C.W. Stoneking Announces Heavenly Sounds Shows

CW
Image Courtesy of C.W. Stoneking

The amazing C.W. Stoneking is the latest folk musician to get the Heavenly Sounds experience with a couple shows this June. Heavenly Sounds specialises in bringing popular music to church and cathedral venues around the country and they seem to love folk-leaning artists, probably because they fit the acoustics and aesthetics of churches so well.

C.W. Stoneking will play two shows in the tour, one in Sydney and one in Melbourne. The dates are below:

Wednesday 11th June – St Stephen’s Uniting Church, Sydney, NSW
Friday 13th June – St Michael’s Uniting Church, Melbourne, VIC

Watch the New Sarah Blasko Video “Fool”

Sarah Blasko
Image Courtesy of Sarah Blasko

“Fool” is the brand new single from Sarah Blasko which comes complete with an arty black and white video. “Fool” has been released as part of a new EP which also features remixes of “I Awake” (from PVT) and “Fool” (from Seekae). Watch the video for “Fool” below:

Sarah Blasko has also announced a string of Heavenly Sounds shows next January – check out the full list of dates below:

Wednesday 15th January – St Stephen’s Uniting Church, Sydney, NSW
Thursday 16th January – St John’s Cathedral, Brisbane, QLD
Wednesday 22nd January – St Michael’s Uniting Church, Melbourne, VIC
Friday 24th January – Flinders St Baptist Church, Adelaide, SA

Daughter Announce Heavenly Sounds Laneway Sideshows

Daughter
Image Courtesy of Daughter

UK trio Daughter will be in the country for the Laneway Festivals next year and they’ve just announced two very special side shows. Daughter will be teaming with Heavenly Sounds for church gigs in Sydney and Melbourne next February. Tickets for these shows are going to be snapped up really quickly so we recommend getting on top of them when they go on sale next Thursday 31st October.

The full list of side shows are below

Tuesday 4th February – St Stephen’s Uniting Church, Sydney, NSW
Monday 10th February – St Michael’s Church, Melbourne, VIC

Laura Marling Adds Two More Shows to Australian Tour

Laura Marling
Image Courtesy of Laura Marling

Exciting news today for Laura Marling fans. The English songstress has added two more shows to her Heavenly Sounds Australian tour this July with an extra date in Sydney and Melbourne. Tickets for all of the shows go on sale 9am, Tuesday 28th May (that’s tomorrow). The full list of dates are below:

Monday 22nd July – St Stephen’s Uniting Church, Sydney NSW – NEW SHOW
Tuesday 23rd July – St Stephen’s Uniting Church, Sydney NSW
Thursday 25th July – Flinders Street Baptist Church, Adelaide SA
Friday 26th July – St Joseph’s Church, Perth WA
Tuesday 30th July – St Michael’s Church, Melbourne VIC
Wednesday 31st July – St Michael’s Church, Melbourne VIC – NEW SHOW

Laura Marling Announces Heavenly Sounds Splendour Sideshows

Laura Marling
Image Courtesy of Laura Marling

This is the one we’ve all been waiting for folks! Laura Marling has finally revealed the dates of her Splendour in the Grass sideshows! And as an added bonus they’ll be part of a Heavenly Sounds tour which will see Marling performing in churches in Sydney, Adelaide, Perth and Melbourne.

By the time Laura Marling lands on our shows her new album Once I Was An Eagle will be well and truly playing on the nation’s collective stereos (it’s released on the 24th May) so there’s going to be a lot of new music to enjoy. Supports are yet to be announced for the shows, with tickets going on general release sale on the 28th May (Heavenly Sounds are also offering a pre-sale on the 23rd May to their newsletter subscribers here). The full list of dates are below:

Tuesday 23rd July – St Stephen’s Uniting Church, Sydney NSW
Thursday 25th July – Flinders Street Baptist Church, Adelaide SA
Friday 26th July – St Joseph’s Church, Perth WA
Tuesday 30th July – St Michael’s Church, Melbourne VIC

Interview: Beth Orton

Beth Orton
Image Courtesy of Beth Orton

Beth Orton is without a doubt one of the most celebrated female singer-songwriters in the world at the moment. Her amazing 2012 record Sugaring Season was near the top of a lot of “best of” lists last year and her Australian tour off the back of last year’s Sydney Festival was received with glowing reviews. Gareth Hugh Evans managed to snatch ten minutes with Beth Orton to chat about her upcoming tour with Heavenly Sounds, the reaction to her being out of the spotlight for a while and her work with legendary folk artist Bert Jansch.

