Airlie Beach Festival of Music is held in November, however, in the lead-up, the organisers stage what is arguably Australia’s biggest battle of the bands competition.
And you’d have to argue very convincingly to beat this: regional finals in (take a deep breath): Darwin, Cairns, Townsville, Mackay, Sunshine Coast, Brisbane, Gold Coast, Nimbin, Newcastle, Sydney, Illawarra, Melbourne and Adelaide.
And budding musos are all vying for the chance to participate in the final at Airlie Beach in November.
As well as the performance opportunity in 2019, the overall winner gets to return to play the main stage the following year, receiving four nights’ accommodation, VIP main tent passes, a $1000 performance fee, and a spot on Music View TV (Cairns).
If you’re a regional muso aiming to get your music to a wider audience, it’s well worth a shot.
Mensch Monique!: Interview at Cobargo Folk Festival
Mensch, Monique! were in Australia earlier this year, playing gigs, house concerts and festivals. I caught up with Jule and Georg at Cobargo Folk Festival to find out how musical and family life had been treating them since the days of The Beez.
We spoke under a blazing sun, with welcome shade from the café marquee, perched
precariously on milk crates, sipping on ginger and lemongrass over cubed
ice (just brilliant on a baking hot day).
Bill Quinn: How long has Mensch, Monique! been going? What are you doing? How is it going?
Jule Schroder: Well, actually, Georg and me, we have been playing since 2007.
BQ: And how about music?
JS: Exactly! Playing music! (And we’ve been playing together longer than that!) But I was in a band called ‘The Beez’; for such a long time.
BQ: The Beez? Can you spell that? I’m not familiar with this band.
JS: Tee Hahr Eeh Bee Double Eeh Zsedh. We were one Australian, one American, and two Germans.
BQ: And one of the Deutshes is now Australierin!
JS: That’s right. Deta got married to Rob a long time ago and now she’s got her spouse visa.
So, anyway, I was playing with The Beez, being busy. And there was just no point [after the birth of first child]. We couldn’t play gigs. Or we could, but it was just too hard.
So when I left The Beez in 2014, we said, “Let’s write some songs together”. And why not in German? And that’s what we did!
And it just takes a long time. You know, we’ve got two kids now. But we do it in our own tempo. Our own speed, you know? And we love it!
BQ: That’s very interesting that you do your songs in German, with English being the lingua franca for the world, the language that the majority of the planet understands. Tell me about when you perform in Germany. Is it 100% in German? Or do you mix it up a bit?
JS: We mix it up, but it’s really interesting because I talk to a lot of musician friends from Germany, and we came to the… schluss? … conclusion that we just HAVE to write songs in German because it’s our language.
It just doesn’t make sense that we only write songs in English, because that’s not our language.
And it’s a bit hard to sing in German, I must say. And what is really interesting for me is, because I write most of the melodies, I don’t think in German when I write the melodies. I can’t do that. It’s really interesting.
On Saturday morning, 16 February 2019 AEDT, I rang in to the ABC Weekend Mornings show on ABC Sydney radio.
To say I had some communication challenges is to grossly understate the case. Three devices, radio on the TV, a landline – but I couldn’t find my hands-free to use my main mobile phone whose receiver speaker thingumy doover is a bit stuffed.
So, Simon Marnie finally threw to Bill from Fassifern, and what he got in return was a bloke with a fascinating tail, I mean tale of a cat who used one paw to mask the sound of his jingling balls, I mean, bells as he stalked prey in the backyard.
(I know some people who pray in the backyard. Takes all sorts.)
But that tail, I mean, tale was delivered with all the sonic clarity and crispness of MHz that you’d expect were I speaking down the line from Mawson’s Hut, Antarctica. The story got through, but barely.
Back in early February 2018, I interviewed Jenny Thomas from Melbourne-based folk band Bush Gothic, at a time when both of us were looking forward to attending the National Folk Festival in Canberra at Easter.
