Sydney Gigs
“If it’s illegal to rock and roll, throw my ass in jail!.” – Kurt Cobain
Good music always makes a great night out! Look below to find gigs playing around the Sydney over the next couple of days.
Upcoming Gigs
Hall Oates – View Band Bio Hall OatesFrom their first hit in 1974 through their heyday in the 80s, a hrefhttpwww.last.fmmusicDarylHall classbbcodeartistDaryl Halla and a hrefhttpwww.last.fmmusicJohnOates classbbcodeartistJohn Oatesa smooth, catchy take on a hrefhttpwww.last.fmtagphilly20soul classbbcodetag reltagphilly soula brought them commercial success including six number one singles and six platinum albums. Hall amp Oates music was wellconstructed and produced at their best, their songs were filled with strong hooks and melodies that adhered to soul traditions without being a slave to them by incorporating elements of new wave and hard rock. Daryl Hall began performing professionally while he was a student at Temple University. In 1966, he recorded a single with a hrefhttpwww.last.fmmusicKennyGambleandtheRomeos classbbcodeartistKenny Gamble and the Romeosa the group featured a hrefhttpwww.last.fmmusicKennyGamble classbbcodeartistKenny Gamblea, a hrefhttpwww.last.fmmusicLeonHuff classbbcodeartistLeon Huffa, and a hrefhttpwww.last.fmmusicThomBell classbbcodeartistThom Bella, who would all become the architects of Philly soul. During this time, Hall frequently appeared on sessions for Gamble and Huff. In 1967, Hall met John Oates, a fellow Temple University student. Oates was leading his own soul band at the time. The two students realized they had similar tastes and began performing together in an array of RampB and doo wop groups. By 1968, the duo had parted ways, as Oates transferred schools and Hall formed the soft rock band a hrefhttpwww.last.fmmusicGulliver classbbcodeartistGullivera the group released one album on Elektra in the late 60s before disbanding. After Gullivers breakup, Hall concentrated on session work again, appearing as a backup vocalist for a hrefhttpwww.last.fmmusicTheStylistics classbbcodeartistThe Stylisticsa, a hrefhttpwww.last.fmmusicTheDelfonics classbbcodeartistThe Delfonicsa, and a hrefhttpwww.last.fmmusicTheIntruders classbbcodeartistThe Intrudersa, among others. Oates returned to Philadelphia in 1969, and he and Hall began writing folkoriented songs and performing together. Eventually they came to the attention of Tommy Mottola, who quickly became their manager, securing the duo a contract with Atlantic Records. On their first records Whole Oates 1972, Abandoned Luncheonette 1973, War Babies 1974 the duo were establishing their sound, working with producers like Arif Mardin and a hrefhttpwww.last.fmmusicToddRundgren classbbcodeartistTodd Rundgrena and removing much of their folk influences. At the beginning of 1974, the duo relocated from Philadelphia to New York. During this period, they only managed one hit the number 60 quota titleHall amp Oates ndash Shes Gone hrefhttpwww.last.fmmusicHall2B25262BOatesShe27sGone classbbcodetrackShes Goneaquot in the spring of 1974. After they moved to RCA in 1975, the duo landed on its successful mixture of a hrefhttpwww.last.fmtagsoul classbbcodetag reltagsoula, a hrefhttpwww.last.fmtagpop classbbcodetag reltagpopa, and a hrefhttpwww.last.fmtagrock classbbcodetag reltagrocka, scoring a Top Ten single with quota titleHall amp Oates ndash Sara Smile hrefhttpwww.last.fmmusicHall2B25262BOatesSaraSmile classbbcodetrackSara Smilea.quot The success of quotSara Smilequot prompted the rerelease of quotShes Gone,quot which rocketed into the Top Ten as well. Released in the summer of 1976, Bigger than the Both of Us was only moderately successful upon its release. The record took off in early 1977, when quota titleHall amp Oates ndash Rich Girl hrefhttpwww.last.fmmusicHall2B25262BOatesRichGirl classbbcodetrackRich Girlaquot became the duos first number one single. Although they had several minor hits between 1977 and 1980, the albums Hall amp Oates released at the end of the decade were not as successful as their mid70s records. Nevertheless, they were more adventurous, incorporating more rock elements into their blueeyed soul. The combination would finally pay off in late 1980, when the duo released the selfproduced Voices, the album that marked