A songwriter, multi-instrumentalist and producer from Fremantle, Dave Johnson has enjoyed a sustained career as a musician.
After spending his youthful musical years with a guitar on his shoulder, thumb out hitchin', Dave navigated across the country from Broome to Byron busking, picking fruit, couch surfing and singing 'round camp fires.
When he settled in Freo, his next musical chapters began when he joined the award-winning Celtic band The Fling, recording two albums and performing at major folk festivals in Australia and Europe.
Next was traversing a solo path, which has seen Johnson release two studio albums: 'Leaving Time' and 'On A Clear Day'. It was during this time, Johnson got the job doing the FOH sound engineering at one of Freo's favourite local live music venues, Clancy's Fish Pub.
Dave also decided to step back from touring and gigging locally, the extra time he had dedicated to helping others as he began a choir/ singing group at a local homeless shelter, which later became the much loved Starlight Hotel Choir.
He also found himself teaching music at a juvenile detention centre to some of the most troubled and traumatised kids in the state.
Some six years removed from his last solo album, Dave has poured the emotions and experiences at the homeless shelter and detention centre into his new record, 'Inequality BLVD'.
In between your last album and your current record, 'Inequality Blvd', you've experienced firsthand the edges of society who are often forgotten; starting a singing group at a homeless shelter and teaching at a juvenile detention centre. How have these experiences fuelled the material that features on 'Inequality Blvd'?
Through these experiences, my third album has kinda been writing itself.
Running a choir out of a working homeless shelter is challenging, but very rewarding. You really do get to see how hard some people's lives are. I've also been teaching music at a youth detention centre to some of the most troubled and traumatised kids in the state and once again, it's a real privilege to be working with these kids through music.
Music is an incredible tool for driving positive change in society in general, but especially in this environment. I see first-hand how creative expression that happens naturally when learning music can empower and nurture open and honest communication.
Mentoring can be a positive conduit for hope, guidance and change. I see kids becoming more thoughtful, reflective, expressive and respectful as they grow and become more confident in their communication. I see a softening of the harder edges as they connect with music.
Creative expression in the form of music can be a real anchor for some of these kids who are in a difficult environment and are going through the harshest of times. I work at the detention centre through a fantastic not for profit NGO called the Australian Children's Music Foundation who put great music programmes into most youth detention centres around Australia.
Inequality is a theme that threads its way through the album. It's been on my mind and as a songwriter, I wanted have and share that conversation. Throughout the world, our economies seem to be geared towards an ever increasing wealth divide.
Here in Perth, you cannot help but see inequality. Just have a walk down Jutland Pde then step into one of our struggling homeless support centres. Rents are skyrocketing, people are sleeping in cars and shop entrances, and it seems our political conversations are about tax cuts that benefit the wealthy but no mention of increasing the social safety net or properly funding the organisations and programmes that do support our brothers, sisters, mothers, children who are in crisis.
The journey you've taken these past six years; how has that influenced directly your own music, creative processes?
I guess over the last six years, I've had a lot of time on my hands due to COVID and lockdowns. I'm a bit like a pig in shit when I get to hang out in my room for hours on end. I get to practice my bluegrass mandolin chops, fold my socks, do a bit of gardening and write songs.
Creatively, my biggest shift has been that my writing has been more concerned with an outlooking worldly view rather than an inward looking, broken love song kinda vibe. I've written enough broken love songs – narcissistic fluff – that I wanted to tackle some of the bigger topics that have been playing on my mind.
So, to do this well without putting on a preachers hat, I went to my musical/ lyrical mentors: Paul Kelly, John Prine, Louden Wainwright, Woody Guthrie. They said: 'Tell ya truth, be real and have empathy for your characters and any demons that they maybe struggling with.'
You don't stray from focusing on subject matter the vast majority of society are happier ignoring, letting others deal with; is it your hope by adding your voice to the discussion you can motivate people who otherwise wouldn't engage in such issues?
I reckon it's essential for a healthy democracy to have these conversations, fearlessly and without confrontation. It's the only way to learn and grow.
Without them, we are ill-informed and vote badly, leaving us to the whims of market forces, invested interests causing policy gridlock and short-term politics. It seems we have some big challengers ahead and it doesn't seem like there's time to sit on the fence or stick your head in the sand, so yes, I'm throwing my hat into the ring.
Some of the subjects you sing about include social and economic realities, the treatment of refugees, Indigenous issues; yet sonically, each song featured brims with character and a sonic brightness; what's the trick to distilling sensitive topics into songs that carry so much joy?
