A Punter’s Perspective March 2014: No Such Things As Mistakes

A Punter’s Perspective: Random observations on the wide, weird world of folk from the side of the stage

No Such Things As Mistakes Part I

First published in Trad and Now magazine, March 2014

As has been the case from time to time in the seven years plus of A Punter’s Perspective, ’tis the night before deadline and all through the house, not a creature was stirring, not even a half-decent idea for a folk music magazine article.

Realising my dilemma on the train to work today, I turned to the world’s font of most knowledge (and funny cat videos): Twitter. And I asked publicly to all, and pointedly to three or four music bloggers, what might a good topic be.

Image courtesy of The Dutch Guy
Image courtesy of The Dutch Guy

The answer came from a former radio presenter now blogger/vlogger (a kindred spirit, then) from the Netherlands who goes by the title of ‘The Dutch Guy’ (@DutchGuyOnAir), and he suggested:

“How about talking about some mistakes indie artists might make?”

By curious coincidence, this is a topic I’d considered before and only pulled back from it at the risk of causing offence.

Causing offence is a service I do occassionally provide — usually unintentionally.

I’ve put enough noses out of joint in the music world in the past nine years by commission, omission, or at the very least, blind stupidity, and have no need to add to that tally by more inadvertent misadventure.

I often say that I can have my intelligence insulted without willfully watching certain TV programs or listening to certain radio stations. (And that I didn’t mention them by name is at least a sign that I’m learning — slowly.)

Therefore, some disclaimers.

I am totally in awe of musicians, artists and singer-songwriters.

The concept of playing a three to 20-stringed instrument (or one you blow, slap, or pump) while singing and possibly dancing (or at least a little light duck-walking), and then doing that from 20 minutes at a time, for up to three or four hours, leaves me absolutely breathless.

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Interview: Lucie Thorne on tour, 2014

Image courtesy of Lucie Thorne
Image courtesy of Lucie Thorne

Lucie Thorne is doing one of the things she does best — touring around Australia, making her way into major centres, but also visiting a few places off the beaten track.

After two successful runs in Australia in recent times with Pieta Brown, showcasing the ‘Love Over Gold‘ album, Lucie is back on the road solo, albeit with long time collaborator percussionist Hamish Stuart, and teaming up for a double bill in Bacchus Marsh with Liz Stringer.

I should stop mentioning that the locations for doing these interviews are a little weird.

I can’t remember the last time I did a straight face-to-face interview in a studio. For this brief chat, I was in the salubrious surrounds of a Brisbane City Youth Hostels Association dormitory room, finishing the interview just a moment before house-keeping arrived with the bins, hose, and industrial leaf blower. Lucie, meanwhile, was in South Australia relaxing on a friend’s property complete with 3D cattle.

If you’re reading this on the day of publication (Tuesday 3 June 2014) you can tune in and hear Lucie live on air on ABC 774 Melbourne with Lindy Burns from around about 9pm AEST. You can listen online.

*** Audio file will be deleted at the end of February 2020 ***

LT1-PhotoByGraemeRuck
Photo by Graeme Ruck, courtesy of Lucie Thorne

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Interview: Michael Johnathon of Woodsongs Old Time Radio Hour, 2014

Image courtesy of Woodsongs dot com and Michael Johnathon. Photo by Larry Neuzel.
Image courtesy of Woodsongs dot com and Michael Johnathon. Photo by Larry Neuzel.

Image courtesy of Woodsongs dot com and Michael Johnathon. Photo by Larry Neuzel.

From humble beginnings in 1998, from a small venue that sat just 20 people in the audience, Michael Johnathon has built the Woodsongs Old Time Radio Hour into a public broadcasting colossus. Woodsongs is heard and seen around the globe each week from its current home in the Lyric Theatre, Lexington KY.

The program showcases bands, performers and troupes from across the broad spectrum of bluegrass, Americana, roots, acoustic and alt-country, and a few others around the blurred edges of folk.

It’s a 100% community and volunteeer-run operation, making its longevity and sustainability all the more remarkable. And laudable.

It gets even better than that – but you’ll have to listen to the interview for the part that rocked me back on my heels.

And upturned kayak.

