PJ Orr return with a brand new video – check it out right here.
When Nergal isn’t thrilling the world with his amazing talents with the mighty Behemoth he is exploring the darker side of folk music with his side project Me And That Man. Their first album Songs Of Death And Love landed in 2017 and was well received by both critics and fans alike.
Now three years later he has once again put his Me And That Man hat on and returned with their sophomore album – New Man, New Songs, Same Shit Vol 1. He recently took time out of his hetic schedule to sit down and chat to me about the album.
“I’ve found myself inspired by the same kind of music for quite awhile now,” he says as we talk about his love of folk music. “My idea though was not to replicate the old blues players or the old folk players. The plan was just to get to together with a bunch of dudes that I respect and just make some music of our own – because it is all rock ‘n’ roll at the end of the day. The bottom line was to enjoy it, have fun, be proud of it but here we are at the end of the day with eleven songs and I am very happy with the record.”
Those amazing bunch of dudes on this album include the likes of Matt Heafy from Trivium and Corey Taylor from Slipknot so I ask Nergal at what point of the song-writing process does he know who the guest vocalist will be on each track. “Every story kind of has a different formula behind it,” he says. “That is really hard to say actually because I end up putting every song out on a plate and then I put the album together piece by piece. Every song has a different approach and has a different treatment so I would have to so no, no because some of the guys would know exactly what I wanted to achieve and other songs which just have a certain feel and I would know who to reach out to. Then we would just see what happens.”
And if anybody out there has a fantasy about Nergal pulling all these talented musicians into a studio at one time to work on the tracks then think again because this is all done though the wonders of the internet. “That is basically how it is all done,” he says laughing when we begin to talk about how easy it is to send tracks online these days. “It really is done as a long distance relations and collaborations. That is the only way to make it, honestly. That is the way of being a musician now, even when you are musicians in one band you tend to be spread around so we just communicate that way. I think with what we are facing now that way of doing things is going to become even more common.”
“I mean let’s say twenty years ago that I wanted to record this kind of record,” he goes onto explain. “It probably would have taken us five years to have completed and it probably would have cost me ten times the amount that it cost me”.
One of the highlights of the album is Matt Heafy’s amazing vocals on the beautifully dark “You Will Be Mine” and it turns out that the track impressed Nergal just as much as it did me. “Absolutely, absolutely,” he says pretty much lost for words when I ask him whether he was blown away when he first heard the track. “It is one of the best performances on the record. He took two shots to get there though, the first version of the song that he sent me he just over did it – it was just exaggerated so much, he just made it so evil, it was just like *growls over and over* So I was like ‘man that is too much, relax you know, just step back and relax.’”
“The you know the next version that he sent was way too soft,” he goes on to explain. “It was way too angelic and I was like ‘man let’s put it away, do something that is in between these two takes.’ And it is that final version that you hear on the record. I remember that he asked me if I wanted to auto-tune it so I went to the studio with our drummer and we went over the track once and then we went over it twice and we were looking at each other and we were like why do we have to auto-tune this he has done it perfectly. Even if there are a couple of imperfections here and there then that makes it perfect so I said to him ‘Matt we are not changing anything because we fucking love your performance and it would be so wrong to even tweak anything.’ But yes to answer your question, it is an absolutely amazing performance.”
New Man, New Songs, Same Shit Vol 1 is out now.