the beginning of Hall amp Oates greatest commercial and artistic success. The first single from Voices, a cover of a hrefhttpwww.last.fmmusicnoredirectRighteousBrothers classbbcodeartistRighteous Brothersa quota titleHall amp Oates ndash Youve Lost That Lovin Feeling hrefhttpwww.last.fmmusicHall2B25262BOatesYou27veLostThatLovin27Feeling classbbcodetrackYouve Lost That Lovin Feelinga,quot reached number 12, yet it was the second single, quota titleHall amp Oates ndash Kiss on My List hrefhttpwww.last.fmmusicHall2B25262BOatesKissonMyList classbbcodetrackKiss on My Listaquot that confirmed their commercial potential by becoming the duos second number one single its followup, quota titleHall amp Oates ndash You Make My Dreams hrefhttpwww.last.fmmusicHall2B25262BOatesYouMakeMyDreams classbbcodetrackYou Make My Dreamsaquot hit number five. They quickly released Private Eyes in the summer of 1981 the record featured two number one hits, quota titleHall amp Oates ndash Private Eyes hrefhttpwww.last.fmmusicHall2B25262BOatesPrivateEyes classbbcodetrackPrivate Eyesaquot and quota titleHall amp Oates ndash I Cant Go for That No Can Do hrefhttpwww.last.fmmusicHall2B25262BOatesICan27tGoforThat28NoCanDo29 classbbcodetrackI Cant Go for That No Can Doa,quot as well as the Top Ten hit quota titleHall amp Oates ndash Did It in a Minute hrefhttpwww.last.fmmusicHall2B25262BOatesDidItinaMinute classbbcodetrackDid It in a Minutea.quot quotI Cant Go for That No Can Doquot also spent a week at the top of the RampB charts a rare accomplishment for a white act. H20 followed in 1982 and it proved more successful than their two previous albums, selling over two million copies and launching their biggest hit single, quota titleHall amp Oates ndash Maneater hrefhttpwww.last.fmmusicHall2B25262BOatesManeater classbbcodetrackManeatera,quot as well as the Top Ten hits quota titleHall amp Oates ndash One on One hrefhttpwww.last.fmmusicHall2B25262BOatesOneonOne classbbcodetrackOne on Oneaquot and quota titleHall amp Oates ndash Family Man hrefhttpwww.last.fmmusicHall2B25262BOatesFamilyMan classbbcodetrackFamily Mana.quot The following year, the duo released a greatesthits compilation, Rock N Soul, Pt. 1, that featured two new Top Ten hits the number two quota titleHall amp Oates ndash Say It Isnt So hrefhttpwww.last.fmmusicHall2B25262BOatesSayItIsn27tSo classbbcodetrackSay It Isnt Soaquot and quota titleHall amp Oates ndash Adult Education hrefhttpwww.last.fmmusicHall2B25262BOatesAdultEducation classbbcodetrackAdult Educationa.quot In April of 1984, the Recording Industry Association of America announced that Hall amp Oates had surpassed a hrefhttpwww.last.fmmusicnoredirectEverlyBrothers classbbcodeartistEverly Brothersa as the most successful duo in rock history, earning a total of 19 gold and platinum awards. Released in October of 1984, Big Bam Boom expanded their number of gold and platinum awards, selling over two million copies and launching four Top 40 singles, including the number one quotOut of Touch.quot Following their contractfulfilling gold album Live at the Apollo with David Ruffin amp Eddie Kendrick, Hall amp Oates went on hiatus. After the lukewarm reception for Daryl Halls 1986 solo album, Three Hearts in the Happy Ending Machine, the duo regrouped to release 1988s Ooh Yeah!, their first record for Arista. The first single, quota titleHall amp Oates ndash Everything Your Heart Desires hrefhttpwww.last.fmmusicHall2B25262BOatesEverythingYourHeartDesires classbbcodetrackEverything Your Heart Desiresa,quot went to number three and helped propel the album to platinum status. However, none of the albums other singles broke the Top 20, indicating that the era of chart dominance had ended. Change of Season, released in 1990, confirmed that fact. Although the record went gold, it only featured one Top 40 hit the number 11 single, quota titleHall amp Oates ndash So Close hrefhttpwww.last.fmmusicHall2B25262BOatesSoClose classbbcodetrackSo Closea.quot The duo mounted a comeback in 1997 with Marigold Sky, but it was only partially successful far better was 2003s Do It for Love and the following year soul covers record Our Kind of Soul. Usercontributed text is available under the Creative Commons BySA License and may also be available under the GNU FDL.
