New Music Monday – 16th September

The Crooked Fiddle Band
Image Courtesy of The Crooked Fiddle Band

Emma Russack & Lachlan Denton – “Love For Myself”

Indie singer-songwriters Emma Russack and Lachlan Denton have announced the return of their collaborative project with their new single “Love For Myself” and an album titled Take The Reigns which is due for release on the 18th October. “Love For Myself” is a sweet pop song with a catchy chorus and smile inducing melody.

“My songs from Take the Reigns stretch over a polar period in my life,” says Denton of the upcoming album. “The earlier were written in the midst of a new relationship. I was excited, over emotional and insecure. The others were written after the loss of my brother. The record for me is full of light and shade. I see Emma’s songs on this record as covering a similar spectrum.”

Lucas Laufen – “A Million Miles From Love”

Australian troubadour Lucas Laufen has released his gorgeous new single “A Million Miles From Love”. The track teams Laufen’s fingerpicked guitar, subtle vocal style and ambient accompaniment to build something that is beautifully melancholy.

“A Million Miles From Love” is taken from Lucas Laufen’s upcoming album I Know Where Silence Lives which is due on the 6th December.

Sarah Humphreys – “Quiet Heart”

Central Coast based singer-songwriter Sarah Humphreys released her powerful new single and video “Quiet Heart”. I’ve always loved Humphreys’ songwriting and amazing voice and it’s great to see her really using both talents to full effect here – I’m digging her alongside the full band sound. “Quiet Heart” will appear on Sarah Humphreys’ upcoming album Strange Beauty which is due in October.

The Crooked Fiddle Band – “Counter Errorism”

Oh it’s good to have The Crooked Fiddle Band back. No one does high energy, folk infused instrumental music quite like the Sydney based four piece, and their new single “Counter Errorism” does not disappoint. The track is an ecelctic, high energy mix of time signatures and tones, leaping from gypsy jazz fiddle to etherial vocals to deep bowed bass lines, all puntuated by The Crooked Fiddle Band’s crunchy, rhthmic sound.

“Counter Errorism” is taken from The Crooked Fiddle Band’s upcoming album Another Subtle Atom Bomb due this Thursday 19th September. They also have a bunch of live dates coming up – check them out here:

Friday 27th September – Bar Open, Melbourne, VIC
Saturday 5th October – Rhythm Hut, Gosford, NSW
Friday 18th October – Smith’s Alternative Bookshop, Canberra, ACT
Saturday 19th October – Steampunk and Victoriana Fair, Goulburn, NSW
Friday 1st & Saturday 2nd November – HOBOFOPO Festival, Hobart, TAS
Saturday 30th November – Baroque Room, Katoomba, NSW
Sunday 1st December – The Landsdowne, Sydney, NSW

The Maes – “Sunrise”

No one is writing contemporary Australian folk songs quite like The Maes. “Sunrise” is another example of just how talented The Maes are, from their deeply visual storytelling songwriting through to their beautiful harmonies and arrangements. They just keep going from strength to strength.

The Milk Carton Kids – “The Only Ones” & “I Meant Every Word I Said”

I can’t believe this week we got not one, but two new tracks from Americana harmony duo The Milk Carton Kids. “The Only Ones” and “I Meant Every Word I Said” are the first tasters of The Milk Carton Kids’ upcoming album The Only Ones, due on the 18th October and as expected they’re just stunning.

“The Only Ones” is an upbeat love song with a driving beat and more than a few nods to classic country, while “I Meant Every Word I Said” slows things down to the type of melancholy ballad we’ve come to expect from the duo.


Timothy Blackman – “By The River”

Wellington based singer-songwriter Timothy Blackman released his sparsely beautiful new single “By The River”. The track is a beautiful piece of indie-folk reminiscent of Bright Eyes or early Sun Kil Moon, all plucked guitar and vocal layers.

“By The River” is taken from Timothy Blackman’s new album Brightest Days which is due for release today.

