Darwin Muso Series: Emma Rowe

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 here 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

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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Darwin Muso Series: Ben Evolent

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 Ben Evolent Music

Ben Evolent

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 you can find a bigger one, I want it stuffed and mounted on display at ARIA or APRA headquarters, please.

Opening the batting for muso chats on the night (and for this series of interviews) was Josh Tarca of Ben Evolent.

(Just a quick Overheard At Passport To Airlie from my notes here. My mate leaned over as the third act came on and said, “I think the announcer said this band is from the Netherlands”.

Me: “No, the band’s name is ‘Ben Evolent’!)

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Ben Evolent performing in Passport To Airlie – Darwin at Darwin Railway Club

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Passport To Airlie – 2019 Darwin Heat (Darwin Railway Club)

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Image courtesy of Airlie Beach Festival of Music

Passport To Airlie – Darwin Heat (Darwin Railway Club)
Friday 13 September 2019, Darwin Railway Club

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.

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.

It’s huge.

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.

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Mensch, Monique in Australia

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Image courtesy of Mensch, Monique!

Folk On The Road

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).

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Cobargo Folk Festival 2019

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.

[If you can’t pick up the irony in that sentence, go to https://overheardproductions.com/?s=The+beez you can read just one or two articles about this band over the past decade.]

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.

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Bush Gothic – Looking Forward To A Festival In The Past

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Image courtesy of Bush Gothic

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.

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Image courtesy of Bush Gothic

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.

Follow Bush Gothic on Facebook: https://www.facebook.com/bushgothic/

[Audio Interview] Karen Green Artist (Canberra) talks about art, social justice, and Grey Woman Matters

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Grey Woman Matters exhibition, 2014. Image reprinted by kind permission of Karen Green

Audio of interview with Karen Green Artist also of Grey Matters Woman (Facebook).

Karen Green talks with Bill Quinn of Overheard Productions about art, entering the Archibald Prize 2016, and expressing her passion for social justice through art and Twitter.

Karen Green first came to the attention of Bill Quinn of Overheard Productions while he was presenting various programs on Artsound FM in Canberra from 2008 to 2012.

Karen came into the studio with fellow artist Gosia Orzechowska one morning for a chat, and Overheard Productions has been interested in her works ever since.

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.

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Kon Karapanagiotidis by Karen Green.
Entry in 2016 Archibald Prize. Reprinted with kind permission of Karen Green. Continue reading