Friday, March 27, 2015
Thursday, March 19, 2015
Are you booking this tour yourself or working with someone else?
Friday 20 March 2015
Whole Lotta Love Bar, Melbourne
Saturday 21 March 2015
Power Ranch, Traflagar, Vic
Saturday 28 March 2015
Rooty Hill RSL, Rooty Hill NSW
Friday 8 May 2015
Acacia Ridge Hotel, Acacia Ridge Qld
Saturday 9 May 2015
Beerwah Hotel, Beerwah Qld
Keep an eye on www.rosecarleo.com for new dates to be added.
Monday, March 16, 2015
In trying to characterise Bingham's sound, it's tempting to say he's the first cousin once removed of Ryan Adams by way of Gram Parsons and Johnny Cash, with some Waylon Jennings thrown in and maybe a bit of Willie Nelson too. Certainly, that hints at his lineage but it also makes it sound as if his music is derivative, and that would be incorrect. Well, obviously all music is derivative in its way - there are only eight notes in an octave, etc etc - but Bingham is his own man. His voice cracks its way through the first songs of his latest album, Fear and Saturday Night, and somewhere there would be a producer who'd clean that up or demand that he go back and sing those songs again - but then they wouldn't be his songs.
Bingham cracks. He rumbles and growls. He also seduces, in a way that few country music artists - actually, few singers, if one is honest - can do. Seduction is not what country music does, and it may not even be what Ryan Bingham set out to do, but it's there on this album. His innate appeal is the reason why the rattles and moans - the occasional sadnesses, too - of this album sound completely in place. Initially sceptical, after a while I wanted to be seduced by this album. It's not because Bingham sings like an outlaw, as his lineage and song titles ('Top Shelf Drug', 'Broken Heart Tattoo', 'Gun Fightin Man') suggest he might - it's because he just sings with whatever's inside him. His songs belong in a corner bar, performed for a handful of hopeless souls, and they also belong in a stadium. Where they likely don't belong is on a festival stage, where people can pass by and not really listen. It's in the close listening where Ryan Bingham becomes his own man, where his idiosyncrasies become perfections and where he'll draw you completely in so that you're completely, totally willingly seduced.
Fear and Saturday Night is out now on Axster Bingham Records through Lost Highway Australia.
Saturday, March 14, 2015
Saltwater Cowboy contains the songs of a man who is prepared to own his place on this earth. He's not trying to be older or younger. He's not dreaming of living in a different place or time, or a different life. He's making sense of the life he has now, revelling in the good parts, sorting through the tricky parts and finding in music refuge, release and joy. Because Cullen's music comes from this place of self-acceptance, it only requires of the listener that he or she listens. And listening to this album becomes more and more interesting and enjoyable with each spin around the proverbial turntable. Cullen has the willingness, talent and ability to keep telling these stories - of his own life and others' - for a while. Here's hoping he does.
Saltwater Cowboy is out now.
Sunday, March 8, 2015
On this album The Pigs have given some hard-workin' Australian songs a bluegrass overhaul. There's an almost sentimental treatment of Powderfinger's 'My Happiness', and Mondo Rock's 'Come Said the Boy' hits just as hard as it ever did; there's also an appropriately irreverent take on Skyhooks' 'You Just Like Me Cos I'm Good in Bed' (featuring Fanny Lumsden and Red Symons). There are songs from The Cruel Sea, The Divinyls and Cold Chisel, John Farnham's 'You're the Voice' and the dance hit 'Addicted to Bass' which is, in bluegrass form, just as infectious as the original.
You may have noticed that not one country music artist has been mentioned - and that's because there aren't any. The Pigs are possibly the only Australian country artists in recent memory to produce a cover album of entirely non-country songs. The serious part of this project is in establishing whether or not bluegrass as a genre can be adapted to all sorts of songs - or, rather, whether the songs can be adapted to it. Some work very well; some not so well. But that's actually down to the songs rather than the interpreters. The idiosyncratic composing techniques of silverchair's Daniel Johns - here represented by 'Straight Lines' - are exposed in this genre; the solid song structures that lurk beneath the occasionally shambolic stage appearances of You Am I's Tim Rogers are clear on 'Cathy's Clown'. And the cover of 'Ita' only proves what, to me, has always been self-evident: that Cold Chisel were fundamentally a country band.
This is an eclectic collection of songs that will suit lovers of bluegrass as well as people who have a serious interest in how music works - not to mention people who just love a good party album. That's quite a lot for one album to achieve.
Home Brew by The Pigs is out now.
The Pigs are taking their 13 Aussie classics on the road:
Wired is out now through ABC Music/Universal.