Upcoming Events

The Good Lovelies

The Good Lovelies - Thursday, June 7, 2018 - 8:00pm

You hear it a lot these days – the idea that something is greater than the sum of its parts – and yet there’s really no better way to describe the musical essence of the Good Lovelies.

Kerri Ough, Sue Passmore, and Caroline Brooks – immensely talented vocalists and songwriters in their own right; however, it’s their voices interwoven in harmony – powerful and pure, organic and inspiring – that elevates the Good Lovelies from impressive to peerless.

Over the course of their decade-plus career, they’ve covered plenty of stylistic ground, adding tinges of pop, roots, jazz, and even hip-hop to their country folk core at various points.

The trio first united in 2006 for a one-off performance and has since compiled a catalogue of four studio albums, a pair of EPs, a live album, and Christmas collection. Through it all, the unmistakable sound of their intertwined voices has been the sonic anchor, and that remains true as the Good Lovelies now look to push further into the mainstream with their most accessible and pop-influenced output to date.

Their upcoming collection offers a perfect balance between a more modern production style and the wholesome musical influences that have made them a household name over the years. What’s more, the songs themselves build on the Good Lovelies’ familiar foundation with a widespread appeal.

If what happens next goes according to plan, though, the Good Lovelies will see their profile propelled to new heights thanks to a contemplative creative approach and a new spin on the signature sound that’s earned them audiences and accolades the world over. The music, the album, and the trio – all are greater than the sum of their individual parts. Simply, that’s the Good Lovelies

The Good Lovelies are:
Lead vocals, electric and acoustic guitars: Caroline Brooks
Lead vocals, keyboards, banjo, guitar: Kerri Ough
Lead vocals, percussion,  guitar: Susan Passmore
Upright bass: MJ Dandeneau
Bass: Steve Zsirai
Drums: Mark Mariash
Piano: Robbie Grunwald

Theatre Junction Grand

Xavier Rudd

Xavier Rudd - Thursday, June 14, 2018 - 8:08pm

Looking back over Xavier Rudd's stunning career, one could easily ask what is possibly left for him to achieve. Already one of Australian music's all-time greats, he has touched people's lives worldwide. He has earned accolades of every kind, Gold and Platinum certification, and legions of fans who love him with an inextinguishable passion. Yet, with each new release, Xavier Rudd continues to surpass expectation and produce his finest work to date.

 

Storm Boy, Xavier's ninth studio album, continues this upwards trajectory. Led by the radiating single Walk Away, Storm Boy is both classic Xavier and something a little new. Produced by Chris Bond (Ben Howard, Tom Speight) and mixed by Tim Palmer (Pearl Jam, Bowie, U2) it is a record that reflects how sophisticated a songwriter Xavier is – both in his timeless, philosophical lyrics and his masterful sculpting of melody. He is undoubtedly a true virtuoso of his craft.

 

Beginning his career with 2002's definitive To Let, Xavier Rudd put his message out into the world and was answered immediately. Fans from all over the globe were drawn to the distinctly Australian-looking musician, activist and surfer. It was the start of a journey that would span well over 15 years (and counting); taking Xavier to almost every continent on the planet, where he has connected with people from all cultures and walks of life. There are no borders that apply to Xavier Rudd's music. 

 

His earliest live format was a wonderful spectacle, placing Xavier inside a forest of yidakis (didgeridoos) from which he dexterously crafted layers of guitar, percussion, blues harp and vocals. He was distinct, unique and unforgettable. Since then he has played in a variety of solo and band formats, each with an unmistakable personality of its own. The further the ripples of his career reached, the bigger the wave got. Australia was the first to fall in love with Xavier. Then it was Europe. Then it was North America. The snowball kept rolling.

 

As his popularity grew worldwide, so too did Xavier's musical palette. Each new record, always accompanied by breathtaking singles, gave his fans everything they wanted and more. In return, ARIA nominations, chart placings and Gold and Platinum records honoured each release, spurring Xavier even further and producing a stellar discography: To Let (2002), Solace (2004), Food In The Belly (2005), White Moth (2007), Dark Shades Of Blue (2008), Koonyum Sun (2010), Spirit Bird (2012), and his first album with The United Nations, Nanna (2015).

