I said do it again, do it again (turn around GO BACK)

GOMA, or the gallery of modern art to you non-brisbane folks, is an absolute godsend and has improved Brisbane million fold. At the moment they are exhibiting "Let There Be Rock", a cinema program, where they are showing an amazing range of musical act movies, from The Wall to A Hard Days Night to Spinal Tap to D!G... Ahhh it's a fantastic program. You can, no should, check it out here: http://qag.qld.gov.au/cinematheque/current/let_there_be_rock.

Anyway there are so many I am hoping to see, and today I started with probably the number one movie on my must see list, D A Pennebaker's Ziggy Stardust and the Spiders from Mars. I'd seen it before many years ago on DVD, and it was before my insane David Bowie obsession truly formed, so I had not retained quite so much of it. As it stood, it was a striking documentary, simply capturing the last show of the Ziggy Stardust and the Spiders from Mars tour, and the 'last show we'll ever do' (everyone of course freaking out until realising that the character of Ziggy Stardust and his Spiders were disappearing, eventually making room for Bowie's next character). I sat there mesmerized and enchanted by the entire film, heart in throat as if I was actually an audience member with 70's hair and undying adulation for the glittered slenderman in front of me. I found it difficult not to clap at the end of each song and was relieved when audience members eventually relented and did so themselves.

Let's get real here though people, in many aspects it's not the best filmed documentary. Onstage the camera captures much of Bowie and the band's action, including wonderful detail... for example, the close up while he plays the last verses of "My Death", captures a tear forming and streaming slowly, adding extra depth and passion to the words of the song. However, any camera work directed at the audience is pretty shockingly done, so that there are great big spaces of darkness, amid bad resolution shots of ladies with massive glasses and screaming mouths. It's also weirdly put together, so that a few of Bowie's entrances are totally missed or delayed, with the camera choosing to focus on blurry audience members instead.

What makes it, is him, and the band. Mick Woodmansey, while mostly hidden from the camera, is dynamite on the drum kit, nailing every fill and driving the whole process. Trevor Bolder also doesn't share as much film time, but his presence on the bass is everywhere. Mick Ronson, god of guitar, is nothing short of fucking motherfucking amazing. He effortlessly fingers the electric like he could do it in his sleep and totally steals the show. Meanwhile, Bowie takes his place front and centre, gaunt and bony, with his electrified hair, awful teeth and multiple coloured eyes, no doubt in full throe of his cocaine addiction, and obviously so. Through what feels like 20 costume changes and androgynous makeup, his emotion filled vocals, theatrical stage moves, and his general Bowie charm, this plain and simply ugly man, turns into a sexual madman. Yes, had I been a teenager (or anyone really) in 1973, I would have been absolutely mad for it. David Bowie, and his Ziggy Stardust persona, is a perfect example of what a presentation of oneself can do for one's charisma and desirability. As well as a little mystery.

I honestly do NOT believe in this day and age that anything as amazing and anyone as talented and creative and dynamic as Bowie will ever take over music and life as much as he has. Granted, his 80's-90's catalogue is pretty lacking, but dammit, the 80's-90's was kind of a shitty era for consistently good music (thanks to marketing and the paint by numbers industry). But the humorous thing about that scene in 'Extras' with Andy Millman coming up to his idol to wonder if he'd sold out, was that, at least in the decade where he held the world in the palm of his hand, David Bowie could never say that he had sold out. He broke so many rules in the music world, through his personae, his imprint on the media, and most of all, his music. Half of 'Heroes' is rarely listenable to me. 'Low', is my parents worst nightmare. But Bowie wasn't interested in pleasing a body of people, he was interested in experimenting, trying different sounds, and as a result, "Low" was WAY ahead of its time. He has inspired more artists than people realise, even if they turn into horrible pop monsters like Lady Gaga.

After this film warmed my heart, I couldn't help but lament on the fact that I do not live in the 70's, and Pennebaker's film was the closest I was ever going to get to that amazing moment. David Bowie may (oh, PLEASE) tour here again, and it will be epic... I would be the happiest girl in the room would it happen. But of course, he is a much saner, and older person now (and I have to say, he's aged better than he should have). The magic of glam, groundbreaking live music is over, and in its place is a memento of what was. The what was, I never experienced nor ever will.

In the 60's and 70's, what was played on the radio, was actually pretty good. Have you ever wished you were born in another era or place, and you got stuck here when you were supposed to be somewhere else? Sometimes I feel mad that I'm in a world where Justin Bieber is a household name, and a The Books gig isn't even half sold out in a small room.

But I'll stop feeling mad, and instead grateful that I got to see a classic live performance on a big screen, and thank GOMA for making it happen, and see some more terrific shows at the same venue. AND SO WILL YOU.