Watch the New Video from The Scrims “Show Me Your Moves”

The Scrims
Image Courtesy of The Scrims

Melbourne gypsy-folk band The Scrims have just released their brand new music video “Show Me Your Moves”.

Taken from their debut album Sing To Me Sweet Sunny One, the “Show Me Your Moves” video tells the surreal story of a man reminiscing on his youthful party days. Check it out here:

To celebrate the release of “Show Me Your Moves” The Scrims want you to show them your moves with a party at The B.East in Melbourne this Friday 22nd September. For more information check out the official Facebook event here

Devil on the Rooftop Announce Sydney Shows

Devil on the Rooftop
Image Courtesy of Devil on the Rooftop

Devil on the Rooftop is the brand new project from local Sydney legends Jess Randall (The Crooked Fiddle Band), Morgan Haselden (Mimosa) and Elsen Price. Mashing together music from a diverse range of folk genres including gypsy, celtic, jazz and bluegrass, Devil on the Rooftop (previously known as Pheonix Pie) are producing a pretty unique sound.

The trio have two shows in Sydney coming up – tonight at the Playbar in Surry Hills and then on the 11th March supporting Jess Randall’s other band The Crooked Fiddle Band at The Red Rattler.

Check out the full dates below plus a live video of Devil on the Rooftop’s track “Lark in the Orange Blossom”:

Wednesday 24th February – Playbar, Sydney, NSW
Friday 11th March – The Red Rattler, Sydney, NSW

Falls Festival Review: Falls Festival Finds

Goodnight from Falls general_20160101-19Festival: Falls Music and Arts Festival
Location: Byron Bay – North Byron Parklands
Date(s): Thursday 31st Dec 2015 – Saturday 2nd Jan 2016
Featured Artists: The Imprints, Merry Jeann, The Scrimshaw Four, Vardos, Soak and Oh Wonder.
Photos by Stuart Bucknell

At festivals like Falls, there’s always big name acts, there’s always Timber and Steel style acts we’re anticipating, and then there’s always a raft of acts we’ve not come across or had an opportunity to see before. It’s one of our utter pleasures to go out of our way to check out the quirky and unknown acts on festival line ups and see what’s new to discover. As I mentioned in my Overview, Lola’s Bar in the Festival Village was a gold mine for the kinds of acts we love here at Timber and Steel.

imprints_20160101-1The Imprints, a two-piece hailing from Melbourne, played Lola’s Bar on New Year’s Day with their quirky strings and drums combo to a quiet crowd recovering from their midnight revelry. Their clever use of looping pedals made for intricate fiddle tracks that melded together in beautiful harmonies. Their set featured opportunities for them to build up multi tracks of fiddle plucking, playing, strumming and harmonizing, along with a retinue of drum beats, and then strip the sound right back to a simple beat and chord. Watching them, it was clear they had a strong link, feeding off each other throughout their live performances, no doubt developed from their time playing pure improvisation. Part way through the set, Violinist Willow asked for people to come forward, even just to lay down on the dance floor and chill, because it was always weird to play to people sitting so far away. Without dropping a beat, there was a mass movement of people, and their chairs, forward. The Imprints had made a good impression.

merrynjean_20160101-2Merryn Jeann played a 10am set in Lola’s Bar on the last day of the festival, the perfect start to a day clouded in sleepiness and people just coming terms with the day. Merryn was the epitome of a folk musician, clad in an embroidered blouse, long skirt, bare feet and jaunty flat cap. Freshly arrived home from performing at the Woodford Folk Festival, Merryn started the last day of Falls with a cover of Bombay Bicycle Club’s Dust on the Ground. Her lulling, husky voice wrapped the gathering crowd in the comfort of lyrics and time, at times haunting, at times humming around you like a bumble bee. Her set included tracks like Death at Lincoln Park, usually sung with her folk band, but with a different blues style lament when performed as a solo. Having recently returned from a 6-month stint living in Berlin, Merryn took advantage of the opportunity to perform in her home town by bringing along a friend or two to join her on stage. Maeve and her violin joined the set with haunting violin chords that supplied liquid undertones to Merryn’s finger plucking.

