Very happy to announce that The Black Fins and I will be hitting the road later this year to celebrate the release of Brutal Dawn.
The Brutal Dawn Tour (took ages to think up) is coming your way in October/November to blow through smaller venues in all of the major cities in the Australian States and these will be my only headline dates on this album.
We decided after consulting widely with our Fan Club Focus Groups (one Facebook post), that playing pub type shows are the go.
It is clear that the people that like my music, also like listening to it while they are drinking. To me that sounds like a party. So if you want to have a party with me and The Black Fins, and a whole lot of ladies who will be leading the support bands on this tour later this year, have a look at the below links for all of the where, when, how much and who with. See you for a drink in Spring.
Fanclub Pre-Sale Tickets On Sale 9am Thursday May 25 here General Tickets On Sale 9am Friday May 26 here Pre-order Brutal Dawn here
Righto Ladies and Gentlemens, here’s a little update………..
Since the end of the Sooner or Later Tour I have been sitting around drinking too much, listening to Lynard Skynyrd and Little Feat, mulching, sorting out the garage, spraining my glass ankle again, going to Bluesfest, buying vinyl and busying myself stockpiling food and water for the forthcoming Nuclear Holocaust. It’s been a VERY busy school holidays I must say. But like all of the other kids, today it’s back to work for me.
This week sees the release of Isn’t It A Pity, the first tune from Brutal Dawn. Once again this record was made at La Cueva Recording in Byron Bay with Nick DiDia at the production helm and the trusty Black Fins on most of the instruments, along with Clare Bowditch and Ian Peres. Following the Civil Dusk Tour last year Nick and I returned to the studio and kept working away until we put the finishing touches on it in January. Isn’t It A Pity is accompanied by a stunning animated video made by Melbourne via Berlin collage/video artist Lucy Dyson. She has put together a clip that brings an aesthetic style that wonderfully compliments the colourful melody and unusual rhythms of this song, and expands on Karen Lynch’s artwork and design concepts of both Civil Dusk and Brutal Dawn.
While Civil Dusk concerned itself with decisions and consequences, this record riffs on that idea further by looking at the gaps between memory and the reality of the actual events. I became fascinated by this idea, strangely enough, by selfies. Let me explain. With the proliferation of cameras on phones, it is pretty obvious that these days, our lives are heavily, constantly documented in pictures and video. So, I was looking through my phone and found that my kids had taken a whole lot (dozens) of photos of themselves, their toys, random objects etc. But mostly, themselves. I realised that in those couple of minutes, my children already had more photos of themselves than there were in existence, of my entire childhood. I was the youngest of four, so by the time I came along the novelty of baby photos had either completely worn off, or my parents were way too busy washing nappies (yep) and combing people’s hair into neat parts and pig tails, not to mention the expense and inconvenience of developing film, to take photos. I know of three pics of me under five. Anyhow, It got me thinking about how my ‘history’ exists almost entirely in my mind and in the versions of events of my family and friends. For children now and into the future, it will be mostly there to re-watch. So I tried to look between the pictures in my memory and see what was there. Anyway, that was a broad concept for this record and how it related to Civil Dusk.
Brutal Dawn will be released on the 26th of May and around that time there’ll be some information about touring and tickets later this year.
Through the 70’s and 80’s I sat in the shared bedroom of my family home with my brother Paul and listened to the music of our older brother stream through the vee-jays. Our end of the house hummed and thrummed to the sounds of The Beatles, David Bowie, Alice Cooper, Bob Segar, Steve Miller, Elton John, Dire Straits and ACDC. But one particular artist always made my ears prick up….. James Taylor. Who could ignore ‘sweet dreams and flying machines in pieces on the ground’? Even as a seven year old that lyric and song had an effect on my imagination, without understanding its context.
Amongst all of that classic songwriting JT’s music stood out to me as the most evocative. Eventually I got my hands on my brother’s cassette of James Taylor’s Greatest Hits with the rerecorded version of Something In The Way She Moves and wore it out. It was a plain white cover with the songs listed on the front. The artwork was a beautiful representation of the simplicity and almost spiritual purity of the music inside. Direct, uncomplicated hymns and the most under rated guitar playing of all time.
Years later in Powderfinger we used to play a cover of JT’s song Lo and Behold from his first record Sweet Baby James. All around us people were listening to Primus, Jane’s Addiction and Faith No More. I never got it. My heart was with Sweet Baby James. I guess, judging by my last record, it still is.
So, to be invited to play some shows with an artist of this stature is a true career highlight for me and my band The Black Fins. We are beyond excited.
For the uninitiated, start here and you will never look back………….A 1971 concert featuring JT, Leland Sklar, Ross Kunkel and Carol King tinkling away on the piano.