Valé Frank Hodges, late of Bicton, Radio Fremantle, and York Minster

This article appeared in edition 167 of Trad & Now magazine in December 2024.

It’s Stupid O’Clock on a Tuesday morning, a little after 3am, and I’m doing what I’ve done all my life when I need to process things beyond my ken and Barbie: writing it all down.

48 hours ago, my friend Frank Hodges died.

I was in the same city as him: Boorloo (Perth) at the time, but not permitted to see him nor even be given details of his condition by the staff in the palliative care unit of the hospital where only several weeks earlier I’d spent precious hours with him: Hollywood Private Hospital in Nedlands. A slightly weird-arse hospital, but that’s another story for another time.

The nurses on the Old MacDonald Had A Farm ward are aces.

Back in early October, I had just arrived in to Tarntanya (Adelaide) one Monday night after three weeks on the road to the east coast and back when I contacted Frank to see if he was on the radio that night: 107.9FM Radio Fremantle, in the spot where our media lives intersected for seven months on his show, Folking Around.

He was not, and over the space of the next hour of frantic phone calls and texts to several contacts, I got through to Frank and he told me he had five weeks to live.

In my first weeks in Walyalup (Fremantle, June 2022) I’d bowled up to the studio in Hamilton Hill, WA and offered my on-air services. I was keen to move away from folk in to more secular programming, but the station needed someone to operate the panel for Frank’s established folk show on Mondays at 9-11pm.

I was initially reluctant but agreed, and on Monday 13 June 2023 I met Frank.

4ft not a lot tall, he’d blow away in a stiff breeze, and I’m guessing he never ventured out much onto the Yorkshire moors or he would have caught an easterly wind into the Irish Sea ad never made it to Australia all those years ago. Or conversely, he could have saved his 10 pound fare, grabbed a parasol, Mary Poppins-styles, and aimed south towards the Roaring 40s.

On that first night, Frank offered me a lift back to where I was living in Melville and that started a seven month arrangement: I’d stand out on Williams Street, glancing nervously at my watch, wondering if we were going to make it in time to get to the studio in Hamilton Hill, and take the on-air baton from Alan Dawson and his now 37 or 38 years running Twilight Zone radio show highlighting local WA music (of which there is an embarrassment of riches).

You’ll never never know if you never never go, people. Western Australian local music is the duck’s nuts, the dog’s bollocks, and the bee’s knees. It’s stunning.

In my first year, I got late to the WAM Music Song Of The Year awards at Freo.Social and stood right up the back, tucked away in the corner in the only spot left, jammed up against the bar. The talent on-stage and the attention and fervour of the crowd was inspiring. You could have plugged a 240 volt cable into my earholes and lit up a small city with the energy I was taking in from that night. And I was there late.

Meanwhile, back on on-air Monday nights, a friendship developed. An ex of mine who worked as a counsellor to asylum seekers once clued me in on the value of driving with others. You don’t *have* to make eye contact, your voices and ears do the heavy lifting, and you’re both going in the same direction.

From Melville down Williams Street, up Marmion, past Woolies, turn left onto Cannington Road, all the way to Rockingham Road, turn left and turn right at the studio. Race up the stairs in time to do the football tips on air with Alan.

I treasured those rides so much because the real Frank came out as he’d light-heartedly mumble and grumble about the others on the road. Never mind the fact I often had to remind him to turn his lights on or turn his indicator off, he’d have a running patter on who was on the roads and all their ills.

It was on trip two or three that the five-star swear word tumbled out his wee mouth and I thought, right. Ok. A) Do you kiss your wife with that mouth? (Just jokes; I roll out the sailor-blushing blue words when needed.) and B) Now we’re getting to know the real Frank: plain speakin’, irreverent, and funny as [duck].

I ended up staying in Boorloo/ Walyalup (Perth/Fremantle) only 14.5 months, and I can honestly say I really only made one friend in that time. Sure, I met scores of people and went out often – up to five nights a week with various groups. But that was all superficial, and there was only one constant in my life: Frank Hodges.

Typical of many septuagenarians I’ve been privileged to know: they keep the live, original music scene going because they vote with their feet, their bum on a seat, and are keen to share their disposable income with independent artists.

