Lorde’s rise to the global stage was nothing short of meteoric. Glorious as it was fascinating to behold, 2013 saw her name light up from Auckland and reach the world over. Her debut album Pure Heroine blew up seemingly overnight and earned her fans in high places. Praise from David Bowie, critical acclaim, festival slots, Grammy Awards and enormous tours followed. 17, armed with a sound and maturity many described as being beyond her years, she became pop music’s antithesis and icon. Lorde was one in the same. In the three-odd years since though, things have gone a little quiet in the Lorde camp – at least as far as new music is concerned.

She’s reached the same elusive status as Frank Ocean and HAIM, with fans all over the world and social media speculating about when she’d be dropping a new album, a single, anything. She managed to sneak in collaborations (Disclosure, Magnets), contributed to a mega-franchise (The Hunger Games Soundtrack, Yellow Flicker Beat) and continued to champion her brand of girls building one another up.

Midway through last year; however, there was a peep. A hint dropped into the laps of fans and speculators who suggested that perhaps she was a one album wonder. In August, a fan commented on an Instagram post demanding to know whether or not they should keep holding out hope for a new album. When asking if they should “give up” on Lorde as an artist, the musician responded with a firm, forthright message about artistry and upcoming music.

Give up on me if you want to! I’m an artist, I write a record when I have enough special stories to tell, and it’s all me, every melody, every lyric, not some team who just start the machine up every eighteen months like clockwork. The record is written, we’re in the production stage now. I’ve worked like a dog for a year making this thing great for you guys.

It was another few months before she graced a stage again, hitting up the Third Annual Ally Coalition with a rendition of Robyn’s Hang With Me, marking her return to performing for the first time in half a year. On the eve of her 20th birthday, she shared an update about her sophomore album in which she confirmed that it was well on its way. She spoke of the sparkling wonder of moving into adulthood (but also in not quite knowing how to do so). She wrote of the way the makeup and hair and free handbags and paparazzi had faded away and instead that every one in a while she meets a fan and feels “this SHOCK of love”. She told of how she’d spent the year learning and growing and that she “maxed out every single emotion I have in the best possible way, the colours still aching behind my eyes like this weird blissful hangover.”

And of course, that she’d written an album.

https://www.facebook.com/lordemusic/posts/1398988346785548

That was late last year, rounding off a relatively tame 2016 in the public eye – which, as evidenced by the fact that such a year produced an entire album, isn’t to say it had been so behind closed doors. Now, we are mere hours since the release of her new single and Lorde is ready to show us “the new world” through her new song Green Light – her first single in almost two years. You can check out the brand new music video for it below:

https://www.youtube.com/watch?v=dMK_npDG12Q

With a number of teaser snippets sprinkled across Twitter along with a handful of small-scale events in Auckland, Lorde has given us a preview into what we can expect of her new material. So far we can gather that it’s fiery, fast and as confident as ever – perhaps even more so. Where she once favoured a stripped back production, there’s a fervent, urgent energy surrounding Green Light and it’s infectious. The world is ready for the party to start and everything is bright, fresh and new.

Image: Twitter

NYC rap queen Dai Burger‘s mission is to keep asses shaking across the globe and right now, it’s our turn Down Under to turn up. Known for her 2014 mixtape IN YA MOUF and her feature on Darq E Freaker’s Choppin Necks, she’s here for legendary queer music festival Yo! Sissy‘s first batch of Australian dates. Full of life, colour and charisma, she’s got energy and enthusiasm that’s nothing if not infectious and we felt it first hand when we asked her a few rapid-fire questions recently.

You’re replacing JD Samson for Yo! Sissy – have you been to or played any of their parties before? How did that come about?

Yes! I first met the Yo! Sissy crew when they brought me out to Berlin for their festival, which first of all, was amazing. And I also had the pleasure of seeing JD Samson perform there as well, so I totally understand the disappointment of JD being unable to perform for Yo! Sissy Australia. But you know, we all have our moments and JD’s time of healing opened an opportunity for me to reunite with the Yo! Sissy gang. It’s an honor and a pleasure to pick up where she left off. Its sure to be amazing

This tour is your first time Down Under – what can we expect to see when you come party with us? Do you have any expectations for what it’s going to be like playing here?

I truly have nooooo expectations! Positivity follows me everywhere I go, so I am just so delighted to explore & meet my australian friends in person & give em a dose of the Burger the only way i know how…. with a BIG ASS BANG!