The tricky thing about writing songs that are political or contain a strong social commentary is to not sound preachy and treat everything as black and white.
To find the manifestations of such socials ills in real life tragedy is a far stronger approach. To blend the issue with the personal story and to step into the shoes of the characters that carry the story with empathy.
Sonically, I try to keep the production values high and musically. I always kinda ask the song what it needs. What instrumentation and sounds are going to most enhance the essence and intent of the song. This is the process I've used on my previous studio albums – 'Clear Day' and 'Leaving Time' – and makes every record different.
The recording process is a great opportunity to explore this. The second single from the album, 'Fear And Anxiety', a song about geopolitical instability and changing hegemonic powers, is a great example.
Phoebe Corke (string arrangements) came up with the idea of using the bowed saw (that's the handy persons Bunnings saw) as the main melodic instrument. Luckily there was a saw player living in my suburb – Merle Fyshwick. Fancy that! The same song features a programmed percussion arrangement called 'the marching ants' by Jamie David. It really seems to crystallise the feeling of dread.
Was there a particular song/s that you had more difficulty completing, bringing into the light that you had envisioned?
I guess 'Euphoria' was the most difficult concept to try and drag 'kicking and screaming' into song form.
It explores the issues about what happens when, individuals, communities and nations lose the ability to stay connected to reality in a desperate rush to believe what they want to believe and to stay 'up' amidst competing ideologies. Nothing escapes: religion, tribalism in sport, patriotism, sex, mutually assured destruction. It's all in there, a three-minute sparring round.
Do you have favourite track from this collection of songs?
At this very moment, I think my favourite is 'Let The Anger Go'. It's a conversation, an observation, and a counsel around a character (a teenager) in pain and bereft. It's simple, slow and splendidly melodic. The music and core intent are so incredibly entwined.
When I play this song live, I take off the guitar and just sing. It's a vulnerable song and I lose myself in Tony Bourke's piano playing to muster the emotion in the conversation. The conversation that's saying 'Don't let your anger screw up your life'. Anger can be such a damaging emotion and can be directed both outwardly and inwardly.
Away from the music, the friendships you've formed these past six years through the choir and detention centre; are they relationships you'll treasure for the remainder of your life?
The people in my my choir are very dear to me, we are like family. We get together two mornings a week for a good sing and do the occasional gig out in the community.
We call ourselves The Starlight Hotel Choir (the hotel without the roof). Not everyone is homeless but at some point, most have been and many have struggled with their mental health. They are all incredibly patient and understanding of each other and we have a great time singin' our favourite songs and writing a few of our own.
It's similar with the kids in detention. My goal every time is to go in there and have as much fun with them as I possibly can because the one thing they are missing in their lives is joy. The joy in a young person's eyes when they find they can play their favourite song or weave a melody around their own words and feelings. It gives them pride, self worth and resilience.
There are many other benefits like increased mental well-being and reducing self-harm. I was pretty chuffed when I came across one of my ex-students playing in a goth metal band at the Convenients Store in Northbridge.
You recorded at Sundown Studios with producer Elliott Smith; did that environment help shape the material the way you had desired?
The album was recorded at Sundown Studios (Eskimo Joe's old digs) by the wonderful and tireless Elliot Smith, who also drums on the album (two for the price of one).
Ben Franz who is on double bass and Tony (Tones) Bourke (piano) have both played on my previous albums and always manage to find the very essence and intent of the song and amplify that mood. I simply love their work.
The same can be said for Phoebe Corke who has done some beautiful string arrangements and sang backing vocals along with Prita Grealy. On 'Paralysis Tango' which is a bluegrass romp (DOOMSgrass) I couldn't go past Ian Simpson (Slim Dusty) on banjo. I've always been a big fan of Simmo's work with Sensitive New Age Cowpersons and Paul Kelly and Uncle Bill.
Luke Dux (guitar) put the edge in 'Euphoria' and 'Rage', and Jamie David put the dread in 'Fear And Anxiety'. I guess also as the house soundie at Clancys in Freo, I get to have a unique relationship with all the amazing talent we have here in WA.
What's the next creative project for Dave Johnson?
I'll be putting my hand up for any festivals around the country in the second half of 2023 and a country tour here and there. Also hope to get over to the east coast for a few shows but mainly, getting back to the good stuff – writing more songs, cleaning the house and getting my bluegrass chops up on the mando.