We saw all sorts in that time. We went to two Albany International Folk and Shanty Festivals, one Nannup, and countless gigs north and south of the Swan. I never needed a gig guide: Frank kept me updated via phone and text and email multiple times during the week. He’d collect details of what was happening, and sometimes the first 20 minutes of our two hour show would be him, slowly reading out what I rebadged the ‘parish notices’ of who was playing where in the cities and the south west of the state.

I initially thought it went on a bit long but soon realised people loved it, whether it was to get the information or just to hear Frank’s mesmeric verging on somnambulistic voice in that gentle Yorkshire-Australian lilt. You can catch his last programs at www.radiofremantle.com.au/shows/folking-around while they’re still there.

Sadly, all our shows we did have now fallen off the publicly available rota. Those shows live in the mind’s eye and ear.

We had guests, we had live music, we bantered and carried on like a father and son – and called each other as such on air. At first it was genuine irritation at his scatter-brained habit of cutting across whatever I was saying with some random thought. Soon enough it became endlessly endearing and you might have been forgiven for thinking it was rehearsed like some radio version of The Last Of The Summer Wine.

My weeks and weekends were full of gigs and going out and going to festivals, but Monday nights were radio nights, and I treasure those half a dozen plus one short months dearly. I never once thought, oh stuff it; I’ll play hookey and give it a miss. I had to occasionally duck out with respiratory problems, and knowing Frank was ill and receiving ongoing treatment for his conditions, I didn’t play fast and loose with any viral germs I might have been harbouring.

Once I was struck down by a mystery men’s waterworks condition so savage I feared it was going to take me off the planet, and had to listen from my bed through gritted teeth with tears of pain streaming down my face as Frank (and Alan as stand-in) interviewed a constant in our musical time together: The Original Foc’s’le Firkins. We went to see their album launch in 2023, and I snuck in for the last song at their last gig only last month. Frank had broken himself out of Hollywood Private Hospital that evening just to be there.

It was the Firkins’ last gig and may have been Frank’s last gig too.

After I found out Frank was dying that fateful Monday night in early October, I immediately made plans to get to the west. I would have jumped on the first plane out of Tarntanya, but it was school holidays and a massive storm was ripping across the country from Albany to Malacoota. I waited it out then lassoed a relocation vehicle (a Renault motorhome) and set off up to Port Augusta via Port Germain, into Ceduna, across the Nullarbor, the Great Australian Bight, the Goldfields, the agricultural belt and slammed almost literally into Welshpool, taxi to Walyalup.

Seems like a long way there, but there’s something calming (for me) about hundreds of kilometres of open road matched with the novelty of crossing the open plains of the Nullarbor and further. Despite the four days’ drive I counter-intuitively arrived in the west rested and refreshed, and by and by I caught up four times with Frank in two weeks.

It wasn’t quantity but it sure was quality.

I will take to my own grave the memories of sitting by his hospital bed, watching two episodes of Would I Lie To You? which he’d never seen before, and then Akmal Saleh’s stand-up comedy show.

And hearing sounds of genuine laughter come from the man such as I’d never heard before.

He could chuckle at my or his own jokes, but to hear him in gaels of laughter at the comic inventions of Britain’s and Egypt’s finest minds was like warm treacle or golden syrup for the ears.

I would not trade those memories for all the tea in Tallahassee.

About two weeks before he died, I headed back across the continent, this time in a brand new Audi Q2 that the car company needed relocating to the west, and had a similar only very different trip. At some point on the Nullarbor, the contact with Frank dried up like the desert scrub. The calls and replies became as sparse and hard to find as open roadhouses off the highway.

And when I arrived in Perth on Wednesday 13 November 2024, noone was returning my calls. I finally called the hospital, but in his last days, they’d gone from chatty and obliging to, “If you’re not family, I can’t tell you anything except that he’s here”.

I hung up that last time in floods of tears, and in the very early hours of Monday morning 18 November in Adelaide, I awoke to the news via text that Frank had died 25 hours previously while I’d been sitting in a hotel room in Mundaring WA watching the UEFA Nations League and World Cup Qualifiers from Europe.

I really wish Frank’s Leeds United had gone that extra inch and made it back in the Premier League this season. They managed to do so in season 2024-2025.

Frank was a true friend to me in Perth. Maybe my one true Perth friend.