Gareth Liddiard and Dan Kelly, the Zoo, 26th April, 2011

I like the Drones. I like the couple of well crafted powerful songs that I've come to know, although i have not purchased an album. However, I don't like them enough to say they're these genius mentalists, and hence I have not an album. I saw them at the Hifi when it first opened, and it was enjoyable, but i have to say, it began to bore me by the time the last spitting poetic ballad was on. It's extremely hip (and hippie) to hail them as one of the best australian bands and Gareth Liddiard, front man, as a lyrical saviour. i have to say i have not studied him enough to say either, but i do feel a little put off. Still, at my mother's suggestion, I came along to the Gareth/Dan Kelly gig (one of my mum's favourites) to check his solo thing out.

It was the third (or fourth??) time I'd seen Dan Kelly, so I knew what to expect from the rockabilly fringed tongue in cheek nephew of Paul. He came on stage advertising a sore throat, and despite this pulled off a well executed, entertaining acoustic set comprising of his most

recent and previous Triple J played songs ('Hits' is not the word I would use??) Dan chatted to the small crowd gathered in front of him, myself included front and centre, simply because there was more than enough room for me there. He carried through tale after tale, and probably tattleda little too much, but not too much that he didn't get a decent bunch of songs in. He played 'Dan Kelly's Dream' tracks such as "I'm Coming on", "Bindi Irwin Apocolypse Jam" and the title track in his varied, talky style, making good use of himself with just a guitar and voice, and remarking on bits "where the band sounds really cool".

Dan got the smallish crowd singing along and cheering and appeared genuinely grateful to have us here, despite knowing this sold out show was thanks to the headline act. I like Dan, much to a few close people's dismay, but I do feel his jokey manner overshadows and cheapens his talent. Some of his songs are really outstanding and he has the alt country vibe with an added creative twist, but the novelty cheek (see "Bindi" and "Drunk on Election Night") can become a little weary, so that he's in danger of becoming a joke fad musician. It's all well and fun, but I'd like to see a serious side, until before he realises it, he becomes a joke himself in his middle-aged years, ala the likes of Ben Folds.

Having said that I thoroughly enjoyed his performance... the fact he doesn't take himself too seriously makes for a great connection with his audience and a good show. At the end of it, my parents were a few wines in, and knowing that Dan is a Brisbane brought up fellow, and that my cousin went to the same school as him, tried to egg me on to talk to him and "see if he remembers *JOHN SMITH*, eh!??? DO IT!! GO ON!! GO ON!!!" 'Oh excuse me Mr k=Kelly! Do

you remember this guy who was at your school and you may have seen some times in your youth?' No fucking way was that going to happen. This is why you go to gigs with sensibles and not crazy ageing hipsters.

After they settled down, Gareth Liddiard decided to show up, in all his scruff. Gareth prattled on for as long as Dan did... then a little longer.. then longer still.. until it was evident that he probably wasn't going to ever shut up. I couldn't really understand what he was going on about

most of the time, so to be completely honest, I didn't listen too attentively. Eventually within the rambling, Gareth played a song. A slow, boring, ranty, unengaging mess. He played a few more just like that, continuing to talk way too long in between songs. As he continued, it was obvious how wasted he was, and totally uninterested in entertaining anyone but himself. His words were brash and rude, and even admitted that "This'd be embarrassing if I cared". Glad to see you appreciate the fandom of the ones that do, Gareth.

Half way through (of what I saw), he broke a string, prompting Dan to come up and assist him by fixing it up. Much later, the same process resumed. It was painful, tedious, and quite a waste of time. We chatted amongst ourselves (mostly damning this whole affair), at the side of the room near the window, and kept getting awkward glances from a few people watching him faithfully next to us. Eventually, our chatting incensed one guy so much, he turned to us, said "SHHHHH!" and gave us the finger. Well man, if you're going to take this crap, you are welcome to it, I thought; the others agreed, and we left the die hard nutty fans to the fucked up wanker on the stage.

I felt dirty for leaving early without a prior reason apart from that we were too bored, but i don't think i could have taken much more of it. At least Dan saved the night with his professionalism, and better manipulated talent. i understand that being a rockstar often means being hyped up

on drugs, alcohol, etc. but even the most wasted musicians known for their excess still managed to put on a decent performance. This guy totally ruined any desire for me to discover any more of his music, and make a better assessment of his lyrical ability. Sorry Gareth, I really am.

Gareth gets 1 broken string for at least making it to the stage, and Dan gets 6 intact strings plus Gareth's broken one.

SURF ROCK WEEK: Wavves @ The Zoo, Tuesday 8th of March & Best Coast @ Woodlands, Thursday 10th of March

I had to wait until going on a surf rock appropriate holiday AND five day weekend to type this review, as this is my method. Well that's my excuse and I'm sticking to it.

Wavves and Best Coast are both fun sprightly bands, highly riding the massive wave of indie surf/stoner lo-fi rock that have been dominating airwaves over the past year or two, as well as my headphones (also see Beach House, the Drums, Surfer Blood, Neon Indian, et.al.). They all managed to tour around the same time as well, which is quite handy if that was what floated your boat at the moment.