You seem to have a big focus on embracing yourself, individuality, being true to your style (musically and otherwise), being open and positive about sex and sexuality and I’ve seen people refer to you as a role model – where does that comes from? Is it something you’ve always had?

As an only child, you could imagine how much time I’ve had with myself to actually decide WHO I AM. And the first point of reckoning is just realising that you can’t decide…. you just are who you are. So with that being said, what choice do we have but to embrace that, and heck, show it off at all times. There is only ONE YOU. So yes, I encourage being the best you possible, flaws & all.

Why do you think people seem to respond to that so much/well?

I think its something about being genuine that will always attract other genuine beings. I just keep it real. Real gon’ always recognize real.

Who were your role models coming up?

Definitely my mom. She raised me as a single parent and just really showed me what it is to be a women of merit and what it means to provide by all means. She truly taught me the meaning of having “drive”. Its embedded in me.

I’ve read interviews here you’ve spoken about lack of support and representation, especially as a woman, in the rap game… but it kind of seemed to work out for the better almost and now you have a pretty wide, dedicated and diverse following, was that surprising?

It is surprising and omg do I LOVE MY FANS! Right! Who ever thought I would have fans across the world! And they are the reason I continue to perfect my craft…. But you know, I’m still sometimes pocketed as an artist and I can’t wait until that day where I can be heard by THE WORLD, and not just be confined to who people think I am, or think I should be.

https://www.youtube.com/watch?v=OttmmjhV8Fo

Have you noticed much of a change since then in terms of getting recognition or support from the Powers That Be for lack of a better term? The “regular straight guys” and people who might have not really got it before, stayed quiet and slept on you.

I mean there are always gonna be folks who “don’t get it”. But I pays it DUST, and pumps to the next function, hair swinging, outfit banging *sunglass emoji*

Fashion & style seem to make up a big part of your music and performance – has that always been the case? Do you do all the styling for your videos and shoots yourself?

Always. I’ve always had a knack for fashion. Dance and fashion. My two passions that I stuck to, and followed through on, and combined, the two rolled up into this magical lil ball of musical energy. And poof! here I am. Still styling’ lol.

Are you still working as a stylist (and doing nails!) or has that taken a backseat to music? Is it something you’d like to or are continuing to do?

I am a Jill of ALL TRADES. I literally do it all. I paint my friends nails if they ask. And sure, I’ll dress someone if they ask me to. I’ll always be able to dabble in this. Its just who I am as a girl. I like clothes and hair and nails and make up and glitter and fun things. You name any activity and sure! I’m usually always down.

https://www.youtube.com/watch?v=gleQPBOC9tw

You’ve been doing some pretty cool collabs and features over the years and recently with Fortunes. and Darq E Freaker. What have you got cooking for 2k17- I’ve heard we might be getting a new EP?

YES! I love working with other cool driven artists and Darq E is like a musical Bro to me. I let the music speak to me. If I vibe to it, I hop on. Simple. BUT YES! My next project is in its final stages and I’m just so excited to share what I’ve been working on. Ready to share my growth. And yea, I want to continue making asses shake across the globe. This is my mission, 2017 as my witness.

 

Dai Burger Australian Dates

Sat, 28 Jan – Yo! Sissy Goes Down Under, Imperial Hotel, Sydney
Thu, 2 Feb – The Curtin, Melbourne (tickets)
Fri, 3 Feb – Yo! Sissy Goes Down Under, Woolly Mammoth, Brisbane (tickets)
Sat, 4 Feb – The Bird, Perth (tickets)
Sun, 5 Feb – Ancient World, Adelaide

Image: supplied

American singer, songwriter and actress Keke Palmer isn’t one to stay quiet when something doesn’t sit well with her. Case in point is her lambasting of  Trey Songz after discovering he filmed her without her permission to use her likeness in his latest music video.

Palmer has been in the spotlight for a long time (she first came to attention in the early 2000s) and has been vocal about representation, sexuality, equality and self-empowerment (her song I Don’t Belong to You and it’s corresponding video in particular, capture that). Over the weekend, she looked to be starring in a new music video, though it was soon revealed that she had no idea she was even being recorded at the time.

In a series of tweets, followed by Instagram videos, the 23-year-old spoke about how she had declined to participate in the video clip for Trey Songz Pick Up The Phone. She spoke about how the singer then attempted to persuade her to participate by giving her food and alcohol before adding the weight of sexual intimidation in an attempt to get her to buckle under. Palmer went on to describe the situation, saying that she hid in a closet because she felt unsafe in her surroundings and that pointed out that even after she declined to be filmed, he disrespected her wishes by secretly filming her: “when you look someone in the face and they say “I understand. You don’t have to feel pressured to do the video” and they STILL put you in it, it is a violation.” The video was brought to her attention by a fan who had seen the clip.