Gareth Hugh Evans: Let’s talk about the upcoming Australian tour with Heavenly Sounds. I think this tour is absolutely perfect for you and your music. Did they approach you with the idea?

Beth Orton: Yeah they did, it’s fantastic. I love playing Churches. They’re just the perfect place to play and to play solo – it’s incredible to have that chance. In England it’s not always so nice – I played some churches over winter and it was freezing because they’re these big old stone, cold places. But it just sounds amazing so it’s always worth doing.

GHE: It’s quite common in England to perform in churches – everyone I talk to over there says it’s a regular part of their tours, to play in a church at least once.

BO: Definitely. And also because a lot of churches are not being used so it’s a way for them to get people in.

GHE: I always feel sorry for the sounds guys though – you’ve got these buildings that are absolutely designed for acoustics and then you ahve to get in there with microphones and instruments and things.

BO: Exactly. I’ve tried to do it with a band and it’s been a nightmare – it’s just been a wash of sound. I find the less people the better it sounds.

GHE: I’m really chuffed you’re coming back to Australia – how have you found the audiences when you’ve played here?

BO: I have to say, last January [2012] I came and played my first gigs in a long time and the audience was f*cking fantastic. I couldn’t have asked for more. Incredibly responsive, just real listeners, really present. I just felt an incredible connection and for me to have that as the beginning of coming back after a while away was just wonderful. So I’m very excited to come to Australia, always.

GHE: I think last time you were here it felt like a lot of people had been waiting a long time to hear new music from Beth Orton.

BO: I know, exactly, I hear you. I’m really flattered! It was like gosh, I’ve been having kids, playing music, writing songs, playing with Bert Jansch, doing my thing. Just not terribly publicly, but still very involved. But of course I did forget that there’s that other part of it which is actually playing music to other people. I kind of handed my life over a little bit to Bert and making music with him – which was fantastic, no regrets there. But it’s lovely to come back and people be like “Where the hell have you been?”.

GHE: You must have got that a lot – almost like a sigh of relief.

BO: I think so. I think Australia seems to be really open to it. America seemed to be a little more critical – like “What’s she up to?”. I think the thing with this record, Sugaring Season, is there are no bells and whistles, there are no tricks and gadgets. It’s probably one of the most straight ahead records I’ve ever made. It’s also one of the deepest records I’ve ever made – and I’m not entirely sure what I mean by that. It’s not like I’ve reinvented the wheel or anything but I’ve got rid of anything extraneous. I feel it’s a very beautiful sounding record and I think a lot of the records I’ve made have been but I’ve played with sound before. With this record there’s a warmth to it. It’s funny, different audiences have different reactions and sometimes people in America are like “c’mon, do the old thing!”. And it’s exactly not the old thing, it’s a little bit different. Whereas I find in Australia they’re a lot more open to it all which is lovely.

GHE: The album’s been out for a while now. Are you ready for the next thing?

BO: I kind of am. I’m ready to make another record. I have the material – I wrote a lot of songs during the time I wasn’t [around]. I basically had a daughter, then I was bringing her up and then one thing led to another and I got working with Bert – it was quite a fertile ground for writing. For me Sugaring Season has parts one and two and I’ve got part two to come. It’s on the horizon and I’d like to just get on and do that really and not waste too much time if that’s possible.

GHE: It seems like every artist with a new album, by the time they’re ready to go out and tour it, they’re already ready to make the next thing. I guess that’s the artistic process.

BO: I don’t feel over Sugaring Season but I do feel, like I say, that it had this second part to it that would make sense live. There’s other songs that I really want to add to the “canon”.

GHE: You mentioned Bert Jansch a couple of times, and I don’t want to dwell too much on your work with him because I know if was a while ago now, but I did want to ask what it was like to work with such a legend?