Artist: Me And That Man
Album: New Man, New Songs, Same Shit Vol. 1
Date Of Release: 25th March 2020
Label: Napalm Records
1. Run With Devil (feat Jorgen Munkby from Shining NO)
2. Coming Home (feat Sivert Hoyems from Madrugada)
3. Burning Churces (feat Mat McNerney from Grave Pleasures)
4. By The River (feat Ishahn from Emporer)
6. Surrender (feat Dead Soul and Rob Caggiano from Volbeat)
7. Deep Down South (feat Johanna Sadonis from Lucifer and Nicke Anderson from Entombed)
8. Man Of The Cross (feat Jerome Reuter from Rome)
9. You Will Be Mine (feat Mat Heafy from Trivium)
10. How Come? (feat Corey Taylor from Slipknot/Stone Sour and Brent Hinds and Rob Caggiano from Volbeat)
11. Confesson (feat Niklas Kvarforth from Sining SE)
There is just something about blues, folk and country that seems to go hand-in-hand in metal. Artists such as Nick Cave has shown over the years that there is a darker side to blues and folk that needs to be explored while for generations country singers have been singing about oppression and murder. It was therefore no surprise that when Nergal (who many would know as the Behemoth frontman) formed his dark blues/folk side project Me And That Man that their debut album worked so well.
That brilliance that stunned the music world with Songs Of Love And Death back in 2017 once again rears its head on New Man, New Songs, Same Shit Vol. 1 and album that I get the feeling I will be playing over and over for a great many years to come.
One of the joys of listening to a Me And That Man album is the album takes you on two very different journeys. The first being a story-telling journey, if you sit and actually listen to the lyrics of each of these songs you will see that each track tells a story in itself, it’s like dark poetry or a Gothic short story. The second journey is the one the listener is taken on as the array of musicians that lend their vocals to the album each bring their own tone and mood to the ‘story’ that we are listening to at the time.
This isn’t an album that is all about the vocalists though, no, even musically things change here quite quickly. For example opening track “Run With The Devil” is a foot-stomping, catchy blues driven rock track complete with saxophone. Then there is the gospel sounding “Surrender”, while the banjo, piano and harmonica infusion on “Deep Down South” makes it sound like it was recorded at a good old fashioned jamboree at a Western Tavern.
Nearly every track on this album is worth listening to on repeat but there are some stunning highlights. The dark folk nature of “Burning Churches” makes it sheer brilliance while the amazing vocals of Ihsahn on “By The River” are only bettered by the stunning guitar work.
Then there is the smooth “How Come” – a rock track with the brilliant Corey Taylor at the helm, but the highlight for me is the violent love song “You Will Be Mine” which features vocals by Matt Heafy. Not since “Where The Wild Roses Grow” has there been such an intriguing murderous love ballad.
There is a beautiful, moody darkness that comes from listening to Me And That Man. The atmosphere created by the music on New Man, New Songs, Same Shit Vol 1 is simply perfect for this global lockdown. It is the soundtrack to this period of time that we need. Hauntingly beautiful and a song-writers dream this album is true genius.
Rating (out of 5):
Multi award winning vocalist Jasmine Rae has announced her new album ‘Lion Side’ will be released on July 24th and is available for pre order now. The brutally honest songwriter and electrifying live performer has also released the video to her current single ‘Green Light’ – watch here.
‘Lion Side’ is a culmination of several years of soul searching, rigorous and often tortuous self-assessment, indecision and the need to find greater inner-purpose and direction. Ultimately, Jasmine Rae has rediscovered that her true path to self-enlightenment is through her music.
“I took a long time to make this album, but ultimately I simply had to do it,” says Jasmine Rae. “Music has always been my way of thinking out loud and figuring things out. Writing and performing allows me to express those feelings… to be dramatic… be loud or be fragile… be emotional… and be real.”
Recorded in both Sydney and Nashville with producer Lindsey Jackson (Jessica Mauboy, Tori Kelly, The McClymonts), Lion Side comes from an artist who is an inspiration to everyone around her, while often wounded, angry and fragile. In fact, she would even go as far as saying ‘Fraudulent’ at times.
The album’s current single ‘Green Light’, which is being embraced by both pop and country formats, reflects Jasmine’s battles with anxiety and indecision. “There are always opportunities: The opportunity to take action, or to purposefully let something go; to make a call or leave things unsaid; to change or try again or try differently,” says Jasmine Rae of the song. “No decision – is a decision in itself. This song is the inner dialogue of one of those experiences. These are some of the circling thoughts of doubt and indecision that drive me crazy.”