This is preposterous. How am I in this video Trey? After you found me in a closet HIDING because I was so afraid of anymore conflict. Literally my last option was to hide because you all would not listen when I said I did not want to be in the video the FIRST time. Just cause you give someone food and alcohol and throw in a little sexual intimidation doesn’t mean they will buckle. Yet, you still disrespected me as a young women, whom you’ve known since she was TWELVE. YOU STILL, defied my wishes and in turn showed your lack of respect for a brand that took me fourteen years to build and put me in the video against my wishes. Come on bruh, I clearly said no and you said okay, yet I was being secretly filmed when you told me “let me just show you the idea”?? Wow. This is what I’m referring to in my previous post, this is the sexism and misogyny I refer to because if I was a dude, he wouldn’t have even tried me like this. Let this be a lesson to all, I’m not for the bullshit. I’m serious about my business and you will not use my likeness without MY permission. When you in front of a boss you treat them like one, like I treat YOU. NO MEANS NO!!!!!!! People have to listen to women and stop questioning them and their intelligence. Speak up, cause when you look someone in the face and they say “I understand. You don’t have to feel pressured to do the video” and they STILL put you in it, it is a violation. It would be great to be able to handle these things privately but why when they aren’t respected?

A photo posted by Laurennnn Palmer (@kekepalmer) on

While the video has since been taken down, Songz took to Twitter to respond with: “Babygirl buggin. Point blank period. Got my number, coulda called, saw the cameras and the lights, heard action.”

https://www.youtube.com/watch?v=DfMKmuzaijA

Screen Shot 2017-01-26 at 10.54.55 AM

Imade: Billboard

It’s not even February, and 2017 is looking to be as musically rich as the last, with a heap of releases, announcements and videos already in our laps. Here’s four of our favourite videos from the year thus far.

Bonobo ft. Nick Murphy – No Reason

https://www.youtube.com/watch?v=ebzEEEdjHj0

More surrealist art film than music video, the new clip from Bonobo is a bit of a trip. The music video comes following last Friday’s release of Bonobo’s sixth album Migration and sees him collaborating with longtime pal Nick Murphy (formerly known as Chet Faker). Directed by award winner Oscar Hudson, the short film takes influence from distorted realities such as in Alice in Wonderland. Filmed entirely in real life, the character growing inside a Japanese house as everything else seems to warp throughout the course of the clip, representing the theme of relationships and the ephemeral.

Jarrow – Mutual Feelings

https://www.youtube.com/watch?time_continue=238&v=993zJEvgkZY

Mutual Feelings is the third single off Melbourne musician Jarrow’s (Dan Oke) debut album and he’s just released the music video to go with it. Speaking on the song, he said that “Mutual Feelings was written after a chance encounter with a particularly eccentric woman in a psychology class I had a few years ago. I wanted to capture the immediacy and energy of the song with an upbeat and colourful video to match, so I turned to my film making buddy Max Wood for help. This was our first collaboration together.” What better place than the vibrant,  inner-city suburb of Footscray to shoot such a video in? There are mirror images of iconic Footscray landmarks spliced throughout, providing a (perhaps surprising to some) beautiful urban landscape turned into  psychedelic backdrop for Dan to play against.

Timber Timbre – Sewer Blues

https://www.youtube.com/watch?v=1h5ePI_cvHk

The first single off their upcoming fourth single, Timber Timbre’s Sewer Blues calls to mind Nick Cave & The Bad Seeds almost instantaneously. A hazy, dystopian mesh of melodic spoken word and fuzzed out synthesisers set against a heavy beat, the song is commanding and visual at once. The clip they’ve released to go along with it carries on in a similar vein: all out of focus and black and white. It’s the kind of clip that lingers once it’s over, an echo of modern gothic in bleak, almost dystopian, moment in global political history.

Sleaford Mods – BHS

https://www.youtube.com/watch?v=GQZN01Cqzek

The first single from their upcoming album, English Tapas, BHS is Sleaford Mods’ unapologetic reminder of their ethics and politics and the video, while comical, plays on it even further. The duo rally against the 1%, voicing their support for those who are denied human and civil rights as well as the unfair distribution of wealth in the modern world. In both song and visuals, BHS details the demise of British Home Stores (BHS) was a chain of department stores in the UK controlled by Sir Philip Green. While the stores under BHS control closed, 11,000 jobs were lost and  22,000 former employees without retirement income, Green had taken £400 million in dividends and was sailing the Mediterranean on a newly-purchased super-yacht. The video, shot fittingly on a yacht, paints Green as a greying, greasy fat-cat rolling in the money he ripped off from the workers who lost their jobs. It’s funny, until you realise that it was in fact, a very real event and the kind of thing that happens all too frequently.