BO: I know! One of the things about working with Bert was the normality of it. Going around his house and drinking tea and eating biscuits. He wasn’t a man of airs and graces – a very very regular kind of individual, it’s just he’d pick up the guitar and shred. He’d have guitars around him all the time. It was kind of confusing in its simplicity – also for me to sit and play and try and keep up with him, sometimes I’d just freeze. And sometimes it’s incredibly uncomfortable just to sit there and have him just believe in what I’m doing and what to make music with me. I’m just like “What the heck??”. He was someone I always wanted to work with, back in the days of Trailer Park I thought it’d be amazing to have him play the guitar on that record. As it was I met Ted Barnes which was fantastic and went on and worked with him. But there I was with Bert and I know idea how soon he was going to die [Bert Jansch passed away in October 2011]. I didn’t know that in a matter of a few of years he actually going to die. So I just sort of felt like he was a greater cause in some way – I didn’t know what I meant by that. I had a baby girl, I could afford to live for a minute, I’m just going to go into this world and this will be my teaching for a while. I’m just going to school myself and sit with Bert and learn what I can and tour with him a little bit and record with him. Somehow that gave my life a sense of routine somehow – just to go and hang with him and his wife make music. He was a lovely man – very patient actually.

GHE: I love that you guys created a touchstone between the folk revival of the 70s and 80s and the modern folk singer. Almost like a passing of the torch or one generation teaching the next.

BO: Absolutely. That’s a very nice way of putting it. It is that – it’s this sense of passing it on. I wouldn’t say that I’m holding his torch because God knows that would be too immense. But am very lucky to have had that time and it did influence the record that I’ve made, Sugaring Season.

GHE: Just finally, you only have four dates this time around. I hope you’re going to come back soon because I know you have a dedicated fan base here in Australia.

BO: I hope so too. I’d love to come back [next] January or February if possible and possibly with a band. That would be fantastic. And also with some more songs – I will play some new songs during the sets [this time] as well as Sugaring Season and as well as the old songs. I’ll play as long as people want me to, or let me. I hope I come back soon.

GHE: Thank you so much for chatting with me tonight.

BO: Thank you so much – cheers! See you in Australia.

<strong>Beth Orton is touring for Heavenly Sounds this May. The full list of dates is below:

Monday 6th May – St Joseph’s Church, Perth, WA
Wednesday 8th May – St Michael’s Church, Melbourne, VIC
Friday 10th May – St John’s Cathedral, Brisbane, QLD
Tuesday 14th May – St Stephen’s Uniting Church, Sydney, NSW

Beth Orton to Tour for Heavenly Sounds

Beth Orton
Image Courtesy of Beth Orton

Brit Award winner and Timber and Steel favourite Beth Orton is the latest artist to be given the Heavenly Sounds treatment when she hits Australia in May. Touring a selection of the nation’s churches and cathedrals Orton will be promoting her latest album, the wonderful Sugaring Season. The full list of dates are below with tickets on sale Monday 4th March:

Monday 6th May – St Joseph’s Church, Perth, WA
Wednesday 8th May – St Michael’s Church, Melbourne, VIC
Friday 10th May – St John’s Cathedral, Brisbane, QLD
Tuesday 14th May – St Stephen’s Uniting Church, Sydney, NSW

Interview: Michael Kiwanuka

Michael Kiwanuka
Image Courtesy of Michael Kiwanuka

Michael Kiwanuka’s music has been alternatively labeled folk, soul, R&B and more. And while all of these labels fit in their own ways none of them truly capture the beautiful music this man makes.

Kiwanuka is heading to Australia for Bluesfest in March and also has a handful of shows in churches thanks to Heavenly Sounds. Gareth Hugh Evans caught up with Michael Kiwanuka to talk the upcoming tour, his association with the Communion label and his current recording projects.

Gareth Hugh Evans: You’re heading out to Australia very very soon, in March. This is your second trip here, is that right?

Michael Kiwanuka: This will be my second trip, yeah.

GHE: How did you find it last time you were out here?

MK: Yeah, it was good. It was short, but it was good. I really had an incredible gig in Melbourne. I can’t remember the venue – it was a small, club venue – but it was a blast [Kiwanuka played at the Corner Hotel in Melbourne with Ben Howard and Tim Hart in 2012]. I remember Splendour in the Grass too, and that was a really fun gig too. My memory is fond of Australia.

GHE: I saw you at The Factory Theatre in Sydney. It seemed like the crowd was really warm towards you

MK: I think so! It’s quite hard to tell. Sydney was a tough one – we hadn’t done a gig for a few weeks and it was a new lineup. I was a bit nervous. But by the time we got to the Melbourne gig we’d warmed up so I was a bit more relaxed. People were so nice – it was one of my favourite gigs of last year actually.