Also available today is a second album release track with album pre-orders, ‘Carrying The Flame’. The song is a tribute to Jasmine Rae’s greatest mentor, and the friend who is now carrying on his legacy, while creating his own.
“Being real is a superpower. It’s what heals us together.”
It’s the mantra behind Jasmine Rae’s album Lion Side, which will be released on July 24, 2020
It was the day when all of Australia pitched together to raise money for all of those that suffered during the devastating bushfires and Subculture was there to make sure we kept you right up to date. Here are all of our reviews of the artists playing at Fire Fight Australia.
Poor Lee Kernaghan had the unfortunate task of kicking of Fire Fight Australia to a near empty stadium. He didn’t let that worry him though and after a mellow start his catchiness caught on and had the small crowd starting to sway along to things. His highlights were clearly the beautiful duet ‘Where I Want to Be’ which saw his wife Robby X join him on stage. Then anybody who was already caught up with the emotion of the day would have had it flow over them as Kernaghan launched into his final song – the thought provoking ‘Spirit Of The Anzacs’ which he dedicated to all the firies who have put their lives on the line this summer.
Conrad Sewell arrived on stage looking like a very young John Farnham and then delivered with the voice to match. Festivals like this are important to artists like Sewell as it opens up their music to a lot of people who perhaps would have never have heard their music before. With that in mind Sewell really delivered. He eased into things with ‘Start Again’ before his backing singers really kicked in on ‘Healing Hands’ almost making themselves sound like a choir. Anyone that doubted the talent of Sewell though was really put in their place though with his amazing falsetto vocals on ‘Changing’.
Somebody had to finally get the crowd moving that that somebody ended up being indigenous rapper Baker Boy. His loud clothing really made a statement… as did his music. He fused all genres together and rap suddenly turned to didgeridoo, but more important was the fact that his tracks like ‘Cool As Hell’ seemed to get the crowd moving and on their feet.
Of course this wouldn’t have been an Australian music festival without one of Australia’s best performers – Daryl Braithwaite. As usual though Braithwaite did not disappoint. He overcame early microphone issues to deliver a great version of ‘As The Days Go By.’ That was quickly followed up by ‘One Summer’ which again had the crowd singing along. Then came the song that everyone wanted to hear from him – ‘Horses.’ Once again the crowd joined in and even MC Celeste Barber returned to the stage to ride across on her wooden ‘horsey.’ One thing became very apparent as the strong crowd sang along, even acapella at time, more people know the words to ‘Horses’ than do the words of the national anthem.
The Aussie rock royalty then continued with Pete Murray arriving on stage and going straight into a mellow version of ‘Opportunity.’ The audience then joined in again as the sweet acoustic sounds of ‘Better Days’ filled ANZ Stadium and we were once again reminded of what an amazing artist Murray is. That audience then listened in total silence as the beautiful sound of ‘So Beautiful’ filled the stadium. He then closed the set with a great performance of ‘Feeler’ and once again we were reminded just why Pete Murray is one of the best Aussie artists going around.
The grunt finally arrived on stage with alternative rockers Grinspoon. They started out mellow with ‘Chemical Heart’ but then hit full stride when they launched into ‘Just Ace.,’ the track that finally see some moshing start. They intensity continued with the ferocity of “Lost Control’ leaving those that were there for the pop artists a little confused. To close out their set they celebrated the fact it was Sunday by delivering another fan favourite – ‘Hard Act To Follow.’
ANZ Stadium then become part central as Australia’s soul queen took to the stage. Jess Mauboy kicked off with ‘Saturday Night’ before the funky guitar riffs of ‘Can I Get A Moment’ took over. She then toned it back a little with ‘Honesty’ a song that really did showcase the fact that she has one of the finest singing voices in Australia. The energy returned then as she performed ‘We’ve Got Love’ a track that now means a hell of a lot more to Australians then it did when she performed it at Eurovision. Lyrics like ‘don’t give up’ now have an entirely different meaning to Australians than they did a few months ago.