Image: provided

A talented hip-hop artist in his own right, Taylor Bennett is the lesser known (though perhaps not for much longer) younger brother of Chicago’s Chance The Rapper. Overnight, he will celebrate the milestone that is his 21st birthday and he has decided to kick off the celebrations and this next stage of his life by coming out as bisexual.

In a series of tweets, Bennett, who is dropping his short film, which shares the name of his 2015 album, Broad Shoulders next week, wrote that “Growing up I’ve always felt indifferent about my sexuality and being attracted to one sex, and today I would like to openly come out to my fans…I do recognize myself as a bisexual male and do and have always openly supported the gay community, and will keep doing so in 2017.”

Fans were quick to throw their support behind Bennett’s announcement, many feeling encouraged by his decision to come out not only because he is a hip-hop artist, but because the issue of bi erasure is both real and damaging. One fan Tweeted thanks and praise, saying “proud of you man, bi men do exist…”, while another thanked him for speaking up before sharing the hashtag #BiPride and a number of network handles.

https://www.youtube.com/watch?v=bkJQF3kKD6Q

However, some (namely Reddit) have also pointed out that Bennett has a somewhat checkered past. It is undoubtedly a wonderful thing that there is now another member of an industry where hypermasculinity and homophobia are well documented who has come out. It’s particularly important considering his high profile connections, but there is the question of whether or not all his previous wrongdoings are going to be overlooked now.

While some have taken to task his use of the word “gay” as a slur in the past (though this is much to be said for internalised biphobia in this instance) and the more troubling issue of Bennett’s involvement in a 2014 assault which left a young man permanently brain damaged has come up. For his part, Bennett had turned himself into police and was later charged with aggravated battery for causing great bodily harm. Since then, he has been involved, along with his brother, in the 2015 #FaithInAction social media campaign which promoted anti-violence in the city of Chicago by getting hashtags such as #SaveChicago and #PutTheGunsDown trending.

Openly discussing sexuality and identity is incredibly important not only for now, but for future generations of music lovers throughout hip-hop and beyond, and Taylor Bennett deserves support and praise for that. It’s important to consider that an event such as this doesn’t automatically wipe a slate clean, or necessarily allow one to forget past lapses in reason and behaviour. Rather, we can look to the future, and be hopeful that Bennett will use his celebrity status and the public discussion surrounding his sexuality for the benefit of the LGBT community and of its perception within hip-hop, and that his influential status and behaviour will continue down a non-violent, admirable route.

Image: The Mash

Drawing from the staggering 364 Australian albums released in 2016, the judges for the 12th annual Australian Music Prize (AMP) have managed to pluck 12 of the finest as contenders for the big prize. Coming in at a cool $30,000, the AMP is the nation’s richest cash prize for an Australian album and celebrates the creme of the country’s musical crop. The shortlist, which was announced today, features a decidedly eclectic selection, as is testament to how incredible 2016 was for Australian music. The nominees range from Aussie legends like Nick Cave & The Bad Seeds and their sombre Skeleton Tree, to the self-described “scummy little punks” in Camp Cope whose album was recorded in under two days to the passionate, and politically charged A.B Original, whose debut record Reclaim Australia topped many end-of-year lists, including our own.

Pitting newcomers like multi-instrumentalist Olympia against icons of the Australian music industry, the short list included the long-awaited album from The Avalanches Wildflower and previous winners Big Scary, with their gorgeous new record Animal. Artists nominated commented on the fact that 2016 was an exceptionally good year for Australian music.

Speaking of the nomination, Sarah Thompson of Camp Cope stated, “Being shortlisted for the AMP has blown our minds. We spent 1 and a half days and $1000 making this record so to see where it’s come is just nuts. We’re so appreciative of everyone who’s supported it and us over the past 12 months. Being recognised by the judges and our peers is a huge honour. I have no idea how three scummy little punks fell into the realm of any sort of prize but we are stoked, and really appreciate it – thanks so much for including us!”

The winner will be announced on March 8 at the annual AMPed Up in Conversation event in Sydney.

