. I can’t really give you much more detail than that. It was out of this world. Amazing. Life-changing. Pretty damn sure this was the one. As awesome as the rest of the year was, nothing quite compared to this night, these songs and this moment in time.

TOP 5:

  1. Janelle Monae
  2. Prince
  3. Frank Turner
  4. The Butterfly Effect
  5. Tonight Alive

DISHONOURABLE MENTION: Young Guns, the main support for Tonight Alive. Sorry, lads; you seemed lovely but you were trying to do an arena show to an audience of about 50 people and it really didn’t work in your favour.

+++

JUNE

By contast, June was actually one of my quietest gig months. Not that it was a barren wasteland or anything, but I felt like a senior citizen compared to my frequent travels of the month prior. Even so, I probably needed the break more than I was willing to admit. I eased back into gigging post-Janelle (or PJ, as I so measure my life these days) with a small gig at Goodgod, one of my favourite new Sydney venues. My chums in Mrs. Bishop were launching a new single, and it was great to catch up with them and bask in their cooing harmonies. The week after, I bid farewell to an old mate in Trial Kennedy, who decided to notch up the nostalgia factor a little extra by adding After the Fall to the line-up. Getting in one last sing-along to Damage on Parade was a year highlight, as was the chance to FINALLY hear Mississippi Burn live; which is my all-time favourite TK song.

After having a ball (pardon the pun) at her last show in 2010, there was no way I was going to miss Lady Gaga on her Born This Way Ball tour. Although I wasn’t as big a fan of BTW as I was of her previous efforts, this was still an absolutely awesome show, full of wonder and big pop sing-alongs – which, if you know me well enough, are pretty much my bread and butter. The thing I love about big-arse pop shows like this one are that, even if it’s only for just a couple of hours, you can escape from whatever’s going on in your life and dive headfirst into a whole new world, Aladdin style. Gaga is a great entertainer and someone who can keep up energy levels like few others can. It’s truly a sight to see. Put aside your doubts and try it out sometime.

The end of the month came quickly, with two more shows before it was done. First was a trip all the way out to Epping, where I ended up at a cafe called Pablo’s in order to see my dear buddies in Collarbones and Fishing; as well as Dappled Cities side-project Swimwear. This was put on by The Gate, aka Joe Hardy, who puts in great efforts to bring great original live music to unconventional places. The show was an absolute treat for the senses, squishing in with a stack of other music lovers to soak up some glitchy goodness. You KNOW a show’s gone well when it ends with an en-masse sing-along to Jenny From the Block. Finally, there was my dear old buddy Jonathan Boulet, hitting the big time with his largest hometown show ever at the Metro Theatre. Having followed his work for years across all of his projects, to see this show go so well was a big thing for me. Jono continues to amaze and inspire with his work, and his live shows (starring his remarkably handsome band) are no exception. Good times!

TOP 5:

  1. Lady Gaga
  2. Trial Kennedy
  3. Jonathan Boulet
  4. Fishing
  5. Mrs Bishop

DISHONOURABLE MENTION: None! Everyone ruled! How good is that?