The new wave of Australian music then went on show with rapper Illy bringing some sweet, melodic rap as he started out with ‘Then What.’ He really found his groove though with ‘Catch 22’ as he crooned ‘stay another round’ and you just knew that people were hitting up Spotify to add it to their collection. Then in act of sheer bravery (or should that be stupidity) Illy decided to debut his new single ‘Last Laugh’ in front of a lazy 70,000 people, the biggest crowd he has ever played in front of. He then showed more of his skills with an stunning rendition of ‘Paper Cuts.’
Anyway who had forgotten the power of Guy Sebastian’s voice was very quickly reminded as he launched into the soulful ‘Bloodstone’ before following it up with ‘Before I Go (You’ll Know My Name)’ a track that took his voice to even deeper depths. Sebastian then showed his talent by rapping while holding an acoustic guitar as he performed both his part and Lupe Fiasco’s during their hit ‘Battle Scars.’
The vibes at ANZ Stadium rose as Peking Duk took to the stage. A real summery vibe swept in as they belted out ‘Stranger’ and then took it to a whole new level with ‘Say My Name’, complete with some Inni Kamoze inspired melodies. In what was one of the most sombre parts of the day both members of Peking Duk shared personal stories about how they had relatives and close friends who lost their homes in the fires… it is moments like that that kept reminding us why we were all there. Rightfully so they followed the stories up with a haunting rendition of ‘Take Me Over.’ To finish off they closed with ‘High’ which had the audience screaming the moment the first strains started to play… yes Peking Duk were one of the highlights of the day.
Delta Goodrem walked onto the stage draped in the Australian flag looking more like a prize fighter walking into the ring rather than a singer about to sing in front of one of the biggest crowds she will ever perform in. She quickly won over the audience with a cover of The Seekers’ ‘I Am Australian’ before then performing one of her biggest hits – ‘Born To Try.’ Then while seated at her piano Goodrem performed the song she wrote during these fires – the extremely emotional ‘Let It Rain’ while reminding us all that when Australian hurts we all hurt. Goodrem then sent all of her fans into raptures with a melody that consisted of some of her biggest songs.
Next to take to the stage was honorary Australian Ronan Keating who flew in from Malaysia just to perform at Fire Fight. He kicked off with of his biggest hits ‘Lovin’ Each Day’ before then crooning ‘When You Say Nothing In’ while walking through the crowd. Keating then kept the hits coming when he sang ‘Rollercoaster’ which again had the audience joining in.
Tina Arena’s set started with a funky flashback to her past with ‘The Machine’s Breaking Down’ before continuing the flashback with ‘Chains.’ While many Australians would have not seen Arena perform for a number of years she showed that she has a strong fan base when singing ‘Heaven Help My Heart’ and having a lot of audience joining with her. Then in a complete shock Arena delivered one of the biggest surprises of the night when she rocked it out when a cover of The Divinyl’s hit ‘Boys In Town.’ Now we know that Arena is that good at rock… we can only hope that one day we see her do a rock album… seriously everybody people were freakin’ head-banging to Tina Arena.
Looking like a rock n roll pirate Alice Cooper stormed onto the stage and launched into ‘Department Of Youth’ before Nita Strauss took centre-stage with an epic guitar solo in the middle of ‘I’m Eighteen.’ The youngsters in the audience then got a rock lesson as Alice and band took it to the next level with an energetic version of his greatest hit ‘Poison.’ It was then time for the teeny boppers in the audience to duck for cover as Alice’s fans started to mosh during ‘Schools Out.’