Merryn has an unassuming, raw and honest style, playing direct from the heart. She had people transfixed, woke them to the day, and lulled them through the morning, and drew people in to sit and chill, taking in her tunes.

scrimshawfour_20160101-2The Scrimshaw Four had the lunchtime shift at Lola’s Bar on the last day of the festival. We turned up to count 5 performers on stage and figured it was a happy bonus. Or maybe they can’t count. With a line up of guitar, fiddle, bass drum, double bass, banjo and Hawaiian Lei, we knew it was going to be a vibrant show from the Melbourne lads. They kicked off the set with the country-esque fiddle and boppy vocal harmonies of Stealin’. Once the audience was properly warmed up, it was time to get down to the real business of party tunes! When a song is introduced as being about a ‘romantic day’ on the beach and starts off with the line “I don’t want to give you a diamond ring”, you know it’s going to be a fun story-telling style set. I Just Wanna Give You My Heart turned out to be just that, with a bluegrass jam, upbeat tempo and a Mic Conway like frivolity. To follow that up with an hilarious cover of The Little Mermaid’s Under the Sea but at a fast, almost manic pace, was exactly the right formula for a happy crowd.

The Scrim deftly swung through country, folk, gypsy jazz, and everthing else on the old and gutsy jazz spectrum, to ragtime beats and high energy dance tracks. They reminded me of The WooHoo Revue but with their own brand of quirk. They have stellar stories that create their songs and make for great anticipation-laced intros, like the one about the girl who misheard his invitation to show him her moves, instead as show him her boobs! The Scrimshaw Four are a solid festival band sure to get you dancing, whether it’s to a polka, some Roma gypsy jazz, some hillbilly and bluegrass, or just some country and folk, you won’t be able to stop your toes from tapping.

vardos_20160101-6We came across the witty, character filled trio Vardos at Lola’s bar early in the afternoon of New Years Day. All kinds of gypsy music, from Transylvanian Romanian to “Modern” flowed from the lively crew with fiddle, accordion and double bass ablaze. From the outset it was clear they genuinely have fun on stage, moving and dancing round each other with some fun choreographed moments of teasing and taunting. All three took turns singing songs and the fake accents that tended to slip in and out were all a fun part of the ruse. They sing about love, beauty, life, ups and downs, all the while maintaining a vibrant and direct connection with audience, picking out people to play to in each song. The three are playful on stage and fun to watch, like witnessing a battle of wills between the violin and bass and an accordion playing the referee.

But, finding something new wasn’t just restricted to the small stages of the festival, both the Forest and Valley Stages also offered a little something to discover.

soak_20160101-5Irish songstress Bridie Monds-Watson, aka Soak, had the unenviable task of opening the main stage for the final day of Falls. But once the Valley was open to punters for the day, a steady stream of eager listeners made their way to a grassy spot to soak up her sounds. “Soak” comes from a phonetic mash-up of ‘Soul’ and ‘Folk’ but her style is still more genre defying than such a straight forward combination. Her set traversed her musical explorations, through floaty chill-out moments, ethereal soundscapes, indie infused sounds and haunting vocal melodies. Sea Creatures and Blud, her most signature tunes to date, washed over the crowds and set the tone of the day.

As Soak, Bridie has a strong sense of her vocal diversity, engaging a delightful head voice when it fits, and smashing out those power driven notes when the point needs to be hammered home. She reminded me of both Lisa Mitchell and Emma Louise (in her Jungle days) in ways, her vocal stylings in particular. I think ultimately the physical enormity of the Valley Stage meant she could not engage authentically with the audience, she could have benefitted from a more intimate setting, like the Forest Stage, to really allow the audience in to her realm. She does have potential to grow and emerge as a staple festival act, so keep your eyes on Soak!

ohwonder_20160101-1I think my favourite find for the whole of Festival has to be Oh Wonder, a London-based duo who were performing in Australia for the first time thanks to the Falls Festival. You’ve got to love a band who brings their own stage backdrop, a 2-metre-tall set of light up initials for their band name… which read ‘OW’, It’s probably an appropriate sentiment for the level of hangovers, hair of the dog’s and sunburns that were evident post NYE celebrations.

