It’s essential to our sanity to lose touch with people, which is why facebook sucks. To be able to filter who has contact with you and knows about your life and who doesn’t without having to “friend” or “ignore” someone was nice way back when. And then the actual communication aspect of it; there was a romance in letters and mix tapes, and even unexpected emails and voicemails later on. There was an intimacy and honesty mixed with a healthy dose of mystery, anticipation and privacy. That’s all dead now.

I like that facebook has allowed me to reconnect with some old friends and that it also makes it easier to be lazy/casual with people who I don’t ever want to be trapped in a phone conversation with, but who I also don’t necessarily think totally suck. I also feel like so much less of a loser about being unattached now that I can see how false my high expectations are considering what the lives (and lovers) of most people I know look like. Ha, facebook might have actually helped me to realize that my life doesn’t suck at all, which is why facebook has owned me for the past few months. I’ve been lost in my shock and nosiness.

Facebook also played a key role in me recognizing bad situations for what they are fairly quickly. The fact that Rico Suave rashly friended me allowed me to see him for what he really was. There is no mystery or coolness to his life. The bottom line is that he doesn’t work, he fucks absolute whores who have tattoos and horrific grammar (nothing is worse than a girl who overly abbreviates and “lolzz”’s a photo caption) and he sits at home and plays Farmville while I’m out working for the man every night and day. Nothing is hot about that. I finally ended things with him and the funny part about that is that my unreturned texts and phone calls didn’t clue him into the situation as clearly as my “unfriending” of him did because it wasn’t until after that that he cooled off. Sorry no free access to me or my life anymore buddy when it’s so clear that you just don’t belong there.

Plus part of his appeal in the beginning was what I considered to be his honesty. He never acted like I was his only girl or that he wanted me to be, he was a self-described “slut,” but  facebook taught me that he too was a liar. It’s amazing actually because I held him to such low standards to begin with, just be real with me, but he couldn’t even do that. He’d say he was going to one of his “homeboy’s” parties an hour before he was meeting me but since I’m pretty good at facebook stalking I knew he was really going to some whore’s calendar release party. Like what am I stupid? Am I incapable of clicking over to her “public” profile and seeing what’s going on in her life since you write on her fucking wall all the time? Yeah, chucking up the deuces, “homeboy.” Nice knowin’ ya and thanks for the STD testing bills. It’s been real.

It was also the “friending” of another complete asshole I met while visiting an out-of-state friend for a college football game that sort of shined a light into my life. He was an old college friend of my friend and he was cute and nice and all and we hooked up (no sex but if I’m being honest that was only because he was too fucked up to make that happen, not because of any chastity on my part) but I wasn’t super into him while he was all up in my face that weekend, well mainly because he was all up in my face and we know what I masochist I can be. Liking a guy that immediately likes me, yeah right it’s never that easy. But after the weekend was over it seemed like everything my friend told me about him made me like him more (his dad was gay, he sailed, he seemed lonely to her) and I started to feel regret. I knew I messed up when my friend read me his latest facebook status update at lunch an hour before I was to head back home: “Nothing gold stays.” Ok wait did I let a good one go? Cause clearly we were meant for each other. I immediately told my friend to suggest us as friends of facebook to open the door enough for me to send him a friend request and a nice message apologizing for maybe being a little standoffish after we hooked up (I was actually pretty mean but whatever, he might have been on speed one night and was a little odd himself). I mean yeah he lived in the midwest but like a wise friend once said to me, I’m like a mythical creature that lands on earth and learns everything she knows from bad romance books and movies SOOO I naturally assumed that although we had just met, we could fall madly in love and I’d move to the middle of nowhere or he’d move to NY eventually so that we could be together, drug problem or not. If he’d only reply to my nice message and friend me on facebook that is. Well he did respond, almost immediately, and we went back and forth a little (his last message to me ending with “anyway thanks and take care”) and then I clicked his info tab. Um … dude was in a relationship. Yeah, there were pictures of him kissing this girl and everything. I almost threw up. Here I was feeling like a bitch for not being receptive to a nice, interesting guy who maybe liked me (which would be so different from the assholes I had been picking up until this point) when in reality he was the biggest asshole of all and I was just some piece of ass, some jump off he hooked up with on vacation. “Thanks and take care.” Amazing. So yeah hooking up with guys I just meet, that’s got to end and it’s got to end now because they will only ever see me as that girl. There’s no romance there and I think maybe I finally get that.

Interestingly enough I was out-of-state visiting one of my best friends and favorite people of all time who I reconnected with mainly because of, yep, facebook. Long story short, turns out she’s been sleeping with a married dude for three years while pretty much living with her boyfriend of almost two years. I didn’t find this out until two weeks after my visit and it really pissed me off to be honest. I had spent a weekend with her and her boyfriend thinking she was one person and once again, rug totally pulled out from under me. She even had the nerve to feign disgust at the fact that her friend hooked up with me and had a girlfriend back home. Bitch, please.

Where is the integrity?! Like seriously why does everyone suck so hard? My brother has a theory that it’s about the house you grow up in. If you learned to lie at a young age (broken home, parents cheating etc) you think nothing of it as an adult. I can’t fully wrap my head around that. I mean clearly I’m an open book and I think lying is just dumb, it’s like cheating your way through life, and I’m not saying you have to be as open as I am but jesus, maybe have some human decency. Maybe put yourself in someone else’s shoes. I mean I think honesty is the best gift you can give someone but maybe if you learned differently at a young age, or you are just a sociopath, you see it very differently. I don’t know I don’t get it I really don’t but I know for sure that I’ve had it with lying liars who lie. I have zero patience for it right now and I feel strong enough to walk away from those obviously toxic situations no matter how tempting they may be. Who needs the drama? Seriously. Over it.

