The beard may be gone, but rest assured – Chet Faker is still the king of Australian soul music. On Friday, thousands of fans flocked into the infamous Opera House forecourt for the first show in the new summer series that will welcome both Tame Impala and Florence and the Machine to the prestigious venue. But tonight, we would all hide under our ponchos as Sydney fell into darkness, enraptured by Chet Faker, Nick Murphy’s alter ego.
You would be inclined to think that seeing your favourite band live would automatically equate to an amazing experience. Sadly, the last time I saw Death Cab For Cutie at The Enmore Theatre two years ago, I was underwhelmed to say the least; perhaps it was the heartbreak from Gibbard’s recent divorce, perhaps he just didn’t give a damn. While the songs were delivered note-perfect, the unavoidable truth came in the form of the realisation that there’s more to a gig than just the pitch of a performance – there also needs to be soul and charisma.
It’s hard to believe that it’s been an entire ten years since Aussie legends Regurgitator last set foot in University of Sydney’s Manning Bar, and quite frankly, it’s a combination that I need to see more of. The room was filled with thirty-something’s, re-enacting the last time they saw the band when they, presumably, were still in university.
Usually Oxford Street at 4 o’clock in the arvo boasts nothing more than a few old guys having a VB at the local pub, and maybe a couple of loud and obnoxious girls with penis paraphernalia going out for a hens night. You can imagine how shocked they’d have been this past Saturday when Oxford Square was flooded with hundreds of music enthusiasts, transforming the street into the new music festival to keep an eye on, VOLUMES.
Young Henry’s Small World Festival celebrates the four essential things in life – booze, music, food, and good mates. Set for the first time in St Peters’ iconic Sydney Park, the festival specialises in everything good that’s local, solidifying itself as one of those events that are really important to the Sydney arts and culture scene.
Playing against a backdrop of snow capped mountains, Dustin Tebbutt captured the minds and bodies of his listeners this past Friday night, thrusting them into a mystical universe where snow constantly falls, and floors in venues aren’t sticky. With three EP’s behind him, Tebbutt is emerging as one of those Australian artists to keep an eye on, reminiscent of Icelandic folk such as Sigur Ros or Asgeir, but with an undeniable Australian twang.
I’ve spent a large portion of my live in the Hills District – a little place in North West Sydney that looks eerily similar to The Truman Show suburbia. Growing up, there were little outlets for us musical lovers, who were forced into the city as a means to garner a musical education. That’s why I was so excited by the whole concept of Sounds of the Suburbs – bands from around the world congregating in a laneway in South Sydney’s Cronulla to share a bit of what helped them formulate their musical style — their home.
It’s hard to describe Sydney producer LIF (aka. Felipe Cea) in just a few words. Unrestricted by genre and lyrics, LIF’s sound can best be articulated through the mood it evokes. It’s vibrant and playful and you’ll have flashbacks to childhood; jumping on inflatable castles and whooshing down a mega slide.
Hailing from Sydney’s inner west, VULI is the ultimate jack of all trades. As a producer, songwriter, saxophonist and designer, VULI cultivates a unique blend of sounds from a range of influences – including Afro rhythms, bass heavy beats, and electronic production, resulting in a distinctly international sound.