Amy Shark showed why she is one of the biggest stars in the Australian music scene at the moment with a mellow version of ‘I Adore You’ before launching into ‘All Loved Up’ while looking at home performing in a stadium. Her electronic and more aggressive sound then came through with ‘Mess Her Up.’ One of the highlights was the motivational speech she gave before ‘I Said Hi’when she reminded Australia that we are one of the strongest countries in the world and that we should never give up. Continuing to watch Amy Shark grow as a performer has been one of the highlights of being a music journalist in Australia over the past few years and seeing her perform so well in front of a stadium audience has been one of my highlights of the past couple of years.
In one of the biggest shocks of the night 5 Seconds Of Summer really blew things up with an almost hard rock sound before returning to their more familiar pop punk sound of ‘Easier’. Still the epic jam in the middle of the song sounded a lot heavier than I expected they would sound. Their new track ‘No Shame’ had a catchy vibe to it as did ‘Want You Back, but nothing else matched that early hard rock sound they managed to deliver. One of the biggest cheers of the day though was reserved for when 5 Seconds Of Summer started ‘Youngblood.’ The song had their fans singing along from start to finish.
What do you do when you are a band with a plethora of hits spanning decades but are playing a small festival slot? Queen + Adam Lambert solved that problem by beginning their set with a mash of ‘Bohemian Rhapsody’ and ‘Radio Ga Ga.’ It was obvious from the start that Adam Lambert was at his full vocal best while Brian May showed that age certainly hasn’t sowed him down any as very soon the strains of his guitar were soon filling ANZ Stadium.
Queen then showed why they are still one of the best rock bands in the world with a high energy version of ‘Hammer To Fall’ complete with an amazing guitar solo by Mr. May himself. To follow on from that Adam Lambert then did a great mix of Elvis Presley and Freddie Mercury as the band performed ‘Crazy Little Thing Called Love.’ The pumped up crowd then happily joined in when the band decided to play ‘We Will Rock You,’ there enthusiasm surprising considering many of them had now been standing for eight hours. Not even those hardened fans could match Adam Lambert’s vocals on ‘We Are The Champions’ as he reached notes that many of us could only dream about reaching. Yes, if you go back over the set list it is the same set list that played at Live Aid… respect, guys, respect.
Following a band like Queen is never something that you would look forward to but The Hilltop Hoods did in their stride bouncing onto stage with energy as they performed ‘Leave Me Lonely’. With a full brass section their version of ‘Clark Griswold’ had a very funky vibe. They were then joined by Australian Eurovision 2020 winner Montaigne for a smooth version of ‘1955.’ Things really picked up though when the crowd started jumping as the band sang ‘Crosby Sweater.’
One of the hardest jobs of the night was given to Canadian songstress K.D. Lang who was given the task of being next on stage directly after the one minute silence for the 33 people that perished in this summer’s fires. She was up to the task though with a haunting, piano driven version of ‘The Valley’ that gave people more time to reflect on those that had lost their lives. She then followed it up with an amazingly powerful rendition of ‘Hallelujah’.
The Aussie legends kicked off their set with an atmospheric version of ‘Great Southern Land’ complete with didgeridoo, then came the moment we had all been waiting for as the band sand ‘Electric Blue’ and ordered the crowd to sing along with them… as if anybody needed any urging. They then closed their set as their fans danced along to ‘We Can Get Together.’
And with the biggest cheer of the night the legend himself John Farnham walked onto stage and dove straight into ‘Age Of Reason.’ In full flight Farnham then jumped straight into ‘Pressure Down’. As the crowd begun to settle they were then whipped into a frenzy again when the recently Dame’d Olivia Newton-John joined Farnham on stage and joined him for a duet of ‘Two Strong Hearts.’ Farnham’s greatest hits package then continued and as he sang ‘That’s Freedom’ it became very clear that his vocals are still as strong as ever… there seems to be no slowing down Farnham at all.