Oh I also unfriended that dude that I virtually met on match years ago who friended me and who I’d play with occasionally hoping he’d finally ask me out. It had been months and I realized that if he didn’t two years ago when he had the chance he wasn’t going to now. I waited, I gave him a second chance and then one night I realized that if I spent one second trying to figure out why that wasn’t happening when he clearly seemed interested in me (even two years later) that that was a second too long so I just cut the cord. Call me empowerment! I’ve just had it with lazy ass paper gangtas and game players. Put up or shut up and get out of my life, real and virtual.

Hey everyone!

David here with THFE’s first blog about the year that was. And where better to start than Australian music’s supposed “night of nights” – the 2009 ARIA Awards ceremony. This blog was put together by myself and my younger brother, fellow THFE team member Chris.

THE YOUNG BROTHERS PICK APART THE ARIAS

Another year, another ARIAs.  In the past couple of years, we’ve all been cynical about what would happen and sneer as the perceived undeserved collect scores of pointy awards – yet there’s been moments that have brought us back continually watching. Last year saw some of the best performances the ARIAs have ever seen in Gurrumul’s simplistic beauty and The Presets‘ technicolour insanity. The year before that gave us John Butler jamming with the most unlikely of partners in Keith Urban; and even before that in 2006 gave us the haunting rendition of “Watch Over Me” with Bernard Fanning, Clare Bowditch and Kasey Chambers.

And what for 2009? Flaccid hosts, horrible sound, ridiculously awkward presenters and giving fucking Channel Nine ratings. The event itself was complete trash, with very little to save it. Here is mine and my brother Chris’ reactions to the major awards and major performances.

ALBUM OF THE YEAR – Empire of the Sun, Walking on a Dream

DAVID: Some interesting nominees amongst the lot – The Temper Trap an unexpected inclusion, AC/DC irrelevant and Eskimo Joe unnecessary. It’s great to see Luke Steele finally getting the recognition he deserves. A lot has changed since his 2003 nomination for the Sleepy Jackson album Lovers. He has evolved into arguably Australia’s most unlikely popstar, and he is completely lavishing his new bottle-blonde electropop persona. More power to him.

CHRIS: Empire of the Sun were the only Australian band who’ve done anything really relevant this year, so their win was a little unsurprising.

SINGLE OF THE YEAR – Empire of the Sun, Walking on a Dream

DAVID: What an immense track. Everyone from my mother to Barack Obama has a soft spot for this track, possibly Luke’s most soaring pop moment in his discography. The competition here was considerably tight, too: The Last Day on Earth was a dark horse nomination, Sweet Disposition and Chase That Feeling had a strong chance and My Delirium had turned into both a Triple J AND Nova anthem. Five great songs, one great winner.

CHRIS:I guess this one was somewhat expected, given their winning streak leading up to the award getting announced. Still, I personally don’t think the song is that great – easy to see why it did so well, though.

BEST MALE ARTIST – Daniel Merriweather

DAVID: Well, now, who could have expected this? The guy has spent most of his recent years overseas, with only two minor radio hits to his name here at home. Still, Daniel is young, gorgeous and vocally talented – and with a string of friends in high places (Phrase, Wale, Mark Ronson), you’ve got an artist that can only improve from here. Perhaps this will be the turning point in terms of his local popularity?

CHRIS: I honestly don’t know very much about this guy at all. Still, from what little I’ve gathered, I think it’s great that he’s found some success overseas. Good on him for working towards being a successful artist.

BEST FEMALE ARTIST – Sarah Blasko

DAVID: What a lovely surprise! The release of As Day Follows Night was comparatively quiet to her previous albums, so it was uncertain whether she’d be receiving the same attention that she got from What the Sea Wants… back in 2006. Still, very well deserved – she’s still a phenomenal talent, as she proved with her disjointed yet lovely performance of All I Want tonight. Another very competitive category, with some sensational nominees.

CHRIS: Yeah, this was definitely surprising, but definitely in a good way. Congrats!

BREAKTHROUGH ALBUM: Ladyhawke, self-titled

DAVID: This is hard to define as a category. Did C.W. Stoneking really breakthrough with Jungle Blues? Did Conditions really break the Temper Trap in Australian terms? Whatever, let’s just call a spade a spade – Ladyhawke’s debut was a smash success, and it’s great to see this Aussie/Kiwi/Brit/citizen-of-the-world getting some recognition for her work.

CHRIS: I don’t think I noticed up until now how much she looks like Garth’s female doppelganger in Wayne’s World 2…

BREAKTHROUGH SINGLE: Ladyhawke, My Delirium

DAVID: The poor thing looked so frightened during her acceptance speeches, but it was nice that My Delirium was getting the gong for breaking on through to the other side. Starting out on Triple J and Rage, the song exploded on commercial radio as aforementioned. And really, it’s insanely catchy – no wonder it’s done so well for Pip. The other major contenders were Coin Laundry (still one of the cutest songs of the year), and Art VS Science’s EP – but not even they could match the commercial success of Delirium.

CHRIS: The song isn’t usually my kind of thing, but you’d be an idiot to deny just how catchy it is. The award is very much deserved.

BEST ROCK ALBUM: AC/DC, Black Ice

DAVID: Fucking bullshit.

CHRIS: Fucking bullshit.

BEST POP RELEASE: Empire of the Sun, Walking on a Dream

DAVID: The Empire continues its dominance. If we’re strictly talking pop music, I would have said that Curiouser had a lot more going for it – Can’t Shake It, Supergirl and Politics in Space are all brilliant. Still, can’t argue with Luke and Nick; and Walking is a great album.

CHRIS: As you’ll probably gather, I don’t personally like Luke Steele and his work very much. Having said that, I probably wouldn’t have picked anyone else out of the lot to win.