One of us got there! It wasn’t me. 😥
It was to have been my first National since 2013, a year when I barely felt like I was there. Some nights I was tucked up in the tent by 10.30pm. It happens some time. But of course, your worst day at a festival beats your best day doing many other things, so…
Events transpired that instead of running around with various recording devices, filing copy for a small coterie of publications, I was roughly 400kms north on Lake Macquarie, providing various gardening and handyman services for a friend.
If you want to give your or any god a good laugh, make some plans!
Back to the subject at hand.
It’s been an absolute delight and pleasure to not only see Jenny Thomas and Jenny M. Thomas and Jenny Thomas and the System and the current incarnation: Bush Gothic perform, but also to interview Jenny several times, both here on the blog and also on community radio.
It’ll be great to see Bush Gothic perform again, down one of many dusty roads, but for now, here’s the interview we did in February. You’ll just have to put your headspace into some sort of cerebral TARDIS and pretend we are looking forward to another five or six days of magic at an upcoming National Folk Festival.
In more recent times, Karen Green has been very active on Twitter, sharing thoughts, links and events about social justice. It was this interest that led to a chain of events that saw her enter a portrait of Kon Karapanagiotidis of the Melbourne-based Asylum Seekers Resource Centre in the 2016 Archibald Prize.
Kon Karapanagiotidis by Karen Green. Entry in 2016 Archibald Prize. Reprinted with kind permission of Karen Green.Continue reading →
This is the audio file wrapped up in a bit of Overheard FM nonsense. The full written version will be here on Monday 17 October 2016 at midday AEST, 10pm Sunday Kentucky, US and 3am Monday UK time.
To tell the story of Harry Manx would take several lifetimes, and hopefully a progression of life-forms over those lives to tell the story, because the story is so mesmerising and complex that we would not be very present and in the moment of most of those lives and that could put the telling of the tale at risk as we would not be making gradual and continuous improvement as…
I believe the expression you’re looking for is, “Ain’t nobody got time for dat!”
Harry Manx has already begun his 2016 Australian tour which will take him from Sydney down to Victoria (where he is on stage tonight, Friday 23 September in Frankston) then around to Queensland, South Australia, Perth and up to Broome and Darwin, ending in the beautiful, lovely, gorgeous, I-may-be-a-little-hereditarily-biased New South Wales locales of Katoomba.
Ah, Katoomba. If there’s a more intimate, special venue than Clarendon Guest House, I want it stuffed, mounted, and hung above my fireplace – or I at least want an invite to your venue that can safely kick the Clarendon into a cocked hat. Or any poultry millinery for that matter.
So it’s a very eclectic path Harry treads, and look, I’d draw you a picture if I had a free hand, but imagine a much-twisted paper clip that’s been sitting on your desk all day on a slow Friday when you’ve been watching the clock since 9:36am – now you’re in the ballpark.
OR picture a moose that somehow wandered into your yard, found your sippin’ liquor in the shed, and is now making a bedraggled, loquacious and somewhat winding stagger back to the forest by a circuitous route, two-thirds of it sideways. You got it! Continue reading →
I’ve said it before and will keep saying it: you just cannot make this shit up!
Three days after the Friday night police incident where a whole passenger train was detained for ten minutes while members of the QPS swarmed around the Lota station, and after many phone calls, I’m still in the dark.
I’ll give you the Wednesday updates later, but for now, here is where Ankerss Ahrr-Whey tracks down a neighbour of mine to find out what the heck is going on.
Garry briefs us for a short while until his meal starts to go cold and his accent ships off from north England to…. we’re not quite sure where.
And for those of you who saw the teaser, you know want some more of this:
(A little tip for amateur video-ers, Youtubers: if you’re recording a live performance, be sure to include even just a little of the applause at the end. Otherwise, it’s a bit like a door slamming shut in your face when you stop talking with a friend. I was going to go with a butt cheeks analogy; aren’t you glad I didn’t?)
And now that we’ve gone there, let’s go here. Muggins is there, front and centre at about 0:10. A time of my life when song just took me somewhere I’d never been before.