8th of February 2012
Washed Out – View Band Bio Washed OutWashed Out is Ernest Greene, a young guy from Perry, Georgia, USA who makes bedroom synthpop that sounds blurred and woozily evocative, like someone smeared Vaseline all over an early OMD demo tape, then stayed up all night trying to recreate what they heard. Theres a sense of longing and distance in Greenes somber, filtered vocals, but its what he does compositionally that makes Washed Out stand out. Backed by gently pulsing, Balearictinged disco, Greenes voice takes on a new dimension. Reminiscent of groups like The Glass and Chromatics, Washed Out is the music to end your night with, when the city is quiet and youve got a long walk home ahead of you. 2009 Usercontributed text is available under the Creative Commons BySA License and may also be available under the GNU FDL.
8th of February 2012 The Metro Theatre Anna Calvi – View Band Bio Anna CalviHailed as quotthe best thing since Patti Smithquot by Brian Eno, as well as being included on the BBCs Sound of 2011 list, the hype surrounding Londonborn Anna Calvi came to fruition during late 2010. Gaining critical acclaim among music journalists, Calvi drew comparisons with the passionate and brooding musicianship of the likes of a hrefhttpwww.last.fmmusicNickCave classbbcodeartistNick Cavea and a hrefhttpwww.last.fmmusicPJHarvey classbbcodeartistPJ Harveya. The dense and rich musical influences that inhabit Calvis world are broad and distinctive strokes of sultry flamenco, smokefilled blues, and seductive goth poprock. Adding to this tapestry of influences, Calvi has claimed to have been inspired by the films of David Lynch, Gus Van Sant, and Wong Kar Wai the cinematic element to her music contributes a mysterious and unyielding undercurrent to her work. Half Italian singerguitarist Anna Calvi grew up being exposed to a multitude of genres of music by her musicloving father. According to the a hrefhttpwww.songfacts.comdetail.phpid21909 relnofollowSuzanne and I Songfactsa, she cites the classical composers Ravel and Debussy among her influences and her music has been described as quotbrooding melodramatic gothpop.quot At the age of 17 and after eschewing art school in favor of a music degree, Calvi began to learn her trade and started to assemble musical partnerships. In 2006, she met percussionist and harmonium player Mally Harpaz and later recruited drummer Daniel MaidenWood. The release of her debut single, quotJezebel,quot in the fall of 2010 was an electric cover version of the Edith Piaf standard. The young Calvi soon captured the attention of Domino Records boss Lawrence Bell after a glowing reference from former Coral guitarist Bill RyderJones, who had witnessed one of Calvis gigs in Manchester. Bell quickly signed her to his label. RyderJones was not the only celebrity admirer of Calvis, an acquaintance with the aforementioned Brian Eno similarly urged him to listen to this emerging talent. After hearing Calvis raw and unplugged performances on The Attic Sessions the early demos that she recorded on an 8track in her parents attic, the distinguished producer soon became her mentor and unofficial cheerleader. Calvi entered Black Box studio in France with the muchlauded producer Rob Ellis to record her selftitled debut album in 2010. Using vintage analog equipment, Calvi created a velvet Wall of Sound that justified the hype in the buildup to its 2011 release. Usercontributed text is available under the Creative Commons BySA License and may also be available under the GNU FDL.
8th of February 2012 The Metro Theatre |
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