The week started off with Wavves, whose very catching 3rd album 'King of the Beach' would have been an appropriate addition to my summer albums list (had it been worth celebrating). Having only heard this (oh me, what a lame late fan), I decided to check them out. Bleeding Knees Club supported, and the description given to me "They're like Wavves!" was pretty accurate. BKC consisted of 2 prepubescent looking lads, casually dressed in baseball caps and metro shirts, chatting to the audience like they were just mates sitting in on a jam session in

their garage. Their cassssual attitude worked a treat to relax the audience despite it's air of "hey we really don't know wtf we're doing..". Having said that, their bread and butter short fast Ramones-y indie punk tunes were played without a hitch... quite doable if you're using the same time signature/beat/chords/style for each one. They were entertaining enough, and I very much expect them to climb up the popularity ladder thanks to their slapdash style, and hopefully gain more experience and creativity along the way.

As Wavves took the stage in slightly similar attire (Chicago bulls shirt, welcome back to the fashion fold), it became obvious to me that so many in the young audience were wearing an odd assortment of hats. I guess this meant both BKC and Wavves were a hat, or cap band, with a cap audience.

That may have been the worst description of a band I've ever written...HEY LOOK HERE'S A PHOTO

The band appeared with energy levels already at 11, and maintaining throughout the night. They played a great deal of unfamiliar (to me) songs which were very much in the same vein as those I'd heard, and just as catching. As I watched the 3 piece, simply consisting of frontman Nathan Williams, drummer Jacob Cooper and bassist Stephen Pope, I realised how simply structured and themed their songs were... while still being a million times more complex and developed than their supports of course.

In that effect, they were very tight, nailing each song and building up in energy in all the right places. The crowd went insane for the title track hit, as well as "Idiot" and "Post Acid" as well as my own favourite, "Green Eyes". Through their music and little fuss or conversation, they knew just how to work the crowd that they were designed for. Thus I was glad I was a little way back from the mosh, although that didn't stop a few overexcited teens flinging their bodies in all directions, including at myself and my group.

Once they had ripped through each short and sweet indie pop song, they had reached the last moment before their encore, but decided to play through the last few songs, in the same 'fuck the method (sorta)' vibe that had carried the night through. It was all good fun, and suited the crowd fine. The set felt as short and sweet as their songs from 'King of the Beach', which is really what I was in for, and quite satisfying.

SOME SLEEP AND WORK LATER...

A few tiring days later, and yet I was still energetic to see Best Coast on the Thursday. I'd heard negative feebdack from Best Coasts's prior shoes beforehand, particularly supporting the epic classics Os Mutantes (sadly cancelling their Brisbane gig- but thankyou more proactive friend for bringing me back a memento!). This is understandable to me, like experiencing a slice of homebrand cheddar before anticipating a triple cheese brie and haloumi platter. Not that Best Coast is not palatable (all cheese is good cheese imo!), but it's quite clear that BC are not here to change the world of music.. they're about fun, breezy pop, and they don't try to be anything else.

I didn't catch much of Feathers, the support act, but managed to get a great side stage position

amidst the packed Woodlands venue. I don't know if I have said this before but it is always handy having gig buddies that are much shorter than you, if you can (I'm surprised I have any).

Anyway, after a long ado (Woodlands, please make your shows start earlier kthx), on came the bodacious Bethany Cosentino, flanked by Bobb Bruno on bass and drummer Ali Koehler. The band were warmly welcomed by a receptive audience, and launched into their set of basically every track from "Crazy For You", plus a few extra new ones thrown in. The small venue was pretty perfect for this kind of show, as their simple twanging sound filled the space well. Bethany's voice was only slightly distorted since my last show there, and was strong. She chatted a little bit in between songs, the others silent and stoic as she held fort, mentioning that we were a much more fun audience than their last show. Fun ensures fun, and Bethany seemed to be having a good time up there, feeding off the audience's excitement and energy. Which must have meant Bobb and Ali had to even up the score by saying nothing and smiling little, but doing their musical jobs well.

As their set progressed, I could see how a non-fan would have a pretty average time here; there really is little variety in their style, and a lot of songs could be seen as indiscernible from each other. Were the songs any longer, it would have begun to bore me, but luckily not so, and the track order meant that all their best work wasn't clumped together. The crowd went mental for 'Boyfriend', 'When I'm With You', and 'When the Sun Don't Shine', and were all falling in lust with Bethany by the end of the set (unless that was just me?). It was late and tired by the last song, but the sugary energy pop of the set was buzz inducing, and I stumbled from Woodlands a pretty happy camper.

Waaves get 7 surfboards out of 10. Best Coast get 7.5 green sparkly hemp glasses out of 10. I get 100 tardies.