The Gum Ball Announces First Round of Artists for 2018

Hat Fitz
Image Courtesy of Hat Fitz and Cara

To kick off the new year we’re super excited for the first round of artists announced for the 2018 Gum Ball.

The Hunter Valley based festival always has a generous helping of folk and roots artists and their 2018 lineup is no different with the likes of Hat Fitz and Cara, Terra Lightfoot and Coda Chroma on the bill.

The full lineup announced so far is as follows:

REMI, The Aints (Play the Saints, ’73 to ’78), Butterfingers, Dave Graney ’n’ the Coral Snakes, Screamfeeder, Hat Fitz and Cara, The Creepshow, Wanderers, Terra Lightfoot, New Venusians, Coda Chroma, Lachlan X. Morris

The Gum Ball takes place from Friday 27th to Sunday 29th April near Lower Belford in the Hunter Valley, NSW. For more information including how to get your hands on tickets check out the official site here.

WOMADelaide Announces Full Lineup for 2018

WOMADelaide
Image Courtesy of WOMADelaide

Following on from their first round announcement last month WOMADelaide have this week dropped their entire 2018 program and it’s absolutely huge.

Joining the likes of Le Vent du Nord, Rodrigo y Gabriela and Yirrmal next year will be Scottish neo-Trad quintet Elephant Sessions, country-blues favourites Hat Fitz & Cara, roots collaboration Mama Kin Spender, Australian legends Tex, Don & Charlie, local alt-country duo Hana & Jessie-Lee’s Bad Habits, indigenous collective Mission Songs Project, Adelaide folk-pop singer Naomi Keyte and so much more.

WOMADelaide takes place at the Adelaide Botanic Park from the 9th to the 12th March. For more information including how to get your hands on tickets check out the official site here.

The full lineup announced so far is below:

a Bit na Ta (PNG/Aust), Abbey Howlett (Aust), Ackroyd & Harvey (UK), Adrian Sherwood (UK), Anoushka Shankar (India/UK), Architects of Air (UK), The Avalanches (Aust), Baker Boy (Aust), Bashka (Turkey/Aust), Bedouine (USA/Syria), Cie Bivouac (France), Bixiga 70 (Brazil), Blick Bassy (France/Cameroon), Chico Trujillo (Chile), Constantinople & Ablaye Cissoko (Canada/Iran/Senegal), Dan Sultan (Aust), Daymé Arocena (Cuba), Deborah Conway (Aust), Didirri (Aust), DJ Marky (Brazil), Dustyesky (Aust), Elephant Sessions (Scotland), Eva Quartet (Bulgaria), Francois Knoetze (Sth Africa), Ghada Shbeir (Lebanon), Gogol Bordello (USA), Gratte Ciel (France), Hana & Jessie-Lee’s Bad Habits (Aust), Hartway (Aust), Hat Fitz & Cara (Ireland/Aust), Havana Meets Kingston (Cuba/Jamaica), Hypnotic Brass Ensemble (USA), JAZZ Party (Aust), Jojo Abot (Ghana), Justine Clarke (Aust), Kamasi Washington (USA), Kings & Associates (Aust), Le Vent du Nord (Canada), Lonelyspeck (Aust), Lura (Cape Verde), Mama Kin Spender (Aust), The Manganiyar Seduction (India), Mission Songs Project (Aust), Moussa Diakite & Wassado (Mali/Aust), My Bubba (Sweden/Iceland), Nai Palm (Aust), Nano Stern (Chile), Naomi Keyte (Aust), Nature Village (Aust), Nickodemus (USA), Noura Mint Seymali (Mauritania), Pat Thomas & Kwashibu Area Band (Ghana), Peanut Butter Wolf (USA), Cie Pernette (France), The Pin (Aust), POW! Negro (Aust), Rahim AlHaj Trio (Iraq), Rajab Suleiman & Kithara (Zanzibar), Remi x Sampa (Aust), Robyn Davidson in Conversation w/ Roysten Abel (India/Aust), Rodrigo y Gabriela (Mexico), San Lazaro (Aust), Soul Capoeira (Aust), Tank & The Bangas (USA), TAO Dance Theatre (China), Tex, Don & Charlie (Aust), Thievery Corporation (USA), Thundercat (USA), Tim Whitt (Aust), Tinariwen (Mali), Victoria Hanna (Israel), Violons Barbares (France/Mongolia/Bulgaria), Yellow Blue Bus (Aust), YID! (Aust), Yirrmal & the Miliyawutj (Aust)

Blue Mountains Music Festival Reveals First Artists for 2018 Lineup

KMH
Image Courtesy of Kate Miller-Heidke

The Blue Mountains Music Festival this week began to announce the lineup for its 2018 event.