On of the highlights of the night though was when Brian May and Adam Tambo joined Farnham on stage for ‘You’re The Voice.’ It was no secret that a few years ago May was trying to get Farnham to join Queen so this was a rare opportunity for the pair to work together… and a moment that Aussie music fans wills remember for a long time to come. We were promised that this would be a day to remember… and that moment with two music legends made sure that was certainly the case.
The prestigious and highly-coveted Australian Music Prize has unveiled its Shortlist for its 15th anniversary year, with a cohort of the country’s most respected music experts narrowing down the of 107 nominated albums to just the finest nine Australian releases of 2019.
The shortlist reflects Australia’s diverse pool of talent with an unrivalled consistency of quality continuing to rise to the top not only at home but across the world stage; Ainslie Wills’ introspective, folk-pop debut album ‘All You Have Is All You Need’, Amyl And The Sniffers reverence for 1970s punk in their self-titled album, Julia Jacklin’s honest journey through heartbreak and reconnection with self in ‘Crushing’, Methyl Ethel’s closure-seeking third album ‘Triage’, Nick Cave And The Bad Seeds latest epic ‘Ghosteen’, the eclectic dance album ‘Rebel Force’ from Sleep D, Thelma Plum’s story of culture, heritage, love and pain in debut album ‘Better In Blak’, the uncompromising, unapologetic sounds from Dispossessed’s ‘Warpath Never Ended’ and previous winner Sampa The Great with her acclaimed record ‘The Return’.
“It’s always great when an album as a body of work is recognised, The Return was one hell of a journey. Being nominated again feels very special,” said Sampa The Great.
“As a first time AMP judge, binge-listening was a chance to revisit great albums and discover albums that had slipped through the cracks now we’re all seemingly bombarded with more music than ever before. Heaven knows how they managed to cull all those albums down, but they’ve come up with a fine nine that is a killer snapshot of Australian music in the last 12 months,” said Australian Music Prize judge Cameron Adams.
Inspired by the UKs coveted Mercury Prize, the Australian Music Prize has previously recognised artists including Gurrumul, Sampa the Great, Courtney Barnett, Hermitude, The Jezabels, Eddy Current Suppression Ring and The Drones, and continues to thrive with the support of the industry it serves.
“The Australian Music Prize has never been more vital in our music ecosystem, providing a separation from the fight for commercial success and encouraging a reconnection to the very heart of what draws us to music. We are proud to lift up music that inspires lives and change our culture for the better,” said Australian Music Prize director Scott Murphy.
The 15th AMP is also increasing its consultation and inclusion across the industry to showcase the album format, shine a light on amazing records which may not have had the support they deserve and to celebrate great Australian albums.
May 17, 1999 saw the release of one of the most lauded debut albums from an Australian artist, across any genre – ‘The Captain’ from Kasey Chambers. This ground breaking long- player was to change everything for the 22 year old singer songwriter, a blast of fresh air in the local country scene. Off the back of ‘The Captain’, Kasey picked up her first solo ARIA Awards, for Best Country Album and Best Female Artist; the album would go Triple Platinum in Australia, reach the Top 50 of the US Billboard Country albums and launch Kasey’s music to the world.
Tomorrow, exactly 20 years to the day, Kasey Chambers unveils ‘The Captain’ 20th Anniversary Deluxe Edition, whilst the album is released on vinyl for the very first time! This new package includes the 12 tracks from the original album plus ‘Hey Girl’(unearthed track), 7 tracks from the bonus edition (released in 2000), and 13 previously unreleased track-by-track interview pieces from 1999. The accompanying 32 page booklet has never before seen pictures of Kasey’s childhood, promotional and live images, and an image of the original handwritten lyrics for the title track ‘The Captain’.
Listen to Kasey discuss ‘The Captain’ back in a 1999 recording HERE.