He was care, concern, a phone call when he hadn’t heard from me, an invitation most weeks to events new and old. He was fun, funny, had a turn of phrase that would charm the socks of a centipede or blast the clogs off a Dutchman. He could work blue and, like Billy Connolly, he was a joy to watch in full flight.

I’ll miss my friend but I feel truly privileged to have intersected with his life for the time I did. I’ve made eight trips back to WA this year, partly for singing and music, but in equal measure for Frank.

Rest easy, dear man.

I’ll see you when I’m looking at you.


Bill Quinn
Hyde Park, South Australia
04:17h Tuesday 19 November 2024 ACDT (followed by the usual several hundred edits)

State Of The Bunion – Cummins Round The Horn Edition, South Australia

There may or may not have been a point to this random collection of images – several of which have since self-destructed – but a year later, I have less than zero idea what it is or was.

Duck.i.am trying to get Telstra reception at Yamba, SA, Australia
Duck.i.am trying to get Telstra reception at Yamba, SA, Australia
Does She? Does She really love me? Because I’ve been chowing down on münchen shiezen sandwiches lately, and I don’t believe she gives a flying duck about me.

[Insert video here – soon]

From The Vault: The Woodford Files 2014-2015: Paper Lions, David Cyrus MacDonald and Confederation Entertainment Inc., December 2014

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Image courtesy of Paper Lions

Article originally appeared on Timber and Steel: https://timberandsteel.wordpress.com/2014/12/31/the-woodford-files-paper-lions-david-cyrus-macdonald-and-confederation-entertainment-inc/

While sitting in the media centre, writing in the last post about how Overheard Productions got its name, Bill Quinn overheard David Cyrus MacDonald drop in to talk with the office staff.

About 3.6 minutes later, David and Bill were outside the donga by the Spirit of Woodford office, standing variously on the wooden palets or in the mud, dodging dangerous ants the size of small cats, and speaking over the sound spill creeping up the hill from Bluestown, chatting about Paper Lions, music advocacy, and the wondrous, wonderful Woodford.

And Confederation Entertainment Inc.

*** Audio file will be removed by end of March 2020 ***

*** Audio file will be removed by end of March 2020 ***

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Image courtesy of the Paper Lions

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From The Vault – The Woodford Files 2014-2015: Brass Knuckle Brass Band, December 2014

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Image courtesy of Brass Knuckle Brass Band

The Brass Knuckle Brass Band is the sister band of Moochers Inc who appeared on The Woodford Files last week.

If you stopped, looked slightly up and right, and mused, “Sister act? But dude, they’re all dudes!” then score five points for Gryfindor.

Coming out of Canberra faster than the Federal Highway or a politician with a dog-eared credit card, BKBB will explode everything you ever thought about brass bands, unless those thoughts are sexy, fun, dance, sweaty and more sexy.

Yes, brass is definitely the new black and if you knew sousaphone like I knew sousaphone, oh oh, oh I’m getting too old for this site because that gag was told me to by the midwife. At my birth.

Herewith, Cameron Smith, band-leader extraordinaire.

*** Audio file will be deleted by end of March 2020 ***

*** Audio file will be deleted by end of March 2020 ***

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Image courtesy of the Brass Knuckle Brass Band

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Darwin Muso Series – Bella Maree, October 2019

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Image courtesy of Bella Maree

Darwin Muso Series – Bella Maree

Having almost finished the initial batch of interviews following the Passport To Airlie heat in September, Bella Maree answered my callout for other musos to step up and have a chat, emailling to say, ‘What About Me?’

(She didn’t literally use those words, but since she was recently on a lineup with Shannon Noll, it seemed like a bit of wordplay too good to resist.)

Bella Maree has been in Darwin for less than a year, but she’s already a regular on the scene, bringing her mix of originals and covers to the eyes and ears of Darwin’s welcoming audiences.

On a hot but breezy Friday morning, we sat outside at the Nightcliff Foreshore Restaurant and Cafe by the Arafura Sea and chatted over coffee, as Bella Maree unfolded quite the amazing tale of a pretty full life for someone so young.

Bill Quinn: So, Bella Maree, you’re not originally from Darwin?

Bella Maree: No. Before coming to Darwin, I was in Coffs Harbour for a couple of months. And before that, I was between Byron Bay and the Gold Coast for a couple of years.