The show has reached an eye-watering 750+ episodes as of April 2014, many of which are freely available from the Woodsongs website in audio and video formats. Apart from its legion of individual listeners, Woodsongs has spawned a string of coffeehouse groups which meet to experience the show as a community.

The log cabin. Image courtesy of Michael Johnathon.
The log cabin. Image courtesy of Michael Johnathon.

And it’s not like Michael has anything else to do with his spare time.

Like being a singer-songwriter of many years standing. Or touring. Or arranging other concerts. Or building a log cabin and surrounding structures plus landscaping and bridges etc. bare-handed. Or being a father of two adult children (and two more on the way in one hit).

No, I lied. He’s all of that and more.

An just get a load of where he got his folk beginnings from. I can only interpret my silence at hearing who his neighbour was in upstate New York as a little mild shock and awe.

On a chilly autumnal morning in Sydney, I stepped off the Manly* Ferry and found a suitable-ish place to record an interview over the shaky airwaves from Australia to Lexington, Kentucky. A picture of my luxurious chair in the ‘recording studio’ appears below.

* For international audiences, ‘Manly’ refers to a suburb and location on the north side of Sydney Harbour named ‘Manly’. We don’t believe in forcing gender stereotypes onto our aquatic transport vessels. Actually, if anything, we refer to them as ‘her‘ for the most part. Continue reading

Taliska On Tour In ACT, NSW and Victoria, 2014

Taliska. Image courtesy of Taliska.
Taliska. Image courtesy of Taliska.

Taliska On Tour To Eurobodalla, Jenolan Caves, ACT and Victoria, 2014

Taliska is bringing a taste of Scotland to a parts of New South Wales and the ACT this month. They’re then plying their Celtic trade closer to home in Ringwood and Portarlington (Victoria) and many places beyond.

Hopefully they’ll be near you, and if they’re not, that’s just all the more reason to start loving their music and get them to your town next time they’re back this way.

OR get yourself on a Greyhound or Murray’s bus to one of the three venues, stat.

Definitely like them on Facebook and follow the trails, talents and travails of Taliska.

Who are Taliska?

Claire Patti has a voice that has to be heard to be believed, and she plays the harp (the stringed one), french horn and piano accordion. Claire sings harmonies with the guitar-playing band leader Marcus de Rijk (note the strong Scottish influence in that name — mmm, maybe not so much), while Geoff Jones plays pipes, whistles and bodhran. Angus Downing makes the whole thing fly with his wonderful fiddle playing. Taliska’s traditional Ceilidh will have your feet pounding the tiles.

The mini tour will take in a gig at the always popular Merry Muse in their new home at the Burns Club in Kambah, a performance at the majestic Jenolan Caves plus a house concert in one of the best locations on the Eurobodalla Nature Coast at Congo (just south of Moruya).

T1
Image courtesy of Taliska

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Ann Vriend: A Series of (Un)Fortunate Events — On Tour In Europe

Ann Vriend: A Series of (Un)Fortunate Events -- On Tour In Europe
Ann Vriend: A Series of (Un)Fortunate Events — On Tour In Europe

Ann Vriend at The Basement in Sydney, March 2013 with Ted E. Quinn of Overheard Productions (chauffeur, cook, minder and police liaison)

Ann Vriend’s Tour Mishaps #3663 or How I Learned To Stop Worrying And Love BBC News In The Airport Hotel

Ann Vriend is at it again: touring relentlessly and sharing her sweet music, sumptuous lyrics and those wonderful ivories and keys in far flung locales. And she’s also up to her other signature move: having wonderfully Tati-like, British 70s comedy slapstick challenges, and farcical misadventures.

The ones that you can laugh about and blog about afterwards or during, but at the time they can be massively distressing and painful and expensive and inducing of tears of pain, tears of rage.

But with the crunchy comes the smooth. And Ann found that a rather stormy set of clouds did indeed have a silver lining.

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Owen Campbell on ‘The Pilgrim’ Tour, May 2014

Owen Campbell to play The Abbey, Canberra on Friday 2 May
Image courtesy of Owen Campbell

Owen Campbell to play The Abbey, Canberra on Friday 2 May 2014

Australian blues man Owen Campbell has been busy promoting his latest album ‘The Pilgrim’ and will be taking the show back to his old stomping ground of Canberra atThe Abbey on Friday 2 May 2014 to kick off his ‘Remember to Breathe’ Tour.