BEST INDEPENDENT RELEASE: Bertie Blackman, Secrets and Lies

DAVID: Yes! Yes! Fucking YES! Even though it was disappointing to not see Bertie get the AOTY nod, this is still easily one of the most well-deserved awards ARIA has given in a long time. Bertie is one of the most incredibly talented and forward-thinking women in Australian music today, and all Secrets and Lies has done is cement this fact with some remarkable pop music.

CHRIS: Have not heard of her before this point. From the snippets I’ve now heard, I’m not sure if I’d like her. Still, great to see independent music getting the recognition it deserves. Great work.

XX

David and Chris Young
THFE

The 2009 Australian Recodring Industry Awards or ARIA’s took place this evening, giving cred to the best artists of the year.

The Temper Trap had the performance of the night, with Ladyhawke also getting the crowd applauding.

The Winners are as follows:

Album of the Year: Empire Of The Sun – Walking On A Dream

Single of the Year: Empire Of The Sun – Walking On A Dream

Highest Selling Album: ACDC – Black Ice

Highest Selling Single: Jessica Mauboy – Running Back

Best Group: Empire Of The Sun

Best Female Artist: Sarah Blasko – As Day Follows Night

Best Male Artist: Daniel Merriweather

Breakthrough Artist – Album: Ladyhawke – Ladyhawke

Breakthrough Artist – Single: Ladyhawke – My Delirium

Best Pop Release: Empire Of The Sun – Walking On A Dream

Best Rock Album: ACDC – Black Ice

Best Dance Release: The Presets – Talk Like That

Best Children’s Album: The Wiggles – Go Bananas!

Best Country Album: Troy Cassar-Daley - I Love This Place

Best Independent Release: Bertie Blackman – Secrets and Lies

Best Urban Album: Hilltop Hoods – State Of The Art

Best Blues and Roots Album: C.W. Stoneking – Jungle Blues

Best Adult Contemporary Album: Josh Pyke – Chimney’s Afire

Best Comedy Release: Hamish And Andy – Unessential Listening

Best Music DVD: Sia – TV Is My Parent

Some Pics of the night-

Photo Credit - asupOp

Congrats to all the winners!

Newcastle roots-rock band 'Benjalu'

With a handful of awards up their sleeves and a fan base resembling that of a rock star, emerging Newcastle roots fused rock band, Benjalu, are on path to success that many can only dream of reaching.

The trio, made up of Ben ‘Gumby’ Gumbleton on guitar and vocals, Luke Elsley on guitar and Anthony Morris on bass, have impressed critics and music aficionados alike – all in just a few short years.

Winning numerous awards for their original music and their equally engaging live shows, Benjalu are now set to bring in the New Year at the Queens Wharf Brewery alongside Dead Letter Circus, Children Collide and Aussie rock ‘n’ roll favourites The Living End.

With just one month before the band’s “biggest show of the year”, Benjalu bassist Anthony Morris caught up with Reverb’s Lilen Pautasso to discuss the bands bourgeoning success.

Described as an event that hosts “the most dynamic rock performers on the live music scene today”, New Years Eve at the Queens Wharf Brewery is guaranteed to haul in thousands of party goers and rock ‘n’ rollers ready to bring in 2010.

Having performed an almost endless cycle of shows since 2007 and with two critically acclaimed EP’s to their name, Benjalu are set to end the year with a ‘bang’ – both figuratively and literally.

As Anthony Morris explains, it is the chance to bring in the New Year alongside beloved Aussie musicians that proves most rewarding.

“It’s a great feeling because, to me, it feels like all the work we’ve put in is paying off and we’re really getting somewhere,” he said.

“To be able to play in front of that crowd who are all there to appreciate your music and at such an important gig is incredibly rewarding”.

Yet, despite being given such a significant opportunity, a New Year appearance is only one of the band’s many achievements.

Just this month, Benjalu took out the Blues ‘n’ Roots category at the 2009 Newcastle Music Awards with their song ‘So High’ and over the past couple of years the band has been given the chance to support some of their favourite musicians.

“We supported one of our favourite bands in the whole world called State Radio from the U.S.A.,” explains Anthony.

“The lead singer of the band was also from another band called Dispatch and they did basically the same thing we are doing for 15 or so years…so we got to talk to him about the experiences we were going through that were identical to what he went through with Dispatched”.

And apart from supporting artists such as State Radio, Josh Pyke and Kate Miller-Heidke (just to name a few), professional acclaim has also become just as rewarding.

“It’s so great to see all our hard work become recognised by, not just our friends and listeners, but professionals,” explains Anthony.

“One of the biggest highlights of my career happened only yesterday (9th November 2009) when we won the Blues and Roots category for the ABC music awards.

“It’s been wonderful to win all the awards we have and get some Triple J radio air play too”.

As Benjalu continues to cement themselves as one of the region’s most loved acoustic rock acts, critics are calling the band a “supremely mature and exciting act” with their latest EP praised as an album that surpassed all expectations.

After releasing their first studio-polished EP ‘Reflecting On’, Benjalu opted for a different, more laid-back approach to their second release ‘Waterwalls’ in an attempt to bring out the real identity of the trio.

Ditching the studio and sitting on lounges instead, the mellow and more folk-driven beat of ‘Waterwalls’ is, as Anthony describes, the bands most honest release.

“Last time we recorded in a studio and it was all very serious so it came out that way, but this one seems to flow more and it has more of a raw vibe which is what we were going for,” explains Anthony.

“Because the more relaxed and mellow sound is what we love and what also makes up our image, ‘Waterwalls’, in my opinion, is definitely our best release”.

Like ‘Reflecting On’, each song on ‘Waterwalls’ takes on a uniquely different personality mixing elements of jazz, folk and contemporary rock to maintain the groups fresh sound.