Held in Katoomba over the St Patrick’s Day weekend, the Blue Mountains Music Festival always has a decent folk and roots music presence on their lineup along with the best and brightest artists from across all genres.

Headliners for the 2018 Blue Mountains Music Festival include the one-two punch of Missy Higgins and Kate Miller-Heidke – two of Australia’s most celebrated singer-songwriters.

Joining them will be Lior with Paul Grabowsky, The Grigoryan Brothers with Adam Page, The Backsliders, Harry Manx (Can), Steve Poltz (Can), Chris While and Julie Matthews (UK), Breabach (Scot), Peter Rowan Band (US), 10 String Symphony (US), Flats and Sharps (UK), The Brothers Comatose (US), Lamine Sonko and the African Intelligence (Senegal), Gordie MacKeeman & His Rhythm Boys (Canada), Blair Dunlop (UK), Mel Parsons (NZ), Malcura, Hat Fitz & Cara, Witches Leap, Alana Wilkinson, The Mission Songs Project and more to be announced.

The Blue Mountains Music Festival will is held from 16th to the 18th March in Katoomba, NSW. They’ll be announcing more artists via their Facebook page so make sure you like them there. And head over to their official site for more details and how to get your hands on tickets.

The Queenscliff Music Festival Reveals Second Lineup Announcement

Queenscliff
Image Courtesy of The Queenscliff Music Festival

The Queenscliff Music Festival has just added a bunch more artists to its 2017 lineup and once again there’s plenty for Timber and Steel readers to get excited about.

Joining the likes of Bernard Fanning, Mama Kin & Spender, The Teskey Brothers and Xavier Rudd this year will be Allysha Joy, The Bamboos, Beccy Cole, Bob Evans, Hat Fitz & Cara, Jazz Party, Little Georgia, Mia Dyson, Sammy J, The Southern River Band, Stella Donnelly and The Wilson Pickers with more to be announced soon.

The Queenscliff Music Festival is held in Queenscliff, Victoria from the 24th to 26th November – check out the official site for more details.

2017 Blue Mountains Music Festival – The Wrap

Paul Kelly and Charlie Owen doing Funeral Songs

Words and Pictures by Elizabeth Walton

“Can’t wait for this to start – Paul Kelly is Australia’s answer to Bob Dylan.”  So the murmur of the audience flows while revelers wait in the light filled entrance to the Lurline Pavilion at the 2017 Blue Mountains Music Festival.

“Nah mate, Bob Dylan is America’s answer to Paul Kelly,” comes the well whittled retort, a fitting reflection on the loyalty of the Australian pilgrimage to the Blue Mountains Music Festival, where Australia’s tower of song – Paul Kelly – has appeared many times.

The punters flood the moment with favourite festival stories, washed down with a good pint of Guinness. Mustering the strength to move past the thousands to the front of stage where you can really get lost in the experience – that’s what they are pausing at the entrance to do, for this is the festival’s main event – and that’s all part of the show.

Katoomba may be the original decaf soy latte kinda town, but the Blue Mountains Music Festival is still a double ristretto kind of event. Headliners including Kelly and The Waifs may have returned countless times, but you’d wonder why you would want to change something that clearly ain’t broke.

As the rain pours down, the mud slides up. The cafes flow with conversations filled with passionate responses to Gregg Borschmann’s Heartland Conversations, the virtues of six dollar gumboots, and the best fashion statement you can make with a plastic yellow poncho without face planting in the mud.

Paul Kelly hit the stage with his latest project, Death’s Dateless Night, an album of funeral songs recorded with collaborator Charlie Owen on dobro and keys, tenderly harmonized by Kelly’s own clan of daughters, the beautiful Memphis ad Maddie. The audience loved it, but loved it even more when the band eventually visited the song man’s own material. Though Kelly invited the audience to lay him down a pallet on the floor, and to just let it be, the cheers definitely grew louder when “To her Door” finally opened on centre stage.

The festival opened with acts including Caiti Baker, whose vocal style leaves you feeling that she wants to blow the walls of the theatre down, get out into the open where she can feel the  wind moving in her hair. The space seems a little small for her raging sound, verging from lyrical blues to a good decent growl. She tells us on Saturday she’ll be down on the Lurline Pavilion, the main outdoor stage at the show, though she pronounces it less like the colloquial Lur-lign, and more like Lur-Leene, rhyming the venue with Dolly Parton’s Joe-line, and soon has the audience singing along with her to an impromptu bash at Dolly’s favourite tune.