Show only tickets are available for just $20 or dinner and show is $65. Booking fees apply to both and the details are available at The Abbey.

Owen took some time out to talk with Bill Quinn who was cooling his heels at Central Railway Station – the foyer of the Sydney Gaelic Club proved to provide the best acoustics.

*** Audio file will be removed at the end of February 2020 ***

Bill Quinn: I’m stood above Central Station where the tunnel is a hive of activity for buskers, and that’s very appropriate as we’re talking with Owen Campbell. Owen, how’re you going?

Owen Campbell: Good thanks, mate.

BQ: Owen, tell us what’s up in the world of Owen Campbell at the moment.

OC: Just a lot of work, a lot of touring. I’ve just started a national Australia tour that started at Deni[liquin] Blues and Roots FestivalDeni[liquin] Blues and Roots Festival last week and’s going all the way up to the Blues On BroadbeachBlues On Broadbeach Festival at the end of May. So that’s about six weeks, and then I’m driving back to Sydney then flying out for a six week tour in the US.

So just flat out, man.

OC1
Image by Swamp House Photography, courtesy of Owen Campbell

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Kavisha Mazzella — Sydney Launch of Riturnella at Django Bar, Marrickville, 2014

Image courtesy of Kavisha Mazzella
Image courtesy of Kavisha Mazzella

Kavisha Mazzella is an accomplished singer-songwriter from Melbourne with a substantial body of work behind her and a long career of touring solo and with bands of various composition (no pun intended).

Were that the end of the story, it would be laudable enough, but it literally crests just the tip of the iceberg of this remarkable woman. Leader of community choirs in Australia and Italy, flexible and adaptive musician who lends her talents to a litany of projects including providing backing to a silent film from the 1920s — live.

It’s any wonder that when Bill Quinn caught up with Kavisha earlier this week he kept the chat time down to under 20 minutes. There are just too many things to talk about.

Kavisha Mazzella launches her Riturnella album of centuries-old Italian songs on Sunday 4 May at the Django Bar, Marrickville.

KM1
Image courtesy of Kavisha Mazzella

*** Audio file will be removed at the end of February 2020 ***

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1993: One Year Into My Life On Stage(s), A Monster Is Born! (1993)

1993: One Year Into My Life On Stage(s), A Monster Is Born!

1993: One Year Into My Life On Stage(s), A Monster Is Born!

In 1992 I was press-ganged, as organically-chosen head of the social club of my workplace, and the person most likely, to present a charity trivia quiz for a couple of hundred people.

That night in mid-September 1992 when I picked up a microphone for the first time properly — the Kraken awake’d.

Bill Quinn died that night and Billy Quinn awoke.

Some months later, needing a gag for our follow-up, I wrote to two likely lads who were then plying their trade on Triple J, formerly 2JJ or 2 Double J.

I wrote my letter, forgot about it and life continued. Six days before the 1993 quiz, I came rolling in, rolling in, rolling rolling, as I came rolling in [drunk] and my long-suffering then wife said a package had arrived and was in the hall.

Yeah, I did a few cartwheels and dive rolls that night. Therein was the tape with this on which I later edited to remove references to the selected charity (The Smith Family) so I could re-use it to get utility for many other charities, not for profits and 21 years later…. I think I need to book a certain venue for a date in September.

Enjoy. I know I did and have!

Billy Quinn
Overheard Productions
www.overheardproductions.com

Eleanor McEvoy On Tour In Australia – Interview at Wollongong City Diggers, 2014

Eleanor McEvoy with Danny Priestley and Lindsay Martin of Riogh. Image courtesy of Danny Priestley.
Eleanor McEvoy with Danny Priestley and Lindsay Martin of Riogh. Image courtesy of Danny Priestley.

Eleanor McEvoy landed in Australia this week on tour from now until…. well, until Ireland warms up again in roughly six weeks’ time.

On St Patrick’s night, Monday 17 March 2014, Eleanor was a very special guest of Riogh and the Illawarra Folk Club at what’s starting to look a lot like a St Paddy’s tradition in this south coast of New South Wales town centre. Accessible from anywhere and a short walk from the train station.

(Our correspondent Bill Quinn later that night ventured down the road to another raucous Irish venue, and couldn’t help but notice that, despite the number of prone young bodies decked out in over-sized corporate green Irish hats, the music on the tannoy was Canadian Scots.)

