Australian Music Week (AMW) at Cronulla Beach (this year 7-11 November) in Sydney is all about adjusting your sails for expanding horizons.
The fourth instalment of AMW featured 150+ artists performing across 3 days and nights, was a warm and cosy gathering of Australian industry and a few new Canadian friends; AMW also hosted Australia’s only dedicated music film festival and the official annual Folk, Americana and Country Music Conferences.
Panels discussed gender equity, mental and physical health as well as the health of the industry and the roles radio and industry bodies such as APRA AMCOS play as physicians.
Author of ‘Roadies’, Stuart Coupe’s panel discussion with Chrissie Vincent – 'The Power of Radio: Is Australian Radio selling our own talent short?' – was especially enlightening, hearing about how Australia’s quotas of local content were infrequently enforced (for commercial stations), and if we’re not hearing Australian music on the radio where are we hearing it, and how will we get to know if we like the taste? Radio isn’t going away in a hurry.
AMW also showcased Psykinetic’s Atmosphere software, the world’s first eye-controlled music technology, with Australian music fixture Steve Balbi (Noiseworks, Electric Hippies) and musician/ web developer Jessica Irwin performing their collaborative reworking of Steve’s track ‘Winners’. Launched in April this year, music creation has reached a new galaxy of accessibility for creatives living with a high-level physical disability.
Delegates from all sectors of the industry – managers, publicists, artists and even a union rep – milled about the ten venues and discovered new, world quality acts, even in the daytime, at El Sol, Brass Monkey, Low and Lofty’s, and St Andrews church.
On the final day, AMW announced their signing of the international Keychange Agreement – an initiative that encourages festivals and events to achieve 50:50 gender parity by 2022.
Performance highlights include Nathan Cavaleri and the on-fire twang of James Van Cooper (please don’t just pass on through). Nathan just completed a tour following his first solo release (‘Demons’) in over 20 years, first tour in about 6 years: it was beautiful, bounding and time-bending (we won’t take you for granted).
Brisbane via Japan-based indie-pop feline Jaguar Jonze shone with her whole band and flute, declaring Cronulla as “a really nice cul-de-sac”, and Tracy McNeil and the Good Life sparkled in a dazzling green-sequined dress.
Loads of Americana were wheeled in via vehicles known as Dan Parsons, Natalie Henry and Hayley Marsten, and St Andrews church held some honourable performances by acclaimed First Nations legend Shellie Morris and fresh Perth pop act Sydnee Carter.
Brass Monkey hosted the Made In Canada showcase, and a silent room was mesmerised by the magic of Luca Fogale and other maple-flavoured travelers Hawksley Workman and Adyn Townes. Lucy Neville shared her well-heard pop tunes (eight million streams)… someone get the name of her drummer – blistering without even trying. He plays with Ruel, apparently.
The heavy end wasn't forgotten about either, showcasing talent such as She Cries Wolf (having supported Parkway Drive and Every Time I Die), the very Australian melodic hardcore lads Stepson from Brisbane and trailblazers RedHook, a fiercely fresh but comfortingly familiar mix of all the influences you've wanted to hear together fronted with beautiful precision by Emmy Mack.
The Shire had it all happening for a brief moment in time as well, a fitting encouragement as summer festival season kicks. Though we could use some lessons in how to consume our own produce too. Please do keep your eyes peeled for chances to digest Aussie tunes every way you can.