On Saturday night the Big Tent looks like it might fill with water, instead it’s a flood of grey hair and beanies, people moshing around in the mud in their comfy hand-made  knits and sensible weather wear. But if that gives a distinctively silver streaked view of the pilgrims, that’s only because the young ones are moshing at the front of the Main Stage, grooving out to Urthboy with his dub overlays and ultra chill. If you’re lucky this weekend you’ll only have gone through three pairs of water-ready shoes a day, your children won’t have sunk chin-deep in the mud, and you will be very happy with the new era of sounds washed in by Urthboy – where it’s standing room only up near the doof as the crowd gets all up close and personal like, pressed in so close that they leave the rest of the pavilion entirely empty. Up close and personal is the real thing when techo fans assemble to watch a row of straight standing personnel in front of a giant DJ desk, laying down the riffs over a deep sonic tonic.  Meanwhile,  a raft of festival volunteers politely excuse themselves from duty so they can catch the last 15 minutes of boyfilled Urth. This has always been a festival that knew its demographic well, and takes no umbrance with serving up something for everyone. From Blue Grass to Trad Folk, the genres represented expand the very notion of what seems like a 360 degree perpetually evolving spectrum of musical styles.

In a world where festivals are born, reach their peak and quickly fade, this event is now hosting third generation folk who wouldn’t have this gig played out any other way. The audience is right at home with the cabaret style humour of The Loveys, who’ve flown all the way from Mullum, bringing along their jokes about yoga and farmers’ market twee. They clink their way through a set in German,  which slips past their too-red lips and over-stated eyewear, their gentrified hats, and putt great-grandma’s Royal Doulton to a new, unintended use as the china tinkers out a syncopated funk. Midway through the gig one of the ladies asks for LSD – but it turns out she isn’t craving the hallucinatory type, she’s just after a Latte Soy Dandelion. Nailing the piss-take on all things modern circa 2017, from transgender marital departures to personality disorders – even the pursuit of happiness isn’t spared from their material. But they’re not popular just for their good humour, they’re a festival highlight because they’re absolutely gorgeous and very bloody good – especially the well grounded Bass Uke of Madeleine Liddy, who churns out a phat sound reminiscent of McCartney’s Hoffman – a sound others in the same venue struggled to achieve.

Perhaps that’s just down to luck, or it could be technique, but Liddy doesn’t think so. “It’s because it’s preloved,” she says. “And it’s well-worn in,” she adds with a cheeky wink, much like the general spirit of these grand duchies. “Oh, and it hasn’t got any varnish”.  Well that’s definitely it, wouldn’t you think? Some might think it’s just a great attitude shared amongst these ladies, including Janet Swain, who appears clad in a spectacular green velvet robe, reclaimed from some Victorian widow’s wardrobe.  She wears her threads comfortably as she honks and hauls her bassoon like a baritone sax.

A honkin and a yankin in some unintended direction is all par for the course, from the street buskers grooving overdubbed percussive raps on part-filled glass bottles, to Mic Conway’s Junk Band, giving himself an onstage vasectomy with a saw played so nostalgically that the audience asks “who is that woman singing with that distinctive voice”. It’s not a woman singing, it’s Conway’s vitals begging for mercy as he slashes out his aptly nervous and wobbly tune. His side kick is the amazing sousaphone player dubbed “Marjorie Snodgrass” for this line up, who sometimes cameos in the Cope Street Parade.  She spends an hour after the event lavishing praise upon Lewis the Sound Guy for “getting” that she is the bass – whether she’s pumping her sousa, or an impeccably rendered mouth-impro bass jug. They don’t call it a junk band for nothing. The mutual admiration continues until Lewis and most of the band discover they’re all neighbours in Sydney’s eclectic inner west.

Lewis covers the event every year, bringing his own mics to work his room, The Clarendon Theatre, whose plush trim is renowned for delivering a distinctively flat sound that Lewis successfully overcomes without the aid of the high end, crystal clear gear and production values of the main stages. It’s a challenge, but like all Blue Mountains Festival devotees, one which he could perhaps best be described as pathologically drawn to. The rigors of the job are largely performed by the unknown and the unthanked, but the dooers of these unseen tasks are usually destined to return.  Once the festival gets into the blood, it’s a well fixed hooked.