With a handful of awards under their belt, a loyal fan base both home and abroad, and a spot at this year’s biggest show, Benjalu have undoubtedly solidified themselves as both a mature and truly unique act.

As a young and vibrant rock group, it is certain that the group will continue to make their mark on the Aussie rock scene and attract music lovers of all sorts along the way.

LP

On a recent family holiday I found myself at the beginning of a 3 hour car ride. To my left sat my 2 year old brother, his hand reaching out eager to share his half eaten tiny teddies. Behind me my 6 year old brother, a constant murmur “How much longer?” coming from his direction. Brothers’ aside, my iPod was my preferred choice of company and despite a rather large catalogue of songs I was replaying 3 songs by Melbourne’s Kate McMahon.

Upon my return it became apparent 3 songs was not enough, fast forward a few weeks and Kate McMahon’s self titled EP had a new home in my CD player; its envelope (as the case) just one of the charms. 

Although she lists influences such as Holly Throsby, Regina Spektor and Fiona Apple, Kate McMahon creates her own style of indie/folk/pop as proved by the 6 songs on the EP; which take “you on a journey through her private fantasy world of six-car pile-ups, playdough, sleazy boys and snow-frosted toes.” Standouts include Six-Storey Caryard Apartment Block and Girls Like Sleaze. Kate’s honest and somewhat quirky lyrics bring to mind Lily Allen and Kate Miller-Heidke comparisons (it’s no wonder she was shortlisted for the Vanda & Young Songwriting Competition) while her piano compositions prove she’s a talented musician. This self titled EP is one that is sure to grow on you, you may find yourself relating to the lyrics, or at least find yourself remembering them.  

Her bio states ”(Kate McMahon) can now be found playing around small bars in North Melbourne and in her bedroom” lets hope she plays more gigs than those in her bedroom, as these songs are too good to be kept inside.

For a sample of Kate McMahon’s tunes head to her Triple J Unearthed page and if you want a copy of the EP contact her on Myspace. Catch her live at the Big Night For A Big Cause on Thursday 26th November.

“It’s fun to put in the odd moment of vocal insanity.”

I can’t say I’ve ever easily pinned down who Kate Miller-Heidke is. Her demeanour suggests coy, gentle lady of the house, ready to throw a tea party. Some video clips, like Can’t Shake It, reveal her as a Gwen Stefani hopeful, teetering towards hysteria with colour changing black head remover still in place. And when I speak with Kate I feel I could just as easily be sharing a pint with an old uni friend.

Despite her approachable down-to-earth friendliness, Kate has good reason to be a snooty cow. After winning multiple ARIAs, an APRA award, gaining international recognition and seeing her album Curiouser go platinum last month, Kate is about to embark on a tour with Ben Folds. Kate informs me that this entails, “singing the Regina Spektor part of You Don’t Know Me,” adding, “slightly shitting my pants about that.”

She needn’t be nervous though. It’s not the first time she has sung with a big wig. Kate also tells me, “last year we opened for Cyndi Lauper and I watched her perform from the side. I wiped a tear from my eye after she sang True Colors. Then she came over and said ‘hey Kate, do you wanna come up and sing Girls Just Wanna Have Fun with me?’ It was unforgettable.” Um, yeah! Singing with the great squinty one is a solid peak point!

Surely Kate is still in plateau mode, managing to keep herself (and her husband and bandmate, Keir Nuttall) busy working on a new album and a lot of “to-ing and fro-ing. We just got back from Nepal, where we did a gig for MTV Asia, to raise awareness about human trafficking over there.” Lady of the house, bonkers AND humanitarian?! Is this collection of personalities why her music has changed so much over the years? The last album certainly shares a bit more of her classical training, what with the crazy vocals and all. But it’s okay; Kate hasn’t lost the plot, clarifying, “I come from a folk music background and I think the first EP and Little Eve reflect that. Whereas Curiouser was much more about exploring the joys of expansive, experimental pop music… I think in the end a song has to come down to the lyrics and melody. But it’s kind of fun to put in the odd moment of vocal insanity.”

Since Kate is about to tour for the release of the single The Last Day on Earth, I thought I would ask who it is about (presumably not Didge from Neighbours) but I am told, “that song was initially inspired by a recurring dream about the apocalypse; it’s a love song during the apocalypse.” Quite the ominous tour then!

Author: Peter Rosewarne

Kate Miller-Heidke – Monster

If you’re like me (chances are you’re not) this song will reach you on another level, which is the Facebook-has-the-ability-to-connect-you-with-far-too-many-people-for-your-liking level. That is, that there are some people you weren’t talking to before Facebook for a reason, and that reason still stands even in our fast-paced, social networking-based world.

So Kate Miller-Heidke makes a valid point. Are you kidding me is good for a giggle. Especially because she managed to work pirates into the song.

Last year I wrote a tune titled “Wikipedia Brown”, using the format, policy and idiosyncrasies of that wholly addictive interweb entity as a literary vehicle to illustrate various aspects of my romantic past and present.

I did not realize at the time that my title was shared with some bigshot actor-comedian jerk named B.J. Nor was I aware that I was soon to become a pioneer in a groundbreaking new sub-subgenre of love songs: those making explicit mention of Web 2.0 phenomena.

