Notes from Pig City - Archive of author and journalist Andrew Stafford

Still going hard

Music / October 13, 2019 / 4 minutes of reading

If you were growing up in the Australian suburbs in the 1980s and early 1990s and had any interest at all in what later became known as alternative music, you have probably heard the Hard-Ons. Against considerable odds – starting with their name – the band once racked up an astonishing run of 17 consecutive No. 1 songs on the independent charts.

It’s tempting to say they’re back. But the priapic Hard-Ons never really went away. They did break up in 1994, but bassist Ray Ahn and guitarist Peter Black (known to all as Blackie), soldiered on as Nunchukka Superfly. They reunited with singing drummer Keish de Silva in 1997, but de Silva quickly became disenchanted and moved on again.

Still, the band carried on, with Murray Ruse on drums and the prolific Blackie singing. Actually, prolific doesn’t begin to describe Blackie: the influential guitarist recorded a song every single day in 2016, adding a cover of Deep Purple’s Smoke On The Water on New Year’s Day 2017 for good measure.

It’s de Silva – whose honey-sweet vocals and energetic drumming style was a big part of the band’s appeal – who’s back, with the release of the band’s 12th studio album So I Could Have Them Destroyed today.… Read more..

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David Pocock leads sporting charge on emissions

Environment, Miscellaneous / October 13, 2019 / 4 minutes of reading

Wallabies flanker David Pocock, along with teammates Bernard Foley and Dane Haylett-Perry, have announced their partnership with a scheme that aims to compensate for the carbon emissions associated with travel.

Earlier this year, musician Heidi Lenffer, from Australian band Cloud Control, launched FEAT. (Future Energy Artists), an initiative that would allow musicians to invest in a solar farm on Queensland’s Darling Downs.

Lenffer was concerned about the carbon emissions generated by her group’s touring schedule and what she saw as her own contribution to the climate emergency. Now, FEAT. is opening up to other sectors and individuals.

When FEAT. was announced, Pocock responded via Instagram – “he was putting enthusiastic emoji responses on a lot of our posts,” Lenffer said – and contacted another songwriter, Jack River, who put the two of them in touch.

Pocock, currently with the Wallabies in Japan for the Rugby World Cup, told the Guardian that “as an athlete, you’re in a somewhat similar position to artists in that there’s no escaping what you do requires travel, and I’m very conscious of my personal contribution.

“To see what FEAT. was doing, and to see people like Heidi getting on with it and trying to harness that energy into actually building the future we know is coming and we all want to see, but need to speed up, that was really exciting.”… Read more..

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Tribute to Andrew McGahan, Brisbane Writers Festival

Miscellaneous / September 30, 2019 / 9 minutes of reading

I’ve said for a long time that Praise was to Brisbane literature what the Saints’ album (I’m) Stranded was to music. In fact, I first made this analogy on the last page of my first book Pig City, a book in which I quoted Andrew at several key points.

Why the comparison to Stranded? It seems pretty obvious to me. The rawness. A voice that blew away all the surrounding bullshit – the boredom and stasis and sweat of Brisbane – with short, bullet-tipped sentences.

Demolition girls, nights in Venice. Paralytic tonight, Pig City tomorrow.

Praise described a town I recognised, but hadn’t been in for very long. I got here on Christmas Eve of 1986 on a Greyhound bus. It took a while to find my feet, and my way around. On the surface, there didn’t seem to be much happening. Underneath it was a different story.

Praise is a bit like that, too. There wasn’t much of a plot, but all the main characters seemed to be in various stages of losing it. That was a good metaphor for Brisbane around that time. Those characters and Andrew’s language were what gave his debut its narrative propulsion.… Read more..

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Ben Folds: “I dreaded that song coming out”

Music / September 30, 2019 / 5 minutes of reading

Ben Folds has what appear to be perfect piano-playing hands. They’re large, with long, elegant fingers – until you look closer and inspect the damage. “My left hand’s fucked,” he says, raising a beer with it. He lowers the glass, then vigorously shakes out the hand, from the elbow down. There’s an audible click. “Good to go for the next couple of hours.”

Folds, whose sweet, sometimes earnest, often irreverent songs with his group Ben Folds Five were a staple of late-90s alternative rock radio, has just released a memoir, A Dream About Lightning Bugs. In it, he describes the piano as “living-room furniture” – expensive and heavy, and therefore manifestly unsuitable for rock & roll, which is supposed to be portable.

But, he says, if you look at the handful of notable pianists in rock history – Little Richard, Jerry Lee Lewis, Elton John, John Cale – “they all had to sacrifice their piano to a degree. Stand on it, attack it, sacrifice it, to show that you’re on Team Rock.” Folds’ hands have paid the penalty.

His right hand isn’t much better. In late 1984, a pumped-up jock on a wrestling scholarship beat him to a pulp the night before his exams at the University of Miami.… Read more..

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Aldous Harding Live @ The Metro

Music / September 30, 2019 / 4 minutes of reading

“Shut up,” hisses a patron to the bartenders talking at the back of the Metro. This is no time for idle chatter. Aldous Harding is close-picking her way through The World Is Looking For You, one of only two selections from her breakthrough album from 2017, Party – five minutes of spidery folk that Harding performs alone, seated, with just an acoustic guitar.

In a mid-sized venue, most artists would get away with something like this towards the end of their set. Not the beginning. But Harding’s set is more like a high-wire act. She walks slowly onstage, without fanfare, seats herself, and just waits, as though psyching her audience out. The entire room is full and still. Not a soul lingers at the bar. Not a phone is raised.

When it’s over, there’s an exhalation, then an ovation. Harding rises as her four-piece band arrives. She’s wearing a loose-fitting, burnt-orange trouser suit and black porkpie hat. Another close-picked triad of notes opens Designer, the title track of her brilliant third album, before the song opens up to reveal a surprising palette of instrumental colour, including a flugelhorn.

And then she breaks the spell. She walks off stage to speak to the sound engineer, then back.… Read more..

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Birding with Paul Kelly

Music / September 30, 2019 / 5 minutes of reading

Down by the mouth of Laverton Creek, at the Altona Foreshore Reserve in Melbourne’s west, songwriter Paul Kelly is watching about 150 gannets as they mass on Port Phillip Bay. From where we stand, even through binoculars, the gannets are just big white blobs on the water, about 500 metres offshore.

I’m not convinced Paul can even see the blobs through his binoculars, which he refers to as “Kellogg’s brand” – something he got out of a packet. Kelly has taken to watching birds in recent years, but, in the field, frankly, he’s a noob.

With us is Sean Dooley, editor of BirdLife Australia’s quarterly magazine. Sean and I have been watching birds almost all our lives; we met in early 1983. I rib Kelly that he would have been playing in his first band the Dots back then, but Kelly corrects me: he’d already broken the band up. I don’t think he likes being reminded about the Dots.

Lately, Kelly has been touring a stage production, Thirteen Ways To Look At Birds, now an album and his 25th studio recording: a collection of poems set to a neo-classical pop score, co-written and arranged with composer James Ledger, multi-instrumentalist Alice Keath and the Seraphim Trio.… Read more..

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