True to form the mountains throws its unaustralian weather – unaustralian because even folk from the Arctic Circle cry that it’s freezing cold. In the Arctic at least when it rains it falls as snow – a dry white dust that easily brushes off. The Blue Mountains offer a unique kind of soak that seeps right into your soul. Then come the complaints from the uninitiated, rain weary after three days trudging around in it. “I’d rather live in Canada than live in this!” Yes, you probably would, but that’s part of the attraction of the mountains, and it’s why all those silver streaks are standing there happily in their sensible outdoor gear. There’s a saying in the mountains – there’s no such thing as bad weather, just bad gear. Get the good gear and you’re right to go.

Yet for the musos actually from the Arctic Circle such as The Jerry Cans, they’ve found their ‘other world’, a far departure from the Australian places they’ve previously played, melting  in the heat, discovering only then that the reason they developed a style of playing so fast was to stop themselves from freezing to death. From Adelaide to Darwin they preserved their organs from overheating on frenetic energy at a gazillion degrees. The weather doesn’t seem to have impeded their throat singing, electrified fiddle and squeeze box filled riot of a style. Here they discover they can finally crank it up and get back to their original pace. And the crowd rises to meet them, foot stomping in the newly created dance pit at the front of the Guinness tent – a welcome inclusion in an event that has always been considered a  ”concert” festival – one where you can expect to be able to sit comfortably in your bucket seats without your view being jiggled into obscurity – now there is room for both kinds of audience – the dancers and the dedicated listeners, and a wonderful world it is that can comfortably accommodate the two.

David Ross Macdonald presents a twangy six strings of metal  guitar that looks as if it could do with a bit of new brass, but it comes across sweet like a classical guitar, using a capo fretted style so soft and light that the end result is not unlike a uke. He invites the audience to join him as he croons upon how badly he craves to be held, and though his guitar looks like it might have seen better days, it’s perfect for such a setting on a night like this, offering a sound that’s subtle yet delivers a surprising level of depth.

The Mission Songs Project brings new life to the voices of the stolen generation and indigenous Australians who were splintered from their cultures when they were made to sing in a foreign language. Today, traditional languages are so far removed from their vernacular that singing in English has become the mainstay, the local languages have become the foreign tongue. Yet everything has its resurgence if you can claim it before it achieves vanishing point. The stories are heartfelt and beautifully sung – perhaps not with the campfire instruments of their natural settings, but the end result is one that adapts well to the contemporary stage and travels to a diverse and broad audience – for The Mission Songs Project, this is mission accomplished, and accomplished incredibly well.

In a festival world where every  outfit seems to have developed the mandatory uke moment, comes the strident yards of  a bush ranging balladeer – uke man William Crighton – nine parts murderer and one part hipster, tantalising the drama enthralled-audience, half of whom are  scared out of their minds that he might wield his tiny stringed box like an axe and murder them on the spot as he thumps between the rows– the other half of whom are hoping to hell that he will! Yet William makes his way back to the stage and continues his conquest to drown you in his jaded and heartbroke view of the world without ever shedding even a drop of blood.

Meanwhile the ground becomes a cup more filled with water-making-mud than one half empty, and the deserted stalls and food courts in the school grounds stand forgotten as no-one can reach them without a plank.

The 2016 Youth Award Winners The Bean Project  pulled off a surprisingly sorrowful set of sadness for ones who’ve yet to spend their youth. The brass section of this mighty duo invokes the gentlest French horn, muted the old fashioned way, with a palm holding back the full force of the sound. It is reserved, civilized, and remains gentlemanly, until Bryce Turcato takes away his hand and builds to a punchy solo, fluid with delicately placed 9ths and unresolved 7ths, while his mate Ben Langdon stares at him earnestly through his horn rimmed glasses, and flicks back his long blonde bob as he deftly states to his departed love, “I’ve never been alone more than I am here in your bed”.  The rays of light reached down and kissed him when she left, he says, before telling us that they cut their teeth in noisy pubs where not even the walls were listening. It’s an unsettling surprise now, here, in this theatre, he tells us, to finally have our attention. After Bryce finishes ripping through his brass staccato, he falls back into a noble style, summoning images of a call to hunt, all regal caps and whips and beagles.