But before that I was in Thailand for three years, so there’s not really one place that I’m from. I’ve moved around my whole life.

BQ: You’re a global citizen!

BM: Yeah!

BQ: So when did the interest in music start?

BM: My brother Keanu is two years older than me. When I was about eight or nine, and he was ten or eleven, he started learning guitar and singing at school, and he’d come home and show me what he’d learnt.

And basically, that’s how it went: everything he’d learn two years ahead of me, he’d come home and teach me. So, that’s what got me in to music to start with. We started singing together and we had a duo: Strange Angels.

BQ: And bands at school? Did you get together with others there?

BM: When I was younger, yeah. In primary school, I was in a school rock band, and in high school – Grade 8 – me and my brother did a bunch of performances together for the school.

But then in Grade 9, I went into home schooling, and then just towards the end of Year 9, my brother, my parents and I moved to Thailand when I was 14.

BQ: Wow, so how did that go, getting into music and then moving to another culture?

BM: It was… life-changing!

Because I was still doing this home-schooling thing, and I was doing music theory, learning all that kind of stuff, and BOOM! We’re in Thailand, a totally different culture and language, etiquette and everything.

So it was a big learning experience, a life-changing thing.

We continued to do singing when we got there, when we first got to Chaing Mai. We were there for six months and my brother and I sang in restaurants there, and had a bunch of Thai and Burmese friends. We learnt languages from our friends.

Then we moved down south, moved to the islands, and that’s where I got into some bands. My brother moved away to Bangkok, and we were still on the island. Koh Samui was where I was mostly, singing in bands.

So the band members consisted of guys from Europe, America, all different places. Older dudes, and they taught me so much. They showed me all those older songs, older eras, older music. It just really taught me the old school way, and how to lead a band.

I had a lot of experience with them, and a lot of cool shows with them too.

[Tape pauses for the arrival of Bella Maree’s chai latte. And we continue..]

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Image courtesy of Bella Maree

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Darwin Muso Series – Summit, October 2019

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Image courtesy of Summit

Darwin heavy metal band Summit have had a very busy 2019, and it’s about to get even busier as they prepare to head on the road to tour down the east coast of Australia in November.

With the release of a new single in the very near future, the time is ripe for the band to take their music to a wider audience, one that’s already been building off the back of a strong online streaming and Youtube presence.

Having met several band members at a MusicNT meet and greet in August, it was great to catch up with drummer Tom Heffernan and find out a bit more detail about the band’s activities.

Bill Quinn: You’re the new boy in the band, but you’re the spokesperson today. How much can you tell us about the background of Summit?

Tom Heffernan: The boys have been going since 2017. I worked for a couple of them on a major project up here and that’s how we met. I followed them around, watching their shows. They have a lot of talent, and it’s definitely up my alley.

They jumped on to the scene pretty quickly and left a pretty big footprint on the place. I just love their music.

Wes [Beck] is the leader of the band, and he organised it from the go. He was out of the scene for a long time before this band started. Greeny [Matt Greenaway] was over here working from Sydney way, New South Wales, and the two brothers [Jordan and James Atwill] are born and bred in Darwin.

I’m not sure how they got together, who spoke to who. I know Wes and Greeny worked together; that’s how they got together.

BQ: Coming from a number of backgrounds, it’s a Darwin band – but you’ve had a fair bit of interest from outside, even overseas. 

TH: Yeah, we’ve had a lot of success with online stuff so far. The EP was brilliant, the first EP [Echoes Of Aberration]. (Obviously, I had nothing to do with that one.) That’s one of the best EPs I’ve seen from a first-time effort.

And the interest has really escalated from that point on.

There was a bit of a hole with a change of line-up for the boys, but we’re full steam ahead now.

BQ: And you mentioned your online presence – that’s the way you get your music out when you’re isolated like in Darwin. What’s that like? I’ve got to say I’m not a fan of the online streaming services because you don’t get much out of it in dollars and cents. But I notice that you get a lot of plays on Spotify; is that helping?

TH: Oh, it definitely helps get the music out. That and Youtube. Without it, I’d say it would be a lot harder. There’s not a lot of revenue in it, as you said, but that’s the way of the world today.

But the exposure’s nothing like it used to be. To see a band back in the day, or to hear a band, you had to go and see them or buy a CD. [Online streaming] is handy, but there’s no money in it.