The 12th AMP Shortlist (in alphabetical order):

A.B. Original, Reclaim Australia
The Avalanches, Wildflower
Big Scary, Animal
Camp Cope, Camp Cope
D.D Dumbo, Utopia Defeated
King Gizzard & The Lizard Wizard, Nonagon Infinity
Nick Cave & the Bad Seeds, Skeleton Tree
Olympia, Self Talk
The Peep Tempel, Joy

Image: Bandcamp

Fiona Apple has made no secret of her dislike for Donald Trump in the past. Now, she’s teamed up with composer Michael Whalen to give us all a little reminder of exactly where she stands, delivering a protest chant written for the Women’s March on Washington that is taking place in D.C. on January 21, the day after the President-elect’s inauguration.

Over the recent holiday season, Apple shared the wonderfully festive Trump’s Nuts Roasting On An Open Fire, a take on Nat King Cole’s The Christmas Song which included lyrics such as: “Everybody knows some money and entitlement can help to make the season white/Mothers of color with their kids out of sight will find it hard to sleep at night.”

She performed the the song in a rare live appearance during a Standing Rock Benefit, which supported the Standing Rock Sioux Tribe protests of the Dakota Access Pipeline. Now with his inauguration fast-approaching, the singer-songwriter has once again loaned her talents to the anti-Trump cause.

https://www.youtube.com/watch?time_continue=183&v=5RdGPYvQcFc

It seems that while Trump’s team had a hard time finding just about anyone to play at his inauguration (at the moment, it’s been confirmed that  3 Doors Down, Toby Keith, Big & Rich, Jackie Evancho and Sam from Sam & Dave will be playing… as if anyone even knows who they are…), organisers of the Women’s March have estimated about 200,000 people have registered to take part in a protest that appears to inherently oppose just about everything Trump stands for.

The march is one that demonstrates a commitment to standing “in solidarity with our partners and children for the protection of our rights, our safety, our health, and our families – recognizing that our vibrant and diverse communities are the strength of our country.” 

What better way to get the message across than to chant “We don’t want your tiny hands/Anywhere near our underpants” over and over. The song itself has been uploaded to SoundCloud and you can listen to it below. It’s sure to be  damn sight better than having to sit through 3 Doors Down and watching Trump himself trying not to burst into flames as he places one of his decidedly tiny rat claws on the bible to be officially sworn in as the President of the United States.

Image: Consequence of Sound

It has been a few years since their debut album Body Music dropped and Alunageorge have been heading steadily towards electro-pop stardom status in the most effortless, understated manner possible. Tonight, they (though without George for live performances it is an Aluna Francis solo performance) have filled Melbourne’s Corner Hotel, just as they did their previous visit. If ever there was a performance so fitting for a sweltering summer’s night, it is AlunaGeorge accompanied by a live drummer and keyboardist.

The stage has been prepared for them by Melbourne duo Fortunes, Future Classic’s only recent signees. The soothing ebb and flow of their hip-hop meets R&B meets soul sound could not be a more perfect introduction.Their new single 501’s a slinky, sultry meander that sees them confirm their status as charismatic and utterly captivating, no doubt gaining a few new fans as they readied the crowd for the headline performance.

https://www.youtube.com/watch?v=z6LvV8o4Oe4

Singing from the side of the stage as her backing musicians situate themselves, Aluna Francis dances into view, the red cape she’s donned floating out behind her, set to become a feature of the show all on its down. They waste little time, diving head first into the triumphant Hold Your Head High which is quickly followed by Jealous, the set already as heated as the air outside the venue. The ZHU collaboration, Automatic is tinny, frenetic and pulsating, pulling the crowd into hypnosis with a command to dance. It finishes with Francis’ unsupported, a capella and spectacular vocals. It is so seamless that it is only when there’s a lengthy pause after the cheers cool down, that the singer points out that the power has blown out and the a cappella ending was entirely unintentional. If that ability to keep the performance going so effortlessly is not the mark of a fine artist, then what is?

https://www.youtube.com/watch?v=L0dUlM_DLps

She entertains the audience with tales of how this isn’t not a rarity, having happened a number of times beforehand. It’s understandable, the temperature is high and it’s muggy inside. After finding someone celebrating their birthday and serenading them with Happy Birthday (“I used to charge a fiver for this!” she tells us), she slips from the stage with hopes that she will return shortly.