Exhibit A: “Google You”, a forlorn lament penned and set to music by art-star couple Neil Gaiman and Amanda Palmer:

Exhibit B: “Are You Fucking Kidding Me? (Facebook song)”, by Kate Miller-Heidke (who admittedly is otherwise unknown to me):

Despite the surprise and humor of hearing references to relatively new fixtures in our cultural landscape, there’s nothing extraordinary about communications technology making an appearance in our popular sentimental songs. 1899’s “Hello! Ma Baby” mentioned the telephone, developed a mere thirteen years earlier (I hope you’ll presume with me that new gadgets did not pervade our common life so swiftly a century ago). More recently, I recall cocking my head when Billy Corgan sang about Caller ID, or when ‘Licia said in the love rap to “You Don’t Know My Name“: “Hold on, my cell phone breakin’ up”. Though I suppose it’s worth noting that these newest works are distributed virally by the very media used as subjects.

Each of the two examples, however, seem to have clear antecedents in terms of sentiment. “Google You” is a stalker song, not unlike “Every Breath You Take“, while “Are You Fucking Kidding Me?” has clear strains of “I Will Survive” in its lyrical code.

Not to toot my own horn whatsoever, but I’m having a hard time identifying the ancestor to my own number. Can anybody think of a song that obsessively catalogues one’s amorous trials and triumphs without analogizing to an interactive, collaborative, user-oriented information hub? Do you know of any other Web 2.0 love songs, so that our new musical movement may have more than three hallmark compositions?

A Bad Phone Photo from a Great Show

What a show!  Ben Folds in Lawrence’s Liberty Hall last night was an absolute delight.  Worth every penny and more.  Folds went virtually non-stop for over two hours playing 26 songs in his main set with three more in his encore.  With a pleasing opening act, the evening ran over three hours.

Trying to describe a Ben Folds show is very difficult.  How do you quantify the ceaseless energy the 43-year-old Folds brings to any stage?  How do you explain the seemingly autobiographic (and a bit too graphic) lyrics that resonate somewhere in the hearts of every person in attendance?  And, finally, how do you describe one of the most accomplished and fascinating pianists in the world?

Don’t miss a chance to see Ben Folds, ever.  Laura and I have been fortunate to see Folds now three times in the past two years.  All shows were great.  Last night’s easily topped them all.  Playing solo for all but one song shared with his opening act, Folds’ songs ranged from his unique ballads to classic kicking numbers that had the crowd pounding and bounding along in delight.

I have no idea what the half-life is for a baby grand piano, but I am sure it is halved again when Folds finishes a show.  If the show was a cartoon, just imagine the piano’s legs splaying out, the piano crashing to the stage in a cloud of dust and the piano giving up a big, worn out WH-E-E-E-W!!!

Whether Folds was seated on a drummer’s stool playing classical interludes for his songs or standing hunched over the keys hammering away so powerfully you’d think his fingers would break or finally standing on that baby grand leading the audience in a harmonic ending to the main set, Folds proved to be as charismatic as ever.  Having learned to play by ear, and influenced by the piano skills of Billy Joel and Elton John in his youth, Folds’ keyboard skills are what make the shows for us.  I could never tire listening to Folds’ play the piano with such exuberance.

This show was as intimate as a Folds’ concert can get these days. Earlier, Folds had twittered asking about the best place to eat breakfast.  My youngest daughter immediately tweeted back, along with many others, suggesting Milton’s.  That is where he ate, later thanking all those for the suggestion.  Folds recalled his early shows at the Bottleneck pushing his piano into the popular Lawrence club.  He worked with the crowd often.  When someone, comically, yelled out for “Freebird,” Folds immediately broke into his own personal version creating lyrics on the fly.

Ben Folds, photographer

The opening act was Australian singer Katy Miller-Heidke and her husband guitarist, Keir Nuttall.  The classically-trained singer turned alternative pop singer was a big hit with her hilarious take on an old love asking many years later to be a Facebook friend and Heidke’s blunt response.  The duo joined Folds for one song.  At the conclusion, Folds pulled out a camera (a sweet digital Leica, I think) and staged hilarious photos of the crowd’s positive and negative reaction to songs for the visiting Aussies.

Fans had formed an early line outside Liberty Hall.  After only a short wait, we still were able to easily get some of the best seats in the balcony with plenty of legroom, in a concession to age.  Once those standing in the aisle in front of us were moved, the sight lines were perfect.  The only interruption was the big guy heading to the bar five times for two Pabst Blues Ribbons on each trip.

We are no experts on a Ben Folds song catalog.  We also have lost any ability to pick out all the lyrics on newer or unfamiliar songs.  Yet, there were plenty of classic hits and some new and very funny tunes we look forward to hearing again and again.

In these tighter economic times, we have to make some tougher decisions on our spending.  Earlier this fall, after a fun evening at my 40^th high school reunion, we decided to pass on some of the more expensive options offered for the rest of the weekend.  I’m glad we decided to spend our funds on Ben Folds tickets instead.

The show made me feel 18 again.  With apologies to my high school friends, none of you have the Ben Folds chops to make me feel that way again.

You can view Ben Folds’ Liberty Hall set list here.

Before Tuesday, I doubt I would have been moved to write about this, but music is a bit like fossicking for gemstones. If you turn over enough slippery rocks, you are bound to find something that sparkles. Well, I found something on Tuesday, and for several reasons, it caught me by surprise.

For starters, it was a live album – and you know how unremarkable those things can be. Also, it was by Kate Miller-Heidke, an artist I was already familiar with. Kate is from Brisbane, so I have managed to hear a few of her releases since her ‘Telegram’ EP arrived on the desk around four years ago. I remember having a tough time with female singers back then. So many of them shared that same annoying propensity towards vocal calisthenics, the Mariah-like squeak ‘n’ warble. (The trend has more recently given way to a fashionable reliance on the ‘Auto-Tune’ default, but that’s another story.)

Anyhoo, when I first heard the ‘Telegram’ EP, I was reminded of that Lene Lovich song, “Lucky Number”, and a much younger Kate Bush. The voice seemed to convey some novelty but beyond that, I just didn’t get it. I respected her pedigree, in the realm of ‘serious’ music, but transposing a classical training in operatic singing to the more secular world of Pop? Surely, it’s a career path fraught with some unique challenges. Convincing the punters you are more than a novelty, being merely the first.