GHE: This time around you’re coming out for Bluesfest which is one of the biggest and most highly respected festivals in Australia. I think you’ll fit really well into the festival.

MK: It’s going to be awesome, yeah.

GHE: Do you know much about the festival?

MK: Not really, no. People say it’s a great festival but no, you don’t really get told – you just get told you’re going here to play. But when I’ve mentioned it to other people they always speak of it fondly. I know it’s supposed to be a great lineup.

GHE: Yeah, the lineup’s huge this year.

MK: I’m really looking forward to seeing Paul Simon.

GHE: And then you’re also doing a church tour with the Heavenly Sounds people.

MK: Yeah, I’m really looking forward to that. People are saying that the venues are really nice.

GHE: Have you played in churches before?

MK: We do it quite a lot in England. It seems to be the new “thing”. And there a few churches that are venues now as well. The last few times we’ve played in a venue like that it’s been quite nice. Looking forward to doing that again.

GHE: It’s something different – they’ve only really just started doing that in Australia. I think there’s something about the type of music you play that’s going to lend itself to the acoustics of a church.

MK: Yeah, I think so. And it’s nice to sing in churches. The acoustics are nice so singing there is always nice. Natural reverbs and stuff.

GHE: Do you worry about the sound guys struggling with the natural reverbs?

MK: It can be tough. But my music, and the set up we’re going to have for this tour, it’s going to be pretty easy. It’s pretty stripped back – just myself, a bass player and a drummer. A lot of the songs are pretty intimate. It’s easier with me but it can be a nightmare.

GHE: So there’s just the three of you in the band this time around?

MK: Yeah, most of year that’s what it will be like. Some gigs we’re doing before that will be just two. I love doing that anyway so I’m used to it.

GHE: I think I first came across your music through Communion – the record label and community. How important were those guys in establishing yourself and getting your music out there?

MK: Yeah they were really important. Firstly as a platform to play. They’ve been doing nights for a while and they already have people that go to their nights regularly. I was at one of their nights last night, just hanging out. It was full – the London show was rammed. If you get on the bill of one of those you get to play your music to more people and then get your own gigs. And then on top of that they have a web site and people find your music from that – they’ve already got a fan base. And also the people are so friendly. I love Communion – there’s so many reasons why I enjoy it. They’ve been really important in my career so far. I still value them and very much keep them involved in my music.

GHE: They also seem to have quite a bit of, um, quality control I guess. One of the reasons I started visiting their web site so regularly and following them on social media is because almost every single band or artist they recommend is fantastic and those artists seem to gone on to bigger and better things.

MK: The last years – 2011 and 2012 – there’s a few artists that were lucky enough to get some exposure so there was a lot of good traffic through that record label. And they’re pretty specific in what they put out. They sign a lot of acts but they also don’t sign stuff if they’re not into it. Because they’ve stuck to their guns and ethos. I feel lucky to be part of it.

GHE: Last time you were here for Splendour your tour was really short and then this time when you’re out for Bluesfest the tour is really short again. Are there any plans to come out and do a much more extensive tour of Australia?

MK: I’d love to. I’m still picking things up in this business but it seems like people want to go to as many places as possible – so you can only be in places a brief time. And the only places that really benefit are places like America and the UK. Maybe places like Australia have lost out for me but maybe the next album we will have more time to stay in places rather than try and get to everywhere in one go. It would be great to play there more often.

GHE: Well its great that you’re able to even do the small amount of shows that you have scheduled while you’re here.

MK: Yeah. It’s great to do the side shows but hopefully they go well and people like the music and as [my career] goes on I’ll get to play more places and different kinds of gigs.

GHE: Is there another recording in the works?

MK: Yeah. I’m actually at the studio now. I’m recording new music and I’m excited about it. I plan to put out some EPs this year. And all the time I’m writing so the next album might be some time next year. There’ll be new music for people to see soon!

GHE: Thank you so much for chatting with me today.

MK: Thanks, it’s been good!