Minutes pass and there’s a buzz going around that perhaps three songs, while wonderful, are all we’re getting tonight. The restlessness is answered when the band return drinks in hand and fly into Mean What I Mean. There are a handful more technical difficulties as Attracting Flies and Not Above Love fill the air, but by the time the anthemic Your Drums, Your Love rolls around, things seem to be back on track properly. Just as well, because this is the singular, glistening jewel of the set: Francis’ vocals starting low and commanding before soaring all the way up for the chorus. She has the flexibility and strength of the boxer she’s dressed as while she commands the audience to help her out. 

https://www.youtube.com/watch?v=VfCSx5641U4

Earlier in the set, Francis pointed out that she is so often in Australia she feels at home here, and the connection between the English artist and this audience is evident as Under Control sees out the main section of the set.

There is a very brief break, no doubt due to the earlier interruption, before everyone is back on stage to play the two songs whose absence earlier had not gone unnoticed. They kick off their encore with White Noise, the cape Aluna had made her dancing partner during the main set now amiss. The reception for White Noise is surpassed only by the rattling roar once they move on to the last song of the night. You Know You Like It is as gloriously glitch and pulsating live as it is on record – perhaps even more so as the sea of bodies oscillates to the rhythm in a spectacular finish to the night. The band leaves the stage, all memories of technical difficulties are transcended by Aluna Francis’ truly striking performance.

Image: abc

There was a moment in musical history, right before the release of his 2014 album Carry On The Grudge, where fans of the entirely singular Jamie T (Treays) wondered if he would ever return to studios and stages. The roar which rattles the Croxton’s bandroom as he takes to the stage – which has been warmed up nicely by Hockey Dad –  for a headline sideshow while in town for Falls Festival, makes it seem as though he never left at all. Perhaps it’s the intimate setting of a sticky carpet venue, maybe it’s the fact that without aircon, the room rises to at least 35 degrees, or maybe it’s the knowledge that a final show of a tour is the kind of one where a band leaves everything they have left on a stage. Whatever the case may be, tonight is that last show of his run of Australian dates and from the moment the set starts up with Power Over Men, it is clear that tonight’s show will be the kind to set all others against for years to come.

There’s a very particular effect Jamie T has and it’s one that sees him (and band) able to play tracks from more recent albums alongside what are now classics and have it all work together seamlessly. That isn’t to say they’re more of the same, rather quite the opposite, but it works. The strut of Power Over Men ebbs into Tescoland, showcasing the growth of Treays’ songwriting over the years. The singalongs began with the very first song, but nothing sounds quite as wonderful as the collective shout of “I ain’t no abacus, but you can count on me!” as Operation flings itself around the room in all its youthful, animated passion. Operation captures precisely the vibe of a Jamie T show – and this one in particular. There’s an inherent jovial sense of togetherness between the bustling of the dancing crowd and the band up on stage, as cool, casual and brazen while remaining polished and entirely insync.

https://www.youtube.com/watch?v=dEQXJQn8LZg

Dragon Bones brings us back to the latest album, Trick, in a wonderfully self-assured, hazy waltz before we slip over to Salvador, one of the stand out singles from debut album, 2007’s Panic Prevention. Ten years after its release and the track still resonates as it reverberates around the room, seeping into the very bones of every king and queen in the club pub. There’s a shot interlude during which The Prophet (and the entire set) is dedicated to drummer Vicky Smith, whose birthday it is this week, along with Jamie’s, quickly before the song starts up “there’s fire in her eyes… you’re like a fucking hurricane next to me” is a fitting testament and the song itself a wonderfully winding reprieve from the fast-paced set as it prompts lighters to lift to the ceiling and bodies to sway gently in a chorus of “oohs”.

The eerie, lamenting Don’t You Find quickly follows with slinky, sliding guitars echoing around the room. It’s hypnotic  – all haunting harmonies under blue lights, for an incredible rendition of one of the best songs in Jamie T’s entire discography. Energy is shot back into the crowd with If You Got The Money, 368 and Man’s Machine – a triple threat of nostalgia, inciting excitable sing alongs and some of the most intense movements of the entire evening. It’s Sheila, however, that tugs at the heartstrings, cries of “London!” ringing out as the, quite frankly iconic, track delves into the the space we first met Jamie T: singing of real people and real life – both their bleak and their beauty.

https://www.youtube.com/watch?v=4-L7Cadb-c0

Tinfoil Boy follows, shaking the place down and leaving Sticks and Stones to close out the main set, leaving the room buzzing and rowdy. It’s testament to the kind of performer Jamie T is, that he can slip newer tracks into his set alongside what have become classics, and everything is seamless, each track gaining different but equally excited reactions. Sticks and Stones however, with cries of “three fingers down, the other two up” promoting the crowd to flip off the band gloriously as every ounce of energy is left out on that floor with a messy mix of emotions.