For much of the time since then, Kate Miller-Heidke, to my ear, seemed little more than another quirky musical curiosity. Calling her last album ‘Curiouser’, then, was some sweet irony. I liked “The Last Day On Earth” from the outset, but couldn’t imagine it as a radio hit. But, what do I know? It finally snuck in through the back door, insinuating itself through being featured in a TV soap. Go figure. http://www.youtube.com/watch?v=B1dFmWZhSZM

Meanwhile, it was another song from ‘Curiouser’ that was copping all the attention, called, “Caught In The Crowd”. It won a very big international songwriting competition recently, as judged by people of some very considerable experience in the art. Maybe you heard about that. http://www.youtube.com/watch?v=6ojoqHbPmzg

Nevertheless, when ‘Live At The Hi-Fi’ arrived in the mail, I saw a record company cash-in. Quick filler for the fans and recent converts, a strategy to maximize the current wave, and ride it into the Christmas quarter. Hell, why not? It’s just the business doing its gig, right? Well, not always. And that’s another reason why this album was such a surprise.

There is a Hi-Fi club in Brisbane but this collection was recorded at the Melbourne franchise, five months ago. The things that can deflate the live album experience are manifold and blissfully, none of them are apparent in this one-hour set. The audience was both enthusiastic, and respectful, at all the right moments. The setlist was balanced. The sound was exceptionally captured and the performance was first rate, from everyone in the room. And I can’t believe I haven’t even mentioned that voice yet.

Listening to ‘Live At The Hi-Fi’ made it quickly apparent just what I had been missing in the whole KM-H equation: the ‘Live’ aspect. By now, many who have seen Kate perform, will be familiar with what I mean, not least, my sister and brother-in-law, who were actually gushing about her last performance in Adelaide. Away from the studio constraints, in a live environment, that voice, unleashed, can reside somewhere between compelling and riveting, with occasional forays to the threshold of audible endurance.

The performance begins politely enough, but as proceedings unfold, so too, does its command over the crowd’s attention. The only thing that could make things go awry then, is the quality of the material, but that doesn’t disappoint either.

By the third song, “I Like You Better When You’re Not Around”, I’m hooked. The tune is cute but there’s no mistaking just who is calling the shots in this break-up. Halfway through “Politics In Space”, she lobs a verbal grenade toward my g-g-g-generation: “The Sixties were fifty years ago, y’know… GET OVER IT!” It’s true. Suddenly, I’m wishing all our youthful aspirants chasing music careers could be this savvy, this forthright, and this talented.

The set’s most dramatic moments, though, are saved for later, after the room has been lulled into the mood of a good night out. That’s when Kate pulls out the big guns in her vocal armoury, pitching notes high into the air like cluster bombs that can have you wondering about the actual tolerance of the human eardrum. It happens on a couple of songs but Kate is careful never to abuse her abilities. When the voice does come out, it is often like a spotlight against a wall of sound. The music needs to step up to meet a voice like this, and it does, the wailing guitars being an especially potent foil.

There’s humour too, with the decadent charm of what is alternatively known as “The Facebook Song” (if you haven’t yet heard it, I won’t spoil it for you here), and a surprise cover of Farnsey’s signature hit, “You’re The Voice”. http://www.youtube.com/watch?v=fv4WHNVBys4 The final bonus track on the disc turns out to be a version of Empire Of The Sun’s “Walking On A Dream”, another surprise, both intimate and quietly stunning in it’s radically stripped-back arrangement.

‘Live At The Hi-Fi’ is not really the cynical cash-in it might first appear. It’s a declaration that Kate Miller-Heidke is not only more than a novelty act, but also more than the studio manufactured, Auto-Tuned divas who can’t even cut it on stage. If Kate Miller-Heidke is not already considered a world-class performer, she surely, must be this close.

Not too long ago I blogged about our selection of music cd’s and today we got a couple more in that I thought I’d mention quickly because I, personally, love these artists.

Featuring the popular singles Lisztomania and 1901, Phoenix has well and truly entered the mainstream with their jump in popularity thanks to this outstanding album. A mix of several different genres from pop and rock to acoustic and even electro, the cruisy low maintenance pop[ish] sensibility is at once fun and relaxing. I’m looking forward to summer days outside with this as the soundtrack.

Another current favourite of mine is Kate Miller-Heidke’s Curiouser. Including the first single Can’t Shake It, and the track you can’t listen to radio without hearing, The Last Day On Earth. Fabulously quirky and operatically trained, you might have seen Ms Miller-Heidke on ABC’s hit music quiz show Spicks and Specks [last year I think], and she tours locally a lot, being Aussie and all. This girl can really sing!

-Steph.

ps. Continue on to see a topical and HILARIOUS video [language warning!] from a performance at the Hi-Fi Bar, and get a taste for what she sounds like if you don’t already know…

Looking back, it makes sense that my first ever post was about Manyana, when I set up this blog in June 2008.  Fast forward a year and five months later, I haven’t abandoned this blog and more importantly this first band I blogged about now get a second post.

Manyana is a name you may not be familiar with. Having changed the name in late 2008, the band is now known as Georgia Fair.

Common musical tastes and a passion for exploring and writing music drew Jordan Wilson (lead vocals, guitar and harmonica) and Ben Riley (vocals and guitar) together, which later resulted in Georgia Fair; an acoustic folk band with a unique sound.

2009 has seen this Sydney band support the likes of Alex Lloyd and most recently Oh Mercy, gain national attention with new single Picture Frames on the Masters (or Moove) tv ad, receive Triple J airplay and release a video for Picture Frames.