Michael Kiwanuka will be appearing at Bluesfest from the 28th March to 1st April. His Heavenly Sounds tour dates are below:

Tuesday 26th March – St Michael’s Church, Melbourne, VIC
Wednesday 27th March – St Stephen’s Uniting Church, Sydney, NSW
Tuesday 2nd April – St John’s Cathedral, Brisbane, QLD

Interview: Julia Stone

Julia Stone
Image Courtesy of Julia Stone

To round out the year our editor in chief Gareth Hugh Evans managed to find some time to chat to Julia Stone, arguably one of the biggest names in indie-folk music in Australia. Julia Stone has spend 2012 focusing on her second solo album By The Horns, taking a break from Angus and Julia Stone, and will be touring the country next year for Heavenly Sounds.

Gareth chatted to Julia about the differences in being a solo artists than being in a duo, playing in churches and what’s in store for her in 2013.

Gareth Hugh Evans: You released your new solo album, By The Horns, this year. How do you feel it’s been recieved?

Julia Stone: I feel like this year around the record, going around and playing the shows, doing the promo for By The Horns, all of the experiences that have come out of that have been important for me I think. Important because it was such a big thing to step away from Angus and me as a duo. I guess the question you’re asking me is how its been received – it’s such a hard to measure how something has been received other than the shows and the shows were all really fun and nice. Me being on stage was such a growing experience. I found a lot of confidence through doing this record on my own and being on stage on my own. It’s definitely taught me a lot doing this record and it’s been really amazing everywhere that we’ve travelled with the band.

GHE: It feels like this year you’ve had a real focus on being a a solo artist. Obviously this is your second solo album but the first time around it felt like you had the security of Angus and Julia Stone as the recognisable “brand” whereas this time around you’ve really had to commit to being the solo artist Julia Stone. Is that a fair assumption?

JS: Yeah, it’s very different from when we both made our first solo records, which were I think for both of us more side projects to Angus and me as a duo. This time around we definitely wanted to go and tour as solo artists and we wanted to play the songs that we had worked on. We felt really inspired to do that at the same time which was really a simple decision to make – it was just a conversion Angus and I had at the end of touring the last record Down the Way. We toured that for long I think it was pretty natural to want to explore the other stuff that we had been working on, even while we were on tour together.

GHE: Yeah, last time around it felt like more of a side project.

JS: Absolutely. It was definitely more of a focus for both of us this year. We didn’t really know how long we were going to do this for, how long we will do this for, it was just a new chapter which means going out as solo artists and playing music in that regard.

GHE: When you’re approaching writing a Julia Stone song as opposed to an Angus and Julia Stone song is there any difference? Or are you just writing whatever songs come through you at the time?

JS: I just write the songs. A few of these songs that went on By The Horns I used to play live with Angus. And I know that some of the tracks on Angus’ record we were playing as well as Angus and Julia songs. I think we both write in exactly the same way but then the production sort of changes. The way we work in the studio separately is different because there’s no need to take into account that it’s a duo and the other person’s voice needs to be in there and how would that work.

GHE: Does it feel a bit weird to not only take into account that that second voice isn’t there but also not having another person giving you a contribution to a song that you’ve written? Does it feel weird being the only person who has input on the song?

JS: If I was the only person then it might feel weird but it’s never the way, at least in my experience, of making music. There’s so many other people. I’m always collaborating with other people from writing the songs to playing them to people. I always feel like when I’ve finished a song that I like to play it for a friend or whoever’s around – that’s the first collaboration, the moment of sharing the song, and certainly when Angus and I were on tour together and we were both writing on the road he would quite often be that first person I would share a new song with. And a lot of the songs on By The Horns he probably was the first person to hear them. Then getting into the studio there’s a producer and there’s musicians and all those people who are there, have ideas and have personalities and unique ways of hearing things and they’re all contributing. And then collaborating with a live band on stage. There definitely is a difference when it’s a duo show because it’s Angus’ song, it’s my song, it’s Angus’ song, it’s my song. But just in terms of the songs themselves and having that extra voice there – there’s so many guys on stage with me and they’re all singing and they’re all contributing. I have never felt once that I was alone or that I didn’t have the kind of support I have with Angus. I love being on stage with Angus, he’s a phenomenal person to perform with, but I’ve played this year with lots of great guys

GHE: We should also chat about the Heavenly Sounds tour which sounds like it’s going to be absolutely beautiful. Did you approach Heavenly Sounds with the prospect of doing a tour of churches or did they approach you?