https://www.youtube.com/watch?v=r9APEZMeH0o

Somehow, both band and punters manage to restart the fire, greeted by Jamie and his acoustic bass for Back In The Game as an encore. There’s one thing missing from the night, and it’s been saved for the very end. The drawl of Zombie starts up and by the end of it, the crowd is left sweaty and sated. The band leaves the stage to a roar of appreciation and adoration and it’s few moments before the lights to turn on. As everyone spills out onto the street to catch the 86, there’s that sensation of camaraderie in the air, as though this has been a particularly memorable summer’s night.

Image: Epitaph Records

Read our Flashback Friday on Jamie T’s Panic Prevention

The year is wrapping up, which means a few things. The weather is heating up, family we might not have seen for a while are descending upon us for the holidays and it’s time to get a bit retrospective. Overall, 2016 has been a bit of a shit-kicker and not just for all all the talent we’ve lost.

Over the past week, Triple J and listeners have copped a flack for the disappointingly abysmal representation (or rather, lack thereof) of people in their Top Ten Albums who weren’t male. For the sake of accountability, it must be noted that here at Howl & Echoes, while there was a fairly diverse spread across our individual picks, the overall top albums for 2016 only featured one female artist (Solange) – though it must also be observed that only two of the artists on the list were white. Festival lineups remained the Caucasian-male-dominated affairs they always have been and it was found that 80% of record labels registered in Australia are headed up by men while women, trans and non-white diverse artists still struggle for recognition, respect, understanding and paid work.

With all the bullshit all of that in mind, there’s still a fair bit to celebrate. Taking a leaf out of the Her Sound, Her Story book, here’s a look at a few things worth celebrating (that series is also one, if you feel so inclined to check it out) that happened in 2016!

Queens All Around

If ever a Holy Trinity existed, Rihanna, Beyoncé and Solange would be it and 2016 blessed us with albums from all members. In the very first month, we received ANTI, the long-awaited album from hardworking hit machine – the true princess of modern pop, Rihanna. After a four year wait and a whole lot of lead up, Rihanna broke with convention for ANTI, presenting perhaps her most surprising album for its tempered back, hazed vibe and down-to-earth lyricism, matched with a delightfully unashamed confidence. Needed Me and its accompanying video alone was enough to send fans and commentators into a tail spin and confirmed ANTI as one of the most surprising, but enduring pop releases of the year, just one month in to 2016.

https://www.youtube.com/watch?v=wfN4PVaOU5Q

“ANTI represents the deconstruction of the manufactured pop star and the reassembling of Rihanna as a living, breathing personality that vibes with bands like Tame Impala, and alternative hip-hop stars like SZA and deals with self deprecating thoughts and is terrified of love. She’s human now. She’s not the hit machine she was in the Umbrella era. “Rihanna the pop star” is now “Rihanna the person” – Emma Jones for Howl & Echoes

The theme of 2016 seemed to be that everything kind of happened at once. It just kept getting faster, more full on, and it was no exception when Beyoncé dropped Formation in February. The song and accompanying video, was masterful and gave foresight into what was to come. Powerful, sensual, celebratory while also rife with social commentary, it was perhaps the single most disruptive song of the entire year for all the conversation and polarising reactions it caused.

The visual album that followed in April, Lemonade, has since climbed to the top end of Best Of 2016 lists, earned the singer 9 Grammy nominations, and caused a whole storm of debate. Her appearance with The Dixie Chicks at the Country Music Awards sparked controversy when the show removed all traces of the performance online and removed the collaboration from the official list of performers despite the fact that their mere presence boosted ratings to an all time high. Beyoncé remains, as always, a force to be reckoned with, having become the first artist to ever receive Grammy nominations across the pop, rock, R&B and rap categories in one year.

https://www.youtube.com/watch?v=PeonBmeFR8o

In September, it became clear that both Knowles sisters were coming for institutionalised racism, social injustice and issues of inequality in 2016. Announced on a Monday and released that Friday, Solange wasted no time in promoting her new album, an ethereal, arresting piece of art. Accompanied by a series of music videos both haunting and inspiring, A Seat At The Table was altogether surprising, subtly powerful and a thing of beauty. It has solidified Solange’s place as an truly individual artist, putting her money where her mouth is in terms of her personal ethics and ideals and artistic endeavours. It also sees her catapulting her into Best Albums lists alongside her sister, without either overshadowing the other, for they are both so uniquely themselves in their art. Nominated for a Grammy (Best R&B Performance) A Seat At The Table is the gift that keeps on giving, with some of the most memorable live television performances – perhaps none better than that on The Tonight Show with Jimmy Fallon earlier this month. Pure. Living. Breathing. Art.