“This next song will be sung in Islamic,” says the singer from My Bubba. This is a duo of damsels, one of whom looks like she’s emerged from legal secretarial school, with her closed-toe cloth pumps and knee length linen black shift, a look finished with a single strand of plastic aqua coloured pearls. They sing with the restraint of those who might be found in the dusty chambers of the law academy, yet the result of all that restraint produces something akin to an angelic ascendance, with soft harmonies beautifully entwined around a heavenly, harp like instrumental style. They look as though they might butterfly kiss each other at any moment with a naked eyelash.  These are the kind of virginal maidens that can maintain their composure and remain incongruously well groomed amidst a sea of people with wet hair and faces flung with splats of rain. If you can imagine the restraint that may invoke in their vocalising, then you’ve grasped the concept.

By Sunday, Stage 6 is dubbed Big Top Lake, and the Tantric Turtle along with all the other venues on the green are pulled.  A quick rethink and the audience and most of the acts are all reshuffled. No-one who has already played misses out. A new program is issued, the details are publicised on social media, and everyone is right to go. According to the seasoned stage crew who have built this mini city countless times and painstakingly pack it all down at festival end, this decision was more to do with the indoor lake and wanting to make sure everyone had a great time than anything else. Though folklore may want it remembered differently, it was less to do with the depth of the mud, which as far as outdoor events go, wasn’t as bad as it might have been. You might say it was deep enough, but not as deep as the festival from somewhere up north, where once upon a time some chick went so far down in the mud that she completely disappeared and has never been seen since, or so the story goes. Perhaps she showed up sometime later in the Manning Bar at Sydney Uni. But this is the Blue Mountains, where you’d have to think she selected her moment of re-emergence to coincide with first beers at the ever popular Boho Bar, run by all the dedicated mums and dads and rank and file members of Katoomba’s P & Cs. The festival is the major fund raiser, and the flush of funds surging through the veins of the schools for the past 21 years has made for a formidable contribution to a cash strapped cultural enclave of a town that couldn’t have achieved this in any other way. It’s an undeniable contribution to the advancement of wellbeing for the local munchkins, but you’ve got to wonder how they get on when the playground is as trashed as this – yet Katoomba is a town with a can-do kind of pride, a place where people are going to make do with whatever they’re handed to make do with. At least there’s no cars bogged in at 3am with volunteers desperately trying to pull them out, in a push-me-pull-you kind of experience never to be forgotten. And never to be repeated, now that parking is banned from the grounds.

The full gamut of natural disasters may have threatened to unleash the doors of doom upon the festival many of times– yet they never have. From deep mud to the high winds that huffed and puffed til they blew Lurline Pav down before opening a few years back, to this year’s  demise of the main indoor venue – Katoomba RSL – which burnt to the ground just a couple of weeks ago, this festival, like Katoomba itself,  is a foot soldier of survival. You can blow her big top down, you can burn her to the ground, but the show will go on, and the founding Festival Co-Directors Bob Charter and Al Ward are well seasoned masters of the quick switch.

Though this year sees the departure of co-founder Al Ward after 21 successful years in production, Bob still managed to pull off the switch and brought the shy wallflower that is the Palais Royale into play while the cinders at the RSL were still hot. Even the most established K-Town aficionados were not yet acquainted with this grand old dame of art deco Katoomba, who willingly submitted her services to the impromptu role of third venue for the festival.  The plush comfort and stately grandeur of the Palais Royale was well admired by all – a venue whose grandiose chandeliers set  the mood for dulcet tones that could woo even the most jaded festival goer.

Reaching out to this venue is a master stroke for the festival, and you can be sure bands and revelers alike will definitely want her back. It’s too good a venue to refuse for a festival that stands proud amongst a battlefield of fallen events. And as the much loved Blue Mountains Music Festival heads towards her quarter century of service, long may she reign.  All hail The Festival, and all she represents.

– Elizabeth Walton is a freelance writer, photographer and musician

Thank Folk It’s Friday – 2nd December

TFIF

This Week in Folk

All the News From The Week That Was

– Classical music mastermind Pekka Kuusisto will be teaming with the Australian Chamber Orchestra and American folkster Sam Amidon this February for the Murder Redemption tour. Details here

The Mountain Goats have announced Australian tour dates next year. Details here

– So many amazing artists on the WOMADelaide lineup so far including 9Bach, Archie Roach, Brushy One String, Dope Lemon, The East Pointers, Gawurra, Hanoi Masters, Nattali Rize, Oki Dub Ainu Band, The Waifs, Wawsaw Village Band, William Crighton and many more. Details here

– Christian folk duo The Welcome Wagon released a version of Sufjan Stevens’ “The Greatest Gift”. Details here

– The amazing Laura Marling announced her new album Semper Femina and also premiered her directorial debut for the “Soothing” video. Details here

– The new best of album from Kate Miller-Heidke comes out today. Details here

– Co-headline tour announced for The Cat Empire and Xavier Rudd. Details here

Radical Face released “Sunn”, his first recording since completing his The Family Tree project. Details here

Michael Kiwanuka has announced Melbourne and Sydney shows when he’s in the country for Bluesfest. Details here

– A huge January tour has been announced for Hat Fitz & Cara. Details here

David Gray released his new video “Enter Lightly”. Details here

Releases This Week

KMH
The Best Of Kate Miller-Heidke: Act OneKate Miller-Heidke
iTunes

Stray Hens
The ConfluenceStray Hens
Bandcamp

Timber and Steel Recommends – Go To This Gig

Stray Hens

Stray Hens

Stray Hens will be launching their brand new, crowd funded album The Confluence in Melbourne tonight and it looks like the gig is going to be amazing

Friday 2nd December – Spotted Mallard, Melbourne, VIC

Gigs Next Week

Alannah Russack, Trish Young, Melodie Nelson
Saturday 3rd December – The Golden Barley, Sydney, NSW

Australian Bluegrass Conference
Thursday 8th to Sunday 11th December – Tranquil Park, Maleny, QLD

BBQ & Blues feat. Cass Greaves
Wednesday 7th December – Surly’s, Sydney, NSW

Boy & Bear
Friday 2nd December – Albany Entertainment Centre, Albany, WA
Saturday 3rd December – 3 Oceans, Margaret River, WA
Sunday 4th December – Fremantle Prison, Fremantle, WA
Wednesday 7th December – Orange Ex-Services Club, Orange, NSW
Thursday 8th December – ANU, Canberra, ACT
Friday 9th December – Waves, Wollongong, NSW

End Of Year Folk Bash feat. Darlo After Dark, Black Joak Morris, Peter Miller-Robinson, Buck and Deanne, Bells of Caroldise
Sunday 4th December – The Gaelic Club, Sydney, NSW

Fairgrounds Festival
Friday 2nd & Saturday 3rd December – Berry, NSW

Finders Keepers Market Sydney
Friday 9th to Sunday 11th December – Australian Technology Park, Sydney, NSW

FolkSwagon feat. MoSoul, Colin Jones and The Delta Revue
Wednesday 7th December – Cafe Lounge, Sydney, NSW

Get Folked Punk feat. Medusa’s Wake, The Bottlers, Scarlets Revenge, The Habanerbros, Mournwillow, Jonno Read, Billy Punton, Whiskey Jeff, Josh Arentz, Antonia Susan, A-Rock Newman, Angus + Julia Stoned, Yvette Vials, Luke Holmeslice, Smug young Dads, Mac + Cheese, Brendan, Kennedy, Avobandito
Saturday 3rd December – Lazybones Lounge, Sydney, NSW

Handsome Young Strangers
Friday 2nd December – Union Hotel, Sydney, NSW
Thursday 8th December – The Hideaway Bar, Sydney, NSW

Heartbreaker Sessions feat. Darren Cross, Jen Mize
Sunday 4th December – The Bearded Tit, Sydney, NSW

Hootenanny feat. Sam Newton
Sunday 4th December – Miss Peaches, Sydney, NSW

ILona Brooks, John Chesher, Mark Lucas, Bill Hunt
Sunday 4th December – The Duck Inn, Sydney, NSW

Joe & Harmony’s Magic Carpet Ride feat. Anthea Sidiropoulos, Bruce Watson, Margaret & Bob Fagan
Saturday 3rd December – Newtown Neighbourhood Centre, Sydney, NSW

Josh Pyke & Bob Evans
Friday 2nd December – Brisbane Powerhouse, Brisbane, QLD
Saturday 3rd December – Solbar, Sunshine Coast, QLD
Sunday 4th December – Soundlounge, Gold Coast, QLD
Thursday 8th December – 48 Watt St, Newcastle, NSW
Friday 9th December – The Factory, Sydney, NSW

Julia Jacklin
Friday 2nd December – The Small Ballroom, Newcastle, NSW
Friday 2nd December to Saturday 3rd December – Fairgrounds Festival, NSW
Friday 9th December – Oxford Art Factory, Sydney, NSW

Karl Broadie’s “Leave On a Light” Tribute Album Launch feat. Amber Lawrence, Jasmine Rae, Amali Ward, Luke O’Shea, Den Hanrahan, Katie Brianna, Brett Hunt, Michael Carpenter
Thursday 8th December – The Bunker, Sydney, NSW

Kasey Chambers w/ Eagle & The Wolf
Friday 2nd December – Revesby Workers’ Club, Sydney, NSW
Saturday 3rd December – Campbelltown Convention & Entertainment Centre, Sydney, NSW
Friday 9th December – The Entrance Leagues Club, Bateau Bay, NSW

Liam Gerner & The Sunset Pushers
Friday 2nd December – Lazy Bones, Sydney, NSW
Saturday 3rd December – Stag and Hunter, Newcastle, NSW

Little Wise
Friday 9th December – Basement Discs, Melbourne, VIC

Matt Andersen
Friday 2nd December – The Music Lounge, Wollongong, NSW
Saturday 3rd December – The Basement, Sydney, NSW
Sunday 4th December – Lizotte’s, Newcastle, NSW

Mel Parsons
Friday 2nd December – Mojos, Fremantle, WA
Sunday 4th December – Indi Bar, Scarborough Beach, WA

Pat and Kellie, Imogen Clark
Friday 9th December – The Acoustic Picnic, Sydney, NSW

Paul Kelly and Charlie Owen
Saturday 3rd December – Flinders Street Baptist Church, Adelaide, SA
Friday 9th December – St John’s Cathedral, Brisbane, QLD

Ryan Adams
Tuesday 6th December – Enmore Theatre, Sydney, NSW

Steve Poltz
Friday 2nd December – Ravenswood, Ravenswood, WA
Saturday 3rd December – The Charles, Perth , WA
Wednesday 7th December – Ararat PAC, Ararat, VIC
Thursday 8th December – Sooki Lounge, Belgrave, VIC
Friday 9th December – Spotted Mallard, Melbourne, VIC

Stray Hens
Friday 2nd December – Spotted Mallard, Melbourne, VIC

Sydney Bluegrass & Old-Time Music Get-together
Saturday 3rd December – Annandale Community Centre, Sydney, NSW

The Newsagency 5th Bday Sessions feat. Alison Avron, Kent Eastwood
Thursday 8th December – The Newsagency, Sydney, NSW

The Petersham Bowling Club Community Christmas Party
Sunday 4th December – Petersham Bowling Club, Sydney, NSW

The Rhythm Hut Christmas Party feat. 19-Twenty, Lime and Steel, Night Kite
Friday 9th December – The Rhythm Hut, Gosford, NSW

The Spooky Men’s Chorale
Sunday 4th December – Camelot Lounge, Sydney, NSW

The Tallest Man On Earth
Friday 2nd & Saturday 3rd December – Fairgrounds Festival, Berry, NSW
Wednesday 7th December – QPAC, Brisbane, QLD

The Western Distributors
Sunday 4th December – Gasoline Pony, Sydney, NSW

The Willing Ponies
Sunday 4th December – The Union Hotel, Sydney, NSW

The Wilson Pickers
Friday 2nd December – Basement Discs, Melbourne, VIC
Saturday 3rd December – Caravan Music Club, Oakleigh, VIC
Sunday 4th December – Northcote Social Club, Melbourne, VIC

Tom West
Friday 4th December – Grace Emily, Adelaide, SA

Tower of Song – A Tribute to Leonard Cohen
Friday 2nd December – Leadbelly, Sydney, NSW

Friday Folk Flashback

“The Rose Hip” – Fairport Convention

Hat Fitz & Cara Announce National Tour This January

Hat Fitz
Image Courtesy of Hat Fitz & Cara

Celebrated folk-blues duo Hat Fitz & Cara just released their amazing new album After The Rain and have announced plans to head out on tour this January.

Hat Fitz & Cara have already appeared at the Bridgetown Blues and Mullum Music Festival’s this month and the buzz is that their live show is as tight and entertaining as ever.

Check out the full list of upcoming tour dates below:

Thursday 19th January – Lizottes, Newcastle, NSW
Friday 20th to Sunday 22nd January – Thredbo Blues Festival, Thredbo, NSW
Monday 23rd January – Yackandandah Hall, Yackandandah, VIC
Wednesday 25th January – Caravan Music Club, Melbourne, VIC
Thursday 26th January – Milton Theatre, Milton, NSW
Friday 27th January – Bowral Bowling Club, Bowral, NSW
Saturday 28th January – Blues on the Water Cruise, Manly, NSW
Saturday 28th January – The Basement, Sydney, NSW
Sunday 29th January – Odd Fellows Hot Club, Kempsey, NSW
Friday 3rd February – The J, Noosa, QLD
Saturday 4th February – The New Globe Theatre, Brisbane, QLD
Sunday 5th February – Nimbin Bush Theatre, Nimbin, NSW
Friday 17th February – Nightjar Festival, Geelong, VIC
Saturday 18th February – Old Church on the Hill, Bendigo, VIC
Sunday 26th February – Kurunda Amphitheatre, Kurunda, QLD

The Mullum Music Festival Announce First Lineup for 2016

Eilen Jewell
Image Courtesy of Eilen Jewell

The Mullum Music Festival has long been held up as one of the country’s best and it has a long history supporting of folk, country, roots and Americana artists throughout the years.

It looks like 2016 is going to be another cracking festival with the first round of artists announced today. The lineup includes plenty of Timber and Steel friendly music including Eilen Jewell (above), The Harpoonist & the Axe Murderer, Julien Baker, Henry Wagons & The Only Children, Matt Andersen, Suzannah Espie, William Crighton, Lior, Bobby Alu and the Palm Royale, Sahara Beck, Hat Fitz & Cara, Jordie Lane and many more.

The Mullum Music Festival takes place in the northern NSW town of Mullumbimby from the 17th to 20th November. Tickets are already on sales – check the official site for details.

The full lineup of artists announced this morning is below:

Eilen Jewell (USA), The Harpoonist & the Axe Murderer (CAN), Julien Baker (USA), Henry Wagons & The Only Children, Olympia, Gareth Liddiard, Matt Andersen (CAN), Tash Sultana, Suzannah Espie, William Crighton, Lior, Epizo Bangoura (West Africa), The Meltdown, Bobby Alu and the Palm Royale, Sahara Beck, Hat Fitz & Cara, Jordie Lane

Brunswick Music Festival Announces 2016 Lineup

Blind Boy Paxton
Image Courtesy of Blind Boy Paxton

I feel like the Brunswick Music Festival is the quiet achiever of the folk festival season. Taking place just after the Port Fairy Folk Festival from the 15th to 20th March, the Brunswick Music Festival in Melbourne always manages to mix the best of Melbourne’s folk and acoustic talent with the incredible touring international artists.

This year the Brunswick Music Festival has announced a raft of exciting artists including Blind Boy Paxton (above), Jeff Lang, Alison Ferrier, Kim Salmon, Mandy Connell, Mick Thomas, Charles Jenkins, Cat Canteri & Justin Bernasconi, Sean McMahon, Jemma Rowlands, Rich Davies, Brooke Russell, Ayleen O’Hanlon, Hat Fitz & Cara, Zourouna, Lala Shouha, Sweet Mona’s Choir, Ajak Kwai, Jawa Pitu Band, Santa Taranta, Cumbia Cosmonauts, Los Kumbia Killers, La Descarga, Sonidero Esperanza, Alsarah and the Nubatones, Mountain Mocha Kilimanjaro, Mànran, Spiro, Moxie, Shane Howard Trio, Emma Donovan and the PutBacks, Yirrmal, Mia Dyson, Jess Ribeiro and many more.

The traditional Sydney Road Street Party takes place on the 6th March with the full Brunswick Music Festival held from the 15th to 20th March. Check out the official site for all the events taking place during the Brunswick Music Festival.

Full Lineup Announced for the 2015/16 Woodford Folk Festival

Woodford
Image Courtesy of Woodford Folk Festival

Over the weekend the Woodford Folk Festival revealed their 2015/16 lineup and it’s time to get excited. As usual the Woodford Folk Festival have delivered a lineup of artists taken from the best of folk, roots, rock and world music that’s bound to satisfy any music lover.

If you head to Woodford over the New Year period you’ll get a chance to see the likes of Dougie Maclean, Michael Franti, Harry Manx, The East Pointers, Irish Mythen, Marlon Williams, Kim Churchill, Lanie Lane, Josh Pyke, Katie Noonan, The Paper Kites, Tinpan Orange, Timberwolf, Jacinta Price, Tolka, Starboard Cannons, Davidson Brothers, Lucie Thorne & Hamish Stuart, Hat Fitz & Cara, Broads, Andrew Clermont, Catgut, Lime and Steel, One Up, Two Down, Kaurna Cronin, All Our Exes Live In Texas, Loren Kate, Totally Gourdgeous, The Little Stevies, Daniel Champagne and many more.

The Woodford Folk Festival takes place near Woodford, Queensland from the 27th December to 1st January. Check out the official website for the full lineup and more information.

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