JS: Y’know when it gets to me it just comes from my manager so I’m not sure how it all happened. My manager said “there’s this idea for a tour to play in churches” and he thought it would be really beautiful and he knows that I like playing in churches. Playing in Europe we quite often get to play in churches because there’s a lot of them there and a lot of them have been converted into music venues. I don’t think we’ve ever played one tour where there isn’t a date in a church and that’s including with Angus and these last solo tours. It’s just a really special way to make music, particularly for the style of music that I’ve been creating. I didn’t want to do another big Australian tour with all the regular venues – it was a good way to do another tour of Australia but do it a bit differently.

GHE: It’s a bit different to just playing pubs and clubs or even theatres. It’s great that you’re going to be playing in these venues that are pretty much custom built for their acoustics.

JS: Yeah! Every stone’s been laid with the thought of the choir and the voices of the preacher man being able to reach God. It’s pretty phenomenal the way they build those places. I know it’s a total nightmare for the sound guys. I don’t know what it’s like for other musicians, I certainly know what it’s been like for me and Angus, both of us individually on stage going “can we get more reverb?”. For our voices, we really love hearing them with reverb on them and I always ask if I can get reverb in the monitors because if you’re playing in a dry club it’s very vibeless if you’re just there and there’s just dry sound. That’s fine if you’re playing acoustically, like I love singing acoustic dry, I don’t have a problem with that sitting around a campfire or sitting in a lounge room singing a song but when it goes through a PA you want it to travel. And that’s the beauty of playing in a church – you don’t need to touch the sound effects, the room creates the exact sound you want. It’s why people like singing in the shower because the tiles in the bathroom, in the shower create such beautiful acoustics for people’s voices. Everybody sounds great in the shower – it’s because they’ve got reverb! And the church is the ultimate of that.

GHE: After the tour is over what’s the next plan for 2013?

JS: After it finishes I’m going to spend a little bit more time in Sydney with my family. And then I have a plan, which may change because it always does, but I’m moving in with a friend. I haven’t rented a home for a long time and I sort of decided that next year I wanted to have a home. I’m going to try and sort that out come March or April. I think that will be my focus, to gather my bits and pieces from the storage units around the place and set up a house somewhere.

GHE: Lovely. Thank you so much for chatting with me today, I really appreciate it.

JS: No worries Gareth, it’s nice talking to you.

By The Horns is available now. The full list of dates for the Heavenly Sounds tour are below:

Thursday 14th February – St Stephen’s Uniting Church, Sydney, NSW
Friday 15th February – St John’s Cathedral, Brisbane, QLD
Tuesday 19th February – St David’s Cathedral, Hobart, TAS
Wednesday 20th February – St Michael’s Church, Melbourne VIC
Thursday 21st February – Flinders Street Baptist Church, Adelaide, SA
Friday 22nd February – St Joseph’s Church, Perth, WA

Julia Stone Announces Heavenly Sounds Tour

Julia Stone
Image Courtesy of Julia Stone

We’re getting pretty excited about Michael Kiwanuka’s Heavenly Sounds tour next year but as it turns out it’s not going to be the first string of shows for the church venue based touring company. That honour goes to Timber and Steel favourite Julia Stone.

Having cemented herself as a solo artist with her excelent album By The Horns Julia Stone will be taking on some of country’s most spectacular churches and cathedrals this coming February. Stone is no stranger to playing churches having done so many times in Europe. “Always on tours when booked to play in an old church, which happens fairly frequently through Europe where many old churches now are converted into venues, we all get excited about the night” Julia Stone has said. “The room has a way of taking music and transforming it into something else – the walls carry the voices and the sounds – it’s as though the building itself were a part of the sound… adding its own voice to the songs”.

Julia Stone will be touring with Melbourne indie-pop artist Vance Joy in support. The full list of dates for the Heavenly Sounds tour are below with tickets going on sale this Wednesday 5th December:

Thursday 14th February – St Stephen’s Uniting Church, Sydney, NSW
Friday 15th February – St John’s Cathedral, Brisbane, QLD
Tuesday 19th February – St David’s Cathedral, Hobart, TAS
Wednesday 20th February – St Michael’s Church, Melbourne VIC
Thursday 21st February – Flinders Street Baptist Church, Adelaide, SA
Friday 22nd February – St Joseph’s Church, Perth, WA

« Older entries

%d bloggers like this: