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The Queensland Academy for Science, Mathematics and Technology is putting on a charity concert featuring The Orange People, Baron Field, Dubarray, Drake The Fake, AKA, Black Surf Saturday and the Hobbyist as well as QASMT students. It’s on this Friday at the QASMT Auditorium (78 Bywong St, Toowong) from 6.30pm. Entry is $10 adult, $5 concession, with proceeds going to the Playing For Change Foundation, helping children around the world through music.
American country music superstar (with glowing reviews from Victoria’s Secret) Carrie Underwood returns to Australia on a number of dates next month, one in Tamworth before another at Brisbane’s Convention Centre on Saturday Jun 30. Tickets are on sale from Ticketek.
Amnesty International’s ARTillery group are teaming up with Brisbane’s music community to raise awareness about the half million deaths each year caused by unregulated weapons sales. On Thursday May 17 they are holding a gig at the Beetle Bar with Righteous & The Wicked, Barefoot Alley and Flannelette (pictured). Doors open at 8pm and entry is $10.
Mason Rack opens my afternoon playing on the sun-kissed Petrie Terrace Stage, his whisky-fuelled blues rock augmented by a well-dressed band who at first seem at odds with the festival’s casual atmosphere until the sharp look is dropped: the three-piece de-shirting for their track I Do Believe, made all the more infectious thanks to the frontman’s interactive chanting. Founded on impressive build-ups with muddy blues eruptions, Mason Rack’s set delivers a mixture of husky covers and originals. One last song receives a crowd dedication, giving those movers and shakers something to dance about.
Krash begin their performance with Ash Grunwald illustrating an extensive vocal range before cutting into an opening rock-y blues number. Midway into their set No Soul delivers triumphant bass lines and tight drum sequences, which are then followed by Kram gyrating at the crowd. There’s more interpretative dancing from Kram as Ash cues spacey effects in a swelling dubstep breakdown. Coupled with the fact that Ash plainly looks like he is having sex with his guitar, the whole set makes for an arresting spectacle.
The Jungle Giants’ Triple J following definitely shows with the crowd they’ve drawn today. Lead singer Sam Hale’s voice outshines his band’s sea of chords, luring people to the Hale Street Stage. Starting off dark and slow with melancholic reverbing guitar and simple lyrics, you can hear teen hearts explode while they simultaneously winning over the Caxton St regulars. The indie poppers end their set in true street party style with much-loved track Mr Polite, encouraging lead guitarist Cesira Aitken to launch himself into the crowd for some urban surfing.
The Hale Street party continues with The Cairos, and as the sun sets it also signals a cue for punters to switch from white to red, the thirsty throng welcoming in the evening. Frontman Alistar Richardson’s voice hits all the right marks, creating perfect dream rock soundscapes aided by tight-knit drum fills. Take A Look At These Walls speaks of smooth summer days, momentarily lifting our spirits above the chilly night air. Kim Carnes’ classic Bette Davis Eyes brings their set near its conclusion before they finally ending with pop-tastic single We All Buy Stars.
Calling All Cars kick off their set with Disconnect, showing why they are currently one of Australia’s most in-demand touring rock bands. The high-energy show transfixes the majority of street punters in the pit, where the band offers warmth and the opportunity to embrace some wilder dance moves. Lead singer Haydn Ing’s vocals seem initially overshadowed by the rest of the band, but as this is worked out in the mix, his tones come to soar high above everything for the delivery of set-closer Hold, Hold Fire. Calling All Cars: clearly demonstrating they have their brand of Aussie rock & roll down pat.
Killing Joke have always been a slightly out-of-whack presence in the music scene, and all the better for it. They emerged in 1978, at the height of the post-punk era but their own songs were far more stately and majestic than many of the DIY experiments emerging around them. As a result, their widescreen, politically-charged rock has influenced large-scale music like Nine Inch Nails and Soundgarden, more so than the hip indie acts weaned on Wire and Gang Of Four. Correspondingly, Killing Joke themselves have, with time, largely eschewed the angular approach of much post-punk music, replacing it with the squalling electronics, black velvet curtain guitars and crunching rhythms of industrial metal. Meanwhile, frontman Jaz Coleman’s singing style has shifted away from the soaring tenor of early records, into a viscous roar that perfectly complements the bombast that surrounds it. On the apocalyptic new album MMXII, you’ll find a good marriage of both styles – there’s the iciness and atmospherics of their ‘80s work blended with the dense, heavy style of their ‘90s records. Accordingly, you’ll hear Coleman sounding more melodic than he has in ages, blending the bellowing with more understated melancholy. It has the brooding boom you associate with Killing Joke at their most intense, combined with a big, glistening production and impassioned lyrical themes (accompanied in the booklet by topical weblinks for those wishing to explore further). Best of all, it’s simply a magnificent collection of songs.
DARRAGH MURRAY catches up with local musical prodigy ED GUGLIELMINO to chat about his new record and why he doesn’t think of himself as avant-garde.
Amnesty International’s ARTillery group are teaming up with Brisbane’s music community to raise awareness about the half million deaths each year caused by unregulated weapons sales. On Thursday May 17 they are holding a gig at the Beetle Bar with Righteous & The Wicked, Barefoot Alley and Flannelette (pictured). Doors open at 8pm and entry is $10.
(Spinefarm/Universal) 