But before that, and after one or three very large jars of piping cold very special St Patrick’s Day tea, Bill spoke a little with Eleanor about the tour.

*** Audio file will be removed at the end of February 2020 ***
Take II; I really have to learn to wait until the edit saves before rushing off to the next one. So, to repeat, I did not delete this or the other dozens of audio files slated for demolition in February 2020 when I was in the twilight between being a roving rambler/gypsy for five years living on fumes and hitting minimum retirement age in 2021 and having access to my super. $16 AUD a month to Soundcloud to keep scores of interview and blather audio files seemed a waste – they were not accessed often. Then Covid hit and I could afford $16 a month, but it seemed arrogant and selfish to trash hours of audio to get down to a minimum, free storage plan at a time when artists were losing gigs and having to clean toilets or take on farm work just to get by. It’s a price I’ve been happy to stump up ever since. It’s not noble or virtuous; it’s just how this Spanish-Irish Roman Catholic (lapsed, very lapsed) Australian is wired. Read on; we’re here to talk about Ms McEvoy, not me. UPDATE: Oh look, it did save but after the alert at the bottom of the page. New Chrome Notebook – who dis? I’m old; don’t judge me… 😉

Bill Quinn: It’s getting on for 10.30pm on St Patrick’s Day in Australia, which means that over in Ireland, it’s roughly midday. People are at lunch, they’re settling into the snugs, they’re in the bars, they’re making St Patrick’s Day what it is.

Meanwhile, in the sweaty, sweaty, sweaty, hot climes of the Illawarra, at the back stage of the Diggers Club, I’m talking with Eleanor McEvoy. Hello, Eleanor.

Eleanor McEvoy: Hello, how’re you doing?

I can tell you that at home what they’re doing, they’re getting ready for the parade. The parade’ll be at midday.

BQ: Your home town/county is?

EM: Well, my home town where I was born is Dublin, a place called Cabra on the north edge of Dublin, but now I live in County Wexford in a more rural environment.

BQ: And so in all of these cities, all of these towns, in all of these places, they have their own separate parades?

EM: They all have their separate parades. The biggest one is in Dublin City, but I like to think the Wexford one is pretty cool too.

EM1
Image courtesy of Eleanor McEvoy
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Humph Hall: An Open Letter to Warringah Council (NSW, Australia)

Image courtesy of Humph Hall via NSW Folk Federation (www.jam.org.au)
Image courtesy of Humph Hall via NSW Folk Federation (www.jam.org.au)

### STOP PRESS. On Sunday 9 March 2014, I had a long chat with Wayne Richmond at Humph Hall about this epic saga.

There are two sides to every story, but this one’s more like a dodecahedron. Wayne was quick to acknowledge the positive input from Warringah councillors, mayor and even the personal attention of NSW planning portfolio.

Articles to come here and at Timber and Steel soon.

Humph Hall: An Open Letter to Warringah Council by Bill Quinn

Written on the E89 bus from Bilgola Plateau to Railway Square, Sydney NSW, Australia

Friday 7 March 2014

If a picture says a thousand words, here’s several million for you.

Go to Google Images — http://www.google.com/imghp — and search on ‘humph hall’ then scroll, view, scroll view, next page, etc. That will tell you the value of this venue more eloquently than I can. But do read on!

______________________________________________________

When it comes to angrily shaking my fists in a Peter Finch/Shaun Micallef ‘I’m mad as hell and I’m not gonna take it anymore’ style of protest, I prefer direct contact.

I just don’t online petition. I’m glad for you to do so, but don’t ask me to sign one.

So having read in The Manly Daily about the latest in the legal wrangle over fire and safety at Humph Hall, and the fact that Warringah Council is now dragging Wayne Richmond and Gial Leslie into court over the matter, I took time out from my morning ritual of staring inquisitively out the bus window along Barrenjoey Road to Haymarket, and tapped out the below, patiently navigating council’s rather confusing and limiting web-site to submit my two cents’ worth.

To contact Warringah Council, go to: http://www.warringah.nsw.gov.au/

“Liking Facebook pages and reposting memes is not enough in days like these.”
— Bill Quinn via Billy Bragg. Continue reading