Kasey will mark the release of ‘The Captain’ 20th Anniversary Deluxe Edition with an accompanying tour, reforming her original band to play songs from The Captain album alongside a “best of” career set. It commences with a new date, September 12 at Melbourne’s Palms at Crown and traverses the country, winding up in Canberra on October 27 at the Playhouse Theatre CIC.
Following on from ‘The Captain, Kasey has released another 11 albums, each one cementing her place on the global country artist stage and garnering her a cabinet full of awards. In 2018 she was the youngest female ever to be inducted into the ARIA Hall of Fame, reinforcing her place as one of Australia’s most revered and captivating performers.
KASEY CHAMBERS – THE CAPTAIN
20TH ANNIVERSARY TOUR 2019
Tickets on sale now
For further information please head to www.kaseychambers.com
Thursday 12 SEPTEMBER – THE PALMS AT CROWN, MELBOURNE VIC – NEW SHOW
Friday 13 SEPTEMBER – THE PALMS AT CROWN, MELBOURNE VIC – SOLD OUT
Saturday 14 SEPTEMBER – COSTA HALL GPAC, GEELONG VIC
Sunday 15 SEPTEMBER – PERFORMING ARTS CENTRE, WANGARATTA VIC
Thursday 19 SEPTEMBER – LISMORE CITY HALL, LISMORE NSW
Friday 20 SEPTEMBER – THE FORTITUDE MUSIC HALL, BRISBANE QLD
Saturday 21 SEPTEMBER – SOUTHPORT RSL, SOUTHPORT QLD
Friday 4 OCTOBER – THEBARTON THEATRE, ADELAIDE SA
Saturday 5 OCTOBER – THE ASTOR THEATRE, PERTH WA
Sunday 6 OCTOBER – BRIDGETOWN HOTEL, BRIDGETOWN WA
Friday 11 OCTOBER – TOWN HALL THEATRE PAC, DEVONPORT TAS
Saturday 12 OCTOBER – THEATRE NORTH AT THE PRINCESS, LAUNCESTON TAS
Sunday 13 OCTOBER – WREST POINT ENTERTAINMENT CENTRE, HOBART TAS
Thursday 17 OCTOBER – ANITA’S THEATRE, THIRROUL NSW
Friday 18 OCTOBER – EVAN THEATRE PANTHERS, PENRITH NSW
Saturday 19 OCTOBER – THE CUBE, CAMPBELLTOWN NSW
Sunday 20 OCTOBER – BATHURST MEMORIAL THEATRE, BATHURST NSW
Friday 25 OCTOBER – GIANT DWARF, REDFERN NSW
Saturday 26 OCTOBER – NEX THEATRE, NEWCASTLE NSW
Sunday 27 OCTOBER – THE PLAYHOUSE THEATRE CIC, CANBERRA ACT
Australian country music starlet Bridget O’Shannessy has chosen the path of hard work and true-blue fortitude in her new single Long Dirt Road; a song about committing to a life of music, no matter the trials that she faces.
Bridget O’Shannessy has taken the Long Dirt Road to rediscover herself and create a new, refreshing sound in this latest single.
“I’m so proud of Long Dirt Road, I’m looking at it as a rebirth of my sound and I can’t wait for everyone to hear it. Everyone’s been working really hard and it’s finally going to be out in the world,” said Bridget.
Following her path into music, Bridget has been experiencing life to its fullest from fashion shows to stadiums to beautifully crafted music videos, she’s taking everything life throws her way and crafting unexpected tunes.
“I wrote Long Dirt Road about the journey of someone’s life. The road I chose is music and I’ve been lucky enough to experience some really unique twists and turns because of it; fashion shows, stadiums, music videos. Things that not everyone can say they’ve done.”
With her band by her side, they created the latest ballad Long Dirt Road which all began from a single strumming pattern.
“In rehearsals with my band, occasionally we’ll get side-tracked by something someone’s playing and go off on a jam session tangent. I started playing the strumming pattern you hear in the hook and next thing you know we were all playing the whole song.”