Oh Wonder created instant atmosphere with a smoke machine and tension filled hanging notes as they entered the stage to launch their set. The assembled crowd  gave huge cheers for each of the duo as they took to the stage. Described as electric folk, their style encapsulated the nuances achievable with looping tones and beats, while layering piano and electric guitar over the top. Their vocal unison was compelling, more so when they slipped seamlessly in to close harmonies and back out to unison again. Their voices compliment each other tonally, Josephine is the lead vocalist but Anthony’s smooth, silky voice wraps her delicate breathy beauty and grounds it in the electro beats they employ. Both are multi skilled, multi instrumentalists that lend their talents to each others musical moments, creating thick, rich tones to lose yourself in. Highlights of their set were the heavy bass and rolling piano melodies of Livewire, and the at times reggae-like bass and sparkling impact of Dazzle. The one descriptor that keeps coming to mind for Oh Wonder, is “gorgeous”. Check them out and cross your fingers for another visit down under from them soon.

So, that wraps up our 2015 Falls Festival Byron Bay experience. A wealth of acts to see and one of the best festival experiences we’ve ever had. Byron Bay is a definite contender for anyone looking for a great way to spend New Years Eve, no matter the line up.

Read our other Falls Music & Arts Festival reviews:

Overview of Falls Festival Byron Bay 2015

Timber and Steel Highlights

Unmissable Acts

Interview: The Squeezebox Trio

Squeezebox Trio
Image Courtesy of The Squeezebox Trio

Sydney gypsy swing masters The Squeezebox Trio are set to launch their debut album And A Hotplate at 505 in Sydney on the 21st November, so we thought it was the perfect opportunity to sit down and chat with the boys. We found Thomas Hodson (accordion), Michael O’Donnell (violin) and Javen Sanchez (guitar) lounging under the stairs at their regular haunt Mr Falcon’s in Glebe where we chatted to them about the new album, defining their genre and why they’ve been adopted by the Australian folk scene.

Gareth Hugh Evans: Your music feels is such a melting pot of styles. What do you think people expect when they come down to see a Squeezebox Trio show?

Michael O’Donnell: I don’t know what they come expecting to hear, but they do hear a combination. We started off playing pretty traditional Django Reinhardt gypsy-jazz and then we got a little bit sick of just doing the traditional stuff so we started to get a little bit dorky with the Disney covers and…

Thomas Hodson: The French stuff.

MO: Oh yeah!

TH: We went through a French phase

GHE: Well if you’ve got an accordion in your band you pretty much have to go through a French phase.

MO: And then Tom went away to the Balkans.

TH: I went overseas last year, toured Europe and spent a lot of time in Romania and the Balkans – Bulgaria, Greece and Turkey. I got some lessons, tracked down some famous players. So that’s kind of been the latest influence on the album. All the originals that I’ve done were written on the road.

GHE: I can definitely hear the Eastern European influences. It’s not a huge leap from the Stephane Grappelli/Django Reinhardt gypsy-jazz to that kind of music

MO: What we’ve been calling it is gypsy-swing. Rather than your traditional format which is Django plays the head or Steph plays the head and then they solo for 20 minutes then we’re done, we’ve tried to gear it more towards the swing era where they had those big fancy introductions by the saxes, except the accordion takes that. We’ve been trying to be a lot more arranged with what we do – we still have room for solos but it’s not the highlight of the song or the focus of the song.

GHE: I was going to say that seeing you live, while there’s definitely improvised elements, you seem very tight, everybody knows what’s coming next.

MO: Do they Javen [laughs]?

Javen Sanchez: Well we do spend a bit of time rehearsing…

MO: Here and there.