https://www.youtube.com/watch?v=Z-qHmXbkayw

Music videos, as clearly displayed by Rihanna, Beyoncé and Solange this year, are an art form in themselves and sometimes a song or concept isn’t quite complete without them. Another one that struck this year, though perhaps on a more personal than world-wide phenomenon level, was for Colombian electro outfit Bomba Estéreo’s single Soy Yo. It is the kind of thing I would have loved to see as a young, mixed, latina girl growing up. Though the song itself (which has some great self-love lyrics about the importance of what is inside rather than what everyone else sees) was released last year, the video came out in September this year and it’s everything I didn’t even know I needed. It’s a celebration of confidence and loudness, of taking up space and being one’s true self. When I first stumbled across the clip, I watched it on a loop for an entire morning: I smiled, I laughed, I felt like I might start crying with all the familiar feelings it provoked – good and bad.

https://www.youtube.com/watch?v=bxWxXncl53U

Young girls, especially of colour, are so often taught, be it by our parents or more often our teachers and peers, to not be overbearing. Sometimes, when you’re loud and opinionated and dare I say it, don’t quite look like the people around you, it can start to feel like you’re not doing things right. This video takes that notion of ‘being good’ and behaving (read: being quite, overlooked or brushed aside) and shoves it into the gutter where it belongs. We follow 11-year-old Sarai Isaura Gonzalez (who gave some great life advice in a follow-up video) out of the salon where she’s just been given a new look she’s clearly pleased with, and rides around urban New York. She runs into two other girl, who try to stare her down to little avail. She demands attention on the basketball court despite perhaps not being very skilled at the game. She dances and moves the way she wants to and that’s the entire point. A beautiful, vibrant video that is worthy of a lot more buzz and hype than it ever did get.

Back on home soil, one of the most powerful, beautifully crafted releases of the year came from  the alluring Ngaiire. The power in her voice and her knack for crafting pulsating, enthralling, winding pieces of electro-tinged indie pop is nothing short of awe-inspiring. Live, she is perhaps one of the country’s most astounding performers; on stage with two other musicians, she fills entire theatres – a soulful, arresting talent to be reckoned with.

For all the self-reflection and criticism thrown the way of the country’s taste-maker radio station, Triple J and listeners as of late about the lack of women at the top of of album selections, there were two stand out occurrences this year and they both involved Unearthed. In August, the honey-voiced, Gretta Ray was announced as the winner of Unearthed High, her country-tinged indie pop capturing the hearts of the nation through her songs Drive and Unwind. Fast-forward to November and the utterly captivating, magnetic Tash Sultana was unveiled as the recipient of the 2016 Unearthed J Award.

https://www.youtube.com/watch?v=Vn8phH0k5HI

In Victoria, the results of the Women in the Victorian Contemporary Music Industry survey and paper prompted the creation of a new gender diversity policy. The survey, which was conducted mid-last year noted that instances of pay inequality between male and female performers were frequent and damaging. It also found there to be an imbalance in access to opportunities, a significant confidence gap, the major undervaluing of music made by women and perhaps the most unsurprisingly, that sexual harassment and assault are experienced by women in the industry on a frighteningly large scale.

The policy, which was unveiled in May, means that the state’s key body, Music Victoria is committed to promoting gender diversity across the industry (“Music Victoria acknowledges that gender is a diverse spectrum and when referring to women and men it includes those who identify as female and male, and those who are gender non-conforming.”) while encouraging “others in the industry to adopt a gender diversity policy for their organisations.” There’s still work to be done, which is outlined in the policy – but we have one, voices have been and are being heard. There’s a wealth more awareness out there and now with an official piece of literature to stand with, there is a way to hold people (punters, venue owners, industry heads, other musicians, every single one of us), accountable. Hopefully, it also prompts similar outcomes in other states. 

Overall, 2016 has been a bit of a shit-kicker and for all the hopes we had coming into the new year, a lot of them were kind of dashed. But sometimes it’s good to remember the small victories alongside the huge triumphs and perhaps set the tone for the coming 12 months – one not just of positivity but of action rather than idle commentary about what more we ‘should be doing’. 

Image: newnownext