But it’s great for the exposure side of things being in an isolated area like Darwin.

We haven’t ventured too far out of the territory, maybe not at all. So big things coming for us soon.

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Darwin Muso Series: Danger Den, October 2019

Darwin Muso Series is a string of an indeterminate number of mini to medium to mega interviews with Darwin-based musicians and performing artists. Starting in September 2019, and we’ll see how many we can cover over the next weeks/months/years.

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Danger Den

The Darwin Railway Club played host to the Darwin regional final of the Passport To Airlie competition in mid-September 2019.

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.

* If anyone wants to claim a bigger battle of the bands competition in Australia, kindly fill in the 36 page nomination form on the website and send to Overheard Productions with a non-refundable $200 admin fee.

Danger Den describe themselves as a pop rock group, though their sound definitely leans towards the heavier side. Danger Den are emerging artists in Darwin’s very diverse original music scene, but they’re already finding some traction and interest from live audiences, playing their own blend of punk and rock music.

I didn’t manage to catch up with Danger Den on the night at the Rails, but sometime later, I met up with vocalist Jeremy Uyloan to learn more about the band.

Bill Quinn: Tell me a little bit about the Danger Den story.

Jeremy Uyloan: Basically, me and my friend Donald – BigD; he’s the big guy with the man bun, the lead guitarist – we’ve been playing music since middle school. I’m 21 now, and he’s 22.

And we stopped around graduation, and we decided to either go to uni or work. But really that didn’t last long!

BQ: What, the uni or the work?

JU: Both, actually. Donald wanted to do IT, and I got into full time work. And I stepped down because I didn’t like it. Donald got a job and left studies.

So we formed Danger Den in early 2018. We were looking for drummers, so we looked at the Darwin Music Scene page [on Facebook]. That’s where we found Neil [Wright]; we were looking for any punk drummers out there, and Neil put his hand up.

We were a three-piece for a while, but then we eventually got our fourth member – our newest member who joined us is Callan [Power]. He also plays in the band Temperamental, who also competed at Passport To Airlie.

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Image by Adnan Reza

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Darwin Muso Series: Ward Hancock Trio, October 2019

Darwin Muso Series is a string of an indeterminate number of mini to medium to mega interviews with Darwin-based musicians and performing artists. Starting in September 2019, and we’ll see how many we can cover over the next weeks/months/years.

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Image courtesy of Ward Hancock Music

Ward Hancock Trio

The Darwin Railway Club played host to the Darwin regional final of the Passport To Airlie competition in mid-September 2019.

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.

* It’s big. Like really big. Huge. You might think it’s a long way from the Darwin Bus Interchange to Six Tanks – and it gets further on Friday and Saturday nights – but that’s just peanuts compared to how vast the scope of the Airlie Beach Festival of Music’s Passport To Airlie competition is. (With apologies to Douglas Adams, but I’m starting to scratch around for enough gags to see out this bracket of interviews.)

Ward Hancock is an emerging artist from the Northern Territory, though his young years belie the amount of musical runs on the board he’s already chalked up. His style and repertoire have a strong basis in reggae, but zip around to visit blues, dub, and rock.  A home-grown Darwinian, Ward along with his trio won first place in the Passport To Airlie competition, and they’ll be off east in November to represent the Top End on the Whitsunday Coast.

I thought I might miss my chance to speak with Ward after the event, but I managed to reef him away for a few minutes right at the end of the night, and he reflected on his musical background and the competition win.

Bill Quinn: In 80 000 words or less, what’s the Ward Hancock story?

Ward Hancock: I found guitar when I was about 12, because I wouldn’t stop playing an old ukulele that my parents had. No, at first it was drums – drums were the first thing, then I gravitated on to guitar because it was a bit cheaper and a bit quieter.

My thing was I always wrote songs, I always like writing songs more than learning songs. I started singing in about Grade Seven or Eight, because noone else would sing.

The first couple of years, people told me not to sing! Fair enough; it didn’t sound too great. I’ve heard recordings; it’s not pretty, but…

BQ: You’ve got to start somewhere.

WH: Exactly! I just evolved into a singer. I was always a guitarist, but evolved into a singer. Always a songwriter.