JS: Here and there. And a lot of it’s through trial and error – we’ve played a lot of gigs in the past and during those gigs we get a bit experimental. Especially playing at Mr Falcon’s, we have a bit of fun, change the rhythm a bit. And sometimes it catches on with the actual playing, so it evolves over time. And we always find ways to piss each other off [laughs]. I like to use one specific lick. It’s very infamous

TH: Sing it for us Javen.

JS: Can you convert it to notation? [starts humming “The Sailors Hornpipe”]

GHE: I think I’ve heard you play that!

MO: In terms of influences I think more recently we’ve listened to a lot of Oscar Alemán. He’s a really phenomenal player. He had a big band instead of just guitars and violin – he had piano sometimes, double bass…

TH: Drum kit. That was a big one.

MO: He just switched instruments. Instead of just soloing he spent a lot of time making these great arrangements. So that influence shines through.

GHE: As well as writing your own music you guys also don’t shy away from trad music, classics and even contemporary covers. I think I’ve even seen a Youtube video of you guys doing the Tetris theme.

MO: That was on our first EP!

JS: What I like about that music is it can really get a broader range of audiences. If you play the traditional stuff it hits the older folks who really appreciate that kind of music. And if you add a bit of swing to it, arrange it a bit and make it a bit dorky a lot of the younger kids will get up and do crazy dancing. So you try to keep that openness about it so it’s kind of family friendly and can go to festivals.

GHE: It feels like you guys are quite ingrained in the folk scene in Sydney and the folk festival scene in general, but I wouldn’t describe your music as purely folk music. Why do you think you’ve been so embraced by the folk scene?

MO: There’s no one in the folk scene who’s sharing this music. I feel the gypsy jazz community is closed off in a way. I think we’re the only ones who’ve been in that folk festival circuit doing this stuff which is a shame.

GHE: But then I’ve seen you guys get massive crowds at festivals.

JS: We paid them actually [laughs]

MO: That was my mum, Javen’s mum. Tom’s mum didn’t come [laughs]. I guess what we’re playing is dance music and we’re definitely emphasising the dance aspect. This music is so malleable to the crowd that you need to play to. A lot of the other jazz players around Sydney, even though they’re phenomenal players, usually play to themselves rather than to the audience.

GHE: And I also think the folk scene is just open to good music, regardless of genre.

MO: I think there’s just a really broad definition of what folk is right now which is really nice.

GHE: Now, I do have to address one thing. You’re called The Squeezebox Trio but almost every time I’ve seen you you’ve had four or five or even six members up on stage. I think this is the first time I’ve seen you as a trio.

TH: I think tonight we’re playing as a duo.

MO: I would call this a solo act [laughs]. It’s funny that you mention that – a lot of the time at folk festivals people will say “ah, The Squeezebox Trio, so do you play three accordions?”. No! Of course not. Does the Lucy Wise Trio play with three Lucy Wises?

JS: Does the John Butler Trio have three John Butlers? [laughs]

MO: So we started off as a trio but especially when we were playing traditional swing – tunes that everybody knew – if we saw someone who could play we’d get them up on stage. And it grew from there. We had a forth member for a long time but we’ve unfortunately parted ways. On the album we had a bass player play with us. And then depending what state we’re in we could have a different lineup. It’s always going to be the core three…

GHE: But there’s this extended Squeezebox Trio family?

MO: Exactly

JS: A squeeze-family.

MO: On the night of the album launch there’s a few guests on the album who will be joining us on stage.

GHE: Let’s talk about the launch on the 21st November. You’re playing at 505 in Sydney which is an iconic jazz venue. What can we expect on the night?

TH: Expect a minimum eight member Sqeezebox Trio.

MO: That’s one hell of a trio!

GHE: How many squeezeboxes?

TH: Twenty [laughs]. We’re going to do a nice big set of songs.

MO: The support is Snail. That’s Ness Caspersz, Gaia Scarf, Maizy Coombes and I think they’ve got a bass player too. They’re unreal folk-ish harmonies, ukelele, guitar, fiddle and then Ness can beatbox the shit out of anything. She’s so good – she was in the Australian beatbox championships. So they’re going to warm us up and then we’ve got a big fat set. I think we’re playing for about an hour.

TH: Or more.

MO: Depending on how much we drink. And the audience.

GHE: Lot’s of dancey stuff?

MO: Big time. Another thing – in the last six months or so we’ve been playing a lot more to swing dancers so they should be there. We’ll be catering to them a little bit but not exclusively. There should be some technical dancing and then some raucous dancing when we get a bit sillier.

TH: We’ll play absolutely everything.

GHE: You guys released an EP already this year and then you’ve decided to jump straight into releasing the debut album. Obviously you’ve got enough material to do that!

TH: Some of the material is some of the first songs we learnt. Then there’s all the new songs – we’ve just done so much in the past year that we needed to have an album to capture everything that we’ve done.

MO: And it’s not uncommon for us to play three or four gigs a week. So yeah, we did only record in February but six months later we’re like “we’re sick of these tunes”. We start to play other things or those tunes just morph completely into something else.

JS: Also we’re singing in this one which is very different. Everytime people come and see us they say “why don’t you sing?” or “I liked that one song you sang”. So it’s something that we’ve tried to work on.

GHE: I think about you guys as an instrumental band…

JS: What! I sing in the shower really well! [laughs]

GHE: Is moving to more songs just a natural evolution?

JS: Yeah! And we put a lot of our personality in our singing as well which really changes the way we do things. You can go so far playing instrumentals but when you sing it as well it adds a whole new dynamic.

GHE: Last question guys – once the album in launched do you have a big festival season coming up?

MO: We’re going overseas … to New Zealand! We’re going to be doing 25 shows over there. The 505 show is our last Sydney gig before we go over to New Zealand. South Island, North Island and then back via Melbourne for some regional shows. All up I think it’s going to be 32 gigs.

TH: Then later in the year there’s talks of us venturing further overseas.

GHE: That’s bubbling away is it?

MO: We might leave that one mysteriously open…

GHE: Sounds good! Well thanks so much for chatting with me today!

MO: Thank you!

The Squeezebox Trio will be launching their new album And A Hotplate at 505 in Sydney on the 21st November – check out the official Facebook event for more information.

The Squeezebox Trio Announce Debut Album

Squeezebox
Image Courtesy of The Squeezebox Trio

Sydney based gypsy-swing-folk-jazz band The Squeezebox Trio have announced plans to release their highly anticipated debut album And A Hotplate on the 21st November. Despite having released an EP already this year The Squeezebox Trio were super excited to get a long player out in the world.

“We’ve been talking about it for so long,” guitarist Javen Sanchez explained. “Our sound has changed so much in the past 6 months. We’ve moved away from straight up jazz to emphasis its potential as dance music. We’ve been rearranging traditional swing tunes, and swinging the tunes you’re not supposed to.”

To celebrate the release of And A Hotplate The Squeezebox Trio will be heading to iconic Sydney jazz venue 505 on the 21st November for a massive launch show, supported by the newly formed band Snail. For more information check out the official Facebook event here.

Listen to the New Fat Yahoozah Album I Don’t Care

Fat Yahoozah
Image Courtesy of Fat Yahoozah

This Saturday just gone Sydney based seven-piece afro-klezmer party band Fat Yahoozah released their brand new album I Don’t Care with a sold out show at Lazybones Lounge in Marrickville. Fat Yahoozah draw from a blend of all sorts of influences from afro to gypsy to klezmer and middle eastern music and this album is the perfect example of their unique sound.

If you missed out on the show over the weekend never fear – I Don’t Care is now available to download and own via Fat Yahoozah’s Bandcamp page. And just so you know what you missed out on check out a stream of I Don’t Care below:

Listen to the New Crooked Fiddle Band Single “Kings of the Mud”

Crooked Fiddle Band
Image Courtesy of The Crooked Fiddle Band

Sydney chainsaw-folk favourites The Crooked Fiddle Band have just packed their bags and have headed off to Europe for a tour but they’ve left us with an awesome parting gift – their new single “Kings of the Mud”.