 

This alone would be impressive enough, but in that time Xavier has also released eight live albums, recorded around the world in Canada, The Netherlands, Brussels, and different parts of Australia. Each live album is an essential snapshot of a moment in Xavier's career, documenting his path and commemorating the bond he shares with his fans.

 

But in spite of all his success, Xavier Rudd has never stopped working. He has continued to tour the world and make incredible records – showing absolutely no desire to rest on his considerable achievements. He truly loves his fans and feels constantly blessed to be able to perform in countries all across our beautiful planet. He has inspired thousands of people and been the catalyst for others to find their own voice. He is helping his own country to reconcile its past, and he is beloved as both an icon and a human being. 

 

There is no one else like Xavier Rudd.

All Ages

MacEwan Hall

Mo Kenney

Mo Kenney - Thursday, June 28, 2018 - 8:00pm

With her third album, The Details, Mo Kenney traces her own strange, devastating, and ultimately hopeful trip through the trials and tribulations of booze-fuelled breakdowns, clouds of depression, and disintegrating relationships. On each of its 14 tracks, she unflinchingly confronts her annihilation and eventual redemption, leaving nothing out. The concept album is her most personal and cohesive work to date—combining elements of bruising rock ’n’ roll, vivid psychedelia, and haunting, left-of-the-dial pop, Kenney navigates the darkest waters in her life with self-deprecation, genuine soul-baring, and typical black humour. It opens with a calm before the storm as the eerie sadness of “Cat’s Not a Cake”—about splitting a beloved pet in half as a relationship falls apart—provides a deceptively gentle beginning to a ride that swiftly steers into self-destruction.

Following up with the off-the-rails overdrive of “On The Roof,” The Details explodes out of the gate, finding Kenney unable to escape the dangerous spiral she finds herself in. Before and during writing the album, Kenney was en route to rock bottom: depressed with dark blues and drinking like a fish, unable to hold herself or her relationships together, alienating the people she loves, and living hell-bent on oblivion. She comes to terms with her own toxic behaviour while channeling the late Elliott Smith through spectral atmospheres on “June 3rd.” With “Maybe I Am”—a reverb-soaked tune that turns to punchy guitar riffs—she realizes in the midst of trying to hook up with someone that she can’t interact with humans properly. The hazy, laid back calm of “Counting” finds her worried she’s fallen so far into despair that she’s losing her mind. And the vicious, rollicking “If You’re Not Dead” shows her playing warped mind games over feral guitar solos and biting hooks.

Somewhere along the way, Kenney finds herself dazed and broken in a place that not many people find their way back from. “Unglued,” with its breezy sway, is likely the most summery song put to tape about being fed up with your own messy self. “I Can’t Wait” recalls the gauzy dreamscapes of Yo La Tengo with a hushed and grateful understanding that as bad as things are, it’s not the end of the world. But it’s not necessarily smooth sailing from there, as Kenney struggles to stay optimistic with “Lights Out,” and sings about getting clocked in the face at a bar by some meathead during “Punchy.” Still, she can’t help but find the hilarity in getting slugged, slyly laughing through her bloody teeth the whole time.

Finally, she arrives in less troubled seas, closing softly on the sparse, clear-minded “Feelin’ Good.” The storms weathered to get there may be the kind that leave lasting scars (or at least a few post-bar stitches), but with clear skies on the horizon, Kenney wears those scars as a reminder of what she’s been through, and the kind of seasons in hell she’s capable of enduring. Her latest is a record of all those storms and the routes and detours and trials of pushing through them while keeping her sense of humour gracefully intact. By turns rowdy, reflective, brave, funny, and deeply honest, it signals an already accomplished songwriter coming fully and completely into her own as an artist. Produced by Mo Kenney and Joel Plaskett, The Details vividly documents Kenney’s fight to survive her own worst enemy—herself.

Licensed 18+, No Minors

Commonwealth Bar and Stage