There’s a lot of great opportunities living up here. I think one of my first bigger gigs was at the Noonamah Tavern. My earliest memories were of big, tough guys drinking in the beer garden. Bikies, you know? I had no idea, but I had some great experiences with that; I kind of cut my teeth on that.

I had great mentors like [Darwin music legend] JK, and Michael Henshaw – who did sound tonight – he’s a great supporter of music as we were growing up. Mickey at the Happy Yess, and countless other Darwin locals.

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Darwin Muso Series: Emma Rowe, September 2019

Darwin Muso Series is a string of an indeterminate number of mini to medium to mega interviews with Darwin-based musicians and performing artists. Starting in September 2019, and we’ll see how many we can cover over the next weeks/months/years.

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Image courtesy of Emma Rowe Music

Emma Rowe

The Darwin Railway Club played host to the Darwin regional final of the Passport To Airlie competition in mid-September 2019.

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.

* Try saying, ‘Heats in Darwin, Cairns, Townsville, Mackay, Sunshine Coast, Brisbane, Gold Coast, Nimbin, Newcastle, Sydney, Illawarra, Melbourne and Adelaide’ ten times fast.

Emma Rowe grew up in tropical Darwin and went from being a “sad teenager” with a cheap guitar to developing a unique talent for crafting quirky contemporary rock songs that combine lust, hope, frustration and joy in a surprisingly complicated but completely relatable style. Emma is a regular on the Darwin music scene as a headliner and support for touring artists.

After her set in the Passport to Airlie competition, Emma joined me in the beer garden to have a chat.

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Emma Rowe performing in Passport To Airlie – Darwin at Darwin Railway Club

Bill Quinn: Tell us the Emma Rowe story!

Emma Rowe: Oh god, that’s a big question.

Basically, I guess it started when I was a sad teenager, and my mum noticed. And she brought home this cheap guitar from Cash Converters, and was like, ‘Here! Put your sadness into this!’

And it worked!

BQ: Was that here in Darwin?

ER: Yeah, I grew up here. Technically not born here, but I moved here when I was really young.

BQ: So many people I’ve spoken to have come here from other places. What was it like growing up with music in Darwin?

ER: I loved it. I really loved growing up here. It’s really communal and that’s really reflective in the music scene.

That’s what I love about the music scene here. We all know and love each other, we’re all really supportive, and I love that feeling: I love feeling supported by my scene.

BQ: I’m glad you said that because I’ve only been here for less than six months, and I actually wrote this down tonight. I’m picking up on a really big, supportive vibe amongst musicians, so it’s something that’s very important here.

ER: Oh yeah, for sure, it’s everywhere, and it’s wonderful. And I think that actually goes for the whole NT as well. We know all the musos in Alice Springs and in Katherine, and we’re all just really connected and really communal. It’s lovely.

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Image courtesy of Emma Rowe Music

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Darwin Muso Series: Alice Cotton, September 2019

Darwin Muso Series is a string of an indeterminate number of mini to medium to mega interviews with Darwin-based musicians and performing artists. Starting in September 2019, and we’ll see how many we can cover over the next weeks/months/years.

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Image courtesy of Alice Cotton

Alice Cotton

The Darwin Railway Club played host to the Darwin regional final of the Passport To Airlie competition in mid-September 2019.

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.

* You’d be doing very well to beat 12-13 major locations across half the continent.

Alice Cotton is an emerging artist who has returned to Darwin to ply her musical trade(s). Alice has a unique twist on folk-country music with original songs steeped in warmth and humour. Her songs draw influence from old-time American music, with a nod to growing up in humid climes amongst a tight-knit community in the Northern Territory. Alice is recording her first EP in late 2019.

Bill Quinn: What’s the Alice Cotton story? With music!

Alice Cotton: I was actually studying classical music; I used to play classical flute, but I just found it a bit of an elitist culture.

And then I really got into music therapy. It was through that I started song-writing and doing my own stuff.

I found it gave me more space to be more creative and do what I wanted to do and do gigs more easily.

BQ: Is that your ‘rent gig’? Do you do music therapy during the day?

AC: Yeah.

BQ: That seems to be a bit of a theme!

AC: Yeah, Crystal [Robins] as well! We actually studied together through University of Melbourne [Alice in Melbourne, Crystal in Sydney].

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Image courtesy of Alice Cotton

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