“”Kings of the Mud” is about festivals – the transient, dusty and muddy other worlds we visit regularly – and the way you just give in to the elements and get amongst the puddles,” the band explained. “You’ll also notice that it’s more of a song than is usual for us – lots of vocals going on, as well as some cinematic moments courtesy of Jess’ nyckelharpa (Swedish keyed fiddle), plus we finally got some of the yelling that we do live onto a recording! We recorded this one ourselves, we’ve had it kicking around for a while but hadn’t fit it onto an album. Hope you like it!”

Check out “Kings of the Mud” below:

The Bearded Gypsy Band Announce New EP and Launch Tour

Bearded Gypsy Band
Image Courtesy of The Bearded Gypsy Band

Adelaide experimental folk quartet The Bearded Gypsy Band recently released their brand new EP Leaving Town and are about to hit the road to officially launch it in a series of shows this November. Leaving Town hit stores late last month following the band’s succesful tour of Canada.

The Bearded Gypsy Band will be launching Leaving Town in Adelaide, Sydney, Melbourne and Brisbane as well as appearing at a handful of regional festival dates in the coming months. Check out the full list of upcoming shows below:

Saturday 1st November – Nexus, Adelaide, SA
Friday 7th November – The Factory, Sydney, NSW
Saturday 8th November – Tell Tale and Vine, McLaren Vale, SA
Thursday 4th December – The Spotted Mallard, Melbourne, VIC
Friday 5th December – Bennett’s Lane, Melbourne, VIC
Saturday 6th December – Sookie Lounge, Melbourne, VIC
Thursday 11th December – Sonnys, Brisbane, QLD
Friday 12th December – Lefty’s Old Time Music Hall, Brisbane, QLD
Saturday 13th December – Lefty’s Old Time Music Hall, Brisbane, QLD
Tuesday 16th December – Queen Street Mall, Brisbane, QLD
Saturday 27th to Sunday 28th December – Golgong Folk Festival, Gulgong, NSW

The Woohoo Revue Announce Massive 22 Date Tour

WooHoo Revue
Image Courtesy of The Woohoo Revue

Balkan-gypsy-party band The Woohoo Revue are about to hit the road for a massive 22 date tour around the country this July, August and September. The Pure Decadence will dip into every State and Territory and promises to give fans a glimpse of some of the new material The Woohoo Revue have been cooking up for a new album in 2014. Check out the full list of dates below:

Friday 26th July – The Hot Club, Blackheath, NSW
Saturday 27th July – Small Ballroom, Newcastle, NSW
Thursday 1st August – White Eagle Polish Club, Turner, ACT
Friday 2nd August – White Eagle Polish Club, Turner, ACT
Saturday 3rd August – Murrah Hall, Bermagui, NSW
Friday 9th August – The Sol Bar, Maroochydore, QLD
Saturday 10th August – The Joynt, Brisbane, QLD
Friday 16th August – Mojo’s Bar, Fremantle, WA
Saturday 17th August – Prince of Wales, Bunburry, WA
Sunday 18th August – Clancy’s Fish Pub, Dunsborough, WA
Saturday 24th August – The Brisbane Hotel, Hobart, TAS
Sunday 25th August – Brookfield Vineyard, Margate, TAS
Friday 30th August – Northcote Social Club, Melbourne, VIC
Saturday 31st August – Theatre Royal, Castlemaine, VIC
Friday 6th September – Venue 505, Surry Hills, NSW
Saturday 7th September – City Diggers, Wollongong, NSW
Friday 13th September – Alice Springs Desert Festival, Alice Springs, NT
Saturday 14th September – The Railway Club, Darwin, NT
Saturday 21st September – Escape Arts Festival, South Coast, NSW
Friday 27th September – Nexus Arts Centre, Adelaide, SA
Saturday 28th September – The Loft, Warrnambool, VIC

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