This month will see the release of Georgia Fair’s self titled EP; its release highly anticipated by both new and old fans. Special thanks to David Hume and Georgia Fair for sending me an advanced copy.

Opening with hit single, Picture Frames the EP grabs your attention at first listen while the upbeat second song, Real Man Hiding encourages you to keep listening. The new version of Something Easy will have you singing along in no time, the production and arrangement a huge improvement on the first demo. Baby Blues is one of the slower songs, which adds a refreshing change to the EP but before you get to relaxed, Juanita starts, and with its upbeat catchy lyrics it’s soon to be a favourite. Final song December has also received a make over, so to speak, suggesting Georgia Fair have grown as songwriters and performers. Just when you think the EP is over, bonus track Simple Man begins, it’s somewhat candid recording shows a more organic side to Georgia Fair. As the song ends you’re left wanting to hear more; a perfect ending for this debut EP.  

 Tracklisting:

1. Picture Frames
2. Real Man Hiding
3. Something Easy
4. Baby Blues
5. Juanita
6. December
7. Simple Man (hidden bonus track)

The EP is out October 16th but you can pre-order now from JB Hi-Fi. And while you wait for it to arrive, why not buy Picture Frames from Itunes.

I compared Jordan’s voice to Whitley in my first post and now you can see Georgia Fair support Whitley – Nov 23th, 24th, 25th and 27th but it doesn’t stop there, they’ll support Kate Miller-Heidke on Nov 13th, 15th, 20th, 22nd, 28th. Full gig details on myspace.

Next month will mark 2 years since the first listen and as I reflect on what I wrote in my first post “(Something Easy) is a small sample of what the band could achieve in the future, just give them a few more years to really refine their lyrics and music” it seems Georgia Fair are proving me right.

Ladyhawke and Lisa Mitchell do rather nicely too

Nominations for the annual Australian Recording Industry Association (ARIA) Awards were announced today, with many of the artists we featured in our Australia Week back in July stepping up to the plate with several nods across the event’s 28 categories. Sarah Blasko, Kate Miller-Heidke and Lisa Mitchell receive three nominations each, all competing for Best Female Artist alongside New Zealander Ladyhawke (nominated five times in total) and Australian Idol alumna Jessica Mauboy (the real surprise with a whopping seven nods). Sarah and Kate are both up for Best Pop Release with their albums As Day Follows Night [review], also up for Album Of The Year, and Curiouser [review] respectively. In addition, Kate’s smash hit single ‘The Last Day On Earth’, popularised by a dramatic episode of ‘Neighbours’, is up for Single Of The Year, while Lisa’s enchanting ‘Coin Laundry’ is among the nominees for Breakthrough Artist – Single.

Other nominees with female vocals include The Waifs, Little Birdy, Bertie Blackman, Sneaky Sound System and Zoe Badwi. No love for Holly Throsby this year? Very disappointing! The 2009 ARIA Awards will be held on November 26th at the Sydney Olympic Park. To view the full list of nominees, visit the official ARIA website.

Alan Pedder

Lisa Mitchell, ‘Coin Laundry’

Kate Miller-Heidke, ‘The Last Day On Earth’

…which is actually two louder.

Congratulations to Sarah Blasko, Kate Miller-Heidke and The Drones for their multiple ARIA Awards nominations!

The ARIA Awards nominations were announced this morning and saw Sarah receiving 5 nominations, including Album Of The Year, Best Female Artist, and Best Pop Release for her latest album “As Day Follows Night”. First time nominees The Drones received 3 nominations, including Best Group, Best Rock Album, and Best Independent Release for the 4th studio album “Havilah”. And rounding out the One Louder roster, Kate Miller-Heidke received 4 nominations for her album Curiouser and her phenomenally successful single “The Last Day On Earth”, including Single Of The Year, Best Female Artist and Best Pop Release.

That’s a total of 12 nominations for One Louder acts.  Yes, there was much cheering and high-fiving, dancing around the office, popping of champagne, and a general sense of gay abandon.  Not that there’s anything wrong with that.

The nominations are:

Sarah Blasko
Album Of The Year – As Day Follows Night
Best Female Artist – As Day Follows Night
Best Pop Release – As Day Follows Night
Best Video – All I Want (Head Pictures)
Best Cover Art – As Day Follows Night (Sharon Chai)

Kate Miller-Heidke
Single Of The Year – The Last Day On Earth
Best Female Artist – Curiouser
Best Pop Release – Curiouser
Best Video – The Last Day On Earth (Mark Alston)

The Drones
Best Group – Havilah
Best Rock Album – Havilah
Best Independent Release – Havilah

The ARIA Awards ceremony will be held on 26th November.

In other news…

Kate Miller-Heidke is off in the US supporting Ben Folds on his national tour, as well as doing a few solo shows, before heading back for her own national tour of Australia in November.  Her live album “Live At The Hi-Fi” is released tomorrow.  It’s been a hugely successful few months for Kate, with The Last Day On Earth sitting at no. 3 on the Aria charts for several weeks, and “Curiouser” flying back up the charts and reaching the no 2 spot.  Both the album and the single have gone platinum.

End Of Fashion are holed up in their studio furiously hammering away at demos for a brand new album.  They’ll be playing a few shows here and there over the coming months but are mostly keeping their heads down while taking full advantage of their creative streak.

Sarah Blasko is currently in the middle of a sold-out national tour around Australia, and will soon be heading over to NZ to tour the country in support of The Brunettes (who are returning the favour over here at a couple of shows.)

The Drones are in the middle of a huge tour of the US, Europe and the UK, including appearances at the All Tomorrow’s Parties festivals in London and New York, where they played their album “Wait Long and the Bodies Of Your Enemies Will Float By”, as part of the ‘Don’t Look Back’ series where bands are asked to perform classic albums in their entirety. Back here in Australia they have just released a live album “Live At The Hi-Fi“, which is available as a bonus disc with “Havilah” or available to purchase on its own through iTunes.

- Nick

Kate Miller-Heidke now has both a platinum album and a platin single. Very nice. She’s in the US touring with Ben Folds, and he announced her last night to be his “favourite support act”. She’s back in Australia for a comprehensive national tour in November.

Sarah Blasko hits the road this week. All shows are sold out, except for a few tickets left for second Melbourne and Brisbane shows. “As Day Follows Night” went gold after only three weeks. She’s also heading to NZ for the first time in November, and we should have some very exciting news about some European releases very soon.

Kate Miller-Heidke wrote a hilarious new song about old flames on Facebook from quickly scrawled notes in pencil and recorded it live at the HiFi Bar.

Check it out, you’ll laugh your arse off.

Lyrics

The say everyone should have their heart broken at least once,
That is how you grow emotionally
Well I have been misused by many-many-many men
But nothing can compare to how you treated me
At times it really felt as though the pain was here to stay
And though it’s many years ago I feel it to this day

And now
You wanna be my friend on Facebook
Are you fucking kidding me?

All the memories are flooding back to me now
All the ways you stole the light from my eyes
I travelled so far just to get away from you
‘Til this morning’s friend request surprise

At times it really felt as though I’d never smile again
You narcissistic arsehole
Oh you nasty, nasty man

And now
You wanna be my friend on Facebook
Are you fucking kidding me?

I don’t wanna know what kind of cocktail you are
Or which member of the Beatles
Or which 1960s movie star

I don’t give a toss if you’re a ninja or a pirate
I’d suspect you’d be a pirate
But I don’t wanna verify it

And I don’t give a shit what your stripper name is
Or if your kitty had a litter
Look – just follow me on twitter
I don’t care about your family tree
And I certainly don’t want you poking me (again)

And so you wanna be my friend on Facebook
Oh you fucking, fucking fuck
Click, ignore

Kate Miller Heidke

Heading to Toyota Stadium, Cronulla on Saturday 14 November, 2009. “a Day at the park” will feature a diversity of some of Australia’s best musicians, legends, acoustic balladeers, blues & roots entertainers, current chart toppers and indie pop-rockers; The perfect afternoon mixtape.

The bands are:

• Hoodoo Gurus
• You Am I
• The Beautiful Girls
• Ash Grunwald
• Kate Miller-Heidke
• Richard Clapton
• Bertie Blackman
• The Vasco Era
• Red Riders
• King Tide
• Amy Meredith
• Dead Letter Chorus
• + more TBA!

The tickets on sale for only $75.95. Via ticketek

De acordo com um estudo recentemente elaborado por alguém que não me lembro, o Facebook e redes sociais do género estão a conseguir fazer exactamente o contrário daquilo que era suposto fazerem, isto é, aproximar as pessoas e facilitar a comunicação. De acordo com esse estudo, as redes sociais minam uma quantidade significativa de relações sentimentais , devido ao facto de quase qualquer pessoa poder escrever aquilo que bem lhe apetece na página de uma outra.  Essas intromissões, intencionais ou não, levam a grandes confusões e, em ultima instância, ao rompimento da relação (chuif! chuif!). E agora vocês perguntam: mas este blog afinal não é sobre música? E eu respondo: É sim, mas encontrei uma canção muito interessante e invulgar que serve para, de certa forma, ilustrar a leviandade com que as pessoas encaram as redes sociais, suas potencialidades e possíveis consequências. E vocês perguntam outra vez: E quem é que canta essa canção que dizes ser tão interessante? E eu digo: Já vão ver a seguir!

Kate Miller Heidke é o nome de uma cantautora australiana que encanta os seus público com performances sempre bem humoradas, cheias de energia, mas também doces e sentimentais q.b. Os dois trabalhos de longa duração lançados do outro lado do hemisfério foram de encontro aos gostos da crítica e do público também, o que é fácil de entender depois de ver o vídeo que se segue. Sempre á vontade nos palcos, a artista tem a reputação de nunca deixar os seus créditos em mãos alheias no que diz respeito às suas performances musicais e vocais. Aqui deixo para vossa consideração dois vídeos de uma espécie de Kyllie Minogue radical! Tanto um como outro são absolutamente fantásticos. Estejam particularmente atentos às letras e perceberão porquê.

The 2009 ARIA Awards took place on Turkey Day this year. If four days were enough for a vacation to Australia, it’s possible I would’ve spent a partial life savings for a couple of tickets.

Browsing the web…

*sidebar*
Okay, it really started as shopping and not so much random browsing. Here’s what happened:

• Black Friday shopping
• then… Amazon Black Friday deals
• then… saw Rent: Filmed Live on Broadway for sale — it has Eden Espinosa from Wicked, which I love ever since seeing it in LA
• then… search on YouTube for Eden in Rent to see if it was worth buying
• then… thoughts of “hey, what else is on YouTube?”
• then… wonders of “hm, what’s Missy Higgins up to now?”
• then… continue on to below…

*end sidebar*

I came upon the Lisa Mitchell, Kate Miller-Heidke and Sarah Blasko ARIA Award performance. Just wanted to share as all four of these artists (Lisa, Kate, Sarah and Missy Higgins) are awesome:

Sarah Blasko sort of looks like a human butterfly, no? She won for Best Female Artist, by the way.

Check out the rest of the winners at the ARIA site. They also have a Cover Art award, which is totally neat! Do we do that for any of our award shows? Cause, we should…

Oh, I have yet to decide whether I wanted to buy Rent. Hmm…